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Tritter, Valérie. "Le statut du narrateur dans les littératures fantastiques française et anglo-saxonne d'E.A Poe à R.B. Matheson." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040236.
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L’objet de cette analyse est de dépeindre un siècle de littérature fantastique à travers le statut du narrateur qui implique d’envisager aussi le statut de son alter-ego, le narrataire. L’idée principale repose sur la théorie d’une évolution depuis les narrateurs d’E. A. Poe jusqu’à ceux de Richard Matheson, via les auteurs français et anglo-saxons tels Charles Nodier, Jules Verne, Guy de Maupassant, Robert Louis Stevenson, Bram Stoker, Hoxard Phillips Lovecraft.L’histoire de la littérature fantastique peut se subdiviser en trois périodes principales qui ont permis au fantastique de naître (par la critique des genres), de triompher (par la critique de la narration elle-même), et de survivre (par la critique du langage). La littérature fantastique suit l’évolution générale de la littérature, mais le narrateur se présente comme un cas à examiner dans ses interactions avec les événements surnaturels qu’il raconte,avec son propre récit, avec son propre personnage, avec son éthos. Ce narrateur “indigne de confiance” est, même pour la narratologie, un mythe<br>The purpose of this analysis is to depict one century of “littérature fantastique” through thestatus of the narrator which implicates also the status of its alter ego, the narratee. The mainidea rests on the theory of an evolution from Edgar Allan Poe’s narrators to Richard Matheson’svia French and Anglo-Saxon authors like Charles Nodier, Jules Verne, Guy de Maupassant, RobertLouis Stevenson, Bram Stoker, Henry James, Howard Phillips Lovecraft.The history of “littérature fantastique” is divided into three important periods, each of thempermitting it successively to be born (by generic criticism), to triumph (by the criticism of narrationitself) and to survive (by the criticism of language).“Littérature fantastique” follows the generalevolution of literature, but its narrator is a realcase to examine in its interactions withsupernatural events he tells, with the narrativeitself, with its proper character and with its“éthos”. This unreliable narrator is, fornarratology, like a myth
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Camargo, Thais Medina Coeli Rochel de. "Narrativas de políticas sobre aborto no Brasil: uma análise a partir do narrative policy framework." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8131/tde-31072018-162747/.
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Esta tese buscou explorar, por meio da análise das narrativas pró-direito ao aborto no Brasil, os níveis meso e macro do narrative policy framework (NPF), bem como testar as possíveis contribuições das técnicas de text mining para as análises de narrativas de políticas públicas. Foram analisados documentos pró-direito ao aborto elaborados por ativistas feministas entre 1976 e 1988 e documentos de organizações feministas, projetos de leis e documentos de políticas públicas sobre aborto referentes ao período de 1989 a 2016. Foi feita uma análise de conteúdo dos dois conjuntos de documentos usando o software OpenLogos. Os resultados da pesquisa revelam que as feministas fizeram uma escolha estratégica por uma narrativa de saúde pública de modo a expandir a coalizão pró-direito ao aborto por meio da inclusão de atores da área da saúde. A aliança com a saúde levou a conquistas para a coalizão, com a criação de serviços de aborto legal e a inclusão da anencefalia entre os casos em que o aborto é permitido. A narrativa de saúde pública foi, assim, institucionalizada, tornando-se tanto a principal narrativa da coalizão quanto a principal narrativa contida nos documentos de políticas públicas. Essa institucionalização é um objetivo da atuação das coalizões de militância, mas também impõe limites (constraints) à sua atuação futura, já que seu abandono pode colocar em risco a coalizão, ao mesmo tempo em que demandas futuras têm de ser elaboradas a partir da estrutura de políticas públicas já existente. A análise da institucionalização de narrativas é uma contribuição ao NPF, explorando seu nível macro, ainda menos desenvolvido. A tese revela ainda que as feministas, em resposta à percepção de derrota, buscaram contrair o escopo da disputa em torno do aborto, restringindo-a às áreas técnicas da saúde e ao Supremo Tribunal Federal, o que contraria as hipóteses do NPF. Por fim, a tese apresenta contribuições possíveis de técnicas de text mining para a análise de narrativas de políticas públicas.<br>framework (NPF) through an analysis of pro-abortion rights narratives in Brazil. It also sought to test possible applications of text mining techniques to policy narrative analyses. I analyzed pro-abortion rights documents from feminist activists from 1976 to 1988 and documents from feminist organizations, law proposals and policy documents regarding abortion from 1989 to 2016. I carried out a content analysis of these documents using the OpenLogos software. Results show that feminists strategically opted for a public health narrative so as to expand the pro-abortion rights advocacy coalition through the inclusion of actors from the health field. The alliance with health sectors led to victories for the coalition, with the creation of legal abortion services and the inclusion of anencephaly among the exceptions to the abortion ban. The public health narrative thus became institutionalized: it became both the main narrative used by the coalition and the main narrative contained in policy documents. Coalitions seek to have narratives institutionalized, but this also constrains future action: abandoning an institutionalized narrative may threaten the coalition, while any future demands must be formulated within the framework of exiting policies. This dissertation further reveals that feminists, in response to perceived losses, sought to contract the scope of the dispute surrounding abortion, restricting it to technical health areas and to the Supreme Court. This contradicts NPF hypotheses. Finally, the dissertation also presents possible applications of text mining techniques to policy narrative analyses.
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Skoufias, Emmanouil. "Narratives in landscape photography : the narrative potential of transitional landscapes." Thesis, University of Westminster, 2006. https://westminsterresearch.westminster.ac.uk/item/92756/narratives-in-landscape-photography-the-narrative.
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The aim ofthis thesis is to use practical and theoretical research to investigate the relationship of transitional landscapes with narrative. As transitional landscapes I refer to the photographic depiction of unorganised spaces situated between the rural and urban zones. The research engages in practical fieldwork and theoretical study. It comprises a written thesis and a visual output (photographic project). The theoretical part examines the historical framework focusing in the postmodern re-evaluations oflandscape photography. My research investigates if the iconographic austerity of transitional landscapes leads to interpretive austerity or on the contrary enhances their range of interpretations. The research methodology is influenced by theories that acknowledge the importance of the reader and it is qualitative and experimental. The research employs as key method visual questionnaires, which focus on the capacity of single images to prompt narrative interpretation. The groups of people that the questionnaires are distributed to, vary in their approach and regard of landscape and narrative. The results from this survey indicate how we perceive transitional landscapes, the type of narratives they suggest and what prompts them to interpret the images as specific narratives. The main findings ofthe study revealed that: 1. The iconographic austerity of transitional landscapes appears as a fertile ground for narratives as indicated by the high percentage of respondents who wrote narratives, the high percentage of narratives compared to descriptions and transformations and the respondents approach more as narrators rather than observers. 2. The respondents seemed to wish to categorise the transitional landscapes more as an urban or rural environment rather than a transitional environment. 3. A darker, closer to black & white landscape image is more responsive to narratives rather than the normal exposure and colour version of the same landscape image. Furthermore, transitional landscapes seem more narratively responsive in their blurred version. 4. Transitional landscapes create more pessimistic than optimistic responses justifying landscape theories based on the psychological approach to landscape. The findings are employed as a creative tool, creating the form and the content of the photographic project, which also incorporates the actual stories of the respondents for transitional landscapes. The photographic project displays two main narrative strategies in photography: a) Narratives created solely by images and b) Narratives created from combinin~ text and image. It progress from strategy a to b in four steps, gradually shifting from vertical panoramic landscapes to horizontal panoramic 'wordscapes'. The original co.ntribution to knowledge is in both the artwork and the method of producing it as I am extendmg the boundaries of what is currently considered as the landscape genre not only in terms of collective authoring but also about the transition of the visual sign to the word sign, thus examining our processes of making sense of signs and the subjective nature of interpretation. In my.concerns for transitional landscapes, I am investigating an aspect of a landscape genre, which has been marginalized in both traditional photographic history and subsequent critical debates.
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Silva, Elen Glauciene. "Chacina do Duro: do evento à representação dos acontecimentos." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7744.
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Previous issue date: 2017-08-14<br>Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG<br>This dissertation deals with the different writings of Memory, Literature and History about events that occurred between 1918 and 1919 in the town of São José do Duro, in the northeast of the State of Goiás, and which were nationally known by the novel O Tronco of Bernardo Élis. Despite starting from the same sources, the authors constructed different representations about the events. In order to analyze the differences in the narratives, the forms of plot elaboration that led to the observation of the type of explanation given to the events were identified, and from there to the identification of which ideological implications are implicit and/or explicit in the texts. The narrative focuses adopted by the various authors were also analyzed, allowing the understanding that even when there are homogeneity of worldviews, history and time, and therefore ways of explanation, the narratives do not match, as they are attentive to different Outbreaks, denoting openness to future narratives. Meanwhile, the historical narratives took as a model of events the novel by goiano Bernardo Élis, a work that gave an opening to history.<br>Esta dissertação tem como objeto as diferentes escritas da Memória, da Literatura e da História sobre acontecimentos ocorridos entre 1918 e 1919 na Vila de São José do Duro, antigo nordeste do Estado de Goiás e que ficaram conhecidos nacionalmente pelo romance O Tronco de Bernardo Élis. Apesar de partirem das mesmas fontes, os autores construíram diferentes representações sobre os eventos. Para analisar as diferenças existentes nas narrativas foram identificadas as formas de elaboração de enredo que levaram à observação do tipo de explicação dado aos eventos e, a partir daí à identificação de quais implicações ideológicas estão implícitas e/ou explícitas nos textos. Os focos narrativos adotados pelos diversos autores também foram analisados, possibilitando a compreensão de que mesmo quando há homogeneidade de visões de mundo, de História e de tempo e, portanto, de maneiras de explicação, as narrativas não se igualam, pois se atentam a diferentes focos, denotando abertura para futuras narrativas. Entrementes a tudo isso, as narrativas históricas tomaram como modelo de representação dos acontecimentos o romance do goiano Bernardo Élis, uma obra que deu abertura para a História.
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Gaspar, Elisangela Teixeira Bálico. "Narrativas do cancro: Uma análise autobiográfica." Master's thesis, ISPA - Instituto Universitário, 2013. http://hdl.handle.net/10400.12/2556.
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Dissertação de Mestrado em Psicologia Clínica, apresentada ao ISPA - Instituto Universitário<br>O diagnóstico do cancro e todo o processo da doença são vividos, não só pelo doente
como também pela sua família, como um momento de grande sofrimento, ansiedade,
tristeza e angústia. Assim como, transformação de aspetos positivo e negativo, constatadas
nas narrativas de revisão de literatura, e nas vivências subjetivas dos indivíduos com a
experiência do cancro que aceitaram colaborar neste estudo. Neste sentido, o presente
estudo objetivou a compreensão das narrativas pessoais, incluindo o modo transformativo
e o impacto do cancro, desenvolvido no processo da doença.
A Metodologia do presente trabalho foi desenvolvida numa abordagem qualitativa como
um estudo narrativo, tendo-se recolhido cinco narrativas da biografia pessoal de um grupo
de quatro indivíduos com experiência do cancro, a partir de entrevista aberta
semiestruturada, em duas fases. Estas estórias pessoais foram depois analisadas, à luz da
análise de Teoria Narrativa, tendo-se numa primeira fase criado temáticas a partir do
conteúdo narrativo das entrevistas, e posteriormente adequando-os com os conteúdos mais
abordados.
As conclusões que se pode tirar deste estudo, de acordo com a literatura consultada
revelam a relevância da abordagem narrativa, podendo propiciar na deteção, prevenção,
adaptação emocional e social do indivíduo às várias etapas do tratamento oncológico, bem
como na reabilitação e no manuseamento do indivíduo numa fase terminal.<br>ABSTRACT: The cancer diagnosis and throughout the disease process are experienced not only the
patient but also for their family, as a time of great sorrow, anxiety, sadness and distress. As
well as processing of positive and negative aspects, found in the narratives of literature
review, and the subjective experiences of individuals with cancer experience who
cooperated in this study. In this sense, the present study aimed to understand the personal
narratives, including mode and transformative impact of cancer developed in the disease
process.
The methodology of this study was developed in a qualitative study as a narrative, having
collected five narratives of personal biography of a group of four individuals with cancer
experience, from open semistructured interview, in two phases. These personal stories were
then analyzed in the light of the analysis of Narrative Theory, having initially created
themes from the narrative content of the interviews, and then matching them with the
most discussed content
The conclusions that can be drawn from this study, according to the literature reveal the
relevance of narrative approach, can provide the detection, prevention, emotional and
social adjustment of the individual to the various stages of cancer treatment as well as
rehabilitation and handling terminally ill patient.
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Karlsson, Axel, and Alexander Kores. "Forging a narrative : Political narratives in Swedish parties." Thesis, Högskolan Väst, Avd för juridik, ekonomi, statistik och politik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-9704.
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The following thesis is an analysis of the self-narratives of the parties in the Swedish Riksdag and how these are used to construct the identities of the parties. For this purpose, we studied narrative theory and theories about identity in order to build a framework which would allow us to investigate the narratives of these parties. To identify the core narratives of the parties, we chose to focus on their respective party programs. Based on the results of our quantitative investigation, we chose four parties (Socialdemokraterna, Liberalerna, Miljöpartiet, and Sverigedemokraterna) to study in a more in-depth manner. Having selected these four parties, we utilized theories about narrative and identity in order to identify the constituent parts of the various parties' narratives contained in their party programs. The parties were found to adhere to our theoretical assumptions about how parties ought to construct narratives, albeit in different ways from party to party.
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Lee, Jung-Bog. "Preaching biblical narratives in a narrative sermon form." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.
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Nordqvist, Filip, and Erik Sahlbom. "Visual Narrative Game Design : Ett narrativ utan konversation." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16516.
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Vi undersöker den narrativa stilen som Flower och Journey använder sig av. I denna narrativastil finns det varken dialog och text. Utifrån Flower och Journey skapade vi en designmetodsom ska finnas till som inspiration för utvecklare som vill testa denna stilen. Resultatet avundersökningen ger upphov till en designmetod som vi applicerar på vår gestaltning för atttesta den i en annan spel genre. Mycket av metoden är fokuserad på hur Flower och Journeygör då vi bara undersöker de två spelen. Vi skulle vilja göra en mer generell undersökning dåvi undersöker mer spel som också har ett narrativ utan dialog och text.<br>We study the narrative style that Flower and Journey uses. In this narrative style, there is nodialogue and text. Based on Flower and Journey, we created a design method that will be aninspiration for developers who want to test this style. The result of this bachelor thesis givesrise to a design method that we apply to our game idea this applies the method to anothergame genre. Much of the method is very focused on what Flower and Journey do when weonly examine these two games. We would like to do a more general study when we examinemore games that also have a narrative without dialogue and text.
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Manalvo, José Carlos de Oliveira. "Narrativa e analogias na arquitectura." Doctoral thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2016. http://hdl.handle.net/10400.5/13734.
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Campos, Sheila Praxedes Pereira. "Entre o real, o ficional e o poético: de como Theodor Koch-Grunberg narrou a Amazônia." Universidade Federal de Roraima, 2013. http://www.bdtd.ufrr.br/tde_busca/arquivo.php?codArquivo=153.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Além do conhecimento histórico, as narrativas de viagem sobre a Amazônia também se configuram como formas de construção imagética da região na medida em que essas narrativas constituem representações da realidade observada a partir do olhar subjetivo do estrangeiro, relacionando-se, com frequência, ao imaginário e ao simbólico. O volume I da obra Vom Roraima Zum Orinoco, do etnógrafo alemão Theodor Koch-Grünberg, é o relato de sua viagem nos anos de 1911 a 1913 à Amazônia. Nesse relato, ele narra e descreve seu encontro com os índios e a exuberante natureza amazônica da região circum-Roraima. É claro que este encontro com o outro não poderia deixar de ser descrito a partir do olhar europeu e, apesar do discurso científico-naturalista, e talvez pela própria força do novo lugar, Koch-Grünberg acaba fazendo diversas concessões ao poético, construindo imagens para a Amazônia (ou para o que ele supõe como Amazônia) que revelam a influência dos discursos identitários (e imaginários) sobre/da Amazônia que circulavam na Europa e que resultam numa prática discursiva reveladora do embate entre sua dimensão plural e singular. A partir do paradigma indiciário proposto por Carlo Ginzburg, este texto busca apontar alguns resquícios dessas imagens captadas pelo viajante alemão, enfatizando as diversas formas pelas quais ele narra uma Amazônia sob a perspectiva do real, do ficcional e do poético.<br>Above the historical knowledge, the travel narratives about Amazon also stand as imagetic forms of construction of the region in so far as these narratives are representations of reality seen from the subjective standpoint of foreign, relating frequently the imaginary and the symbolic. The first volume of work Vom Roraima Zum Orinoco, the German ethnographer Theodor Koch-Grünberg, is the description of his journey in the years 1911 to 1913 in the Amazon. In this report, he narrates and describes his meeting with the Indians and exuberant Amazonian nature of the circum-Roraima region. Of course this meeting with the other it could not be described from European look and, despite the scientific discourse-naturalist, and perhaps by the very force of the new place, Koch-Grünberg ends up doing several concessions to the poetic, constructing images to Amazon (or what he supposes as Amazon) that reveal the influence of discourses of identity (and imaginary) over/of the Amazon that circulated in Europe and revealing discursive practice that result in the conflict between plural and singular dimension. Starting from the indicting paradigm proposed by Carlo Ginzburg, this paper searches to identify some vestiges of these images captured by the German traveler, emphasizing the various ways in which he recounts an Amazon from the viewpoint on the real, fictional and poetic.
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Forsberg, Liam, and Simon Östman. "Narrative structure in Persona 5 : Limiting narrative paradoxes." Thesis, Uppsala universitet, Institutionen för speldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-449161.
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A narrative paradox occurs when the suspension of disbelief falters due to tension betweenthe urgency of the narrative and agency used by the player to pursue non-narrative activities.In this paper, we do a close reading on the video game Persona 5 to examine which elementsare utilised to limit or avoid narrative paradoxes. The analysis consisted of categorising thegame’s events, whereafter a few non-obligatory events from the game were chosen for anin-depth analysis. This served to find out which desire: agency, urgency, or both, the eventsmotivate through its narrative. We introduce the concept of the Plot Bubble as a tool withwhich to create narrative structures that are less prone to causing narrative paradoxes whencombined with relevant narrative elements. The narrative structure and elements of Persona 5are used as practical examples of how such design choices can motivate the player to act inaccordance with the narrative context, as well as to support this desire through the actionsavailable in the game world.<br>En narrativ paradox inträffar när ens upphävande av misstro fallerar på grund av en spänningmellan narrativets brådskande karaktär och behörigheten som spelaren har för att utövaicke-narrativa aktiviteter. I denna text gör vi en närläsning av TV-spelet Persona 5 för attundersöka vilka element som används för att begränsa eller undvika narrativa paradoxer.Analysen bestod utav en kategorisering av spelets händelser och därefter valdes några fåicke-obligatoriska händelser från spelet till en djupgående analys. Detta tjänade till att ta redapå vilken begäran: spelarens behörighet, narrativets brådskande karaktär, eller båda,händelserna motiverar genom dess narrativ. Vi introducerar konceptet intrigbubbla som ettverktyg till att skapa narrativa strukturer som är mindre benägna att orsaka narrativaparadoxer i kombination med relevanta narrativa element. Den narrativa strukturen ochverktygen i Persona 5 används som praktiska exempel för hur sådana designval kan motiveraspelaren att agera i enlighet med den narrativa kontexten, samt att stödja denna begärangenom handlingarna som finns tillgängliga i spelvärlden.
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Silveira, Paulo Antonio de Menezes Pereira da. "As existências da narrativa no livro de artista." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/12111.
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Este estudo visa verificar o intervalo formativo entre o comparecimento e a ausência das estratégias de narração nos livros de artista de edição e se e como a narrativa visual é capaz de determinar sua bibliogênese.<br>This research, As existências da narrativa no livro de artista (“The existences of narrative in the artist’s book”), aims to verify the formative spectrum from attendance to nonappearance of narration strategies into the published artist’s books and if and how the visual narrative is able to determine its bibliogony.
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Zschache, Elisabeth [Verfasser]. "Narrative Identität : Zur intersubjektiven Dimension narrativer Identitätskonstitution / Elisabeth Zschache." Berlin : Freie Universität Berlin, 2017. http://d-nb.info/1142920690/34.
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Gros, Niko, and Alexander Hägg. "The Rhizo-narrative : Ett nytt fält för narrativa nätverk." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16488.
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The Rhizo-narrative är en undersökning som handlar om att kombinera rhizomatik med narrativa strukturer inom datorspel. Vi vill veta hur rhizomatik som verktyg för narrativ påverkar datorspel. Detta uppnår vi genom lekfulla experiment och koncept. Denna text går igenom vårt syfte med arbetet, varför vi har valt att jobba med dessa begrepp, hur vi jobbar med dessa begrepp och vilka resultat vi har fått av arbetet samt en utförlig diskussion kring våra resultat, problem och framtida tankar kring rhizmatiska narrativ för datorspel.<br>The Rhizo-narrative is an investigation about what happens when you combine rhizomes with video game narrative structures that researches and documents the process. We want to know how rhizomes affects video game narratives when used as a tool for developing the narrative itself. We achieve this through creative experiments and concepts. Within this text we go through the purpose of our project, why we chose to work with the terms we worked with, what those terms mean, the results we achieved as well as a detailed discussion about said results, problems and challenges we faced during the projects lifetime. We end with our future thoughts about rhizome based narratives within video games.
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Yen, Yu-Hua. "Narrating selves : the narrative integrity of fictional autobiographies." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/22001/.
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The thesis examines the way writers use fiction as a rhetorical vehicle to thematise and to theorise the project of autobiography — a transformation of life into narrative that involves a negotiation between aesthetics and ethics. It analyses four fictional autobiographies, published since 1988, by Paul Auster, Julian Barnes, Lydia Davis, and Philip Roth. Each text presents an autodiegetic narrator narrating crucial moments in her/his life; they are ordered progressively according to the way each engages with the issue of narrative artifice on the narratorial and/or authorial level. I explore what makes the character narrator’s life-story work, that is, the way s/he negotiates the possible tension between form and ethics, the resolution of which is what I call narrative integrity. The double meaning of the word “integrity”, as a formal and an ethical quality, encapsulates the dual demands of formal coherence and ethical commitment inherent in the challenges of autobiography. This thesis discusses four forms of narrative integrity — contingency, consistency, coherence, and counterpoint — and suggests ways in which they are interpreted differently on the representational and the rhetorical level of the text. Adopting a rhetorical approach to fiction, I address the way the particular representation of autobiography in each text is used rhetorically, not autobiographically, by the author to theorise certain aspects of self-representation in general. I argue that integrity as a critical concept helps elucidate the complications involved in life writing by foregrounding the issue of form, which is necessary, if also potentially problematic, for the articulation of personal truths. This project situates itself within the broad field of ethical criticism in literary studies and explores the relationships between fiction, narrative ethics, and life writing.
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Silva, AurenÃvia Ferreira da. "Um estudo da realizaÃÃo da seqÃÃncia narrativa no gÃnero notÃcia." Universidade Federal do CearÃ, 2007. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=2413.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior<br>Esta investigaÃÃo està centrada na anÃlise e descriÃÃo da realizaÃÃo da seqÃÃncia narrativa no gÃnero notÃcia, segundo o esquema prototÃpico narrativo de Adam (1992), e na verificaÃÃo de relaÃÃes existentes entre esse modelo seqÃencial e a estrutura propriamente dita do gÃnero. O corpus desta pesquisa foi constituÃdo por 50 notÃcias, dentre as quais 26 policiais e 24 nÃo-policiais, retiradas dos sites dos periÃdicos jornalÃsticos O Povo e Folha de SÃo Paulo, no perÃodo de setembro de 2005 a setembro de 2006, e submetidos à identificaÃÃo das macroproposiÃÃes narrativas em sua estrutura textual. A anÃlise realizada levou-nos a uma nova classificaÃÃo das notÃcias em narrativas e expositivas, de acordo, respectivamente, com a identificaÃÃo ou nÃo da seqÃÃncia narrativa na sua estrutura. A partir dessa classificaÃÃo, constatamos que a seqÃÃncia narrativa se atualizou predominantemente nas notÃcias policiais, que apresentaram uma forma de realizaÃÃo recorrente: a ocorrÃncia expressiva da seqÃÃncia narrativa, com todas as suas fases, no lead, e a constante repetiÃÃo ou retomada de algumas das macroproposiÃÃes narrativas no corpo da notÃcia, como uma extensÃo do conteÃdo jà exposto, configurando uma caracterÃstica do gÃnero. A seqÃÃncia narrativa funcionou como um importante mecanismo de organizaÃÃo textual das notÃcias narrativas, ainda que sua conformaÃÃo narrativa prototÃpica tenha sido diferente da delineada por Adam. Jà nas notÃcias nÃo-policiais, o rendimento foi baixo. A estrutura composicional recorrente que registramos configurou-se como expositiva e, nesse caso, a analisamos à luz dos pressupostos teÃricos de Bronckart (1999). Acreditamos ter possibilitado uma interessante reflexÃo teÃrica sobre a realizaÃÃo do protÃtipo da seqÃÃncia narrativa de Adam no gÃnero notÃcia e, do ponto de vista aplicado, esperamos ter contribuÃdo para a operacionalizaÃÃo do conceito de seqÃÃncia textual narrativa no tratamento didÃtico de gÃneros nÃo-literÃrios considerados de natureza narrativa, tal como o gÃnero notÃcia.<br>This research analyzes and describes the realization of the narrative sequences in the genre news of newspaper through the Michel Adamâs prototypical project of narrative sequences (cf. ADAM, 1992) and through the relations between this project and the proper structure of that genre. The corpus was formed by 50 news, being 26 about crimes and 24 about other subjects. They were extracted from the sites O Povo and Folha de SÃo Paulo from September/2005 to September/2006 and later they were submitted to identification of the narrative macro-proposals in its textual structure. After, the news were classified as narrative and expositive according to identification or not of the narrative sequence in its structure. From this classification, we observed that the narrative sequence became predominantly current in the news about crimes, presenting almost always the following form of realization: the expressive occurrence of the narrative sequence in the lead, with all its phases, and the constant repetition of some narrative macro-proposals in the text like a characteristic and an extension of the content of the genre news. So, the narrative sequence functioned as an important mechanism of textual organization of the genre news, although its prototypical conformation is different of that one thought by Adam. About the other kinds of news, the profit was low. Its recurrent compositional structure is expositive, therefore we analyze it with the theoretician proposals of Bronckart (1999). This way, we tried to make possible a theoretical reflection about the realization in the genre news of the prototype of narrative sequence thought by Adam, waiting to contribute for the operacionalization of the notion of narrative textual sequence through the didactic treatment of not-literary genres, but narrative genres such as the genre news.
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Cassucci, Milena de Mello. "Entre leões e tigres, entre chacais e raposos: aproximações entre poder e saber em fabulários." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8159/tde-11042016-130351/.
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A presente dissertação se propôs a analisar quatro fabulários, tendo como fio condutor dessa escolha o Kalla e Dimna, fabulário árabe do século VIII d.C. Partindo desta obra, os estudos se orientaram tanto às suas origens, que remontam à compilação indiana Pañcatantra, datada do século I d.C. e que teve entrada no mundo árabe, bem como aos seus frutos, o Livro do tigre e do raposo e O leão e o chacal Mergulhador, dois fabulários árabes produzidos, respectivamente, nos séculos IX d.C., XI d.C. e XII d.C. e que tiveram, em relação aos anteriores, menor disseminação. Os dois primeiros fabulários tratam de uma série de temas que podem atender às normas mais gerais de decoro na sociedade, sendo que o Pañcatantra chega até mesmo a ser classificado como um tratado sobre a conduta em manuais de literatura sânscrita. Entre esses temas diversos, é notável o espaço privilegiado dado às relações políticas e aos seus trâmites. Os outros dois livros, embora inseridos na mesma tradição, deixam de lado aspectos mais gerais da convivência e passam a se deter apenas nos temas especificamente políticos. No que se refere a esse assunto em comum, é possível perceber uma série de elementos recorrentes nos quatro fabulários, entre eles, o fato de que todos tratam das vicissitudes das relações entre poder e saber, personificada em personagens-tipo que ora se aproximam, ora se afastam, mas que se mantém atrelados a uma estrutura que os molda conforme os resultados que almeja atingir. Além disso, foram estudadas as estruturas que, no caso, se apoiam na maior parte das vezes em narrativas-quadro ou prólogos-moldura a partir dos quais se desenvolvem subnarrativas e outros elementos que nos possibilitaram, ao término do estudo, apontar o que há de particular na universalidade a que se propõem os fabulários.<br>This dissertation aims to analyze four collections of fables, choosing as the central work from which further analysis will stem the Kalla and Dimna, an Arab collection of fables dating from the VIII century A.D. From this starting point, these studies were furthered by revisiting its origins in the Panchatantra, an Indian compilation of fables from the I century A.D. that left its marks on the Arab world, as well as its developments in the books that directly follow its legacy, the Livro do tigre e do raposo and O leão e o chacal Mergulhador, two arab collections of fables dating, respectively, to the IX century A.D. and the XI and XII century A.D. which had, however, far less dissemination than the last two works here cited. The first two collections develop around a variety of subjects relating to rules regulating manners in a broader sense, to the point that the Panchatantra has been classified as a treatise on manners in Sanskrit literature manuals. Between the diversity of subjects broached, the privileged attention given to political relations and their formalities is readily noticeable. The two other works, though part of the same literary tradition, set aside more general or day-to-day aspects of good manners to focus exclusively on political relations and political conduct. Regarding this shared thematic, a number of recurring elements can be identified, one of many being the fact that all of them deal with the specifics of the relationship stabilished between power and knowledge, personified in character types that alternate between approaching and distancing themselves from one another, but that are always attached to a structure that moulds them according to the results it desires. Beyond that, the narrative structures of the works were studied they usually make use of frame narratives or frame prologues from which further subnarratives are developed along with other elements that made it possible, at the end of this study, to point towards the particularities of the universality that the collections of fables undertake as their purpose.
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Cruzado, Bautista Karoline Marvi. "Cambios en los hábitos de lectura entre los jóvenes provocados por la difusión de los nuevos medios." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/653197.
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El presente trabajo de investigación tiene como objetivo lograr analizar en primer lugar cómo es que han cambiado los hábitos de lectura en los jóvenes de hoy en día con la aparición de la narrativa transmedia y los nuevos medios digitales. Además de ello se pretende investigar si este tipo de contenido y formación de universos narrativos puede influir de alguna forma en los hábitos de lectura y asimismo poder lograr un acercamientos en los que aún no poseen este hábito de lectura desarrollado.<br>This research work aims to achieve analysis in the first place on how reading habits have changed in young people today with the emergence of transmedia narrative and new digital media. In addition to this, it is intended to investigate whether this type of content and formation of narrative universes can influence reading habits in some way and be able to achieve an approach in those who do not yet have these developed reading habits.<br>Trabajo de investigación
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Cazarotti-Pacheco, Mirian 1969. "O discurso narrativo nas afasias = The narrative discourse in aphasias." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271174.
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Orientador: Rosana do Carmo Novaes Pinto<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-20T14:25:19Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: Esta tese tem como principal objetivo apresentar e discutir o discurso narrativo oral - que se revelou como aquele que mais resiste nas afasias - como (i) um espaço privilegiado para a análise dos impactos das afasias na linguagem dos sujeitos tanto no nível do sistema linguístico - para avaliar, por exemplo, as dificuldades de combinação e seleção de elementos (fonético-fonológicos, sintáticos e semântico-lexicais) - como aspectos pragmáticos e discursivos; (ii) um contexto no qual se pode observar e analisar as soluções criativas encontradas pelos afásicos para driblar suas dificuldades e (iii) um espaço para o trabalho de reorganização linguístico/cognitiva no acompanhamento terapêutico. A narrativa, dessa forma, pode ser compreendida também como uma metodologia que possibilita eliciar dados singulares, uma vez que são produzidos em situações efetivas de uso da linguagem. Para o desenvolvimento do trabalho, foram selecionados onze episódios narrativos, produzidos dialogicamente entre sujeitos afásicos e não-afásicos em sessões coletivas e individuais do Grupo III do Centro de Convivência de Afásicos (CCA), vídeo-gravados e posteriormente transcritos e analisados segundo metodologia qualitativa, de cunho indiciário (cf. GINZBURG, 1986/1989). Todos os sujeitos afásicos que participaram desta pesquisa produziram narrativas, mesmo aqueles com afasias consideradas graves do ponto de vista da produção. Buscamos analisar os elementos constitutivos de cada episódio narrativo considerando-se as categorias postuladas por Labov & Waletsky (1967) e mobilizando também conceitos bakhtinianos para explicitar os processos que os afásicos percorrem para se aproximar de seu querer-dizer (como enunciado, acabamento, conclusibilidade etc), assim como questões relativas à ética que deve orientar os processos terapêuticos. As práticas sociais de linguagem, em situações de uso efetivo, possibilitam que o afásico exerça seu papel de sujeito ativo nos círculos sociais dos quais faz parte, mesmo nos casos considerados "graves". O trabalho orientado pelas teorias enunciativodiscursivas privilegia os sujeitos e não a sua patologia; dão vez e voz aos afásicos, demanda que o seu interlocutor se constitua verdadeiramente como "parceiro da comunicação verbal" (cf. BAKHTIN, 1979/2010), que se coloque disponível para a escuta (cf. PONZIO, 2010)<br>Abstract: The main goal of this thesis is to present and discuss the narrative discourse - which was found to be the most resistant in aphasia - as (i) a privileged locus for the analysis of its impact on language, either on the linguistic system (to evaluate, for instance, the difficulties of selection and combination of linguistic elements - phonetic/phonological, syntactic and lexical-semantic), as well as concerning pragmatic and discursive aspects; (ii) as a context in which one can observe and analyze the creative solutions found by the aphasics in order to face their difficulties; (iii) as a locus for the linguistic/cognitive reorganization during the therapeutic follow-up. Narrative discourse, this way, may be understood as a methodology which makes it possible to elicit singular data, once they are produced in effective use of language. To develop the work, eleven narrative episodes were selected, which were produced dialogically between aphasic and non-aphasic subjects during individual sessions and group meetings of Group III of Centro de Convivência de Afásicos (CCA). Data were videorecorded, afterwards transcribed and analyzed according to qualitative methodology, of evidentiary nature (cf. GINZBURG, 1986/1989). All the aphasic subjects who participated in this research produced narratives, even those that can be considered to have severe aphasia, from the perspective of production. We sought to analyze the constitutive elements of each narrative episode, taking into consideration the categories postulated by Labov & Waletsky (1967) and also mobilizing bakhtinian concepts to explicit the paths which aphasics follow in order to approach their speech-will, as well as questions concerning the ethics that must guide the therapeutic processes. The social practices, in situations of effective use of language, make it possible to the aphasics to play the role of active subjects in the social circles they participate, even in severe cases. The work guided by enunciative-discursive theories privileges the subjects, not pathologies; it gives voice to the aphasics (and restitutes them their turn); it demands that the interlocutor of the aphasic becomes truly the partner of the verbal communication (cf. BAKHTIN, 1979/2010); it demands that he (the partner) puts himself available to listen to the aphasic (cf. PONZIO, 2010)<br>Doutorado<br>Linguistica<br>Doutor em Linguística
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Ferreira, Tiago Bento da Silva. "Narrative change in psychotherapy." Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13144.
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Doutoramento em Psicologia<br>This thesis focuses on the processes of narrative change in psychotherapy. Previous reviews of the processes of narrative change in psychotherapy concluded that a general theory that details narrative concepts appropriate to understand psychotherapy processes, explains the dynamic processes between narratives, and how they relate to positive outcomes is needed. This thesis addresses this issue by suggesting a multi-layered model that accounts for transformations in different layers of narrative organization. Accordingly, a model was specified that considers three layers of narrative organization: a micro-layer of narrative innovations that disrupt the clients’ usual way of construct meaning from life situations (innovative moments), a meso-layer of narrative scripts that integrate these narrative innovations in narrative scripts that consolidate its transformative potential (protonarratives), and, finally, a macro-layer of clients’ life story (self-narrative). Globally, the empirical studies provided support for the conceptual plausibility of this model and to the specific hypothesis that were formulated on its basis. Our observations complement previous research that had underlined the integrative processes either by emphasizing thematic coherence or integration, by emphasizing the role of dynamicity and differentiation of narrative contents and processes. Additionally, they also contribute to expand previous accounts of narrative innovation through insights on the processes that characterize narrative innovation development across psychotherapy. These studies also emphasize the role of quantitative procedures in the study of narrative processes of change as they allow us to accommodate the complexity and dynamic properties of narrative processes.<br>Esta tese centra-se nos processos de mudança narrativa em psicoterapia. As anteriores revisões da literatura sobre os processos de mudança narrativa em psicoterapia concluíram que é necessária uma teoria geral que detalhe os conceitos apropriados para compreender os processos de mudança narrativa em psicoterapia, explique os processos dinâmicos que se estabelecem entre narrativas, e como eles se relacionam com resultados terapêuticos positivos. Esta tese aborda esta questão sugerindo um modelo de organização da narrativa que especifica três níveis: um nível micro de inovações narrativas que alteram a maneira habitual de os clientes construírem significado (momentos de inovação), um nível meso que integra essas inovações narrativas em scripts narrativos que consolidam o seu potencial transformador (proto-narrativas) e, por fim, uma camada de macro-história de vida dos clientes (narrativa identitária). Globalmente, as observações resultantes dos estudos empíricos apoiam a plausibilidade conceptual deste modelo e as hipóteses específicas que estão na sua base. Estas observações complementam a investigação anterior, que sublinha os processos de integração e coerência temática, ao enfatizar o papel da dinâmica de diferenciação de conteúdos e processos narrativos ao longo da psicoterapia. Além disso, elas também contribuem para expandir as abordagens anteriores à inovação narrativa na psicoterapia ao revelar os processos que caracterizam o desenvolvimento de diferentes níveis de inovação narrativa ao longo do processo de mudança. Estes estudos também enfatizam o papel das metodologias quantitativas no estudo dos processos narrativos de mudança em psicoterapia e a forma como eles nos permitem acomodar a complexidade e as propriedades dinâmicas destes processos narrativos.
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Ray, Ingrid N. "Narrating desire/desiring narrative in Marguerite de Navarre's Heptameron /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6637.
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Gelamo, Renata Pelloso 1980. "Narrar a voz : trajetórias de uma voz-experiência em busca da voz própria /." São Paulo, 2018. http://hdl.handle.net/11449/157185.
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Orientador(a): Luiza Helena da Silva Christov<br>Banca: Margarete Arroyo<br>Banca: Ecleide Cunico Furlanetto<br>Banca: Joana Mariz de Sousa<br>Banca: Anderson Zanetti<br>Resumo: Neste trabalho, apresento questões, reflexões e aprendizados a partir de narrativas, minhas e de outras pessoas, com as quais me encontrei durante as trajetórias em busca de uma voz própria e que me levaram à criação do Ateliê de Voz, um projeto constituído nas fronteiras de diferentes áreas do conhecimento que tem a voz como interesse. A estrutura textual que propus para este trabalho mostra a criação e a sustentação de um espaço onde pude nomear, em primeira pessoa, os processos que vivi durante a minha história com a voz. Narro momentos de empobrecimento da experiência, passando pelo silenciamento da minha voz, submetida ao que os outros tinham a dizer ou ao que as áreas consagradas da ciência tinham a dizer à respeito da voz, assim como a experiência de tombamento vivida no contato com as vozes dos cantos de trabalho das Destaladeiras de Fumo de Arapiraca, em que coloco em suspensão todas as verdades sobre a voz até então conhecidas por mim. Por fim, narro como acontece o Ateliê de Voz, um espaço em aberto para a invenção de uma voz-experiência, uma voz que escuta e pode ser escutada, pode narrar a própria história, habita o próprio corpo e se expõe, cuida de si e se percebe. Por esse caminho da voz-experiência chegamos à voz própria: uma voz pode enunciar a si próprio e inventar a si próprio<br>Abstract: In this thesis, I present questions, reflections, and learnings from narratives, either mine and form other people which whom I met during the trajectories in the search for the self-voice and that led me to the creation of the "Voice Atelier", a project built in the borderline of different fields of knowledge which hold the voice as its interest. The textual structure I propose for this thesis shows the creation and sustaining of a space where I could name, in first person, the processes I lived during my own history with the voice. I narrate moments of impoverishment of the experience, passing through the silencing of my own voice, submitted to what others had to say, or about what the renowned scientific fields had to say about the voice, as well as the experience of collapse lived through the contact wit the voices of the working songs of the Destaladeiras de Fumo (Workers who manually struke tobacco leafs) from Arapiraca, when I suspended all the truths I knew by then about the voice. At last, I narrate how the "Voice Atelier" happens, an opens space for invention of a voice-experience, a voice that can listen and be listened, can narrate its own history, inhabits its own body and, exposes, looks after and is aware of itself. Through this pathway of the voice-experience we reach the self-voice: A voice capable of self-enunciating and self-inventing<br>Doutor
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Cosignani, Lema Raffaella María. "Análisis comparativo del uso de elementos narrativos en los podcast moloko y sin paltas podcast." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657509.
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La siguiente investigación tiene como objetivo analizar el uso de los elementos narrativos a través de los programas de los famosos podcasts peruanos Moloko y Sin Paltas, y las estrategias discursivas que lleva a los podcat al éxito en las plataformas digitales y streaming, las cuales han sido un escenario fundamental para su desarrollo.
Para llevar a cabo esta investigación se van a presentar e identificar qué estrategias narrativas son las más utilizadas en los podcasts, comparando estrategias de comunicación y elementos narrativos en los podcasts elegidos. Luego se identificarán las diferencias que existen en el discurso narrativo de Moloko podcast y Sin Paltas podcast, para así explicar la interacción y la relación con sus seguidores y oyentes.
Para el desarrollo de esta investigación se utilizará el método cualitativo, aplicando un paradigma de investigación de carácter interpretativo y naturalista, en base a la recolección y análisis de datos obtenidos a través de la audición de los podcasts emitidos en situaciones y fechas trascendentes.
Los resultados de esta investigación indican que los podcasts son una nueva forma de comunicación cómo desarrollo de la era digital. Los podcasts se han convertido en una herramienta versátil, libre de parámetros estipulados, donde sus elementos y el discurso narrativo, dejan de lado a las grandes cadenas de comunicación, para apostar por los medios de comunicación independientes.<br>The following research aims to analyze the use of narrative elements through the programs of the famous Peruvian podcasts Moloko and Sin Paltas, and the discursive strategies that lead the podcasts to success in digital and streaming platforms, which have been a fundamental scenario for their development.
To carry out this research, we will present and identify which narrative strategies are the most used in podcasts, comparing communication strategies and narrative elements in the chosen podcasts. Then, the differences that exist in the narrative discourse of Moloko podcast and Sin Paltas podcast will be identified, in order to explain the interaction and relationship with their followers and listeners.
For the development of this research, the qualitative method will be used, applying an interpretative and naturalistic research paradigm, based on the collection and analysis of data obtained through the listening of podcasts broadcasted in transcendent situations and dates.
The results of this research indicate that podcasts are a new form of communication as a development of the digital era. Podcasts have become a versatile tool, free of stipulated parameters, where its elements and narrative discourse, leave aside the big communication chains, to bet on independent media.<br>Trabajo de investigación
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Kroener, Oliver. "Breaking narrative : narrative complexity in contemporary television." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45026.
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Emerging from the “quality TV” shows of the early 1980s, contemporary American television shows such as The Sopranos (HBO, 1999 - 2007), Lost (ABC, 2004 - 2010), Game of Thrones (HBO, 2011 - ) and Breaking Bad (AMC, 2008 - 2013) have been frequently praised by critics and scholars for their narrative complexity. However, often neither critics nor scholars define what narrative complexity specifically constitutes. That is to say, what are intricate plotlines? What distinguishes complex characters from “simple” ones? And in what ways do complex television narratives differ from complex feature films? This study takes a cognition-based approach to the topic and discusses the AMC series Breaking Bad as one of the prime examples of narrative complexity in contemporary television. The series revolves around Walter White (Bryan Cranston), a fifty year old high-school chemistry teacher, who is diagnosed with inoperable lung cancer and decides to team up with a former student of his to produce methamphetamine in order to secure a financial future for his family before he dies. Breaking Bad frequently uses “puzzling” narrative devices such as flashbacks, flashforwards, time-jumps or cold opens and aligns its viewers with a main protagonist whose actions are often morally objectionable. During the course of this study, which is primarily based on the works of theorists such as David Bordwell, Edward Branigan, Thomas Elsaesser , Murray Smith and Jason Mittell, I discuss how narration in visual media storytelling operates, what narrative complexity in the television medium constitutes, and how watching “Complex TV” has changed how viewers process television narratives on a cognitive level. In particular, I explore the ways in which contemporary television narratives have adopted trademarks of what Elsaesser has termed “mind-game” films and how engaging with complex characters over the course of several seasons of a series can influence our understanding of the narrative as a whole. However, the study of “Complex TV” has only begun and this work is primarily supposed to generate more discussion about a narrative trend that has left its mark on the current “Golden Age of Television.”
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Garzena, Patrizia, and Veronica Vitikainen. "Livets Träd, en narrativ metod i karriärvägledning." Thesis, Stockholms universitet, Institutionen för pedagogik och didaktik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-106819.
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Syftet med studien är att utforska den narrativa arbetsmetoden Livets träd som karriärvägledningsinstrument och i vilka sammanhang metoden är som mest användbar inom vägledning. I undersökningen har vi använt en kvalitativ ansats med fyra enskilda intervjuer som datainsamlingsverktyg. Respondenter delar gemensamma drag angående det grundläggande syftet och utvärdering av metoden Livets träd. De menar att metoden bidrar till att stärka individers tro på sin egen förmåga. Genom bättre självkännedom får individen även en meningsfullhet i tillvaron och större möjligheter till att utforska sig själv och sina drömmar. Metoden i sig beskrivs som både filosofisk och kreativ, vilket gör att metoden inte passar alla, både vad som gäller deltagare och personal. För att arbetet i metoden ska ge bästa utdelning krävs det att man arbetat upp en trygghet inom gruppen. Det handlar om att både delge av sina egna tankar likväl som att få respons av de andra deltagarna. Metoden anses ha störst utvecklingsmöjligheter i arbetet med barn, vilket även är metodens ursprungliga målgrupp. Metoden passar även unga vuxna utan sysselsättning, ungdomar som lever i svåra familjeförhållanden, ensamkommande flyktingbarn, nyanlända invandrare, ungdomar som på grund av olika anledningar misslyckats att nå fullkomliga betyg på grundskola eller gymnasiet som tänkbara målgrupper och sammanhang för metoden.<br>The purpose of this study is to explore the application of the narrative method The Tree of Life as a career guidance instrument and to investigate the career counselling contexts in which the method could be most usable. As research strategy, we have chosen to perform a case study without intervention with four individual interviews as data collection method. The results show that the interviewees share common features regarding the fundamental purpose and the evaluation of the method The Tree of Life. They argue that the method helps to strengthen individuals’ belief in their own abilities. Through better self-knowledge individuals may perceive their life as more meaningful and they may get more opportunities to explore themselves and their dreams. The method itself is described as both philosophical and creative, which means that it cannot be applied automatically by all the counsellors and within every kind of target groups. The study shows that the method’s potential is better exploited when the counsellor succeeds in creating the appropriate sense of safeness within the group so that the participants can fully share the stories of their lives and get feedback from the others. According to the collected data, the method is considered to have its greatest potential for development in the work with children, who on the other hand have been its peculiar target group, since the method was developed in 2005. Nevertheless, the interviewees could see the method as applicable also within other target groups. They have referred in particular to young people who are neither in education nor in employment, to young people who live in a difficult family background, to unaccompanied refugee children, to newly arrived immigrants, and to youth who for various reasons are not able to fulfil their course of education.
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Silva, Claudimar Pereira da. "Fulgurações do poético em O Som e a Fúria e Enquanto Agonizo, de William Faulkner /." Araraquara, 2019. http://hdl.handle.net/11449/182501.
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Orientador: Paulo César Andrade da Silva<br>Banca: Carla Alexandra Ferreira<br>Banca: Maria das Graças Gomes Villa da Silva<br>Resumo: A presente dissertação objetiva a análise da narrativa poética nos romances O som e a fúria (2004) e Enquanto agonizo (2010), do escritor estadunidense William Faulkner. A partir dos pressupostos teóricos cristalizados por Gérard Genette em Discurso da narrativa (1995), mais especificamente os conceitos de voz e focalização, pretende-se analisar como estes dois mecanismos operam na construção da sintaxe discursiva de três narradores previamente selecionados na obra faulkneriana. Trabalhamos com a hipótese de que os conceitos de voz e focalização, ou seja, o processo de enunciação e a instauração da perspectiva sobre a dimensão diegética configuram-se como fatores determinantes para a sedimentação da narrativa poética, respaldada nas técnicas de fluxo de consciência e monólogo interior, no aparato metalinguístico, na modulação lírica de tais vozes, e nas construções subjetivas desses narradores. O corpus de nosso projeto baseia-se em narradores-protagonistas, imiscuídos na ação, e que possuam tal maneira de narrar. Dessa forma, trabalharemos com três narradores provenientes de dois romances importantes da obra de Faulkner: os irmãos Benjy e Quentin Compson, de O som e a fúria, e Darl Bundren, de Enquanto agonizo.<br>Abstract: The present dissertation aims at analyzing the poetic narrative in the novels The sound and the fury (2004) and As I lay dying (2010), by American writer William Faulkner. Departing from the theoretical statements crystallized by Gérard Genette in Discurso da Narrativa (1995), more specifically the concepts of voice and focalization, we intend to analyse how these two mechanisms operates in the construction of the discursive syntax of three previously selected narrators in the Faulknerian work. We work with the hypothesis that the concepts of voice and focalization, that is, the process of enunciation and the establishment of perspective upon the diegetic dimension are the determining factors for the sedimentation of poetic narrative, backed in the techniques of stream of consciousness and interior monologue, in the metalinguistic apparatus, in the the lyrical modulation of such voices and the subjective constructions of these narrators. The corpus of our project is based on protagonists-narrators, immersed in the action and who possesses such way of narrating. In this way, we will work with three narrators from two important novels of Faulkner's work: the brothers Benjy and Quentin Compson of The sound and the fury and Darl Bundren, from As I lay dying<br>Mestre
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Rigby, Lawrence Dale. "Of goat glands, potency pills, and other conjugal acts /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9988695.
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Andersson, Ingrid. "Bilingual and monolingual children's narration : discourse strategies and narrative styles /." Linköping : Tema, Univ, 1997. http://www.bibl.liu.se/liupubl/disp/disp97/arts156s.htm.
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Patel, Ian Sanjay. "Narrative accountability : self-narration, testimony and the call to account." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607818.
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Sjöström, Johan. "Morphology of a digital narrative : prototyping digital narratives using the theories of Vladimir Propp." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1929.
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This paper will detail the prototyping and subsequent production of an digital narrative experience utilizing the theories of Vladimir Propp. The prototype will examine the theories detailed in Propps Morphology of the Folktale. It will implement Propps narrative functions according to a general scheme, connected by connectives. The prototype will dynamically generate narratives according to this scheme. Finally, this paper will draw conclusions about the advantages of a Propp-based system of narrative generation and the narratives produced compared to other digital narratives, such as hypertext.
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Richter, Michael. "Das narrative Urteil : erzählerische Problemverhandlungen von Hiob bis Kant." Berlin de Gruyter, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3118667&prov=M&dokv̲ar=1&doke̲xt=htm.
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Hebbard, Aaron B. "Narrative irenics in the Gospel of Mark." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.
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Tessaro, Annye Cristiny. "Narrativas e games: um olhar do design literário-artístico." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21522.
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Previous issue date: 2018-09-12<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Humanity has always used narratives to communicate. Over the years, theorists have realized that there was a common basic structure and formulation in the narratives that allowed stories to perpetuate and adapt in order to form new stories. The contributions of Aristotle, Vladimir Propp and Jung, based on the observation of a varied corpus of tales and fables, enabled the scholar Joseph Campbell to elaborate a narrative structure called “Hero’s Journey”, an elliptical and evolutionary cycle in which the central axis is the hero (and also its variations, such as the anti-hero). This structure is widely used in the construction of contemporary narratives which paved the way for writers such as Vogler and Mckee allowing them to propose it’s adaptation centered on the protagonist-hero for literature and cinema. From the 1970s, with the evolution towards an interactive possibility, the entertainment industry began to incorporate, although modestly, the narrative as a possibility to improve the immersion in games using, most of the time, the Writer’s Journey (structure adapted by Vogler) as a parameter for the construction of narratives in games. However, it is essential to realize that games have specific peculiarities, besides a high content of interaction differing from other media and, therefore, its structure can not be conceived in the same way as it was proposed by Vogler, requiring an adaptation which addresses such particularities. In addition, usually professionals who engage in storytelling for games are screenwriters (which does not seem to be the most appropriate because the art of narrative goes beyond the script), or are writers (who mostly lack specific knowledge and qualification in the games area). Considering what was stated above, we argue for the adoption of a Narrative Designer (term created in 2006 by Game Designer Stephen Dinehart) to designate this professional whose knowledge involves multiple skills – such as programming, art and writing – combining the areas of Narratology, Ludology, and Game Design. Thus, the purpose of this thesis is to investigate conventional narrative structures and how they are presented in games, which are the elements and tools that can help the narrative designer in the creative process<br>A humanidade sempre se utilizou de narrativas para se comunicar. Ao longo dos anos, os teóricos perceberam haver nas narrativas uma estrutura e uma formulação básica comum que propiciava que as histórias se perpetuassem e se adaptassem formando novas histórias. As contribuições de Aristóteles, Vladimir Propp e Jung, fundamentadas com base na observação de um corpus variado de contos e de fábulas, possibilitaram ao estudioso Joseph Campbell elaborar uma estrutura narrativa denominada “Jornada do Herói”, um ciclo elíptico e evolutivo no qual o eixo central é o herói (e também suas variações, tal como o anti-herói). Essa estrutura é amplamente utilizada na construção de narrativas contemporâneas e abriu o caminho para que roteiristas como Vogler e Mckee propusessem sua adaptação centrada no protagonista-herói para a literatura e o cinema, Com a evolução das possibilidades interativas, a indústria de entretenimento passou a incorporar, a partir da década de 1970, ainda que modestamente, a narrativa como possibilidade de refinar a imersão nos games utilizando, na maioria das vezes, a Jornada do Escritor (estrutura adaptada por Vogler) como parâmetro para construção das narrativas em games. No entanto, é essencial que se perceba que os games possuem particularidades específicas, além de um alto teor de interação diferenciando-se das outras mídias e, portanto, sua estrutura não pode ser concebida da mesma forma como foi proposto por Vogler, requerendo uma adaptação que contemple tais particularidades. Além disso, geralmente os profissionais que se dedicam à arte narrativa para games ou são roteiristas (que não parece ser o mais adequado, pois a arte narrativa vai além do roteiro), ou são escritores (que em sua maioria não possuem conhecimento e qualificações específicas na área de games). Diante do exposto, defende-se a adoção de Designer de Narrativas (termo criado, em 2006, pelo Game Designer Stephen Dinehart) para designar esse profissional cujo conhecimento envolve múltiplas habilidades – como programação, arte e escrita – combinando as áreas da narratologia, da ludologia e do Game Design. Sendo assim, a proposta desta tese é investigar as estruturas narrativas convencionais e como elas se apresentam nos games, quais são os elementos e as ferramentas que podem auxiliar o designer de narrativas no processo criativo
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Dodd, Jacob Adam Joseph. "Beyond Narrative." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1489.
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My graduate film at Virginia Commonwealth University, "Nunna Mia e la Barca," explores the traditions behind narrative and documentary film construction. With this project, my goal was to blend narrative story telling techniques - for example continuity editing - with that of documentary approaches in order to communicate the story of my Italian grandmother, Nunna, and her journey on the Andrea Doria in 1956. These documentary approaches focus more on the specific details of Nunna's American home as I have experienced them growing up. Everything in the motion picture frame has been lit, composed, rehearsed, and edited as in any fictional film, but the actors are my family and do play themselves and others throughout the piece. Although the work is scripted, the actuality of Nunna being herself and acting out her daily tasks creates a soft merging of fiction and nonfiction that makes the film nearly docudramatic. The docudramatic elements(elements dramatized from a true story) stem from both the biographical information as well as the perception of the abstracted objects in Nunna's house. As in most of my films, my interest lies in the relationship between past and present events and the effect they have on the individual experiencing them. In order for me to tackle the combination of narrative and documentary, I had to define the terms as I understood them to be.
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Li, Meng. "Narrative Advertising." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2485.
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Brand meaning, which is often used in narrative advertising, is an important value that companies try to build around their loyal consumers. This exploratory research aims to explore brand meanings from consumers’ narratives. This study analyzed 2,382 consumer submitted narratives for a real brand in the food service marketplace. Brand narratives were analyzed using a mixed method content analysis approach by applying Leximancer software to generate key themes and their related concepts. The results indicate brand meaning with some thematic similarities as well as differences when comparing narratives submitted by females and males. This exploratory study introduces analyzing narrative as a way to learn brand meaning and generate future narratives that could be applied to creative message strategy.
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Disque, J. Graham. "Narrative Therapy." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etsu-works/2807.
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Fortner-Henderson, Svetlana. "Ethnographic Narrative." Scholarship @ Claremont, 2020. https://scholarship.claremont.edu/cgu_etd/129.
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Svetlana Fortner-Henderson grew up experiencing abuse, sexual assault, and drug and alcohol abuse within the home. She suffered hearing loss as a child, which impacted her education. She went to college, attended graduate school, and worked in the field of environmental toxicology and regulatory compliance. She volunteered in many capacities that influenced her calling to become an educator. She agreed to teach were she was ‘called,’ as she considers that as the implementation of ministry of social justice through science education. She teaches in a high-trauma, deep inner-city setting, where students have experienced similar types of trauma that she experienced. She follows the lives of three students that derive from various backgrounds. These backgrounds contribute to the assets, strengths, and opportunities for growth socially and academically for these students. Svetlana is able to use the tools inherent and applied to educate the three students to benefit other students that have similar opportunities for educational and social/emotional growth. Svetlana deeply reflects on the impact she has made with her students and opportunities she sees for continued personal development within the profession. During her ethography, she modifies and massages her techniques in order to extact quality and usable content, as she seeks to be an effective teacher within a high trauma and high risk school and community. She also modifies her techniques as she believes in continuous improvement of herself and the students she has chosen to work with.
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Wilson, Gina Strecker. "Narrative Painting." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4527.
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Queiroz, Daniela de Almeida. "A influência das narrativas cotidianas como (des)estímulo para a participação política." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-28012014-091841/.
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A questão da prática democrática e da efetiva participação política ainda é uma temática bastante polêmica na sociedade brasileira. Mesmo com uma constituição democrática e com uma série de instrumentos participativos instituídos, o Brasil ainda parece bastante distante de atingir uma democracia consolidada. Há muitas teorias que versam a respeito dos fatores que podem motivar ou desmotivar o envolvimento e a participação política, tais como a cultura, a confiança, o capital social e o reconhecimento. Na presente dissertação, busca-se entender quais os reais motivos que levam um cidadão a escolher se envolver ou não na política, adotando uma posição ativa e participante ou uma posição passiva em relação a estas questões. A proposta consistiu em realizar uma revisão das teorias sobre a motivação para participar, um levantamento da situação democrática do país, estudando o papel da história política e da memória coletiva no contexto da participação, bem como a influência das narrativas circulantes no mundo da política, com especial destaque para as narrativas cotidianas, que nada mais são do que aquelas que ocorrem na esfera íntima dos indivíduos, no seu dia a dia, com familiares, amigos e conhecidos. É neste contexto que a presente dissertação pretende acrescentar, introduzindo no debate da participação a questão do contexto de vida dos indivíduos, das experiências vividas por ele ou para ele passadas por meio de narrativas e sua influência como estímulo ou desestímulo na motivação dos cidadãos a envolver-se com assuntos políticos. Para tanto, além da revisão bibliográfica, foi realizada uma pesquisa empírica baseada em entrevistas em profundidade com cidadãos atuantes e não atuantes no cenário político do município de São Paulo, buscando entender seu comportamento político e suas motivações para tal.<br>The democratic practice and effective political participation is still a theme very polemic in Brazilian society. Even with a democratic constitution and series of participatory tools, Brazil still seems quite far from reaching a consolidated democracy. There are many theories that talk about the factors that may motivate or discourage involvement and political participation, such as culture, trust, social capital and recognition. In this dissertation, we seek to understand the real reasons that lead a citizen to choose to get involved or not in politics, taking an active role or a passive position in relation to these issues. The proposal was to conduct a review of the theories on motivation to participate, a study of the democratic situation in the country, studying the role of political history and public memory in the context of participation, as well as the influence of narratives that circulates in the world of politics, with special emphasis on daily narratives, which are nothing more than those that occur in the private sphere of individuals in their daily lives, with family, friends and acquaintances. It is in this context that this dissertation intends to add, introducing in the participation discussion the question of the life context of individuals, the experiences that they live or they have known through narratives and their influence as stimulus or discourage on the motivation of citizens to engage with political issues. Therefore, in addition to the literature review, we conducted an empirical research based on interviews with active and not active citizens in the political scene in São Paulo, seeking to understand political behavior and their motivations for doing so.
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Holanda, Samuel Freitas. "A construção biográfica nos evangelhos como fiadora da imagem soteriológica de Jesus." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/15104.
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HOLANDA, Samuel Freitas. A construção biográfica nos evangelhos como fiadora da imagem soteriológica de Jesus. 2015. 96f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza (CE), 2015.<br>Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-02-01T16:37:47Z
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Previous issue date: 2015<br>The objective of this research is to analyze how the set of narrative constructions of the Gospels of Matthew and John consolidates a heterobiographic saying project that legitimizes soteriological ethos of Jesus. We take the notion of ethos as an image that the subject undertakes discursively, closely linked to speech without reserving it to judicial eloquence or orality, but considering that any written speech has a specific voicing, which would relate it to an enunciative source (MAINGUENEAU, 2010). In order to analyze this Jesus’ discursive ethos, we chose three objectives that allowed the implementation of the research, which are to identify the characteristics of the narrative saying project, to describe the linguistic mechanisms for constructing the ethos and to analyze how Jesus’ ethos built by the writers in each gospel is used as guarantor of these persuasive narratives. Our methodological approach presents the criteria adopted for the selection, organization and corpus analysis. It uses a qualitative approach of interpretation, since our interpretation obeys Maingueneau’s perspective. Then, the presentation of the results shows that, despite the Gospels demonstrate that there are many similar characteristics to biographical texts, their purpose goes beyond the narrative act, for the disciples building a soteriological ethos of Jesus in an attempt to persuade the largest number of people being devout Christianity.<br>O objetivo dessa pesquisa é analisar como o conjunto das construções narrativas dos Evangelhos de Mateus e João consolida um projeto de dizer heterobiográfico, que legitima o ethos soteriológico de Jesus. Tomamos a noção de ethos como uma imagem que o sujeito empreende discursivamente, ligado de modo estrito ao discurso, sem reservá-lo à eloquência judiciária ou à oralidade, mas considerando que qualquer discurso escrito possui uma vocalidade específica, que permitiria relacioná-lo a uma fonte enunciativa (MAINGUENEAU, 2010). Assim, elegemos para a análise desse ethos discursivo de Jesus três objetivos específicos que permitiram a operacionalização da pesquisa, os quais são: identificar as características do projeto de dizer narrativo, descrever os mecanismos linguísticos para a construção do ethos e analisar de que maneira o ethos de Jesus construído pelos escritores em cada evangelho é usado como fiador dessas narrativas persuasivas. Nosso percurso metodológico apresenta os critérios adotados para a seleção, organização e análise do corpus e utiliza uma abordagem qualitativa de natureza interpretativa, tendo em vista que a nossa interpretação obedecerá a perspectiva de Maingueneau. Em seguida, a apresentação dos resultados aponta que, apesar de demonstrarem que possuem muitas características semelhantes aos textos biográficos, o objetivo dos evangelhos ultrapassa o ato narrativo, pois os discípulos constroem um ethos soteriológico de Jesus, na tentativa de persuadir o maior número de pessoas a serem devotas do cristianismo.
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McVeigh, Kathryn Margaret. "Mosaic narrative a poetics of cinematic new media narrative." University of Southern Queensland, Faculty of Arts, 2008. http://eprints.usq.edu.au/archive/00006235/.
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This thesis proposes the Poetics of Mosaic Narrative as a tool for theorising the creation and telling of cinematic stories in a digital environment. As such the Poetics of Mosaic Narrative is designed to assist creators of new media narrative to design dramatically compelling screen based stories by drawing from established theories of cinema and emerging theories of new media. In doing so it validates the crucial element of cinematic storytelling in the digital medium, which due to its fragmentary, variable and re-combinatory nature, affords the opportunity for audience interaction. The Poetics of Mosaic Narrative re-asserts the dramatic and cinematic nature of narrative in new media by drawing upon the dramatic theory of Aristotle’s Poetics, the cinematic theories of the 1920s Russian Film Theorists and contemporary Neo-Formalists, the narrative theories of the 1960s French Structuralists, and the scriptwriting theories of contemporary cinema. In particular it focuses on the theory and practice of the prominent new media theorist, Lev Manovich, as a means of investigating and creating a practical poetics. The key element of the Poetics of Mosaic Narrative is the expansion of the previously forgotten and undeveloped Russian Formalist concept of cinematurgy which is vital to the successful development of new media storytelling theory and practice. This concept, as originally proposed but not elaborated by Kazansky, encompasses the notion of the creation of cinematic new media narrative as a mosaic – integrally driven by the narrative systems of plot, as well as the cinematic systems of visual style created by the techniques of cinema- montage, cinematography and mise-en-scene.
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Louchart, S. "Emergent narrative : towards a narrative theory of virtual reality." Thesis, University of Salford, 2007. http://usir.salford.ac.uk/14894/.
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The recent improvements and developments on Intelligent Agents (IA), Artificial Intelligence (AI) and 3D visualisation, coupled with an increasing desire to integrate interactivity within virtual spaces bring concerns in regard to the articulation of narratives in such environments.
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Park, Seung Yub. "The research of narrative preaching in Old Testament narrative." Theological Research Exchange Network (TREN), 2003. http://www.tren.com.
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Blanchietti, Marta <1998>. "Narrative e contro-narrative: visioni altre nella Siria contemporanea." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20876.
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La tesi ha come obiettivi principali l’analisi della costruzione dell’identità nazionale siriana, nella
consapevolezza del suo essere in continuo mutamento ed evoluzione, e l’indagine delle narrative e
contro-narrative emerse nel corso degli anni durante il governo della famiglia Assad. Lo scopo
principale è sottolineare come l’arte possa essere una pratica di resistenza, adducendo alcuni esempi
tra le tante voci di controcultura e contro-narrazione che sono emerse negli ultimi anni in Siria.
La prima parte si concentra sui discorsi ufficiali promossi da Hafiz Al-Assad e da suo figlio Bashar, in
relazione a tre macro-tematiche: guerra, potere e identità.
La seconda parte della dissertazione procede oltre le narrative governative e si articola in un tentativo
di presentare le contro-narrative proposte da alcuni artisti contemporanei siriani.
La base dell’intero progetto di tesi è l’idea che identità e valore del patrimonio culturale siano il
prodotto di una negoziazione politica e sociale, derivata da un’interazione continua tra numerosi
attori differenti. A questo si aggiunge la convinzione di come l’arte, pur nella sua limitatezza, possa
essere un potente veicolo di visioni altre e narrazioni differenti da quelle ufficiali.
Nello spazio ideologico creato dalla guerra civile, concentrarsi su queste voci altre permette di
adottare uno sguardo decentralizzato, aprendo a nuove prospettive e possibilità di indagine e
comprensione, attraverso l’arte, su cosa voglia dire essere Sirian* oggi.
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Westphal, Richard F. Fortune Ron. "The place of narrative in composition studies a multidisciplinary approach /." Normal, Ill. Illinois State University, 1994. http://wwwlib.umi.com/cr/ilstu/fullcit?p9521346.
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Thesis (D.A.)--Illinois State University, 1994.<br>Title from title page screen, viewed April 17, 2006. Dissertation Committee: Ronald J. Fortune (chair), Lucia C. Getsi, Douglas Hesse. Includes bibliographical references (leaves 206-212) and abstract. Also available in print.
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Barros, Wellington Rodrigues. "A terceira margem da performance: um estudo do ato-narrativo em Três contos de Guimarães Rosa." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/8524.
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Previous issue date: 2017-12-19<br>This dissertation studies the relation between the concept of narrative and performance based on the phenomenon of telling stories applied in three short stories of Guimarães Rosa: 'The Heppiness Margin', 'The Mirror' e 'The Third Margin of the River', form the book 'First Stories' (1988). Methodologically this work consists in a corpus referring in the performance narrative of the own author with two more performers, and with the audiovisual datas in order to reflect in the analyze and in the materialization of the narrative act.<br>A presente dissertação procura estudar a relação entre os conceitos de narrativa e perfomance a partir do fenômeno da contação de histórias aplicada em três contos de Guimarães Rosa: ‘As Margens da Alegria’, ‘O Espelho’ e ‘A Terceira Margem do Rio’, da obra ‘Primeiras Estórias’ (1988). Metodologicamente a pesquisa constituiu um corpus referenciado na performance narrativa do próprio autor em conjunto com outras duas performers e com registro audiovisual, de modo a refletir na análise e na materialização do ato-narrativo.
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Dharamraj, Havilah. "A prophet like Moses? : a narrative-theological reading of the Elijah narratives." Thesis, Durham University, 2006. http://etheses.dur.ac.uk/2666/.
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If one reads the Moses and Elijah narratives in their canonical order and arrangement, the typical reader's response, since rabbinic times, is to note the manifold parallels between them. These parallels appear at all the various levels of any discourse: they may be found at the verbal level, recognizable in significant words and phrases; at the level of story, they emerge in the framework of the narrative, in the progression of the plot and in characterisation; most significantly, the parallels colour the conceptual level, in terms of both significant motifs and overarching themes. This cumulative resonance peaks at I Kgs 19 and 2 Kgs 2, two critical components of the Elijah cycle, compelling an appraisal of the character Elijah against the character Moses. Such a comparison becomes a legitimate exercise considering the promise in Deut. 18:18 of another like Moses. With Moses established as Israel's prophet par excellence, the debate often turns on deciding whether Elijah follows the paradigm or falls short of it. Thus, 1 Kgs 19, which relates Elijah's experiences at Horeb, is regularly read as Elijah's critical failure as a Mosaic prophet; he indicts Israel rather than intercedes for them. This thesis argues that such a reading dislocates the parallels the narrative carefully builds up between 1 Kgs 19 and Exod. 32-34; further, this negative portrayal of Elijah makes it difficult to reconcile 1 Kgs 19 with the remainder of the Elijah narratives, notably, with 2 Kgs 2， where Elijah is accorded an exit that indubitably affirms his service as prophet. An alternative reading is offered which is particularly sensitive to any inner-biblical exegesis as may be mediated by the Mosaic resonance. This reading identifies the theological thrust, and the implications for the larger narrative of the "primary history" of Israel, of Elijah being read (and perhaps, presented by the narrator), as a prophet like Moses.
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Anthias, Louise. "Constructing personal and couple narratives in late stage cancer : a narrative analysis." Thesis, University of East London, 2015. http://roar.uel.ac.uk/5179/.
Full textAbstract:
An increasing number of people with terminal cancer are being cared for at home, often by their partner. This study explores the identity, experiences and relationships of people caring for their partner at the end of life and how they construct their experience through personal and couple narratives. It draws upon dialogical approaches to narrative analysis to focus on caring partners and the care relationship. Six participants were recruited for the study. Two methods of data collection are used: narrative interviews and journals. Following individual case analysis, two methods of cross-narrative analysis are used: an analysis of narrative themes and an identification of narrative types. The key findings can be summarised as follows. First, in the period since their partner's terminal prognosis, participants sustained and reconstructed self and couple relationship narratives. These narratives aided the construction of meaning and coherence at a time of major biographical disruption: the anticipated loss of a partner. Second, the study highlights the complexity of spoken and unspoken narratives in terminal cancer and how these relate to individual and couple identities. Third, a typology of archetypal narratives based upon the data is identified. The blow-by-blow narratives illustrate how participants sought to construct coherence and meaning in the illness story, while champion and resilience narratives demonstrate how participants utilised positive self and relational narratives to manage a time of biographical disruption. The study highlights how this narrative approach can enhance understanding of the experiences and identities of people caring for a terminally ill partner.
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Lu, Andong. "Narrative space : a theory of narrative environment and its architecture." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611784.
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Pletcher, James Alan. "Narrative structure and narrative texture in the 'Aithiopika' of Heliodorus." Thesis, University of St Andrews, 1997. http://hdl.handle.net/10023/15450.
Full textAbstract:
This thesis consists of four individual studies, divided into two sections; "Narrative Structure" and "Narrative Texture". The first chapter ("Heliodoros and the Conventions of Romance") addresses the issue of the essence of romance; it attempts to get behind the narrative of the Aithiopika in such a way as to reveal how Heliodoros works within the boundaries and received practice of the genre ancient romance, and how he adapts and deviates from them. The second chapter ("Hearing Voices: Incorporated Genres in the Aithiopika") deals with genre, but in a different context. This study takes a concept- incorporated genre- from the theorist M.M. Bakhtin, and applies it to Heliodoros' narrative. Here the term "genre" takes on a broader significance, meaning not the romances themselves, but types of narrative, and ways of narrating, which Heliodoros has introduced into his story. Both chapters one and two are systematic analyses of the text; they deal with how Heliodoros has structured his narrative in ways conventional and unconventional. In the final chapters the term genre encompasses specific works and literary groupings. These studies help to demonstrate how Heliodoros has fleshed out the basic structure of the Aithiopika, or, in other words, they provide a feel for some of the texture of the romance. "Heliodoros and Homer" is explicitly narratological in outlook, showing one way in which Heliodoros has provided a paradigm for reading, perhaps not just the novel itself, but specifically within the novel the references to and allusions from Homer. "Heliodoros and Tragedy" tackles the meaning of theatricality, and references to the theatre, in an author writing in the late Roman Empire. But this chapter, too, provides a glimpse at the narrative texture, especially with regard to the way in which Heliodoros co-opted yet another literary predecessor, Euripides.