Relevant bibliographies by topics / Intradiegetic

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  1. Journal articles
  2. Dissertations / Theses
  3. Book chapters
  4. Conference papers

Academic literature on the topic 'Intradiegetic'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Intradiegetic"

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Zenkin, Sergey N. "ON THE POETICS OF INTRADIEGETIC IMAGES." Folklore: structure, typology, semiotics 2, no. 4 (2019): 72–83. http://dx.doi.org/10.28995/2658-5294-2019-2-4-72-83.

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Furoidah, Asri, and Alberta Natasia Adji. "BENTUK KOMUNIKASI TEKS PADA KUMPULAN CERPEN CORAT-CORET DI TOILET KARYA EKA KURNIAWAN." RETORIKA: Jurnal Bahasa, Sastra, dan Pengajarannya 12, no. 1 (February 27, 2019): 1. http://dx.doi.org/10.26858/retorika.v12i1.6891.

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The Form of Text Communication in Eka Kurniawan’s Corat-coret di Toilet Short Story Collection. The purpose of this study is to find the method of text communication in the Corat-coret di Tolet short stories collection. The form of this study is a literary study with structural analysis methods as offered in the narrative theory of Gerard Gennette. The results of the study are the classification of the text communication method of short stories namely: zero and fixed internal focalization; subsequent and simultaneous narrating times; intradiegetic-heterodiegetic, extradiegetic-heterodiegetic, and intradiegetic-homodiegetic types of narrating level and person; the character and writer as a narrator. The findings of the classification of text communication methods indicate the existence of a gender bias that alienates women's position in the story.
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Kujawska-Lis, Ewa. "Charles Marlow: Narration in Translation." Tekstualia 1, no. 4 (January 1, 2018): 159–74. http://dx.doi.org/10.5604/01.3001.0013.5159.

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The purpose of this paper is to examine selected issues concerning the differences in the reception of specific narratorial features as regards the original literary text and its translation. The analysis focuses on a unique narrator created by Joseph Conrad – a story teller and yarn spinner Charles Marlow. Marlow as a first-person narrator, who recounts his experiences to his intradiegetic addressees, employs characteristic techniques to communicate with his listeners, to make them involved in his stories, and to re-live his experiences. If ignored or overlooked by a translator, narrative techniques and linguistic features typical of him disappear, thus changing the reception of him as a narrator. This shift in reception and the very image of Marlow is exemplified by ignoring such features as Marlow’s phatic communication with his intradiegetic addressees (the use of such expressions as “you see”, “you understand”), interpretive markers that indicate Marlow’s imperfect knowledge or hesitation (expressions such as “I think”, “I believe”), linguistic patterning (repetitions) and cases of delayed decoding.
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Scott, Hannah. "Le Blanc et le Noir: The Spectre behind the Spectrum in Maupassant's Short Stories." Nottingham French Studies 52, no. 3 (December 2013): 268–80. http://dx.doi.org/10.3366/nfs.2013.0059.

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In Maupassant's short stories, as psychologically distressing events proliferate and his protagonists descend into madness, polychromatic modernity fades away to reveal a stark world of black and white. Such monochromism also engenders an anxiety-ridden reading experience. Black and white draw our attention beyond intradiegetic events to the diegesis itself, where Maupassant's play on textual shape and punctuation gestures towards the non-signifying white page beneath the comfortingly signifying black-ink words. This article explores Maupassant's dissolution of the spectrum, as he moves beyond the nineteenth-century's fascination with colour towards the bleak, monochromatic realm at the very edges of the symbolic.
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Pontara. "Interpretation and Underscoring: Modest Constructivism and the Issue of Nondiegetic versus Intradiegetic Music in Film." Music and the Moving Image 9, no. 2 (2016): 39. http://dx.doi.org/10.5406/musimoviimag.9.2.39.

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Gill, Patrick. "Dystopian and Utopian Omission of Discourse in Three Modern Robinsonades: Lord of the Flies, Concrete Island, The Red Turtle." Porównania 25 (December 15, 2019): 145–56. http://dx.doi.org/10.14746/por.2019.2.9.

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The story of Robinson Crusoe comes to us in the guise of a first-person narrative based in part on a diary. Successor texts have traditionally adopted the same narrative situation, exploiting it in order to foreground ideas of authorship, textual authority and linguistic dominance. This essay pays particularly close attention to those Robinsonades that have not followed this pattern and have instead opted to omit meta-narration and intradiegetic narrator figures. It considers to what ends this is done in three modern Robinsonades: William Golding’s Lord of the Flies (1954), J. G. Ballard’s Concrete Island (1974), and Michael Dudok de Wit’s animated film The Red Turtle (2016).
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Mendes da Silva, Bruno. "The Forking Paths." International Journal of Creative Interfaces and Computer Graphics 5, no. 1 (January 2014): 46–56. http://dx.doi.org/10.4018/ijcicg.2014010104.

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The project The Forking Paths aims to create a set of interactive cinematographic narratives, within an applied research that seeks to transfer the spectator from an extradiegetic level to an intradiegetic level, creating a metalepsis. The intention is, above all, to analyze the possibilities of the spectator's identification as the main character, by the manipulation of the idea of time in Cinema. We aim to reach this proposal through the use of specific narrative resources, as well as through the possibility of choice between alternative image flows. The project The forking paths is intended to be available in different media and supports such as the Internet, touch sensitive screen devices and conventional cinemas.
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Monaco, Angelo. "Narrative Form and Palimpsestic Memory in Namwali Serpell’s The Old Drift." Le Simplegadi 18, no. 20 (November 2020): 92–106. http://dx.doi.org/10.17456/simple-159.

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This essay explores Namwali Serpell’s debut novel The Old Drift (2019) through the lens of ‘palimpsestic memory’, contending that the novel articulates an interconnectedness between memory and migration. Firstly, I will investigate how the tension between aeonic temporality and some paratextual elements that attempt to install order and direct the reader’s orientation mimic and resonate with the intricate motif of the palimpsest. Then, I will illustrate how the alternation between extradiegetic and intradiegetic narration and the format of the multigenerational novel contribute to create a palimpsestic tale where several generations and different stories are inextricably intertwined, generating a spiral pattern where the multiple and invisible trajectories of temporality are refracted and eventually converge.
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Velain, Marion. "Fabulation et métalepse dans le diptyque « Fangirl » (2013) et « Carry On »(2015) de Rainbow Rowell." Lublin Studies in Modern Languages and Literature 44, no. 4 (December 22, 2020): 127. http://dx.doi.org/10.17951/lsmll.2020.44.4.127-137.

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In<em> Fangirl</em> (2013) and <em>Carry On</em> (2015), the American writer Rainbow Rowell blurs the lines between reality and fiction, as well as extradiegetic and intradiegetic narratives. This article aims<br />to shed light on the transgressive and unstable aspects of Rowell’s fictional worlds where her characters are able to move from one diegetic level to another. By placing the embedded story in <em>Fangirl</em> at another level, the Young Adult author presents a work where borders do not exist. Through the expansion of the intertwined worlds, she jostles the standard and normative codes of<br />time and space in literature.
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Lanzinger, Daniel. "Ein Ratschluss Gottes oder von Menschen?" Novum Testamentum 60, no. 4 (September 11, 2018): 361–85. http://dx.doi.org/10.1163/15685365-12341613.

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Abstract This article takes Gamaliel’s speech in Acts 5:34-39 as a test case for Luke’s use of dramatic irony, which is defined as a difference in either knowledge or comprehension between an intradiegetic narrator and the extradiegetic recipients. It is argued that the author applies this narrative tool in a very complex way to elaborate his theology of providence: Even though Gamaliel proposes the distinction between divine and human plans and activities, he does not fully grasp the meaning of his words. This encourages the readers to evaluate Gamaliel’s statement on the basis of Luke’s narrative. Hence, they are able to conclude that from a divine point of view a human action opposing God’s plan cannot actually exist because God has already foreseen this action.
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Dissertations / Theses on the topic "Intradiegetic"

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Gaubytė, Raimonda. "Pasakojimo ir pasakotojo ypatybės Vytauto Martinkaus romane "Žemaičio garlėkys"." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120619_134201-43951.

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Vytauto Martinkaus romane „Žemaičio garlėkys“ atskleistos pasakojimo ypatybes: naracijos laikas (trukmė, tvarka, dažnis), naratorių tipai (ekstradiegetinis, intradiegetinis) ir pasakojimo funkcijos (naratyvinė, valdymo, komunikacinė, liudijimo, ideologinė) naudojantis Gerard Genette naratologija.
The following characteristics of the narrative and the narrator are revealed in the novel „Žemaičio garlėkys“ through narratology: type of narrator (ekstradiegetic, intradiegetic), the time in the novel is classified by duration, frequency, and order; the functions in the narrative are as follows: narrative, operating, communicative, ideological functions and the function of witness.
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Hedenmalm, Li. "Un discours persuasif : Étude narrative de L'Auberge et Le Horla – deux contes fantastiques de Guy de Maupassant." Thesis, Högskolan Dalarna, Franska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-23248.

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Ce mémoire se compose d’une analyse narrative de deux nouvelles fantastiques par Guy de Maupassant : L’Auberge et la seconde version du Horla. La narration du premier de ces contes est extradiégétique, ce qui signifie que le narrateur se trouve en dehors de l’univers fictif. Le deuxième texte, en revanche, est un exemple d’une narration intradiégétique – le narrateur est donc un personnage du récit. Le but principal de l’étude est d’examiner comment le discours du narrateur, selon qu’il est extradiégétique ou intradiégétique, influence la perception des récits et des protagonistes. Pour atteindre cet objectif, nous identifions d’abord quelques stratégies narratives qui sont employées dans les nouvelles afin d’évoquer l’hésitation du lecteur et ainsi créer l’effet fantastique. Nous observons que, suivant le mode de la narration, extradiégétique ou intradiégétique, les stratégies narratives utilisées sont de différentes natures. Elles coopèrent toutefois pour créer un sentiment d’hésitation au lecteur et conduisent donc celui-ci à considérer l’existence du surnaturel dans le monde diégétique. Enfin, nous montrons de plus près comment le discours du narrateur influence la manière dont le lecteur considère le comportement des personnages principaux ainsi que leur santé mentale. Nous voyons que dans tous les deux textes, il n’y a aucun doute que le protagoniste devient finalement fou. Cependant, tandis que le savoir du narrateur omniscient aide enfin le lecteur à résoudre le mystère fantastique dans L’Auberge, le mystère n’est jamais résolu dans Le Horla. Cela semble être attribué à la perception et au savoir limité du narrateur intradiégétique.
This essay consists of a structural narrative analysis of two fantastic short stories by Guy de Maupassant: The Inn and the second version of The Horla. In the first of these stories the narration is extradiegetic, meaning that the narrator is positioned outside the fictional world. The second text, on the other hand, is an example of an intradiegetic narration – the narrator is thus a character in the story. The overall aim of the study is to investigate how the discourse of the narrator, whether he is extradiegetic or intradiegetic, influences the perception of the stories and the protagonists. In order to meet this aim, we start by identifying some narrative strategies which are applied in the stories in order to evoke the reader’s hesitation and, thereby, create the fantastic effect. Depending on whether the narration is extradiegetic or intradiegetic, it is observed that these strategies differ from each other. Nevertheless, they work together to awaken the reader’s hesitation, leading him thus to consider the existence of the supernatural in the diegetic world. Finally, it is revealed how the discourse of the narrator influences the way the reader perceives the behavior of the protagonists as well as their sanity. In both texts, there is no doubt that the protagonist eventually loses his mind. However, while the knowledge of the omniscient narrator finally helps the reader to solve the fantastic mystery in The Inn, the mystery is never resolved in The Horla. This seems to be a consequence of the limited perception and knowledge of the intradiegetic narrator.
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Book chapters on the topic "Intradiegetic"

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Dynel, Marta. "When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative." In Perspectives in Pragmatics, Philosophy & Psychology, 205–52. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56696-8_12.

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AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.
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Feddern, Stefan. "The Use of the Apostrophe and the Fictionality of Declamation." In Reading Roman Declamation, 307–17. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198746010.003.0015.

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Building on van Mal-Maeder’s work on fictionality in Roman declamation, this chapter examines the poetics of declamation in Seneca the Elder’s compilations. When read from a literary standpoint, declamatory texts consist of two key components: the fabula (‘content’) and the discours (‘means of conveying said content’). The chapter concerns itself primarily with the latter, and specifically with the rhetorical concept of apostrophe (α‎̓ποστροφη‎́́), during which speakers address the subject about whom they are declaiming in direct speech. The analysis outlines the communicative strategies involved in this rhetorical technique, along with its implications on both the intradiegetic and extradiegetic narrative planes, and determines the extent to which apostrophe and its variants can be regarded as signs for the fictionality of a given declamation.
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Rösli, Lukas. "From Schedæ Ara Prests Fróða to Íslendingabók – When an Intradiegetic Text Becomes Reality." In The Meaning of Media, 173–214. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110695366-009.

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Müller-Sievers, Helmut. "Going On." In Goethe's Wilhelm Meister's Apprenticeship and Philosophy, 237–68. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190859268.003.0011.

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This essay investigates the philosophical commitments and the editorial means by which Goethe achieves the impression of narrative continuity in Wilhelm Meisters Lehrjahre. Proceeding from a consideration of continuity as a foundational philosophical and aesthetic problem, Goethe’s striking decisions to establish and manage divisions in the novel’s text appear as concerted attempts to move the sources of continuity into the intradiegetic domain. The interlacing of various levels of interruption—between chapters, books, and volumes—creates a poetics of caesurae that helps explain the overwhelming impression of natural growth created by the first edition of the novel. A look back on the Lehrjahre from the perspective of Wilhelm Meisters Wanderjahre and its scathing indictment of serialized publications further illuminates the interplay of philosophical, narratological, and editorial factors in the creation of the paradigmatic Bildungsroman.
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Conference papers on the topic "Intradiegetic"

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Wagener, Nadine, Mareike Stamer, Johannes Schöning, and Johannes Tümler. "Investigating Effects and User Preferences of Extra- and Intradiegetic Virtual Reality Questionnaires." In VRST '20: 26th ACM Symposium on Virtual Reality Software and Technology. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3385956.3418972.

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