Journal articles: 'Prose narrative'

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Callaway, Charles B., and James C. Lester. "Narrative prose generation." Artificial Intelligence 139, no. 2 (August 2002): 213–52. http://dx.doi.org/10.1016/s0004-3702(02)00230-8.

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Francese, Joseph. "Staged Narratives/Narrative Stages: Essays on Italian Prose Narrative and Theatre." Italian Culture 37, no. 2 (July 3, 2019): 171–73. http://dx.doi.org/10.1080/01614622.2019.1683271.

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Lushnikova, G. I., and T. Yu Osadchaya. "Fragmentation of Modern Artistic Narrative (English-Language Prose)." Nauchnyi dialog, no. 6 (June 24, 2021): 225–39. http://dx.doi.org/10.24224/2227-1295-2021-6-225-239.

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The question of the role, forms and functions of fragmentation of modern artistic narra tive is considered. The results of the analy sis of the fragmentary narrative of the works of contemporary English-speaking authors (J. Barnes, D. Mitchell, M. Cunningham, I. Banks, J. Franzen, S. Faulks, J. Eugenides, A. Smith, J. McGregor and others) are presented. The relevance of the study is due to the fact that in the modern literature of the postmodernist direction, nonlinearity of narration, deliberate mixing of temporal, local, descriptive and other layers are becoming widespread, practically becoming the norm. The novelty of the research is seen in the fact that the fragmentation of a literary text is studied at different levels — compositional, content-thematic, plot, ideological-figurative, genre, narrative, chronotopic. It has been proved that the forms of implementation of fragmentariness are quite diverse: irregular division of the text, heterogeneity of themes and ideas, lack of linear development of the plot, combination of elements of different genres, the presence of internal polystylism, the use of different types of narration and narrator, violation of the unity of the chronotope. The analysis of specific material showed that the functions of a fragmentary narrative are determined by each specific context, the leading ones being the impact on the reader, the management of his attention, the placement of accents according to the writer's intention, the creation of the impression of authenticity and reliability.

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Pelevin, Mikhail. "The Beginnings of Pashto Narrative Prose." Iran and the Caucasus 21, no. 2 (June 21, 2017): 132–49. http://dx.doi.org/10.1163/1573384x-20170203.

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The article argues that the first specimens of Pashto original narratives in free prose are to be found in the historiographical compilation Tārīkh-i muraṣṣaʿ (1724) among the texts of the chronicles, diaries, and memoirs written by the Khaṯak tribal rulers Khūshḥāl Khān (d. 1689) and Afżal Khān (d. circa 1740/41). Over thirty fragments from these texts may be qualified as short stories for, being focused on particular events and episodes, they are distinguished by strikingly realistic manner of narration and well developed elements of detailing, descriptiveness and emotiveness. Richly illustrated with translations of selected excerpts from original Pashto texts the article summarises the stories’ subject-matters by grouping them into three main categories (wars, incidents, everyday life events) and discusses various aspects of the authors’ narration techniques, such as compression of time and space in kea moments of action, accentuated portrayal of characters, extensive use of direct speech with a range of stylistic timbres. The article proves that the stories of the Khaṯak chiefs may be viewed also as unique documents on the realities of the Pashtun tribal life in pre-modern times.

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Kolesnikoff, Nina. "Narrative Strategies of Russian Postmodern Prose." Russian Literature 53, no. 4 (May 2003): 401–10. http://dx.doi.org/10.1016/s0304-3479(03)00028-0.

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Morgan, Gareth. "Rhyme in Prose Narrative: A Precaution." Folklore 97, no. 2 (January 1986): 219–21. http://dx.doi.org/10.1080/0015587x.1986.9716383.

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Tickoo, Asha. "How to create a crisis." ITL - International Journal of Applied Linguistics 129-130 (January 1, 2000): 169–90. http://dx.doi.org/10.1075/itl.129-130.02tic.

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In this paper, I will examine esl learner attempts at a key component of narrative prose, its complication. The complication is the defining component of the four-part schematic structure of narrative (Labov 1981, labov & Waletzky 1967), because it introduces the crisis of the story. This is the most impassioned phase of the narrative and therefore one expects (following Labov) that the narrator is the least disposed to strive to uphold prestige norms, and adopted rules. It is ironical, then, that what is acknowledged to be effective development of the narrative crisis is highly convention-bound prose. I will describe the basic textual - semantic, informational, organisational and representational - conventions that govern the development of the narrative crisis. I will then take random samples from a body of 35 student narratives, written by Cantonese-speaking esl learners at a Hong Kong university, to illustrate the difficulties these learners face in conforming to these conventions. In a final section, I will discuss the pedagogical implications of this study.

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Veljkovic-Mekic, Jelena. "Interpretatation of narrative prose of Milorad Ciric." Pirotski zbornik, no. 40 (2015): 139–52. http://dx.doi.org/10.5937/pirotzbor1540139v.

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Mozetič, Uroš. "Narrative Perspective and Focalisation in Translating Fictional Narratives." ELOPE: English Language Overseas Perspectives and Enquiries 1, no. 1-2 (December 31, 2004): 209–23. http://dx.doi.org/10.4312/elope.1.1-2.209-223.

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The main objective of this paper is to present the complex processes of the shifting of narrative perspective (point-of-view) and focus in translating English prose texts into Slovene. For that purpose, a narratological discourse analysis of James Joyce’s story ‘Eveline’ (Dubliners) is introduced, drawing on K. M. van Leuven-Zwart’s comparative and descriptive model. The model, which has been expanded by three additional categories – narrative mode, narrative perspective, and focalisation –, brings to the forefront the cause-and-effect relationship between the micro- and macrostructural shifts on the one hand, and the shifts in narrative perspective and focalisation on the other. The results obtained show that the model is empirically verifiable and repeatable. This means that it can also be used with other integral translations, particularly if translation shifts are subtle enough and/or consistent with the translator’s dominant strategy and norm.

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Thi Thanh Nhi, Tran. "THE THEORETICAL CULTURAL FOUNDATION OFWARNING SIGNS IN VIETNAMESE MEDIEVAL NARRATIVE PROSE: A SURVEY." Journal of Science, Social Science 62, no. 5 (2017): 65–73. http://dx.doi.org/10.18173/2354-1067.2017-0034.

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Esteve, Anna. "EL DIETARI DE PERE GIMFERRER, UNA CRUÏLLA D’ESCRIPTURES." Catalan Review 17, no. 2 (January 1, 2003): 87–106. http://dx.doi.org/10.3828/catr.17.2.4.

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In this paper we provide an approach to the literary prose that Pere Gimferrer builds in the two volumes of his Dietari. We distinguish and characterize different tendencies that coexist and merge in his writing. We study how the author flirts with the narration from the essay, turns aside the paths of description and presentation of situations and characters (narrative prose), and rushes through the stream of lyrics (poetic prose), all without forgetting the exposition of the intellectual’s thoughts and opinions. At last, the richness, experimentation, and total freedom that singularize Pere Gimferrer’s literature emerge.

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Gorelova, Olga Olegovna. "Literary-documental narrative in the fictional autobiographic novel “My Secret History” by Paul Theroux." Litera, no. 5 (May 2020): 39–49. http://dx.doi.org/10.25136/2409-8698.2020.5.32908.

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This article raises the problem of differentiation between authorial fiction and factual information in the fictional autobiographic prose that interfere with each other. The object of this research is the fictional autobiographic prose as a peculiar type of text with structure containing system codes of diverse narrative nature. The subject of this research is the characteristics and features of the literary-documental narrative in a fictional autobiographical text. The goal consists in demonstrating the dual nature of the fictional biographic prose on the example of literary-documental novel “My Secret History” (1989) by Paul Theroux. The following conclusions were formulated: 1) fictional autobiographic narrative as a variety of literary-documental narration is characterized with descriptiveness and aptitude to imitation of objectivity studying the personality of the hero; 2) the text in question contains the signs of realization of paradigms of fiction and actuality. The scientific novelty is consists in application of narratological approach towards analysis of the text, which demonstrates the specific constituting spheres associated with simultaneous implementation of the strategies of fictionalization and documental stylization of the material. It is determines that the fictional autobiographic material is characterized with subjective processing of represented data, and thus, it is essential to interpret the prose in question based on the accessible to audience contextual information (suggested authorial context and historical context).

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Hardy, Donald E. "Towards a stylistic typology of narrative gaps: knowledge gapping in Flannery O’Connor’s fiction." Language and Literature: International Journal of Stylistics 14, no. 4 (November 2005): 363–75. http://dx.doi.org/10.1177/0963947005056343.

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This article examines the functions of narrative gaps in the creation and manipulation of knowledge in Flannery O’Connor’s fiction. A distinction is first made between the announced and the unannounced gap, the latter being the general type that occurs most frequently in modern fiction, including that of O’Connor. The form and functions of the announced gap are briefly discussed with reference to 18th-century narratives. The article demonstrates the presence of an attenuated announced gap in O’Connor’s fiction in the use of the indefinite pronoun something. It also makes distinctions between the narrative gap, the ellipsis, and general narrative indeterminacy. The attenuated announced gap and the unannounced gap help to produce involvement of the reader in creating the emotional, spiritual, and rational background for an O’Connor narration. These narrative gaps are stylistically indicative of O’Connor’s prose from her earliest to her latest fiction, both in the particular forms that they take and in their functioning generally to encode concerns with the limitations and possibilities of human knowledge, a thematic concern of heavy significance throughout her fiction. The article is a contribution in the development of a general stylistics of narrative gaps.

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Goodall, H. L. "Writing like a Guy in Textville." International Review of Qualitative Research 2, no. 1 (May 2009): 67–87. http://dx.doi.org/10.1525/irqr.2009.2.1.67.

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This narrative explores the idea of “narrative seduction.” Though an autoethnographic account the author shows how he learned to read and think about the masculine qualities of prose associated with “writing like a man” in the academy, and how this insight led him to locate his ethnographic voice in opposition to it. The narrative includes some stylistic observations about the author's own “seductive” prose and its relationship to intimate listening.

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Im wan hyuk. "Narrative prose, education and research trends and challenges." Journal of Korean Classical Chinese Education ll, no. 37 (December 2011): 391–418. http://dx.doi.org/10.17963/ccek.2011..37.391.

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Sokolyansky, Mark G., and Alexander Gelley. "Narrative Crossings: Theory and Pragmatics of Prose Fiction." Modern Language Review 84, no. 3 (July 1989): 686. http://dx.doi.org/10.2307/3732438.

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Bahti, Timothy, and Alexander Gelley. "Narrative Crossings: Theory and Pragmatics of Prose Fiction." Comparative Literature 45, no. 2 (1993): 177. http://dx.doi.org/10.2307/1771437.

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Lee-Lenfield, Spencer. "Translating Style: Flaubert’s Influence on English Narrative Prose." Modern Language Quarterly 81, no. 2 (June 1, 2020): 193–217. http://dx.doi.org/10.1215/00267929-8151572.

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Abstract General accounts of Gustave Flaubert’s influence on English-language writers have tended to assume that the publication of his fiction was enough to change the style of English prose. However, close examination of Flaubert’s reception in the second half of the nineteenth century shows that the novels and stories alone did not bring about a widespread shift in English prose style. Before such a transformation could happen, his theoretical statements about style in the correspondence needed to be shared with and interpreted for a new audience. Flaubert’s fiction did exert a qualified influence on the relatively few English-language writers who read and responded to it, including Mary Elizabeth Braddon and Henry James. However, not until the 1883 publication of his correspondence with George Sand, as well as significant critical mediation and translation (most notably by Guy de Maupassant, Walter Pater, and Eleanor Marx-Aveling), did his influence on English writers reach its full extent.

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19

Beckwith, Bill E., Thomas V. Petros, Paula J. Bergloff, and Robin J. Staebler. "Vasopressin analogue ({ddavp}) facilitates recall of narrative prose." Behavioral Neuroscience 101, no. 3 (1987): 429–32. http://dx.doi.org/10.1037/0735-7044.101.3.429.

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20

Rudnick, Hans H., and Alexander Gelley. "Narrative Crossings: Theory and Pragmatics of Prose Fiction." World Literature Today 62, no. 1 (1988): 189. http://dx.doi.org/10.2307/40144270.

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Schwyter, Jürg Rainer. "“Slipping” in Old English Narrative and Legislative Prose." Studia Neophilologica 79, no. 2 (December 2007): 133–47. http://dx.doi.org/10.1080/00393270701699567.

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Norrick, Neal R. "Swearing in literary prose fiction and conversational narrative." Narrative Inquiry 22, no. 1 (December 31, 2012): 24–49. http://dx.doi.org/10.1075/ni.22.1.03nor.

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This article compares swearing in novels with swearing in everyday talk based on a representative sample of British and American prose fiction and a several large corpora of natural conversation. Swearing allegedly makes fictional dialogue more realistic, but up till now no one has attempted a systematic comparison of fictional and natural conversational swearing. Fiction writers incorporate swearing into their dialogue to delineate characters and to signal emotions, sometimes setting it off from non-swearing talk and commenting on it in various ways. Traditionally, the author’s own voice contained no swearing. By contrast, in conversational narratives, tellers use swearing to obtain the floor, to evaluate action, to mark climaxes and closings, in addition to portraying their characters as swearing. Moreover, in conversation, tellers may hear their listeners swearing along with them, not only to support and evaluate, but also to oppose and even complain about their telling performance.

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Medeiros, Sergio. "O monodrama de Schoenberg e o “quadro vivo” de Beckett." Eutomia 1, no. 20 (February 19, 2018): 172. http://dx.doi.org/10.19134/eutomia-v1i20p172-179.

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Este texto busca mostrar que um poema em prosa de Beckett, “Un soir”/ “One evening”, possui um enredo muito parecido com o enredo de uma das obras-primas de Schoenberg, Erwartung. Contudo, se seu tema é o mesmo, sua linguagem é diferente, revelando uma experiência narrativa peculiar.Palavras-chave: Beckett; Schoenberg; poesia; música; noite; morte. Abstract: This paper tries to show that Beckett’s prose poem, “Un soir”/ “One evening”, has a plot very similar to the one of Schoenberg’s masterpieces, Erwartung. However, if its theme is the same, its language is different, showing a peculiar narrative experience.Key-words: Beckett; Schoenberg; poetry; music; night; death.

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Hammarberg, Gitta. "Eighteenth Century Narrative Variations on “Frol Skobeev”." Slavic Review 46, no. 3-4 (1987): 529–39. http://dx.doi.org/10.2307/2498102.

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One of the most striking innovations in late eighteenth century prose fiction was the introduction of a distinct narrator's voice. To throw some light on the emergence of this innovation, I will compare three works: “Povest’ o Frole Skobeeve,“ an anonymous work from the 1720s; Ivan Novikov's “Novgorodskikh devushek sviatochnyi vecher,” which appeared in a 1785 collection of his short stories; and Nikolai Karamzin's “Natal'ia, boiarskaia doch',” which appeared serially in his Moskovskii zhurnal in 1792. These works will be viewed as representative of three stages in the eighteenth century development of narrative prose structure.

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Saglia, Diego. "Nationalist Texts and Counter-Texts: Southey's Roderick and the Dissensions of the Annotated Romance." Nineteenth-Century Literature 53, no. 4 (March 1, 1999): 421–51. http://dx.doi.org/10.2307/2903026.

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This essay examines the complex relationship between poetry and notes in Southey's Roderick, the Last of the Goths (1814) and the ways in which this double textual structure bears upon the national narrative of the poem. Following the popular tradition of annotated metrical tales and oscillating between romance and epic, Southey's poem is shown to be a plural work in which the prose appendage complicates the seemingly clear celebration of the Spanish nation proposed by the poetry. The poetry, indeed, constructs Gothic Spain as a modern-day nation through an accumulation of characters, tales, and objects. In general, the notes support this nation-making project by creating an archeologically reliable history of the nation. Frequently, however, they also subvert this history by unmasking the manipulations and gaps of the nationalist narrative. The counter-text of the prose marginalia can therefore be said to function as a Derridean supplement and, moreover, as a historically localized set of discourses that both construct and disperse the nation. As remarked by one of Southey's first reviewers, this textual strategy constitutes a kind of "knowing style," a subversion of poetry by prose (and vice-versa), particularly significant at a time when the author was not only shifting from radical to conservative positions but also gradually abandoning poetry in favor of historiography. By focusing on the competing narratives of the Spanish nation in prose and verse, this essay provides an insight into Roderick as caught between the contradictory multiplicity of its discourse and the attempt to deliver an ideologically closed narrative.

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Doherty, Meghan C. "Giving Light to Narrative." Nuncius 30, no. 3 (2015): 543–69. http://dx.doi.org/10.1163/18253911-03003004.

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This paper examines the visual and verbal cross-pollination between the Philosophical Transactions and the Journal des Sçavans with a specific focus on the role of the visual as an open form of communication, which overcame the linguistic barriers implied by journals published in vernacular languages, rather than Latin. Studying the illustrated articles published in the two journals in 1666 highlights the ways in which the authors viewed the images as providing clarity to their prose and how the images provided access to useful information that was otherwise invisible.

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Saux, Francois H. M. Le, Joseph Harris, and Karl Reichi. "Prosimetrum: Crosscultural Perspectives on Narrative in Prose and Verse." Modern Language Review 96, no. 3 (July 2001): 908. http://dx.doi.org/10.2307/3736854.

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Лисанець, Юлія. "NARRATIVE DIFFUSION IN THE PROSE BY WILLIAM CARLOS WILLIAMS." Problems of Contemporary Literary Studies, no. 27 (November 5, 2018): 112–21. http://dx.doi.org/10.18524/2312-6809.2018.27.146417.

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MOUNIER, Pascale. "Aspects de le phrase narrative en prose au XVIesiècle." L'Information Grammaticale 116 (January 1, 2008): 10–14. http://dx.doi.org/10.2143/ig.116.0.2029507.

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Tomczak, Anna Maria. "Fernando Poyatos’s metod in the studies of narrative prose." Linguodidactica 16 (2012): 187–216. http://dx.doi.org/10.15290/lingdid.2012.16.13.

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31

Suleiman, Susan Rubin, and Susan Sniader Lanser. "The Narrative Act: Point of View in Prose Fiction." Comparative Literature 37, no. 1 (1985): 67. http://dx.doi.org/10.2307/1770525.

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32

Hohendahl, Peter Uwe. "The Future as Past: Ernst Jünger's Postwar Narrative Prose." Germanic Review: Literature, Culture, Theory 88, no. 3 (July 2013): 248–59. http://dx.doi.org/10.1080/00168890.2013.820625.

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Bulatova, M. V. "Specificity of the Narrative in the Prose Pushkin’s Fragments." Vestnik NSU. Series: History and Philology 18, no. 2 (2019): 134–38. http://dx.doi.org/10.25205/1818-7919-2019-18-2-134-138.

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McClure, J. Derrick. "Varieties of Scots in Recent and Contemporary Narrative Prose." English World-Wide 14, no. 1 (January 1, 1993): 1–22. http://dx.doi.org/10.1075/eww.14.1.02mcc.

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Metzidakis, Stamos. "Picking Up Narrative Pieces in a Surrealist Prose Poem." Orbis Litterarum 40, no. 4 (April 1985): 317–26. http://dx.doi.org/10.1111/j.1600-0730.1985.tb00841.x.

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Муталова Гулнора Сатторовна. "ОСОБЕННОСТИ РАННЕСРЕДНЕВЕКОВОГО ЭПИЧЕСКОГО ТВОРЧЕСТВА АРАБОВ." International Journal of Innovative Technologies in Social Science, no. 1(13) (January 31, 2019): 28–34. http://dx.doi.org/10.31435/rsglobal_ijitss/31012019/6326.

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The article is devoted to the most interesting phenomenon in Arabic literature - tribal legends, included in the Arab medieval literature called “Ayyam al- Arab” (“Days of the Arabs”). Oral narrative is an incomparable genre of Arab culture. Containing folklore origins and genetically related to the epic, it is at the same time quite distinctive and distinctly separate from other literary genres. The prose of Days, as well as poetry, is a work of high art with its own laws and its own poetics. And considering that for a long time, Arabic prose has not received proper development, the appearance of Ayyam Al- Arab should be regarded as one of the sources of historiographic prose, actually as the beginning of narrative prose in the history of Arabic literature.

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Ustyantsev, German Y. "Folklore and Trauma: Reflection of personal experience of the narrator (by the example of Mari non-fabulous prose)." Вестник антропологии (Herald of Anthropology) 47, no. 3 (September 5, 2019): 235–42. http://dx.doi.org/10.33876/2311-0546/2019-47-3/235-242.

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The author investigates the representation of experience and trauma in folklore narratives by the example of the texts of the Mari non-fairy prose. Stories about meeting evil spirits, demonic characters, and unexplained phenomena reflects personal experience of narrators, especially traumatic events from the past. The main motifs of mystical stories are death, sorrow, sickness, etc., which are expressed in the narrative, its structure and plot.

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Tickoo, Asha. "A key means to signaling the evaluative component in storytelling." ITL - International Journal of Applied Linguistics 149-150 (2005): 19–46. http://dx.doi.org/10.2143/itl.150.0.2004371.

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Though scholars interested in ESL writing pedagogy would like to believe otherwise, most students in high school and college English language courses are not, in fact, required to write academic prose. Rather they are, by and large, asked to write the personal narrative, a genre of prose similar in very fundamental ways to the prototype story. The personal narrative is a challenge because, like the prototype story, it is more than a mere report of events in past time. It is a report of events in past time infused with, what has been identified as the defining component of the story, the evaluative component. The evaluative component enables the writer to represent the dissimilar impact of successive narrative events to the developing theme. In this paper, I will address one significant means of signaling the dissimilar impact of successive narrative events, and the problems learners have with its proper use. In the prototype personal narrative/ story, the temporal movement effected by successive narrative events is not the same. There is non-uniformity in the pace and quality, of the temporal movement, from one narrative event to the next. I will provide a description of the sentence-level mode of implementing this particular means of evaluation in the prose of skilled writers, and examine a representative sample of ESL data to show the difficulty learners face with its implementation. This understanding will be used to generate suggestions for pedagogy which specifically address this area of difficulty.

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Flint, Christopher. "Speaking Objects: The Circulation of Stories in Eighteenth-Century Prose Fiction." PMLA/Publications of the Modern Language Association of America 113, no. 2 (March 1998): 212–26. http://dx.doi.org/10.2307/463361.

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An enormously popular narrative device, speaking objects were used frequently in eighteenth-century British fiction to express authorial concerns about the circulation of books in the public sphere. Relating the speaking object to the author's status in a print culture, works featuring such narrators characteristically align authorship, commodification, and national acculturation. The objects celebrate their capacity to exploit both private and public systems of circulation, such as libraries, banks, booksellers' shops, highways, and taverns. Linking storytelling to commodities and capital, they convey an implicit theory of culture in which literary dissemination, economic exchange, and public use appear homologous. But as object narratives dramatize, such circulation estranges modern authors from their work. Far from mediating between private and public experience or synthesizing national and cosmopolitan values, these narratives record the indiscriminate consumption that characterizes the public sphere in a print culture.

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Cheremisinova, Larisa I. "Narrative Strategy in Afanasy Fet’s Story The Golts Family." Tekst. Kniga. Knigoizdanie, no. 24 (2020): 5–20. http://dx.doi.org/10.17223/23062061/24/1.

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In the modern research on Afanasy Fet, questions of “prosaic” Fet studies remain poorly investigated: the poetics of Fet’s prose, the specifics of its narrative, the genre features of the works, the comparative analysis of Fet’s narrative practice and contemporary writers’ works. Examination of ways of implementing the narrative strategy in the story The Golts Family requires clarification of the genre features of this work since the principles of narration largely depend on the genre. The volume of this text, the coverage of the events depicted in it, the presence of several plot lines, the abundance of static narrative elements, the constructive role of the narrator, the organization of the narration mainly by descriptions and arguments rather than by event series make The Golts Family a story. The differences of subjects and types of narrative divide the story into two parts. The first part (Chapters 1–3) presents an objective narrative on behalf of an “omniscient” narrator. Starting from Chapter 4, the narrative type changes to “Inarration”, which continues until the very end of the story. A special lyrical atmosphere, an intimate tone, the warmth of memories cocoon the “cuirassier” pages of the story. Fet was faced with a difficult creative task: to depict the fate of the vet Golts and his family against the background of documentary episodes of the life of the cuirassier regiment. The search for the solution entailed a special way of implementing a narrative strategy, in particular, a change in the types of narration. The “interchangeability” of the storyteller and the narrator, changes in the perspectives of the image, in the points of view, and, at the same time, in the types of narration are artistically justified in Fet’s story for they fulfill a certain super-task. The “mediation” of the narrator allows the reader to enter the depicted world and look at the events through the eyes of the characters. In The Golts Family, views “from the outside” and “from the inside”, subjective and objective narratives intertwined. This allowed the author to capture a broad picture of life, to create a multidimensional live image that combines various character traits and possesses individuality and integrity. The author shows Golts’ tragic fate as if “from the outside”, on behalf of the narrator. The appearance of the narrator—the regimental adjutant—changes the point of view in the story and gives a different perspective of the image. The reader now perceives the world of artwork through the character’s consciousness. The position of narrating endows the story with lyricism and cordiality, “revives” it “from the inside”. Thus, the author unwittingly balances the internal and external positions, binds together the whole story.

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Poltoratsky, I. S. "Stylization of Ornamental Narrative in the Prose of Denis Osokin. The Cycle of Stories “Angels and Revolution. Vyatka 1923”." Critique and Semiotics 38, no. 1 (2020): 375–86. http://dx.doi.org/10.25205/2307-1737-2020-1-375-386.

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The article analyzes the poetics of the short story cycle “Angels and Revolution. Viatka 1923” by modern Russian writer Denis Osokin. The author, developing the tradition of Russian ornamental prose of the 20 th century, creates a modern interpretation of revolutionary events. The fictional locus of Viatka 1923 becomes a space of the artistic experiment for language renewal. Using the technique of stylization of the ornamental narrative, Denis Osokin forms the image of an impersonal narrator consisting of many narrative-rhetorical figures that weaken the fabulality of the narrative. The artistic integrity of the cycle is preserved by a system of style, intertextual, and motivational equivalences that create a special form of lyrical plot characteristic for ornamental prose.

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Araújo, Naiara Sales, and José Antônio Moraes Costa. "Fear in the fantastic narrative IT: a literary and cinematographic analysis." La Palabra, no. 40 (August 4, 2021): 1–16. http://dx.doi.org/10.19053/01218530.n40.2021.12534.

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The present study aims to analyze the manifestation of fear in the fantastic narrative It, in both literature and cinema. Supernatural themes are a constant in fictional prose, providing an increase in studies on the relationship between fear and fantastic narratives. As theoretical su- pport, we build on the literary scholarship of Yi-Fu Tuan (2005), Stephen King (2013), David Roas (2014), Marcel Martin (2003) and Jacques Aumont (2013). As for methodology, a con- tent analysis model is adopted in a bibliographic, exploratory and qualitative approach. It, A novel, as a fantastic narrative, destabilizes our sources of security by questioning the validity of the systems and beliefs created by and imposed upon on humanity. The results illustrate how the fantastic genre has been characterized as presenting us phenomena and situations that signal a transgression of our reality. This rupture with the real is, therefore, a fundamen- tal effect of fantastic narratives which have also been explored in cinematic narratives.

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Tykhomyrova, Olena. "Metafiction in contemporary English-language prose: Narrative and stylistic aspects." Lege Artis 3, no. 1 (June 1, 2018): 363–416. http://dx.doi.org/10.2478/lart-2018-0010.

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Abstract This paper focuses on metafictional narrative strategies characteristic of contemporary English-language fiction. The research reveals the variety and stylistic peculiarities of these strategies, as well as specifies the definition of metafiction with regard to its liminal status and self-reflexivity. Narrative metalepsis, specific framing and plot arrangements, metafictional commentary, and other techniques have been analyzed resorting to numerous examples.

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Audet, René. "Roman éclaté ou diffraction narrative et textuelle ?" Dossier 36, no. 1 (January 12, 2011): 13–26. http://dx.doi.org/10.7202/045232ar.

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Cet article s’intéresse aux enjeux posés par un exercice de comparatisme littéraire dans le contexte de la littérature contemporaine. À partir du cas d’oeuvres narratives marquées par un éclatement textuel ou par un recours à l’esthétique du bref, une réflexion sur les aspects génériques, historiques et nationaux est proposée en introduction à une recherche en cours. La comparaison des déterminants propres aux littératures québécoise et française contemporaines, le resserrement autour d’une étude poétique des oeuvres et la traversée des discours critiques sur la prose brève et romanesque constituent les principaux moments de ces prolégomènes à l’étude d’un processus important de la littérature contemporaine : la diffraction textuelle et narrative.

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Frau, Juan. "Metros narrados: el verso en la novela española." Rhythmica. Revista Española de Métrica Comparada, no. 13 (January 1, 2015): 65. http://dx.doi.org/10.5944/rhythmica.16157.

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Este trabajo analiza el modo en el que el verso a veces se oculta o se refugia en obras extensas de prosa narrativa. En términos relativos, son pocos los versos publicados o conservados en las páginas de una novela; sin embargo, desde los primeros géneros narrativos hasta la novela moderna, hay una variada casuística a la hora de incluir fragmentos líricos en verso, que pueden tener una presencia anecdótica, o desempeñar un papel protagonista, como sucede en El Quijote, La pícara Justina, Fray Gerundio de Campazas o la novela pastoril; los ejemplos son infinitos.This paper analyzes how verse can be hidden or hosted in extensive works of narrative prose. Comparatively few verses have been published or transmitted in the pages of a novel; however, from the earliest narrative genres to modern novel, there is a manifold practice in including lyric excerpts in verse, which can be anecdotic, or claim a main role, as happens in El Quijote, La pícara Justina, Fray Gerundio de Campazas or pastoral romance; examples may be multiplied indefinitely.

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Nestorovic, Zorica. "Narrators and their stories." Prilozi za knjizevnost, jezik, istoriju i folklor 70, no. 1-4 (2004): 103–18. http://dx.doi.org/10.2298/pkjif0404103n.

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The paper deals with narrative techniques in Djura Jaksic's story One night that takes the exclusive place in narrative corpus of this great poet of Serbian romanticism as well as in Serbian prose in XIX century. The narrative technique known as skaz and the procedure of his shaping in the narrative structure are specially analyzed. The interpretation of narrative mechanisms expectation - realization, which was developed in the tradition of folk narrative, underlines the symbolic function of the elements from folklore legend in formatting the narrative structure and the narrator.

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Ali Abdul-Raheem Kareem, Khalid Muhammed Saleh,. "The Value of Narrative in Al-Bayātī 's Broken Pitchers." Psychology and Education Journal 58, no. 1 (January 29, 2021): 622–32. http://dx.doi.org/10.17762/pae.v58i1.812.

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The subject of our study is the narrative techniques in the poetry of ʻAbd al-Wahhāb al-Bayātī (1926-1999) which were taken into account through the example of his second published works Abārīq Muhashshamah “Broken Pitchers, 1954”, as narration. The aim of the article is to define the features of narration and how the same techniques appear in creative work of a poet, one of the pioneers of modernity in contemporary Arabic poetry, in addition to Badr Shākir al-Sayyāb (1926-1964), and Nāzik al-Malā'ikah (1926-2007). The study defines the following objectives: Determining the approaches developed in studying the aspects of narration in poetry, to distinguish the narrative examples in the modern poetic text under study; To show the process of creating the poetic genre in the Bayati literature through the example of free verse poems. This article seeks, through the methodological principles of narrative research, to reveal the features of the narrative model that organizes communication in al-Bayātī 's poetry, as well as the features of the composition of the narrative structure of the text in al-Bayātī 's collection Broken Pitchers. The article analyzes the poetic texts and their intertwining with prose, as it tries to uncover the narrative and performance discourses from which the poet set out in determining the techniques of narration he uses, the communicative possibilities such as dialogues and the narrator's point of view in the poems at al-Bayātī.

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Voulis, Antela. "ASPECTS OF NARRATIVE IN THE PROSE OF WRITER PETRO MARKO." International Journal of Applied Language Studies and Culture 2, no. 2 (July 30, 2019): 1–4. http://dx.doi.org/10.34301/alsc.v2i2.18.

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Petro Marko is considered by critics as one of the founders of modern Albanian prose. Scientific assessments of Petro Markos’s creativity are mainly based on long and short prose, in the form of genuine critical studies, short predictions, comments and analysis. There are papers of this nature written by scholars such as: Floresha Dado, Adriatik Kallulli, Bashkim Kuçuku, Ali Aliu, Robert Elsie and many others. The subject matter of these articles varies from simple information to moments of writer’s life, to genuine studies and analysis regarding interpretation and explanation of different elements of the structure of his literary works. In this case, we would like to highlight an article written by the author Bashkim Kuçuku, namely the novel “A name on four streets”. In this particular paper, Kucuku discusses the symbolism of the novel’s title, that even in its metaphorical form didn’t escape the punishment of dictatorship censure, closely connected with the tragic fate that followed Petro Marko. And by doing so the researcher gives us a detailed insight of the connection between his work and a broader background of Marco’s biography. In this context, together with the detailed analysis of the novel’s title, we will find the key point that paves the way for penetrating the original metaphor and symbolism of the story. According to Kuçuku, Petro Marko is a dignified, idealist, as well a stoic writer for justice and social equality. It is precisely this book, “A name in four ways”, that distinctly portrays the aforementioned author as one of the leading writers of prose in Albania and this work is one of his most distinguished among all the others. It is the aim of this study to harmonize the internal narrative analysis of the prose style with the poetic expression of all Petro Mario’s creative work.

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Voulis, Antela. "ASPECTS OF NARRATIVE IN THE PROSE OF WRITER PETRO MARKO." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1761–62. http://dx.doi.org/10.35120/kij31061761v.

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Petro Marko is considered by critics as one of the founders of modern Albanian prose. Scientific assessments of Petro Markos's creativity are mainly based on long and short prose, in the form of genuine critical studies, short predictions, comments and analyzes. There are papers of this nature written by scholars such as: Floresha Dado, Adriatik Kallulli, Bashkim Kuçuku, Ali Aliu, Robert Elsie and many others. The subject matter of these articles varies from simple information to moments of writer's life, to genuine studies and analysis regarding interpretation and explanation of different elements of the structure of his literary works. In this case, we would like to highlight an article written by the author Bashkim Kuçuku, namely the novel "A name on four streets". In this particular paper, Kucuku discusses the symbolism of the novel’s title, that even in its metaphorical form didn’t escape the punishment of dictatorship censure, closely connected with the tragic fate that followed Petro Marko. And by doing so the researcher gives us a detailed insight of the connection between his work and a broader background of Marco’s biography. In this context together with the detailed analysis of the novel’s title we will find the key point that paves the way for penetrating the original metaphor and symbolism of the story. According to Kuçuku, Petro Marko is a dignified, idealist, as well a stoic writer for justice and social equality. Is precisely this book, "A name in four ways", that definitely portrays the fore mentioned author as one of the leading writers of prose in Albania and this work one of the most distinguished among the others. It is the aim of this study to harmonize the internal narrative analysis to the prose style with poetic expression of all Petro Mario’s creative work.

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Stanivukovic, Goran V., and Constance C. Relihan. "Framing Elizabethan Fictions. Contemporary Approaches to Early Modern Narrative Prose." Sixteenth Century Journal 28, no. 3 (1997): 959. http://dx.doi.org/10.2307/2543064.

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Journal articles on the topic 'Prose narrative'

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