Journal articles: 'Narrative prose'

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Callaway, Charles B., and James C. Lester. "Narrative prose generation." Artificial Intelligence 139, no. 2 (August 2002): 213–52. http://dx.doi.org/10.1016/s0004-3702(02)00230-8.

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Francese, Joseph. "Staged Narratives/Narrative Stages: Essays on Italian Prose Narrative and Theatre." Italian Culture 37, no. 2 (July 3, 2019): 171–73. http://dx.doi.org/10.1080/01614622.2019.1683271.

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Yusha, Zhanna M. "Genre Specificity of Shamanic Narratives in the Folklore Tradition of Tuvans." Critique and Semiotics 10, no. 2 (2022): 258–74. http://dx.doi.org/10.25205/2307-1737-2022-2-258-274.

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Genre features and structure of shamanic narratives existing in Tuvan folklore are analyzed. Two types of stories have been identified in the performing tradition – from the ritual specialist and the bearer of the tradition. The mythological picture in both types of stories complement each other, in them the general narrative model characteristic of shamanic narratives is preserved. It is revealed that shamanic narratives combine features of various genres of non-narrative prose: oral narrative, myth and mythological narrative, legend and legend, which indicates the archaic syncretism of folklore consciousness. In the structure of shamanic narratives, the differentiating features characteristic of a particular genre of non-narrative prose are described in detail and described. In shamanic narratives, the presence of shamanic algysh-chants is revealed; their pragmatic functions are determined; their thematic diversity is revealed.

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Moiseeva, Victoria. "Elena Katishonok’s Prose." Stephanos Peer reviewed multilanguage scientific journal 55, no. 5 (September 30, 2022): 9–19. http://dx.doi.org/10.24249/2309-9917-2022-55-5-9-19.

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The article analyzes the artistic features of the E. A. Katishonok’s prose, including genre, narrative structure, and the principles of the hero’s word in the author’s monologue. The image of the city is regarded in the context of the proposed by Yu. Lotman the typological scheme: a city of concentric and a city of eccentric type. Attention focuses on the temporal characteristics of the narrative, the category of memory. The conducted research allows to characterized the originality of the historical narrative in the prost of the writer.

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Lushnikova, G. I., and T. Yu Osadchaya. "Fragmentation of Modern Artistic Narrative (English-Language Prose)." Nauchnyi dialog, no. 6 (June 24, 2021): 225–39. http://dx.doi.org/10.24224/2227-1295-2021-6-225-239.

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The question of the role, forms and functions of fragmentation of modern artistic narra tive is considered. The results of the analy sis of the fragmentary narrative of the works of contemporary English-speaking authors (J. Barnes, D. Mitchell, M. Cunningham, I. Banks, J. Franzen, S. Faulks, J. Eugenides, A. Smith, J. McGregor and others) are presented. The relevance of the study is due to the fact that in the modern literature of the postmodernist direction, nonlinearity of narration, deliberate mixing of temporal, local, descriptive and other layers are becoming widespread, practically becoming the norm. The novelty of the research is seen in the fact that the fragmentation of a literary text is studied at different levels — compositional, content-thematic, plot, ideological-figurative, genre, narrative, chronotopic. It has been proved that the forms of implementation of fragmentariness are quite diverse: irregular division of the text, heterogeneity of themes and ideas, lack of linear development of the plot, combination of elements of different genres, the presence of internal polystylism, the use of different types of narration and narrator, violation of the unity of the chronotope. The analysis of specific material showed that the functions of a fragmentary narrative are determined by each specific context, the leading ones being the impact on the reader, the management of his attention, the placement of accents according to the writer's intention, the creation of the impression of authenticity and reliability.

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Pelevin, Mikhail. "The Beginnings of Pashto Narrative Prose." Iran and the Caucasus 21, no. 2 (June 21, 2017): 132–49. http://dx.doi.org/10.1163/1573384x-20170203.

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The article argues that the first specimens of Pashto original narratives in free prose are to be found in the historiographical compilation Tārīkh-i muraṣṣaʿ (1724) among the texts of the chronicles, diaries, and memoirs written by the Khaṯak tribal rulers Khūshḥāl Khān (d. 1689) and Afżal Khān (d. circa 1740/41). Over thirty fragments from these texts may be qualified as short stories for, being focused on particular events and episodes, they are distinguished by strikingly realistic manner of narration and well developed elements of detailing, descriptiveness and emotiveness. Richly illustrated with translations of selected excerpts from original Pashto texts the article summarises the stories’ subject-matters by grouping them into three main categories (wars, incidents, everyday life events) and discusses various aspects of the authors’ narration techniques, such as compression of time and space in kea moments of action, accentuated portrayal of characters, extensive use of direct speech with a range of stylistic timbres. The article proves that the stories of the Khaṯak chiefs may be viewed also as unique documents on the realities of the Pashtun tribal life in pre-modern times.

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Kolesnikoff, Nina. "Narrative Strategies of Russian Postmodern Prose." Russian Literature 53, no. 4 (May 2003): 401–10. http://dx.doi.org/10.1016/s0304-3479(03)00028-0.

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Morgan, Gareth. "Rhyme in Prose Narrative: A Precaution." Folklore 97, no. 2 (January 1986): 219–21. http://dx.doi.org/10.1080/0015587x.1986.9716383.

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Etyang, Philip, Justus Siboe Makokha, and Oluoch Obura. "Picaresque narrative techniques and popular literature in African prose fiction." Journal of Languages, Linguistics and Literary Studies 2, no. 4 (December 31, 2022): 187–98. http://dx.doi.org/10.57040/jllls.v2i4.341.

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The Picaresque tradition is a mode of writing that began in Spain in the 16th century and flourished in the 17th and 18th centuries throughout the rest of Europe. It is a literary tradition that has continued to influence modern fiction writing to date. The current paper examined the picaresque and popular African literature narrative techniques through conducting an in-depth analysis of the following texts; Kill Me Quick, Mission to Kala, The Angels Die, and A Sport of Nature. To effectively address the task, the study examined narratives and narrative techniques in the prose fiction under study. The paper then deployed the Structural Literary Theory in an effort to decode the intertextuality between the texts. The study established that the texts under study are interconnected through the main characters, especially the picaro/picara. An examination of Gustav Freytag’s narrative structure was conducted and similarities and differences in the narrative structures of the texts under study was observed. The Postcolonial Literary Theory was also consulted where specific strands of the theory as propounded by Vorn Gorp, and Frantz Fanon were blended to furnish the study with the necessary theoretical backbone to exhaustively study picaresque narratives in popular literature. In conclusion, the study established that the Picaresque and Popular Literature writing modes are interconnected through the use plot and main characters. The study also established that the non-linear and episodic plot structures are the most commonly used techniques in picaresque and popular writing modes.

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Kropyvko, Iryna. "Фрагментація постмодерного прозового тексту: засади і прийоми." Studia Polsko-Ukraińskie 9 (July 18, 2022): 141–61. http://dx.doi.org/10.31338/2451-2958spu.9.9.

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The article focuses on factors and manifestations of postmodern text fragmentation. A fragment is one of the central concepts of modern and postmodern literature. The modernist fragment was a means of cognitive activity and a form of its adequate representation. It was determined by the basic concept of the integrity of a literary phenomenon and recognition of its encoded meaning, as well as encouraged the reader to invent missing parts. It has been proven that for postmodernist prose, the fragment is the only possible mode of its existence, an artistic strategy and an artistic device. The postmodernist text is positioned by the game field, where equal participants play with multiple-order fragments. Such fragments include preceding artistic traditions and techniques. Text fragmentation is enhanced by equalizing the rights of the author, character and the reader. Each participant of the literary communication has their own (partial) view of the art world. Narrative strategies of prose fragmentation are determined by the ways of building rhizomatic narratives and the peculiarities of their perception by the receptionist. Ukrainian and Polish writers use various means of constructing a fragmented text at the levels of its conceptualization, narrative structure, interpretative and receptive strategy, image-based specifi city (intermediateness etc.).

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Tickoo, Asha. "How to create a crisis." ITL - International Journal of Applied Linguistics 129-130 (January 1, 2000): 169–90. http://dx.doi.org/10.1075/itl.129-130.02tic.

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In this paper, I will examine esl learner attempts at a key component of narrative prose, its complication. The complication is the defining component of the four-part schematic structure of narrative (Labov 1981, labov & Waletzky 1967), because it introduces the crisis of the story. This is the most impassioned phase of the narrative and therefore one expects (following Labov) that the narrator is the least disposed to strive to uphold prestige norms, and adopted rules. It is ironical, then, that what is acknowledged to be effective development of the narrative crisis is highly convention-bound prose. I will describe the basic textual - semantic, informational, organisational and representational - conventions that govern the development of the narrative crisis. I will then take random samples from a body of 35 student narratives, written by Cantonese-speaking esl learners at a Hong Kong university, to illustrate the difficulties these learners face in conforming to these conventions. In a final section, I will discuss the pedagogical implications of this study.

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Yuzmukhametova, Landysh N., Venera R. Amineva, Leysan G. Ibragimova, Rosalia M. Svetlova, and Safina F. Gulnara. ""Small" prose of R. Gabudlkhakova." Linguistics and Culture Review 5, S3 (October 28, 2021): 667–77. http://dx.doi.org/10.21744/lingcure.v5ns3.1626.

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On the material of the works of R. Gabdulkhakova, the internal measure of the "small" genres of modern Tatar prose is revealed: in the brocade it is determined by the nature of the relationship of the narrative plot and its generalizing "ending." Genre varieties of brocade in the work of R. Gabdulhakova are described, which correspond to two directions of the plot movement: from external to internal or from single to universal and two types of narrative - from the 1st or from the 3rd person. It was concluded that the internal measure of the genre determines the nature of the relationship of the narrative plot and its generalizing "ending." Spatiotemporal relations and principles of organization of subject sphere characteristic of this genre are described.

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Bigun, Olga. "Narrative Strategy of Paul Verlaine’s Prose Poems." Journal of Vasyl Stefanyk Precarpathian National University 8, no. 2 (June 2, 2022): 92–99. http://dx.doi.org/10.15330/jpnu.8.2.92-99.

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The article analyses historical and genetic origins of the genre of prose poem. It singles out the genus-genre syncretism of prose poem, the foundation of which lies in the intertwining and interpenetration of epic, dramatic and lyrical principles, "overlapping" of different modifications. The material under study is represented by a collection of prose poems by Paul Verlaine Les mémoires d'un veuf. The aim of the article is to study the narrative peculiarities of a prose poem given the syncretic nature of the genre, and its delivery, which allows to analyze artistic works from the standpoint of their composition and structure. According to the internal genre-style dominant, three forms of narrative modeling are distinguished: a narrative with the predominance of epic-realistic elements, a narrative with the predominance of lyrical-impressionistic elements and dramatization of the narrative. According to its plot-compositional structure works of the epic-realistic block can be divided into two categories: the first one is determined by the dominance of the linear principle of the beginning, the second one is characterized by the fragmentary principle of composition with the increased aestheticization and intellectualization, in-depth psychological insights, and appeal to “eternal themes”. The works of the lyrical-impressionist model include an internal psychologized plot, attention to feelings and changes in emotional states, as well as stylistic syncretism. The lyrical semantics of the work is closely connected with the position of the lyrical character, personal author's experience. The entire plot of the poem is centered on the inner world of the poetic lyrical character; therefore, it is not the work itself that conveys the plot line but the character’s emotional experiences do that. It is the ability to express a particular feeling, a state without adhering to the plot line that becomes decisive for the dramatized type of story.

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Veljkovic-Mekic, Jelena. "Interpretatation of narrative prose of Milorad Ciric." Pirotski zbornik, no. 40 (2015): 139–52. http://dx.doi.org/10.5937/pirotzbor1540139v.

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Osipova, O. I. "Features of Anthropomorphic Narrative in Modern Prose." Nauchnyi dialog 11, no. 7 (October 1, 2022): 304–17. http://dx.doi.org/10.24224/2227-1295-2022-11-7-304-317.

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The narrative structures of novels written by Ye. CheshirKo and O. Roy are considered. The author characterizes the narrative polyphony: the voice of subjectivized unreliable narrator is supplemented by the voice of an objectified narrator or the voices of other characters, which leads to transformations of the genre basis of the work. It is established that the narrative on behalf of the nonhuman character causes the appearance of the features of magical realism which consist of a special binary chronotope including the characteristics of the contemporary real world and the alternative one, a distinct type of character who is either a representative of the alternative world or a mediator between two worlds. The relevance of the research lies in the need to study narrative instances in the modern prose. The novelty of the study is seen in the fact that on the basis of the modern novels, united by several features, the narrative polyphony and the ways of its creation are characterized. The author explores the stylistic features of the aforementioned novels which have not previously been the subject of thorough literary analysis. It is proved that the polyphony of narrative images expands the possibilities of the plot, style, as well as the view of a person as the subject of the image. The comparative method and the method of intertextual analysis are used in the article.

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Mozetič, Uroš. "Narrative Perspective and Focalisation in Translating Fictional Narratives." ELOPE: English Language Overseas Perspectives and Enquiries 1, no. 1-2 (December 31, 2004): 209–23. http://dx.doi.org/10.4312/elope.1.1-2.209-223.

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The main objective of this paper is to present the complex processes of the shifting of narrative perspective (point-of-view) and focus in translating English prose texts into Slovene. For that purpose, a narratological discourse analysis of James Joyce’s story ‘Eveline’ (Dubliners) is introduced, drawing on K. M. van Leuven-Zwart’s comparative and descriptive model. The model, which has been expanded by three additional categories – narrative mode, narrative perspective, and focalisation –, brings to the forefront the cause-and-effect relationship between the micro- and macrostructural shifts on the one hand, and the shifts in narrative perspective and focalisation on the other. The results obtained show that the model is empirically verifiable and repeatable. This means that it can also be used with other integral translations, particularly if translation shifts are subtle enough and/or consistent with the translator’s dominant strategy and norm.

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Santesso, Aaron. "The Narrative Garden." Eighteenth-Century Life 46, no. 1 (January 1, 2022): 1–36. http://dx.doi.org/10.1215/00982601-9467178.

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Critics have long pointed to the connections between eighteenth-century landscape gardens and poetry. This essay examines the influence of prose narrative on garden design, arguing that gardens increasingly reflect narrative techniques as the eighteenth century progresses. The essay also considers the relevance of narratology to nonliterary fields and subjects.

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Esteve, Anna. "EL DIETARI DE PERE GIMFERRER, UNA CRUÏLLA D’ESCRIPTURES." Catalan Review 17, no. 2 (January 1, 2003): 87–106. http://dx.doi.org/10.3828/catr.17.2.4.

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In this paper we provide an approach to the literary prose that Pere Gimferrer builds in the two volumes of his Dietari. We distinguish and characterize different tendencies that coexist and merge in his writing. We study how the author flirts with the narration from the essay, turns aside the paths of description and presentation of situations and characters (narrative prose), and rushes through the stream of lyrics (poetic prose), all without forgetting the exposition of the intellectual’s thoughts and opinions. At last, the richness, experimentation, and total freedom that singularize Pere Gimferrer’s literature emerge.

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Thi Thanh Nhi, Tran. "THE THEORETICAL CULTURAL FOUNDATION OFWARNING SIGNS IN VIETNAMESE MEDIEVAL NARRATIVE PROSE: A SURVEY." Journal of Science, Social Science 62, no. 5 (2017): 65–73. http://dx.doi.org/10.18173/2354-1067.2017-0034.

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Gorelova, Olga Olegovna. "Literary-documental narrative in the fictional autobiographic novel “My Secret History” by Paul Theroux." Litera, no. 5 (May 2020): 39–49. http://dx.doi.org/10.25136/2409-8698.2020.5.32908.

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This article raises the problem of differentiation between authorial fiction and factual information in the fictional autobiographic prose that interfere with each other. The object of this research is the fictional autobiographic prose as a peculiar type of text with structure containing system codes of diverse narrative nature. The subject of this research is the characteristics and features of the literary-documental narrative in a fictional autobiographical text. The goal consists in demonstrating the dual nature of the fictional biographic prose on the example of literary-documental novel “My Secret History” (1989) by Paul Theroux. The following conclusions were formulated: 1) fictional autobiographic narrative as a variety of literary-documental narration is characterized with descriptiveness and aptitude to imitation of objectivity studying the personality of the hero; 2) the text in question contains the signs of realization of paradigms of fiction and actuality. The scientific novelty is consists in application of narratological approach towards analysis of the text, which demonstrates the specific constituting spheres associated with simultaneous implementation of the strategies of fictionalization and documental stylization of the material. It is determines that the fictional autobiographic material is characterized with subjective processing of represented data, and thus, it is essential to interpret the prose in question based on the accessible to audience contextual information (suggested authorial context and historical context).

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Hardy, Donald E. "Towards a stylistic typology of narrative gaps: knowledge gapping in Flannery O’Connor’s fiction." Language and Literature: International Journal of Stylistics 14, no. 4 (November 2005): 363–75. http://dx.doi.org/10.1177/0963947005056343.

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This article examines the functions of narrative gaps in the creation and manipulation of knowledge in Flannery O’Connor’s fiction. A distinction is first made between the announced and the unannounced gap, the latter being the general type that occurs most frequently in modern fiction, including that of O’Connor. The form and functions of the announced gap are briefly discussed with reference to 18th-century narratives. The article demonstrates the presence of an attenuated announced gap in O’Connor’s fiction in the use of the indefinite pronoun something. It also makes distinctions between the narrative gap, the ellipsis, and general narrative indeterminacy. The attenuated announced gap and the unannounced gap help to produce involvement of the reader in creating the emotional, spiritual, and rational background for an O’Connor narration. These narrative gaps are stylistically indicative of O’Connor’s prose from her earliest to her latest fiction, both in the particular forms that they take and in their functioning generally to encode concerns with the limitations and possibilities of human knowledge, a thematic concern of heavy significance throughout her fiction. The article is a contribution in the development of a general stylistics of narrative gaps.

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Zyryanov, Oleg V. "The Origins of the Personal Type of Narrative in D. N. Mamin-Sibiryak’s Shorter Prose." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 4 (2022): 53–70. http://dx.doi.org/10.15826/izv2.2022.24.4.064.

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Based on D. N. Mamin-Sibiryak’s shorter prose (essays, stories), the author distinguishes various types of narrative, i.e. first and third person narration and a personal type of narration. In several stories of the essay type, special markers of the presence of the personal narrator stand out expressed in characteristic motifs of admiration, interest, and curiosity. The author proves that during the period of the so-called “second debut” (1881–1882), Mamin began with the development of the form of a personal narrator, most characteristic of the genre of the essay, and gradually switched to the auctorial type of narrative, typical already of the genre of the story and assuming the form of an objective narrator author. It is also noted that in the form of an auctorial narration, Mamin successfully mastered the device of non-personal direct speech, or the speech interference of the character and the narrator author, which brings us to the rudimentary forms of “personal” narrative. From about the mid-1880s, the tendency towards a personal narrative became apparent, which is most noticeable in the stories Korobkin, Doctor Osokin’s Amendment and Simply, which focus on the state of the split consciousness of the character who finds himself in a situation of “man in front of a mirror” (M. M. Bakhtin) and acts as a direct subject of cognition. In the works of the same period (stories Between Us, The Old Fife, and others) a personal type of narration emerges clearly, which continues logically in the stories of the 1900s (Influenza. Monologue, A Dumpling and a Blot). The writer pays attention to the situation of the relationship between the character and the stereotyped nickname imposed on him, a certain “foreign” word-nomination, which leads to an increase in the act of self-awareness of the character and an intensification of the personal narrative. Finally, the article concludes that the development of a personal point of view in the narrative structure of the story leads Mamin-Sibiryak to the emergence of a new genre form, i.e. a personal “monologue” or “diary”, as well as to focus on the aesthetic potential of receptive poetics, which reveals points of convergence with genre variation of Chekhov’s “discovery story”.

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Goodall, H. L. "Writing like a Guy in Textville." International Review of Qualitative Research 2, no. 1 (May 2009): 67–87. http://dx.doi.org/10.1525/irqr.2009.2.1.67.

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This narrative explores the idea of “narrative seduction.” Though an autoethnographic account the author shows how he learned to read and think about the masculine qualities of prose associated with “writing like a man” in the academy, and how this insight led him to locate his ethnographic voice in opposition to it. The narrative includes some stylistic observations about the author's own “seductive” prose and its relationship to intimate listening.

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Sokolyansky, Mark G., and Alexander Gelley. "Narrative Crossings: Theory and Pragmatics of Prose Fiction." Modern Language Review 84, no. 3 (July 1989): 686. http://dx.doi.org/10.2307/3732438.

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Ishchenko, T. V. "“GOTHIC” NARRATIVE IN EARLY PROSE BY P.B. SHELLEY." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 2, no. 2 (2022): 81–86. http://dx.doi.org/10.32838/2710-4656/2022.2-2/13.

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Bahti, Timothy, and Alexander Gelley. "Narrative Crossings: Theory and Pragmatics of Prose Fiction." Comparative Literature 45, no. 2 (1993): 177. http://dx.doi.org/10.2307/1771437.

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Im wan hyuk. "Narrative prose, education and research trends and challenges." Journal of Korean Classical Chinese Education ll, no. 37 (December 2011): 391–418. http://dx.doi.org/10.17963/ccek.2011..37.391.

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Lee-Lenfield, Spencer. "Translating Style: Flaubert’s Influence on English Narrative Prose." Modern Language Quarterly 81, no. 2 (June 1, 2020): 193–217. http://dx.doi.org/10.1215/00267929-8151572.

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Abstract General accounts of Gustave Flaubert’s influence on English-language writers have tended to assume that the publication of his fiction was enough to change the style of English prose. However, close examination of Flaubert’s reception in the second half of the nineteenth century shows that the novels and stories alone did not bring about a widespread shift in English prose style. Before such a transformation could happen, his theoretical statements about style in the correspondence needed to be shared with and interpreted for a new audience. Flaubert’s fiction did exert a qualified influence on the relatively few English-language writers who read and responded to it, including Mary Elizabeth Braddon and Henry James. However, not until the 1883 publication of his correspondence with George Sand, as well as significant critical mediation and translation (most notably by Guy de Maupassant, Walter Pater, and Eleanor Marx-Aveling), did his influence on English writers reach its full extent.

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Rudnick, Hans H., and Alexander Gelley. "Narrative Crossings: Theory and Pragmatics of Prose Fiction." World Literature Today 62, no. 1 (1988): 189. http://dx.doi.org/10.2307/40144270.

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Norrick, Neal R. "Swearing in literary prose fiction and conversational narrative." Narrative Inquiry 22, no. 1 (December 31, 2012): 24–49. http://dx.doi.org/10.1075/ni.22.1.03nor.

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This article compares swearing in novels with swearing in everyday talk based on a representative sample of British and American prose fiction and a several large corpora of natural conversation. Swearing allegedly makes fictional dialogue more realistic, but up till now no one has attempted a systematic comparison of fictional and natural conversational swearing. Fiction writers incorporate swearing into their dialogue to delineate characters and to signal emotions, sometimes setting it off from non-swearing talk and commenting on it in various ways. Traditionally, the author’s own voice contained no swearing. By contrast, in conversational narratives, tellers use swearing to obtain the floor, to evaluate action, to mark climaxes and closings, in addition to portraying their characters as swearing. Moreover, in conversation, tellers may hear their listeners swearing along with them, not only to support and evaluate, but also to oppose and even complain about their telling performance.

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Beckwith, Bill E., Thomas V. Petros, Paula J. Bergloff, and Robin J. Staebler. "Vasopressin analogue ({ddavp}) facilitates recall of narrative prose." Behavioral Neuroscience 101, no. 3 (1987): 429–32. http://dx.doi.org/10.1037/0735-7044.101.3.429.

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Schwyter, Jürg Rainer. "“Slipping” in Old English Narrative and Legislative Prose." Studia Neophilologica 79, no. 2 (December 2007): 133–47. http://dx.doi.org/10.1080/00393270701699567.

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Medeiros, Sergio. "O monodrama de Schoenberg e o “quadro vivo” de Beckett." Eutomia 1, no. 20 (February 19, 2018): 172. http://dx.doi.org/10.19134/eutomia-v1i20p172-179.

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Este texto busca mostrar que um poema em prosa de Beckett, “Un soir”/ “One evening”, possui um enredo muito parecido com o enredo de uma das obras-primas de Schoenberg, Erwartung. Contudo, se seu tema é o mesmo, sua linguagem é diferente, revelando uma experiência narrativa peculiar.Palavras-chave: Beckett; Schoenberg; poesia; música; noite; morte. Abstract: This paper tries to show that Beckett’s prose poem, “Un soir”/ “One evening”, has a plot very similar to the one of Schoenberg’s masterpieces, Erwartung. However, if its theme is the same, its language is different, showing a peculiar narrative experience.Key-words: Beckett; Schoenberg; poetry; music; night; death.

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Saglia, Diego. "Nationalist Texts and Counter-Texts: Southey's Roderick and the Dissensions of the Annotated Romance." Nineteenth-Century Literature 53, no. 4 (March 1, 1999): 421–51. http://dx.doi.org/10.2307/2903026.

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This essay examines the complex relationship between poetry and notes in Southey's Roderick, the Last of the Goths (1814) and the ways in which this double textual structure bears upon the national narrative of the poem. Following the popular tradition of annotated metrical tales and oscillating between romance and epic, Southey's poem is shown to be a plural work in which the prose appendage complicates the seemingly clear celebration of the Spanish nation proposed by the poetry. The poetry, indeed, constructs Gothic Spain as a modern-day nation through an accumulation of characters, tales, and objects. In general, the notes support this nation-making project by creating an archeologically reliable history of the nation. Frequently, however, they also subvert this history by unmasking the manipulations and gaps of the nationalist narrative. The counter-text of the prose marginalia can therefore be said to function as a Derridean supplement and, moreover, as a historically localized set of discourses that both construct and disperse the nation. As remarked by one of Southey's first reviewers, this textual strategy constitutes a kind of "knowing style," a subversion of poetry by prose (and vice-versa), particularly significant at a time when the author was not only shifting from radical to conservative positions but also gradually abandoning poetry in favor of historiography. By focusing on the competing narratives of the Spanish nation in prose and verse, this essay provides an insight into Roderick as caught between the contradictory multiplicity of its discourse and the attempt to deliver an ideologically closed narrative.

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Hammarberg, Gitta. "Eighteenth Century Narrative Variations on “Frol Skobeev”." Slavic Review 46, no. 3-4 (1987): 529–39. http://dx.doi.org/10.2307/2498102.

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One of the most striking innovations in late eighteenth century prose fiction was the introduction of a distinct narrator's voice. To throw some light on the emergence of this innovation, I will compare three works: “Povest’ o Frole Skobeeve,“ an anonymous work from the 1720s; Ivan Novikov's “Novgorodskikh devushek sviatochnyi vecher,” which appeared in a 1785 collection of his short stories; and Nikolai Karamzin's “Natal'ia, boiarskaia doch',” which appeared serially in his Moskovskii zhurnal in 1792. These works will be viewed as representative of three stages in the eighteenth century development of narrative prose structure.

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Sadullayeva, Mahira. "FORMAL AND STYLE UPDATES IN MODERN UZBEK PROSE." European International Journal of Multidisciplinary Research and Management Studies 02, no. 08 (August 1, 2022): 31–33. http://dx.doi.org/10.55640/eijmrms-02-08-08.

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The article analyzes the most common narrative genre of prose and its theme and content, idea, scope of universal coverage, artistry - structure, images and style in today's Uzbek prose. In it, the level of vitality and harmony of the artistic fabric, the spirit of the image and the integrity of the independence of expression are observed. Today's social relations, serious problems in the way of life of our people, the image of a new type of person emerging in the process of globalization, new plots, details, updated language and stylistic elements that are not characteristic of previous eras are examples of current stories, including the stories of Luqman Borikhon. Is proved on the basis of.

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Saux, Francois H. M. Le, Joseph Harris, and Karl Reichi. "Prosimetrum: Crosscultural Perspectives on Narrative in Prose and Verse." Modern Language Review 96, no. 3 (July 2001): 908. http://dx.doi.org/10.2307/3736854.

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Лисанець, Юлія. "NARRATIVE DIFFUSION IN THE PROSE BY WILLIAM CARLOS WILLIAMS." Problems of Contemporary Literary Studies, no. 27 (November 5, 2018): 112–21. http://dx.doi.org/10.18524/2312-6809.2018.27.146417.

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Suleiman, Susan Rubin, and Susan Sniader Lanser. "The Narrative Act: Point of View in Prose Fiction." Comparative Literature 37, no. 1 (1985): 67. http://dx.doi.org/10.2307/1770525.

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MOUNIER, Pascale. "Aspects de le phrase narrative en prose au XVIesiècle." L'Information Grammaticale 116 (January 1, 2008): 10–14. http://dx.doi.org/10.2143/ig.116.0.2029507.

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Tomczak, Anna Maria. "Fernando Poyatos’s metod in the studies of narrative prose." Linguodidactica 16 (2012): 187–216. http://dx.doi.org/10.15290/lingdid.2012.16.13.

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Bulatova, M. V. "Specificity of the Narrative in the Prose Pushkin’s Fragments." Vestnik NSU. Series: History and Philology 18, no. 2 (2019): 134–38. http://dx.doi.org/10.25205/1818-7919-2019-18-2-134-138.

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McClure, J. Derrick. "Varieties of Scots in Recent and Contemporary Narrative Prose." English World-Wide 14, no. 1 (January 1, 1993): 1–22. http://dx.doi.org/10.1075/eww.14.1.02mcc.

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Hohendahl, Peter Uwe. "The Future as Past: Ernst Jünger's Postwar Narrative Prose." Germanic Review: Literature, Culture, Theory 88, no. 3 (July 2013): 248–59. http://dx.doi.org/10.1080/00168890.2013.820625.

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Metzidakis, Stamos. "Picking Up Narrative Pieces in a Surrealist Prose Poem." Orbis Litterarum 40, no. 4 (April 1985): 317–26. http://dx.doi.org/10.1111/j.1600-0730.1985.tb00841.x.

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Муталова Гулнора Сатторовна. "ОСОБЕННОСТИ РАННЕСРЕДНЕВЕКОВОГО ЭПИЧЕСКОГО ТВОРЧЕСТВА АРАБОВ." International Journal of Innovative Technologies in Social Science, no. 1(13) (January 31, 2019): 28–34. http://dx.doi.org/10.31435/rsglobal_ijitss/31012019/6326.

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The article is devoted to the most interesting phenomenon in Arabic literature - tribal legends, included in the Arab medieval literature called “Ayyam al- Arab” (“Days of the Arabs”). Oral narrative is an incomparable genre of Arab culture. Containing folklore origins and genetically related to the epic, it is at the same time quite distinctive and distinctly separate from other literary genres. The prose of Days, as well as poetry, is a work of high art with its own laws and its own poetics. And considering that for a long time, Arabic prose has not received proper development, the appearance of Ayyam Al- Arab should be regarded as one of the sources of historiographic prose, actually as the beginning of narrative prose in the history of Arabic literature.

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Doherty, Meghan C. "Giving Light to Narrative." Nuncius 30, no. 3 (2015): 543–69. http://dx.doi.org/10.1163/18253911-03003004.

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This paper examines the visual and verbal cross-pollination between the Philosophical Transactions and the Journal des Sçavans with a specific focus on the role of the visual as an open form of communication, which overcame the linguistic barriers implied by journals published in vernacular languages, rather than Latin. Studying the illustrated articles published in the two journals in 1666 highlights the ways in which the authors viewed the images as providing clarity to their prose and how the images provided access to useful information that was otherwise invisible.

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Ustyantsev, German Y. "Folklore and Trauma: Reflection of personal experience of the narrator (by the example of Mari non-fabulous prose)." Вестник антропологии (Herald of Anthropology) 47, no. 3 (September 5, 2019): 235–42. http://dx.doi.org/10.33876/2311-0546/2019-47-3/235-242.

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The author investigates the representation of experience and trauma in folklore narratives by the example of the texts of the Mari non-fairy prose. Stories about meeting evil spirits, demonic characters, and unexplained phenomena reflects personal experience of narrators, especially traumatic events from the past. The main motifs of mystical stories are death, sorrow, sickness, etc., which are expressed in the narrative, its structure and plot.

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Tickoo, Asha. "A key means to signaling the evaluative component in storytelling." ITL - International Journal of Applied Linguistics 149-150 (2005): 19–46. http://dx.doi.org/10.2143/itl.150.0.2004371.

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Though scholars interested in ESL writing pedagogy would like to believe otherwise, most students in high school and college English language courses are not, in fact, required to write academic prose. Rather they are, by and large, asked to write the personal narrative, a genre of prose similar in very fundamental ways to the prototype story. The personal narrative is a challenge because, like the prototype story, it is more than a mere report of events in past time. It is a report of events in past time infused with, what has been identified as the defining component of the story, the evaluative component. The evaluative component enables the writer to represent the dissimilar impact of successive narrative events to the developing theme. In this paper, I will address one significant means of signaling the dissimilar impact of successive narrative events, and the problems learners have with its proper use. In the prototype personal narrative/ story, the temporal movement effected by successive narrative events is not the same. There is non-uniformity in the pace and quality, of the temporal movement, from one narrative event to the next. I will provide a description of the sentence-level mode of implementing this particular means of evaluation in the prose of skilled writers, and examine a representative sample of ESL data to show the difficulty learners face with its implementation. This understanding will be used to generate suggestions for pedagogy which specifically address this area of difficulty.

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Flint, Christopher. "Speaking Objects: The Circulation of Stories in Eighteenth-Century Prose Fiction." PMLA/Publications of the Modern Language Association of America 113, no. 2 (March 1998): 212–26. http://dx.doi.org/10.2307/463361.

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An enormously popular narrative device, speaking objects were used frequently in eighteenth-century British fiction to express authorial concerns about the circulation of books in the public sphere. Relating the speaking object to the author's status in a print culture, works featuring such narrators characteristically align authorship, commodification, and national acculturation. The objects celebrate their capacity to exploit both private and public systems of circulation, such as libraries, banks, booksellers' shops, highways, and taverns. Linking storytelling to commodities and capital, they convey an implicit theory of culture in which literary dissemination, economic exchange, and public use appear homologous. But as object narratives dramatize, such circulation estranges modern authors from their work. Far from mediating between private and public experience or synthesizing national and cosmopolitan values, these narratives record the indiscriminate consumption that characterizes the public sphere in a print culture.

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Journal articles on the topic 'Narrative prose'

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