Academic literature on the topic 'Simultaneous Narration'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Simultaneous Narration.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Simultaneous Narration"
1
Oktavia, Dini, Rahmadsyah Rangkuti, and Nuhammad Yusuf. "ELEMENTS OF NARRATIVE AND FUNCTION OF NARRATOR IN JUN CHIU’S CROP CIRCLES." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 4, no. 2 (December 28, 2020): 368–74. http://dx.doi.org/10.30743/ll.v4i2.2774.
Full textAbstract:
The purposes of this study are to find out the elements of narrative and the function of narrator in Jun Chiu’s silent comic Crop Circles. This research applied qualitative design. The data of this study were in the form of 20 pictures taken from the silent comic. The data were collected through stages: finding out and determining, classifying and separating the pictures conveying illustration of a narrative. The analysis of the data was done qualitatively by using the theory of phase analysis by Miles, Huberman and Saldana covering condensation, display and verification. The research results show that the elements of narrative found in Jun Chiu’s comic pictures Crop Circles narrative mood (transposed speech-indirect style); narrative instance (narrative voice: heterodiegetic narrator, time of narration: simultaneous narration; narrative perspective: external focalization), narrative levels (embedded narrative, metalepsis) and narrative time (order: analepsis, narrative speed: ellipsis, frequency of events: singulative narration). The narrator carried ideological function because the narrator illustrates the pictures to introduce public policy.
2
Phelan, James. "Usandsynligheder, overkrydsninger og umuligheder. En retorisk tilgang til brud på den mimetiske karakternarrations kode." K&K - Kultur og Klasse 39, no. 112 (December 25, 2011): 33–50. http://dx.doi.org/10.7146/kok.v39i112.15743.
Full textAbstract:
IMPROBABILITIES, CROSSOVERS, AND IMPOSSIBILITIES | Extending and to some extent revising some of his earlier work, James Phelan in this essay examines three kinds of “unnatural”departures from the mimetic code. Paralepsis (or implausible knowledgeable narration), simultaneous present-tense character narration, and a kind of departure not previously noticed, which he calls cross over narration: “an author links the narration of two independent sets of events by transferring the effects of the narration of the one to the other.” In spite of being rather different ways of breaching the mimetic code, the three breaks form a useful cluster for investigating underlying conventions of reading that can explain why readers often do not notice the breakes. Phelan thus induces two Meta-Rules of Readerly Engagement: The Value Added Meta-Rule underlies the principle that disclosurefunctions trump narrator functions, and stipulates that readers overlook breaks in the mimetic code when those breaks enhance their reading experience; the Story over Discourse Meta-Rule stipulates that once a narrative foregrounds its mimetic component, readers will privilege story elements over discourseelements, and thus be inclined to overlook breaks in the code. Four additional Rules are derived from the Meta-Rules in a reading of Adventures of Huckleberry Finn, which serves as an example ofimplausibly knowledgeable narration. Rules and Meta-Rules are then deployed in reading a passage of The Great Gatsby, exemplifying crossover narration. A discussion with Henrik Skov Nielsen about the simultaneous present-tense narration in Glamorama marks both the closeness and a certain differencein perspective between rhetorical narratology and Nielsen’s concept of narration without narrators.
3
Tahami, Sepideh, and Gholam Reza Parvizi. "Simultaneous versus Consecutive Movie Narration: An Attempt at Boosting L2 Oral Communication Skills." English Linguistics Research 8, no. 2 (June 5, 2019): 31. http://dx.doi.org/10.5430/elr.v8n2p31.
Full textAbstract:
Fluency in one of the most significant components of oral communication, and in the communication era, when it is essential for almost everyone to master speaking skills in foreign languages, especially English, this component needs to be put in the spotlight. Diverse steps have been taken in the world of SLA to promote learners' fluency in L2, yet there is still much to do in this arena. The present study aims at probing the effectiveness of simultaneous movie narrations as a new fluency-booster strategy. To this end, 66 students of IELTS speaking preparation classes in an institute in Tehran, Iran were selected and put into 2 groups of 33 (each group distributed in 3 classes). The homogeneity of the sample was checked by a mock IETLS test obtained from Cambridge IELTS 10 (Cambridge Local Examinations syndicate ( 2015) and through a MANOVA. The treatments contained 24 hours of training and practice on IELTS speaking strategies, offered to them in 16 sessions of 90 minutes. The first half of each session was allocated to teaching and practice on the institute’s main course book – Focusing on IELTS - Listening and Speaking Skills (Thurlow & O'Sullivan, 2011). In the second 45 minutes, learners of both groups were exposed to the same 10-minute movie extracts, and practiced their narration and speaking skills in pair-group activities. Learners of the consecutive narration group narrated the movie plot and actions with delay (consecutively) whereas those of the simultaneous narration group narrated them simultaneously as the movie was being played. The results of the statistical analysis of the posttest highlighted that simultaneous narration group learners outperformed those of the consecutive narration group in terms of oral communication skills. The findings of this study have pedagogical implications for English teachers, teacher trainers, exam preparation teachers and simultaneous interpreters’ trainer.
4
Horstmann, Jan. "Zeitraum und Raumzeit: Dimensionen zeitlicher und räumlicher Narration im Theater." Journal of Literary Theory 13, no. 2 (September 6, 2019): 185–205. http://dx.doi.org/10.1515/jlt-2019-0007.
Full textAbstract:
Abstract The positioning in space and time of performed narration in theater poses a specific challenge to classical narratological categories of structuralist descent (developed, for example, by Gérard Genette or Wolf Schmid, for the analysis of narrative fiction). Time is the phenomenon which connects narratology and theater studies: on the one hand, it provides the basis for nearly every definition of narrativity; on the other, it grounds a number of different methodologies for the analysis of theater stagings, as well as theories of performance – with their emphasis on transience, the ephemeral, and the unrepeatable, singular or transitory nature of the technically unreproducible art of theater (e. g. by Erika Fischer-Lichte). This turn towards temporality is also present in theories of postdramatic theater (by Hans-Thies Lehman) and performance art. Narrating always takes place in time; likewise, every performance is a handling of and an encounter with time. Furthermore, performed narration gains a concrete spatial setting by virtue of its location on a stage or comparable performance area, so that the spatial structures contained in this setting exist in relation to the temporal structures of the act of theatrical telling, as well as the content of what is told. Both temporal and spatial structures of theater stagings can be systematically described and analyzed with a narratological vocabulary. With references to Seymour Chatman, Käte Hamburger and Markus Kuhn among others, the contribution discusses how narratological parameters for the analysis of temporal and spatial relations can be productively expanded in relation to theater and performance analysis. For exemplary purposes, it refers to Dimiter Gotscheff’s staging of Peter Handke’s Immer noch Sturm (which premiered in 2011 at the Thalia Theater Hamburg in cooperation with the Salzburger Festspiele), focusing on its transmedial broadening of temporal categories like order, duration, and frequency, and subsequent, prior, or simultaneous narration. The broadening itself proves feasible since all categories of temporal narration can be applied to performative narration in the theater – at times even more fruitfully than in written language, as is the case, for example, with the concept of ›duration‹. The concept of ›time of narration‹ too can be productively applied to theater. Whilst a subsequent narration is frequently considered the standard case in written-language narratives on the one hand – a conclusion that is, however, only correct if the narrator figure and narrative stand in spatiotemporal relation to one another, i. e. if a homodiegetic narrator figure is present – it is commonly held that in scenic-performed narration, on the other hand, the telling and the told take place simultaneously. The present contribution argues against this interpretation, as it stems from a misguided understanding of the ›liveness‹ of performance. ›Liveness‹ refers only to the relationship between viewers and performers and their respective presence, but not to their temporal and spatial relationship to the told. Rather, the following will argue that the time of narration in theater (as well as in film) stays unmarked in most cases. It is possible, however, to stage subsequent, prior, or simultaneous narration, too. Immer noch Sturm is one example for a performed subsequent narration. For audiovisual narration, then, a special case of iterative narration (telling once what happened n times) can be identified, which is to tell a few times (n minus x) what happened n times. As an additional category for the analysis of narrative temporality in audiovisual narrative media, I propose what I venture to call ›synchronized narration‹, in order to describe the specificity of spatiotemporal relations in performance. In synchronized narration, two or more events (that happen at different places or times in the narrative world) are shown at the same time on stage. This synchronized performance of several events is only realizable within the audiovisual dimension of spatial narration and not in written-language based narration. Furthermore, for narrative space relations the categories ›space covering‹, ›space extending‹, and ›space reducing narration‹ are suggested in order to analyze the relationships between discourse space and story space(s). Discourse space emerges in the concrete physical space of the performance when narrativity is present. Within this discourse space any amount of story spaces (with any expansion) can emerge. However, whilst in time-extending narration the time of the telling is longer than the time of the told, in space-extending narration the told space is bigger than the space of the telling. This principle is analogously valid for time-reducing or space-reducing narration. The transmission and media-specific broadening of temporal and spatial narratological parameters reveals how time and space form a continuum and should thus be linked and discussed alongside one another in analytical approaches to narrative artifacts. The staging of Immer noch Sturm actualizes a metaleptic structure, in which temporal borders are systematically dissolved and the overstepping of spatial borders becomes an indicator for the merging of different temporal levels. Referring back to established narratological parameters and developing analogous conceptual tools for narrative space facilitates a comparative analysis both of specific narratives and of narrative media and thus not only offers a productive challenge of classical narratological parameters, but allows to investigate and construct a holistic – if culture-specific – overall view of narration.
5
Stjernfelt, Frederik, and Nikolaj Zeuthen. "Simultaneous narration: a closer look. Comments on a recent narrative phenomenon." Acta Linguistica Hafniensia 42, sup1 (August 2010): 85–102. http://dx.doi.org/10.1080/03740463.2010.482317.
Full text
6
Dakovic, Nevena. "Cinematic narratives of Sonderkommando: Son of saul or narrating the victim, perpetrator, trauma and death." Temida 19, no. 3-4 (2016): 477–92. http://dx.doi.org/10.2298/tem1604477d.
Full textAbstract:
The aim of this paper is to map out - by analysing the film Son of Saul, but also by its comparison with two other films dealing with the topic, Himmelkommando and The Grey Zone, the narrative mechanism that satisfies the complex ethical and aesthetical demands imposed by the theme of Sonderkommando as the particular episode of the Holocaust. The key element of the narrative structure is the construction of the Levi?s ?dead and drowned? witness who ?resurrected? through the narrative intervention becomes the only reliable and credible narrator of the historical trauma. The prerequisite for his emergence is the narration and representation of the death which makes but also solves the traumatised - understood as multiple, fragmented, opposed - identities of the members of the special squad. Their entangled identity involves the simultaneous presence of a victim, perpetrator, witness and the authentic narrator of the trauma of the death camp. The death of the perpetrator is the condition sina qua non for the emergence of the figure of the victim-witness narrator but also for making of narrative which overcomes the initial trauma of the Holocaust. The detailed analysis of the film Son of Saul confirms and identifies these narratives as the modernist narration of the post-traumatic film.
7
Bošković, Dragan. "AVANGARDNI MANIFESTI I UBRZANjE KNjIŽEVNOSTI." Nasledje, Kragujevac XVIII, no. 50 (2021): 423–35. http://dx.doi.org/10.46793/naskg2150.423b.
Full textAbstract:
The paper explores the phenomenon of speed in literature as radically represented within the framework of avant-garde texts. The modernist acceleration of literature is immanent in the poetics of manifestos: their programmatic insistence on acceleration, their (meta)dis- cursive character, simultaneous production of narrative and poetic syntax, and questioning the possibility of writing. Such fourfold functioning of avant-garde discourse (producing the discourse and commenting on it, programmatic narration and pure narration), comparative to a four-stroke engine operation cycle, singularly dynamizes, accelerates both the manifesto discourse and the fictitious-poetic narration, therefore vigorously “revving the engine” of lit- erature. This is what the paper wants, to speak up about the speed of literature, about the avant-garde and modernist acceleration.
8
Slowik, Mary. "Simultaneous Narration and Ethical Positioning in Three Short Animated Films." Narrative 21, no. 1 (2013): 46–64. http://dx.doi.org/10.1353/nar.2013.0002.
Full text
9
Umutlu, Duygu, and Yavuz Akpınar. "Effects of different video modalities in flipped english writing classes on students’ writing scores." New Trends and Issues Proceedings on Humanities and Social Sciences 3, no. 7 (July 23, 2017): 60–66. http://dx.doi.org/10.18844/prosoc.v3i7.1986.
Full textAbstract:
This study investigated different modalities of videos in a flipped classroom for English writing classes at a state university preparatory school. The study, a quasi-experimental design in nature, was conducted with six experimental groups and one control group (n=127). The participants’ writing performance formed the study data which was collected with a writing pretest and two posttests, conceptual and essay writing posttests. The data analysis showed that the group studying “Animation with simultaneous Text and sequenced Narration in a user-paced environment†outperformed the control group having lectures in class in the conceptual posttest. The groups studying “Animation with simultaneous Narration and sequenced Text, in a whole presentation, where students studied all the parts of a video in a system-paced design, and then they answered the related questions,†and “Animation with simultaneous Narration and sequenced Text in a part-by-part presentation, in which students studied each part of a video, and then they answered the related questions†outperformed the control group in the essay writing posttest. The paper provided a discussion and a set of recommendations on studying flipped classroom. Keywords: Flipped classroom; inverted classroom; writing; language learning.
10
Kaul, Shonaleeka. "Book Review: Extreme Poetry: The South Asian Movement of Simultaneous Narration." Indian Economic & Social History Review 49, no. 3 (August 28, 2012): 441–43. http://dx.doi.org/10.1177/0019464612455282.
Full textDissertations / Theses on the topic "Simultaneous Narration"
1
Smart, Matthew Peter. "Thought, action; impact: Modes of presentation to enable an immersive reader-response." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127474/2/Matthew_Smart_Thesis.pdf.
Full textAbstract:
This study consists of an exegesis examining modes of narration in literary fiction; and a creative work: an extract of a proposed novel Boots of Spanish Leather. Set in sixteenth-century Spain, this is the story of a shrewd and ambitious young foot soldier striving to escape the peasant class, who, risking everything he holds dear, joins the ill-fated Spanish Armada. The Absentee Narratee mode of presentation developed for use in Boots of Spanish Leather explores the theoretical foundations for the use of second person thought utterances in First Person-Present Tense narrative situations.
2
Leback, Annika, and Lisa Nilsson. "Simultant flerspråkiga barns narrativa förmågor : Referensdata för svensk-engelsktalande barn." Thesis, Uppsala universitet, Logopedi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-192614.
Full textAbstract:
Det saknas logopediskt bedömningsmaterial normerat för flerspråkiga barn, och kunskapen om dessa barns typiska tal- och språkutveckling är begränsad hos logopeder i Sverige. Detta leder till över- och underdiagnostisering av språkstörning. Denna studie syftar till att undersöka svensk-engelsktalande barns narrativer (berättelser). Dessa analyseras kvantitativt och kvalitativt, både makrostrukturellt (story grammar) och mikrostrukturellt (lingvistiska mått). Även narrativ förståelse undersöks och jämförs med produktion. Studiens deltagare är 16 simultant flerspråkiga svensk-engelsktalande barn i åldern 6-7 år, som går i förskoleklass eller i första klass. Narrativerna eliciteras med hjälp av två bildsekvenser ur ett bedömningsmaterial framtaget av en forskningsgrupp inom COST Action IS0804. Bedömningsmaterialet innehåller även förståelsefrågor till bildsekvenserna, och bakgrundsfrågor för vårdnadshavare att fylla i. Resultaten visar inga skillnader i makrostruktur mellan svenska och engelska, vilket tyder på att narrativ förmåga inte nödvändigtvis är språkbunden. Jämförelser mellan förståelse och produktion av utvalda story grammar-komponenter visar dock en tydlig skillnad. Förståelsen för en karaktärs mål (story grammar-komponenten goal), vad karaktären vill uppnå, är etablerad hos de flesta deltagarna trots att produktionen av goal är begränsad. Till skillnad från makrostrukturen, skiljer sig mikrostrukturen åt i narrativerna. De engelska narrativerna är både längre och mer komplexa än de svenska. Skillnaderna mellan barn i förskoleklass och i första klass är dessutom stor, både makro- och mikrostrukturellt. Detta tyder på att mycket händer i barns språkliga och narrativa utveckling i tidig skolålder. Tvärspråkligt inflytande förefaller vara en naturlig del av den typiska språkutvecklingen hos simultant flerspråkiga barn.There are no standardised tests for assessing bilingual children’s speech and language development, and the knowledge about these children’s typical language development is limited amongst speech and language therapists in Sweden. Studies have shown that this can lead to misdiagnosis of language impairment in these children. The aim of this study is to investigate the narratives of Swedish-English speaking children. Analysis is made, both quantitatively and qualitatively, regarding the macrostructure (story grammar) and the microstructure (linguistic measurements) of the narratives. Narrative comprehension is also examined, and compared with the produced narratives. The participants are 16 simultaneously bilingual Swedish-English speaking children, aged 6-7 years and either attending preschool class or first grade in the Swedish education system. The narratives are elicited using two different sets of pictures from an assessment material designed by a research group within COST Action IS0804. The assessment material also contains comprehension questions and a form for carers to fill in, regarding the children’s linguistic backgrounds. The results in this study show no macrostructural differences between the Swedish and the English narratives, which indicates that narrative ability is not necessarily language dependent. There is a clear difference between the comprehension and production of selected story grammar components. Despite the limited production of characters’ goals in the narratives, the participants appear to have established the comprehension of this story grammar component. The microstructural analysis of the narratives shows that the English narratives are both longer and more complex than the Swedish ones. There are differences between participants attending Swedish preschool class and participants attending Swedish first grade, with regards to both macrostructure and microstructure. The differences indicate that language and narrative ability is increasing between the ages of 6 and 7. Crosslinguistic influence appears to be a natural part of typical language development in simultaneously bilingual children.
3
Louhela, V. (Virpi). "Kuulluksi tulemisen pedagogiikka kaikille yhteisessä koululiikunnassa." Doctoral thesis, Oulun yliopisto, 2012. http://urn.fi/urn:isbn:9789514299964.
Full textAbstract:
Abstract The current study discusses the pedagogical development work of two teachers from the viewpoint of listening and being heard. The study was implemented using the methods of narrative action research, and the data consist mainly of the teachers’ professional biographies, video materials, and shared pedagogical diary. The data was gathered in the course of a single school year as part of the inclusive physical education. In this context, inclusion refers to the merger of the groups of children in special and mainstream education. The studied group of pupils was taught simultaneously by a primary teacher and a special teacher. The study is theoretically based on the ethic of pedagogical love. In the data, moments of being heard were encouraged by a commitment to ethical core values as teachers’ practical morality, respect for students’ freedom of choice, sufficient availability of time, the possibility to anticipate teaching, assessment of the interfacing of privacy and closeness, as well as giving individual attention. Based on the individual moments of being heard emerging from the data, a conscious manner of teaching and supervision was developed and subsequently named the pedagogy of being heard. This study describes the development of the pedagogy of being heard in the context of physical education. First the study discusses the elements of interaction that allowed for moments of being heard, second the supporting of students in physical education by means of the pedagogy of being heard, and third the fulfillment of being heard in the relationship between the teachers contributing to the research process. At the core of the pedagogy of being heard are relations of caring and interaction between all the group members both in teacher-student relationships and in peer relationships between students, as well as in relationships between the adults in the group. Central to the pedagogy of being heard is every individual’s right to be respected and accepted as him- or herself. The quality of interaction and relationships is seen as a core factor in supporting students in physical education. Teachers employing the pedagogy of being heard need constantly to redirect their pedagogical implementation by way of active listeningTiivistelmä Tässä tutkimuksessa tarkastellaan kahden opettajan pedagogista kehittämistyötä kuuntelemisen ja kuulluksi tulemisen näkökulmasta. Tutkimus on toteutettu narratiivisena toimintatutkimuksena, ja aineisto koostuu pääasiassa opettajien ammatillisista elämäkerroista, videomateriaalista ja yhteisesti tuotetusta pedagogisesta päiväkirjasta. Aineisto on tuotettu yhden lukuvuoden aikana osana inklusiivisen opetusryhmän liikunnanopetusta. Tässä yhteydessä inklusiivisuudella tarkoitetaan erityisopetuksen ja yleisopetuksen opetusryhmien yhteensulauttamista. Opetusryhmää opetettiin luokanopettajan ja erityisluokanopettajan samanaikaisopettajuutena. Tutkimus nojaa teoreettisesti pedagogisen rakkauden etiikkaan. Eettiseen arvopohjaan sitoutuminen opettajien käytännön moraalina, oppilaiden valinnanvapauden kunnioittaminen, kiireettömyys, mahdollisuus ennakoida opetusta, yksityisyyden ja läheisyyden rajapintojen arvioiminen sekä yksilöllisen huomion antaminen synnyttivät aineistoon kuulluksi tulemisen hetkiä. Aineistosta nostetuista yksittäisistä kuulluksi tulemisen hetkistä kehitettiin tietoinen opettamisen ja ohjaamisen tapa, joka on nimetty kuulluksi tulemisen pedagogiikaksi. Tässä tutkimuksessa kuvataan kuulluksi tulemisen pedagogiikan kehittämistä koululiikunnan kontekstissa. Tutkimuksessa tarkastellaan 1. niitä vuorovaikutuksen elementtejä, jotka mahdollistivat kuulluksi tulemisen hetken syntymisen, 2. oppilaan tukemista koululiikunnassa kuulluksi tulemisen pedagogiikan keinoin, ja 3. kuuntelemista tutkimuksessa mukana olleiden opettajien välisessä suhteessa. Kuulluksi tulemisen pedagogiikan ytimessä ovat välittävät ja vastavuoroiset vuorovaikutussuhteet kaikkien ryhmän jäsenten välillä niin opettaja–oppilassuhteissa kuin oppilaiden välisissä vertaissuhteissa ja ryhmän aikuisten välisissä suhteissa. Kuulluksi tulemisen pedagogiikassa keskeistä on jokaisen yksilön oikeus olla arvostettu ja hyväksytty omana itsenään. Vuorovaikutussuhteiden laatu nähdään keskeisenä tekijänä oppilaan tukemisessa koululiikunnassa. Kuulluksi tulemisen pedagogiikkaa toteuttavien opettajien tulee jatkuvasti suunnata pedagogista toteutustaan aktiivisen kuuntelemisen avulla
Books on the topic "Simultaneous Narration"
1
Extreme poetry: The South Asian movement of simultaneous narration. New York: Columbia University Press, 2010.
Find full text
2
Wickerson, Erica. Performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793274.003.0003.
Full textAbstract:
Considering moments of theatrical and social performance in narrative is not an obvious way of shedding light on the experience of time. But this chapter suggests that it is a particularly useful theme for consideration because it involves tensions between self and other, between artifice and authenticity. Since we are all always in some sense performing and since performance always involves two distinct yet simultaneous experiences—that of the performer and that of their audience—it poses an interesting challenge for the narration of time. Mann’s The Confessions of Felix Krull, Doctor Faustus, Blood of the Walsungs, and Oscar Wilde’s The Picture of Dorian Gray are compared in an exploration of the narration of simultaneity, ways in which the changing prioritization of multiple perspectives affects the overall flow of time in a given scene, and the effect on time of moments of sexual performance and performative sexuality.
3
Joho, Tobias. Thucydides, Epic, and Tragedy. Edited by Sara Forsdyke, Edith Foster, and Ryan Balot. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199340385.013.40.
Full textAbstract:
Despite initially acknowledging the deep gulf between his concern with the truth and the fanciful compositions of the poets, Thucydides is strongly influenced by the examples of Homer and Attic tragedy. Three areas of influence can be distinguished. First, Homer and the tragedians provide fundamental structural principles: Thucydides adopts Homer’s solution to narrating simultaneous strands of events, follows Homer’s example in heightening suspense, and learns from both Homer and tragedy to generate unity through narrative patterning. By adopting Homeric and tragic features, Thucydides infuses his narrative with a specific tone: tragic irony and reversals create an atmosphere of eerie inevitability, Homeric “Almost episodes” underscore the fragility of human endeavors, the Homeric emphasis on factual precision heightens Thucydides’ tone of objective pathos. Third, Thucydides’ allusions to specific Homeric and tragic episodes, besides demonstrating Thucydides’ engagement with Homer and tragedy, reveal his persisting distance from his poetic models.
4
Shepherd, Laura J. Narrating the Women, Peace and Security Agenda. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197557242.001.0001.
Full textAbstract:
This history of UN Security Council Resolution (UNSCR) 1325, and its articulation of the Women, Peace and Security (WPS) agenda that grew from its adoption, are as familiar to anyone working on the agenda as the alphabet, the rules of grammar and syntax, or the spelling of their own name. This book encounters WPS as a policy agenda that emerges in and through the stories that are told about it, focusing on the world of WPS work at the United Nations Headquarters in New York (noting, of course, that many other equally rich and important stories could be told about the agenda in other contexts). Part of how the WPS agenda is formed as (and simultaneously forming) a knowable reality is through the narration of its beginnings, its ongoing unfolding, and its plural futures. These stories account for the inception of the agenda, outline its priorities, and delimit its possibilities, through the arrangement of discourse into narrative formations that communicate and constitute the agenda’s triumphs and disasters. This is a book about the stories of the WPS agenda and the worlds they contain.
5
Schlarb, Damien B. Melville's Wisdom. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197585566.001.0001.
Full textAbstract:
This book explores the manner in which Herman Melville responds to the spiritual crisis of modernity by using the language of the biblical Old Testament wisdom books to moderate contemporary discourses on religion, skepticism, and literature. Melville’s work is an example of how romantic literature fills the interpretive lacuna left by contemporary theology. This book argues that attending to Melville’s engagement with the wisdom books (Job, Proverbs, and Ecclesiastes) can help us understand a paradox at the heart of American modernity: the simultaneous displacement and affirmation of biblical language and religious culture. In wisdom, which addresses questions of theology, radical skepticism, and the nature of evil, Melville finds an ethos of critical inquiry that allows him to embrace the acumen of modern analytical techniques such as higher biblical criticism, while salvaging simultaneously the spiritual authority of biblical language. Wisdom for Melville constitutes both object and analytical framework in this balancing act. Melville’s Wisdom joins other works of postsecular literary studies in challenging its own discipline’s constitutive secularization narrative by rethinking modern, putatively secular cultural formations in terms of their reciprocity with religious concepts and texts. The book foregrounds Melville’s sustained, career-spanning concern with biblical wisdom, its formal properties, and its knowledge-creating potential. By excavating this project from Melville’s oeuvre, Melville’s Wisdom shows how he seeks to avoid the spiritually corrosive effects of suspicious reading while celebrating truth-seeking over subversive iniquity.
6
Shome, Raka. White Femininity in the Nation, the Nation in White Femininity. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038730.003.0001.
Full textAbstract:
This book examines how the narrative of white femininity transformed Princess Diana into a simultaneous signifier of a national and global popular. Situating the discussion of white femininity and national modernity in the New Labor cultural scape of 1997 that promoted the rhetoric of a New Britain, the book analyzes the different facets of white femininity that the Diana phenomenon mobilized and stabilized in the production of a (new) national narrative of Britishness in the 1990s and beyond. It also considers a constellation of images of privileged white women in order to illustrate a larger formation of white femininity through which many neoliberal logics of national identity and citizenly belonging were being rewritten in the late twentieth and early twenty-first centuries; how national identity intersects with celebrity culture, cultural politics, and global struggles over (what constitutes) modern subjectivity; and how representations, articulations, and actions of privileged white women of the Global North impact, inform, and intersect with larger geopolitics.
7
Scully, Stephen. Hesiodic Poetics. Edited by Alexander C. Loney and Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.10.
Full textAbstract:
In terms of poetics, the contest between Hesiod and Homer seems simultaneously natural and surprising: natural because both of them composed in the artificial “song dialect” and highly formulaic medium of epea, and surprising because Homer’s long, heroic poetry differed so greatly in voice, theme, length, structure, and style from Hesiod’s much shorter, catalogic narrative poetry or from his didactic poetry. This chapter examines Hesiod’s poetry alongside Homer’s in terms of voice and theme, length and form, and style and genealogical lists. With examples from both singers, I propose that it may be a stylistic feature of catalogic poetry to interweave the personified names in a list with the corresponding lowercase words (nouns, verbs, adjectives) in the surrounding narrative. I also propose that, to a greater extent than Homer, Hesiod, with his fondness for word play and etymological punning, draws attention upon individual words.
8
Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Catastrophic narratives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0037.
Full textAbstract:
The chapter considers how, beginning with the Revolution and continuing across the centry, new narrative forms in prose and poetry fashion a discourse of national destiny. As narratives conceptualize historical change and convey the meanings of catastrophe, they develop new plotlines, metaphoric systems and mythological visions. The chapter argues that Russian literature on the Great Terror, collectivization, and Gulag achieves a focus on historical and personal trauma comparable to Holocaust literature. Soviet narratives of World War II also form an important trend from the 1940s through twenty-first century, serving simultaneously as the source of social criticism and the sustained attempt to redefine national identity.
9
Straus, Joseph. Broken Beauty. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190871208.001.0001.
Full textAbstract:
Modernist music is centrally concerned with the representation and narration of disability. The most characteristic features of musical modernism—fractured forms, immobilized harmonies, conflicting textural layers, radical simplification of means in some cases, and radical complexity and hermeticism in others—can be understood as musical representations of disability conditions, including deformity/disfigurement, mobility impairment, madness, idiocy, and autism. Modernist musical representation and narration of disability both reflect and shape (construct) disability in a eugenic age, a period when disability was viewed simultaneously with pity (and a corresponding urge toward cure or rehabilitation) and fear (and a corresponding urge to incarcerate or eliminate). Disability is right at the core of musical modernism; it is one of the things that musical modernism is fundamentally about. This book draws on two decades of work in disability studies and a growing body of recent work that brings the discussion of disability into musicology and music theory. This interdisciplinary enterprise offers a sociopolitical analysis of disability, focusing on social and cultural constructions of the meaning of disability, and shifting attention from biology and medicine to culture. Within modernist music, disability representations often embody pernicious stereotypes and encourage sentimentalizing, exoticizing, or more directly negative responses. Modernist music claims disability as a valuable resource, but does so in a tense, dialectical relationship with medicalized, eugenic-era attitudes toward disability.
10
Hodgkin, Kate. Autobiographical Writings. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.12.
Full textAbstract:
Emerging out of the traditions of exemplary lives and self-analysis at the beginning of the seventeenth century, the genre of spiritual autobiography writing is fluid and unstable both textually and generically. The individualism that has often been taken to define the autobiographical project is problematized in these accounts, which tend to foreground self-transcendence over self-assertion, collective over individual identities, and exemplarity over uniqueness. The spiritual framework provides a language of self-narrative and self-analysis, structured around affliction and redemption, and privileging inward over outward experiences. As a mode which insists on the truth of experience, it allows marginal selves (including women and lower-class men) a public voice, above all in the gathered churches of the revolutionary decades and after, while also containing those voices within tight conventions. The simultaneous restrictions and liberations of these various frames offer important perspectives on debates about the early modern self.
Book chapters on the topic "Simultaneous Narration"
1
Huber, Irmtraud. "Simultaneous Narration." In Present Tense Narration in Contemporary Fiction, 69–86. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56213-5_6.
Full text
2
Krogh Hansen, Per. "First Person, Present Tense. Authorial Presence and Unreliable Narration in Simultaneous Narration." In Narratologia, 317–38. Berlin, New York: Walter de Gruyter, 2008. http://dx.doi.org/10.1515/9783110209389.317.
Full text
3
Chistova, Elena V. "Non-verbal Semiotics in Dance Narrative and Simultaneous Interpreting: Cognitive Intersections." In Language, Music and Gesture: Informational Crossroads, 125–38. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-3742-1_10.
Full text
4
Seiler, Hansjakob. "Simultaneous Encoding of Morpho-Syntactic and Textual Features in Oral Narrative Prose." In The Syntax of Sentence and Text, 333. Amsterdam: John Benjamins Publishing Company, 1994. http://dx.doi.org/10.1075/llsee.42.30sei.
Full text
5
Kunnari, Sari, and Taina Välimaa. "Narrative comprehension in simultaneously bilingual Finnish-Swedish and monolingual Finnish children." In Studies in Bilingualism, 150–70. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/sibil.61.05kun.
Full text
6
Sinichkina, Daria. "Entre mythe et histoire, syncrétisme et fracture, universalité et russité: le recueil Mednyj Kit (Baleine de bronze) au coeur de l’esthétique révolutionnaire de Nikolaj Kljuev." In Biblioteca di Studi Slavistici, 235–57. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-507-4.18.
Full textAbstract:
Soon after greeting the February revolution, Klyuev turns to an aesthetic of violence and disruption. In the poetic cycle Medny Kit (1918), the utopia of “peasant paradise” stems from the apocalyptic destruction of old Russia. While the poet contemplates the cyclicity of Russian history, the lyrical subject comes transfigured out of the “red” baptism, identifying himself simultaneously to Rasputin and Avvakum. As the cycle captures the brutal melody of the times, the lyric genre is pushed to its limit – polyphony, which announces the transition to narrative and epic poetry.
7
Gulrajani, Nilima, and Rachael Calleja. "Interest-Based Development Cooperation: Moving Providers from Parochial Convergence to Principled Collaboration." In The Palgrave Handbook of Development Cooperation for Achieving the 2030 Agenda, 271–88. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57938-8_12.
Full textAbstract:
AbstractThe motives for providing development assistance change according to historical and political trajectories but always combine varying degrees of altruism and selfishness. Currently, we are witnessing disruptive change in development cooperation as political leaders forward an increasingly self-regarding rationale for international assistance. In an empirical analysis of Northern donors’ narratives and aid allocation strategies, we define the meaning of the “national interest” in development cooperation and distinguish its principled and parochial formats. Our empirical analysis suggests Northern donors continue to allocate based on principled norms, though there is a noticeable deterioration in their public spiritedness as they simultaneously seek short-term domestic benefits from overseas giving. Calls for a principled national interest narrative may, however, enable normative collaboration across Northern and Southern actors.
8
Etherington, Ben. "Claude McKay’s Primitivist Narration." In Literary Primitivism. Stanford University Press, 2017. http://dx.doi.org/10.11126/stanford/9781503602366.003.0007.
Full textAbstract:
This chapter considers Claude McKay’s novels Home to Harlem and Banjo as attempts to undertake literary primitivism’s project of immediacy by means of a musical aesthetics. Exploring his relationship both to the negritude poets and to Lawrence, especially the latter’s Aaron’s Rod, it argues that of all the writers discussed in this book, McKay’s work most strenuously attempts to enter the immediate mode. In McKay’s novels the hope for a reconciliation of reflexivity and immediacy, the primitive and the civilized is enacted simultaneously at the level of prose style and narrative structure. This allows us to identify a number of fissures and contradictions that beset the aesthetics of primitivism, especially the pitfalls of a utopian racialism.
9
Fulkerson, Laurel. "Close Encounters." In Metalepsis, 147–66. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846987.003.0007.
Full textAbstract:
This chapter explores the metaleptic incursions of deities into various spheres of narrative and acts of narration, focusing on two cases in Latin love elegy. It first sketches some of the key dynamics of divine epiphany in Greco-Roman poetry from Homer on, differentiating epiphanies in which the divinity inspires the poet from those in which characters receive prophetic information. In Latin love elegy, these categories can overlap, since the elegist is both the hero of his own story and simultaneously the omniscient extradiegetic narrator. So in [Tibullus] 3.4, Apollo appears to the poet Lygdamus, but, instead of acting as the god of poetic inspiration, simply informs Lygdamus of the infidelity of his puella Neaera, tells the story of his own love affair with Admetus, and offers advice about love. This epiphany is compared with its primary intertext, the visit of Amor to the exiled poet in Ovid, Ex Ponto 3.3. The chapter argues that elegy, as a genre in which author and narrator usually share a name but fulfil multiple narrative functions, is especially liable to a strong form of metalepsis; and that these two poems in particular use metaleptic divine epiphany to elide the differences between gods and poets, revisit the Augustan-era obsession with who has the authority to say what to whom, and thereby show how the forces of elegy destabilize hierarchies beyond those of gender and class. The chapter suggests in conclusion that both poems may owe something to the lost work of their predecessor Gallus.
10
Hingston, Kylee-Anne. "Social Bodies: Dickens and the Disabled Narrator in Bleak House." In Articulating Bodies, 49–76. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620757.003.0003.
Full textAbstract:
Dickens makes disability central to his social condition novel Bleak House (1851–53) by revealing exactly midway through its serial publication that Esther Summerson, one of its two narrators, has disfiguring facial scars. This chapter argues that splitting narration between Esther and a disembodied third-person voice throws into relief the dissimilarities between external and internal focalization and their articulation of disability. Notably, while Bleak House’s externally focalized third-person narration usually marginalizes disability and illness by making them symbolize social corruption through humour and sentimentality, when focalizing through disabled narrators and characters, the novel repositions disability and disease as ordinary aspects of the body’s normal instability and uses humour to criticize sentimental metaphorization of disability. Both attitudes towards disability simultaneously exist in the novel through its hybrid form that lacks full narrative closure.
Conference papers on the topic "Simultaneous Narration"
1
Manteufel, Randall D. "Experiences From Screencasting Engineering Mechanics Lectures." In ASME 2006 International Mechanical Engineering Congress and Exposition. ASMEDC, 2006. http://dx.doi.org/10.1115/imece2006-13213.
Full textAbstract:
Screencasting is the simultaneous recording of a computer screen, audio narration, and possibly a video image included in a small portion of the screen. Instructors are beginning to screencast their lectures as an additional learning resource for students. Once produced, the files can be uploaded to an internet accessible site and reviewed by students. The author uses the Camtasia software running on a TabletPC, using Microsoft Journal. The software runs in the background on the Tablet during the lecture. After the lecture, the software can be used to edit the files and produce the lecture in a variety of internet-ready formats. The files can be uploaded into a course management system and linked for student access. This paper discusses the mechanics of screencasting, feedback from students, and an assessment of the effect on student performance.
2
Eismont, Polina M. "A CARTOON OR A SERIES OF PICTURES? THE PROBLEM OF CHOOSING AN EXPERIMENTAL TECHNIQUE." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.19.
Full textAbstract:
Various experimental techniques are used in child language studies to research the development of coherent and cohesive narrative. The most common of them are the elicitation narrative tasks based on a series of pictures or on a video, for example, a cartoon. However, the comparison of the studies carried out using different methods shows the results that can both coincide and significantly diverge. Among the factors that influence the basic narrative characteristics of elicited child stories are age, the type of visual stimulus, its length, and the way the narrative is produced (online vs. subsequent mode). The following basic characteristics are considered to study the structure of narratives: opening and closing markers, details and separateness of the narration, the variety of characters and the presence (absence) of evaluation. The question whether the type of visual stimulus has a significant effect on the basic characteristics of children’s narratives and whether it is possible to construct a general description of the development of narrative skills regardless of the experimental task chosen by the researchers is discussed with a comparative analysis of oral narratives collected within two series of experiments with Russian native monolingual children of the senior preschool and primary school age. The analysis showed that although it is possible to reveal some tendencies inherent in the narratives collected with different experimental methods, the type of visual stimulus does not have any statistically significant effect on the basic characteristics of the narratives of primary schoolchildren. Only the differences in evaluation and closing markers in the narratives of older preschoolers, elicited either simultaneously with watching the cartoon or during its subsequent retelling, are statistically significant. Refs 37.
3
Notariano Belizário, Pedro, and João Carlos Massarolo. "Long-form narrative design of streaming." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.68.
Full textAbstract:
This article’s proposal is to relate script studies and new spectator consumption habits studies. In essence, we will explain the binge-wathching phenomenon by analysing the narritive design of complex series, identifying the specific qualities that promote the spectator's binge-wathching in the macro-structuring of this format. In a general sense, we will make our analysis by comparing the narrative structures of series and films, pointing out the differences between the narrative designs of these two formats that make it impossible for a series to be compared to an extended film. Basically, we try to disprove the idea that “as habits related to the way of watching TV series evolve, they will tend to be increasingly conceived and written as a extended film” (KALLAS , 2016, p. 16). From this statement made by Kallas, intertwining concepts of consumption habits with those of scriptwriting, some questions arise: If a series is like an extended film, why do we complain about the length of exended films, like Martin Scorsese's The Irishman with its dull 3.5 hours in length, while managing to watch whole series containing at least twice as many hours? If a series is like an extended film, why is it split into episodes even though these can be watched in sequence - binge-watching? If a series is like an extended film, why does it need the collaborative elaboration of a writers room instead of being conceived by a single author? The structural comparison between films and series is not impossible, but we will show how problematic it is, or at least how harmful for the analysis of complex series as an autonomous format, with its own notions of elaboration and structuring. In that sense, unlike films, series are built from a structure of repetition of acts within its structure – the episodes generally have 3 to 5 acts each. This results in a greater narrative density of the series, since acts compressed in time lead to a faster pace of narration, with more recurrently plot points in the story, capable of intensifying engagement and increasing the attention of the spectator who practices the binge-watching. This huge amount of acts, narrative arcs and characters go beyond the creative capacity of a single author, requiring a collaborative elaboration of a screenwriter’s room, with several heads thinking the story simultaneously. Thus, this article seeks, through the comparison of the macrostructures of series and films, to point out the differences in the narrative design of these two formats. In other words, we aim to elucidate a simple concept: different formats assume the existence of different narrative designs.
4
Moon, Sung Hyun, Seok-Kyoo Kim, and Sang-Yong Han. "Creating Simultaneous Story Arcs Using Constraint Based Narrative Structure." In 2010 IEEE 3rd International Conference on Digital Game and Intelligent Toy Enhanced Learning (DIGITEL 2010). IEEE, 2010. http://dx.doi.org/10.1109/digitel.2010.44.
Full text
5
Ngo, Melissa, Philippe Rauffet, and Siobhan Banks. "Exploring Multitasking Performance and Fatigue with the MAT-B II: A Narrative Review." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001564.
Full textAbstract:
Multitasking and switching between tasks is a universal function in many occupations as juggling tasks simultaneously can increase task productivity especially with, factors such as workload that can lead to decrements and impair human performance. Fatigue can refer to the effects or after-effects of exerting mental and or physical effort on a task. Fatigue inducing factors such as high workload and time-on-task can impact task management, optimization and prioritization which can lead to performance decrements. Despite the universality of multitasking, from aviation to driving a car whilst talking simultaneously, it is unclear as to what underlying cognitive processes are affected by induced fatigue. This brief narrative review explores the dynamics of cognitive processes with induced fatigue on individual operator and task contexts. With an interest in cognitive-behavioral models and the Multi-Attribute Task Battery II (MAT-B II), this review aims to provide a conceptual background of the MAT-B II and its diverse use in modelling multitasking environments. By describing and investigating fatigue with multidisciplinary expertise, the development and implementation of countermeasures can enhance performance to mitigate the deleterious effects of workload and time-on-task.
6
Haupt, Patrycja. "Integrated urban landscape: nature as an element of transition space composition." In Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2016. http://dx.doi.org/10.5821/ctv.8046.
Full textAbstract:
The paper explains the genesis, methods and consequences of introducing elements of nature into contemporary cityscape. It shows their significance in creating a new image of the city. The discussion is conducted on the basis of joined urban theories such as: softening the city edge, fluency of space, narrative paths, multilayer structure of urban space. Contemporary forms of relationships between the building and its surroundings are presented in order to prove the tendencies in shaping the connection zone between the building and the city simultaneously, influenced by both of those reactants. This zone, observed as transition space between the building and its surroundings, is constantly changing and growing, generating a variety of urban spaces adjoining, interlacing, penetrating the building structure. It also creates an area of introducing nature as compositional and functional element. The paper discusses the examples of the new types of relationships between architecture and nature emerging in contemporary urban space.
7
Tseng, Tiffany, Maria Yang, and Stephen Ruthmann. "Documentation in Progress: Challenges With Representing Design Process Online." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-34686.
Full textAbstract:
Web-based documentation platforms afford lightweight and visually rich mechanisms for designers to share documentation online, yet present challenges regarding representation, particularly for collaborative teams. This paper highlights some of these issues through a descriptive case study based on the use of a new web-based social media tool for documenting the development of design projects called Build in Progress. Undergraduate students worked in teams to design musical construction kits and documented their process using Build in Progress over the course of three weeks. We examined students’ project pages to determine trends with how students visually represented their design process, and we gathered students’ experiences using the platform through surveys and interviews with select project teams. We found that groups developed their own representations of their design process via tree structures afforded by Build in Progress that present the simultaneous development of distinct elements of their projects and highlight the contributions of each student on the team. The interviews revealed differences between how internal and external documentation are presented and contrasting approaches to creating narrative and instructional documentation based on the intended audience. In particular, we found that students interpreted the tool as one used to help others recreate their design, which led to the omission of several parts of their design process, including experimentation and mistakes. These results suggest the need to further develop tools to support reflection on process rather than product.
8
Files, Christina, and Tim Johnson. "Overcoming Common Engineering-Program Problems With a Software Solution." In ASME/NRC 2014 12th Valves, Pumps, and Inservice Testing Symposium. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/nrc2014-5003.
Full textAbstract:
The nuclear utility Inservice Testing (IST) Program Engineer is faced with a number of challenges on a daily basis. The burden of additional responsibility has been increasing dramatically in recent years because of personnel departure without staff replacement. This condition has increased the reliance on software to assist the program engineer in performing their assigned duties. IST Program administration and implementation software can be the IST Program Engineer’s “best friend” when properly used. Newer Web-based software such as the Engineering Programs EP-Plus ENGAGE™ IST Software is designed to meet and exceed the requirements of ASME (formerly the American Society of Mechanical Engineers) Operations and Maintenance of Nuclear Power Plants (OM Code) and regulatory expectations while simultaneously improving the IST Program Engineer’s “quality of life.” Web-based, fully supported, readily accessible IST software is one of the IST Program Engineer’s most important tools. The EP-Plus ENGAGE Software Suite is aligned with corporate strategies and objectives by using the latest technology to improve the way that engineering programs are managed. The standardized common platform can be cost-effectively expanded to include any engineering program at the unit, station, or fleet level. The EP-Plus ENGAGE Suite covers the full range of engineering programs and provides the opportunity to realize benefits in an expedited manner while also allowing improvement in efficiency and cost reduction. A series of figures and associated narrative text is used to provide the IST Program Engineer with information pertaining to the features and functionality of today’s IST software and associated engineering-program software solutions. Paper published with permission.
9
Garvanlieva Andonova, Vesna. "PUBLIC, PRIVATE AND FOREIGN INVESTMENT NEXUS IN THE REPUBLIC OF NORTH MACEDONIA: CROWDING-IN OR OUT EFFECT?" In Economic and Business Trends Shaping the Future. Ss Cyril and Methodius University, Faculty of Economics-Skopje, 2021. http://dx.doi.org/10.47063/ebtsf.2021.0019.
Full textAbstract:
In the last two decades the economic growth of North Macedonia can be qualified as sluggish and volatile. In this period, the government has been proclaiming a narrative of fiscal and economic policies focused on public investment driven development and growth, yet the capital budget bias, has been significant with regularly overestimated plans vs. the outturn. The public investment-to-GDP ratio, has been an average 5.47%, ranging from minimum 4.0% (Y2007) to maximum 6.7% (Y2010). Simultaneously, the private investment-to-GDP ratio has been an average 17.1%, with minimum of 15% (in Y2005) and a maximum value of 20.6% (in Y2008). The FDI inflows, have been ranging from minimal below 1% in 2014 to maximum 12.7% in 2001, with average of 4.6% per annum. The trends of the variables straightforwardly do not suggest a nexus between public and private investments i.e. causing crowding-in or crowding out effect. In this paper it is investigated whether public investment and foreign direct investments crowd-out or crowd-in the private investment in North Macedonia. To test this hypothesis, we use the available annual data on private investment, public investment, foreign direct investments and GDP for the period of 2000-2017 (in real terms). A model of autoregressive distributed lag bound testing is used for the variables private investment, public investment, GDP and foreign direct investment. The results indicate a crowding-out effect of public over private investments with significance of the foreign direct investments are expected to show whether there is crowding-in or -out effect of the public over private investment and crowding-in effect of the foreign direct investments. The crowding-out effect is immediate and short run.
10
Ifalade, Oluwajuwon, Elizabeth Obode, and Joseph Chineke. "Hydrocarbon of the Future: Sustainability, Energy Transition and Developing Nations." In SPE Nigeria Annual International Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/207176-ms.
Full textAbstract:
Abstract The population of Africa is estimated to be about 1.5 billion, 25% of world population but the continent accounts for only 3.2% of global electricity generation (2.2% coming from South Africa, Egypt, Algeria and Morocco). This translates to the lowest per capita energy of any continent. The rapidly growing population in Africa will inevitably result in the emergence of more African cities and this underscores a need to urgently address the energy poverty concerns presented. The global energy landscape is changing, and Africa finds herself at a vantage point in the complex interplay between energy, development, climate change and sustainability. The need to provide an answer to these concerns is further highlighted by the effects of globalization and climate change. The onus rests on African countries to find a cross-functional solution; one which answers simultaneously to socio-economic and environmental challenges. This involves driving growth in energy supply and hence industrialization via the adoption of a balanced mix that harnesses all energy potential and integrated utilization possibilities. Projected increase in energy demands coupled with emission allowances present a unique opportunity for these countries to put in place plans and infrastructure congruent with the future energy landscape. In contrast to the narrative where African energy is driven majorly by renewables, the continent must first maximize the enormous fossil fuel potentials domiciled in large gas reserves in some of her countries to create an economy that can support a sustainable energy future. Natural gas is expected to play a vital role in the transition to a more environment friendly future of energy, especially in developing countries. This paper aims to present the prospects and challenges of the use of natural gas as a driver of sustainability and energy transition in the developing nations. Nigeria and the Nigerian Gas Master Plan will be taken as a Case Study.
Reports on the topic "Simultaneous Narration"
1
Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.
Full textAbstract:
Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.