Relevant bibliographies by topics / Intradiegetic narrator

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  1. Journal articles
  2. Dissertations / Theses
  3. Book chapters

Academic literature on the topic 'Intradiegetic narrator'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Intradiegetic narrator"

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Kujawska-Lis, Ewa. "Charles Marlow: Narration in Translation." Tekstualia 1, no. 4 (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 tec
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Aumüller, Matthias. "Offenheit und Geschlossenheit als Funktionen des unzuverlässigen Erzählens. Mit Interpretationsbeispielen anhand von Texten von Ernst Weiß, Paul Zech und Stefan Zweig." Journal of Literary Theory 12, no. 1 (2018): 127–50. http://dx.doi.org/10.1515/jlt-2018-0008.

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Abstract The paper surveys two different functions that may be ascribed to unreliable narratives. Derived from the notion of technique (Russian »priëm«, German »Verfahren«), function is a key concept of literary theory, which relates textual properties to effects. One of the functions, in recent time related to unreliable narration, is deception. In order to appreciate the literary effect of deception, the reader must finally understand that s/he has been deceived for a certain time. In other words, in order to recognize that s/he has been deceived, the reader must find out what is the case in
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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 Con
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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 (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,
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Tahiri, Lindita, and Muhamet Hamiti. "Post-communist Interpretation of History in the Albanian Literature in Kosovo." Balkanistic Forum 29, no. 3 (2020): 91–107. http://dx.doi.org/10.37708/bf.swu.v29i3.5.

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This article focuses on stylistic choices in the novel Im atë donte Adolfin (My father loved Adolph) by the Albanian author in Kosovo Mehmet Kraja (2005) as a strategy to generate a post-communist perspective of interpreting history. By blending first-person narration as confidentiality and third-person narration as conventionality (Barthes, 1978), the possessive construction ‘my father’ in this literary text serves both as referential label and deictic, generating dual focalization (Phelan, 2005). The heterodiegetic narrator is positioned simultaneously as a neutral eye witnessing narrator an
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Lanzinger, Daniel. "Ein Ratschluss Gottes oder von Menschen?" Novum Testamentum 60, no. 4 (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 narr
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Gephardt, Katarina. "Pandemic Consciousness and Narrative Perspective in Sheri Holman’s The Dress Lodger." Victoriographies 11, no. 2 (2021): 185–205. http://dx.doi.org/10.3366/vic.2021.0422.

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Sheri Holman’s neo-Victorian novel The Dress Lodger (1999 ) depicts the beginning of the 1831 cholera epidemic in Britain. The novel skilfully manipulates the conventions of nineteenth-century realism and neo-Victorian fiction to test the limits of readerly empathy and its foundations in the conception of the liberal subject as disembodied and disinterested. Although the novel seems ‘faux-Victorian’ and apparently encourages immersion in the story and identification with the central characters, metaphorical uses of language and shifting points of view disrupt such comfortable ways of reading,
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Jørgensen, Kathrine Sørensen Ravn. "Le présent historique et ses fonctions textuelles." HERMES - Journal of Language and Communication in Business 12, no. 22 (2017): 81. http://dx.doi.org/10.7146/hjlcb.v12i22.25494.

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According to some grammarians the use of the historical present tense is a technique for enhancing the dramatic effect of a story by making addressees feel as if they were present at the time of the experience, witnessing events as they occurred. Others have suggested that the historical present represents events as if they were occurring before the speaker’s eyes. My own position on the matter, though, is that the necessity to postulate a “metaphorical shift”, an “as if”, is due to the interpretation of the basic meaning of the present as being contemporality with the speaker’s present and th
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Bellew, R. Shelton. "Examining the apocalyptic in Roberto Saviano’s Gomorra." Forum Italicum: A Journal of Italian Studies 52, no. 2 (2018): 505–22. http://dx.doi.org/10.1177/0014585818755358.

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This article examines the apocalyptic in Gomorra ( Saviano, 2006 ). Wu Ming 1 (2008) declared Saviano’s novel to be part of a new body of literature called the “New Italian Epic” based upon the narrative’s seven characteristics. Alessandro Dal Lago (2010) , on the other hand, does not think that Saviano’s work represents a new genre. For him, Ming’s sixth characteristic, the unidentified narrative object, has been the narrative technique of various historical authors such as Giovanni Verga (1978) and almost any work by Jorge Borges, just to name two. This technique is that of a composite narra
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Danielsson, Karin Molander. "“And in That Moment I Leapt upon His Shoulder”: Non-Human Intradiegetic Narrators in The Wind on the Moon." Humanities 6, no. 2 (2017): 13. http://dx.doi.org/10.3390/h6020013.

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Dissertations / Theses on the topic "Intradiegetic narrator"

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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.<br>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:
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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 attein
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Book chapters on the topic "Intradiegetic narrator"

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Dynel, Marta. "When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative." In Perspectives in Pragmatics, Philosophy & Psychology. 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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