(2001) describes narratology as comprising many strands implicitly united in the recognition that narrative theory requires a distinction between "story," a sequence of actions or events conceived as independent of their manifestation in discourse, and "discourse," the discursive presentation or narration of events.' The Russian Formalists first proposed such a distinction, employing the couplet fabula and syuzhet. A subsequent succession of alternate pairings has preserved the essential binomial impulse, e.g. histoire/discours, histoire/récit, story/plot. The Structuralist assumption that one can investigate fabula and syuzhet separately gave birth to two quite different traditions: thematic (Propp, Bremond, Greimas, Dundes, et al.) and modal (Genette, Prince, et al.) narratology. The former is mainly limited to a semiotic formalization of the sequences of the actions told, while the latter examines the manner of their telling, stressing voice, point of view, the transformation of the chronological order, rhythm, and frequency. Many authors (Sternberg, 1993, Ricoeur, 1984, and Baroni, 2007) have insisted that thematic and modal narratology should not be looked at separately, especially when dealing with the function and interest of narrative sequence and plot. Applications Designating work as narratological is to some extent dependent more on the academic discipline in which it takes place than any theoretical position advanced. The approach is applicable to any narrative, and in its classic studies, vis-a-vis Propp, non-literary narratives were commonly taken up. Still, the term "narratology" is most typically applied to literary theory and literary criticism, as well as film theory and (to a lesser extent) film criticism. Atypical applications of narratological methodologies would include sociolinguistic studies of oral storytelling (William Labov) and in conversation analysis or discourse analysis that deal with narratives arising in the course of spontaneous verbal interaction. It also includes the study of videogames, graphic novels, the infinite canvas, and narrative sculptures linked to topology and graph theory. However, constituent analysis of a type where narremes are considered to be the basic units of narrative structure could fall within the areas of linguistics, semiotics, or literary theory. Narratology in new media Digital-media theorist and professor Janet Murray theorized a shift in storytelling and narrative structure in the twentieth century as a result of scientific advancement in her 1998 book Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Murray argues that narrative structures such as the multi-narrative more accurately reflected "post-Einstein physics" and the new perceptions of time, process, and change, than the