Relevant bibliographies by topics / Narrative structure

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Narrative structure'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 June 2025

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Journal articles on the topic "Narrative structure"

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Algül, Mustafa. "Anlatı İçinde Anlatı: “Into The Woods (Sihirli Orman)” Filminin Peri Masalı Anlatıları İçindeki Gezintisi." Etkileşim 4, no. 7 (2021): 128–49. http://dx.doi.org/10.32739/etkilesim.2021.7.121.

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Myths, epics, and tales have survived for centuries in the oral expression tradition and have been permanently transcribed from oral tradition into written form. They are the most frequently recreated narratives in the cinema with their fantastic narrative structures. Hollywood cinema has been using tales as visual narratives for years. Tales, which have been turned into a structure open to the interpretation in accordance with the changing world, on the one hand is being reediting continuously. On the other hand, they gain new appearances along with intertwined narrative structures. In Into the Woods (Rob Marshall, 2014), four different fairy tales were used together. In this study, it is aimed to determine what kind of changes has been carried out in the film in terms of the different stages of the fairy tales. For this purpose, while collecting the data by examining the narrative structure of the fairy tales, the action areas are identified in terms of the “five components” in the Greimas’ ‘canonical narrative’. Briefly, the main object in this paper is to explicate the status of the film within the types of the cinematic narratives.
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Cho, Si-kyoung. "Spatial Narrative Structure and Design Evaluation of the ‘King’s Road’." korea soc pub des 7 (December 31, 2022): 7–16. http://dx.doi.org/10.54545/kspd.2022.7.7.

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This study is a follow-up study of 「Analysis of the spatial narrative structure of Deoksugung Stone Wall Path’」 as part of a continuing study to evaluate how narratives are structured and expressed in the physical structure and spatial composition of various open public spaces. Through this study, the connection between the organic narrative structure of the separated spaces of 'Deoksugung Stonewall Road' and 'King's Road' was analyzed. Through the 'Spatial Narrative Structure Design Evaluation Table' developed through previous research, an evaluation analysis was conducted on the narrative structure shown in 'The Way of King Gojong'. As a result, it was found that the roads of King Gojong were sufficiently structured and contained narration based on historical facts, but there was no spatial design that visually expressed them so that visitors or pedestrians could approach them emotionally. In addition, the narrative structure of King Gojong's road is directly connected to the narrative structure of the Deoksugung stone wall road, so it has an organic relationship. Therefore, as a special alley that requires a public design approach, Deoksugung Palace and Gojong's Road must be structured so that a new narrative starts again from the point of contact, and structured design planning is desperately needed.
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Allen, Marybeth S., Marilyn K. Kertoy, John C. Sherblom, and John M. Pettit. "Children's narrative productions: A comparison of personal event and fictional stories." Applied Psycholinguistics 15, no. 2 (1994): 149–76. http://dx.doi.org/10.1017/s0142716400005300.

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ABSTRACTPersonal event narratives and fictional stories are narrative genres which emerge early and undergo further development throughout the preschool and early elementary school years. This study compares personal event and fictional narratives across two language-ability groups using episodic analysis. Thirty-six normal children (aged 4 to 8 years) were divided into high and low language-ability groups using Developmental Sentence Scoring (DSS). Three fictional stories and three personal event narratives were gathered from each subject and were scored for length in communication units, total types of structures found within the narrative, and structure of the whole narrative. Narrative genre differences significantly influenced narrative structure for both language-ability groups and narrative length for the high language-ability group. Personal events were told with more reactive sequences and complete episodes than fictional stories, while fictional stories were told with more action sequences and multiple-episode structures. Compared to the episodic story structure of fictional stories, where a prototypical ‘good” story is a multiple-episode structure, a reactive sequence and/or a single complete episode structure may be an alternate, involving mature narrative forms for relating personal events. These findings suggest that narrative structures for personal event narratives and fictional stories may follow different developmental paths. Finally, differences in productive language abilities contributed to the distinctions in narrative structure between fictional stories and personal event narratives. As compared to children in the low group, children in the high group told narratives with greater numbers of complete and multiple episodes, and their fictional stories were longer than their personal event narratives.
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Jones, Anne Hudson. "Narrative Ethics, Narrative Structure." Hastings Center Report 44, s1 (2014): S32—S35. http://dx.doi.org/10.1002/hast.267.

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Zúñiga-Reyes, Danghelly Giovanna. "Conjunción de géneros narrativos en Naruto." Neuróptica, no. 1 (March 24, 2020): 173–88. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.201914326.

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Resumen: Esta investigación se centró en identificar la estructura narrativa del anime Naruto. El modelo de investigación cualitativa de la estructura narrativa se basó en el análisis de cuarenta y siete capítulos de los doscientos veinte que componen la primera temporada de la serie de anime Naruto. La hipótesis de esta investigación es que Naruto es la cristalización de la mezcla de diferentes tipos de narraciones, propone exitosamente una historia construida desde el ámbito local hacia lo global, en la cual se incluyen elementos de estructuras narrativas clásicas, modernas y postmodernas. Toma la narración de Naruto elementos de la picaresca, la epopeya, la gesta, los videojuegos y el shōnen.
 Abstract: This research focuses on identifying the narrative structure of Naruto. The qualitative research model of the narrative structure focusing on the analysis of forty-seven chapters of the two hundred twenty that make up the first season of the anime series Naruto. This investigation hypothesizes that Naruto is the crystallization of the mixture of different types of narrations, a history constructed from the local to the global is successfully proposed, in which elements of classic, modern and postmodern narrative structures are included. The narration of Naruto, the elements of the picaresque, the epic, the deed, the video games, and the shōnen.
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Maynard, Douglas W. "Narratives and Narrative Structure in Plea Bargaining." Law & Society Review 22, no. 3 (1988): 449. http://dx.doi.org/10.2307/3053625.

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Partlan, Nathan, Elin Carstensdottir, Sam Snodgrass, et al. "Exploratory Automated Analysis of Structural Features of Interactive Narrative." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 14, no. 1 (2018): 88–94. http://dx.doi.org/10.1609/aiide.v14i1.13019.

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Analysis of interactive narrative is a complex undertaking, requiring understanding of the narrative's design, its affordances, and its impact on players. Analysis is often performed by an expert, but this is expensive and difficult for complex interactive narratives. Automated analysis of structure, the organization of interaction elements, could help augment an expert's analysis. For this purpose we developed a model consisting of a set of metrics to analyze interactive narrative structure, enabled by a novel multi-graph representation. We implemented this model for an interactive scenario authoring tool called StudyCrafter and analyzed 20 student-designed scenarios. We show that the model illuminates the structures and groupings of the scenarios. This work provides insight for manual analysis of attributes of interactive narratives and a starting point for automated design assistance.
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Kumala, Sonya Ayu. "CHILD'S NARRATIVE STRUCTURE." e-LinguaTera 2, no. 2 (2022): 38–43. http://dx.doi.org/10.31253/lt.v2i2.1426.

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 At its daily used in adult individuals and children, language meet the communication function is to communicate ideas (thought) of an individual in others (Piaget, 2005: 1). This can be evident from the speech-speech or narrative generated in the use of everyday language which then becomes an interesting study for the main study in the use of language in children. In narrating the story, just as it had done by adult speakers, children will also make the selection and preparation of experience and other stories from the story of his life (life story). This explains the narrative as a genre that is universal because it narrated traditions can be found in every culture and speakers of different languages ​​(Hatch: 1992 in Brockmeier 1998). On the other hand, the narrative is also characterized as being bound by culture and language so that in the context of language and speakers of different backgrounds will have the tools possible narrative and discursive different linguistic (Labov & Waletsky: 1968, Ochs: 1998 in Berman 1998). The above facts indicate that the narrative structure generated by the speakers of a language and culture will be different from the speakers of the language with cultural and language backgrounds other.
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Abdullah Abdulateef, Huda. "Traumatic Narration: A Case Study of Toni Morrison’s Beloved." Journal of Education College Wasit University 4, no. 38 (2020): 20. http://dx.doi.org/10.31185/eduj.vol4.iss38.1319.

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This paper examines Laurie Vickroy’s (2002) main traumatic narrative strategies of intimacy, fragmentation, the dissociation of the character’s identity, images and dialogical conceptions of witnessing. Therefore, at first, it defines trauma theory and its importance to the analysis of trauma narratives. Then, as a case study, it focuses on Toni Morrison’s Beloved (1987) in terms of its trauma narrative structure and themes that come from three different real stories. It mainly shows how Vickroy’s strategies work to uncover Beloved’s traumatic themes of mother-daughter (s) relationship, memory, community, slavery and freedom through traumatic narration of testimony and fragmented narrative structure. Eventually, this paper explains the meaning of slavery and freedom, racial violence and racial reconciliation in Beloved through its traumatic narration and structure.
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Minami, Masahiko. "Japanese Preschool Children's and Adults' Narrative Discourse Competence and Narrative Structure." Journal of Narrative and Life History 6, no. 4 (1996): 349–73. http://dx.doi.org/10.1075/jnlh.6.4.03jap.

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Abstract This study presents empirical evidence o f Japanese preschool children's (a) narrative discourse competence and narrative structure and (b) rhetorical/expressive flexibility, compared to adults. With data on oral personal narratives told by Japanese preschoolers and adults, and with verse/stanza analysis (Gee, 1985; Hymes, 1981) and high point analysis based on the Labovian approach (Labov, 1972; Peterson & McCabe, 1983), it was discovered that children's and adults' narratives are similar in terms o f structure in that they both tend to have three verses per stanza, and that children and adults tend to tell about multiple experiences. By contrast, there are some clear differences in terms o f content and delivery. Whereas children tend to tell their stories in a sequential style, adults emphasize nonsequential information. Specifically, compared to children's narratives, adults' narratives place considerably more weight on feelings and emotions. The findings of this study strongly suggest that oral personal narratives told by Japanese preschoolers do not represent the final phase o f development. Rather, they still have a long way to go. (Narrative Development; Narrative Structure)
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Dissertations / Theses on the topic "Narrative structure"

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Forsberg, Liam, and Simon Östman. "Narrative structure in Persona 5 : Limiting narrative paradoxes." Thesis, Uppsala universitet, Institutionen för speldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-449161.

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A narrative paradox occurs when the suspension of disbelief falters due to tension betweenthe urgency of the narrative and agency used by the player to pursue non-narrative activities.In this paper, we do a close reading on the video game Persona 5 to examine which elementsare utilised to limit or avoid narrative paradoxes. The analysis consisted of categorising thegame’s events, whereafter a few non-obligatory events from the game were chosen for anin-depth analysis. This served to find out which desire: agency, urgency, or both, the eventsmotivate through its narrative. We introduce the concept of the Plot Bubble as a tool withwhich to create narrative structures that are less prone to causing narrative paradoxes whencombined with relevant narrative elements. The narrative structure and elements of Persona 5are used as practical examples of how such design choices can motivate the player to act inaccordance with the narrative context, as well as to support this desire through the actionsavailable in the game world.<br>En narrativ paradox inträffar när ens upphävande av misstro fallerar på grund av en spänningmellan narrativets brådskande karaktär och behörigheten som spelaren har för att utövaicke-narrativa aktiviteter. I denna text gör vi en närläsning av TV-spelet Persona 5 för attundersöka vilka element som används för att begränsa eller undvika narrativa paradoxer.Analysen bestod utav en kategorisering av spelets händelser och därefter valdes några fåicke-obligatoriska händelser från spelet till en djupgående analys. Detta tjänade till att ta redapå vilken begäran: spelarens behörighet, narrativets brådskande karaktär, eller båda,händelserna motiverar genom dess narrativ. Vi introducerar konceptet intrigbubbla som ettverktyg till att skapa narrativa strukturer som är mindre benägna att orsaka narrativaparadoxer i kombination med relevanta narrativa element. Den narrativa strukturen ochverktygen i Persona 5 används som praktiska exempel för hur sådana designval kan motiveraspelaren att agera i enlighet med den narrativa kontexten, samt att stödja denna begärangenom handlingarna som finns tillgängliga i spelvärlden.
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Nordqvist, Filip, and Erik Sahlbom. "Visual Narrative Game Design : Ett narrativ utan konversation." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16516.

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Vi undersöker den narrativa stilen som Flower och Journey använder sig av. I denna narrativastil finns det varken dialog och text. Utifrån Flower och Journey skapade vi en designmetodsom ska finnas till som inspiration för utvecklare som vill testa denna stilen. Resultatet avundersökningen ger upphov till en designmetod som vi applicerar på vår gestaltning för atttesta den i en annan spel genre. Mycket av metoden är fokuserad på hur Flower och Journeygör då vi bara undersöker de två spelen. Vi skulle vilja göra en mer generell undersökning dåvi undersöker mer spel som också har ett narrativ utan dialog och text.<br>We study the narrative style that Flower and Journey uses. In this narrative style, there is nodialogue and text. Based on Flower and Journey, we created a design method that will be aninspiration for developers who want to test this style. The result of this bachelor thesis givesrise to a design method that we apply to our game idea this applies the method to anothergame genre. Much of the method is very focused on what Flower and Journey do when weonly examine these two games. We would like to do a more general study when we examinemore games that also have a narrative without dialogue and text.
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Pletcher, James Alan. "Narrative structure and narrative texture in the 'Aithiopika' of Heliodorus." Thesis, University of St Andrews, 1997. http://hdl.handle.net/10023/15450.

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This thesis consists of four individual studies, divided into two sections; "Narrative Structure" and "Narrative Texture". The first chapter ("Heliodoros and the Conventions of Romance") addresses the issue of the essence of romance; it attempts to get behind the narrative of the Aithiopika in such a way as to reveal how Heliodoros works within the boundaries and received practice of the genre ancient romance, and how he adapts and deviates from them. The second chapter ("Hearing Voices: Incorporated Genres in the Aithiopika") deals with genre, but in a different context. This study takes a concept- incorporated genre- from the theorist M.M. Bakhtin, and applies it to Heliodoros' narrative. Here the term "genre" takes on a broader significance, meaning not the romances themselves, but types of narrative, and ways of narrating, which Heliodoros has introduced into his story. Both chapters one and two are systematic analyses of the text; they deal with how Heliodoros has structured his narrative in ways conventional and unconventional. In the final chapters the term genre encompasses specific works and literary groupings. These studies help to demonstrate how Heliodoros has fleshed out the basic structure of the Aithiopika, or, in other words, they provide a feel for some of the texture of the romance. "Heliodoros and Homer" is explicitly narratological in outlook, showing one way in which Heliodoros has provided a paradigm for reading, perhaps not just the novel itself, but specifically within the novel the references to and allusions from Homer. "Heliodoros and Tragedy" tackles the meaning of theatricality, and references to the theatre, in an author writing in the late Roman Empire. But this chapter, too, provides a glimpse at the narrative texture, especially with regard to the way in which Heliodoros co-opted yet another literary predecessor, Euripides.
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Rosales, Alirio. "The Narrative structure of scientific theorizing." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/49982.

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I argue that many scientific theories and explanations are irreducibly narrative in character. To this end I propose an account of a generalized narrative, which goes against the widespread view that narratives are by definition particularized. On my account, generalized narratives are sequences of causally connected event-types in the duration of a system, with a beginning, middle and end (whereas particularized narratives are causally connected sequences of event-tokens). Many important scientific theories have a narrative structure that is not reducible to the kinds of formal statements typically identified with theory formulations, i.e., equations and “if-then” conditionals. Similarly, some scientific explanations have a narrative structure that is not reducible to the structure of an “argument” with premises and a conclusion. Narratives, generalized or particularized, play a threefold role in theorizing: heuristic, structural, and explanatory: 1) Through narratives, scientists explore imaginative scenarios where possible causal connections and outcomes are explored before a mathematical or otherwise formal framework is in place; 2) Narratives constitute the core of some theories, and can embed formal elements in them; 3) The causal order of event-types or event-tokens forms the basis of explanations. Throughout, I motivate and illustrate my proposal with examples from evolutionary biology and physics.<br>Arts, Faculty of<br>Philosophy, Department of<br>Graduate
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Edwards, E. "Narrative structure in Malory's Morte Darthur." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598784.

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This dissertation considers the principles of structure in the <I>Morte Darthur</I>. I conceive of structure as an internal logic which generates the selection of incidents and stories and which governs the additions and deletions which Malory makes to his source material. I consider Malory as a participant in a textual tradition, Arthurian fiction, which has its own economy of symbols, and I explore the ways in which Malory deploys the Arthurian semiotics. I develop a theory of 'symbolic structure' to account for the generation and combination of narrative elements in Malory's work. I describe features typical of the work's narrative lexicon, such as redundancy and ellipsis, and I consider the relations of entire stories (such as "Balin" and "Gareth") to each other and to the symbolic economy of the "hoole book." Because Malory is principally a redactor and translator, the structure of his narrative is often the same as that of his sources. Alternatively, the structure of the sources often reveals what has caused Malory's version to be the way it is. This thesis therefore considers the sources in French and English in some detail, and sees the <I>Morte Darthur</I> both as a representative of the traditional oeuvre of Arthurian literature, and in some cases as a response to it. Thus I argue, for example, that Malory's interpolation of "The Healing of Sir Urry" provides a symbolic solution to certain problems raised in his main source, <I>Le Mort le Roi Artu</I>. Among the results of my inquiry is an account of historical change as it is registered in symbolic practice; by examining Malory's text--sometimes in minute detail--I show the ways in which a late redaction while to a large extent conserving thirteenth-century narratives and their concerns records, often in displaced ways, its own particular era and author.
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Finlayson, Mark (Mark Alan) 1977. "Learning narrative structure from annotated folktales." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/71284.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2012.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Cataloged from student submitted PDF version of thesis.<br>Includes bibliographical references (p. 97-100).<br>Narrative structure is an ubiquitous and intriguing phenomenon. By virtue of structure we recognize the presence of Villainy or Revenge in a story, even if that word is not actually present in the text. Narrative structure is an anvil for forging new artificial intelligence and machine learning techniques, and is a window into abstraction and conceptual learning as well as into culture and its in influence on cognition. I advance our understanding of narrative structure by describing Analogical Story Merging (ASM), a new machine learning algorithm that can extract culturally-relevant plot patterns from sets of folktales. I demonstrate that ASM can learn a substantive portion of Vladimir Propp's in influential theory of the structure of folktale plots. The challenge was to take descriptions at one semantic level, namely, an event timeline as described in folktales, and abstract to the next higher level: structures such as Villainy, Stuggle- Victory, and Reward. ASM is based on Bayesian Model Merging, a technique for learning regular grammars. I demonstrate that, despite ASM's large search space, a carefully-tuned prior allows the algorithm to converge, and furthermore it reproduces Propp's categories with a chance-adjusted Rand index of 0.511 to 0.714. Three important categories are identied with F-measures above 0.8. The data are 15 Russian folktales, comprising 18,862 words, a subset of Propp's original tales. This subset was annotated for 18 aspects of meaning by 12 annotators using the Story Workbench, a general text-annotation tool I developed for this work. Each aspect was doubly-annotated and adjudicated at inter-annotator F-measures that cluster around 0.7 to 0.8. It is the largest, most deeply-annotated narrative corpus assembled to date. The work has significance far beyond folktales. First, it points the way toward important applications in many domains, including information retrieval, persuasion and negotiation, natural language understanding and generation, and computational creativity. Second, abstraction from natural language semantics is a skill that underlies many cognitive tasks, and so this work provides insight into those processes. Finally, the work opens the door to a computational understanding of cultural in influences on cognition and understanding cultural differences as captured in stories.<br>by Mark Alan Finlayson.<br>Ph.D.
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Lander, Rachel. "Teaching narrative structure to children with poor oral narrative skills in schools." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/359662/.

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The review discusses the importance of narrative structure for cognitive development and psychological health. Narrative structure is regarded as representing and developing internal cognitive structures, known as narrative schemas. The components of narrative schemas and thus the structure of narratives are described as a set of components collectively known as ‘story grammar’. Models of the development of narrative structure are compared and contrasted and discussed in relation to additional cognitive and linguistic components required to produce a narrative. Individual differences in narrative structure are discussed in terms of their social and environmental origins; specifically due to the quality of parental co-constructed narrative conversations and socio-economic status. The relationship between narrative structure and developmental outcomes are then explored; notably reading comprehension and behavioural adjustment. A critical review of school group interventions based on the principles of narrative structure is then provided. Finally, the current literature is summarised, providing suggestions for future research. The empirical paper evaluated the effectiveness of a published oral narrative intervention by Shanks (2001) on measures of Oral Narration and Narrative Comprehension for children aged 6-7 years with poor oral narrative skills. The intervention group (N=12) showed a significant increase in Oral Narration score between pre-test and post-test compared to a wait-list control group (N=11). Between pre-test and follow-up measures that were taken 6 weeks after the end of the intervention, no significant increases in Oral Narration were found between groups. The intervention group also showed no significant increases on Narrative Comprehension between pre-test and post-test or between pre-test and follow-up. The correlation between Oral Narration and behaviour was explored. Significant negative correlations were found between Oral Narration and teacher measures of behaviour at pre-test and follow-up, specifically regarding hyperactivity and inattention. The results question the long-term benefits of the intervention and suggestions for future research are provided.
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Cook, Suzanne Elizabeth. "Rhetorical structure of a Lushootseed (Salish) narrative." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ45356.pdf.

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Gardner, Emily A. "Narrative Structure and Reader Skepticism in Frankenstein." University of Toledo Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1387214518.

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Silva, AurenÃvia Ferreira da. "Um estudo da realizaÃÃo da seqÃÃncia narrativa no gÃnero notÃcia." Universidade Federal do CearÃ, 2007. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=2413.

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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior<br>Esta investigaÃÃo està centrada na anÃlise e descriÃÃo da realizaÃÃo da seqÃÃncia narrativa no gÃnero notÃcia, segundo o esquema prototÃpico narrativo de Adam (1992), e na verificaÃÃo de relaÃÃes existentes entre esse modelo seqÃencial e a estrutura propriamente dita do gÃnero. O corpus desta pesquisa foi constituÃdo por 50 notÃcias, dentre as quais 26 policiais e 24 nÃo-policiais, retiradas dos sites dos periÃdicos jornalÃsticos O Povo e Folha de SÃo Paulo, no perÃodo de setembro de 2005 a setembro de 2006, e submetidos à identificaÃÃo das macroproposiÃÃes narrativas em sua estrutura textual. A anÃlise realizada levou-nos a uma nova classificaÃÃo das notÃcias em narrativas e expositivas, de acordo, respectivamente, com a identificaÃÃo ou nÃo da seqÃÃncia narrativa na sua estrutura. A partir dessa classificaÃÃo, constatamos que a seqÃÃncia narrativa se atualizou predominantemente nas notÃcias policiais, que apresentaram uma forma de realizaÃÃo recorrente: a ocorrÃncia expressiva da seqÃÃncia narrativa, com todas as suas fases, no lead, e a constante repetiÃÃo ou retomada de algumas das macroproposiÃÃes narrativas no corpo da notÃcia, como uma extensÃo do conteÃdo jà exposto, configurando uma caracterÃstica do gÃnero. A seqÃÃncia narrativa funcionou como um importante mecanismo de organizaÃÃo textual das notÃcias narrativas, ainda que sua conformaÃÃo narrativa prototÃpica tenha sido diferente da delineada por Adam. Jà nas notÃcias nÃo-policiais, o rendimento foi baixo. A estrutura composicional recorrente que registramos configurou-se como expositiva e, nesse caso, a analisamos à luz dos pressupostos teÃricos de Bronckart (1999). Acreditamos ter possibilitado uma interessante reflexÃo teÃrica sobre a realizaÃÃo do protÃtipo da seqÃÃncia narrativa de Adam no gÃnero notÃcia e, do ponto de vista aplicado, esperamos ter contribuÃdo para a operacionalizaÃÃo do conceito de seqÃÃncia textual narrativa no tratamento didÃtico de gÃneros nÃo-literÃrios considerados de natureza narrativa, tal como o gÃnero notÃcia.<br>This research analyzes and describes the realization of the narrative sequences in the genre news of newspaper through the Michel Adamâs prototypical project of narrative sequences (cf. ADAM, 1992) and through the relations between this project and the proper structure of that genre. The corpus was formed by 50 news, being 26 about crimes and 24 about other subjects. They were extracted from the sites O Povo and Folha de SÃo Paulo from September/2005 to September/2006 and later they were submitted to identification of the narrative macro-proposals in its textual structure. After, the news were classified as narrative and expositive according to identification or not of the narrative sequence in its structure. From this classification, we observed that the narrative sequence became predominantly current in the news about crimes, presenting almost always the following form of realization: the expressive occurrence of the narrative sequence in the lead, with all its phases, and the constant repetition of some narrative macro-proposals in the text like a characteristic and an extension of the content of the genre news. So, the narrative sequence functioned as an important mechanism of textual organization of the genre news, although its prototypical conformation is different of that one thought by Adam. About the other kinds of news, the profit was low. Its recurrent compositional structure is expositive, therefore we analyze it with the theoretician proposals of Bronckart (1999). This way, we tried to make possible a theoretical reflection about the realization in the genre news of the prototype of narrative sequence thought by Adam, waiting to contribute for the operacionalization of the notion of narrative textual sequence through the didactic treatment of not-literary genres, but narrative genres such as the genre news.
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Books on the topic "Narrative structure"

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Allyssa, McCabe, and Peterson Carole 1942-, eds. Developing narrative structure. L. Erlbaum Associates, 1991.

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The structure of Thai narrative. Summer Institute of Linguistics, 1991.

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Obrtelová, Jaroslava. Narrative structure of Wakhi oral stories. Uppsala Universitet, 2017.

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Hogan, Patrick Colm. Affective narratology: The emotional structure of stories. University of Nebraska Press, 2011.

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Good writing for journalists: Narrative, style, structure. SAGE Publications, 2006.

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Narrative design: A writer's guide to structure. W.W. Norton, 1997.

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Wilson, Eileen. Narrative structure in the novels of Eliza Haywood. The Author], 2003.

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Father figures: Genealogy and narrative structure in Rabelais. Cornell University Press, 1991.

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Doctors' stories: The narrative structure of medical knowledge. Princeton University Press, 1991.

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Hunter, Kathryn Montgomery. Doctors' stories: The narrative structure of medical knowledge. Princeton University Press, 1991.

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Book chapters on the topic "Narrative structure"

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Angler, Martin W. "Narrative Structure." In Telling Science Stories. Routledge, 2020. http://dx.doi.org/10.4324/9781351035101-4.

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Butler, Jeremy G., and Amanda D. Lotz. "Narrative Structure." In Television. Routledge, 2018. http://dx.doi.org/10.4324/9781315181295-3.

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Batty, Craig, and Zara Waldeback. "Structure and Narrative." In Writing for the Screen. Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-05057-1_4.

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Maynard, Douglas W. "Narratives and Narrative Structure in Plea Bargaining." In Language in the Judicial Process. Springer US, 1990. http://dx.doi.org/10.1007/978-1-4899-3719-3_3.

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King, Jess. "Changing the Narrative (Structure)." In Inclusive Screenwriting for Film and Television. Routledge, 2022. http://dx.doi.org/10.4324/9781003170310-6.

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Benstock, Bernard. "Parallax as Structure." In Narrative Con/Texts in Ulysses. Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-11874-8_4.

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Ben-Arie, Udi. "The Narrative-Communication Structure in Interactive Narrative Works." In Interactive Storytelling. Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-10643-9_20.

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Schleifer, Ronald, and Jerry B. Vannatta. "The Narrative Structure of Diagnosis." In Literature and Medicine. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19128-3_2.

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Brunet, Ferran. "Structure of the Separatist Narrative." In The Economics of Catalan Separatism. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-14451-6_13.

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Leonte, Florin. "Space, Narrative, and Compositional Structure." In Holiness on the Move: Mobility and Space in Byzantine Hagiography. Routledge, 2022. http://dx.doi.org/10.4324/9781003299943-4.

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Conference papers on the topic "Narrative structure"

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Eismont, Polina M. "A CARTOON OR A SERIES OF PICTURES? THE PROBLEM OF CHOOSING AN EXPERIMENTAL TECHNIQUE." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.19.

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Various experimental techniques are used in child language studies to research the development of coherent and cohesive narrative. The most common of them are the elicitation narrative tasks based on a series of pictures or on a video, for example, a cartoon. However, the comparison of the studies carried out using different methods shows the results that can both coincide and significantly diverge. Among the factors that influence the basic narrative characteristics of elicited child stories are age, the type of visual stimulus, its length, and the way the narrative is produced (online vs. subsequent mode). The following basic characteristics are considered to study the structure of narratives: opening and closing markers, details and separateness of the narration, the variety of characters and the presence (absence) of evaluation. The question whether the type of visual stimulus has a significant effect on the basic characteristics of children’s narratives and whether it is possible to construct a general description of the development of narrative skills regardless of the experimental task chosen by the researchers is discussed with a comparative analysis of oral narratives collected within two series of experiments with Russian native monolingual children of the senior preschool and primary school age. The analysis showed that although it is possible to reveal some tendencies inherent in the narratives collected with different experimental methods, the type of visual stimulus does not have any statistically significant effect on the basic characteristics of the narratives of primary schoolchildren. Only the differences in evaluation and closing markers in the narratives of older preschoolers, elicited either simultaneously with watching the cartoon or during its subsequent retelling, are statistically significant. Refs 37.
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Colas, Joaquim, Alan Tapscott, Valeria Righi, Ayman Moghnieh, and Josep Blat. "Yoway: Coupling Narrative Structure with Physical Exploration in Multi-Linear Locative Narratives." In 2016 8th International Conference on Games and Virtual Worlds for Serious Applications (VS-Games). IEEE, 2016. http://dx.doi.org/10.1109/vs-games.2016.7590383.

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Papakostopoulos, Vassilis, Anna Vaptisma, and Dimitris Nathanael. "Narrative Structure of Museum Guided Tours." In ECCE 2019: 31st European Conference on Cognitive Ergonomics. ACM, 2019. http://dx.doi.org/10.1145/3335082.3335095.

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Mani, Inderjeet, and James Pustejovsky. "Temporal discourse models for narrative structure." In the 2004 ACL Workshop. Association for Computational Linguistics, 2004. http://dx.doi.org/10.3115/1608938.1608946.

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Papalampidi, Pinelopi, Frank Keller, Lea Frermann, and Mirella Lapata. "Screenplay Summarization Using Latent Narrative Structure." In Proceedings of the 58th Annual Meeting of the Association for Computational Linguistics. Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.acl-main.174.

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Alvarez, Alberto, and Jose Font. "TropeTwist: Trope-based Narrative Structure Generation." In FDG22: 17th International Conference on the Foundations of Digital Games. ACM, 2022. http://dx.doi.org/10.1145/3555858.3563271.

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Hargood, Charlie, David E. Millard, and Mark J. Weal. "A thematic approach to emerging narrative structure." In the hypertext 2008 workshop. ACM Press, 2008. http://dx.doi.org/10.1145/1379157.1379168.

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Kvítková, Zuzana, and Zdenka Petrů. "APPROACHES TO STORYTELLING AND NARRATIVE STRUCTURES IN DESTINATION MARKETING." In Tourism in Southern and Eastern Europe 2021: ToSEE – Smart, Experience, Excellence & ToFEEL – Feelings, Excitement, Education, Leisure. University of Rijeka, Faculty of Tourism and Hospitality Management, 2021. http://dx.doi.org/10.20867/tosee.06.28.

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Purpose – Storytelling is a very actual trend in destinations´ promotion. Travel narratives are renowned for the ability to arouse interest in the reader. The stories can be told in a written form, visual form, or in a form of movements (dances, theatre, etc.). Travel narratives can include more detailed information, they evoke emotions and empathy. Empathy has then a positive relation to behavioral intentions. Therefore, storytelling as a concept is more and more adopted by destination marketing organisations (DMOs). The approach and use of the concept can be different. The aim of the paper is to identify the approaches, and structures used by DMOs and to reveal the level of readers´ or tourists´ involvement in the narratives. Methodology – The main purpose of research is reached by conducting an empirical study using the qualitative methods of analysis - content analysis, deconstruction of the stories, analyzing the story structure, and comparison of the identified structures with the theory. Quantitative analysis, descriptive statistics and contingency tables are used to analyse the frequency and combinations of storytelling structures and approaches of the DMOs. Findings – A narrative is the central theme of the communication in 65.12% of analyzed campaigns. The most used structures are Petal and Hero´s Journey. The tourists are the main characters in 55.81% of the analyzed campaigns. They are also involved in the story creation in 46.51%. The most used communication channel is YouTube; this is valid on all levels of destinations. Contribution – Storytelling is an important part of destinations´ marketing, however, the research usually brings insight from a narrow or specific point of view (e.g., analysis of one platform or in a form of a case study). This research brings a comprehensive view of the narrative structures used for destinations based on empirical research from several destinations and a deep analysis of the content.
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Notariano Belizário, Pedro, and João Carlos Massarolo. "Long-form narrative design of streaming." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.68.

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This article’s proposal is to relate script studies and new spectator consumption habits studies. In essence, we will explain the binge-wathching phenomenon by analysing the narritive design of complex series, identifying the specific qualities that promote the spectator's binge-wathching in the macro-structuring of this format. In a general sense, we will make our analysis by comparing the narrative structures of series and films, pointing out the differences between the narrative designs of these two formats that make it impossible for a series to be compared to an extended film. Basically, we try to disprove the idea that “as habits related to the way of watching TV series evolve, they will tend to be increasingly conceived and written as a extended film” (KALLAS , 2016, p. 16). From this statement made by Kallas, intertwining concepts of consumption habits with those of scriptwriting, some questions arise: If a series is like an extended film, why do we complain about the length of exended films, like Martin Scorsese's The Irishman with its dull 3.5 hours in length, while managing to watch whole series containing at least twice as many hours? If a series is like an extended film, why is it split into episodes even though these can be watched in sequence - binge-watching? If a series is like an extended film, why does it need the collaborative elaboration of a writers room instead of being conceived by a single author? The structural comparison between films and series is not impossible, but we will show how problematic it is, or at least how harmful for the analysis of complex series as an autonomous format, with its own notions of elaboration and structuring. In that sense, unlike films, series are built from a structure of repetition of acts within its structure – the episodes generally have 3 to 5 acts each. This results in a greater narrative density of the series, since acts compressed in time lead to a faster pace of narration, with more recurrently plot points in the story, capable of intensifying engagement and increasing the attention of the spectator who practices the binge-watching. This huge amount of acts, narrative arcs and characters go beyond the creative capacity of a single author, requiring a collaborative elaboration of a screenwriter’s room, with several heads thinking the story simultaneously. Thus, this article seeks, through the comparison of the macrostructures of series and films, to point out the differences in the narrative design of these two formats. In other words, we aim to elucidate a simple concept: different formats assume the existence of different narrative designs.
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Kanzunnudin, Mohammad, and Irfai Fathurohman. "Narrative Structure And Function Of Kyai Telingsing Stories." In Proceeding of the 2nd International Conference Education Culture and Technology, ICONECT 2019, 20-21 August 2019, Kudus, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.20-8-2019.2288145.

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Reports on the topic "Narrative structure"

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Leis, Sherry, Mike DeBacker, Lloyd Morrison, Gareth Rowell, and Jennifer Haack. Vegetation community monitoring protocol for the Heartland Inventory and Monitoring Network: Narrative, Version 4.0. Edited by Tani Hubbard. National Park Service, 2022. http://dx.doi.org/10.36967/2294948.

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Native and restored plant communities are part of the foundation of park ecosystems and provide a natural context to cultural and historical events in parks throughout the Heartland Inventory and Monitoring Network (HTLN). Vegetation communities across the HTLN are primarily of three types: prairie, woodland, and forest. Park resource managers need an effective plant community monitoring protocol to guide the development and adaptation of management strategies for maintaining and/or restoring composition and structure of prairies, woodland, and forest communities. Our monitoring design attempts to balance the needs of managers for current information and the need for insight into the changes occurring in vegetation communities over time. This monitoring protocol consists of a protocol narrative (this document) and 18 standard operating procedures (SOPs) for monitoring plant communities in HTLN parks. The scientific objectives of HTLN plant community monitoring are to (1) describe the species composition, structure, and diversity of prairie, woodland, and forested communities; (2) determine temporal changes in the species composition, structure and diversity of prairie, woodland, and forested communities; and (3) determine the relationship between temporal and spatial changes and environmental variables, including specific management practices where possible. This protocol narrative describes the sampling design for plant communities, including the response design (data collection methods), spatial design (distribution of sampling sites within a park), and revisit design (timing and frequency of monitoring visits). Details can be found in the SOPs, which are listed in the Revision History section and available at the Integrated Resource Management Applications (IRMA) website (irma.nps.gov). Other aspects of the protocol summarized in the narrative include procedures for data management and reporting, personnel and operating requirements, and instructions for how to revise the protocol.
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MacGregor, Fianna. The Responsibilities and Limitations of Holocaust Storytelling: Understanding the Structure and Usage of the Master Narrative in Holocaust Film. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.150.

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Rosenow, Cecilia. Insoluble Ambiguity: Criticism and the Structure of the Frame Narrative in The Turn of the Screw by Henry James. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.6784.

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Fair, Ray. Does Monetary Policy Matter? Narrative Versus Structural Approaches. National Bureau of Economic Research, 1989. http://dx.doi.org/10.3386/w3045.

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McKinnon, Mark B., and Daniel Madrzykowski. Four Firefighters Burned in Residential House Fire - Georgia. UL's Fire Safety Research Institute, 2022. http://dx.doi.org/10.54206/102376/gekk4148.

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On September 3, 2018, two career Fire Lieutenants and two career Firefighters suffered burn injuries as a result of a residential structure fire. On September 10, 2018, personnel representing several other fire departments in the area, including a member of the Fire Safety Research Institute (FSRI) Advisory Board visited the fire scene to document the incident and collect material samples from the structure. The narrative and analysis presented in this report rely on the photographs and evidence collected on September 10, 2018, dispatch transcript [5] and videos recorded at the time of the incident, and interviews conducted by a local investigator between September 3, 2018 and September 7, 2018 with fire service personnel involved in the incident and the resident of the structure [6]. The LaGrange Fire Department invited FSRI to study this incident as part of FSRI’s Near-Miss Project which is supported by a DHS/FEMA Assistance to Firefighters Grant. The goal of this project is to enhance the safety and situational awareness of the fire service by applying fire dynamics research results to near-miss or line of duty injury fire incidents. By identifying factors that contributed to the incident, perhaps future incidents may be prevented. FSRI’s analysis of this incident will apply research results and utilize fire research tools, such as computer fire models, to examine key fire phenomena and tactical outcomes. This report will explain the incident, what occurred, why it occurred, and what can be done differently in the future to result in a more favorable outcome
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Potts, Tavis, and Rebecca Ford. Leading from the front? Increasing Community Participation in a Just Transition to Net Zero in the North-East of Scotland. Scottish Universities Insight Institute, 2022. http://dx.doi.org/10.57064/2164/19722.

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n line with Scottish Net Zero targets and the national strategy for a Just Transition, the Northeast of Scotland is transforming towards a low carbon future with a number of high-profile industry and policy initiatives. With the region home to global energy companies and historical high levels of energy sector employment, the narrative on transition is predominantly framed within an industrial and technological context, including narratives on new opportunities in green jobs, green industrial development, technical innovation and new infrastructure to support energy transition. As the energy landscape shifts in the North-East of Scotland, the impacts will be felt most keenly in communities from shifts in employment to changes to local supply chains. It is important to note that Net Zero ambitions will also change the nature and structure of communities in the region, for those within a shifting oil and gas industry and those without. A just transition ensures that all voices are heard, engaged and included in the process of change, and that communities, including those who have benefited and those who have not, have a stake in determining the direction of travel of a changing society and economy of the North-east. As a result, there is a need for a community-oriented perspective to transition which discusses a range of values and perspectives, the opportunities and resources available for transition and how communities of place can support the process of change toward Net Zero. Social transformation is a key element of a just transition and community engagement, inclusion and participation is embedded in the principles laid down by the Just Transition Commission. Despite this high-level recognition of social justice and inclusion at the heart of transition, there has been little move to understand what a just transition means in the context of local communities in the NorthEast. This project aims to address this imbalance and promote the ability of communities to not only engage but to help steer net zero transitions. It seeks to uncover and build a stronger local consensus about the vision and pathways for civil society to progress a just transition in the Northeast of Scotland. The project aims to do this through bringing together civil society, academic, policy and business stakeholders across three interactive workshops to: 1. Empower NE communities to engage with the Just Transition agenda 2. Identify what are the key issues within a Just Transition and how they can be applied in the Northeast. 3. Directly support communities by providing training and resources to facilitate change by working in partnership. The project funding supported the delivery of three professionally facilitated online workshops that were held over 2021/22 (Figure 1). Workshop 1 explored the global principles within a just transition and how these could apply to the Scottish context. Workshop 2 examined different pathways and options for transition in the context of Northeast Scotland. Workshop 3, in partnership with NESCAN explored operational challenges and best practices with community participants. The outcomes from the three workshops are explored in detail.
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Mager, Astrid, ed. Visions and Versions of Governing Biomedicine: Narratives on Power Structures, Decision-making and Public Participation in the Field of Biomedical Technology in the Austrian Context. Self, 2014. http://dx.doi.org/10.1553/ita-pa-am-08-1.

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Norris, Adele. Thesis review: The storytellers: Identity narratives by New Zealand African youth – participatory visual methodological approach to situating identity, migration and representation by Makanaka Tuwe. Unitec ePress, 2018. http://dx.doi.org/10.34074/thes.revw4318.

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This fascinating and original work explores the experiences of third-culture children of African descent in New Zealand. The term ‘third-culture kid’ refers to an individual who grows up in a culture different from the culture of their parents. Experiences of youth of African descent is under-researched in New Zealand. The central research focus explores racialised emotions internalised by African youth that are largely attributed to a lack of positive media representation of African and/or black youth, coupled with daily experiences of micro-aggressions and structural racism. In this respect, the case-study analysis is reflective of careful, methodological and deliberative analysis, which offers powerful insights into the grass-roots strategies employed by African youth to resist negative stereotypes that problematise and marginalise them politically and economically.
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Arora, Saurabh, Arora, Saurabh, Ajit Menon, M. Vijayabaskar, Divya Sharma, and V. Gajendran. People’s Relational Agency in Confronting Exclusion in Rural South India. Institute of Development Studies (IDS), 2021. http://dx.doi.org/10.19088/steps.2021.004.

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Social exclusion is considered critical for understanding poverty, livelihoods, inequality and political participation in rural India. Studies show how exclusion is produced through relations of power associated with gender, caste, religion and ethnicity. Studies also document how people confront their exclusion. We use insights from these studies – alongside science and technology studies – and rely on life history narratives of ‘excluded’ people from rural Tamil Nadu, to develop a new approach to agency as constituted by two contrasting ways of relating: control and care. These ways of relating are at once social and material. They entangle humans with each other and with material worlds of nature and technology, while being mediated by structures such as social norms and cultural values. Relations of control play a central role in constituting exclusionary forms of agency. In contrast, relations of care are central to the agency of resistance against exclusion and of livelihood-building by the ‘excluded’. Relations can be transformed through agency in uncertain ways that are highly sensitive to trans-local contexts. We offer examples of policy-relevant questions that our approach can help to address for apprehending social exclusion in rural India and elsewhere.
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Galvin, Jeff, and Sarah Studd. Vegetation inventory, mapping, and characterization report, Saguaro National Park: Volume III, type descriptions. Edited by Alice Wondrak Biel. National Park Service, 2021. http://dx.doi.org/10.36967/nrr-2284802.

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The Sonoran Desert Network (SODN) conducted a vegetation mapping and characterization effort at the two districts of Saguaro National Park from 2010 to 2018. This project was completed under the National Park Service (NPS) Vegetation Mapping Inventory, which aims to complete baseline mapping and classification inventories at more than 270 NPS units. The vegetation map data were collected to provide park managers with a digital map product that meets national standards of spatial and thematic accuracy, while also placing the vegetation into a regional and national context. A total of 97 distinct vegetation communities were described: 83 exclusively at the Rincon Mountain District, 9 exclusively at the Tucson Mountain District, and 5 occurring in both districts. These communities ranged from low-elevation creosote (Larrea tridentata) shrub-lands spanning broad alluvial fans to mountaintop Douglas fir (Pseudotsuga menziesii) forests on the slopes of Rincon Peak. All 97 communities were described at the association level, each with detailed narratives including lists of species found in each association, their abundance, landscape features, and overall community structural characteristics. Only 15 of the 97 vegetation types were existing “accepted” types within the NVC. The others are newly de-scribed and specific to Saguaro National Park (and will be proposed for formal status within the NVC). This document is Volume III of three volumes comprising the Saguaro National Park Vegetation Mapping Inventory. This volume provides full type descriptions of the 97 associations identified and mapped during the project, and detailed in Volume I. Volume II provides abridged versions of these full descriptions, briefly describing the floristic and structural characteristics of the vegetation and showing representative photos of associations, their distribution, and an example of the satellite imagery for one polygon.
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