Relevant bibliographies by topics / Narrator (voice)

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  2. Dissertations / Theses
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Academic literature on the topic 'Narrator (voice)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Narrator (voice)"

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Cui, Zhenhua, Yanping Yang, and Yanping Yang. "THE NARRATOR IN DORIS LESSING’S THE FIFTH CHILD." Advances in Social Sciences Research Journal 7, no. 9 (September 14, 2020): 174–82. http://dx.doi.org/10.14738/assrj.79.8823.

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This paper reviewed the theoretic classification on narrator of fictions. The narrator of THE FIFTH CHILD was described according to voice and point of view. The conclusion is the narrator in the famous fiction of Doris Lessing’s was omniscient, heterodiegetic/non-character, overt and reliable in its voice. While the fiction was narrated with the shift of multifocalizers in the point of view both from a character, Harriet, who witnessed the events, and from a heterodiegetic narrator, who made comments and questions to focus the readers’ attention on what he narrates.
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Gonçalves, Lívia Bueloni. ""É preciso continuar" - Caminhos da ficção de Beckett em sua tentativa de seguir adiante." Eutomia 1, no. 20 (February 19, 2018): 58. http://dx.doi.org/10.19134/eutomia-v1i20p58-72.

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A prosa de Beckett caracteriza-se por um embate entre a insatisfação com o ato de narrar e a necessidade de seguir adiante. Concentrando-se principalmente na passagem da segunda para a terceira fase da ficção do autor, o artigo reflete sobre as mutações do narrador beckettiano. Entre elas, destaca-se o desenvolvimento do expediente da voz – de instância perturbadora em O inominável e nos Textos para nada a narradora assumida em Companhia.Palavras-chave: Samuel Beckett; prosa beckettiana; narrador; voz; Companhia Abstract: Beckett’s fiction is characterized by a struggle between the dissatisfaction with the act of narrating and the need to move on. Focusing mainly in the passage from the second to the third phase of his fiction, this article reflects upon Beckettian narrator’s mutations. Among them, the development of “the voice” is highlighted – from a disturbing device in The Unnamable and Texts for nothing to a recognized narrator in Company.Keywords: Samuel Beckett; Beckettian fiction; narrator; voice; Company.
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Orlić, Milan. "Borislav Pekić’s New textuality in the light of Bakhtin's concept of the open text of the polyphonic novel." Dostoevsky Journal 16, no. 1 (April 25, 2015): 92–107. http://dx.doi.org/10.1163/23752122-01601011.

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In this paper I analyze two of Pekić’s novels in the light of Bakhtin’s concept of the open text of the polyphonic novel which Pekić develops by means of a new Narrator Figure and a new poetics based on an encyclopedic embedded text structure. Among several literary techniques developed from the beginnings of Pekić’s writing, crucial importance belongs to what I call the Explicit Narrator Figure (for instance, in The Time of Miracles, 1965), who speaks in his own voice as interpreter of found texts, and the Implicit Narrator Figure, who adopts the literary and non-literary voices of (many) others, to whose diction and style he assimilates his own voice (for example, in Pilgrimage of Arsenije Njegovan, 1970). This new (postmodern) narrator figure, both explicit and implicit, acts as an interpreter of «found» texts. What connects these two types of Narrator Figures is the document and related Embedded Narration: both narrators thus deal with the pre-texts as well as texts-in-texts, levels and layers of texts, proto-texts and meta-texts – various types of Framed/Embedded Narratives. The Implicit Narrator Figure deals with Biblical witnessed texts and the Explicit Narrator Figure uses personal testamentary texts. In such a way, both Implicit and Explicit Narrator Figures become the researchers of different types of literary and non-literary documents. These complex inter-textual explorations of the “library” of culture are “encyclopedic” in magnitude and reveal, in combination with the new Narrator Figure’s status as Editor and Interpreter, a new type of narrative text, constituted in the encyclopedic open novel structure. Pekić thus introduces a new form of inter-textuality into Serbian literature, implicitly extending Bakhtin’s (and Dostoevsky’s) legacy by drawing on the Serbian national literary canon and the entire Western cultural “library”.
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Đerić-Dragičević, Borjanka. "Family history rewritten: How to narrate the life happening 'Tomorrow'." Reci Beograd 12, no. 13 (2020): 116–33. http://dx.doi.org/10.5937/reci2013116d.

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This paper is dedicated to exploring the narrative points and strategies in the novel Tomorrow, written by Graham Swift, a prominent English postmodern writer, with the main objective to draw attention to the nature of narration and narrators. The aim of the research is to give answers to the questions of choices made by the novelist when it comes to narrators, narration, narrative methods and techniques, and whether the narrators are (un)reliable, etc. The author of this paper tries to determine to which extent the 2nd person narration has become influential in postmodern literature - by being mysterious, ambiguous and unknown. We often do not know to whom a narrator is speaking, nor whose voice is being heard by readers. Contemporary narratological theories deny the existence of this clear, precise and uniformed narratological voice, whether it is an author, a narrator or a reader. These days, numerous avant-garde narratological strategies are being emphasized, most notably the "wandering" second person, used by the main character of the novel Tomorrow as well. The inseparable part of the research is also questioning the postmodern premises such as the final doubt considering the (re)presentation of a story, the truth and the past (both individual and collective) which influence the choices made while forming the narration in the novel. The narratological analysis has shown the nature of psychological, moral, as well as ethical competence of the narrator, Paula Hook - a successful woman of the 21st century - a professor, a mother, a wife, living an ideal life threatened by a profound family secret. She acts as a representative of the 21st century wandering narrator - she doubts, questions, rethinks - because the history, past and truth are being constantly questioned in contemporary societies and literature as well.
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Oberman, Rachel Provenzano. "Fused Voices: Narrated Monologue in Jane Austen's Emma." Nineteenth-Century Literature 64, no. 1 (June 1, 2009): 1–15. http://dx.doi.org/10.1525/ncl.2009.64.1.1.

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The question of whose voice is speaking, the narrator's or the heroine's, is central in Jane Austen's Emma (1814), for although the two voices sound similar at points, the story that the heroine tells is but an incomplete part of the narrator's larger story. While Emma tells the story of her perceptions as they occur to her at the time, the narrator is telling the story of the gradual growth of Emma's consciousness. As the novel progresses, Emma's voice begins to resemble the narrator's in its ability to mix with another's consciousness. Her narrated monologues begin to incorporate others' voices, almost as if she has learned the narrative technique that Austen herself uses. Emma's voice, likes the narrator's, displays by the novel's end the ability to mix others' voices into her own; she gains the ability to "see" herself both from the inside and the outside. Emma's ability to learn narrative "skills" such as the fusing of other voices into her own represents the true mark of her maturity. In a sense, Emma learns what every good novel reader ultimately learns: how to see beyond her own mental confines by imitating the narrator's ability to incorporate others' consciousnesses into her own.
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Miller, Charles William. "READING VOICES: PERSONIFICATION, DIALOGISM, AND THE READER OF LAMENTATIONS 1." Biblical Interpretation 9, no. 4 (2001): 393–408. http://dx.doi.org/10.1163/15685150152695290.

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AbstractMost interpretations of the first chapter of Lamentations recognize the existence of two different speakers who alternate speeches throughout the poem. The first speaker is characterized by third person discourse and often identified as a narrator. Critics unanimously equate the second speaker, who employs first person discourse, with the voice of the personified Jerusalem. One of the often overlooked elements in this standard reading of Lamentations 1, however, is the fact that, like the personified Jerusalem, the so-called narrator exists within the created world of the poem. In other words, both speakers are literary constructs (personifications) given their existence by the poet. This apparently mundane observation carries serious consequences for the reading of Lamentations 1, as it raises questions regarding the commonly held notion that the narrator stands outside of the poem and thereby offers the reader an "objective" perspective. In this essay I have chosen not to privilege the narrator's voice, but to read the poem as a polyphonic text composed of two "unmerged … consciousnesses." The poem is no longer read as a monological description of Jerusalem's many egregious sins and the justification of her cruel punishment, in which Jerusalem's voice ultimately retreats into insignificance. Lamentations 1 becomes, instead, the locus of conflict and struggle between two equally weighted voices, where one observes both speakers using "double-voiced" discourse to provoke an ongoing dialogue, not only between the two voices, but among the speakers within the poem and the reader who stand outside of it.
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Beehler, Brianna. "The Doll’s Gift." Nineteenth-Century Literature 75, no. 1 (June 2020): 24–49. http://dx.doi.org/10.1525/ncl.2020.75.1.24.

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Brianna Beehler, “The Doll’s Gift: Ventriloquizing Bleak House” (pp. 24–49) This essay offers a new reading of the split narrative in Charles Dickens’s Bleak House (1852–53). Previous critics of the novel’s split narrative have primarily focused on the unequal knowledge and authority positions of the all-knowing third-person narrator and the unknowing first-person narrator, Esther Summerson. This division, however, does not fully account for the apparent slips and narrative exchanges between the two narrators, in which one narrator takes on the voice or knowledge position of the other. This essay takes up Robert Newsom’s suggestion that the only way to explain these “slips” is to conclude that Esther Summerson writes not only her own narration, but also that of the third-person narrator. However, the essay further argues that Esther uses the third-person narration to ventriloquize the voice of her mother, Lady Dedlock, in an effort to provide herself with the emotional support otherwise denied her. Readers may better understand Esther’s ventriloquism of the third-person narration by tracing how it mirrors her early daily ritual with her doll, in which she assumed both narrative positions at once. Object relations and gift theory further show how this dialogue creates a bond between the two narrations. Thus, characters and family structures that appear in the third-person narration and that may appear distant from Esther are actually her meditations on alternative maternal and familial relationships.
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Narration Council, Outstanding Audiobook. "From Committees of RUSA: The Listen List 2015." Reference & User Services Quarterly 54, no. 4 (June 19, 2015): 66. http://dx.doi.org/10.5860/rusq.54n4.66.

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The Listen List highlights extraordinary narrators and listening experiences that merit special attention by a general adult audience and the librarians who advise them. Recordings are selected because they are engaging and make one reluctant to stop listening. Titles are also named to the list because the narration creates a new experience, offering listeners something they could not create by their own visual reading and because the narrator achieves an outstanding performance in terms of voice, accents, pitch, tone, inflection, rhythm and pace. This juried list, designed for avid listeners and those new to the pleasures of stories read aloud, includes fiction and nonfiction and features voices that enthrall, delight, and inspire.
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Martin, Thomas W. "The Silence of God: A Literary Study of Voice and Violence in the Book of Revelation." Journal for the Study of the New Testament 41, no. 2 (November 6, 2018): 246–60. http://dx.doi.org/10.1177/0142064x18804435.

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The violence of Revelation remains problematic. This study offers a literary-critical analysis of the text with postcolonial theory and an intertextual foray into 1 Kgs 19. It argues that God does not speak in direct voice as a character in the story until 21.5. Places where commentators understand a voice to be God’s are undercut by an underdetermined text. Since the implied author avoids bringing God onto the stage to authorize events, the narrator assumes that a proliferation of loud heavenly voices provides authorization of the visions and their violence. The narrator is demonstrably unreliable. At the end of the visions and in the epilogue the ‘still small voice’ of God and Jesus’ quiet voice speak. Both undercut the narrator’s interpretation of the visions. And by speaking quietly in present tense and without decibel adjectives it forces us to go back and reread the whole for how God is now renewing all creation and Jesus is now offering the water of the River of Life. The violence will need to be read as something other than it at first appeared.
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Tollance, Pascale. "Voices from nowhere." English Text Construction 1, no. 1 (March 7, 2008): 141–53. http://dx.doi.org/10.1075/etc.1.1.11tol.

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Graham Swift’s oeuvre reflects a fascination with voice which appears most clearly in two of his novels, Waterland and Last Orders, but in seemingly diametrically opposed ways. Whilst Waterland foregrounds the act of narration through a voluble and chatty narrator, Last Orders is deprived of any central narrating agency and consists of a collage of different voices. In spite of this, in both novels, voice is a factor of instability as it no longer speaks with authority but proceeds erratically and repetitively, constantly echoing other voices. Voice unsettles the narrative by imposing multiplicity and fragmentation against the fantasy of a stable origin and a single meaning. But more importantly, our perception of the novel is transformed once we start ‘hearing voices’ instead of (or as well as) characters: by its ability to detach words from any clear origin, place or time, Swift turns those who speak into ghosts whose ‘presence’ is a mere illusion. Beyond similarities, the two novels also help us reflect on a diverging use of voice: in Waterland the narrator’s multiple voices reflect a sense of loss and alienation coupled with the impression that there is no getting away from oneself; by contrast, in Last Orders, the echoes which form themselves through the various voices have a liberating effect, allowing the characters to exist in a realm where they can be more than themselves.
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Dissertations / Theses on the topic "Narrator (voice)"

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Hedlund, Anna Maria. "Stripped Says to Stand Strong : Christina Aguilera's Voice and Feminist Narratology." Thesis, Halmstad University, School of Humanities (HUM), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-125.

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Throughout history women have been subject to oppression by patriarchal society.

However, there have always been those who have tried to rise against it. This study will shed light upon one example: a female artist who personally defies the patriarchal norms at the same time as her music encourages others to do the same. The musician in question is Christina Aguilera, and the album studied is Stripped.

What this study shows is that Stripped can be read as a feminist statement. The lyrics deal with two main themes: patriarchal society’s objectification and oppression of women, and the struggles of love and relationships. What these two themes have in common is that they both encourage women to stand their ground and believe in themselves.

However, the lyrics on the album also suggest that Aguilera is aware of the fact that her message will not suit everyone. She knows that she works within an industry whose goal is to make money out of its artists, and therefore she has to keep repeating like a mantra to herself and to others that she, and her music, is not just a product of this industry. The message her music brings actually matters.

To come to this conclusion I have examined Aguilera’s lyrics in terms of what messages they bring and who their narratees might be, all in accordance with feminist narratology. Secondary sources from the fields of popular music studies, media studies and gender studies as well as interviews with and about Aguilera and biographies have been consulted.

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Ben-Dror, Yaffa. "Students' familiarity with the narrator in multimedia learning material." Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/324043/.

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This is a study of the influence of the familiarity of students with the narrator of video tutorials, in a blended learning situation, on both the perceived and actual effectiveness of the learning materials, in terms of students’ learning efficiency – where a course is traditional in format and online learning is carried out with the help of Narrated Video Screen Captures (NVSCs). The study also focused on the interaction of student-narrator gender similarity and students’ individual differences (conscientiousness and test-anxiety) with voice familiarity. Thus, the study sought to fill a gap in knowledge regarding the influence of familiarity with the narrator in multimedia learning material on the efficiency of learning within a blended learning context. The research paradigm was deductive, employing a mixed methods and a case study research and using quasi-experiments. In order to compare the relational efficiency of the different instructional conditions, a calculative approach was used that combined measurement of mental effort with task performance. In addition to the mental effort questionnaires and task performance, students completed an assessment questionnaire for the NVSCs. In addition, semi-structured interviews and a follow-up questionnaire were used for collection of corroborative data, in order to shed more light on this matter. Findings showed significant influence of voice familiarity on most of the learning efficiency indices and on perceived effectiveness of NVSCs. Gender similarity was significant only with unfamiliar voice and there was no significant interaction between conscientiousness and test anxiety and voice familiarity. Thus, it was concluded that when students have a personal relationship with the class teacher, exposure to multimedia learning materials with an unfamiliar narrator has an adverse influence on their learning efficiency. These findings add to the established voice related principles of Cognitive Theory of Multimedia Learning and Social Agency Theory. Contribution to knowledge was made by filling the gap in knowledge in the area of multimedia instructional design.
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Moran, J. R. "'Over the Kite Path' : a novel and dissertation on the development of narrator and narrative voice." Thesis, Liverpool John Moores University, 2017. http://researchonline.ljmu.ac.uk/6716/.

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In the field of Creative Writing, much is written about narrative form and narrative voice. Narrator and narrative voice have always been important to me, and they were essential to the creation of my own novel, Over the Kite Path. It is my intention that this thesis (incorporating the novel itself, and the supporting dissertation) captures the creative process in a way that will be useful to other practitioners and writing scholars, by articulating complex and often abstract concepts in an accurate and unique way. The success of my novel was largely dependent on the success of my handling of its narrator and narrative voice, and my ability to create the illusion that my narrator was real. But how could this be measured, and – ultimately – how did extensive research and close analysis of my working practice contribute to this? While writing my novel, I researched many topics (including historical research, research on other practitioners in the field, and also the consideration of some of the philosophical and psychological aspects of my creativity), with a particular focus on the development of narrator and narrative voice. Within this context, I considered the novel’s place within the fields of literature and creative writing and compared my work – and my working practice – with other authors, in order to help me understand and analyse how my narrative voice had developed. As a result of this analysis and research, my novel has an original and convincing narrator. Whilst I am aware that the narrator can never be ‘real’, I am also comfortable with creating and maintaining the illusion of the narrator’s ‘reality’ for the reader. In addition, I have demonstrated the importance of this illusion to the writer during the creative process. Via a deeply analytical account my own experience while writing this novel, I have documented how my own creative work was enhanced by my research, and I believe I have provided new approaches and theories on the creative – and often existential - qualities of the writing process. It is my hope that these new approaches and theories make an original contribution to the field of Creative Writing, and will enhance the way in which the craft of writing is considered in the future by practitioners, critical theorists, and literary scholars alike.
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Fowler, Joanna E. "Theorizing voice and perspective in the narratives of Eliza Haywood and her contemporaries." Thesis, Loughborough University, 2010. https://dspace.lboro.ac.uk/2134/6353.

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This thesis traces the career of the prolific eighteenth-century author Eliza Haywood through narratological analysis of some of her key works. It contributes to the new wave of Haywood criticism that is moving away from the thematic, gender based focus that has dominated discussion of her oeuvre since her critical rediscovery in the 1980s. My narratological method demonstrates how understanding at a formal and thematic level is enhanced by the employment of theoretical narrative paradigms. Narratology is interested in the relationship between the events of a narrative (story) and how these events are presented (text). I utilize the narratological terminology of Gérard Genette because it is narrative discourse, rather than the mere events of a story, that provides the basis for a meaningful discussion concerning matters of presentation. Making the topic of narrative discourse central to the study requires analysis of voice, point of view, speech, and temporality, as it covers the ways in which the story is told. Throughout her career, Haywood manipulates these narrative features so as to create inventive texts that adapt to the changing trends of the literary marketplace. Key topics of discussion include Haywood s continuous but developing use both of the embedded narrative and anachronies; the differing levels of intrusion created by her narrators employment of metanarrative commentary; and her progressive use of metalepsis: from her inclusion of simple scene changes in her earlier work, to her emphatic use of explicit diegetic interruptions in her later work that mirror those utilised by Henry Fielding. The thesis follows a chronological structure and is historically and bibliographically informed. This approach enables the thesis to provide extended comparison of Haywood s narrative choices with those of her main forebears and contemporaries, especially Aphra Behn, Delarivier Manley, Samuel Richardson, Tobias Smollett, and Henry Fielding.
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Muthusi, Julius Maingi. "The Child's Voice as a Narrative Critique in African Ex-Child Soldier Memoirs." University of Dayton / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1556580453991481.

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Cirakli, Mustafa Zeki. "The Relationship Between Narrative Strategies And Meaning In William Golding." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611738/index.pdf.

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This dissertation attempts to investigate the relationship between certain narrative strategies and meaning(s), and presents a narratological analysis of Golding&rsquo
s three novels. It primarily refers to the terminology offered by Genette and Rimmon-Kenan and, considering the mode of narration (voice) and the mode of focalization (mood), it tries to unearth narrative elements in narrative fiction. This dissertation argues that the implied author employs narrative agents and strategies of perspectivisation in order to affect, manipulate, determine or change the meaning(s), and that storytelling authority can be violated or balanced by monitority of perceiving. In The Inheritors, the implied author plays with shifting perspective to portray the other from within
in Pincher Martin, s/he explores temporality and timelessness to reveal post-mortem individual consciousness / unconsciousness, and in Free Fall, s/he produces a first-person retrospective narration where the protagonist deals with the act of story-telling and attempts to reconstruct his identity through manipulating subnarratives and perspectives.
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Felicio, Gisele Montoza. "Mulheres de vida dupla: as singularidades de Virgília, de Machado de Assis e de Lavínia, de Marçal Aquino." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/2180.

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Made available in DSpace on 2016-03-15T19:45:54Z (GMT). No. of bitstreams: 1 Gisele Montoza Felicio.pdf: 766176 bytes, checksum: 5308f81bb1ff9bd3b42a0e980796410e (MD5) Previous issue date: 2013-12-16
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Knowing human behavior and the societies through the literary text, without losing its artistic character, it becomes a research as possible when considering that each novel brings various social voices that reveal the thought or ideology of an age, according to Mikhail Bakhtin.. It will be analyzed in this study how the 19th century and contemporary societies react in front of women who live a double life. Machado de Assis introduces us, in Memórias Póstumas de Brás Cubas (2012), Virgília that through dissimulation maintains a double life. Marçal Aquino, in Eu receberia as piores notícias dos seus lindos lábios, features a protagonist Lavínia, which by means of psycho-emotional instability also maintains a double life.
Conhecer o comportamento humano e as sociedades por meio do texto literário, sem perder seu caráter artístico, torna-se uma pesquisa possível ao considerar que cada romance traz várias vozes sociais que revelam o pensamento ou a ideologia de uma época, de acordo com Mikhail Bakhtin. Será analisado no presente trabalho de que modo as sociedades oitocentista e contemporânea reagem diante de mulheres que vivem uma vida dupla. Machado de Assis nos apresenta, em Memórias Póstumas de Brás Cubas (2012), Virgília que por meio da dissimulação mantém uma vida dupla; Marçal Aquino, em Eu receberia as piores notícias dos seus lindos lábios (2011), apresenta uma protagonista Lavínia que por meio de sua instabilidade emocional e psicológica mantém uma vida dupla.
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Morrison, Andrew Donald. "The narrator's voice : Hellenistic poetry and archaic narrative." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271310.

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Braam, Marilyn Elizabeth. "States of displacement: voice and narration in refugee stories." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13664.

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Includes bibliography.
This thesis probes three texts to explore pathways between narration and refugee voices. In Dave Eggers’ text What is the What (2008), the words ‘novel’ and ‘autobiography’ on the title page set a framework for an exploration of the displacement of both genres. As Achak Deng, the Sudanese refugee-exile claims to have “gone out in search of a writer,” so this thesis has sought textual manifestations of the voices of those labeled “refugees”. In Eggers’text a temporarily-gagged narrator presents the question as to how the writer-refugee collaboration allows the voice of a refugee to be heard. In Little Liberia: an African Odyssey in New York (2011), Jonny Steinberg’s placement of himself inside the text demonstrates a different narrative approach to this question as he opts to share subject-space with refugee-exiles, Rufus Arkoi and Jacob Massaquoi. Unsettling the idea of ‘protagonist’, the text challenges borders between story and history, telling and writing. Through a narrative relationship Steinberg probes acts of recounting, listening, reviewing in the routes he takes to the text eventually written. By contrast, Luxurious Hearses, a novella by Uwem Akpan, places the extreme fate of the refugee-protagonist in the hands of a third-person narrator to wrestle with the distinctions between voice, mediation and representation. Through Jubril and his co-commuters, the text investigates forms of “rupture” (Bakhtin, 2000) that occur when identities are opportunistically exposed to social labeling. Writer, reader and displaced person emerge as subjects of an economic framework which positions them within the powerful confines of terms such as citizen, refugee, exile. Said’s affirming insight thus presents a challenge to all on this continuum to “cross borders, (to) break barriers of thought and experience” (Said, 2000:185). Reading the text then becomes associated with interpreting events through the collaborative work of relating, and through reviewing the frames of reference. This thesis examines narrative approaches to refugee voices with the question ‘How do voice and narration inflect the transitions in these texts involving refugees?" Rather than the easy transference this may seem to involve, acts of entrusting the timbre of such stories to texts require political vigilance and a sensibility cognizant that a globalized environment implicates all in the crises creating refugees.
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Alley, Candace P. "Jasmine's Secret: Narrative Cantata for Five Solo Voices, Narrator, and Orchestra." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935619/.

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Since Jasmine's Secret contains elements of cantata and follows a dramatic story or program, the work may be classified as a narrative or dramatic story or program, the work may be classified as a narrative or dramatic cantata employing five solo voices, narrator and orchestra. This work attempts a revival of these two genres as a combined entity due to the decreased popularity of both cantata and programmatic music in the 20th century.
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Books on the topic "Narrator (voice)"

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Tredici, David Del. Haddocks' eyes: For soprano-narrator and ten instruments. [New York]: Boosey & Hawkes, 1994.

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Cullen, Carolyn. The voice from below stairs: How representations of the servant narrator have changed in literature. London: University of Surrey Roehampton, 2004.

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Forman, Anna. In the voice of a child...: An exploration of the role of the child narrator in literature. Guildford: University of Surrey, 1999.

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Wall, Barbara. The Narrator’s Voice. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21109-8.

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The narrator's voice: The dilemma of children's fiction. Houndmills, Basingstoke, Hampshire: Macmillan, 1991.

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Wall, Barbara. The narrator's voice: The dilemma of children's fiction. Basingstoke: Macmillan, 1991.

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Wall, Barbara. The narrator's voice: The dilemma of children's fiction. New York: St. Martin's Press, 1991.

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Barbara, Wall. The narrator's voice: The dilemma of children's fiction. New York: St. Martin's Press, 1991.

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9

Furu, Ann-Christin. Resa i röstens landskap: En narrativ studie av hur lärare blir professionella röstanvändare. Åbo: Åbo Akademis förlag, 2011.

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10

Villa, Federica. Il narratore essenziale: Della commedia cinematografica italiana degli anni Cinquanta. Pisa: Edizioni ETS, 1999.

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Book chapters on the topic "Narrator (voice)"

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Bretz, Andrew. "Your Master’s Voice: The Shakespearean Narrator as Intermedial Authority on 1930s American Radio." In OuterSpeares, 230–56. Toronto: University of Toronto Press, 2014. http://dx.doi.org/10.3138/9781442669369-009.

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McKinnell, John. "The Narrator as Everyone’s Voice: A Project to Produce the Ecerinis of Albertino Mussato." In Medieval Texts and Cultures of Northern Europe, 93–108. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.tcne-eb.3.4053.

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Wang, Yunhong. "Narration and Voice." In English Translations of Shuihu Zhuan, 51–81. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4518-4_4.

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W. Irvin, Matthew. "Voices and narrators." In The Routledge Research Companion to John Gower, 237–52. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315613109-19.

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Wall, Barbara. "Introduction." In The Narrator’s Voice, 1–10. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21109-8_1.

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Wall, Barbara. "The Twentieth-Century Voice." In The Narrator’s Voice, 147–77. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21109-8_10.

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Wall, Barbara. "Putting Children First." In The Narrator’s Voice, 178–99. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21109-8_11.

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Wall, Barbara. "The Fashioning of a Reader." In The Narrator’s Voice, 203–16. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21109-8_12.

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Wall, Barbara. "‘Valid for Both’." In The Narrator’s Voice, 217–33. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21109-8_13.

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Wall, Barbara. "The Child-Centred Novel." In The Narrator’s Voice, 234–45. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21109-8_14.

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Conference papers on the topic "Narrator (voice)"

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Zhang, Jing, and Chenchen Gao. "The Power of “ Voice” The Metaphorical Narration of “Voice” in Chinese Contemporary Novels." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.59.

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Morawitz, Falk. "Multilayered Narration in Electroacoustic Music Composition Using Nuclear Magnetic Resonance Data Sonification and Acousmatic Storytelling." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.052.

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Abstract:
Nuclear magnetic resonance (NMR) spectroscopy is an analytical tool to determine the structure of chemical compounds. Unlike other spectroscopic methods, signals recorded using NMR spectrometers are frequently in a range of zero to 20000 Hz, making direct playback possible. As each type of molecule has, based on its structural features, distinct and predictable features in its NMR spectra, NMR data sonification can be used to create auditory ‘fingerprints’ of molecules. This paper describes the methodology of NMR data sonification of the nuclei nitrogen, phosphorous, and oxygen and analyses the sonification products of DNA and protein NMR data. The paper introduces On the Extinction of a Species, an acousmatic music composition combining NMR data sonification and voice narration. Ideas developed in electroacoustic composition, such as acousmatic storytelling and sound-based narration are presented and investigated for their use in sonification-based creative works.
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Li, Ming, Chi Wai Lai, and Wai Man Szeto. "Whiteboard Animations for Flipped Classrooms in a Common Core Science General Education Course." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9250.

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Whiteboard animation, an engaging tool for teaching and learning, consists of a series of hand-drawing illustrations with voice-over narration to explain complex and abstract ideas. Our team had produced four short whiteboard animations tailor-made for a common core science general education (GE) course. This study aims at evaluating the effectiveness of using these whiteboard animations for flipped classrooms in the common core science GE course. The pre-tutorial survey showed that students who watched the animations got significantly higher average marks in the quizzes at the beginning of the tutorials (p<0.001). The post-tutorial feedback survey indicated that the whiteboard animations attracted 67% of students to watch the animations. For students who watched the animations, over 86% of them reported that the animations raised their interest in the issues discussed in the tutorial classes, and learning materials in the form of whiteboard animation were more interesting than lecture videos; more than 90% of the students agreed the whiteboard animations were helpful in (i) understanding the assigned readings, (ii) clarifying the concepts of the discussed issues, and (iii) gaining the related knowledge before the tutorial. We concluded that whiteboard animation is an effective and engaging tool for flipped classrooms in the common core science GE course.
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González Hernández, Ana Teresa. "La femme au colt 45: un parcours dans imaginaire aquatique de Marie Redonnet." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3111.

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Sous l’apparence d’une écriture dépouillée et d’une narration dénudée, Marie Redonnet, écrivaine contemporaine, nous présente un univers fictionnel peuplé de personnages –féminins pour la plupart- démunis et solitaires, soumis aux grandes tensions sociales, ancrés dans un cadre spatio-temporel flou, et fréquemment plongés dans un état d’abandon existentiel, de stagnation, auquel vient contribuer la présence d’une composante clé de l’imaginaire redonnetien: l’élément aquatique. Chez Redonnet, les différentes variantes de l’eau: océans, mers, fleuves, lacs, cascades, marécages, etc, deviennent de véritables métaphores récurrentes, voire obsédantes, riches de signification. Prenant comme point de départ de notre parcours la trilogie: Splendid Hôtel, Forever Valley et Rose Mélie Rose, publiée entre 1986 et 1987, nous nous proposons d’analyser, dans un premier temps, le rôle et la signification de la présence récurrente de la thématique de l’eau dans cette trilogie. Nous dresserons, ensuite, le tableau des différentes manifestations de l’eau et des divers aspects de la symbolique aquatique dans son dernier roman: La femme au colt 45, paru en 2016. Dans ce roman, utilisant une langue épurée et minimaliste, proche du langage dramaturgique, Marie Redonnet nous pose la problématique de la précarité des réfugiés, et des sans-papiers, de la méchanceté humaine, des difficultés pour recommencer une nouvelle vie ailleurs, de « l’autre côté du fleuve », à travers l’expérience vitale de Lora Sander, une comédienne qui fuit la dictature de son pays. L’étude dans ce dernier roman de la présence de l’eau, sous toutes ses manifestations, ainsi que la signification des différents élements qui lui sont associés, nous permettra de nous interroger sur l’évolution du traitement de l’imaginaire aquatique dans la création littéraire de M. Redonnet.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3111
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Reports on the topic "Narrator (voice)"

1

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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