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Academic literature on the topic 'Narrator'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 May 2024

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Journal articles on the topic "Narrator"

Schloder, Julian J. "Unreliable Narration and Dual Perspective." Epistemology & Philosophy of Science 59, no. 2 (2022): 66–71. http://dx.doi.org/10.5840/eps202259222.

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In Unreliability and Point of View in Filmic Narration, Emar Maier makes a distinction between reliable and unreliable narrators. The latter, Maier claims, must be a first-person narrator, as an impersonal, third-person narrator lacks an individual perspective that can be unreliable (with some exceptions he sets aside). He concludes that most film adaptations of unreliably narrated novels are not themselves unreliably narrated, for they feature third person perspectives (not through the novel’s narrator’s eyes). I take Maier’s major claims to be (1) that there is a strict distinction between reliable and unreliable narration; and (2) that film shots displaying both a character and that character's hallucinations are not unreliable narration. I will challenge both.

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Bareis, J. Alexander. "The Implied Fictional Narrator." Journal of Literary Theory 14, no. 1 (March 1, 2020): 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.

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AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular during the heyday of classical literary narratology. For scholars like Genette (1988) and Cohn (1999), the category of the fictional narrator was at the centre of theoretical debates about the demarcation of fiction and non-fiction. Arguably, theorising about the fictional narrator necessitates theorising about fiction in general. From this, it follows that any account on which the fictional narrator is built ideally would be a theory of fiction compatible with all types of fictional narrative media – not just narrative fiction like novels and short stories.In this vein, this paper applies a transmedial approach to the question of fictional narrators in different media based on the transmedial theory of fiction in terms of make-believe by Kendall Walton (1990). Although the article shares roughly the same theoretical point of departure as Köppe and Stühring, that is, an analytical-philosophical theory of fiction as make-believe, it offers a diametrically different solution. Building on the distinction between direct and indirect fictional truths as developed by Kendall Walton in his seminal theory of fiction as make-believe (1990), this paper proposes the fictional presence of a narrator in all fictional narratives. Importantly, ›presence‹ in terms of being part of a work of fiction needs to be understood as exactly that: fictional presence, meaning that the question of what counts as a fictional truth is of great importance. Here, the distinction between direct and indirect fictional truths is crucial since not every fictional narrative – not even every literary fictional narrative – makes it directly fictionally true that it is narrated. To exemplify: not every novel begins with words like »Call me Ishmael«, i. e., stating direct fictional truths about its narrator. Indirect, implied fictional truths can also be part of the generation of the fictional truth of a fictional narrator. Therefore, the paper argues that every fictional narrative makes it (at least indirectly) fictionally true that it is narrated.More specifically, the argument is made that any theory of fictional narrative that accepts fictional narrators in some cases (as e. g. suggested by proponents of the so-called optional narrator theory, such as Currie [2010]), has to accept fictional narrators in all cases of fictional narratives. The only other option is to remove the category of fictional narrators altogether. Since the category of the fictional narrator has proved to be extremely useful in the history of narratology, such removal would be unfortunate, however. Instead, a solution is suggested that emphasizes the active role of recipients in the generation of fictional truths, and in particular in the generation of implied fictional truths.Once the narratological category of the fictional narrator is understood in terms of fictional truth, the methodological consequences can be fully grasped: without the generation of fictional truths in a game of make-believe, there are no fictional narratives – and no fictional narrators. The fictionality of narratives depends entirely on the fact that they are used as props in a game of make-believe. If they are not used in this manner, they are nothing but black dots on paper, the oxidation of silver through light, or any other technical description of artefacts containing representations. Fictional narrators are always based on fictional truths, they are the result of a game of make-believe, and hence the only evidence for a fictional narrator is always merely fictional. If it is impossible to imagine that the fictional work is narrated, then the work is not a narrative.In the first part of the paper, common arguments for and against the fictional narrator are discussed, such as the analytical, realist, transmedial, and the so-called evidence argument; in addition, unreliable narration in fictional film will be an important part in the defence of the ubiquitous fictional narrator in fictional narrative. If the category of unreliable narration relies on the interplay of both author, narration, and reader, the question of unreliable narration within narrative fiction that is not traditionally verbal, such as fiction films, becomes highly problematic. Based on Walton’s theory of make-believe, part two of the paper presents a number of reasons why at least implied fictional narrators are necessary for the definition of fictional narrative in different media and discusses the methodological consequences of this theoretical choice.

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Ur Rehman, Habib. "جہالت ِ راوی کے مصداق اور حکم میں محدثین و اصولیین کا منہج و اسلوب Method and Style of Muḥaddithīn and Uṣūliyyīn regarding the Meaning and Ruling of Obscurity of the Narrator." Al-Wifaq, no. 4.2 (December 31, 2021): 21–44. http://dx.doi.org/10.55603/alwifaq.v4i2.u2.

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The obscurity of the narrator is one of the reasons for defamation in the narrator, on the basis of which the narrator is deprived of the status of acceptance. There is a difference of opinion among Muḥaddithīn and Uṣūliyyīn as to its meaning and there is also a difference in ruling on the basis of this. According to the Muḥaddithīn, obscurity depends on the number of narrators narrating from a narrator, and according to the Ḥanafī Uṣūliyyīn, it depends on the number of narrations. Therefore, if two or more narrators narrate from a narrator, he will go out of obscurity, while according to the Ḥanafī Uṣūliyyīn, if only one or two narrators narrate from him, it is a sign that he is not associated with this science. In the rule of obscure narrator’s narration, Ḥanafī Uṣūliyyīn consider the era, so basically, the narration of an obscure narrator at an early age is acceptable except that there is another reason for not considering it. On the contrary, the obscure narrator is unreliable from the point of view of the Muḥaddithīn unless there is some evidence to dispel his obscurity. The point of view of Mutakallimīn is close to that of the Muḥaddithīn in this regard.

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Castro, Netanias Mateus De Souza. "Narrar e ser: a pessoalidade do narrador de Eu receberia as piores notícias de seus lindos lábios / Narrating and Being: The Us Narrator’s Personality Eu receberia as piores notícias de seus lindos lábios." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 1 (March 30, 2021): 170. http://dx.doi.org/10.17851/2358-9787.30.1.170-188.

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Resumo: A história do romance viu, diante de si, formas diversas de narrar, conforme aponta os escritos de Theodor W. Adorno, por exemplo. Desde narradores impessoais, mantendo a distância segura que lhe confere a narrativa em terceira pessoa até os casos em que o que se narra é algo diretamente relacionado ao próprio narrador. Esse parece ser o caso do romance de Marçal Aquino, Eu receberia as piores notícias de seus lindos lábios, que conta o envolvimento amoroso de Cauby e Lavínia a partir do olhar do próprio Cauby. Esse narra de um modo cuja relação de si mesmo com a narrativa fica explícita, tamanha é sua passionalidade em relação às suas vivências e ao ato de narrar. Isso se manifesta tanto na linguagem, em termos de escolhas narrativas, quanto nas ações do narrador-personagem-protagonista que narra e vive aquilo que narra. Suas características mais notáveis são a passionalidade, a capacidade de registrar fotograficamente detalhes da narrativa e o rompimento com técnicas narrativas tradicionais.Palavras-chave: narrador; primeira pessoa; romance brasileiro contemporâneo; Eu receberia as piores notícias de seus lindos lábios.Abstract: The history of the novel saw, before it, different ways of narrating, as pointed out by the writings of Theodor W. Adorno, for example. From impersonal narrators, maintaining the safe distance that the third person narrative gives him until the cases in which what is narrated is something directly related to the narrator himself. This seems to be the case with Marçal Aquino’s novel I would receive the worst news from his beautiful lips, which tells of Cauby and Lavínia’s loving involvement from the point of view of Cauby himself. He narrates in a way whose relationship with himself and the narrative is explicit, such is his passion for his experiences and the act of narrating. This manifests itself both in language, in terms of narrative choices, and in the actions of the narrator-character-protagonist who narrates and experiences what he narrates. Its most notable characteristics are passionality, the ability to photographically record details of the narrative and break with traditional narrative techniques.Keywords: narrator; first person; contemporary Brazilian romance; Eu receberia as piores notícias de seus lindos lábios.

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ORUÇ, Sinem. "Narrative Cracks: Reconsidering Intentionality in Unreliable Narration in The Remains of the Day and The Moonstone." Cankaya University Journal of Humanities and Social Sciences, Special Issue: Wilkie Collins (January 28, 2024): 42–56. http://dx.doi.org/10.47777/cankujhss.1418446.

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Since Wayne Booth’s coinage of the term “unreliable narrator,” much critical ink has been spilled over the instances where the reliability of a narrator’s account is compromised, though without exploring the effects of the narrator’s intentional agency on unreliability. This study introduces the narratorial intent across the three levels of unreliable narration offered by Olson as a factor designating the disposition of a narrator and the gap between the implied reader and the narrator. With a rhetorical narratological approach that is in dialogue with cognitivist/constructivist approaches, the butler-narrators Stevens and Betteredge, from Kazuo Ishiguro’s The Remains of the Day (1989) and from Wilkie Collins’s The Moonstone (1868) respectively, will be analyzed in terms of how the difference in their narratorial intent pertains to their being diametrically opposed unreliable narrators. It is claimed that the lack of intrinsic motivation distances Betteredge from the implied reader and makes him an untrustworthy narrator while strong narratorial intent and agency bonds Stevens’s audience to his narration and shows him as an unreliable, yet fallible, narrator.

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Löwe, Matthias. "Unzuverlässigkeit bei heterodiegetischen Erzählern: Konturierung eines Konzepts an Beispielen von Thomas Mann und Goethe." Journal of Literary Theory 12, no. 1 (March 26, 2018): 77–92. http://dx.doi.org/10.1515/jlt-2018-0005.

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Abstract Heterodiegetic narrators are not present in the story they tell. That is how Gérard Genette has defined heterodiegesis. But this definition of heterodiegesis leaves open what ›absence‹ of the narrator really means: If a friend of the protagonist tells the story but does not appear in it, is he therefore heterodiegetic? Or if a narrator tells something that happened before his lifetime, is he therefore heterodiegetic? These open questions reveal the vagueness of Genette’s definition. However, Simone Elisabeth Lang has recently made a clearer proposal to define heterodiegesis. She argues that narrators should be called heterodiegetic only if they are fundamentally distinguished from the ontological status of the fictional characters: Heterodiegetic narrators are not part of the story for logical reasons, because they are presented as inventors of the story. This is, for example, the case in Johann Wolfgang Goethe’s novel Elective Affinities (1809): In the beginning of this novel the narrator presents himself as inventor of the character’s names (»Edward – so we shall call a wealthy nobleman in the prime of life – had been spending several hours of a fine April morning in his nursery-garden«). Based on that recent definition of heterodiegesis my article deals with the question whether such heterodiegetic narrators can be unreliable. My question is: How could you indicate that the inventor of a fictitious story tells something which is not correct or incomplete? In answering this question, I refer to some proposals of Janina Jacke’s article in this journal. Jacke shows that the distinction between homodiegetic and heterodiegetic narrators should not be confused with the distinction between personal and non-personal narrators or with the distinction between restricted and all-knowing narrators. If you make such differentiations, then of course heterodiegetic narrators can be unreliable: They can omit some essential information or interpret the story inappropriately. Heterodiegetic narrators of an invented story can even lie to the reader or deceive themselves about some elements of the invention. That means: A heterodiegetic narration cannot only be value-related unreliable (›discordant narration‹), but also fact-related unreliable. My article delves especially into this type of unreliability and shows that heterodiegetic narrators of a fictitious story can be fact-related unreliable, if they tell something which was not invented by themselves. In that case, the narrator himself sometimes does not really know whether he tells a true or a fictitious story. Such narrators are unreliable if they assert that the story is true, although they are suggesting at the same time that it is not. I call this type of unreliable narrator a ›fabulating chronicler‹ (›fabulierender Chronist‹): On the one hand, such narrators present themselves as chroniclers of historical facts but, on the other hand, they seem to be fabulists who tell a fairy tale. This type of unreliability occurs especially if a narrator tells a legend or a story from the Bible. My article demonstrates this case in detail with two examples, namely two novels by Thomas Mann: The Holy Sinner (1951) and Joseph and His Brothers (1933–1943). My article also discusses some cases where it is not appropriate or counter-intuitive to call a heterodiegetic narrator ›unreliable‹: i. e. the narrator of Thomas Mann’s novel The Magic Mountain (1924) and the narrator of Johann Wolfgang Goethe’s novel Wilhelm Meister’s Apprenticeship (1795/1796). On the one hand, these narrators show some characteristics of unreliability, because they omit essential pieces of information. On the other hand, these narrators are barely shaped as characters, they are nearly non-personal. However, in order to describe a narrator as unreliable, it is – in my opinion – indispensable to refer to some traces of a narrative personality: Figural traits of a narrator provoke the reader to identify all depicting, describing and commenting sentences of a narration as utterances of one and the same ›psychic system‹ (Niklas Luhmann). Only narrators who can be interpreted as such a ›psychic system‹, provoke the reader to assume the role of an analyst or ›detective‹, who perhaps identifies the narrator’s discordance or unreliability. In my article the unreliability of a narration is understood as part of the composition and meaning of a literary work. I argue that a narrator cannot be described as unreliable without designating a semantic motivation for this composition by an act of interpretation. Therefore, my suggestion is that a narration should be merely called unreliable if it encourages the reader not only to imagine the told story, but also to imagine a discordant or unreliable storyteller.

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Al-Harbi, Jamila. "The Term (Marrada Alqawla Fihi, Literally: Discredited Him) and Its Significance According To Ibn Hibban, An Applied Study." Journal of Human and Administrative Sciences, no. 28 (September 1, 2022): 182–206. http://dx.doi.org/10.56760/10.5676/przv7949.

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The research tackles the study of the term "Marrada Alqawla Fihi, literally: discredited him" by Imam Ibn Hibban by collecting the narrators whom he challenged their authenticity in narration, comparing his words to the words of other critics, and weighing them, with a brief account of what Imam Ibn Hibban transmitted about the narrator. The number of narrators reached ten narrators, and the study concluded that the term: “Marrada Alqawla Fihi, literally: discredited him” is a description that Imam Ibn Hibban gives to the weak, whether those who have reached the limit of being abandoned, or the weak whose narrations are accepted, and it is absolutely not intended to weaken the narrator by the critic, but he meant other indications by it; failure of the critic to authenticate the statement of the narrator, or assertion of his weakness, the critic’s disagreement with those who authenticate the statement of the narrator, or deviation from the correct judgment regarding the narrator, and not to exaggerate his weakness. And God knows better.

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Del Moro, Renata. "Aproximações entre literatura e cinema: narradores não confiáveis de 'Dom Casmurro' e 'Anticristo'." Jangada: crítica | literatura | artes, no. 11 (November 13, 2018): 95–109. http://dx.doi.org/10.35921/jangada.v0i11.164.

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RESUMO: Este estudo visa à análise da utilização de um recurso literário no cinema: o narrador não confiável. A apropriação cinematográfica do narrador – elemento épico por excelência – engendrou algumas mudanças significativas desse recurso, haja vista as diferenças entre a sétima arte e a literatura, e as necessidades de adequação aos gêneros. No entanto, essa apropriação também manteve traços essenciais das diversas espécies de narrador tão estudadas na ficção escrita. Isto posto, propõe-se uma investigação do narrador não confiável no filme Anticristo, de Lars von Trier, à luz de um narrador literário: Bento Santiago, do romance Dom Casmurro, de Machado de Assis. Não obstante a distância temporal, espacial e genérica (no sentido de gêneros literário e cinematográfico), a aproximação desses narradores elucida questões interessantes, como por exemplo a crítica proposta pelas obras e o modo com o qual ela se relaciona com os seus respectivos públicos. PALAVRAS-CHAVE: narrador não confiável, ponto de vista, foco narrativo. __________________________ ABSTRACT: This study aims to analyze the use of a literary mechanism in cinema: the unreliable narrator. The cinematic appropriation of the narrator – an epic element par excellence – produced significant changes of this narrative resource, as there are differences between literature and the seventh art, and there is a need of adjustment according to each genre. Nonetheless, this appropriation also has maintained essential aspects of the multiple sorts of narrators, which are studied in writing fiction. Therefore, it is proposed an investigation of the unreliable narrator of the movie Antichrist, by Lars von Trier, in the light of a literary narrator: Bento Santiago, from the novel Dom Casmurro, by Machado de Assis. Despite the temporal, spatial and generic (in the sense of different genres, the literary and the cinematographic) distance between the movie and the novel, the comparison of these two narrators clarifies interesting issues, such as the critique proposed by these works and the way in which it relates to their respective audiences. KEYWORDS: unreliable narrator, point of view, perspective.

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Gerasimenko, E. V. "THE SEMANTICS OF THE TYPE OF NARRATION IN THE NOVEL “GONE GIRL” BY G. FLYNN." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (June 25, 2019): 529–33. http://dx.doi.org/10.35634/2412-9534-2019-29-3-529-533.

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This article reveals the definition of “narration”, which is closely related to such categories as “narrator” and “types of narration”. The characteristics that influence the types of narration are analyzed. Scientists pay attention to the narrator’s awareness, his/her presence in the novel, his/her attitude to other characters, and according to that identify the types of the narrator. The form and type of narration of the modern American novel “Gone Girl” by G. Flynn influences the creation and revealing of heros’ images. The narrators describe the same events from their own points of view. The first person narrative, as a rule, creates an atmosphere of confidential conversation; however, the opposite perception is formed through the type of narration chosen by the author from the first person of two unreliable narrators.

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Kuhn-Treichel, Thomas. "Wie mobil ist der Erzähler? Beobachtungen zu metaleptischen Szenenwechseln in Antike, Mittelalter und Renaissance." Poetica 54, no. 3-4 (February 2, 2024): 207–25. http://dx.doi.org/10.30965/25890530-05434001.

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Abstract In a type of metalepsis common from antiquity to modern times, the narrator puts himself in direct contact with the narrated world by visualising the change of scene as a movement between two places or (groups of) characters. This article concentrates on the spatial aspect of this contact and investigates the question to what extent the narrator claims mobility in the narrated space. As the examples discussed show, there are striking differences between the epochs, which are significant for a historicised understanding of storytelling in general. While ancient (i.e., Greek and Latin) narrators sometimes transfer themselves to specific places, medieval vernacular scene shift formulae usually refer to characters, who are envisaged in a performative co-presence with the narrator and the addressees. This situation changes in the Italian Renaissance (Boccaccio, Ariosto), when narrators start to emphasise their mobility again, which they simultaneously enrich with new implications.

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Dissertations / Theses on the topic "Narrator"

Tritter, Valérie. "Le statut du narrateur dans les littératures fantastiques française et anglo-saxonne d'E.A Poe à R.B. Matheson." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040236.

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L’objet de cette analyse est de dépeindre un siècle de littérature fantastique à travers le statut du narrateur qui implique d’envisager aussi le statut de son alter-ego, le narrataire. L’idée principale repose sur la théorie d’une évolution depuis les narrateurs d’E. A. Poe jusqu’à ceux de Richard Matheson, via les auteurs français et anglo-saxons tels Charles Nodier, Jules Verne, Guy de Maupassant, Robert Louis Stevenson, Bram Stoker, Hoxard Phillips Lovecraft.L’histoire de la littérature fantastique peut se subdiviser en trois périodes principales qui ont permis au fantastique de naître (par la critique des genres), de triompher (par la critique de la narration elle-même), et de survivre (par la critique du langage). La littérature fantastique suit l’évolution générale de la littérature, mais le narrateur se présente comme un cas à examiner dans ses interactions avec les événements surnaturels qu’il raconte,avec son propre récit, avec son propre personnage, avec son éthos. Ce narrateur “indigne de confiance” est, même pour la narratologie, un mythe
The purpose of this analysis is to depict one century of “littérature fantastique” through thestatus of the narrator which implicates also the status of its alter ego, the narratee. The mainidea rests on the theory of an evolution from Edgar Allan Poe’s narrators to Richard Matheson’svia French and Anglo-Saxon authors like Charles Nodier, Jules Verne, Guy de Maupassant, RobertLouis Stevenson, Bram Stoker, Henry James, Howard Phillips Lovecraft.The history of “littérature fantastique” is divided into three important periods, each of thempermitting it successively to be born (by generic criticism), to triumph (by the criticism of narrationitself) and to survive (by the criticism of language).“Littérature fantastique” follows the generalevolution of literature, but its narrator is a realcase to examine in its interactions withsupernatural events he tells, with the narrativeitself, with its proper character and with its“éthos”. This unreliable narrator is, fornarratology, like a myth

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Richardson, Scott Douglas. "The Homeric narrator /." Nashville (Tenn.) : Vanderbilt university press, 1990. http://catalogue.bnf.fr/ark:/12148/cb355564622.

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Srinivasan, Asha 1980. "Doubt, for narrator and orchestra." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8085.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2008.
Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Sin, Ka-ki. "Narrator-public art landscape regeneration strategy /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B34609659.

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Sin, Ka-ki, and 冼家琪. "Narrator-public art landscape regeneration strategy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45009661.

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Fraser, Graham 1966. "The self-conscious narrator in Beckett's trilogy /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59888.

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This thesis examines Beckett's trilogy as a work of metafiction, approaching each novel through its primary metafictional device, the self-conscious narrator. Since the narrators are aware of their roles as story-tellers, the examination is carried out in light of Beckett's pronouncements on the nature of art and the artist. Not only are the narrators found to meet Beckett's criteria for artists and artistic development, but Beckett's aesthetic is seen virtually to require self-consciousness. In their situations, their relationship to the audience (both reader and narratee) and the nature of their tales, the self-conscious narrators follow the artistic trajectory Beckett maps out in his critical writings. As Beckett's aesthetic is fulfilled, the narrators' increasing self-consciousness intensifies the metafictional aspects of the trilogy. The trilogy is thus a demonstration of Beckett's self-conscious aesthetic--a descent into reflexivity on the part of the narrators, and through the narrators, on the part of trilogy as a whole.

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CAETANO, DANIEL PECEGO VIEIRA. "THE OBSERVING NARRATOR: LINES, IDEAS AND DIALOGUES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8985@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
A dissertação propõe questões sobre uma conduta determinada de narrador literário - um narrador que relate somente o que se pode ver e ouvir -, apresentando uma produção própria de ficção feita dentro desta forma e tecendo considerações a partir desta produção. Dessa forma, ela se constitui de três contos e ensaios em torno de questões desta produção. Pretende-se assim falar, por conseqüência, da própria criação literária, de seus caminhos e suas bordas, a partir de leituras de textos conhecidos sobre a própria escrita, como os de Edgar Allan Poe, Alain Robbe-Grillet, Italo Calvino, Umberto Eco e Ricardo Piglia.
This dissertation raises questions concerning a certain form of literary narrative - that of a narrator who reports only what can be seen and heard -, presenting the author s own literary work of this form and making considerations about it. The dissertation consists of three short stories and essays raising questions over these fictional texts. The intention is to discuss literary creation itself, its paths and borders, taking as starting point readings of well-known texts on writing itself by Edgar Allan Poe, Alain Robbe-Grillet, Italo Calvino, Umberto Eco and Ricardo Piglia.

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Ghani, Usman. "Abu Hurayra : a narrator of Hadith revisited." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/4362.

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The task of preserving the Hadith was undertaken, according to the classical Muslim view, by the Companions of the Prophet Muhammad and, thereafter, the Tabicun (Successors), and then from generation to generation. Thus, we find this great amount of Hadith in front of us today. From amongst these Hadith we find as it is alleged a great proportion narrated by the Companion Abu Hurayra (d.57/58/59AH/681/682/683CE). He has narrated various kinds of narration, from those on creed to those on the ethics of Islam. However, his narrations have been looked upon with certain scepticism and criticism, as has his own personality, in both Classical Hadith scholarship and Modern Hadith scholarship. This research, entitled: ‘Abu Hurayra’ a Narrator of Hadith Revisited: An Examination into the Dichotomous Representations of an Important Figure in Hadith with special reference to Classical Islamic modes of Criticism, will discuss specifically Abu Hurayra the Companion of the Prophet Muhammad and his alleged status as a prolific narrator of the Hadith. The aim of this study is to highlight how Abu Hurayra is depicted and perceived by both Classical Hadith Scholarship and Modern Hadith Scholarship. Furthermore, the central argument of this thesis is that the charge of Abu Hurayra being a Mukthir (a prolifically active narrator who embellished his reports) is unfair for the simple reason that those traditions he uniquely transmits are rather small in number. Most of the other traditions with which his name is associated have concomitant and parallel isnads (Chains of Narration). This study therefore sets out to critically examine and analyse the life and narrations of Abu Hurayra in view of the academic debates on the wider issues of the authenticity of the sources and how they affect the arguments put forward by this research.

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Wollam, Ashley J. "Discovering the Narrator-Ideal in Postmodern Fiction." Marietta College Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1210788218.

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Akujärvi, Johanna. "Researcher, traveller, narrator : studies in Pausanias' "Periegesis /." Stockholm : Almqvist & Wiksell International, 2005. http://catalogue.bnf.fr/ark:/12148/cb40070108z.

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Books on the topic "Narrator"

Birke, Dorothee, and Tilmann Köppe, eds. Author and Narrator. Berlin, München, Boston: DE GRUYTER, 2015. http://dx.doi.org/10.1515/9783110348552.

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Glassman, Marc. The displaced narrator. Toronto: The Funnel, 1985.

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The Homeric narrator. Nashville, Tenn: Vanderbilt University Press, 1990.

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Paranjape, Makarand R. The narrator: A novel. New Delhi: Rupa & Co., 1995.

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Hanaoka, Shigeru. Benjy as an eloquent narrator. Nishinomiya, Japan: Kwansei Gakuin University, 1988.

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1529-1608, Giambologna, ed. Giambologna: Narrator of the Catholic Reformation. Berkeley: University of California Press, 1995.

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Wolfe, Lawrence. Suite dreams: For narrator and orchestra. Boston, Mass: ECS Pub., 1993.

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Sternlieb, Lisa. The Female Narrator in the British Novel. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230513785.

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Albright, William. 1732, in memoriam Johannes Albrecht: Organ (narrator). New York: Hennmar Press, 1986.

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Akujärvi, Johanna. Researcher, traveller, narrator: Studies in Pausanias' Periegesis. Stockholm: Almqvist & Wiksell International, 2005.

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Book chapters on the topic "Narrator"

Verma, Som Prakash. "Graphic narrator." In The Lesser-known World of Mughal Emperor Jahangir, 123–34. New York, NY: Routledge, 2019.: Routledge India, 2019. http://dx.doi.org/10.4324/9780429320101-9.

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Dynel, Marta. "When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative." In Perspectives in Pragmatics, Philosophy & Psychology, 205–52. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56696-8_12.

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AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.

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Paris, Bernard J. "Marlow the Narrator." In Conrad's Charlie Marlow, 55–71. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403983374_5.

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Klinger, Susanne. "Translating the Narrator." In Literary Translation, 168–81. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310057_11.

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Amir, Dana. "Awakening the narrator." In Bearing Witness to the Witness, 152–59. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Psychoanalysis in a new key book series; 47: Routledge, 2018. http://dx.doi.org/10.4324/9781315146508-11.

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Eckardt, Regine. "In search of the narrator." In The Language of Fiction, 157–85. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846376.003.0007.

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The chapter proposes a semantic analysis of narrators in fiction, addressing three main issues: (a) in fiction, we cannot rely on reality to determine the identity of the narrator, (b) there are linguistic items beyond pronouns to introduce a narrator, and (c) narrators can be unreliable. It shows how narrators in fiction can be modeled by discourse referents (drefs) in dynamic semantics. At the core of the analysis is the assumption that hearers derive subjective meanings by taking into account all contexts c that could be the context they are in. Combined with dynamic semantics, this captures the intuition that a narrator can be both unique and indefinite. Different types of narrator introduction are surveyed: apart from first-person pronouns, speaker-oriented items like exclamatives, questions, and evidentials trigger the accommodation of a narrator dref. Other items, like predicates of personal taste, can but need not refer to the narrator dref. The analysis is extended to unreliable narrators and narrations about humanless worlds.

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Hershatter, Gail. "Narrator." In The Gender of MemoryRural Women and China's Collective Past, 267–88. University of California Press, 2011. http://dx.doi.org/10.1525/california/9780520267701.003.0011.

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"The Explicit Narrator: Narrated Dialogues." In The Gatekeeper: Narrative Voice in Plato's Dialogues, 27–46. BRILL, 2018. http://dx.doi.org/10.1163/9789004390027_003.

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Krell, Jonathan F. "Marginality and Animality: Olivia Rosenthal’s Que font les rennes après Noël?" In Ecocritics and Ecoskeptics, 123–48. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622058.003.0006.

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Que font les rennes après Noël? is narrated in alternating paragraphs by a female second-person narrator (vous) and several male first-person narrators (je). The woman recounts her life from a child up to the age of forty-four. She has always loved animals and is haunted by the question of what reindeer do after Christmas. Overprotected by her parents, the narrator is a Jew in Catholic France who has long suppressed her homosexuality, and thus has always felt like a misfit. The male narrators—a veterinarian, a zookeeper, a laboratory researcher, a butcher, a wolf trainer, and a stock farmer—all work with animals. The protagonist gradually learns about the horrible suffering humans cause animals and comes to identify more with them than with other humans. Rosenthal hints at the connection—expressed by Jacques Derrida, Élisabeth de Fontenay and especially Charles Patterson in Eternal Treblinka—between the human tragedy of the Holocaust and the animal tragedy of the abattoir.

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Lothe, Jakob. "Narrative Vision in Middlemarch the Novel Compared with the BBC Television Adaptation." In Middlemarch in the Twenty-First Century, 177–200. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195169959.003.0009.

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Abstract What exactly did Virginia Woolf have in mind when, in a deservedly famous statement, she described Middlemarch as “one of the few English novels written for grown-up people”?1 We cannot know for certain, of course, but Woolf was probably thinking of not just one but several of the novel”s characteristic features. She may have been reflecting on the ways in which its constituent aspects”narrative, structural, thematic, metaphorical”interact in the formation of an exceptionally complex and multifaceted narrative discourse. More specifically, she may have been thinking of the diverse functions and effects of George Eliot”s third-person narrator”a narrator who, even though she is possessed of the powers and characteristics of realist narration, anticipates the narrators Woolf employs in novels such as Mrs Dalloway and To the Lighthouse. This essay will discuss how Eliot uses the literary device of a third-person narrator in order to present, and cumulatively enrich and complicate, her narrative vision in Middlemarch. I will also discuss how this vision can be presented on film.

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Conference papers on the topic "Narrator"

Juncu, Lilia. "The Interpretative-Ideological Function of the Narrator in Pashoptist Prose." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.27.

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Gathering several narrative and stylistic formulas, the prose of the Pasoptist period also highlights a diverse typology of narrators, who, apart from organizing the sequence of events (narration), also assume other roles, arising from the way these textual instances relate to the diegesis. In our communication, we will follow and comment on the interpretativeideological positioning of the narrators of some proses of the period in relation to the narrated events, in relation to the characters and narrators. We specify that this function, which requires the acting narrator (in the terminology of the French theorist Jaap Lintvelt) to define his attitude, to express his own opinions in relation to the characters and the narrators, is adopted by the narrators of the memoirist writings, signed by Mihail Kogălniceanu, Alecu Russo, Constantin Negruzzi, Vasile Alecsandri etc.

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Niu, Jianyu, Wei Peng, Xiaokuan Zhang, and Yinqian Zhang. "NARRATOR." In CCS '22: 2022 ACM SIGSAC Conference on Computer and Communications Security. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3548606.3560620.

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Theune, Mariët, Nanda Slabbers, and Feikje Hielkema. "The Narrator." In the Eleventh European Workshop. Morristown, NJ, USA: Association for Computational Linguistics, 2007. http://dx.doi.org/10.3115/1610163.1610182.

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H. Khalaf AL- JUBOURI, Firas. "Narrator of the Prophet's Hadith The jurist scholar, the argument, Amra bint Abd al-Rahman." In I.International Congress of Woman's Studies. Rimar Academy, 2023. http://dx.doi.org/10.47832/lady.con1-4.

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Islam did not limit the status and role of women in society. On the contrary ، it preserved her status and dignity in the Islamic society. And he hears her complaint about her husband to our Holy Prophet Muhammad, peace be upon him, in Surat Al-Mujadalah: ((Allah indeed knows the plea of her who pleads with you about her husband and complains to Allah ، and Allah knows the contentions of both of you; surely Allah is Hearing, Seeing)). Our history is replete with the names of many women who influenced various social, political, scientific and even military fields, and the figures are multiple and unbroken in Islamic history. And Sukaina Bint AlHussein, may God be pleased with them, and many others, so shedding light on the status of women and their role throughout history is a reason to trace their traces in order to achieve the status and empowerment of women in our present time by studying the biography of the previous prominent women who were immortalized by their great deeds in various fields of life. In light of the foregoing, tracing the path of female followers in the field of jurisprudence and Sharia and what they presented in this field is a religious, moral and academic duty for specialists in the fields of Sharia and Islamic history. Therefore, choosing the personality of the venerable follower, Amra bint Abd al-Rahman bin Zarara, to be the focus of this research comes in the context of what has been discussed above, especially since she is one of the women who gave their lives in the narration of the noble hadith of the Prophet from its primary sources. Abu Bakr, may God be pleased with her, and her companion, as she also narrated on the authority of the wife of the Holy Prophet, may God bless him and grant him peace, the lady Umm Salamah, may God be pleased with her, and also narrated on the authority of the companion Rafi bin Khadij, and narrated on the authority of the great companion Umm Hisham bint Haritha bin Al-Numan, may God be pleased with her, and she spared no effort in establishing The value of women as an important part of the human society in general and the Islamic society in particular, and with what she presented, may God have mercy on her, from the narration of the honorable hadith of the Prophet, he made her a trustworthy narrator because she was associated with Mrs. Aisha, may God be pleased with her, so she was described as the jurist scholar and the proof

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Savchenko, T. I., and E. G. Abramtseva. "ARTISTIC AND PUBLICISTIC FUNCTIONAL SPEECH STYLES AS AN ELEMENT OF MODERN LINGUISTICS." In Люди речисты - 2021. Ulyanovsk State Pedagogical University named after I. N. Ulyanov, 2021. http://dx.doi.org/10.33065/978-5-907216-49-5-2021-335-338.

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The article shows that the specificity of artistic speech in comparison with journalistic speech is due to the structure of speech. The main feature of the structure of artistic speech is the discrepancy between the producer of speech (the author) and its subject. The presence of a narrator is a prerequisite for artistic speech. The article analyzes the nature of the speech representation of the narrator in publicistic and artistic speech.

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Nasreen, Jawaid, Warsi Arif, Asad Ali Shaikh, Yahya Muhammad, and Monaisha Abdullah. "Object Detection and Narrator for Visually Impaired People." In 2019 IEEE 6th International Conference on Engineering Technologies and Applied Sciences (ICETAS). IEEE, 2019. http://dx.doi.org/10.1109/icetas48360.2019.9117405.

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Lin, Chin E., H. M. Yen, G. T. Huang, and C. C. Li. "An MP3 E-Narrator System Design and Implementation." In 2007 IEEE International Symposium on Consumer Electronics. IEEE, 2007. http://dx.doi.org/10.1109/isce.2007.4382114.

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Esterhuizen, Hendrik D. "Loudspeaker, narrator and language influences on speech intelligibility." In AFRICON 2007. IEEE, 2007. http://dx.doi.org/10.1109/afrcon.2007.4401618.

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Gu, Jia. "Nick: An Unreliable Narrator in The Great Gatsby." In 2016 5th International Conference on Social Science, Education and Humanities Research. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ssehr-16.2016.162.

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"Emotional Synchrony of the Narrator and Readers in Villette." In Sept. 9-11, 2019 Porto (Portugal). Higher Education And Innovation Group, 2019. http://dx.doi.org/10.17758/heaig5.h0919402.

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Reports on the topic "Narrator"

Monier, Elizabeth. Whose Heritage Counts? Narratives of Coptic People’s Heritage. Institute of Development Studies (IDS), December 2021. http://dx.doi.org/10.19088/creid.2021.015.

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This paper examines whose voices narrate official Coptic heritage, what the in-built biases in representations of Coptic heritage are and why, and some of the implications of omissions in narratives of Coptic heritage. It argues that the primary narrator of official Coptic heritage during the twentieth century was the leadership of the Coptic Orthodox Church. The Coptic Orthodox Church is the body that holds authority over the sources of heritage, such as church buildings and manuscripts, and also has the resources with which to preserve and disseminate heritage. The Church hierarchy’s leadership was not entirely uncontested, however, a middle ground was continually negotiated to enable lay Copts to play various roles and contribute to the articulation of Coptic heritage. Ultimately, though, alternative voices must operate within the limits set by the Church leadership and also negotiate the layers of exclusion set by society and state.

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Recio-Saucedo, Alejandra, Katie Meadmore, and Amanda Ribeiro. Narrator: preparatioN, Assessment and use of impact plans in NIHR standaRd ApplicaTion fORms. Study report. National Institute for Health and Care Research, January 2024. http://dx.doi.org/10.3310/nihropenres.1115221.1.

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Yatsymirska, Mariya. MODERN MEDIA TEXT: POLITICAL NARRATIVES, MEANINGS AND SENSES, EMOTIONAL MARKERS. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11411.

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The article examines modern media texts in the field of political journalism; the role of information narratives and emotional markers in media doctrine is clarified; verbal expression of rational meanings in the articles of famous Ukrainian analysts is shown. Popular theories of emotions in the process of cognition are considered, their relationship with the author’s personality, reader psychology and gonzo journalism is shown. Since the media text, in contrast to the text, is a product of social communication, the main narrative is information with the intention of influencing public opinion. Media text implies the presence of the author as a creator of meanings. In addition, media texts have universal features: word, sound, visuality (stills, photos, videos). They are traditionally divided into radio, TV, newspaper and Internet texts. The concepts of multimedia and hypertext are related to online texts. Web combinations, especially in political journalism, have intensified the interactive branching of nonlinear texts that cannot be published in traditional media. The Internet as a medium has created the conditions for the exchange of ideas in the most emotional way. Hence Gonzo’s interest in journalism, which expresses impressions of certain events in words and epithets, regardless of their stylistic affiliation. There are many such examples on social media in connection with the events surrounding the Wagnerians, the Poroshenko case, Russia’s new aggression against Ukraine, and others. Thus, the study of new features of media text in the context of modern political narratives and emotional markers is important in media research. The article focuses review of etymology, origin and features of using lexemes “cмисл (meaning)” and “сенс (sense)” in linguistic practice of Ukrainians results in the development of meanings and functional stylistic coloring in the usage of these units. Lexemes “cмисл (meaning)” and “сенс (sense)” are used as synonyms, but there are specific fields of meanings where they cannot be interchanged: lexeme “сенс (sense)” should be used when it comes to reasonable grounds for something, lexeme “cмисл (meaning)” should be used when it comes to notion, concept, understanding. Modern political texts are most prominent in genres such as interviews with politicians, political commentaries, analytical articles by media experts and journalists, political reviews, political portraits, political talk shows, and conversations about recent events, accompanied by effective emotional narratives. Etymologically, the concept of “narrative” is associated with the Latin adjective “gnarus” – expert. Speakers, philosophers, and literary critics considered narrative an “example of the human mind.” In modern media texts it is not only “story”, “explanation”, “message techniques”, “chronological reproduction of events”, but first of all the semantic load and what subjective meanings the author voices; it is a process of logical presentation of arguments (narration). The highly professional narrator uses narration as a “method of organizing discourse” around facts and impressions, impresses with his political erudition, extraordinary intelligence and creativity. Some of the above theses are reflected in the following illustrations from the Ukrainian media: “Culture outside politics” – a pro-Russian narrative…” (MP Gabibullayeva); “The next will be Russia – in the post-Soviet space is the Arab Spring…” (journalist Vitaly Portnikov); “In Russia, only the collapse of Ukraine will be perceived as success” (Pavel Klimkin); “Our army is fighting, hiding from the leadership” (Yuri Butusov).

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Cox, Jamie. Dazai's Women: Dazai Osamu and his Female Narrators. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.132.

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Steedman, Mark, Norman Badler, and Bonnie L. Webber. Narrated Animation: A Case for Generation. Fort Belvoir, VA: Defense Technical Information Center, January 1990. http://dx.doi.org/10.21236/ada458624.

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Nieto Ferrando, J., A. del Rey Reguillo, and E. Afinoguenova. Narration and placement of tourist spaces in Spanish fiction cinema (1951-1977). Revista Latina de Comunicación Social, October 2015. http://dx.doi.org/10.4185/rlcs-2015-1061en.

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Crowell, Robin. Gender Bias and the Evaluation of Players: Voice and Gender in Narrated Gameplay Videos. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3150.

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Gilboa, Amir. The Implementation of a National Health Information Exchange Platform in Israel. Inter-American Development Bank, May 2022. http://dx.doi.org/10.18235/0004272.

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The Health Information Exchange (HIE) is one of the main national digital health infrastructures of Israels digital health strategy, which is led by the MOH. This document narrates the case of the construction of a Health Information Exchange in Israel and the importance of not only technology but also the health systems structure and budget constraints to generate higher HIE usage rates and, therefore, better results for patients.

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Ertanowska, Delfina. Меми як спосіб комунікації в умовах війни. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11738.

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The article analyzes memes as a form of visual communication in war conditions, on the example of memes with Oleksii Arestovych and Valerii Zaluzhnyi, during the Russian armed aggression against Ukraine. Two forms of this method of communication have been described: direct communication and the method of narration. In the case of direct communication, memes are a communication tool of the hero of these memes, in the second, the way of narrating events. Key words: memes, war, Ukraine, visual communication, social media, Arestovych, Zaluzhnyi.

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Sprunger, Luke. "Del Campo Ya Pasamos a Otras Cosas--From the Field We Move on to Other Things": Ethnic Mexican Narrators and Latino Community Histories in Washington County, Oregon. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1977.

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