Relevant bibliographies by topics / Discours narratif

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Discours narratif'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Discours narratif"

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Furió-Blasco, Elies. "Discours narratif et conjoncture économique." Terminologie et linguistique 55, no. 2 (August 10, 2010): 309–28. http://dx.doi.org/10.7202/044242ar.

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La langue est un système d’expression et de communication commun à un groupe ou une communauté linguistique. Au sein de la langue, les économistes constituent une communauté caractérisée par l’utilisation d’un langage particulier, c’est‑à‑dire une terminologie et un vocabulaire spécifiques donnant lieu à des discours spécialisés. Quatre catégories de textes économiques sont repérables : descriptifs, narratifs, explicatifs et téléologiques. Ces quatre catégories de textes se retrouvent souvent dans un même document traitant d’économie. Cependant, une catégorie prédomine sur les autres : le texte narratif. Celui-ci fait l’objet du présent article, en rapport avec la conjoncture économique. Pour l’étude d’un cas concret d’analyse économique de la conjoncture, il s’avère nécessaire d’étudier aussi le temps verbal de l’analyse. En effet, tout un éventail d’analyses économiques sont construites à partir de modèles narratifs très différents et avec des temps et des modes verbaux distincts. Le travail aborde, en premier lieu, la signification de la conjoncture économique, afin de montrer la nécessité de considérer la temporalité de la narration économique. Ensuite, et de façon sommaire, l’article s’attarde sur certaines considérations du système verbal et sur l’aspect du verbe. Pour conclure, les approches économiques qui permettent d’expliquer le comportement des sujets et des questions économiques dans le temps sont présentées.
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Daoud, Mohamed. "« Le récit narratif et ses discours »." Insaniyat / إنسانيات, no. 9 (December 31, 1999): 147. http://dx.doi.org/10.4000/insaniyat.8301.

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Fleischman, Suzanne. "Temps verbal et point de vue narratif." Études littéraires 25, no. 1-2 (April 12, 2005): 117–35. http://dx.doi.org/10.7202/501000ar.

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La fonction primordiale du temps verbal est d'établir les coordonnées temporelles des événements rapportés dans une phrase ou un plus ample discours. Cependant, presque tous les genres discursifs emploient le temps verbal à d'autres fins, notamment pragmatiques. Cet article examine une fonction pragmatique particulière du temps verbal : signaler le point de vue, ou la focalisation, dans le discours narratif. Il s'attarde plus particulièrement au fonctionnement des oppositions temporelles qui, dans le discours indirect libre et dans le monologue intérieur, signalent les transitions, parfois subtiles, entre le point de vue non marqué d'un narrateur « extradiégétique » et les points de vue des personnages « intradiégétiques » de l'histoire.
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Tabourdeau, Gilles, and Marianne Vergez-Couret. "Structuration progressive du discours narratif chez le jeune enfant non lecteur-scripteur : analyse d’un corpus de productions écrites en dictée à l’adulte." SHS Web of Conferences 186 (2024): 03002. http://dx.doi.org/10.1051/shsconf/202418603002.

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Cet article propose d’examiner la progression dans la structuration d’un discours narratif chez des élèves de maternelle dans la pratique de la dictée à l’adulte. Une typologie des stades de développement du discours narratif est présentée, allant de phrases juxtaposées sans connecteurs à des discours démontrant une maîtrise des procédés de cohésion et de cohérence. L’étude met en évidence les interactions entre l’enseignant et l’élève, décrivant les différentes postures d’étayage adoptées par l’enseignant et les micro-gestes de négociation discursive utilisés pour guider l’élève. Ces interactions jouent un rôle dans le développement des compétences de l’élève. Cette recherche exploratoire propose de croiser l’approche linguistique de la cohérence et de la cohésion des discours et une réflexion didactique autour du rôle de l’étayage et des stratégies d’intervention des enseignant-es.
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Shairi, Hamid Reza. "Réexamen du parcours narratif : place et types de la sanction." Hors dossier 35, no. 3 (February 11, 2008): 89–101. http://dx.doi.org/10.7202/017482ar.

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Par leurs diversités culturelles, les discours sont souvent le moyen de fournir à la théorie une force innovante. Le petit conte persan auquel nous nous intéressons ici nécessite une révision du régime narratif classique puisque le modèle standard de la narrativité semble insuffisant pour son examen. En effet, cette étude s’efforce de montrer comment le discours persan nous met en présence d’un parcours qui, nourri de la problématique de la tensivité et du corps, déplace les phases du schéma narratif en le faisant débuter par une sanction anticipée et manipulatoire. Nous verrons par la même occasion en quoi cette sanction procure à la narrativité une dimension sensible et phénoménologique. Cela nous permettra de constater que l’interaction des plans sémiotiques aboutit à l’insertion des dimensions axiologiques – impressive, émotionnelle et cognitive – dans le parcours narratif pour créer deux formes de vies distinctes : commencer par la fin ; finir par le commencement.
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Rousseau, Guildo, and Jean Laprise. "Le discours du sol dans le roman mauricien de 1850 à 1950." Cahiers de géographie du Québec 26, no. 67 (April 12, 2005): 121–37. http://dx.doi.org/10.7202/021551ar.

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À partir de certains modèles théoriques d'analyse, on peut distinguer trois schèmes opératoires reliés dans le processus d'élaboration du discours du sol à travers le roman paysan mauricien : l' inculte, le défriché et le cultivé. Partant de ces trois paradigmes fondamentaux de l'activité créatrice, et les situant eux-mêmes en rapport avec ceux du discours narratif (le héros, l'espace du récit, le temps de la narration), il nous a été possible d'analyser la typologie du discours du sol contenu dans un corpus de romans québécois d'inspiration mauricienne, parus entre 1850 et 1950. En mettant en relief les mécanismes organisateurs de la croyance ou du mythe, les auteurs dégagent les principaux rituels et archétypes symboliques spécifiques au monde des objets décrits par les romanciers.
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Tousson, Bahira Youssef. "Le discours Narratif dans "Lucien Leucien Leuwen" de stendhal." مجلة الآداب والعلوم الإنسانیة 52, no. 2 (April 1, 2004): 95–122. http://dx.doi.org/10.21608/fjhj.2004.129893.

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De Moor, Edouard. "Le Discours Narratif Dans Les Contes De Muhammad Taymur." Arabica 37, no. 1 (1990): 1–46. http://dx.doi.org/10.1163/157005890x00104.

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Godard, Lucie. "Le développement du discours narratif oral d’élèves du primaire." Revue québécoise de linguistique 23, no. 2 (April 29, 2009): 73–100. http://dx.doi.org/10.7202/603093ar.

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RÉSUMÉ L’étude du développement du discours narratif oral auprès d’élèves francophones du primaire est un domaine relativement récent. Après une recension des écrits dans le domaine, notre recherche montre l’évolution de la grammaire de l’histoire, de la qualité des épisodes, des liens entre les épisodes, de la cohésion et du langage figuré chez une soixantaine d’élèves de la maternelle à la cinquième année à qui il a été demandé d’inventer une histoire.
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Salvan, Geneviève. "Dialogue et narration : frontières stylistiques et linguistiques. L’hétérogénéité énonciative et ses “solutions” syntaxiques." Scolia 13, no. 1 (2000): 155–72. http://dx.doi.org/10.3406/scoli.2000.1226.

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Cet article envisage le problème de l’intégration syntaxique du dialogue romanesque dans la narration du XVIIIe siècle et plus précisément chez Crébillon fils. Le dialogue romanesque présente apparemment, au sein du discours littéraire, une double hétérogénéité, textuelle et énonciative. Ce travail se propose par l’étude d’un lieu textuel stratégique, l’entrée dans le dialogue, d’analyser les solutions syntaxiques apportées au passage d’un régime de discours, la narration, à un autre, le dialogue et ce, en dépassant le clivage discours indirect / discours direct qui se superposerait à un clivage syntaxique, indépendance / subordination. Ce faisant, nous tentons de montrer que le dialogue est une séquence énonciative et textuelle s’articulant sur le discours narratif par des moyens syntaxiques intégrants : les verbes en incise ainsi que la ponctuation les accompagnant, les connecteurs devenus “résumeurs” énonciatifs et le fonctionnement de l’anaphore pronominale jouant sur plusieurs niveaux énonciatifs. L’ensemble de l’étude nous amène à formuler quelques conclusions : la syntaxe du dialogue au XVIIIe siècle est intégrante et la phrase est précisément ce lieu d’intégration ; de plus, l’écriture du dialogue chez Crébillon relève de ce qu’on peut appeler un “discours direct contraint”, représentant une saisie dans le continuum des discours rapportés. Direct, parce qu’il instaure une rupture énonciative, contraint, parce que celle-ci est enchâssée et soumise à la continuité syntaxique de la phrase.
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Dissertations / Theses on the topic "Discours narratif"

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YEH, FLEURY HSIAO YUAN. "Romain rolland et sa technique romanesque." Paris 12, 2001. http://www.theses.fr/2001PA120051.

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Ecrivain francais originaire de clamecy (departement de la nievre), romain rolland - 1866-1944 - connut une carriere litteraire prestigieuse grace a un important roman-cycle: jean-christophe. Publiee au cours des annees 1904-1912, l'oeuvre constitue le premier roman-fleuve de la litterature francaise. Par cet ouvrage, romain rolland entend manifester son opposition a l'usage esthetique contemporain qu'il jugeait pretentieux et maniere. Les methodes que l'auteur de jean- christophe a utilisees pour renouveler les formules romanesques, au debut du xxe siecle, marquent une nouveaute dans le roman moderne. La these propose une etude technique et comparative dans la perspective de mieux saisir les elements d'ecriture propres au style rollandien ainsi que l'ampleur de l'heritage legue aux romanciers de l'entre-deux-guerres. Quatre volets: - enquete sur les origines, la definition du terme et les caracteristiques des principaux romans-fleuves francais, - travail panoramique sur les specificites artistiques de romain rolland, en particulier son ecriture-fleuve et sa composition symphonique, - analyse structurale de jean- christophe, basee sur les aspects generaux du recit, les problemes de la narration, du temps, le systeme des personnages et l'interet de l'espace, - recherche comparative entre romain rolland et certains intellectuels humanistes des annees 1930 : roger martin du gard, jules romains et, surtout, georges duhamel dont vie et aventures de salavin pourrait sans doute etre considere comme un autre jean-christophe.
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Tremblay, Françoise. "Aline et Pauline : "le discours : acte de perception et de cognition" /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.

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Santamaria, Flor Alba. "Constances et différences dans l'organisation de récits d'enfants colombiens : événements qui "font peur" racontés par des filles et des garçons de 5 à 13 ans." Paris 5, 2005. http://www.theses.fr/2005PA05H061.

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Cette recherche est consacréeà l'analyse de récits d'expériences vécues, racontées par des enfants des écoles publiques de Bogota, en Colombie. Dans un corpus de 50 récits, on analyse les constances et les différences dans l'organisation de ces récits. D'une part, on constate les diverses formes qu'emploient les enfants pour structurer et organiser leurs narrations, ainsi que les mécanismes utilisés pour leur donner de l'hétérogénéité et de la singularité ; et, d'autre part, on identifie les thèmes abordés par les enfants et les relations qu'ils établissent avec le monde culturel et social. On démontre également, dans cette étude, les divers procédés dont les enfants se servent pour exprimer les évènements, le temps, l'espace et les relations spatio-temporrelles qui parviennent à donner une variété narrative où l'enfant apparaît dans sa vraie dimension d'auteur et de créateur de ses récits
This investigation is dedicated to the analysis of narratives of real stories told by schoolchildren from public schools of Bogota, Colombia. Over a corpus of 50 stories, we analyse the consistencies and differences in the organisation of the narratives. On the one hand we observed the various forms used by children to structure and organise their narratives, as well as the mechanisms used to give them heterogeneity and singularity. On the other hand we identified themes and their relations with the cultural and social world. We also show the various processes used by the children to express events, time, space and spatial/temporal relationships bringing narrative variation whereby the child acquires a genuine dimension as an author and creator of his/her narratives
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Campaignolle, Hélène. "Le récit non-aristotélicien de la fin du XVIIè siècle au XXè siècle : une poétique de l'incertitude." Paris 7, 2004. http://www.theses.fr/2004PA070028.

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Cette recherche porte sur l'écriture narrative occidentale et l'évolution de ses formes depuis la fin de l'ère classique, à partir d'une confrontation initiale entre deux modèles de discours, l'un unitaire, le paradigme aristotélicien, le second, pluriel, le paradigme licymnioplinien. Après exposé de ces deux paradigmes, dans leurs implications rhétoriques, poétiques et praxiques, l'auteur envisage une définition élargie du récit intégrant la pluralité et la mobilité [Partie 1]. La réflexion se poursuit par une enquête sur les conditions d'apparition, de la fin du XVIIe siècle à la fin du XIXe siècle, de figures du discours opposées au paradigme unitaire aristotélicien: certains éléments formels -la fracture, la digression, la mobilité - sont relevés dans des textes narratifs (Furetière, Diderot, Nerval) et non narratifs (La Rochefoucauld) puis mis en rapport avec le contexte épistémologique de ces œuvres: l'émergence de l'incertitude [Partie Il]. L'auteur analyse, à partir de là, le développement, au XXe siècle, de formes combinatoires du texte poétique (Mallarmé, Oulipo) et narratif (Borgès, Queneau, Butor, Saporta, Calvino) pour évaluer les implications théoriques du développement de nouveaux types de récits non aristotéliciens, pluriels et combinatoires, pour la définition occidentale du récit et de ses catégories (temps et causalité) [Partie III]. La dernière partie est consacrée à l'écriture narrative hypertextuelle, développée dans le dernier quart du XXe siècle : après définition technique et rhétorique, l'auteur procède à l'analyse sémiotique de ces œuvres, y soulignant les liens nouveaux créés entre incertitude, image et récit pluriel [Partie IV]
This research focuses on occidental narrative writing and the evolution of its forms from the end of the classical era, by first confronting two models of discourse: unitary, the "aristotelian" paradigm and plural, the "licymnio-plinian" paradigm. From a definition of these two paradigms in their rhetorical, poetical and praxical implications, the research tackles with the idea of a definition of narrative including the concepts of mobility and plurality [Part 1]. The reflexion follows with an inquiry through the elements from the end of the XVllth century to the end of the XIXth century to understand the conditions of appearances of figures of discourse opposite to the unitary paradigm. Some formal elements - fracture, digression, mobility - are noted down in narrative (Furetière, Diderot, Nerval) and non narrative texts (La Rochefoucauld). These formal elements are then linked to the epistemological context of the works, the emergence and developing of uncertainty [Part Il]. The XXth century is studied through the development of combinatory texts in poetry (Mallarmé, Oulipo) and narrative (Borges, Queneau, Butor, Saporta, Calvino) to follow by an inquiry about the consequences of the appearance of new non-aristotelian narrative forms, plural and combinatory, for the occidental definition of narrative and its categories (time and causality) [Part III]. The last part centres on narrative hypertextual narratives developed in the last quarter of the XXth century. After a technical and rhetorical definition, the study proceeds to a semiotical analysis of these works, underlining new links between uncertainty, image, and plural narrative [Part IV]
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Jong, Irene J. F. de. "Narrators and focalizers : the presentation of the story in the "Iliad /." Amsterdam : B.R. Grüner, 1987. http://catalogue.bnf.fr/ark:/12148/cb34945571d.

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Tremblay, Vianney. "Des points de vue narratifs à la prise de forme : réflexions autour de la bildung romantique /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.

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Le, Guelte Alain-Philippe. "La mise en intrigue du problème des limites de l'interprétation." Bordeaux 3, 1998. http://www.theses.fr/1998BOR30022.

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Si nous considerons le recit et l'interpretation comme des actions, il nous incombe de decider et preciser leur importance et leur signification, comme de les specifier litteraires ou non, selon la disposition de nos criteres (fiction, diction, institution). Je propose une description de la litterature en terme de fonction et de connaissance : reconnaitre le recit et son interpretation, c'est partager des conditions communes, selon la regle transitive de la mise en intrigue. L'investissement de la poetique par l'ethique produit le recit comme interpretation, l'interpretation comme notre responsabilite, et le rapport de l'individu et de la communaute, tel qu'institue par l'intervention de l'identite narrative
If we consider narrative and interpretation as forms of action, we must then decide on and specify their importance and meaning as well as making clear whether they are literary or not, according to the position of our criteria (fiction, fiction, institution). I propose a description of literature in terms of fonction and cognition : to recognise narrative and its interpretation is to share common conditions, according to the transitive rule of implotment. Investments of poetics by ethics produces the narrative as interpretation, interpretation as our responsability, and the relation of the individual to the community, as it constructed by the intervention of narrative identity
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EL, NAJJAR NASR SAOUSSAN. "Edition critique et analyse narratologique du recueil de contes arabes al-t'air al-natiq d'apres les manuscrits de la bibliotheque de berlin (xviieme sielce)." Paris 3, 2000. http://www.theses.fr/2000PA030027.

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Le recueil de contes arabes d'al-ta'ir al-natiq, qui a fait l'objet de cette these, remonte au 17eme siecle. L'unique version arabe a ete trouvee a la bibliotheque de berlin. Le manuscrit, reproduit sous forme de sept fascicules a partir d'un microfilm, comporte 253 feuillets. Chaque feuillet est designe par un nombre specifique qui, ayant ete repris dans le corps du texte, lui sert de reference. Le recueil etant un manuscrit, l'ecriture n'est pas toujours intelligible et change d'un conte a l'autre. Cette variabilite prouve que plusieurs ecrivains ont participe a l'oeuvre. Le recueil comporte vingt trois contes dont certains sont complets tandis que d'autres n'ont pas ete acheves. En ce qui concerne le climat qui regne sur les differents contes, il est identique a celui que nous trouvonsdans les mille et une nuits. De fait, les deux recueils parlent de la meme epoque, evoquent la meme culture et font intervenir les memes personnages. La premiere partie de la these a ete consacree a l'edition proprement dite du texte du recueil. Nous avons du introduire des notes explicatives soit pour expliquer des mots incomprehensibles soit pour donner la reference d'une poesie ou d'un verset coranique. Aucune correction linguistique ou grammaticale n'a ete introduite afin de preserver le texte du manuscrit dans son etat originel. La deuxieme partie de la these, consacree a l'analyse du recueil, avait plusieurs objectifs : fournir les resumes des differents contes, apporter une analyse approfondie des similitudes entre les contes du recueil et d'autres contes (tels que les mille et unenuits, sindbad, etc. ) et faire une etude narratologique et critique du conte hasan le joueur de flute, dont la richesse en evenements et en personnages le designe comme modele d'etude evident. Pour conclure, le present travail est le premier consacre a l'edition critique et narratologique du recueil d'al-ta'ir al-natiq.
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Taguchi-Kusakabe, Noriko. "La subordination complétive dans le discours." Paris 4, 1987. http://www.theses.fr/1987PA040011.

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Un des moyens d'assurer la cohérence d'un texte est de garder le même thème qui se définit comme 'ce dont on parle'. Ce thème est normalement représenté par le pronom 'il'. Par contre, les pronoms 'je', 'nous', 'tu', 'vous' et 'on' sont le plus souvent thématiquement transparents : à savoir ils peuvent coexister avec le thème (représenté par 'il', 'le' ou 'lui') dans un même énoncé sans influencer le fil thématique. Ce phénomène s'explique d'une façon adéquate par la distinction de deux types de langage : l'un est le langage de spectateurs qui décrit principalement l'évaluation des énonciateurs de ce dont ils parlent, l'autre est le langage de narration qui sert à raconter objectivement ce qui se passe. Dans la structure discursive du langage définie comme telle, la subordination complétive assure une fonction particulière. La phrase à complétive appartient, dans le grand nombre de ses occurrences, au langage de spectateurs. La principale sert à indiquer la nature de l'énonciation de la complétive, plutôt que d'être elle-même l'objet de l'énonciation. Les verbes factifs qui ont la particularité de présupposer la vérité de la complétive constituent un cas spécial de phrases à complétive. Ils assurent la fonction particulière d'imposer la revendication de la vérité de la complétive sans avoir l'air de l'asserter. Cette dissimulation de la revendication a des effets variés dans le discours selon le sémantisme et le sujet grammatical du verbe factif
One of the means of assuring the coherence of a text is to keep the same topic. The topic, defined as'a subject about which the discourse is going on', normally is represented by the pronoun 'il'. On the other hand, the pronouns 'je', 'nous', 'tu', 'vous' and 'on' are generally transparent on the topical point of view : that is to say, they can co-occur with the topic (represented by 'il', 'le' or 'lui') in the same sentence without disturbing the topical thread. This phenomenon can be adequately illustrated by the distinction of two types of language: one is the language of spectators, which describes mainly the speakers’ evaluation of what is going on, the other is the language of narration which reports objectively the events. In the frame of the discursive structure of language defined this way, thatclause construction assures a particular function : namely, that-clause sentences belong mostly to the language of spectators. The principal shows the nature of the predication of that-clause, rather than being itself the subject of the predication. The factive verbs which have the particularity of presupposing the truth of the object clause represent a special case of that-clause sentences. They have the function of imposing the claim of the truth of the object clause without asserting it. This dissimulation of the claim of the truth has various effects in the discourse, according to the meaning and the grammatical subject of the factive verb
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Toupin, Fabienne. "Principes, outils et méthodes de la théorie métaopérationnelle." Paris 3, 1994. http://www.theses.fr/1995PA030042.

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La qualité de la diffusion des résultats obtenus par la recherche en linguistique est tributaire de la connaissance des rouages des systèmes théoriques proposés et de la métalangue que ceux-ci utilisent. Le présent travail a pour objectif de faciliter la communication scientifique en proposant une introduction au modèle métaopérationnel, courant linguistique original qui a pris naissance en France au début des années 1970 à partir des travaux d'Henri Adamczewski. Il s'agit donc d'une étude d'ordre épistémologique présentant les conditions de développement, les principes, les méthodes et les critères de validité de ce modèle
Communicating the results obtained by researchers in linguistics depends on a knowledge of the theoretical systems thta inform these results and of the metalanguage used to convey them. The aim of this study is to improve scientific communication by providing a general introduction to the metaoperational model, to its theoretical underpinnings and technical vocabulary. The metaoperational model, which developed in France in the early 1970s, originated with the work of Henri Adamczewski, our study introduces the conditions of development, the principles, the methods and the validation procedures of this linguistic model
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Books on the topic "Discours narratif"

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Gourdeau, Gabrielle. Analyse du discours narratif. Boucherville, Qué: Morin, 1993.

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Gourdeau, Gabrielle. Analyse du discours narratif. Boucherville, Québec: G. Morin, 1993.

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Cristopher, Nash, ed. Narrative in culture: The uses of storytelling in the sciences, philosophy, and literature. London: Routledge, 1994.

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Jean-Marie, Schaeffer, ed. Métalepses: Entorses au pacte de la représentataion. [Paris]: Éditions de l'École des Hautes Études en Sciences Sociales, 2005.

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E, Nelson Keith, Aksu-Koç Ayhan, and Johnson Carolyn E, eds. Children's language. Mahwah, N.J: Lawrence Erlbaum, 2001.

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Bamberg, Michael G. W., 1947-, ed. Narrative development: Six approaches. Mahwah, N.J: L. Erlbaum Associates, 1997.

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1972-, Page Ruth E., ed. New perspectives on narrative and multimodality. New York: Routledge, 2009.

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Université d'Artois. Centre de recherches en traductologie. Discours rapportés: Approche(s) linguistiques et-ou traductologique(s). Arras: Artois presses université, 2006.

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Elbaz, Robert. Albert Cohen, ou, La pléthore du discours narratif. Paris: Publisud, 2000.

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Reuter, Yves. L' analyse du récit. Paris: Dunod, 1997.

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Book chapters on the topic "Discours narratif"

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Alberg Jensen, Peter. "Narrative Description or Descriptive Narration." In Verbal Aspect in Discourse, 383. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/pbns.5.20alb.

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James Paul, Gee. "Narrative." In Introducing Discourse Analysis, 116–29. New York, NY : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315098692-7.

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Jenks, Christopher J. "Narrative analysis." In Researching Classroom Discourse, 110–32. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429264023-8.

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Janney, Richard W. "Film discourse cohesion." In Narrative Revisited, 245–66. Amsterdam: John Benjamins Publishing Company, 2010. http://dx.doi.org/10.1075/pbns.199.12jan.

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Gibson, Andrew. "Introduction." In Reading Narrative Discourse, 1–25. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20545-5_1.

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Gibson, Andrew. "Don Quixote." In Reading Narrative Discourse, 26–40. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20545-5_2.

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Gibson, Andrew. "Clarissa." In Reading Narrative Discourse, 41–59. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20545-5_3.

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Gibson, Andrew. "Tristram Shandy." In Reading Narrative Discourse, 60–77. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20545-5_4.

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Gibson, Andrew. "The ‘Eumaeus’ Episode in Ulysses." In Reading Narrative Discourse, 78–94. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20545-5_5.

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Gibson, Andrew. "The Trial and The Castle." In Reading Narrative Discourse, 95–117. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20545-5_6.

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Conference papers on the topic "Discours narratif"

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Guillén, Santiago. "Des Dieux aux hommes et de la Terre à Gaïa. Transitions dans les mythes et dans certains discours contemporains : éléments pour une caractérisation sémiotique de la transition." In Actes du congrès de l’Association Française de Sémiotique. Limoges: Université de Limoges, 2024. http://dx.doi.org/10.25965/as.8481.

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Cet article étudie la notion de transition en relation aux concepts de devenir (Zilberberg et Fontanille), de parcours/passage (Basso Fossali) et de concept (Bergson). Après une lecture critique de la littérature existante, nous définissons les phénomènes de transition sur les plans figuratif, narratif, énonciatif, axiologique et praxéologique. Nous étudions ensuite un ensemble de textes mythiques puis de discours contemporains sur la transition écologique dans le but de mieux comprendre la tension inhérente aux institutions symboliques entre l’être et le devenir, le transitif et l’intransitif, l’abstraction fixiste de l’être et du concept dans le logos, et la réalité du devenir donnée à voir par le mythe. Notre article est guidé par la problématique suivante : en quoi l’étude de la transition dans les textes mythiques peut-elle nous permettre d’avancer sur certaines problématiques sémiotiques actuelles et nous aider à mieux analyser les discours contemporains sur la transition et en relation à la crise environnementale ?
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Csorba, Diana. "DEVELOPING NARRATIVE INTELLIGENCE - KEY DIMENSIONS IN TRAINERS’TRAINING PROGRAMS." In eLSE 2012. Editura Universitara, 2012. http://dx.doi.org/10.12753/2066-026x-12-021.

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Most arguments and points that describe the quality of training programs demonstrate that narrative art plays a central role in the discourses and practices of training and change. The paper we propose supports an enthusiastic viewpoint that aims to reveal few basic guidelines of a plea for narrative art and a set of reasons supporting the importance of developing narrative intelligence through training programs for trainers. Throughout the paper we address few possible interrogations: What is a story/narration that calls for an action? What goals could be aimed by including a story/narration in a training session? What is narrative intelligence? What is known about narrative intelligence? How can it be developed/improved? Is narrative intelligence only a useful communication tool, or can it be used as an evaluation criteria for the effectiveness of all forms of communication directed to action? How to insert narration in a training session? How can you call to action using the art of narration? Is there a secret language of the trainer? How can it be cultivated? What other functions/roles can perform stories/narration used in a training session? In this paper I want to describe some of the properties of a world of “reality” constructed according to narrative principles and their force to act in educational space. In doing so, I have gone back and forth between describing narrative mental “powers” and the symbolic systems of narrative discourse that make the expression of these powers possible. It is only a beginning. My objective has been merely to lay out the ground plan of narrative realities and possible ways to develop narrative intelligence to teachers.
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Regis Brasil, Priscilla. "Film as part of the thesis and mounting as a method for the social sciences." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.112.

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My argument is that the history of space can be built by montage. I'm a documentary filmmaker and editor. I understand film as a support for writing in fragments. I think that the filmic form, capable of carrying movements and times, testimonies and texts, past and present, is a suitable support for the history of space. There is a visual form of knowledge and a wisdom of the gaze, as in Warburg's Atlas, largely disregarded by the academy as a way of producing knowledge. If montage is a polyphonic device that uses forgotten remains and heterogeneous narrations to dismantle the official story and reassemble another story from its critical constellations, no instrument seems to me more adequate than a film to execute it. Through the search for other ways of narrating the urban experience, following Benjamin from the rags and the residues, operating knowledge from the anarchic potentialities of the fragment and the problematization through doubt, through the incomplete and through the unfinished. For Didi-Huberman, the empirical and creative exercise proposed by Benjamin is capable of bringing out other possibilities from the dismantling of certainties. It allows us to think through the differences in the gaps left between the fragments. The montage allows for the simultaneity of times and the emergence of symptoms, the revelation of failures, conflicts, heterogeneity, in perforating tradition and colliding with the text. If montage serves all this, it also serves the decolonization of perspectives and methodologies, serves to narrate the history of subalterns and the hidden histories of empires. It also can be used to articulate memory, narration and history in the attempt to grasp reality. I propose the use of cinematographic montage as a method of knowledge production, as an important part of the research and whose result will be a constitutive and inseparable part of the thesis. Film as a method for the social sciences. In addition to assembling the fragments, the author's narrative interference is a critical point of the proposed experience. Delivering an account of the position from which one narrates is, therefore, fundamental. The narration does not impose itself as a voice of God over the material, as it neither affirms nor has certainties. It is organized on the incompleteness of the process. The narration sheds light on the background of the painting, on what History disregarded, on what was considered disposable or unimportant by the discourse of the dominator. It is thinking through differences and from the cracks of what was enunciated by the authority. It is thinking from accidents and ghosts.I propose the integration of the result of film montage experience in the general organization of the thesis, so that the chapters can vary between the two supports, text and film, being organized according to what the material itself indicates.
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Walker Moir-McClean, Tracey. "The Imaginative Space of Narrative." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.7.

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Narrative imagination creates a space of learning where contemporary and historic knowledge of designed place merge. This paperdiscusses how an instructor’s curation and narration of archival material can provoke design-students to imagine narratives and actively visualize processes humans use to construct, inhabit and adjust comfort in place. The concept of narrative imagination presented in this paper is informed by traditional narrative as Marie-Laure Ryan defines it her 2005 article, Narrative and the Split Condition of Digital Textuality: (The traditionalist school) “conceives narrative as an invariant core of meaning, a core that distinguishes narrative from other types of discourse, and gives it a trans-cultural, trans-historical, and trans-medial identity.”1 The work of Gerard Genette, Levi-Strauss, Roland Barthes, Jacques Derrida, Monica Fludernik, John Fiske, James Phelan, Henry Jenkins and others is also influential.2
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Niehaus, James, and R. Michael Young. "A method for generating narrative discourse to prompt inferences." In the Intelligent Narrative Technologies III Workshop. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1822309.1822316.

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Mani, Inderjeet, and James Pustejovsky. "Temporal discourse models for narrative structure." In the 2004 ACL Workshop. Morristown, NJ, USA: Association for Computational Linguistics, 2004. http://dx.doi.org/10.3115/1608938.1608946.

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Ovodova, Svetlana. "Representation of Cultural Traumas in Contemporary Public Discourse: “New Frankness” of Meta-Modernism." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-04.

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The prerequisites for this study are criticism of postmodernism by theorists and philosophers of culture, and the actualisation of metamodernism as one of the most popular theories of postmodernism. The relevance of the study is determined by the appearance of a ‘new sensitivity’ having arisen from geopolitical events of the 2000s. Metamodernism theory authors declare the new structure of sensation to be different from the dominants of postmodernism and modernism. The article describes the transformation of the representation of cultural traumas in public discourse with the consideration of ideas of metamodernism and a new frankness. The article covers the methodological capabilities for using postmodernism and metamodernism discourses for analysing the principles of representation of cultural trauma within public discourse. Distinguishing features of new frankness are highlighted. Immortal Regiment action is analysed as an example of actualisation of personal experience and family history in public discourse. The concept of ‘new frankness’ increases the role and significance of the witness. The examples of works of contemporary mass culture and media resources are used to trace the actualisation of the witness’s narrative of cultural trauma. Warmth, depth, and affect, characteristic of metamodernism, actualise the demand for plausibility and personal experience of an event. An indirect effect of these hypotheses consists in that narratives on cultural trauma are multivariate as manifested in criticism of the conventional image of a historic event. Re-evaluating historical events from different points of view triggers mechanisms of latent trauma, potentially making almost any historical event a cultural trauma. The study resulted in the revelation of accentuation of sensitivity in narratives of cultural traumas, as opposed to manners prevailing in modernism and postmodernism discourses, i.e. practices of stigmatisation, suppression, and the commodification of cultural traumas.
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Kushneruk, Svetlana. "ECOLOGICAL DISCOURSE REALIZED IN THE NARRATIVE AND MEDIA TYPES OF DISCOURSE." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s14.081.

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Aldawsari, Mohammed, and Mark Finlayson. "Detecting Subevents using Discourse and Narrative Features." In Proceedings of the 57th Annual Meeting of the Association for Computational Linguistics. Stroudsburg, PA, USA: Association for Computational Linguistics, 2019. http://dx.doi.org/10.18653/v1/p19-1471.

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Winer, David, and R. Michael Young. "Discourse-Driven Narrative Generation With Bipartite Planning." In Proceedings of the 9th International Natural Language Generation conference. Stroudsburg, PA, USA: Association for Computational Linguistics, 2016. http://dx.doi.org/10.18653/v1/w16-6602.

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Reports on the topic "Discours narratif"

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Dunne, Neil, Greta Cattabriga, and Nathan O’Néill. Narrating Homeownership: Media Discourse and Lived Experiences of Mortgaged Homeownership in Sweden. Malmö University, 2023. http://dx.doi.org/10.24834/isbn.9789178773497.

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In the housing literature, Sweden is often portrayed as a so-called “cost-rental” society associated with tenure neutrality, where rental housing should be an attractive alternative – and not just a step in the way – to homeownership. A large and well-developed rental sector has traditionally made it possible for young adults to leave their family home at a relatively young age. However, this logic has been clearly disrupted as rental housing has become harder to access and homeownership has been favoured by incremental ideological political shifts and fiscal policy encouraging homeownership. As more households – also young ones – are steered into homeownership, Sweden has become one of the most mortgage-indebted nations in the OECD. This working paper on homeownership and mortgagization takes on the question of mortgaged indebtedness in discourse and practice. The working paper is the joint product of two different studies written as part of the research internship in the project “Financialisation of everyday life. Intersectional perspectives on housing and labor precarity” at Malmö university, led by Chiara Valli. In the first section, Neil Dunne presents a discourse analysis on how homeownership has been discussed in the largest newspapers in Sweden over the last decades, while Greta Cattabriga and Nathan O’Néill in the second section discuss perceptions and lived experiences of mortgaged homeownership on the basis of interviews with young adults. Put together, the two studies contribute with significant additions to the discussion about whether Sweden is moving towards a homeownership society and what the potential consequences are for young adults.
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Imbrie, Andrew, Rebecca Gelles, James Dunham, and Catherine Aiken. Contending Frames: Evaluating Rhetorical Dynamics in AI. Center for Security and Emerging Technology, May 2021. http://dx.doi.org/10.51593/20210010.

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The narrative of an artificial intelligence “arms race” among the great powers has become shorthand to describe evolving dynamics in the field. Narratives about AI matter because they reflect and shape public perceptions of the technology. In this issue brief, the second in a series examining rhetorical frames in AI, the authors compare four narrative frames that are prominent in public discourse: AI Competition, Killer Robots, Economic Gold Rush and World Without Work.
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Yatsymirska, Mariya. MODERN MEDIA TEXT: POLITICAL NARRATIVES, MEANINGS AND SENSES, EMOTIONAL MARKERS. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11411.

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The article examines modern media texts in the field of political journalism; the role of information narratives and emotional markers in media doctrine is clarified; verbal expression of rational meanings in the articles of famous Ukrainian analysts is shown. Popular theories of emotions in the process of cognition are considered, their relationship with the author’s personality, reader psychology and gonzo journalism is shown. Since the media text, in contrast to the text, is a product of social communication, the main narrative is information with the intention of influencing public opinion. Media text implies the presence of the author as a creator of meanings. In addition, media texts have universal features: word, sound, visuality (stills, photos, videos). They are traditionally divided into radio, TV, newspaper and Internet texts. The concepts of multimedia and hypertext are related to online texts. Web combinations, especially in political journalism, have intensified the interactive branching of nonlinear texts that cannot be published in traditional media. The Internet as a medium has created the conditions for the exchange of ideas in the most emotional way. Hence Gonzo’s interest in journalism, which expresses impressions of certain events in words and epithets, regardless of their stylistic affiliation. There are many such examples on social media in connection with the events surrounding the Wagnerians, the Poroshenko case, Russia’s new aggression against Ukraine, and others. Thus, the study of new features of media text in the context of modern political narratives and emotional markers is important in media research. The article focuses review of etymology, origin and features of using lexemes “cмисл (meaning)” and “сенс (sense)” in linguistic practice of Ukrainians results in the development of meanings and functional stylistic coloring in the usage of these units. Lexemes “cмисл (meaning)” and “сенс (sense)” are used as synonyms, but there are specific fields of meanings where they cannot be interchanged: lexeme “сенс (sense)” should be used when it comes to reasonable grounds for something, lexeme “cмисл (meaning)” should be used when it comes to notion, concept, understanding. Modern political texts are most prominent in genres such as interviews with politicians, political commentaries, analytical articles by media experts and journalists, political reviews, political portraits, political talk shows, and conversations about recent events, accompanied by effective emotional narratives. Etymologically, the concept of “narrative” is associated with the Latin adjective “gnarus” – expert. Speakers, philosophers, and literary critics considered narrative an “example of the human mind.” In modern media texts it is not only “story”, “explanation”, “message techniques”, “chronological reproduction of events”, but first of all the semantic load and what subjective meanings the author voices; it is a process of logical presentation of arguments (narration). The highly professional narrator uses narration as a “method of organizing discourse” around facts and impressions, impresses with his political erudition, extraordinary intelligence and creativity. Some of the above theses are reflected in the following illustrations from the Ukrainian media: “Culture outside politics” – a pro-Russian narrative…” (MP Gabibullayeva); “The next will be Russia – in the post-Soviet space is the Arab Spring…” (journalist Vitaly Portnikov); “In Russia, only the collapse of Ukraine will be perceived as success” (Pavel Klimkin); “Our army is fighting, hiding from the leadership” (Yuri Butusov).
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Bulent, Kenes. The Philippines: From ‘People Power’ to Democratic Backsliding. European Center for Populism Studies (ECPS), June 2023. http://dx.doi.org/10.55271/br0014.

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In his recently released book, scholar Mark R. Thompson underscores how the “people power” narrative gradually lost credibility in the Philippines, as evidenced by the opposition’s resounding defeat in the 2022 elections. This outcome demonstrated the diminishing appeal of this discourse among the majority of Filipinos. Given Thompson’s assessment of Duterte’s election and his populist legacy as the latest iteration of a cyclical pattern in Philippine politics, his book represents a valuable contribution to the literature on populism.
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Alonso-Robisco, Andres, and Jose Manuel Carbo. Analysis of CBDC Narrative OF Central Banks using Large Language Models. Madrid: Banco de España, August 2023. http://dx.doi.org/10.53479/33412.

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Central banks are increasingly using verbal communication for policymaking, focusing not only on traditional monetary policy, but also on a broad set of topics. One such topic is central bank digital currency (CBDC), which is attracting attention from the international community. The complex nature of this project means that it must be carefully designed to avoid unintended consequences, such as financial instability. We propose the use of different Natural Language Processing (NLP) techniques to better understand central banks’ stance towards CBDC, analyzing a set of central bank discourses from 2016 to 2022. We do this using traditional techniques, such as dictionary-based methods, and two large language models (LLMs), namely Bert and ChatGPT, concluding that LLMs better reflect the stance identified by human experts. In particular, we observe that ChatGPT exhibits a higher degree of alignment because it can capture subtler information than BERT. Our study suggests that LLMs are an effective tool to improve sentiment measurements for policy-specific texts, though they are not infallible and may be subject to new risks, like higher sensitivity to the length of texts, and prompt engineering.
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Benjaminsen, Tor A., Hanne Svarstad, and Iselin Shaw of Tordarroch. Recognising Recognition in Climate Justice. Institute of Development Studies (IDS), October 2021. http://dx.doi.org/10.19088/1968-2021.127.

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We argue that in order to achieve climate justice, recognition needs to be given more attention in climate research, discourse, and policies. Through the analysis of three examples, we identify formal and discursive recognition as central types of recognition in climate issues, and we show how powerful actors exercise their power in ways that cause climate injustice through formal and discursive misrecognition of poor and vulnerable groups. The three examples discussed are climate mitigation through forest conservation (REDD), the Great Green Wall project in Sahel, and the narrative about climate change as a contributing factor to the Syrian war.
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Morieson, Nicholas, and Ihsan Yilmaz. Is A New Anti-Western Civilizational Populism Emerging? The Turkish, Hungarian and Israeli Cases. European Center for Populism Studies (ECPS), April 2024. http://dx.doi.org/10.55271/pp0032.

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While it’s typical to associate right-wing populism in Western Europe with the narrative of Islam versus the Judeo-Christian West, there’s a nuanced and emerging form of civilisationalism that we term "anti-Western civilizational populism." This paper argues that anti-Western civilizational populism is present in the discourse of not only Turkish President Recep Tayyip Erdogan but also Hungarian Prime Minister Viktor Orbán and may be emerging in Israel under the leadership of Prime Minister Benjamin Netanyahu. The article finds two key features common to these three different expressions of anti-Western populism across three different religions: The blaming of ‘the West’ for domestic problems is often the result of poor domestic governance, and an accompanying authoritarian, anti-liberal turn justified by the necessity of protecting ‘the people’ from the ‘liberal’ Western powers and defending and/or rejuvenating ‘our’ civilization. As liberalism promotes global cosmopolitanism and religious diversity, non-liberal states perceive it as a threat to their sovereignty and traditional values. Consequently, they push back against Western cultural hegemony, potentially forming an anti-liberal, authoritarian discursive bloc.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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