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Journal articles on the topic 'Frame Tale'
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Mayer-Robin, Carmen. "Framed! Fact, Fiction, and Frame Tale in Adaptations of Zola’sThérèse Raquin." Romance Studies 28, no. 3 (2010): 158–68. http://dx.doi.org/10.1179/026399010x12731345679282.
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Ittensohn, Mark. "Fictionalising the Romantic Marketplace: Self-reflexivity in the Early-Nineteenth-Century Frame Tale." Victoriographies 7, no. 1 (2017): 25–41. http://dx.doi.org/10.3366/vic.2017.0256.
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The following paper presents the frame tale as a particular genre of early-nineteenth-century literature that openly negotiated the late Romantic period's displaced correspondence between imaginative production and the economic market. The frame tale is best described as a type of narrative fiction that consists of a frame story (such as a storytelling session) in which multiple sub-narratives in a network of reciprocal exchange are embedded. By discussing two frame tales by the Scottish author James Hogg, the following analysis will show how the resurgence of this particular genre in the early nineteenth century is indicative of Romantic literature's active interest in discussing the relations between literary and economic signification. In this reading, the frame tale emerges as a prime indicator of Romanticism's ghostly link between literature and the marketplace. In both The Queen's Wake (1813/1819) and the Three Perils of Man (1822), Hogg conjures intricate fictional spaces of reciprocity as mirrors of the print market in which these texts were themselves published. By means of a mise-en-abyme of narrative exchange, Hogg's frame tales bridge the gap between literature and economics in a way that illuminates both the economics of literature and the literariness of economy in the early nineteenth century.
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Marianne Kalinke. "Gibbons saga, an Exemplary Frame-Tale Narrative." Scandinavian Studies 90, no. 2 (2018): 265. http://dx.doi.org/10.5406/scanstud.90.2.0265.
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Sallis, Eva. "Sheherazade/Shahrazād: rereading the frame tale of the1001 Nights." Arabic & Middle Eastern Literature 1, no. 2 (1998): 153–67. http://dx.doi.org/10.1080/13666169808718200.
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Kelly, Theodore. "Signature Pedagogies -- A Cautionary Tale." Imagining SoTL 2, no. 1 (2022): 10–18. http://dx.doi.org/10.29173/isotl599.
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The idea that each discipline in higher education has its own unique "signature pedagogy" has gained popularity since Lee Shulman first proposed the idea in 2005. But can the focus on signature pedagogies in SOTL work be a problem as well as a benefit? This essay explores both the history of signature pedagogies and the possible downside of the use of this concept to frame SOTL research and teaching informed by SOTL.
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Gavel, Melody J., R. Timothy Patterson, Nawaf A. Nasser, et al. "What killed Frame Lake? A precautionary tale for urban planners." PeerJ 6 (June 14, 2018): e4850. http://dx.doi.org/10.7717/peerj.4850.
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Frame Lake, located within the city of Yellowknife, Northwest Territories, Canada, has been identified as requiring significant remediation due to its steadily declining water quality and inability to support fish by the 1970s. Former gold mining operations and urbanization around the lake have been suspected as probable causes for the decline in water quality. While these land-use activities are well documented, little information is available regarding their impact on the lake itself. For this reason, Arcellinida, a group of shelled protozoans known to be reliable bioindicators of land-use change, were used to develop a hydroecological history of the lake. The purpose of this study was to use Arcellinida to: (1) document the contamination history of the lake, particularly related to arsenic (As) associated with aerial deposition from mine roaster stacks; (2) track the progress of water quality deterioration in Frame Lake related to mining, urbanization and other activities; and (3) identify any evidence of natural remediation within the lake. Arcellinida assemblages were assessed at 1-cm intervals through the upper 30 cm of a freeze core obtained from Frame Lake. The assemblages were statistically compared to geochemical and loss-on-ignition results from the core to document the contamination and degradation of conditions in the lake. The chronology of limnological changes recorded in the lake sediments were derived from 210Pb, 14C dating and known stratigraphic events. The progress of urbanization near the lake was tracked using aerial photography. Using Spearman correlations, the five most significant environmental variables impacting Arcellinida distribution were identified as minerogenics, organics, As, iron and mercury (p < 0.05; n = 30). Based on CONISS and ANOSIM analysis, three Arcellinida assemblages are identified. These include the Baseline Limnological Conditions Assemblage (BLCA), ranging from 17–30 cm and deposited in the early Holocene >7,000 years before present; the As Contamination Assemblage (ACA), ranging from 7–16 cm, deposited after ∼1962 when sedimentation began in the lake again following a long hiatus that spanned to the early Holocene; and the Eutrophication Assemblage (EA), ranging from 1–6 cm, comprised of sediments deposited after 1990 following the cessation of As and other metal contaminations. The EA developed in response to nutrient-rich waters entering the lake derived from the urbanization of the lake catchment and a reduction in lake circulation associated with the development at the lake outlet of a major road, later replaced by a causeway with rarely open sluiceways. The eutrophic condition currently charactering the lake—as evidenced by a population explosion of eutrophication indicator taxa Cucurbitella tricuspis—likely led to a massive increase in macrophyte growth and winter fish-kills. This ecological shift ultimately led to a system dominated by Hirudinea (leeches) and cessation of the lake as a recreational area.
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Tatsakovych, Uliana. "Frame Semantics and Translation of Intertextuality." Studies About Languages, no. 35 (December 5, 2019): 104–20. http://dx.doi.org/10.5755/j01.sal.0.35.24016.
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The article investigates intertextuality and its translation in the context of frame semantics and R. Schank’s dynamic memory theory. The study provides an overview of linguistic and psychological theories examining the role of frames and visualisation in conceptualising reality and discusses their application to the understanding and translation of intertextuality. The theory of dynamic memory is used to explain the nature of textual and intertextual frames and build visual models of their mappings. Based on the analysis of 70 examples of the translation of intertextuality (quotations and allusions) from M. Atwood’s novel The Handmaid’s Tale and its Ukrainian translation, six translation techniques are identified. They are outlined on the basis of the transference of linguistic elements and the conceptual information activated by them (frame mappings, mental images). The examples are compared in terms of cognitive equivalence, which is also defined within the presented approach. The study generally adopts a broader view of intertextuality as a cognitive category and translation as a cognitive process to contribute to the development of cognitive poetics and cognitive translatology.
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Matsyshyna, Iryna. "SEARCH OF JUSTICE FRAME: FROM THE FAIRY TALE TO INSTITUTIONAL PRACTICES." European Political and Law Discourse 9, no. 5 (2022): 5–13. http://dx.doi.org/10.46340/eppd.2022.9.5.1.
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Yeremeieva, Natalia. "THE INVESTIGATION OF THE CONCEPTUAL SPACE OF THE ENGLISH FOLK FAIRY TALE BY MEANS OF THE CONCEPTUAL ANALYSIS." English and American Studies 1, no. 17 (2020): 23–28. http://dx.doi.org/10.15421/382004.
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This article is devoted to the systematic investigation of the conceptual space of the English folk fairy tales. This space was considered as a holistic prototypical entity made by theconceptual fields of the English folk fairy tale characters. The latter has been analyzed with regard to their general types and their typical encarnations in the English folk fairy tale. The conceptual field of a character was structured as a frame including attributive, functional, causative and resultative zones. It was established that each zone is represented by a number of definite concepts which can be regarded as more or less typical for the English folk fairy tales. Within the general conceptual model of the English folk fairy tale we identified the central schema and its transformations. Special attention was paid to the conceptual model space-andtime, to the role of sacred numbers in English folk fairy-tale semantics and to the description symbolic images which can be related to the archetypes of the unconscious investigated by K. Yung. The archetypes are considered to be the basis of the conceptual model of the English folk fairy tales.
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Demren, Özlem, Bahar Köse Karaca, and Çağdaş Demren. "Evaluation of the role of lie in daily life and Turkish tale type Keloğlan/The Bald-boy in the frame of Other-directedness schema domain." Journal of Human Sciences 17, no. 4 (2020): 967–73. http://dx.doi.org/10.14687/jhs.v17i4.6065.
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Tales as an oral narratives gives us some ideas about the perceptions and attitudes of the people in a society. In this paper, we try to get your attention to the Keloğlan as a Turkish tale type who gives us some ideas about the psychological motivations and perceptions in Turkish culture. The Turkish tale hero Keloğlan is a timeless/fitting all-time character who gives clues for today with his personality from past narratives to the present. In fact, fairy tales set boundaries and offer acceptable models. Actually Keloğlan isn’t really an ideal type but at the end of the tales, we come across with him as a type of winner. He always behaves against obstacles and inequity and he returns an ideal type. Lie is seen as a sympathetic trick in the Keloğlan tales. Keloğlan's lies and tricks are ignored by the society to the extent that he opposes injustice. Based on the Schema theory, we can say that the “other-directedness” schema domain is used in the tales of Keloğlan frequently, but in a way, related with lie. Keloğlan uses lie or manupilation for the reason of “approval seeking”, but as a way of defence against to the “self-subjugation” and “self-sacrifice”. In a sense, Keloğlan, as a Turkish tale type, shows us another aspect of society's approval mechanism.
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García, Adrián M. "Author-ity and the Frame Tale in Leonardo Padura’s Las cuatro estaciones." Hispanófila 188, no. 1 (2020): 83–98. http://dx.doi.org/10.1353/hsf.2020.0019.
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Castelli, Alberto. "CHINESE LITERARY AVANT-GARDE: A TALE OF MAGIC." Folia linguistica et litteraria XII, no. 34 (2021): 7–24. http://dx.doi.org/10.31902/fll.34.2021.1.
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Chinese Avant-garde stands as a literary avalanche at the economic dawning of the Reform Era. The shaping of postmodern texts depoliticized, and fragmented, is somewhere along the line the ontological transaction to a post-ideology literature where the permanent struggle is not anymore between classes, but within the frame of personal identities. The narrative moves from socialist realism to experimental writing, from realism to abstract expressionism, forging a literary paradigm alternative to the dominant one. In this sense, Chinese Avant-garde stands as the narrative re-enchantment of Chinese fiction.
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Mikhailova, Tatyana A. "“Old Irish Saga”: In Search of a Definition." Critique and Semiotics 10, no. 2 (2022): 174–94. http://dx.doi.org/10.25205/2307-1737-2022-2-174-194.
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Using the term saga in Russian and European criticism is studied. The term denotes Old Irish epic tales. The relation between oral and written narrative traditions is described. Under investigation is the semantic content of the Russian term with the following: 1. the English (saga) and the German (die Sage) scholarly texts describing the same denotates 2. the Icelandic notion saga having a much wider semantic field in the original tradition (though not in mediaeval studies) 3. the semantic field of the original term scél having tale or story as one of its meanings. The work also states the recursive semantic shift tale, story → an event worthy of making a tale of, a piece of news. The shift is also evident in the semantic evolution of the Russian term istoriya. The conclusion points out the relativity of the frame of the term saga as a mediaeval literature’s genre and the necessity to appeal to a scholar’s intuition.
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Blackburn, Stuart H. "Domesticating the Cosmos: History and Structure in a Folktale from India." Journal of Asian Studies 45, no. 3 (1986): 527–43. http://dx.doi.org/10.2307/2056529.
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A folktale about two sisters who make a wager on the color of a white horse has been told in India for at least three thousand years; it is recorded in the oldest Vedic texts, and it is still sung today in a Tamil oral tradition. A survey of this historical depth shows that the major variants of the tale reflect developments in Hindu religious thought. But more interesting is the relation between the embedded folktale and its frame text in classical mythology. In each case, the tale echoes the themes of the frame text but reorients them, bringing the cosmic concerns of gods and demons within the compass of human kinship, within the home, even the bedroom. These observations lead to a discussion of general relations between folklore and classical traditions in India.
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OUYANG, WEN-CHIN. "Metamorphoses of Scheherazade in literature and film." Bulletin of the School of Oriental and African Studies 66, no. 3 (2003): 402–18. http://dx.doi.org/10.1017/s0041977x03000284.
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This article traces the metamorphoses of Scheherazade, the heroine of The Thousand and One Nights' frame-tale, in modern fiction and film. It examines these metamorphoses in the context of a discussion of the function of narrative across cultures and disciplines. It looks more particularly at the role of genre ideologies—paradigms of knowledge implicit in generic expectations, ideologies external to genre, and subjectivities in narrative transformation—in transforming the story as it travels in time and across media of expression and cultures. Analysis of the Nights frame-tale, the story of Scheherazade, and its transformations, is further informed by an interrogation of the process of reading ‘texts’ critically. Do genre, ideology and subjectivity inform our readings of ‘texts’? In what ways do paradigms of knowledge perceived as inherent in these categories in turn affect our understanding of story and narrative?
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Yeremeieva, N. F. "PECULIARITIES OF ENGLISH FAIRY TALE SEMANTIC STRUCTURE." English and American Studies 1, no. 16 (2019): 137–43. http://dx.doi.org/10.15421/381919.
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The article deals with semantics of English folk fairytales. Conceptual analysis is considered to be a new approach to the learning of folk fairytales. This analysis is performed in terms of cognitive linguistics which deals with structures of knowledge representation, which form language signs and speech patterns. The purpose of the investigation is to identify the patterns of structuring of mental representations which form conceptual (psychological) space of folk fairytale texts. They are considered to be the main prerequisite for both the folk fairytale formation and its understanding. While investigating the folk fairytale texts we have used the frame approach for modeling the conceptual space of a folk fairytale as a sign which is characterized by certain semantics .Our investigation develops Propp’s ideas and is connected with conceptual (cognitive) semantics Nowadays formal apparatus for modeling verbalized knowledge is developed within this field of science.
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Ipp, Hazel. "The Tale of Jeffrey and Drum: Playing With the Frame in a New Key." Psychoanalysis, Self and Context 15, no. 2 (2020): 133–40. http://dx.doi.org/10.1080/24720038.2020.1733578.
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Burgers, Christian, Melanie Jong Tjien Fa, and Anneke de Graaf. "A tale of two swamps: Transformations of a metaphorical frame in online partisan media." Journal of Pragmatics 141 (February 2019): 57–66. http://dx.doi.org/10.1016/j.pragma.2018.12.018.
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Larkin Koushki, Alison. "Engaging English Learners Through Literature, Fairy Tales, and Drama." International Journal of Applied Linguistics and English Literature 8, no. 2 (2019): 138. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.2p.138.
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Use of literature in the English language classroom deepens student engagement, and fairy tales add magic to the mix. This article details the benefits of engaging English learners in literature and fairy tales, and explores how drama can be enlisted to further mine their riches. An educator’s case studies of language teaching through literature and drama projects are described, and the research question driving them highlighted: What is the impact of dramatizing literature on students’ engagement in novels and second language acquisition? Research on the effects of literature, drama, and the fairy tale genre on second language education is reviewed. Reading and acting out literature and fairy tales hones all four language skills while also enhancing the Seven Cs life skills: communication, creativity, critical thinking, collaboration, commitment, compromise, and confidence. Adding the frame of project-based learning to the instructional strengths of literature and drama forms a strong pedagogical triangle for second language learning. Fairy tales are easily enacted. English educators and learners can download free fairy tale scripts and spice them with creative twists of their own creation or adapted from film and cartoon versions. Providing maximum student engagement, tales can be portrayed with minimum preparation. Using a few simple props and a short script, English learners can dramatize The Three Bears, Little Red Riding Hood, Cinderella, or Snow White in class with little practice. Engagement increases when teams act out tales on stage for an audience of family, friends, classmates, and educators. In fairy tale enactment projects, whether in class or on stage, students apply their multiple intelligences when choosing team roles: script-writing, acting, backstage, costumes, make-up, sound and lights, reporter, advertising, usher, writer’s corner, or stage managing. The article concludes with a list of engaging language activities for use with fairy tales, and a summary of the benefits of fairy tale enactments for English learners.
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Colacurcio, Michael. "The Teller and the Tale: A Note on Hawthorne's Narrators." Nathaniel Hawthorne Review 45, no. 2 (2019): 99–129. http://dx.doi.org/10.5325/nathhawtrevi.45.2.0099.
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ABSTRACT This essay conducts close investigations into the matter of the “tellers” of Nathaniel Hawthorne's tales, beginning with a look at the abortive “Story-Teller” collection with its lost narrative frame, and proceeding through Twice-told Tales and stories of the Old Manse period to the novels. Concentrating especially on some of Hawthorne's most famous unsteady, unstable, or inadequate narrators—like those in “The Birth-mark,” “The Artist of the Beautiful,” “Rappaccini's Daughter,” and “Main-street”—the author poses the questions: whom or what should one trust, when reading Hawthorne's works, and where is the author in all this?
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Horta, Paulo Lemos. "Tales of Dreaming Men." Journal of World Literature 2, no. 3 (2017): 276–96. http://dx.doi.org/10.1163/24056480-00203001.
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From the nineteenth century to the present, scholars and writers have perceived strong parallels between the 1001 Nights and early modern European literary works. The 1001 Nights tale of “The Sleeper and the Waker,” has been seen as a source for the frame of Shakespeare’s The Taming of the Shrew (1595). Other scholars are skeptical of the ease with which such analogues are postulated from the vantage point of Weltliteratur, and frequently point to the missing links in speculative chains of transmission. This article examines a variant tale of “The Sleeper and the Waker,” found in a Tunisian manuscript of A Hundred and One Nights, to show that divergences between Shakespeare’s Christopher Sly and Abu al-Hasan in “The Sleeper and the Waker” reflect distinctive characteristics of the 1001 Nights story collection. Such manuscript discoveries allow scholars to probe the parallels between these tales and the literatures of early modern Europe.
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Leskovar, Darja Mazi. "Temporal Intertwining in a Slovenian Narrative." Papers in Arts and Humanities 2, no. 1 (2022): 111–26. http://dx.doi.org/10.52885/pah.v2i1.99.
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This article, based on the assumption that narrativity and temporality are closely related, explores the Chronotope of the Slovenian historical tale Martin Krpan z Vrha (1858) by Fran Levstik. It focuses on the narrative time as presented by the epic story, as well as on the time frame in which this narrative was published. According to the assertion that literary time and place are intrinsicallysss connected, the time-line of this epic text is viewed as a constituent part of the setting and therefore the geographical location is also highlighted. The analysis of the story-line reveals that the tale, presenting three time frames clearly separated by centuries, when viewed from a historical perspective, displays cohesion and credibility despite the intermingling of two temporal settings. It is significant that the story was published in the aftermath of the Spring of nations (1848) in which Slovenians demonstrated the increasing awareness of their ethnic identity. Since scrutiny of the author’s biography reveals that this text was heavily influenced by the time-related issues, my premise is that the narrative time, viewed in the network of connections, can best be elucidated by the concepts of Chronos and Kairos. They can foreground the relationship between the narrative period of this tale, the date of its publication and even highlight the specificity of the time when the protagonist of this tale became the best known Slovenian national hero.
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Guibas, George V., Michael Makris, Catherine Chliva, Stamatios Gregoriou, and Dimitris Rigopoulos. "Atopic Dermatitis, food allergy and dietary interventions. A tale of controversy." Anais Brasileiros de Dermatologia 88, no. 5 (2013): 839–41. http://dx.doi.org/10.1590/abd1806-4841.20132072.
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Atopic Dermatitis has long been a controversial entity in regard its relationship to food allergy. Indeed, inter-discipline disparity in the way dermatologists and allergologists perceive the food allergy/atopic dermatitis interplay, hampers the design of concise therapeutic strategies and conveys conflicting messages to the patients. Within this conceptual frame, food exclusion regimes are rendered a contentious option. On the basis of this acknowledgment, we opted to put the emphasis on the discrepant perceptions surrounding such therapeutic regimes and to share our view pertaining to their appropriate implementation.
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Burawoy, Michael. "A Tale of Two Marxisms: Remembering Erik Olin Wright (1947–2019)." Politics & Society 48, no. 4 (2020): 467–94. http://dx.doi.org/10.1177/0032329220966075.
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Intended to capture the entangled history of Marxism, Alvin Gouldner’s two Marxisms also frame the intellectual biography of Erik Olin Wright. In the 1970s Wright’s Scientific and Critical Marxisms were joined, but later they came apart as each developed its own autonomous trajectory. Erik’s Scientific Marxism was the program of class analysis that first brought him international fame. Begun in graduate school, it tailed off in the last two decades of his life, when it played second fiddle to the Critical Marxism of the Real Utopias Project that Erik began in the early 1990s.
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Nayebpour, Karam. "Narrativity in The Thousand and One Nights." Advances in Language and Literary Studies 8, no. 4 (2017): 85. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.85.
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Scheherazade’s art of storytelling is the main vehicle for the fictional worldmaking in The Thousand and One Nights. The overall structure of the folktale narrative depends on the tales she recounts to King Shahriyar, and it is through these tales that she finally is able to change his mind. The richness of the narrative qualities, properties, and techniques in The Thousand and One Nights has attracted narrative scholars and narratologists for a long time. Besides applying the frame narrative as a basic narrative technique for storytelling practices, Scheherazade’s tales include many other narrative aspects, including narrativity-affecting features. Narrativity generally refers to the qualities and features that cause a narrative to be accepted or evaluated as a (prototype) narrative. This paper argues that Scheherazade’s first tale for the king Shahryar, “The Tale of the Merchant and the Ifrit,” includes some narrativity-affecting features which have the potential to inspire its narratee’s, Shahryar’s, emotional and cognitive responses, and hence facilitate his transportation into the storyworld. By capturing his interest with her art of storytelling, Scheherazade is able to avert the king’s heinous crime against herself.
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Glassie, Alison. "Ruth Ozeki's Floating World: A Tale for the Time Being's Spiritual Oceanography." Novel 53, no. 3 (2020): 452–71. http://dx.doi.org/10.1215/00295132-8624642.
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Abstract This essay explores the intertwined oceanographic and spiritual imaginations structuring Ruth Ozeki's novel A Tale for the Time Being, which she rewrote in the aftermath of the Tohoku earthquake and tsunami. A Tale for the Time Being's new, metafictional frame story dramatizes a citizen-science response to marine debris and theorizes marine science as a mode of witnessing and a mode of reading. Furthermore, by bringing her depictions of marine science into conversation with the Zen Buddhist practice of not-knowing, Ozeki meditates upon the idea that attempts to know or understand necessarily mean coexisting with what cannot be known, discovered, or recovered.
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Szargot, Maciej. "Baśnie w Starej baśni Józefa Ignacego Kraszewskiego." Z Teorii i Praktyki Dydaktycznej Języka Polskiego 28 (December 29, 2019): 9–21. http://dx.doi.org/10.31261/tpdjp.2019.28.01.
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The author attempts to interpret the best known work of Józef Ignacy Kraszewski, which, although created outside the chronological boundaries of Romanticism, grew out of the ideas and needs of that epoch. The aim of the article is to analyse the genre pattern of An Ancient Tale and to indicate various references to Hindu mythology. The work under discussion combines features of a fairy tale, a historical (archaeological) novel, an epic, a syncretic romantic novel and a legend. The Eastern tradition can be traced not only in the frame story, but also in the names of deities and beliefs.
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Vale, Brenda, and Robert Vale. "Gropius and the Teddy Bear: a tale of two factories." Architectural Research Quarterly 20, no. 4 (2016): 345–56. http://dx.doi.org/10.1017/s1359135516000518.
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The architecturally radical Steiff teddy bear factory in Giengen, Germany is a three storey, double skin glass curtain wall building with a steel frame, built in 1903. It is almost unknown in architectural history. On the other hand the loadbearing brick Fagus factory built in 1911 to a design by Gropius and Meyer, in spite of its nineteenth century technology, has become a hallowed icon of modern architecture and a UNESCO World Heritage site. The article discusses the contested history of both buildings and offers some suggestions as to why one became famous and the other did not. It also discusses the equally contested history of the teddy bear, showing that in both cases, history tends to ignore facts in favour of good stories.
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Jamison, Anne. "Female Development and Fairy Tale Transformations in Frances Browne’s Granny’s Wonderful Chair, and its Tales of Fairy Times (1856)." Irish University Review 52, no. 2 (2022): 234–49. http://dx.doi.org/10.3366/iur.2022.0565.
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Focusing on the changing publishing trends in children’s Irish and British fiction in the mid-nineteenth century, this essay examines Frances Browne’s popular fairy-tale collection, Granny’s Wonderful Chair, and its Tales of Fairy Times (1856), as part of a wider turn towards fantasy and fairy tale in the period. For Browne and others, the appeal of the genre lies in its ability to both entertain children, as well as instruct them in moral and social principles. As this essay aims to demonstrate, however, Browne’s text forges a significant challenge to conventional gendered patterns of social behaviour for women and imagines alternative life pathways for its young female readership as part of its didactic function. By focusing on the girl protagonist of the collection’s frame story, and her journey of maturation and acculturation, this essay finally reads Browne’s text not only for its transgressive subtext on gender conventions, but also for its implied critique of the power hierarchies that uphold the patriarchal order at the heart of these gendered social principles.
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Bentum, Samuel Ato. "Framing the Problematics of Choice and Legacy: A Reading of August Wilson’s The Piano Lesson as a Dilemma Tale." Journal of Black Studies 53, no. 1 (2021): 76–91. http://dx.doi.org/10.1177/00219347211055331.
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The choice for a particular narrative architecture has been a major concern for the literary writer and to the African American literary writer, the use of African oral literary elements has been a resourceful option. The present study hypothesizes that August Wilson uses the dilemma tale as a narrative architecture in his The Piano Lesson play and argues that this narrative style helps Wilson to frame the dialogic surrounding what legacy is to the African American. The study reveals that tradition is problematic for the African American to conceive. The conclusion is that the dilemma tale type as a narrative style helps to understand that tradition or, legacy is a complex phenomenon for the African American to fathom.
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Treftz, Jill Marie. "TENNYSON'STHE PRINCESSAND THE CULTURE OF COLLECTION." Victorian Literature and Culture 44, no. 2 (2016): 239–63. http://dx.doi.org/10.1017/s1060150315000601.
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The Princess(1847), whichTennyson himself famously dismissed as “only a medley” (qtd. in Hallam Tennyson 2.71), presents itself as a cacophonous tangle of poetic experimentation and narrative diversity. Even the frame narrative ofThe Princess, which ostensibly provides a rationale for the tonal discontinuities of the fantastic tale of gender, education, and sexual dominance that comprises its internal story, creates further confusion by establishing seven largely unidentifiable narrators, an unclear number of intercalary singers, and a poet-speaker whose supposed efforts to compile and record the tale end not in a cohesive narrative, but in a text that moves “as in a strange diagonal” between burlesque and heroic, comic and tragic, narrative and lyric (Conclusion 27).
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Bayhan, Beyhan, and Polat Gülkan. "Buildings Subjected to Recurring Earthquakes: A Tale of Three Cities." Earthquake Spectra 27, no. 3 (2011): 635–59. http://dx.doi.org/10.1193/1.3607987.
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Three different buildings built according to the same design have experienced three different near-field strong ground motions over a period of 11 years in three different cities in Turkey. The input motion was known for each because strong-motion sensors were located adjacent or close to the buildings. We examine the performance of the five-story, reinforced concrete-frame buildings. Bidirectional nonlinear time history and nonlinear static analyses on 3-D analytical models are performed. The principal focus is to assess whether the analytical model of the buildings could indicate column-beam damage consistent with that observed at the sites after the earthquakes. Results illustrate that nonlinear time history analyses are capable of indicating the occurrence of shear failure in captive columns; however, they overestimate the global damage. The overestimation is greater where the building sustained a pulse-type motion without significant distress. It appears that difference between visual observations and analytical results persists.
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Ittensohn, Mark. "“A Story Telling and a Story Reading Age”: Textuality and Sociability in the Romantic Frame Tale." Studies in Romanticism 55, no. 3 (2016): 393–415. http://dx.doi.org/10.1353/srm.2016.0016.
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Kapišovská, Veronika. "A Prince in the Body of a Parrot (Cuckoo)." Inner Asia 24, no. 2 (2022): 303–27. http://dx.doi.org/10.1163/22105018-02302031.
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Abstract The eighteenth-century Tibetan narrative The Tale of Moon Cuckoo and its subsequent adaptation as a Mongolian traditional opera was performed from the nineteenth century up to the early twentieth. The story is based on the motif of a prince who is tricked into entering the body of a cuckoo; later on, he is not able to regain his human form, stolen by his evil-minded companion. The narrative, along with its Mongolian-language versions and operatic adaptation, is a vivid example of Tibet-Mongolian literary transmission. The underlying motif of the tale is also closely linked to the so-called frame narratives of Indian origin concerning King Vikramāditya; the popularity of these narratives was very widespread in Central and Inner Asia in times past. This paper describes some of the literary contacts concerning the narrative and motifs of The Tale of Moon Cuckoo in Central and Inner Asia and beyond, with a view as well to cross-genre considerations.
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Hicks-Keeton, Jill. "Aseneth between Judaism and Christianity: Reframing the Debate." Journal for the Study of Judaism 49, no. 2 (2018): 189–222. http://dx.doi.org/10.1163/15700631-12492208.
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AbstractThe question of whether Joseph and Aseneth is “Jewish or Christian?” is the central frame in which the provenance of this tale has traditionally been sought. Yet, such a formulation assumes that “Judaism” and “Christianity” were distinct entities without overlap, when it is now widely acknowledged that they were not easily separable in antiquity for quite some time. I suggest that the question of whether Joseph and Aseneth is Jewish or gentile is more profitable for contextualizing Aseneth’s tale. This article offers fresh evidence for historicizing its origins in Judaism of Greco-Roman Egypt. Placing the narrative’s concerns for boundary-regulation alongside the discursive projects of other ancient writers (both Jewish and gentile Christian) who engaged the story of Joseph suggests that the author of Joseph and Aseneth was likely a participant in a Hellenistic Jewish interpretive tradition in Egypt that used Joseph’s tale as a platform for marking and maintaining boundaries.
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Goriaeva, L. V. "The story of the journey with Iblis of the Yemeni Sheikh Abdullah in the Malay "Tale of Merong Mahavangsa"." Orientalistica 5, no. 3 (2022): 676–98. http://dx.doi.org/10.31696/2618-7043-2022-5-3-676-698.
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The narration about the embracing of the Islamic Creed by non-Muslims is often an essential episode in many Malay chronicles. In the «Tale of Merong Mahavangsa» (Chronicles of the Kedah kingdom), this is a separate episode. This is a kind of "framed story", with dramatis personae such as Sheikh Abdullah Yemeni and his fellow traveller and antagonist Iblis, the chief of evil spirits. Before the Sheikh’s eyes, unfolds a series of episodes where the "enemy of mankind" demonstrates its power over man as well as his methods of seducing people from the true path. The climax of this plot is the rebellion of the sheikh, who no longer wants to see the devil tormenting his people, as well as the conversion to Islam of the Kedah ruler and all his subjects. The frame story of Sheikh Abdullah’s journey with Iblis and the mention of real existing characters: several generations of rulers of Kedah and Sheikh Nuruddin al-Raniri, Gujarati philosopher and writer, allows to date it to the mid-17th century.
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Parnes, Dror, and Srinivas Nippani. "The integration of mortgage and capital markets: a tale of two administrations." Journal of Financial Economic Policy 11, no. 3 (2019): 405–31. http://dx.doi.org/10.1108/jfep-09-2018-0130.
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Purpose This study aims to extend the literature by exploring the degrees of integration of both fixed and adjustable mortgage rates and diverse riskless (Treasury) and risky (corporate) interest rates in the capital markets from January 1, 2010, until November 7, 2018. This period is uniquely characterized by a sharp conversion on January 20, 2017, from enhanced financial regulation during the Obama administration to major deregulatory ambitions during the first 22 months of the Trump administration. Design/methodology/approach The authors use the augmented Dickey and Fuller and the Phillips and Perron unit root tests to examine time series stationarity and the Johansen cointegration rank and the Stock-Watson common trends tests to inspect various cointegrations and regressions of time series pairs to explore different effects. The authors deploy these techniques over the entire time frame, as well as for distinct sub-periods of similar length. Findings The authors conclude that a deregulatory setting favors cointegration between mortgage and non-corporate capital markets. However, an enriched regulatory environment supports cointegration between mortgage and corporate capital markets. In addition, the Dodd-Frank Wall Street Reform and Consumer protection Act from July 21, 2010, created a unique though short-term effect on the relationships between Treasury and corporate bonds and fixed-rate mortgages. Practical implications The journey contributes to the overall understanding of the interactions among US financial markets. They are considered efficient, competitive and fully developed if their prices quickly adjust to economic changes and regulatory transformations. Originality/value The authors study the degrees of integration of various conventional and adjustable mortgage rates and different fixed and floating interest rates in the US capital markets from January 1, 2010, until November 7, 2018. This recent time frame has yet to be examined in the economic literature. This period is also characterized by a sharp transformation on January 20, 2017, from enhanced financial regulation during the Obama administration to major deregulatory drives during the first 22 months of the Trump administration.
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Posner, Dassia N. "Baring the Frame: Meyerhold's Refraction of Gozzi's Love of Three Oranges." Theatre Survey 56, no. 3 (2015): 362–88. http://dx.doi.org/10.1017/s0040557415000307.
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In 1761, Count Carlo Gozzi created a “reflective analysis” of an Italian fairy tale about three oranges, framing his commedia dell'arte–infused scenario with a series of polemical attacks on his theatrical rivals. In 1914, Vsevelod Meyerhold and two collaborators, Konstantin Vogak and Vladimir Soloviev, published a reflective analysis of Gozzi's reflective analysis. This new Love of Three Oranges (Liubov k trem apel'sinam, translated as Love for Three Oranges), served as the source material for Sergei Prokofiev's opera (1919; Chicago world premiere, 1921). It is also one of the most illuminating, yet strangely understudied sources of information on how Meyerhold redefined the theatrical event, the creative process of the director, and the role of the actor in the years preceding the October Revolution. In particular, this Russian Three Oranges explores how a conscious relationship between actor and character in concert with framing devices that delineate levels of fiction can emphasize an experience peculiar to the theatre: regardless of style, audiences inevitably maintain both belief and disbelief in what they see and perceive theatrical performance as simultaneously real and not real.
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al-Musawi, Muhsin. "A Missing Link in a Thousand and One Nights Scholarship: A Narrative Grammar for the Frame Tale?" Journal of Arabic Literature 52, no. 1-2 (2021): 1–36. http://dx.doi.org/10.1163/1570064x-12341418.
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Abstract This article argues that scholarship has been missing the pre-Scheherazade dynamic scenes that set the stage for further action and narrative. These preludinal sites function as the stepping stone for action, a series of encounters that initiate and perpetuate instability and disequilibrium. It draws attention to the unnamed queens as prototypes for Scheherazade, the abducted bride, the three ladies of Baghdad, and many other women in unfolding varieties of rebellion or compromise. As there is little talk and more voyeurism in this prelude with its focus on the bedroom and garden scenes, readers and kings are spectators, and the spectacle unfolds as in cinematic close-ups. Hence, this significant turn to the spectacle contravenes common approaches to the frame tale as only an enveloping framework that accommodates an ongoing marvelous story-machine. Although cursorily passed on in scholarship, the bedroom and garden scenes offer us not only a powerful incitement for action, but also a sweeping challenge to authority which the named kings could hardly overcome. The discussion re-situates sites of trial and defiance in context of a flowing narrative. The article proposes therefore to come up with a narrative grammar that engages with current narratology.
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Pirníková, Tatiana. "Brundibár – A Children’s Opera: History and Present." Slovenske divadlo /The Slovak Theatre 65, no. 4 (2017): 402–15. http://dx.doi.org/10.1515/sd-2017-0024.
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Abstract The paper focuses on the opera Brundibár. The authorial couple – composer Hans Krasa and librettist Adolf Hoffmeister – wrote it in the period of growing interest of artists in pedagogical aspects of the works of art. The changed social climate, however, meant for the work an unplanned journey – during the Second World War it was performed inside the Terezin ghetto by its inhabitants. The human message of the fairy tale story has thus been elevated into a higher symbolic frame – a resistance against the arrogance of power and violence. Especially the post-war era followed this symbolism. The author of the paper contemplates the innovative interpretative levels whose ambition is to cross the traditional performance frame of the work and to find connections with problems of contemporary society.
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Ten, Van. "CHINESE CINDERELLAAND HER RUSSIAN “SISTERS” (COMPARATIVE ANALYSIS OF FAIRYTALES TYPE ATU 510A)." Philological Studies 19, no. 1 (2021): 144–63. http://dx.doi.org/10.17072/1857-6060-2021-19-1-144-163.
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The articlecompares the Chinese and Russian versions of fairy tales related to the plot type of ATU 510A “Cinderella”. The Chinese history of “Ye Xian”is known as part of a literary monument of the IX century; Russian texts having a folklore nature appeared much later, in the XIX century. Their comparison allows us toidentify common plot elements and culturally determined differences. In addition, the inclusion of a literary monument with oral origins in the corresponding typological series of folklore works reveals the range of “narrative perspectives”of the plot: the set of possible variations of narrative elements and their semantic possibilities becomes more obvious. The Chinese version of “Cinderella”has obvious genre features of a fairy tale: its main character is an orphan girl who is rewarded inthe end by marriage with the ruler, who found her by the shoe shelost.The plot of “Ye Xian”is a contamination with another plot type: in the first part of the fairy tale, the main character receives help from thebones of a magic animal (a large fish, which she tookcare of). At the same time, the narrative frame models the fairy tale as the life story of a particular girl who belonged to the Dong people. A peculiar violation of the narrative laws of a folk tale can be seen in the fact that after the wedding, the life of the main character is pushed to the periphery of the plot, and the events associated with her husband, the ruler of the island, are in the center. The Chinese version is also interesting because itincludes signs of a different genre –an etiological legend: the story of Ye Xian becomes an explanation of the local toponym and the revered object named by it (the legendary grave of a stepmother and her daughter, where people came to ask for a good bride).The appendix to the article includes the author'stranslation of the fairy tale “Ye Xian”from Chinese into Russian.
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Ghorbankarimi, Maryam. "Scheherazade in Istanbul: A study of the popular Turkish TV series Binbir Gece." Journal of Popular Television 9, no. 2 (2021): 163–78. http://dx.doi.org/10.1386/jptv_00047_1.
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One Thousand and One Nights is a composite, transnational work, consisting of popular stories originally transmitted orally within its embedded cultures and developed over several centuries. Ever since its translation into European languages in the nineteenth century, or perhaps even before, it has been adapted and appropriated into different forms and mediums and thus has reached different corners of the world. This project was inspired by the level of popularity of One Thousand and One Nights, often known as The Arabian Nights, in the world today. Although only a relatively small number of people might have read all the tales, we can safely assume that most people do have an idea of what the Nights are, whilst some could even name one or two films, series or cartoons that they think are based on the Nights. Indeed, only a very limited number of stories included in editions of the Nights have been adapted into films or TV series. There are two main characteristics of the Nights that help identify adaptations and adoptions in popular culture: embedded storytelling using a frame tale, and the ‘feminist’, emancipating heroine Scheherazade. The popular Turkish TV series Binbir Gece (One Thousand and One Nights) (2006‐09), which this article focuses on, not only makes use of these two popular features; it also offers a fresh and contemporary adaptation of the frame story of Shah Shahriyar and Scheherazade and elements from many other tales from the Nights, such as the emphasis on the importance of education for women, or the evil of cunning women. After analysing the degree of adaptation of the frame story in this series, this article sheds light on its global reach, reception and popularity.
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Patel, Akash M., and Dr K. B. Parikh. "Computation of ‘R’ Factor for SMRF and OMRF Frame Using Nonlinear Time History Analysis." International Journal for Research in Applied Science and Engineering Technology 10, no. 6 (2022): 381–84. http://dx.doi.org/10.22214/ijraset.2022.43708.
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Abstract: The building vulnerability to seismic hazards is higher in developing nations with high seismicity than in developed countries. This is primarily due to a scarcity of seismic design concepts that are suited for the kind of structural systems and procedures used in such areas. Many developing countries use the well-developed seismic design codes used in the United States (US) or Europe as R factors. These R factors are unjust because they give a skewed picture of the structural techniques applied in developing countries. As a result, true R factors for the diverse structural systems employed by these countries are urgently required. The R factor of reinforced concrete (RC) moment resistant frames (MRFs) in India was determined using nonlinear time history analysis (NLTHA). To investigate the effect of these parameters on R factor, a parametric study involving RC SMRF and OMRF frames with varying zone and dimensional properties was done. Parameters such as tale drift, displacement, and base shear will be derived from OMRF and SMRF frame studies, and the computed response reduction factor will be compared to IS1893From the analysis results it was found out that Over strength and Response modification factor is decreasing up to 25% as increasing the height of the building and is also decreasing up to 30% from Seismic Zone II to Zone V. Keywords: Response Reduction Factor, Ductility Factor, Redundancy Factor, Over Strength Factor, Damping Factor, NLTHA
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Frye, Katie Berry. "The Frame Story in Kate Chopin’s “A Lady of Bayou St. John” and “La Belle Zoraide”." Studies in the American Short Story 3, no. 1-2 (2022): 54–74. http://dx.doi.org/10.5325/studamershorstor.3.1-2.0054.
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ABSTRACT This essay explores the use of the frame structure in Kate Chopin’s “A Lady of Bayou St. John” and “La Belle Zoraiïde,” stories which feature the recurring characters of Madame Delisle and her slave, Manna-Loulou. When assessed independently, Zoraiïde’s story seems to be a cautionary tale about the psychological damages inflicted by racism, but in connection with “A Lady of Bayou St. John,” her tragedy becomes a means to the black narrator’s more pressing concern, her own security. This issue relates to the outer framework of Manna-Loulou and Delisle’s relationship, and it reveals a far more radical critique of Chopin’s slaveholding audience than has been suggested in previous scholarship.
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Urakova, Alexandra. ""The Purloined Letter" in the Gift Book: Reading Poe in a Contemporary Context." Nineteenth-Century Literature 64, no. 3 (2009): 323–46. http://dx.doi.org/10.1525/ncl.2009.64.3.323.
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The essay returns Edgar Allan Poe's "The Purloined Letter" to The Gift: A Christmas, New Year, and Birthday Present, 1845, the gift book in which it was originally published, in order to explore its relationship to its apparently arbitrary frame. Correspondences among Poe's tale and the ones that surround it in The Gift invite us to read "The Purloined Letter" in relation to the social economy of the gift book and against the background of what could be called its generic plot. While the mainstream stories reemphasize commercial strategy based on commodified seduction, I contend that "The Purloined Letter" provides us with a more complex model that both fulfills the reader's expectations and critiques the underlying ideology of "The Gift." I therefore show how Poe "purloins" the gift book's typical gender economy and how the homosocial eroticism of his tale bears on its famous twentieth-century readings.
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Slowik, Mary. "Telling ‘What Is’: Frame Narrative in Zbig Rybczynski’s Tango, Wendy Tilby and Amanda Forbis’s When the Day Breaks, and Yuri Norstein’s Tale of Tales." Animation 9, no. 3 (2014): 281–98. http://dx.doi.org/10.1177/1746847714545938.
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López-Rúa, Paula. "The Subjugation of Women through Lexical Innovation in Margaret Atwood’s The Handmaid’s Tale." Feminismo/s, no. 38 (July 13, 2021): 23. http://dx.doi.org/10.14198/fem.2021.38.02.
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Given the importance of novel formations in science and speculative fiction, the aim of this paper is to analyse a selection of morphosemantic and semantic neologisms that occur in the feminist dystopia The Handmaid’s Tale (1985), namely those items more closely connected with women’s lives. These items are gathered, classified and discussed by resorting to the tools provided by Morphology, Lexical Semantics, Onomastics and Women’s Studies. Therefore, the paper explores how new names for people (Econowives, Offred), activities (Particicution), artifacts (Birthmobile) and places (the Colonies) play a part in the linguistic task of female subjugation. It shows how in a fictional republic where gender roles and religious totalitarianism are taken to extremes, the forms and meanings of words are manipulated to enhance power relations and gender inequality, impose an orthodox frame of mind (comply with the system), and avoid uncomfortable truths. Neologisms provide a sense of authenticity in the narrative and show how language evolves to satisfy various needs, not only pragmatic, but also social, ideological and euphemistic.
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Ford, Thomas H. "Echohistoricism: Aristotle, Dryden, Montgomery, Conrad." Romanticism 24, no. 3 (2018): 278–93. http://dx.doi.org/10.3366/rom.2018.0387.
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The contingencies of military decisions and their outcomes have always shaped the course of literary history, determining even the languages in which it has been conducted. But modern literature takes a new bearing on its determinant military contingencies. This paper describes a modern literary scene that self-reflexively attributes to literature the potential to suspend these determining military events, and so to communicate the unactualised possibilities contained in past contingencies, even those that have been violently foreclosed. It is a scene of interested observers, adrift in a boat, who listen for the sounds of a distant naval battle. Having first located this scene's classical antecedents in Aristotle, I then track it through three pivotal and distinctively modern moments of literary self-periodization. In each instance, the scene is differently configured, articulating a specific conjuncture of war, textuality and literary self-definition. It appears in John Dryden as the setting of a modern critical dialogue on theatre, with James Montgomery as a Romantic definition of the poetry of sound in a lecture series on literature, and with Joseph Conrad as the narrative frame of a modernist tale within a tale. But the same scene re-echoes in all three – the scene of literary inscription as one in which, contingently, a war neither did nor did not take place, a battle was and was not fought.
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Mahiet, Damien. "The First Nutcracker, the Enchantment of International Relations, and the Franco-Russian Alliance." Dance Research 34, no. 2 (2016): 119–49. http://dx.doi.org/10.3366/drs.2016.0156.
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Despite the lively scholarly debate on the place of The Sleeping Beauty (1890) in the political and cultural history of the Franco-Russian alliance in the 1890s, the representation of international relations in the first production of The Nutcracker (1892) has so far received little attention. This representation includes the well-known series of character dances in the second act of the ballet, but also the use of French fashion from the revolutionary era to costume the party guests, the mechanical dolls, the toy soldiers, and even Prince Nutcracker. The fairy-tale world offered a frame that not only promoted the absolutist aspirations of Alexander III's regime, but also solved the symbolic challenge of a problematic alliance between republican France and tsarist Russia. The same visual repertoire informed diplomatic life: four years after The Nutcracker, in 1896, the décor for the state visit of Nicholas II and Alexandra Feodorovna in France duplicated that of the fairy-tale world on stage.
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SARACOGLU, Dr Semra. "A Comparative Analysis Of ‘The Snow Child’ By Angela Carter And ‘Yedi Cucesi Olmayan Bir Pamuk Prenses’(‘A Snow White Without Seven Dwarfs’) By Murathan Mungan." International Journal of Arts, Humanities & Social Science 03, no. 10 (2022): 37–42. http://dx.doi.org/10.56734/ijahss.v3n10a4.
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The aim of the present study is to make a comparative analysis of the transformation of the fairy tales in the stories of one English and one Turkish writer -Angela Carter and Murathan Mungan. The study restricts itself to one story by each writer: ‘The Snow Child’ by Angela Carter and ‘Yedi Cucesi Olmayan Bir Pamuk Prenses’ (‘A Snow White Without Seven Dwarfs’) by Murathan Mungan as the parodies of ‘The Snow White with Seven Dwarfs’. Both writers deconstruct the Grimm Tale to challenge the imposed patriarchal ideologies and gender roles, especially the women’s socially approved behaviour patterns in the patriarchal system and intentionally subvert them and their representations in their works using the same postmodern frame-breaking devices - parody, pastiche and intertextuality. Both aim to offer their readers insight on the archetypes and stereotypes of women and force them to confront the women’s entrapment within the male world regardless of geography. While undermining the familiar narrative, Carter prefers blurring the boundaries of the fairy tale genre with her use of fantasy, Gothic, pornography and folklore. She explores and problematizes the unquestionable topics such as female sexuality, violence against women. Mungan, on the other hand, inverts the perception and the representation of women rewarded for virtue and conformity to the patriarchal ideology. He critiques the negative sides of the present socio-cultural issues in a mocking way and promotes women to possess both feminine and masculine qualities and reclaim control over their social stance.