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Journal articles on the topic 'Narrative rhythm'
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Byron, Kyle. "Weapons for Witnessing." Religion and Society 11, no. 1 (September 1, 2020): 61–74. http://dx.doi.org/10.3167/arrs.2020.110105.
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Drawing on observations of the performances of street preachers in the United States—as well as the texts that inform them—this article explores the concept of rhythm within and beyond the anthropology of religion. More specifically, it develops an expansive concept of rhythm as multiple and interactive, focusing not on a singular rhythm, but on the rhythmic translations that shape the practice of street preaching. First, I argue that the material rhythms of urban infrastructure constrain the narrative rhythms of the street preacher’s sermon, producing a distinct homiletics. I then suggest that the ideological rhythms of war animate the narrative rhythms of the street preacher’s sermon, linking military strategies with tactics of evangelism. Examining the material, narrative, and ideological rhythms of streets, sermons, and military doctrine, this article advances an analytic framework whereby the intersecting rhythmic tensions that shape performance can be registered.
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Le Saux, Françoise. "Narrative rhythm and narrative content in LaƷamon's Brut." Parergon 10, no. 1 (1992): 45–70. http://dx.doi.org/10.1353/pgn.1992.0034.
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Angova, Stela. "Contemporary Narrative – Context and Manifestations." Postmodernism Problems 10, no. 1 (April 2, 2020): 1–2. http://dx.doi.org/10.46324/pmp2001001.
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The first issue of the Postmodernism Problems for 2020 is dedicated to the contemporary narrative. The publishers approved the topic in January when our lives followed a familiar rhythm of work and the number assembled in a state of emergency. The context and manifestations of the narrative go through the exploration of the new hybrid oral-writing formation through the VoIP application Viber, a narrative analysis of one of the cultural icons of Japanese cinema - Godzilla, cyberbullying as a contemporary narrative form of aggressiveness, the use of multimedia narrative for different business sectors, crisis narrative, narrative through smart technologies and the phenomenology of virtual narratives.
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Keller, Sarah. "“As Regarding Rhythm”: Rhythm in Modern Poetry and Cinema." rythmer, no. 16 (April 11, 2011): 129–43. http://dx.doi.org/10.7202/1001959ar.
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This essay examines the connection between modern poetry and cinema through their mutual emphasis on rhythm. It argues that rhythm provides both an alternative mode for structuring non-narrative cinemas as well as an explanatory device for how filmmakers in the modernist milieu believe the cinema works.
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Robey, David, Annalisa Cipollone, and Paola Nasti. "Rhythm and metre in Renaissance narrative poetry." Italianist 20, no. 1 (June 2000): 21–43. http://dx.doi.org/10.1179/ita.2000.20.1.21.
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Candel, Daniel. "The rhythms of narrative tension and its cultural satisfaction." English Text Construction 11, no. 2 (October 19, 2018): 169–99. http://dx.doi.org/10.1075/etc.00008.can.
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Abstract Critics reading narratives as progressions, that’s to say, from beginning to end, prefer to see meaning emerge as a result of the interaction between different elements in the narrative, rather than of the imposition of a priori cultural schemata. This article, however, argues for the possibility of using a priori cultural schemata, as long as these pass through the filters established by theories of narrative progression. To show how this is done, I will interpret Frank Miller’s comic 300 by letting a tool of cultural-semantic analysis interact with narrative tension in the form of suspense, curiosity, and surprise. I argue that the back and forth between narrative tension and the tool accounts not only for the content of the comic but also for its basic narrative rhythm.
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Galicia, Frinné, Patricia Zavaleta Ramírez, Lino Villavicencio, Francisco R. de la Peña, Karla Garza Gallegos, Adriana Arias Caballero, Miriam Feria, Alfonso Cabrera, Mariana P. Escalona, and Lino Palacios-Cruz. "The role of circadian rhythms in individuals with attention deficit hyperactivity disorder and obesity: A narrative review." Salud mental 44, no. 1 (February 9, 2021): 25–30. http://dx.doi.org/10.17711/sm.0185-3325.2021.005.
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Background. A relationship between attention deficit hyperactivity disorder (ADHD) and obesity has been consistently documented. Obesity and metabolic syndrome have been associated with misalignment between daily activities and circadian rhythm. ADHD patients have a high prevalence of delayed sleep phase syndrome, which is a circadian rhythm disorder. Understanding this relationship is important for the evaluation of obese population at risk. Objective. The aim of this narrative review was to summarize the information updated until 2019 about the role of circadian rhythms in obese ADHD individuals. Method. A search was performed in MEDLINE, EMBASE, and Google Scholar database. The terms ADHD, obesity, circadian rhythm, sleep disorders, adolescent, adult, Adolesc, circadian, attention deficit hyperactivity disorder, and child were combined with logical functions. Results. A total of 132 articles were reviewed. Evidence showed that ADHD subjects have an increased risk to present obesity and circadian rhythms disorders. Some possible pathways for this relationship have been hypothesized including obesity as a risk factor, an underpinned common biological dysfunction, and behavioral and cognitive features of individuals with ADHD. As most of the articles are methodologically cross-sectional, it is not possible to establish causative associations. Discussion and conclusion. This review points out the importance of early recognizing and treating circadian rhythms disorders and obesity in ADHD patients. Future studies must be carried out with a longitudinal design to establish the effect of each comorbidity in the treatment of individuals with ADHD.
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Yao, Xiaoling. "Affect and narrative rhythm in Heart of darkness." Neohelicon 47, no. 2 (March 16, 2020): 735–50. http://dx.doi.org/10.1007/s11059-020-00531-4.
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Dayan, Peter, and Carolina Orloff. "Finding Rhythm in Julio Cortázar's Los Premios." Paragraph 33, no. 2 (July 2010): 215–29. http://dx.doi.org/10.3366/para.2010.0005.
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One character in Cortázar's novel (Persio) truly believes in cosmic rhythm. This belief is characteristic of a magical view of the universe central to 1960s (proto-‘New Age’) counterculture. The other characters in Los Premios, like the implied narrator, reject Persio's essentialism; they dismiss the notion that there is really any rhythm common to art, humanity, and the universe. However, there are key points in the narrative, inspired by falling in love and by works of art, at which their world does appear patterned by just such a rhythm, a ‘swing cósmico’. The novel itself turns out to depend on the intermittent conviction of this rhythm, not objectively embedded in anything, but always seen, living, and dying in time; the price of art is the acceptance of this rhythmed mortality.
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Al-Badayneh, Khaled. "Rhythmic Composition and literary features in Abi_ Ya,qub Al- Khuraymi’s poem in lamenting Baghdad." International Journal of Applied Linguistics and English Literature 10, no. 1 (January 31, 2021): 42. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.1p.42.
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This research paper examines the rhythmic composition of a long poem written by the Abbasids poet (Abi_ Ya,qub Al- Khuraymi) in which he laments over the city of Baghdad after the destruction and devastation that have befallen it, as a result of the conflict between al-Ameen and al- Mamoun, the sons of the Abbasid Caliph Haroun al-Rashid. The poet was keen to exploit the components of the rhythm internally and externally to construct the poem to build psychological reactions. To attain this goal, the poem has its own internal and external rhythm, parallelism, poetic inlay rhyme, and narrative style.
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McCarthy, B. Eugene. "Rhythm and Narrative Method in Achebe's "Things Fall Apart"." NOVEL: A Forum on Fiction 18, no. 3 (1985): 243. http://dx.doi.org/10.2307/1345790.
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Krier, Theresa. "Time Lords: Rhythm and Interval in Spenser’s Stanzaic Narrative." Spenser Studies 21 (January 2006): 1–19. http://dx.doi.org/10.1086/spsv21p1.
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Pressing, Jeff. "Black Atlantic Rhythm: Its Computational and Transcultural Foundations." Music Perception 19, no. 3 (2002): 285–310. http://dx.doi.org/10.1525/mp.2002.19.3.285.
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The "Black Atlantic" rhythmic diaspora, be it realized in jazz, blues, gospel, reggae, rock, candombléé, cumbia, hip-hop or whatever, seems to have widespread capacity to facilitate dance, engagement, social interaction, expression and catharsis. This article examines the reasons for this. Black Atlantic rhythm is founded on the idea of groove or feel, which forms a kinetic framework for reliable prediction of events and time pattern communication, its power cemented by repetition and engendered movement. Overlaid on this are characteristic devices that include syncopation, overlay,displacement, off-beat phrasing, polyrhythm/polymeter, hocketing, heterophony, swing, speech-based rhythms, and call-and-response. Using an evolutionary argument, I point out here that nearly all of these have at their heart the establishment of perceptual multiplicity or rivalry, affecting expectation, which acts as either a message or a message enhancement technique (via increased engagement and focusing of attention), or both. The causal path for the remaining devices is based on adopting structures shared with speech, notably prosody, conversational interaction, and narrative. Several examples illustrate how, particularly in jazz and jazz-related forms, extensions and relatively complex creative adaptations of traditional African and African diasporic rhythmic techniques are a natural consequence of a culture of questioning and reflection that encompasses maintenance of historical reference and accommodation to innovation.
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Mackinlay, Elizabeth. "An ABC of drumming: children's narratives about beat, rhythm and groove in a primary classroom." British Journal of Music Education 31, no. 2 (April 16, 2014): 209–30. http://dx.doi.org/10.1017/s0265051714000114.
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In this paper, I use a bricolage of arts-based research and writing practices to explore narratives by Grade 4 children about their experiences in a drumming circle called ‘Bam Bam’ as represented in a text they created with me called An ABC of drumming. The term ‘narrative’ is used here in a contemporary sense to simultaneously invoke a socially and musically situated and constructed story (Chase, 2005 p. 657); as an ‘account to self and others’ (Barrett & Stauffer, 2009, p. 7) about drumming in a particular place, with a particular group of children during a particular set of events; and, to explore narratives of drumming as the ‘shared relational work’ of myself as a drummer, teacher, researcher and ‘story-teller/story-liver’ (Connelly & Clandinin, 1990, p. 12) alongside the children. In synchronicity with the ABC of drumming produced by the children, the paper itself is framed and written creatively around letters of the alphabet and variously includes poetry and data or research poetry; ethnographic ‘thick descriptions’ (Geertz, 1973) of our drumming circle; and, visual and textual expressions by the children. By doing so, my aim is to move collectively from ‘narrative as a “story-presented” to narrative as a “form of meaning-making”, indeed, a form of “mind-making”’ (Barrett & Stauffer, 2009, p. 10) about the children's experience of drumming and the drumming circle itself. The central question underpinning this paper then is, what makes children's experience in a drumming circle meaningful, and how do they make sense of such meaning?
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ADAMS, BRETT, CHITRA DORAI, and SVETHA VENKATESH. "FINDING THE BEAT: AN ANALYSIS OF THE RHYTHMIC ELEMENTS OF MOTION PICTURES." International Journal of Image and Graphics 02, no. 02 (April 2002): 215–45. http://dx.doi.org/10.1142/s0219467802000573.
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This paper presents a new study on the application of the framework of Computational Media Aesthetics to the problem of automated understanding of film. Leveraging Film Grammar as the means to closing the "semantic gap" in media analysis, we examine film rhythm, a powerful narrative concept used to endow structure and form to the film compositionally and enhance its lyrical quality experientially. The novelty of this paper lies in the specification and investigation of the rhythmic elements that are present in two cinematic devices; namely motion and editing patterns, and their potential usefulness to automated content annotation and management systems. In our rhythm model, motion behavior is classified as being either nonexistent, fluid or staccato for a given shot. Shot neighborhoods in movies are then grouped by proportional makeup of these motion behavioral classes to yield seven high-level rhythmic arrangements that prove to be adept at indicating likely scene content (e.g. dialogue or chase sequence) in our experiments. The second part of our investigation presents a computational model to detect editing patterns as either metric, accelerated, decelerated or free. Details of the algorithm for the extraction of these classes are presented, along with experimental results on real movie data. We show with an investigation of combined rhythmic patterns that, while detailed content identification via rhythm types alone is not possible by virtue of the fact that film is not codified to this level in terms of rhythmic elements, analysis of the combined motion/editing rhythms can allow us to determine that the content has changed and hypothesize as to why this is so. We present three such categories of change and demonstrate their efficacy for capturing useful film elements (e.g. scene change precipitated by plot event), by providing data support from five motion pictures.
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Heetderks, David. "Slanted beats, enchanted communities: Pavement's early phrase rhythm as indie narrative." Popular Music 36, no. 2 (May 2017): 216–32. http://dx.doi.org/10.1017/s0261143017000125.
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AbstractPrevious studies of indie music from the 1980s and 1990s have noted that it uses a number of stylistic markers – involving production values, singing style instrumentation and lyrical themes – to convey difference from a perceived mainstream. However, the ideal of difference also influences other aspects of songwriting. As a case study, this article examines early songs by the highly regarded indie band Pavement in which irregularity in phrasing and hypermeter supports a narrative of differentiation. Recurring strategies for creating irregularity include thwarting expected closure at the ends of phrases, using the sounds of words to project conflicting cues for grouping boundaries and creating highly irregular hypermetric lengths. These metric and phrasing devices, when heard in the context of songs, often have vivid narrative or expressive implications.
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Lorre, Sean. "Rhythm and Bluebeat." Journal of Popular Music Studies 31, no. 3 (September 2019): 95–118. http://dx.doi.org/10.1525/jpms.2019.313010.
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Retrospectively referred to as blue beat, “Jamaican rhythm and blues” (JA-R&B) was one of many R&B styles performed and consumed in the UK during the early 1960s. Despite the genre’s importance to African-Caribbean migrant communities, urban subcultures, and, eventually, mainstream British popular music, JA-R&B is often relegated to a side note in the histories of Jamaican ska/reggae and British blues. This essay recuperates the production, emulation, consumption and mediation of JA-R&B into a broader narrative of the British R&B boom, a phenomenon often understood as a precursor to the British Invasion and the (re)birth of rock music as a major force in Anglo-American popular culture. As this essay details, JA-R&B was the product of a complex web of cultural interaction animated by a confluence of black Americans, Jamaicans of various ethnicities (living at home and abroad), and white Britons. The routes by which JA-R&B moved from the relative shadows of the underground Jamaican-settler social scene into the clubs of Soho, to London’s recording studios, and eventually onto the pop charts through British-made recordings are traced here through analysis of contemporaneous discourse found in The West Indian Gazette, Disc, Melody Maker, New Record Mirror, and New Musical Express. I conclude that JA-R&B’s eventual “novelty” status, coupled with apparent anxieties about the growing West Indian immigrant population in Britain, elided the possibility that JA-R&B could be valued on the same terms and by the same standards as “authentic,” American-originated R&B.
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Chen, Cheng, Jong-Hoon Yang, and Sang-Eun Lee. "A Study on the Narrative Rhythm of Pixar’s Animated Short Films from the Perspective of Linear Narrative Structure." Korean Journal of animation 17, no. 1 (March 31, 2021): 145–68. http://dx.doi.org/10.51467/asko.2021.03.17.1.145.
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Youhee Choi. "A Study of SBS TV Drama Toji(Land): Focused on Narrative-Rhythm." Journal of Popular Narrative 22, no. 1 (February 2016): 365–403. http://dx.doi.org/10.18856/jpn.2016.22.1.010.
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O'Bryan, Liam Joseph, Oliver C. Redfern, Jonathan Bedford, Tatjana Petrinic, J. Duncan Young, and Peter J. Watkinson. "Managing new-onset atrial fibrillation in critically ill patients: a systematic narrative review." BMJ Open 10, no. 3 (March 2020): e034774. http://dx.doi.org/10.1136/bmjopen-2019-034774.
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ObjectivesThe aim of this review is to summarise the latest evidence on efficacy and safety of treatments for new-onset atrial fibrillation (NOAF) in critical illness.ParticipantsCritically ill adult patients who developed NOAF during admission.Primary and secondary outcomesPrimary outcomes were efficacy in achieving rate or rhythm control, as defined in each study. Secondary outcomes included mortality, stroke, bleeding and adverse events.MethodsWe searched MEDLINE, EMBASE and Web of Knowledge on 11 March 2019 to identify randomised controlled trials (RCTs) and observational studies reporting treatment efficacy for NOAF in critically ill patients. Data were extracted, and quality assessment was performed using the Cochrane Risk of Bias Tool, and an adapted Newcastle-Ottawa Scale.ResultsOf 1406 studies identified, 16 remained after full-text screening including two RCTs. Study quality was generally low due to a lack of randomisation, absence of blinding and small cohorts. Amiodarone was the most commonly studied agent (10 studies), followed by beta-blockers (8), calcium channel blockers (6) and magnesium (3). Rates of successful rhythm control using amiodarone varied from 30.0% to 95.2%, beta-blockers from 31.8% to 92.3%, calcium channel blockers from 30.0% to 87.1% and magnesium from 55.2% to 77.8%. Adverse effects of treatment were rarely reported (five studies).ConclusionThe reported efficacy of beta-blockers, calcium channel blockers, magnesium and amiodarone for achieving rhythm control was highly varied. As there is currently significant variation in how NOAF is managed in critically ill patients, we recommend future research focuses on comparing the efficacy and safety of amiodarone, beta-blockers and magnesium. Further research is needed to inform the decision surrounding anticoagulant use in this patient group.
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Baetens, Jan, and Kathryn Hume. "Speed, Rhythm, Movement: A Dialogue on K. Hume's Article "Narrative Speed"." Narrative 14, no. 3 (2006): 349–55. http://dx.doi.org/10.1353/nar.2006.0008.
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Cassinger, Cecilia, Jorgen Eksell, Maria Mansson, and Ola Thufvesson. "The narrative rhythm of terror: a study of the Stockholm terrorist attack and the “Last Night in Sweden” event." International Journal of Tourism Cities 4, no. 4 (December 3, 2018): 484–94. http://dx.doi.org/10.1108/ijtc-04-2018-0030.
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Purpose The purpose of this paper is to examine how the mediatisation of terror attacks affects the brand image of tourism cities. Design/methodology/approach Informed by theories of mediatisation and space, the study analyses two different types of terror attacks in Sweden during 2017 as media events. The focus of analysis is on identifying spatial and temporal patterns that underpin the narrative rhythm of the discussions of the events on Twitter and online news platforms. Findings The findings demonstrate that the unfolding of the events can be divided into three phases of varying intensity in rhythm and implications for city brand image. The manifestation of an imaginary terror attack in a digital environment had a greater impact on the narratives of the city than an actual one. Research limitations/implications Rythmanalysis is introduced as a useful device to examine how urban space is mediatised through social media and online news flows. Originality/value The study contributes with novel knowledge on the mediatisation of city space on digital media platforms in a post-truth world. It shows that city administrations need to deal with both real and imaginary terror attacks, especially when there is an already established negative image of the city.
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ANTONIOU, MARK, CAROL K. S. TO, and PATRICK C. M. WONG. "Auditory cues that drive language development are language specific: Evidence from Cantonese." Applied Psycholinguistics 36, no. 6 (November 12, 2014): 1493–507. http://dx.doi.org/10.1017/s0142716414000514.
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ABSTRACTThe mechanisms that allow for both language-specific and universal constraints in language development are not fully understood. According to the rhythm detection hypothesis, sensitivity to rhythm is the underlying mechanism that is fundamental to language development. Support from a number of Western languages, as well as Mandarin, has led to the proposal that rhythm detection may provide a language-universal account of language development. However, claims of universality may be premature because most research has addressed reading (rather than language) development, only a small number of languages have been investigated, and pitch is a better predictor of reading than rhythm in Mandarin children. Therefore, we examined language development using a narrative story-retelling task in children who speak Cantonese (a more complex tone inventory than Mandarin) and also assessed temporal and pitch-based auditory abilities to consider whether temporal processing drives development in a tone language. Both temporal and pitch abilities correlated with language development, but only pitch explained unique variance in language after age. The findings support the role of basic auditory processing mechanisms in language development, but they extend beyond the rhythm detection hypothesis by demonstrating that the fundamental cues for development are dependent on the specific processing demands of each language, rather than being universal.
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YUNE, HYE-KYUNG. "Narrative motif as a unit of the articulation of the rhythm in the film." Mihak - The Korean Journal of Aesthetics 85, no. 4 (December 30, 2019): 165–202. http://dx.doi.org/10.52720/mihak.85.4.5.
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Wang, Yuluan, Annette Rivard, Christine Guptill, Carol Boliek, and Cary Brown. "Characteristics of sleep-conducive music: A narrative evidence review." Advances in Social Sciences Research Journal 7, no. 3 (April 9, 2020): 430–37. http://dx.doi.org/10.14738/assrj.73.7968.
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Objectives: Sleep deficiency (SD) is a prevalent problem and has serious negative consequences for physical, cognitive, and psychological well-being. The use of music as a non-pharmacological sleep intervention has been proposed in several studies. A 2014 meta-analysis of 10 randomized trials evaluating the impact of music on sleep concluded that it can decrease sleep onset delay (latency) and sleep disturbances, increases sleep duration, and improves daytime dysfunction. It appears that, to-date, evidence-based guidelines for the selection and/or production of sleep-promoting music do not exist. This review addresses that gap and synthesizes available literature towards the goal of developing guidelines grounded in the evidence-based characteristics of sleep conducive music.
Design and Results: A narrative review of research papers relevant to the topic identified evidence-based characteristics of sleep-conducive music related to tempo, rhythm, pitch, volume, and duration.
Conclusion: This identification and compilation of evidence-based characteristics of sleep-conducive music can underpin future research that targets development and testing of specific music to promote sleep.
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Canazei, Markus, Julian Turiaux, Stefan E. Huber, Josef Marksteiner, Ilona Papousek, and Elisabeth M. Weiss. "Actigraphy for Assessing Light Effects on Sleep and Circadian Activity Rhythm in Alzheimer's Dementia: A Narrative Review." Current Alzheimer Research 16, no. 12 (January 3, 2020): 1084–107. http://dx.doi.org/10.2174/1567205016666191010124011.
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Background: Alzheimer's Disease (AD) is often accompanied by severe sleep problems and circadian rhythm disturbances which may to some extent be attributed to a dysfunction in the biological clock. The 24-h light/dark cycle is the strongest Zeitgeber for the biological clock. People with AD, however, often live in environments with inappropriate photic Zeitgebers. Timed bright light exposure may help to consolidate sleep- and circadian rest/activity rhythm problems in AD, and may be a low-risk alternative to pharmacological treatment. Objective & Method: In the present review, experts from several research disciplines summarized the results of twenty-seven light intervention studies which used wrist actigraphy to measure sleep and circadian activity in AD patients. Results: Taken together, the findings remain inconclusive with regard to beneficial light effects. However, the considered studies varied substantially with respect to the utilized light intervention, study design, and usage of actigraphy. The paper provides a comprehensive critical discussion of these issues. Conclusion: Fusing knowledge across complementary research disciplines has the potential to critically advance our understanding of the biological input of light on health and may contribute to architectural lighting designs in hospitals, as well as our homes and work environments.
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Barry, Nora, and Mary Prescott. "Beyond Words: The Impact of Rhythm as Narrative Technique in The Left Hand of Darkness." Extrapolation 33, no. 2 (July 1992): 154–65. http://dx.doi.org/10.3828/extr.1992.33.2.154.
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Teodoro da Silva Junior, Mário Sérgio. "Formas da expressão animatorial: o sentido dos movimentos na animação Disney / Forms of animatorial expression: the meaning of motion in Disney animation." Texto Livre: Linguagem e Tecnologia 10, no. 2 (December 28, 2017): 220–39. http://dx.doi.org/10.17851/1983-3652.10.2.220-239.
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RESUMO: O presente artigo tem por objetivo explorar, dentro da perspectiva da semiótica discursiva, alguns conceitos de desenho animado, utilizados há longa data na produção de filmes de animação dos estúdios da Walt Disney, explicitados em Frank Thomas e Ollie Johnston (1981). Queremos compreender em que medida a composição das imagens em movimento – que é, em essência, a própria forma do movimento – produz sentido, configurando-se como signo, com significante e significado próprios. À luz do percurso gerativo de sentido, focando-se na dimensão semio-narrativa (GREIMAS; COURTÉS, 2013) e na semiótica tensiva (ZILBERBERG, 2006a, 2006b), com a conceitualização de valências e missividade, podemos notar como cada sequência do movimento animatorial organiza-se em um sintagma animatorial próprio. Por meio dessa ordenação sintática, que possui um fundo tensivo, formula-se um programa narrativo e revelam-se nitidamente seus valores, actantes e fazeres. Afirma-se, então, como a forma da expressão dos movimentos não é mero suporte a um plano de conteúdo, desfazendo-se com a eficácia da comunicação, mas sim o centro de que se origina e que norteia o sentido do conteúdo, com níveis de profundidade tanto no plano do conteúdo (níveis tensivo, missivo e narrativo) como no plano da expressão (níveis rítmico e motor).PALAVRAS-CHAVE: animação; tensividade; narratividade.ABSTRACT:In this article, we propose to explore some cartoon’s concepts used by the Walt Disney Animation Studios for a long time, which we find in Frank Thomas and Ollie Johnston’s The Illusion of Life: Disney Animation (1981). By the perspective of Discoursive Semiotics, we can comprehend how the motion pictures’ composition, the form of motion, has its meaning, becoming a sign itself, with a signifier and a signified. Using traditional Greimasian Semiotics’ generative course (GREIMAS; COURTÉS, 2013), focusing on the semio-narrative level, and Zilberberg’s Tensive Semiotics and its valencies and missivity (ZILBERBERG, 2006a 2006b), we note that every motion sequence in a film organizes itself in a syntagm. Within this syntactic order with tensive base, narrative programs appear along with its values, actants and doings. Hence, we see how expression forms are not only support to content forms which disappear after effective communication, but that expression forms are, in this animatorial articulation, the originating center of meaning, with its own generative levels in the expression plane (rhythm and motor levels) and content plane (tensive, missive and narrative levels). It also opens a door to formulate a grammar for expression forms in SemioticsKEYWORDS: animation; tensivity; narrativity.
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Tychinina, Alyona. "In Search of the Meaning of Umberto Eco’s Narrative Metaphor “To Catch a Orange Dove”." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 256–77. http://dx.doi.org/10.31861/pytlit2020.101.256.
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The narrative specifics of Umberto Eco’s novel “The Island of the Day Before is regarded through a basic idea of the narrative metaphor “The Orange Dove”. The methodological basis of the study is a summary concept of the relationship between narrative and metaphor. These are O. Freidenberg’s hypothesis of metaphor as a future narrative form of plots and genres; F. Ankersmit’s narrative logic of metaphor’s transformation into a plot through a “point of view”; P. Recoeur’s “common innovative nucleus” in narrative and metaphor designed for productive imagination; G. Genette’s “narrative modality” and regulation of narrative information through metalepsis; R. Barthes’ dichotomy of “functions and indices” as an analogy of metonymic and metaphorical relations. In the article under discussion, we consider metaphor as a narrative principle that ensures its own presentation, generates its rhythm, creates personosphere, and involves a reader in an intellectual game. Such a way of metaphor formation marks U. Eco’s literary style. In his novel “The Island of the day Before”, the following distinctive range of metaphors play a very constructive role: metaphor of sleep, metaphor of love as a source of creative activities, metaphor of duality, metaphor of hatred. Above all, it is worth pointing out author’s epistemological metaphor, which is closely related to the search of truth: in the latter sense, the “Orange Dove” is associated with a post-modernist analogue of the “Blue Rose”, borrowed from the epoch of Romanticism. Due to the technique of metalepsis (“the figure of speech denoting author’s intrusion”), offered by G. Genette, the narrator demonstrates his metaphoric intentions through the discourse of a character-narrator. In conclusion, narrative metaphor of the novel directs the narrative strategy to a variety of its numerous versions, which may be implemented owing to reader’s competence.
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Schacherl, Martin. "Formal Structure of the Text – enquiry into the chapter, the title and the introduction in Julius Zeyer`s prose style." Slavia Occidentalis, no. 74/2 (December 10, 2018): 89–95. http://dx.doi.org/10.14746/so.2017.74.25.
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This paper analyses three aspects (the chapter, the title and the introduction ) of prose by Julius Zeyer, a Czech poet. My explicit goal is to seek a relation between the specific forms of the text’s horizontal arrangement and its narrative rhythm as deduced from a comprehensive approach to the author’s works. The analysis relies on a presumption that in fiction, even the horizontal arrangement of a specific literary work is submitted to the function of aesthetic communication.
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Oeler, Karla. "Eisenstein and Horror." Journal of Visual Culture 14, no. 3 (December 2015): 317–31. http://dx.doi.org/10.1177/1470412915608138.
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‘Eisenstein and Horror’ places Eisenstein’s unfinished work, Method (2002 [1932–46]) in dialogue with key concepts that have been brought to bear on cinematic horror: ambivalence, excess, affect, and abjection. It argues that in Method, Eisenstein, largely through the astounding range of his examples, de-emphasizes the difference between narrative and non-narrative in favor of a broader compositional perspective that can only strengthen accounts of horror as reflex, and of self-referential horror. In Method, Eisenstein develops the idea that foundational structures of art (metaphor, metonymy, pars pro toto, and rhythm) are also those of thinking: thinking in art and life proceeds along, and undoes, associative pathways of similarity and contiguity that are variously calculable and unpredictable. In building its argument, this article offers an extremely condensed, but intensive reading of Method.
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Gammone, Maria Alessandra, and Nicolantonio D’Orazio. "Cocoa Overconsumption and Cardiac Rhythm: Potential Arrhythmogenic Trigger or Beneficial Pleasure?" Current Research in Nutrition and Food Science Journal 9, no. 1 (April 27, 2021): 40–51. http://dx.doi.org/10.12944/crnfsj.9.1.05.
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The interrelation between arrhythmias and lifestyle factors is acknowledged. On the one side, there is a recognized interaction between atrial fibrillation and obesity, hypertension, dyslipidemia and type 2 diabetes mellitus. Saturated fats, excessive added salt, tea, coffee and energy drinks are often deleterious in rhythm disorders. The role of others, such as cocoa-rich foods, is less evident: several authors displayed the beneficial effect of the polyphenols content on numerous cardiovascular risk factors, while little is known about the potential link between diet and incident arrhythmias. Arrhythmias’ most frequent risk factors include aging, hypertension, congenital cardiopathy, heart failure, valvulopathy, thyroid diseases and diabetes. Nevertheless numerous arrhythmias are not related to any of these risk factors: in these cases, immunological, functional and even nutritional mechanisms might be involved in dysrhythmias’ genesis. Aim of this narrative review is to analyze the potential adverse effect of cocoa excessive consumption on cardiac rhythm and its mechanisms and to provide state-of-the-art knowledge on this topic.
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Clandinin, D. Jean. "Developing Rhythm in Teaching: The Narrative Study of a Beginning Teacher's Personal Practical Knowledge of Classrooms." Curriculum Inquiry 19, no. 2 (1989): 121. http://dx.doi.org/10.2307/1179405.
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Clandinin, D. Jean. "Developing Rhythm in Teaching: The Narrative Study of a Beginning Teacher's Personal Practical Knowledge of Classrooms." Curriculum Inquiry 19, no. 2 (June 1989): 121–41. http://dx.doi.org/10.1080/03626784.1989.11075320.
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Tanner, Samuel Jaye, and Christina Berchini. "Seeking rhythm in white noise: working with whiteness in English education." English Teaching: Practice & Critique 16, no. 1 (May 2, 2017): 40–54. http://dx.doi.org/10.1108/etpc-11-2016-0143.
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Purpose The authors of this paper are both white English education scholars with antiracist agendas. This conceptual manuscript aims – in part – to better understand the backlash both of them have faced in trying to contribute to antiracist teaching and research in English education. Design/methodology/approach This manuscript uses practices of narrative inquiry to tell and interpret stories about the authors’ work. Findings The authors hope to critique traditional notions of white resistance in favor of more careful theorizations of whiteness that can be helpful for teachers and scholars in English education and English Language Arts (ELA)with an interest in facilitation antiracist pedagogy. Originality/value Ultimately, with this work, the authors hope to provoke readers to consider how work with whiteness is processed by white people, especially in terms of teaching and learning in English education and ELA. They believe the field of English education should begin to discuss this issue.
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Trowell, Haydn. "The Aesthetics of Linked-Verse Poetry in Yasunari Kawabata’s 'The Lake'." New Voices in Japanese Studies 12 (August 17, 2020): 44–64. http://dx.doi.org/10.21159/nvjs.12.03.
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The distinctive narrative style exhibited in Japanese author Yasunari Kawabata’s literary works has frequently been associated with the traditional Japanese art of linked-verse poetry (renga). However, the precise compositional nature of these similarities has yet to be thoroughly explored. In this article, I examine two fundamental principles of linked-verse poetry, ‘linking’ (tsukeai) and ‘flow’ (yukiyō), and use these as analytical tools to explore the thematic and narrative structure for which Kawabata’s literary technique is renowned. Considering the first chapter of his 1954 novel The Lake (Mizuumi) as a case study, I identify notable correspondences between linked verse and Kawabata’s prose writing in the form of a qualitative mode of progression characterised by a rich use of sensory and emotive association, and a wave-like sense of rhythm between moments of heightened and reduced expressive and affective intensity. This article uses detailed textual analysis to demonstrate a structural basis for comparing Kawabata’s prose with linked verse, which in turn implies that Kawabata’s narrative style is shaped by conscious aesthetic decisions to draw on linked-verse principles.
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Pretorius, W. J. "Die literariteit van die sogenaamde ‘verhalende element’ in tradisionele heroïese Sothopoësie – ’n intertekstuele ondersoek." Literator 22, no. 3 (June 13, 2001): 93–105. http://dx.doi.org/10.4102/lit.v22i3.1056.
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The literariness of the so-called “narrative element” in traditional heroic Sotho poetry – an intertextual analysis This article focuses on the “literariness” of the so-called narrative lines that feature prominently in traditional Sotho heroic poetry, better known as dithoko. By means of some intertextual references it has been illustrated that these lines do not merely convey historical detail by means of “ordinary informative” language. The recalling of historical events, is rather characterised by a reconstruction of activities in a poetic context, based on certain referential codes dominated by a specific cultural tradition. The poetic nature of these lines is not only created by the use of wellknown poetic devices such as imagery and rhythm, but also by the selective use of allusion which defamiliarizes communicative language usage. By alluding to historical actions, the traditional poet attempts to create a specific aesthetic convention rather than a mere factual one. Real events in these narrative lines are often camouflaged by defamiliarized language and the presentation of fictional creations. The analysis of a few examples from dithoko that are related to certain historical events clearly indicates that these narrative lines should be evaluated against the background of specific literary conventions and literary codes.
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Loy, See Ling, Rachael Si Xuan Loo, Keith M. Godfrey, Yap-Seng Chong, Lynette Pei-Chi Shek, Kok Hian Tan, Mary Foong-Fong Chong, Jerry Kok Yen Chan, and Fabian Yap. "Chrononutrition during Pregnancy: A Review on Maternal Night-Time Eating." Nutrients 12, no. 9 (September 11, 2020): 2783. http://dx.doi.org/10.3390/nu12092783.
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Evidence from women working night shifts during pregnancy indicates that circadian rhythm disruption has the potential to adversely influence pregnancy outcomes. In the general population, chronodisruption with the potential to affect pregnancy outcomes may also be seen in those with high energy intakes in the evening or at night. However, maternal night eating during pregnancy remains understudied. This narrative review provides an overview of the prevalence, contributing factors, nutritional aspects and health implications of night eating during pregnancy. We derived evidence based on cross-sectional studies and longitudinal cohorts. Overall, night eating is common during pregnancy, with the estimated prevalence in different populations ranging from 15% to 45%. The modern lifestyle and the presence of pregnancy symptoms contribute to night eating during pregnancy, which is likely to coexist and may interact with multiple undesirable lifestyle behaviors. Unfavorable nutritional characteristics associated with night eating have the potential to induce aberrant circadian rhythms in pregnant women, resulting in adverse metabolic and pregnancy outcomes. More research, particularly intervention studies, are needed to provide more definite information on the implications of night eating for mother-offspring health.
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Broden, Thomas F. "Pour la méthode comparative en sémiotique: L'exemple des études sur le récit." Semiotica 2020, no. 234 (October 25, 2020): 217–35. http://dx.doi.org/10.1515/sem-2019-0019.
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AbstractComparative research enriches semiotics and deepens its exchanges with other sciences. The work can also highlight inductive methods and socio-historically specific forms and practices, thereby helping to develop a general semiotics and a semiotics of cultures. This article compares the morphology by Vladimir Propp that inspired the Greimassian narrative schema to a small sample of narrative forms, then to Aristotle's Poetics and to a model of Hollywood films. Certain motifs and subgenres represent elementary schemas with two or three actants and functions that rely on role reversal and emotions. A half dozen subgenres can be differentiated by the different affects that they aim to elicit. Greek tragedy is to evoke intense emotional states, and reveals a close interdependence between characteristics of the hero, modulations of the critical action, and the emotive effect produced. In the films, the variation of the affective intensity constitutes a key element of the narrative rhythm, and two main sequences supply opposing and complementary axiologies. A conclusion suggests the value of bringing together the semiotics of the passions, recent research on the history of the emotions, and comparative studies of how different cultures express feelings.
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Johns, A. H. "Narrative, Intertext and Allusion in the Qur'anic Presentation of Job." Journal of Qur'anic Studies 1, no. 1 (April 1999): 1–25. http://dx.doi.org/10.3366/jqs.1999.1.1.1.
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Job (Ayyūb) is a byword for patience in the Islamic tradition, notwithstanding only six Qur'anic verses are devoted to him, four in Ṣād (vv.41-4), and two in al-Anbiyā' (vv.83-4), and he is mentioned on only two other occasions, in al-Ancām (v.84) and al-Nisā' (v.163). In relation to the space devoted to him, he could be accounted a ‘lesser’ prophet, nevertheless his significance in the Qur'an is unambiguous. The impact he makes is achieved in a number of ways. One is through the elaborate intertext transmitted from the Companions and Followers, and recorded in the exegetic tradition. Another is the way in which his role and charisma are highlighted by the prophets in whose company he is presented, and the shifting emphases of each of the sūras in which he appears. Yet another is the wider context created by these sūras in which key words and phrases actualize a complex network of echoes and resonances that elicit internal and transsūra associations focusing attention on him from various perspectives. The effectiveness of this presentation of him derives from the linguistic genius of the Qur'an which by this means triggers a vivid encounter with aspects of the rhythm of divine revelation no less direct than that of visual iconography in the Western Tradition.
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Duhn, Iris. "Speculating on childhood and time, with Michael Ende’s Momo (1973)." Contemporary Issues in Early Childhood 17, no. 4 (December 2016): 377–86. http://dx.doi.org/10.1177/1463949116677922.
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Childhood and time are closely linked concepts in education. Childhood as a modern domain is a cornerstone of the human narrative of being in time, with birth as the beginning and death as the end. A newborn child marks new beginnings and hope for the future, and geopolitically early childhood education is now seen as a cornerstone for building the economic wealth of nations. This perception of childhood and time as leading to better futures has come under scrutiny at a time when futures seem less and less predictable due to increasing economic, environmental, social, political and cultural pressures and tensions. This article explores childhood and time as concepts to speculatively imagine time as rhythm that creates differentiations with the aim of cutting time loose from linearity and causality. Michael Ende’s fairy-tale novel Momo (1973) offers possibilities for imagining time in its materiality and assists in speculative imaginings of time as rhythm that generates spaces for another, less causal and linear sense of time in early childhood education.
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Smith, Jeff, Dominic Topp, Jason Gendler, and Francesco Sticchi. "Book Reviews." Projections 13, no. 1 (March 1, 2019): 91–111. http://dx.doi.org/10.3167/proj.2019.130106.
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Giorgio Biancorosso, Situated Listening: The Sound of Absorption in Classical Cinema (Oxford: Oxford University Press, 2016), xi + 246 pp., $55 (hardback), ISBN: 9780195374711. Reviewed by Jeff SmithLea Jacobs, Film Rhythm after Sound: Technology, Music, and Performance (Oakland: University of California Press, 2015), 280 pp., $34.95 (paperback), ISBN: 9780520279650. Reviewed by Dominic ToppMiklós Kiss and Steven Willemsen, Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema (Edinburgh: Edinburgh University Press, 2017), 240 pp., £70.00 (hardback), £19.00 (paperback), ISBN: 9781474406727. Reviewed by Jason GendlerSteffen Hven, Cinema and Narrative Complexity: Embodying the Fabula (Amsterdam: Amsterdam University Press, 2017), 261 pp., €22.00 (paperback), ISBN 9789462980778. Reviewed by Francesco Sticchi
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Tverianovich, Kseniia. "“The Gruffalo” by Julia Donaldson vs. its russian translation: rhythmical structure and didactic message." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 300–325. http://dx.doi.org/10.31860/2304-5817-2020-2-18-300-325.
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“The Gruffalo” by Julia Donaldson gained enormous popularity worldwide, including Russia. Its Russian translation by Marina Boroditskaya is interesting in terms of its versification. The meter of the translation is not structurally equivalent to that of the English original, however it may be considered as its functional equivalent within the Russian poetic tradition. The alteration of rhythmical variations of the meter follows that of the original and thus conforms to the logic of the narrative. However, the Russian text is structurally more complicated and sophisticated in terms of its rhythm, grammar, and vocabulary. These structural differences cause respective shifts in the meaning and the message.
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Nattel, Stanley, Philip T. Sager, Jörg Hüser, Jordi Heijman, and Dobromir Dobrev. "Why translation from basic discoveries to clinical applications is so difficult for atrial fibrillation and possible approaches to improving it." Cardiovascular Research 117, no. 7 (March 25, 2021): 1616–31. http://dx.doi.org/10.1093/cvr/cvab093.
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Abstract Atrial fibrillation (AF) is the most common sustained clinical arrhythmia, with a lifetime incidence of up to 37%, and is a major contributor to population morbidity and mortality. Important components of AF management include control of cardiac rhythm, rate, and thromboembolic risk. In this narrative review article, we focus on rhythm-control therapy. The available therapies for cardiac rhythm control include antiarrhythmic drugs and catheter-based ablation procedures; both of these are presently neither optimally effective nor safe. In order to develop improved treatment options, it is necessary to use preclinical models, both to identify novel mechanism-based therapeutic targets and to test the effects of putative therapies before initiating clinical trials. Extensive research over the past 30 years has provided many insights into AF mechanisms that can be used to design new rhythm-maintenance approaches. However, it has proven very difficult to translate these mechanistic discoveries into clinically applicable safe and effective new therapies. The aim of this article is to explore the challenges that underlie this phenomenon. We begin by considering the basic problem of AF, including its clinical importance, the current therapeutic landscape, the drug development pipeline, and the notion of upstream therapy. We then discuss the currently available preclinical models of AF and their limitations, and move on to regulatory hurdles and considerations and then review industry concerns and strategies. Finally, we evaluate potential paths forward, attempting to derive insights from the developmental history of currently used approaches and suggesting possible paths for the future. While the introduction of successful conceptually innovative new treatments for AF control is proving extremely difficult, one significant breakthrough is likely to revolutionize both AF management and the therapeutic development landscape.
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Crowther, Dustin, Pavel Trofimovich, Kazuya Saito, and Talia Isaacs. "LINGUISTIC DIMENSIONS OF L2 ACCENTEDNESS AND COMPREHENSIBILITY VARY ACROSS SPEAKING TASKS." Studies in Second Language Acquisition 40, no. 2 (August 22, 2017): 443–57. http://dx.doi.org/10.1017/s027226311700016x.
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AbstractThis study critically examined the previously reported partial independence between second language (L2) accentedness (degree to which L2 speech differs from the target variety) and comprehensibility (ease of understanding). In prior work, comprehensibility was linked to multiple linguistic dimensions of L2 speech (phonology, fluency, lexis, grammar) whereas accentedness was narrowly associated with L2 phonology. However, these findings stemmed from a single task (picture narrative), suggesting that task type could affect the particular linguistic measures distinguishing comprehensibility from accentedness. To address this limitation, speech ratings of 10 native listeners assessing 60 speakers of L2 English in three tasks (picture narrative, IELTS, TOEFL) were analyzed, targeting two global ratings (accentedness, comprehensibility) and 10 linguistic measures (segmental and word stress accuracy, intonation, rhythm, speech rate, grammatical accuracy and complexity, lexical richness and complexity, discourse richness). Linguistic distinctions between accentedness and comprehensibility were less pronounced in the cognitively complex task (TOEFL), with overlapping sets of phonology, lexis, and grammar variables contributing to listener ratings of accentedness and comprehensibility. This finding points to multifaceted, task-specific relationships between these two constructs.
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Sabbagh, Omar. "History Free Indirect: Reading Creative Techniques in Lytton Strachey's Queen Victoria." Victoriographies 9, no. 1 (March 2019): 41–54. http://dx.doi.org/10.3366/vic.2019.0325.
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Situating itself in line with Max Saunders' thesis in Self Impression (2010), this paper is a literary-critical reconnaissance of the creative techniques Lytton Strachey employs in Queen Victoria (1921). My essay attempts to elicit the ways in which Strachey executes his modernist argument, intended to debunk Victorian perspectives, via a canny mix of traditional and modernist techniques of narration, usually associated with fiction. Showing how – in the way of an impressionist historian – he both inhabits the frame of his narrative as well as directs its very framing, I discuss his use of free indirect style and cognate methods of characterisation. I also discuss his novelistic ‘rhythm’, as he negotiates between personal and particular histories and wider more universal history; his psychological and psychoanalytic resources for biographical insight; and formal features of his narrative that make use of choric and stage-like structuring, as well as meta-historical tropes of fate and destiny. Literary critical methods deployed by Strachey, precociously, in the arsenal of his method, at a time before such literary critical methods had been overtly established are also discussed in brief as signifying features of his innovation. This paper hopes to offer a concrete interpretation of Strachey's well-known candidacy as the father, or one of them, of the ‘new biography’. Being a concrete analysis of only one of Strachey's works, less examined than others, the paper claims only to put traditional notions of the new biography and of modernism under the lens of this one particular but signal work.
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Nelson, Tollof. "Sculpting the End of Time: The Anamorphosis of History and Memory in Andrei Tarkovsky’s Mirror (1975)." Cinémas 13, no. 3 (July 28, 2004): 119–47. http://dx.doi.org/10.7202/008710ar.
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Abstract Articulating a materialist conception of rhythm and temporality in the medium of film, this paper seeks to explore the way in which Andrei Tarkovsky’s Mirror (1975) is constituted by the alternation of explosions and implosions of historical time-images. The author makes a detailed analysis of several sequences of the film in order to lend support to the central argument: that spectators are taken “out of time” through an anamorphic experience of death in the material contact transmitted by a spectral dimension of history and memory. This argument allows political considerations regarding the mediation of social memory and mourning and also epistemological considerations regarding the critique of traditional historiography and the literary bias of narrative storytelling.
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Lorre, Sean. "‘Mama, he treats your daughter mean’: Reassessing the narrative of British R&B with Ottilie Patterson." Popular Music 39, no. 3-4 (December 2020): 482–503. http://dx.doi.org/10.1017/s0261143020000574.
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AbstractThe phenomenon of British R&B is most often understood in terms of young, white, middle-class British men turning to the ‘down-home’ sounds of black American men for musical motivation. This article offers a revision to this dominant narrative by reinserting ‘slim, lively Irish girl’ Ottilie Patterson, the UK's most popular blues singer before 1963. I analyse the content and context of Patterson's 1961 album, Rhythm and Blues with Ottilie Patterson, drawing from contemporaneous mass-media discourse as well as Patterson's own notebooks held at Britain's National Jazz Archive. Patterson's performances captured on this record demonstrate how R&B was first publicly (re-)presented and understood in the UK. I argue that Patterson's work challenges the assumptions that (a) British R&B began with the formation of Alexis Korner's Blue Incorporated and (b) the R&B revival was predominately motivated by the appropriation and vicarious expression of African-American hypermasculinity.
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Teodoro da Silva Junior, Mário Sérgio. "Apontamentos sobre a narratividade e a aspectualização do ato de jogar no jogo Super Mario World." Texto Livre: Linguagem e Tecnologia 12, no. 1 (April 14, 2019): 85–111. http://dx.doi.org/10.17851/1983-3652.12.1.85-111.
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RESUMO: Este artigo destina-se a identificar as marcações no enunciado do jogo de videogame Super Mario World, de 1990, que permitam enxergar o fluxo da ação de controle operada pelo jogador visado pela enunciação. Para tanto, deve-se estabelecer a distinção entre a instância enunciada do enunciatário, o narratário, a quem o narrador instrui e comanda, e a instância do enunciado enunciado, em que se localiza o herói Mario, aquele comandado pelo narratário. As categorias narrativas e discursivas ora são comuns, ora diversas para esses sujeitos, estruturando graus de sincretismo de suas identidades e de seus percursos. É no percurso do narratário em que são encontradas as dinâmicas sensíveis que demarcam o ritmo do processo de jogo, o tempo necessário para se tornar hábil e vencer.
PALAVRAS-CHAVE: semiótica; videogames; narratividade.
ABSTRACT: In this article, our goal is to identify the syntax of control which a video game player plays, in the game Super Mario World, from Nintendo (1990), basing our notes on the many marks left in the audiovisual text, in the form of figures and narrative programs. Therefore, two levels must be distinguished: one concerning the player, referred in the text as a naratee, and another concerning the enounced hero, Mario. The discursive categories and narrative patterns are sometimes the same and sometimes different for each actor, proposing syncretism degrees for their identities and their syntaxes. It is in the course of the naratee that the sensitive dynamics that mark the rhythm of the game process are found, besides the time needed to become skilled and to win.
KEYWORDS: semiotics; video games; narrativity.
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Diallo, Souleymane. "The Dynamic Dialectic and the Eclectic Plaintive Rhythm in Bembeya Jazz’s, Black Beats Music." International Journal of Linguistics, Literature and Translation 4, no. 2 (February 27, 2021): 50–57. http://dx.doi.org/10.32996/ijllt.2021.4.2.7.
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The foremost line of the post-independent music evolves especially, from a simple to a more compound whole within the understanding of convention of representation and the association of experience become structural materials. Thereby, the basic component of conventional imagery, and the colonialist dynamic straightforward influences frame a new idiosyncratic type that evaluates the establishment of realty, memory and symbol. Correspondingly, through the foundation of intellectual and artistic image, the commensurate imagination of the musical nationalism schedule moves afar unconscious and insensate sensitivity. Indeed, the cultural and artistic body of the Bembeya Jazz and the Black Beats Band deconstruct the colonialist conventional perception of productivity; then, through extensive collective relation with their time and space, their nationalistic music exhibits boundaries of cross-examination regarding the realm of recombination, reconciliation and re-appropriation. Within the respect of material imagination and objective reality, verbal text, and contemporary Western musical instruments become the developing artistic cosmos within a new social and linguistic narrative is structured. Hence, the commitment of this article stands as a diagnostic process within we try to grasp the rapport of the indigenous value of imagination and the transcontinental stylistic effects inside the historio-context of redefining the self, sociolinguistic reflectivity, and perceptive sensibility in post-independent era.