Academic literature on the topic 'Narrative progression'

Nous avons essaye d'aborder, premierement, dans notre travail de these, la naissance et l'evolution de la litterature marocaine d'expression francaise. D'autre part, nous avons examine les fonctions et les fonctionnements de la couverture, du titre, et de l'incipit. Par ailleurs, la presence de plusieurs voix differentes dans "l'enfant de sable" nous a pousse a s'attarder sur les instances enonciatives dans ce roman. Le traitement de la narration dans "la nuit sacree" est plus chronologique a cause du respect relatif des successions des evenements romanesques. Nous avons tente, a la fin de notre travail, de voir comment le theme de la mort fonctionne et progresse dans l'oeuvre de tahar ben jelloun<br>We have tried in this present research to tackle beforehand the birth and the development of moroccan literature expressed in french. On the other hand, we've we've examined the functions and the functionings of the cover, the title, and the starting of the novel. Besides, the presence of several voices in "l'enfant de sable" has urged us on lingering over the asserting processes in this novel. The treatment of the narration in the "la nui sacree" is more chronological because of the relatively respected succession of the romanesque events. We have attempted at the end of this study, to see how the theme of death functions and develops in the work of tahar ben jelloun

This thesis explores the biographical journey into and through HE of a small group of former Advanced Apprentices. It explores how early educational experiences relate to pathways into and through the Apprenticeship system and how former Apprentices experiencing HE to develop an understanding of how HE impacts on their lives, experiences, and identities. The changing landscape of both Apprenticeships and higher education means we need to capture these accounts becoming a HE student to understand better the lived, biographical experience of individuals in increasingly credentialised learning and work settings. This study utilises a narrative, longitudinal approach to explore the experiences of Apprentices who have embarked on higher education, drawing upon data from several semi-structured narrative interviews with sixteen former Apprentices as they progress through their higher education programme. The final phase of the study engaged with the broader social network of six participants, illuminating how education and career decision-making and experiences are deeply embedded within family, friendship and peer networks. Analysing learning experiences, educational transitions, and learner identity highlight the process of becoming a higher education student is relational, situational, and part of a web of complex interactions. The study has drawn on communities of practice (Lave and Wenger, 1991; Wenger, 1998) and modes of reflexivity (Archer, 2003, 2007, 2012) as useful frameworks to understand the learning experiences of former Apprentices and how reflexivity guides how people navigate constellations of education and career possibilities. Insights from the social networks suggest that individuals adapt their approach to reflexivity according to the social situation, aspects of and stages in their lives.

This PhD dissertation examines narrative in early Welsh and English poetry, and more particularly how, where, and why we find temporal progression and radiality in the poetic narrative of both literatures. The term ‘radiality’ is discussed by Joseph Clancy, who, in introducing his translations of medieval Welsh poems, describes them as generally having ‘“radial” structure, circling about, repeating, and elaborating the central theme’. In making this investigation, this PhD dissertation is informed by narrative theory, particularly the model proposed by William Labov, and it contains a detailed methodological section, highlighting how I adapt this model to make it work better with my corpus. The model is further developed so as to enable the creation of some statistical data, which is deployed alongside close reading in looking at trends over a corpus and between different corpora. My corpus consists on the one hand in all Welsh poems composed before c. 1250 with significant narrative elements or containing a list-like narrative. These are set in contrast with English poems composed before c. 1250 narrating the same subjects or containing the same stylistic features. Although the comparison is primarily between Welsh and English poetry, I also compare texts to their sources or analogues, primarily in Latin or French, as looking at how the poems depart from shared traditions is key in examining the particular tendencies of each literature. Following the model developed by Sarah Higley, the Welsh and English texts are contrasted with one another to highlight the idiosyncracies of both. In the first chapter, I examine the role temporal markers and direct speech play in the progression and radiality of early Welsh and English secular battle poetry. In most but not all cases, there is a clear opposition between extended and clearly marked narrative in the English and shorter narratives with less temporal deixis in the Welsh. Following this, Chapter 2 moves to the future to look at narrative at the End of Days, where markedly different patterns of contrast are found between the poems. I seek to explain why this is the case, looking in particular at the role of time-reference in determining narrativity. Chapter 3 begins with a detailed study of Iesu a Mair a’r Cynhaeaf Gwyrthiol (‘Jesus and Mary and the Miraculous Harvest’) and compares the way it tells its story with the narration found in its analogues, noting how and why this Welsh text has particularly clear, in some ways almost prose-like, narrative. The chapter then expands to compare narratives of Christ’s birth and early life in early Middle Welsh and Middle English poetry more generally, while investigating their relative absence in Old English. IChapter 4 moves away from thematic comparison to examine a particular structure: the list. Y Gofeiss6ys Byt, an early Welsh narrative poem in many ways exceptional, is studied in detail, and the way in which listing interacts with narrative in that text serves as a springboard for a wider discussion of list/narrative interplay in early Welsh and English poetry.

Specifically, the study of the progression focuses on examining Hemingway's Across the River and into the Trees for evidence of traumas' effects on Hemingway's development of narrative structure. Throughout his career, Hemingway pinpoints the importance of witnessing and experiencing war on a writer. I endeavor to demonstrate-in detail, achieved by close reading, and with solid evidence-how the imbrication of trauma in Across the River and into the Trees represents a vital moment in Hemingway's progression as a writer. My assertion, a new calculus of subjectivity and objectivity appearing in the narrative structure via the protagonist, viably counters previous critical dismissal of this text and offers new horizons for studies of form and content in Hemingway's writing.

Most commentators on Robert Graves’ writings agree upon the importance of his ideas on mythology to the development of his unique theories on poets and poetry. Few critics have undertaken to apply the same approach toward an understanding of his fiction. This thesis undertakes to fill that gap by investigating Robert Graves’ historical fiction in order to test whether his theories on mythology and poetry can also be found to play a part in his conception of history and historical legends. To that end, Graves’ historical novels have been analysed from various narratological perspectives in order to uncover the often complex relationship between the author, his narrators, and the reader. Robert Graves’ heroes as autobiographers, and narrators as biographers, are found to suffer psychological neuroses that are usually the result of an overly acute awareness of history. They seem to be aware of the process by which actions and events are ascribed mythic qualities which pollute the story of their real lives. Some of Graves’ heroes fall victim to this process whilst others attempt to gain from it. Invariably, as the thesis demonstrates, they all fail because they lack an awareness of the single true story to which Graves himself subscribed: that of the White Goddess

La thèse propose l’analyse morphosyntaxique et textuelle des propositions relatives dites « narratives » dans le cadre de la sémantique du prototype. Est définie comme narrative une proposition relative qui, postposée au prédicat d’accueil, a pour but d’exprimer, au premier plan, le procès VR, causé par le procès de la proposition d’accueil (VA) moyennant la participation de l’entité ANT+REL. La proposition relative narrative forme, avec sa proposition d’accueil, une séquence relative narrative. L’interprétation narrative prototypique d’une relative est la résultante des valeurs-paramètres opposées à celles caractérisant une proposition relative caractérisante, ces valeurs tenant surtout du prédicat verbal, prototypiquement « perfectif », « spécifiant », « transitif ». Ces propriétés des prédicats dans la séquence relative narrative rejoignent le double lien anaphorique et syntaxique du bloc relatif formé par l’antécédent et le relatif pour créer une unique image de progression des évènements dans le temps et dans l’espace, appelé « effet de dominos ». Grâce aux rapports sémantique et syntaxique entre l’antécédent et le relatif, de même qu’aux propriétés morphosyntaxiques des procès VA et VR, la proposition relative narrative dispose d’un sémantisme unique par rapport à d’autres structures narratives, telles les temporelles ou les coordonnées. Une première conséquence en est l’expression de causalité, renforcée par la progression thématique linéaire, ou ANT thème devient REL thème. Cette structure montre comment, par un usage systématique des valeurs périphériques d’une structure, il est possible d’en créer un type tout différent<br>The thesis proposes both morphosyntaxical and textual analyses of the so-called « narrative » relative clauses from the point of view of the standard version of prototype theory. One may consider as narrative any relative clause postponed to the predicate of the embedding clause (VA), which aims at narrating a figure event (VR) presented as caused by VA trough the participation, direct or indirect, of the ANT+REL entity. The interpretation of all narrative relatives depends upon a certain number of parameters, each organised in a form of value continuum. The prototype of a narrative relative clause is the sum of parameter values opposite to the prototype of a relative clause in general. The narrative relatives refer to parameters pertaining to verbal values such as “perfective”, specifying” or “transitive”. Typically appearing in narrative contexts, the narrative relative clauses grant some particular meanings to the narrated events. Whereas coordination tends to be a mere statement of events and states, and while temporal clauses insist on a temporal succession of events, the narrative relative clauses picture both temporal succession of events and their progression in space. Temporal progression is the result of insisting on the perfective verb aspect and on the postposition of the relative predicate. Spatial progression depends upon the anaphoric relation between the antecedent and the relative pronoun. This causes a strong causal relation between VA and VR. Such structure of the narrative relative sequence equals to the linear thematic progression, where a comment becomes the topic of the next clause