Relevant bibliographies by topics / Narrative techniques / Dissertations / Theses
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Dissertations / Theses on the topic 'Narrative techniques'

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Published: 4 June 2021
Last updated: 25 April 2022

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1

陳淸貴 and Ching-kooi Chan. "Narrative techniques of Taiwan short stories." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/b30252866.

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2

Salami, Mahmoud Ahmad. "Narrative techniques in the fiction of John Fowles." Thesis, University of Stirling, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236878.

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3

Cheng, Albert. "Thematics, narrative techniques and imperialism in Conrad's fiction." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272076.

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4

Sulcas, Roslyn Lee. "Narrative techniques in the novels of Iris Murdoch." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/21881.

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Bibliography: pages 154-163.
In this thesis I have departed from the prevalent critical concentration on the affiliations between Murdoch's fiction and philosophy, and have attempted to explore the relationship between her narrative techniques and the conventions of realism. In doing so, I use the narrative theory of Dorrit Cohn, who proposes that novelists concerned to render a sense of "reality" are also those who construct the most elaborate and artificial fictive worlds and characters. I propose that Murdoch's "real-isation" of her fictional world incorporates the problems of access to, and representation of the real. This links her to two ostensibly antithetical traditions: that of British realism (within which she would place herself), and also a fictional mode consonant with the poststructuralist writing that focuses on such problems. An examination of the early novels in terms of the correlation between "realism" and technical sophistication implied by Cohn reveals a division of narrative purpose that Murdoch has herself described in the early part of her career as an alternation between "open" and "closed" novels. I suggest in the thesis that these two fictional modes are deliberate choices of style on Murdoch's part, rather than a "failed" realism, and that their different readerly rewards are compounded by the successful merging of these competing .views of the real in the later novels. My narratological emphasis in this dissertation indicates also the ways in which Murdoch's fiction incorporates the comedic, the romantic and the gothic into a framework of orthodox verisimilitude, utilising the clashes between these genres to foreground the difficulties of a unified view. This is particularly successful in the first-person novels, where the overt problematising of self-representation paradoxically feeds into our sense of their "realism".
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5

Wall, Orlando. "Narrative analysis in the Book of Jonah a study of literary techniques in Hebrew narrative /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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6

Rossini, Antonio. "Dante and Ovid, a comparative study of narrative techniques." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49917.pdf.

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7

Gapsch, Andrea. "Narrative Techniques in Twenty-First Century Popular Holocaust Fiction." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1618244388233822.

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8

Abel, Hermione. "An analytical study of narrative techniques in Giono's Regain." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1002008.

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The dominant theme in Regain is that of death leading to rebirth. This dissertation attempts to explore Giono's narrative techniques within this context. No single chapter will be devoted to a specific technique; instead, the various devices used by the author are discussed as they emerge from the structure of the chapters. Justifying the field of study as defined in the "Introduction", the following three chapters outline the passage of life from death to eventual rebirth. With acknowledgement to Frank Kermode, who writes: "A concord of past, present and future three dreams which, as Augustine said, cross in our minds, as in the present of things past, the present of things present, and the present of things future" ¹, the first three chapters bear his terminology for their headings. Chapter One, "The Present of Things Past", deals with Mameche's loss of her husband and son. Chapter Two, "The Present of Things Present", focuses upon Mameche' s realization of Gaubert's departure, and the decision that she must do something to save the dying village of Aubignane. Chapter Three, "The Present of Things Future", sees Mameche setting out in search of a wife for Panturle, and succeeding. This brings to an end Part One of the novel. Interwoven throughout the chapters are paradigms from Greek mythology, rich in universal symbolism, and the author's belief in man's ability to fuse himself with his surroundings. The conclusion summarizes the findings of this study, attempting to show how an analysis of Giono's narrative technique provides an insight into such a novel as Regain. ¹The Sense of an Ending (London: Oxford University Press, 1966), rpt., 1970, p. 50.
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9

Mohanram, Radhika Thiruvalam. "Narrative techniques and subversion in the novels of Edith Wharton." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185791.

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There are two branches of scholarship on Edith Wharton. One branch tends to focus upon a comparison of her novels with her life, and tends to document her work as that of a social historian and custodian of manners of old New York. The other branch, represented by feminist critics, uses a Marxist approach to read the thematics of Wharton's novels, and argues that her heroines are perched between the cusp of the "old" and the "new" woman. This study of Wharton extends and intertwines both these lines of scholarship to argue that Wharton's novels must be read against her life, and that the critical focus must be kept on her "new" woman, who, as the gendered speaking subject, speaks from the margins of cultural edifices. This study will focus on the idea of the splintered self, particularly the quandaries of the gendered self, an issue that shapes and determines the form of her narratives. This analysis shows that in the intersection of her fiction, her letters, and her autobiography, Wharton's gendered speaking subject enunciates a radical critique of the culture in which she lived.
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10

Leigh, Matthew G. L. "'Venientia fata, non transmissa' : a study of Lucan's narrative techniques." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357607.

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11

Cleesattel, Michelle. "A Study in Using Sketching Techniques to Develop Cohesive Narrative Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/84.

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This is an arts-based research study on the effects of applying extensive and diverse sketching techniques to the development of a cohesive body of work, which reflects the significant and meaningful events of the artist-researcher’s life. The research techniques employed and studied consist of looking at historical exemplars, sketching, reflecting, critiquing, and revising. The results of the research were then reflected upon and applied to the field of art education in an attempt to discover the benefits for both teaching and learning in kindergarten through 12th grade curriculums.
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12

Gómez, Leticia. "Delirio de voces : Acerca de los narradores de Delirio de Laura Restrepo." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-16266.

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The essay examines the narrative techniques in the novel Delirio (2004) by the Columbian writer Laura Restrepo. Focus is set on the question of narrators. The narrators in this novel have a structuring function, and it is suggested that there is one of them in particular which links the main character's delirium with the context of the 'real world' in the novel. A narratological analysis is carried out based on categories by theorists like Gérard Genette and Yuri Lotman. A description of every narrator's characteristics such as reliability, speech style, knowledge and experience is made, followed by a comparison between them and a reflection about their function in the novel. Finally, among five narrators, two are pointed out as the most important, the one that connects the main characters psychological crisis with reality, and the one which sets the whole story together.
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13

Graff, Lukas. "How narrative techniques affect players' engagement in action RPG Dark Souls II." Thesis, Uppsala universitet, Institutionen för speldesign, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-355846.

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The purpose of the study was to get a better understanding of how players’ engagement is affected by the narrative techniques which are used in the game Dark Souls II. The four most prominent narrative techniques that were analyzed in Dark souls II were cutscenes, item descriptions, NPC’s and environmental storytelling. Qualitative and Quantitative data was collected in a questionnaire that was posted on the forum/ “subreddit” Dark souls II. The answers from 100 questionnaires were analyzed using content analysis methodology. It could be concluded in this thesis that narrative techniques that interfere with the players sense of freedom will reduce their engagement within the game. An example in Dark souls II is when the player is forced to summon NPC’s to boss fights in order to progress in the NPC’s storyline. This also works the other way around: i.e. the player experiences increased engagement if the narrative techniques allow the player to decide over their own actions. An example in Dark Souls II is when the player is given the opportunity to kill friendly NPC’s.
Syftet med denna studie var att få en bättre förståelse för hur spelarens engagemang påverkas av de narrativa tekniker som används i spelet Dark Souls II. De fyra mest framstående narrativa tekniker som identifierades i Dark Souls II var Cutscenes, föremålsbeskrivningar, NPC’s och miljöberättande. Kvalitativ och kvantitativa data samlades genom en enkät som lades upp på Dark Souls II forum/ ”subreddit”. Svaren från 100 deltagare tolkades med koder samt kategorier genom metodologin innehållsanalys. I denna studie kunde det konstateras att narrativa tekniker som negativt påverkar spelarens frihet, kommer reducera deras engagemang i spelet. Detta noterades bland annat när spelare var tvungna att kalla på NPC’s till bossfighter för att kunna fortsätta denna NPC’s uppdrag. Det angavs även att detta fungerade åt andra hållet, när spelarens förmåga att kunna ta egna beslut tilläts så ökade även spelarens engagemang i spelet. Detta noterades i spelmekaniken att spelaren bland annat tilläts döda fredliga NPC’s.
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14

Gillenwater, Jordan M. "The Living Chain: An Applied Exploration of Mythological Narrative and Traditional Printmaking Techniques." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/383.

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The Living Chain is a body of work built to apply and analyze mythological narrative and traditional printmaking techniques. The work is a collection of prints telling an original narrative that derives much of its visual and thematic style from the works of the Baroque and Medieval periods, as well as significant influence from the prints of Gustave Doré. The purpose of this paper is to explore the ideas, mythologies, histories, and symbols found in and inspiring the work, in order to better understand the work’s purpose and its technical challenges. Additional focus is given to the historical significance and cultural impact of meaningful, mythological narratives and the differences between modern and historic narratives told through sequential works of art.
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15

Kavalieris, Galvão André. "Representing Truth Through Narrative : The Use of Historiographical Techniques in Creative Non-Fiction." Thesis, Stockholms universitet, Engelska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169744.

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This essay is an attempt to show how certain elements, or techniques of history writing, can be used in creative non-fiction. It uses three major sources of theory. First, there is Charlotte Canning and Thomas Postlewait’s view on “the five themes of historiography,” which are indispensable for researching history: time, space, archive, identity, and narrative. The essay primarily focuses on narrative, because it is connected to representations of human lives, and as such contributes to meaning- creation. Second, the essay employs Hayden White’s concept of the historian’s working process and the notions of chronicle, story, mode of emplotment, mode of argument and ideological implications. Third is the method developed by Thomas Andrews and Flannery Burke of the five C’s of historical thinking: change over time, causality, context, complexity and contingency. Although these are separate theories, the essay shows how they can be complementary and help in the development of memoir writing, which is here my creative work, A Family Memoir in Essays, in particular the essays entitled “Trimdiniekis,” “Brasiliana,” and “A Sertaneja”.
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16

Cecil, Amber. "Mental Process Narrative Film: Design Techniques for Visualizing Character Psyche in Animated Shorts." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285009380.

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17

Kobler, Sheila F. (Sheila Frazier). "Postmodern Narrative Techniques in the Works of Nathaniel Hawthorne: Metafiction, Fabulation, and Hermeneutical Semiosis." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc279048/.

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18

Declercq, Julian. "Developing a modular extendable tool for Serious Games content creation : Combining existing techniques with a focus on narrative generation and player adaptivity." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-16231.

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A large part of any game development process consists of content creation, which costs both time and effort. Procedural generation techniques exist to help narrative generation, but they are scattered and require extensive manual labour to set up. On top of that, Serious Games content created with these techniques tend to be uninteresting and lack variety which can ultimately lead to the Serious Games missing their intended purpose. This paper delivers a prototype for a modular tool that aims to solve these problems by combining existing narrative generation techniques with common sense database knowledge and player adaptivity techniques. The prototype tool implements Ceptre as a core module for the generation of stories and ConceptNet as a commonsense knowledge database. Two studies have been conducted with content created by the tool. One study tested if generation rules created by commonsense can be used to flesh out stories, while the other one evaluated if adapted stories yield better scores. The results of the first test state that adding rules retrieved through common sense knowledge did not improve story quality, but they can however be used to extend stories without compromising story quality. It also shows that ideally, an extensive natural language processing module should be used to present the stories rather than a basic implementation. The statistically insignificant result of the second test was potentially caused by the compromises taken when conducting the test. Reconduction of this test using real game data, rather than data from the compromised personality test, might be preferable.
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19

Smith, Jennifer. "Theorizing Digital Narrative: Beginnings, Endings, and Authorship." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/316.

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Since its development, critics of electronic literature have touted all that is “new” about the field, commenting on how these works make revolutionary use of non-linear structure, hyperlinks, and user interaction. Scholars of digital narrative have most often focused their critiques within the paradigms of either the text-centric structuralist model of narrativity or post-structuralist models that implicate the text as fundamentally fluid and dependent upon its reader for meaning. But neither of these approaches can account completely for the unique modes in which digital narratives prompt readerly progression, yet still exist as independent creative artifacts marked by purposive design. I argue that, in both practice and theory, we must approach digital-born narratives as belonging to a third, hybrid paradigm. In contrast to standard critical approaches, I interrogate the presumed “newness” of digital narratives to reveal many aspects of these works that hearken to print predecessors and thus confirm classical narratological theories of structure and authorship. Simultaneously, though, I demonstrate that narrative theory must be revised and expanded to account for some of the innovative techniques inherent to digital-born narrative. Across media formats, theories of narrative beginnings, endings, and authorship contribute to understanding of readerly progress and comprehension. My analysis of Leishman’s electronically animated work Deviant: The Possession of Christian Shaw shows how digital narratives extend theories of narrative beginnings, confirming theoretical suitability of existing rules of notice, expectations for mouseover actions, and the role of institutional and authorial antetexts. My close study of Jackson’s hypertext my body: a Wunderkammer likewise informs scholarship on narrative endings, as my body does not provide a neatly linear plot, and thus does not cleanly correspond to theories of endings that revolve around conceptions of instabilities or tensions. Yet I argue that there is still compelling reason to read for narrative closure, and thus narrative coherence, within this and other digital works. Finally, my inquiry into Pullinger and Joseph’s collaboratively written Flight Paths: A Networked Novel firmly justifies the theory of implied authorship in both print and digital environments and confirms the suitability of this construct to a range of texts.
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20

Baker, Benjamin Hillel. "Frontières incertaines : techniques dispositives dans les romans de Prévost." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040058.

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Cette thèse examine la relation entre la partie et le tout dans les romans d’Antoine François Prévost, afin de remettre en question l’équivalence des structures de la narration et de la disposition (chapitres, livres, volumes, tomes, parties, livraisons, etc.) du roman prototypique. À l’époque de Prévost, le rythme imprévisible de la publication par livraisons et la possibilité permanente d’une suite étaient cause que ni auteurs ni lecteurs ne pouvaient identifier la conclusion définitive d’un roman. Cette incertitude mettait une tension entre les parties d’un roman et le tout imaginé par le lecteur, donnant ainsi lieu à ce que j’appelle une esthétique segmentaire qui contraste avec le roman-feuilleton du XIXe siècle et les romans plus récents d’une seule livraison. Je soutiens ces idées en étudiant les interactions entre la disposition et la narration dans des romans de Prévost qui s’accordent le moins avec les attentes formelles modernes : les pseudoworks ou œuvres intérieures (textes quasi-indépendants) et le chevauchement des bornes dispositives par les unités narratives dans les Mémoires d’un homme de qualité et les Voyages de Robert Lade, et l’interruption de publication et la suite non-autorisée dans Cleveland et les Mémoires d'un honnête homme. Ensuite, j’identifie des interactions similaires dans La Jeunesse du Commandeur et l’Histoire d’une Grecque moderne, deux des romans les plus formellement modernes de Prévost. Ainsi, je montre que l’instabilité des frontières n’entrave pas une composition sophistiquée, et je mobilise une nouvelle méthode d’analyse applicable aux fictions narratives d’autres périodes et dans d’autres médias
This thesis examines the relationship between part and whole in novels by Antoine François Prévost to question the modern assumption that prototypical novelistic narrative structure and dispositive structure (chapters, books, volumes, parts, installments, etc.) share the same points of articulation. In Prévost’s day, the combination of the unpredictable rhythm of publication in installments and the ever-present possibility of continuation made it difficult for authors and readers to identify a novel’s definitive conclusion. This uncertainty led to tension between a novel’s concrete parts and its imagined narrative whole, and that tension created what I have termed a segmentary esthetic that stands in contrast to both the more regularly serialized novels of the nineteenth century and to more recent single-installment novels. To support these hypotheses, I first investigate schemas of interaction between dispositive structure and narrative structure in Prévost’s novels that differ from modern formal expectations: pseudoworks (works-within-works) and narrative units that cross dispositive boundaries in the Mémoires d’un homme de qualité and the Voyages de Robert Lade, and interrupted publication and unauthorized continuation in Cleveland and Mémoires d’un honnête homme. I then identify similar interactions in two of Prévost’s more formally modern novels La Jeunesse du Commandeur and Histoire d’une Grecque moderne. This study shows that unstable boundaries can be compatible with compositional sophistication, and outlines a new method of analysis that can be applied to narrative fiction from other periods and in other media
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21

Högberg, Emma, and Jonatan Finsberg. "Undersökning av narrativa strukturer inom olika medier." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16399.

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Detta kandidatarbete undersöker och skapar en djupare förståelse för olika narrativa strukturer och tekniker som finns i litteratur, film och digitala spel. Detta har gjorts genom att besvara frågan hur man kan applicera narrativa strukturer och tekniker från litteratur och film i ett digitalt spel. För att svara på denna fråga har vi utvecklat en gestaltning som består av ett digitalt spel som använder sig av olika narrativa strukturer och tekniker som är mer vanliga inom litteratur och filmer. Till hjälp för detta har vi använt oss av metodologin MDA-ramverket samt berättelseskrivarmetoderna Snöflingemetoden och The Fantasy Fiction Formula. Undersökningen visar hur en berättelse i ett digitalt spel, med hjälp av ett antal narratologiska begrepp, kan använda sig av narrativa strukturer och tekniker från litteratur och film. Snöflingemetoden visade sig vara användbar, men inte anpassad för denna typ av skrivande. På grund av tidsbrist kunde vi inte använda oss av så många tekniker och strukturer från film som vi ville.
This Bachelor Thesis aims to explore and create a deeper understanding of various narrative structures and techniques found in literature, film and digital games. This has been done by answering the question how one can apply narrative structures and techniques from literature and film in a digital game. To answer this question, we have developed a digital game that uses different narrative structures and techniques that are more common in literature and films. For this, we used the MDA-framework methodology as well as the story writing methods The Snowflake Method and The Fantasy Fiction Formula. This thesis shows how a story in a digital game, using a number of narratological concepts, can make use of narrative structures and techniques from literature and film. The Snowflake Method proved useful, but not adapted for this type of writing. Due to time limitations we were not able to use as many structures and techniques from films as we wanted to.
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22

Duckhouse, Rebecca. "Using narrative therapy techniques with a child, their parent and teacher to promote the child's resilience." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/using-narrative-therapy-techniques-with-a-child-their-parent-and-teacher-to-promote-the-childs-resilience(55cb4969-92f0-4a25-8c19-fae3b11f66db).html.

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Gauthier, Évelyne. "Les techniques de manipulation du roman populaire dit féminin." Limoges, 1986. http://www.theses.fr/1986LIMO0503.

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Bentley, Elbie. "A Narrative Atlas of the Gunnison-Beckwith Survey for the Pacific Railroad, 1853-1854." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1245275690.

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Duncan, S. Heather. "A Comparison of the Origins, Goals, and Techniques of Storytelling and Literary Journalism." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-1026101-133401/restricted/duncanh112701.pdf.

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Bartone, Christopher A. "News Media Narrative and the Iraq War, 2001-2003: How the Classical Hollywood Narrative Style Dictates Storytelling Techniques in Mainstream Digital News Media and Challenges Traditional Ethics in Journalism." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1149531650.

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27

Buckley-Archer, Linda. "The Gideon trilogy : adaptation as a narrative tool in creative practice : reflections on the nature of adaption and a comparison of narrative techniques in the novel and the screenplay." Thesis, Goldsmiths College (University of London), 2011. http://eprints.gold.ac.uk/4886/.

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The creative element of this practice-based thesis comprises extracts from a fictional work for children, The Gideon Trilogy. A time-travelling fantasy set in England and America, the novels straddle the late eighteenth- and twenty-first centuries and feature a large cast of child and adult characters. Extracts have been selected either to demonstrate the character development of the Tar Man (an eighteenth-century henchman and eponymous protagonist) or to give a sense of how I have 'choreographed' different locations, times and sets of characters within the narrative framework. The critical commentary has two aims. First, it interrogates difference and congruence in narrative techniques in the novel and the screenplay. I reflect, in broad terms, on the nature of adaptation and on the historical relationship between film and the novel. I argue that predominantly negative attitudes to novel-to-screen adaptations have defined the discipline's preoccupation with authenticity and fidelity to the source text. Drawing on theoretical debates surrounding how narrative functions in prose fiction and cinema, and supporting my arguments with analyses of novels and screenplays, I discuss the creation of narrative viewpoint and the function and usage of character and dialogue in these two forms. Second, using my own work as a test case, I discuss the outcomes of developing a narrative in two media, using sequential and parallel adaptation, and ask if adaptation might be used as a developmental tool in the creation of narratives
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Laitinen, Siiri. "Att levandegöra historien : En studie om berättarteknik i historisk utställningstext." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-40026.

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Tidigare forskning tyder på att det kan vara svårt att få besökare att ta del av utställningstexter. Studien ifråga undersöker därför hur berättartekniska grepp kan användas för att skapa läsvärda utställningstexter. Det kombinerade design- och forskningsprojektet grundar sig i ett uppdrag från föreningen Kunskapsturism Kafjärden, som vill ha hjälp med att ta fram en populärhistorisk utställningstext om den svenska stormaktstiden och rikskanslern Axel Oxenstierna.  I studien undersöktes effekten av de fem berättartekniska greppen anföring, disposition, tempus, bildspråk i form av metaforer och liknelser samt tematiskt fristående adjektiv. Baserat på analyser av användningen av dessa grepp i befintliga utställningstexter, konstruerades två prototyper av en narrativ utställningstext om Axel Oxenstierna.  Utprovningar av prototyperna indikerade att en omvänd disposition skapar nyfikenhet att läsa texten, att historiskt presens gör det lättare för läsaren att leva sig in i berättelsen samt att bildspråk och tematiskt fristående adjektiv främjar mottagarens föreställningsförmåga. Typen av anföring verkade däremot inte påverka läsupplevelsen nämnvärt.  Resultaten indikerar att berättartekniska grepp har en inverkan på utställningstexters läsvärde och att en viss användning av greppen dessutom kan göra mottagarna mer benägna att läsa texterna. Undersökningen mynnade ut i en gestaltning till Kunskapsturism Kafjärdens utställning om Axel Oxenstierna. Där användes de fem berättartekniska greppen på det sätt som visade sig vara mest intresseväckande i utprovningarna.
Previous research suggests that it can be difficult to get visitors to read the texts in an exhibition. Hence, the present study investigates how narration techniques may be used in order to grab readers’ interest and create readable exhibition texts. The combined design and research project was led in collaboration with a Swedish local history association. The design brief was to create an exhibition text for a forthcoming exhibition about 17th century Swedish politician Axel Oxenstierna.  The study focused on the effects of five different narration techniques, namely style of speech, discourse structure, tense, figurative language in the form of metaphors and similes, and the use of adjectives. Based on analyses of preexisting exhibition texts, two prototypes of a narrative about Axel Oxenstierna were constructed.  Results from user testing then indicated that a reverse discourse structure creates curiosity for the story in question, that present tense facilitates reader involvement into the narrative, and that the use of figurative language and adjectives promotes the creation of mental imagery while reading. The style of speech in the narrative did not seem to have an impact on the reading experience.  These results suggest that the narration techniques examined in this study affect the readability of exhibition texts, and that a particular use of these techniques may be preferable in order to get visitors to read the texts. Research findings were then used to create a final version of the narrative exhibition text about Axel Oxenstierna.
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Alsaad, Anwar A. J. A. "Narratological techniques in the modern Gulf novel| A case study of the narrative works of Fawziyya Shuwaish al-S?lim." Thesis, Indiana University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10111936.

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Narratological Techniques in the Modern Gulf Novel: A case study of the narrative works of Fawziyya Shuwaish al-Sālim Narratology began to take shape as a discipline in 1966 when the French journal Communications printed a special issue titled "The structural analysis of narrative." The term narratology (“narratologie” in French) itself was coined three years later by one of the contributors to that issue, Tzvetan Todorov, in his subsequent structuralist manifesto, Grammaire du Décaméron, which was published in 1969.

In this dissertation, I attempt to analyze the narrative texts of the Kuwaiti author Fawziyya Shuwaish al-Sālim, which include five fiction novels and one biography-autobiography, by applying modern narratological techniques suggested by leading narratologists, mainly Mieke Bal. My aim is to provide a systematic and objective assessment of her narrative techniques and style in an attempt to gauge her contribution to the Gulf novel and, perhaps, the modern Arab novel as a whole based on her use of technical and thematic aspects.

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Radojkovich, Leanne. "The literary benefits of linguistic and cultural hybridity." AUT University, 2010. http://hdl.handle.net/10292/868.

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The objective of this exegesis is to show how linguistic and cultural hybridity create a unique prose style, and how my stories sit within that style. I will use Grace Paley and Lucia Berlin to demonstrate the distinctive narrative techniques. These include the use of sensuous details (instead of descriptions) to make place and character palpable; dialogue that convincingly evokes living speech; plots which emanate from the characters, rather than the other way round; and open-ended resolutions, as in real life. I will then show how I use these narrative techniques in my collection Happiness and other stories.
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Du, Plessis Maria Engela. "Die aanwending van die vier skeppingselemente as tiperend van die novelle / M.E. du Plessis." Thesis, North-West University, 2008. http://hdl.handle.net/10394/2584.

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Soulier, Eddie. "Techniques de storytelling pour le partage de connaissances dans les communautés de pratique : l'histoire et la narration ou la fragilité du sens et de l'interaction." Paris 6, 2003. http://www.theses.fr/2003PA066390.

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Taylor, Jeannine M. "A Hermeneutic Inquiry of Counselors' Experiences in the Use of Pictorial Narratives." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1586875445042165.

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34

Ceder, Madeleine. "Storytelling techniques in protest reporting : A comparative analysis of narratives on the Ferguson unrest by AJE, BBCW and RT." Thesis, Stockholms universitet, Institutionen för mediestudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-149085.

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In a global media environment characterized by change and conflict, narratives are especially useful to understand how the media form and distribute shared understanding of how the world works and who the important actors are. As the borders between local and global politics are blurred in the digital media landscape, protesters are in increased rate turning their placards to global broadcasters’ cameras, especially when political movements such as the U.S.-based Black Lives Matter movement get international counterparts. The scholarship concerned with the framework through which the media report protests argue the protest paradigm offers useful variables for the study of protests, while problematizing the lack of research on global broadcasting media. Global broadcasters, International Relations scholars argue, need to be understood as resources of soft power that distribute strategic narratives, but they have yet to develop a methodology for how broadcasts can be empirically studied. With this research gap as a point of departure, the chosen case study is the unrest in Ferguson in August 2014. A quantitative mapping and a comparative narrative analysis focusing on the narrative structure were conducted on 16 days of news bulletins from Al Jazeera English, BBC World News and RT. The results show several differences in the reports, the first concerns the amount of attention that was given to Ferguson by each broadcaster, where RT gave almost twice the amount of attention as the other two broadcasters. Further differences were found in the sources each broadcaster used and how they used violence as an entry-point to what their narratives where about, which in the case of AJE was the effects violence has on a society; BBCW’s narrative was of a political issue of high importance that concerns people of color; whereas RT’s narrative was about the militarization of the U.S. police force. The results imply the global broadcasters offer distinctive narratives, which through different storytelling techniques convey different attitudes and morals.
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Pueppke, Michael Ross John Robert. "Awakening a world with words how J.R.R. Tolkien uses linguistic narrative techniques to take his readers to Faery in his short story, Smith of Wootton Major /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3927.

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Pueppke, Michael. "Awakening a World With Words: How J.R.R. Tolkien Uses Linguistic Narrative Techniques to Take His Readers to Faery in His Short Story Smith of Wootton Major." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3927/.

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J.R.R. Tolkien uses specific linguistic narrative techniques in Smith of Wootton Major to make the world of Wootton Major and the nearby land of Faery come to life for his readers. In this thesis, I examine how Tolkien accomplishes this feat by presenting a linguistic analysis of some parts of the story. My analysis is also informed by Tolkien's own ideas of fairy-stories, and as such, it uniquely shows the symbiotic relationship between Tolkien's theories and his narrative art.
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Meier, Björn. "Subversive narrative techniques and self-reflexivity in Vladimir Nabokov's the real life of Sebastian Knight, Lolita, Pnin, Pale Fire and Ada, or Ardor: A family Chronicle." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/18694.

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This dissertation has three aims. First, the establishment of the theoretical foundations of deconstruction and its appropriation by literary criticism. Second, the application of deconstruction to the novels of Nabokov; it has to be stressed that this application is not itself a deconstructive reading, rather that deconstruction offers the interpretative horizon for an analysis of the inner logic of self-reflexivity in the novels in question. which is defined with de Man and against Derrida as a procedure of textual self-deconstruction. The procedure, evident in the proliferation of textual strategies in Nabokov's work, marks the point at which literary modernism transforms itself through the radicalisation of the critique of narrative, subject and meaning into a postmodern aesthetics of deconstruction. The interpretation of the novels then serves thirdly to pose the question of the value of the theory of deconstruction for the task of interpretation, or more generally. the value of deconstruction for literary theory. The interpretation of Nabokov's novels reveals a paradox: selfdeconstructive literature does not require a deconstructive reading. On the contrary, the textual deconstruction of meaning and reference requires the non-deconstructive standpoint of a coherent literary analysis for its demonstration. Comparably and conversely, a deconstructive reading presupposes a text and/or an author committed to the intention of a meaningful whole (however ambiguous). The author's distinction between deconstruction as a method of interpretation and as a literary theory thus points to the limitations of deconstruction as interpretative method in relation to modern and postmodern texts precisely because of their metafictional affinity to deconstruction. Beyond this, however, deconstruction's treatment of the text as pretext for its own operations, taken to its logical conclusion, would dissolve the very cognitive object and interest of literary studies.
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Malmsborg, Thomas. "Att lita till läsaren : Om impressionistiskt berättande i Stig Claessons författarskap med utgångspunkt i romanen Brev till en hembygdsgård." Thesis, Stockholms universitet, Avdelningen för litteraturvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-110230.

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The objective of this paper – Trusting the reader: On impressionistic narrating in Stig Claesson's writings with the novel Brev till en hembygdsgård as starting point – is to examine narrative techniques used by the Swedish author Stig Claesson, specifically some which fall within the broad field known as literary impressionism: e.g. omission, repetition, juxtaposition, episodic narration and how access to the narrator’s as well as individual characters' consciousness is handled. The method used for the study will be that of illustrative comparison. The analysis will seek its theoretical grounds in the works by Gerard Genette and Jonathan Culler. In the major parts of the study, narrative techniques used by Claesson in the novel Brev till en hembygdsgård (1974), is examined with the help of Robert Paul Lamb and James Nagel, and their studies concerning the crafts of Ernest Hemingway and Stephen Crane. In addition, other novels by Claesson are used in order to find, illustrate and then compare his craftsmanship with techniques already studied and described by scholars and critics. The main result from the analysis is that a need to trust the reader follows from Claesson’s choice of narrative techniques; by having the narrating instance mainly represent perception – without allowing the narrator, or the characters of the narrative, to interpret what’s rendered – the reader is left to experience sensation on her own. To assist the reader, Claesson binds together his episodic narration with a frequent use of juxtaposition, in which colors, objects and scenes already used, are re-used – hence having one scene charge the next, and so on, with previously evoked emotions. Furthermore, Claesson frequently uses omission in conjunction with repetition as a narrative technique; often when the narrator returns to an already used scene, she is excluding some of the information given to the reader earlier in exchange for some previously omitted information or for elements belonging to other scenes. The study finds that a consequence of Claesson’s combination of the above mentioned techniques, is that his texts calls for a reader to take an active part in creating meaning both from the text and from their own experience. Finally, the study suggests that Claesson, like any craftsman, recognized that once the work is done and delivered, it is up to the recipient to use it according to their own ability, imagination and discretion.
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Furlan, Anka. "Narrative techniques of the Early Medieval Welsh and Irish prose tales : a comparative investigation of the Four Branches of the Mabinogi and a Selection of Tales from the Ulster Cycle." Thesis, Aberystwyth University, 2011. http://hdl.handle.net/2160/1a4f0a55-e7c1-41dd-84ae-707b1bc3e1b2.

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This doctoral thesis seeks to examine some of the narrative techniques of the medieval Welsh and Irish prose narratives and compare and contrast them in an attempt to provide an insight into the mind and the methods used by the final redactor of the Four Branches. The sample of narratives selected for this research consists of the Four Branches of the Mabinogi, Compert Con Culainn, Aided Óenfir Aífe, Tochmarc Emire, Mesca Ulad, Echtra Nerai, Táin Bó Fraích, Scéla Mucce Meic Dathó, and Longes Mac n-Uislenn. The thesis consists of seven chapters. The first chapter explains the main purpose of the research and the reasons behind selecting the primary sources. The second chapter presents a short survey of the existing scholarly views on the material, the editions of the texts used for the purpose of the present thesis, the manuscript sources, and a discussion of the oral tradition. The third chapter explains the theoretical and methodological background on which the research is based. The fourth chapter concentrates on the narrative structure of the texts examined, and offers a graphic representation of the structure of each text. The fifth chapter examines certain narrative devices such as triads, lists, onomastic tales, embedded tales, cynneddfau and geasa, the watchman device, and poetry and roscada; this chapter also offers a discussion on how the use and placement of these devices in the narrative affects the flow of the narrative. The sixth chapter moves away from the level of the narrative structure and explores the variations in the inquit formulae used in the texts. The seventh chapter concludes the research by presenting an attempt at outlining a possible profile of the editor of the Four Branches. Appendix A offers a graphic representation of the narrative structure of Culhwch ac Olwen. Appendix B is a brief note on the censorship of the Four Branches.
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Clément, Thibaut. "De la mise en récit de l'environnement et de ses usages cognitifs, sociaux et techniques : le cas des parcs Disney." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030196/document.

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En tant que première destination touristique aux Etats-Unis, les parcs à thèmes Disney représentent un phénomène culturel important et une opportunité unique d’évaluer les médias de masse à l’aune de leur influence sur les usages et les conduites. L’analyse se propose d’interroger le concept d’imachination (imagineering), qui désigne chez Disney la conception des environnements thématiques et narratifs des parcs. Au travers de l’examen des protocoles de création des parcs, il s’agit de déterminer comment leurs concepteurs réunissent dans l’environnement certains critères de la narrativité ainsi que les récits qu’ils s’attachent à y raconter. Ainsi, le parc offre l’image d’un monde fictionnel qui, reflétant sous une forme objective certaines valeurs portées par la société américaine, décrit les conditions d’une bonne entente entre le visiteur et son environnement. Investi par le moyen de récits d’attributs psychologiques (souvenirs, valeurs), l’espace du parc oeuvre à la répartition des tâches entre le paysage et l’usager : en assignant un rôle à l’un et à l’autre, l’espace narratif soumet leurs interactions à un script préalable, si bien que les conduites et les émotions du second y relèvent d’une performance.En même temps qu’ils décrivent implicitement les conditions du bon usage du parc, les récits servent à la mobilisation d’acteurs distincts, et, ce faisant, à l’élaboration d’un système sociotechnique : de grands récits de progrès technique et économique ont ainsi permis à la compagnie de s’attacher le concours de grandes corporations américaines et d’obtenir pour son complexe floridien un statut juridique particulier, donnant le jour à un système de production inédit
As the number-one tourist destination in the United States, the Disney theme parks are asignificant cultural phenomenon and present a unique opportunity to evaluate mass communication inlight of its influence on the user’s behavior and practices. This study aims to provide an analysis of “Imagineering”—that is, the design of narrative environments in the Disney-branded theme parks. By examining the design processes at work in the parks, the analysis shows what stories theso-called “Imagineers” intend to tell as well as how these stories fulfill the requirements of narratives in the very environment of the parks. The park thus presents the image of a fictional world that reflects the values of American society in an objective form, and in so doing provides the conditions for conformity between the user and the environment. As the repository of subjective and psychological traits (memories, values), the narrative space of the park distributes the tasks at hand between the visitor and the environment. By assigning each its role, the park subjects their interaction to a pre-established script—so well that the visitor’s behaviorsand emotions take on the appearance of performances. Besides providing implicit instructions for the proper use of the parks, narratives also serve to mobilize various social agents and in doing so create new sociotechnical systems. Grand narratives of technical and economic progress have thus helped the company secure the collaboration of prominent American corporations as well as a specific legal status for its Florida resort, giving rise to a new production system
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Malmsborg, Thomas. "Bättre kan det sägas : Om transformation som berättargrepp i Stig Claessons författarskap." Thesis, Växjö University, School of Humanities, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-5368.

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The objective of this paper is to examine narrative techniques used by the Swedish author Stig Claesson, especially his transformations of texts out of the own authorship into new stories. In order to achieve my objective, I will specifically study two novels; Rosine (1991) and Efter oss syndafloden (2002) and the method practiced will be intentional reading, as described by H. Porter Abbott. For the analysis I will, with the complementary support of Abbott and Beata Agrell, turn to Gerard Genette and his theories concerning transformation and transtextuality, in particular its sub idiom hypertextuality. As a result of my analysis, various subgroups of transformation used by Claesson are identified, but also proven is how Claesson, largely by utilizing two of them; transvocalisation and transvaluation, provides the reader with the implied author of his own choice. Moreover, my investigation demonstrates how Claesson when reusing narratives already told by himself, i.e. transforming hypotexts of his own into hypertexts, recycles characters;  reprocesses master as well as sub plots; alters trivial details; re-interprets events; switches from one narrative view to another, all well documented techniques described by Genette as elements of transformation.

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Fouche, Ansie. "Facilitating disclosure of child sexual abuse victims in the middle childhood : a forensic interview protocol for social workers." Thesis, University of Pretoria, 2007. http://hdl.handle.net/2263/27139.

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This study focuses on the development, implementation and evaluation of a research-based legally defensible forensic interview protocol for social workers in South Africa in order to improve the social worker's knowledge, understanding and skills regarding forensic assessment interviews in the field of child sexual abuse. The motivation for the study has its origin in the fact that current legislation in South Africa requires that all cases of alleged sexual abuse have to be reported to either social workers or the South African Police Service. Social workers often find themselves having to deal with allegations of sexual abuse, and are faced with the challenging task of conducting assessment interviews, where the result of such interview will be a determining factor in the final outcome of the legal proceedings. The research problem is that there is currently no national research-based forensic interview protocol for social workers in South Africa. A quantitative research approach was followed. Applied research was used to address immediate problems that are encountered by professionals in practice. Intervention research was used as research methodology. The quasi-experimental design was applied where a comparison of two groups were done. The hypothesis formulated for this study is: If this interview protocol will be applied in cases of alleged sexual abuse against children of the middle childhood, it would facilitate the disclosure in a more legally acceptable and defensible manner. An interview protocol with seven definite phases was developed. A self-developed checklist consisting of 119 fundamentals compiled from comprehensive literature study, consultations with experts and extensive experience of the researcher, was used as a measuring instrument. The researcher applied the newly developed interview protocol with ten girls (experimental group) in the middle childhood who have allegedly been sexually abused. The interviews were audio-recorded and evaluated by means of the self-developed checklist. An independent social worker also interviewed ten allegedly sexually abused children (comparison group) of the same age and gender as the experimental group. This social worker, however, made use of her own interview protocol. She represents the social workers in South Africa. The interviews were also audio-recorded and evaluated by means of the self-developed checklist. An independent professional person coded a sample of 50% of all interviews. All data were submitted to the Department Statistics of University of Pretoria who has done the statistical analysis. In chapter two the phenomenon of child sexual abuse is discussed and aspects that interviewers need to take in consideration were highlighted. In chapter three all aspects of child development are discussed. Developmental issues which need to be accommodated during forensic interviews are explored. Chapter four focuses on interview techniques in the forensic context, and international guidelines on forensic interviews were explored. This information was used to develop the proposed forensic interview protocol. In chapter five the proposed seven-phase forensic interview protocol was discussed. In chapter six all the data that was collected was quantified, analysed and interpreted with the assistance of the Department of Statistics of the University of Pretoria. The statistical analysis showed that in five of the seven phases a statistically significant difference was found between the experimental and comparison groups. The results suggest that the seven-phase forensic interview protocol was successfully implemented, and could be considered a new development and thus a contribution to the social work profession. However further research with a larger sample of children is needed. Conclusions and recommendations (chapter 7) of this study are put forward in accordance with the process that was followed in developing and implementing the interview protocol which would assist social workers when dealing with alleged victims of child sexual abuse.
Thesis (DPhil)--University of Pretoria, 2007.
Social Work and Criminology
unrestricted
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43

Bell, John. "Telling tales : Conrad and narrative technique." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285346.

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This thesis seeks to suggest that prevailing critical approaches to Conrad's work serve to restrict interpretative possibilities rather than to free them. I argue that the segmenting methods of classical narratology have been carried over to Conradian criticism, but that these methods prove inadequate to the technical versatility of Conradian narrative. Furthermore, I suggest that these methods have sometimes been applied inflexibly, to the extent that some of Conrad's most technically original works have been condemned simply because they do not adhere to the narrative structures narratology privileges. I examine in detail Conrad's use, and critical responses to that use, of non-linear chronology, variable perspective, narrative levels, personalised narrators, fragmented narrative, binary thematics and the quintessentially Conradian technique delayed decoding. My illustrations are not drawn exclusively from Conrad's major works, but from wherever I find narrative originality. Consequently, as well as references to many of Conrad's minor works, there are extended discussions of focalisation in the short story 'The Partner', of narrative levels in 'The Tale', and of narrative multiplicity in The Nigger of the ·Narcissus~. My conclusion is that Conrad was a more technically inventive writer than has been recognised, and that that invention tends one way: away from the notion of a single truth hidden at the heart of a work, and towards an art recognising the limits of representation. Many of the techniques I discuss can be seen as provoking the reader to see differently: incommensurable presentations of the same events from different perspectives, multiple conflicting interpretations of characters, narrators whose unreliability is explicitly highlighted rather than implied, narrative mobility, covert plotting. I suggest that in addition to asking his readers to see differently, Conrad, in his most successful works, actually requires us to be otherwise as we read.
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Legeard, Emmanuel. "Le narrataire." Paris 4, 2001. http://www.theses.fr/2001PA040071.

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Par la mise en scène d'un personnage de lecteur (narrataire), le Roman cherche à faire mentir le principe selon lequel certains livres peuvent rendre le monde absolument "lisible". Pour le romancier, le recours à cette sorte de déchiffrage n'est inspiré que par la mauvaise foi, par le désir de nier que nous soyons libres d'agir. La lecture ici est destinée à se masquer le vide angoissant de la conscience. Le désir de "lire le monde" se traduit, en effet, chez le narrataire, par celui de lier entre eux des évènements qui ne peuvent pourtant s'expliquer les uns par les autres, de recueillir des signes discrets pour les couler dans la continuité, et donc de noyer dans le bruit ce silence qui appelle à des phrases inoui͏̈es, cette absence au sein même de l'être, cette faille de néant qui est appel à l'action inédite. Dans la négation, la part de hasard disparaît. Par la lecture du monde, un univers se crée, refermé sur lui-même, dans lequel les significations sont épuisées d'avance. Ainsi, l'homme est-il renvoyé à un déterminisme quelconque, et il manque, nécessairement, sa "vocation" qui est la voix de l'interruption, d'une rupture essentielle par lui artificiellement colmatée. Si, lire, souvent, revient à lier, parfois lier, c'est nier. Dans le cas du narrataire, lire, c'est nier ; c'est abolir le hasard, colmater ces failles tectoniques qui sont comme un appel à l'acte irréfléchi, autochtone, à une première territorialisation, donc à l'amorçage d'une formation géologique particulière : une Bildung. Par cette négativité totale, et désoeuvrée, dans laquelle le narrataire tente d'abolir la différence qui le fonde en propre, cette voix de l'interruption qui lui intime d'agir, il manque l'occasion d'articuler son existence à cet Etre qui, puissance de retrait, différence originaire, ne se donne justement pas comme "devant être lu". Car toute absence est un appel non à un supplément d'Etre, puisqu'on ne saurait ajouter ou retrancher quoi que ce soit du monde, mais à l'action, c'est-à-dire à l'Etre. Or, il est bien évident que Werther, Julien ou Roquentin ne sont "personne". C'est pour cela que Werther "souffre", c'est encore pour cela que Julien est travaillé par "l'ambition de devenir quelqu'un", et c'est toujours pour cela que les amis de Roquentin ne voyaient en lui qu'une "borne" jusqu'à ce qu'il soit frappé de ses visions sidérantes.
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Song, Geeyeon. "Narrateurs et techniques narratives dans les Chroniques romanesques de Jean Giono." Paris 3, 1992. http://www.theses.fr/1992PA030104.

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Les chroniques romanesques de jean giono sont des oeuvres revolutionnaires surtout en matiere de technique narrative. Nous avons choisi comme corpus les chroniques de la periode 19461952, un roi sans divertissement, les ames fortes, les grands chemins et le moulin de pologne. Nous avons aborde le probleme de la narration, de la focalisation, de la temporalite narrative et du temps verbal sous la perspective de la narratologie et de la linguistique de l'enonciation. Le monde des chroniques romanesques est un monde radicalement pluraliste, a travers la pluralite des voix (polyphonie), des points de vue (polymodalite), et des recits (recit repetitif). Ces techniques narratives font apparaitre la verite plurielle et le relativisme radical de giono dans les chroniques romanesques
This study is an analysis of the revolutionary narrative techniques adopted in chroniques romanesques (1946-1952) of jean giono. Each part studies a particular novel, un roi sans divertissement, les ames fortes, les grands chemins and le moulin de pologne. The problemes of narration, focalization, narrative time and tense of the verb are examined from the point of view of the narratology and the linguistic of utterances. The world of chroniques romanesques is in essence a pluralist world, through the plurality of voices (polyphony), of points of view (polymodality), and of narratives (repetitive narrative). Thses narrative techniques show the plural truth and the radical relativism of giono in chroniques romanesques
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Haydon, Liam David. "'I sing'? : narrative technique in epic poetry." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/i-sing-narrative-technique-in-epic-potry(3d7d23da-ade0-424c-93a2-9b183283e30e).html.

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This thesis examines the genre of epic, and particularly Milton’s Paradise Lost. It argues that it is only in attending to the contextual interactions within Paradise Lost that its full meaning can be comprehended. It demonstrates that the poem not only narrates the Fall, but actively performs its consequences in its thematic and linguistic structures, which continually stress the impossibility of approaching perfect (divine) totality. Chapter one outlines the theoretical response to epic, read as a petrified genre in contrast to the newness, openness and linguistic flexibility of the novel. It then challenges these assumptions through a reading of the invocation to book III of Paradise Lost. The chapter closes by examining seventeenth-century writings on epic, demonstrating that Milton’s contemporaries saw the epic as defined by the possibility of didactic intervention into its context. Chapter two examines the forms of the epic metaphor, which serve as a temporal link between the ‘mythic’ past of epic and contemporary events. It then shows that the nationalistic impulse of epic was a method by which the mythic past of a country was deployed as an exemplary narrative for the present. The chapter closes by considering the ways in which shifts in national conception were mapped onto the epic. Chapter three outlines Paradise Lost’s thematic engagement with the concept of representation. It focuses on the twin images of the music of the spheres and the Tower of Babel, used in Paradise Lost to represent man’s relationship with God. It argues that the poem uses these tropes to explore the linguistic effects of the Fall. Both these images are deployed to suggest that postlapsarian expression is too open and ambiguous to properly portray divinity. Chapter four moves that discussion to a linguistic level, arguing that the poem is characterised by indeterminacy. It argues that Paradise Lost calls into question the possibility of expressing perfect truth in fractured, postlapsarian language. It shows that punning is the mark of fallen creatures in the poem, and suggests that the poem’s own puns exploit this category to linguistically question its own status as representation through performances of ambiguity. The conclusion synthesises these local readings of Paradise Lost into a reading of the poem as a whole. It argues that these individual instances demonstrate the poem’s continual reflexive concern over its theodicean project. By continually expressing ambiguity, at the level of imagery and language, Paradise Lost draws attention to its status as postlapsarian art, and the consequent impossibility of approaching the divine perfection exemplified by the celestial music or prelapsarian language.
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47

Aoula, Drissia. "Techniques narratives comparées : (Nouveau roman - roman maghrébin)." Paris 13, 1989. http://www.theses.fr/1989PA131008.

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En comparant le roman maghrebin de langue francaise au nouveau roman, nous nous sommes constamment reportee aux textes theoriques des nouveaux romanciers pour etudier quelques techniques narratives dans nedjma de kateb yacine et dans le demantelement de rachid boudjedra. L'evolution du genre romanesque au 20e siecle et la situation sociale et politique marquee par le malaise qui a predomine en france et au maghreb ont rendu possible ce contact. L'utilisation du francais par les ecrivains maghrebins leur a permis de faire l'economie de tatonnements et de s'approprier une forme romanesque deja evoluee. C'est ainsi que nous avons privilegie trois aspects: "le livre comme objet", a savoir l'auto-reference et la presentation materielle du livre, l'enlisement du recit par la description, la repetition et le transit, et enfin la desctruction du recit par la presentation du personnage et par le fonctionnement du temps et de l'espace. L'etude de ces aspects a laisse voir des similitudes et des differences car si les auteurs maghrebins de langue francaise veulent rendre compte du reel, les nouveaux romanciers, eux, se limitent a "l'aventure de l'ecriture"
When setting up a comparison between the maghreban novel in the french langage and the nouveau roman, we have constantly drawn upon the theoretical works of the "nouveaux romanciers" so as to study some of the narrative techniques adopted by kateb yacine in nedjma and rachid boudjedra in le demantelement. The evolution that the novel has undergone in the 20th century and the social and political situation spotted by the malaise which predominated france and the maghreb have made this bridging possible. Maghreban writer's use of french as a medium has not only heped them avoid the timeconsuming effort of experimentation but also acquiere an alreaudy-established literary genre. Hence, we have fore-grounded 3 aspects: "the book as a object", that is the self-referential nature and the formal aspect of the book, the distracting effect on the narrative of description, repetition and transformation, and finally the regular interruption of the narrative by the rhetorical aspect of character portrayal, and of time and space. The study of these aspects has show similarities and differences, for if the maghreban writers of french expression want to depict the real, the "nouveaux romanciers" confine them selves to the "adventure of wrinting"
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48

Moldrickx, Christopher. "Döblins Franz Biberkopf: Die erzählerische Gestaltung eines Außenseiters." Thesis, Stockholm University, Department of German, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-28355.

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The novel Berlin Alexanderplatz by Alfred Döblin was published in 1929. It has subsequently been widely recognized as an important part of German Modernism due to its new conception of the hero, as well as its innovative narrative structure. The aim of this essay is both to determine the innovatory details in the concept of the hero and to describe the narrative structure, which is essential for a comprehensive understanding of the hero Franz Biberkopf. Hence, not only direct utterances by the hero and other narrative techniques are dealt with in the analysis, but also a wider context, including social interaction and the impact of the metropolis. In Berlin Alexanderplatz the concept of the hero is based on a fundamental criticism of the bourgeois view of the human being, a view which derives from the classical Homeric epic, stretching over the Enlightenment and into Döblin's time. However, the narrative innovation in Berlin Alexanderplatz is not only to be seen as the personal result of Döblin's critical reflections on the narrative tradition of the ʻbourgeois epicʼ, but also as one manifestation among others within the framework of Modernist criticism.

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49

Baragwanath, Emily. "Studies in motivation and narrative technique in Herodotus." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423347.

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50

Riordan, C. B. "Narrative technique in the novels of Uwe Johnson." Thesis, University of Manchester, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376264.

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