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Journal articles on the topic 'Simultaneous Narration'
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Bošković, Dragan. "AVANGARDNI MANIFESTI I UBRZANjE KNjIŽEVNOSTI." Nasledje, Kragujevac XVIII, no. 50 (2021): 423–35. http://dx.doi.org/10.46793/naskg2150.423b.
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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.
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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.
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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.
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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.
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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.
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Buchta, D. "Extreme Poetry: The South Asian Movement of Simultaneous Narration. By Yigal Bronner." Journal of Hindu Studies 4, no. 1 (April 19, 2011): 105–6. http://dx.doi.org/10.1093/jhs/hir004.
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Ganzha, Anhelina. "Polyphonizm of narrative in documentary film (On the case of films about P. Tychyna, M. Rylskyi, V. Sosiura)." Culture of the Word, no. 90 (2019): 150–64. http://dx.doi.org/10.37919/0201-419x-2019.90.13.
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Narratives in cinema text are seen as narratives of interrelated events occurring within specific space-time frames involving the author, narrator and characters. The intermedical nature of documentary filmmaking complicates its analysis in the coordinates of any research paradigm. However, among the universal categories of reception of film narratives, polyphonicism should be singled out as a means of creating a holistic view of a cultural product. The article offers the authorʼs vision of realization of the polyphonism of the film narrative in the documentaries “I Call You” (2006), “Poeta Maximus” (2008), “So No One Loved” (2008) from the series “Game of Fate”. It is concluded that there is a certain plot-compositional scheme of organization of audiovisual polyphonic narrative in the series. Among the specific figures of the screen narration in the analyzed documentary tapes we see transposition (eg, transition from the direct speech of the presenter to a voice-over commentary on a movie quote), overlay (simultaneous use of the “chronicle of the epoch” with the off-screen reading of an excerpt from an artistic text), photos and video snippets).
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Rozen-Blay, Or, Rama Novogrodsky, and Tamar Degani. "Talking While Signing: The Influence of Simultaneous Communication on the Spoken Language of Bimodal Bilinguals." Journal of Speech, Language, and Hearing Research 65, no. 2 (February 9, 2022): 785–96. http://dx.doi.org/10.1044/2021_jslhr-21-00326.
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Purpose: This study aimed to examine how speech while sign (simultaneous communication [SimCom]) affects the spoken language of bimodal bilingual teachers and how individual differences in sign-language vocabulary knowledge, SimCom teaching experience, and the ability to perform speech under dual-task conditions explain the variability in SimCom performance. Method: Forty experienced teachers of deaf and hard of hearing students participated in a story narration task under different conditions. Speech rate, lexical richness, and syntactic complexity were measured and compared across speech-only versus SimCom conditions. Furthermore, participants' score on a sign-language vocabulary test, their self-reported SimCom teaching experience, and their performance in a dual-task condition were taken as predictors of SimCom narration performance. Results: The findings revealed slower speech rate, lower lexical richness, and lower syntactic complexity in the SimCom condition compared with the speech-only condition. Sign-language vocabulary score and SimCom teaching experience explained speech rate and lexical richness. Participant's ability to speak under a dual-task condition did not modulate performance. Conclusions: The findings may suggest that the production of the less dominant (sign) language during SimCom entails inhibition of the dominant (spoken) language relative to the speech-only condition. At the same time, the findings are also compatible with the suggestion that SimCom serves as a unique complex communication unit that cannot be reduced to the combination of two languages.
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VION, MONIQUE, and ANNIE COLAS. "On the use of the connective ‘and’ in oral narration: a study of French-speaking elementary school children." Journal of Child Language 31, no. 2 (May 2004): 399–419. http://dx.doi.org/10.1017/s0305000904006014.
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The study deals with children's use of the connective and to end a story. One hundred and ninety-one children (aged 7;0 to 11;0) who were native speakers of French told two-character comic strip stories with no text to a same-age peer. In the consecutive-display condition, the comic strip was in booklet format with one frame per page, whereas in the simultaneous-display condition, all frames were on the same page. In the arbitrary-sequence condition, the events in each comic strip, although presented as a sequence, could have occurred in any order, whereas in the ordered-sequence condition, the order of the events could not be changed. In the maintained-topic condition, the materials were designed to induce a thematic subject right after the first frame (by the repeated presence of the same character in every picture, up to and including the last one), whereas in the changed-topic condition, the other character appeared alone in the last frame.The analysis focused on cases where the children began the narration of the last frame using and to change the text pattern established so far. The results showed that and was often used in this way (35·2% of the productions), especially in the experimental conditions that facilitated event interconnection (simultaneous display, ordered sequence, maintained topic). The ordered-sequence condition showed that the nine-year-olds in simultaneous display employed and in co-occurrence with another connective, whereas the eleven-year-olds mainly used and more specifically: when the topic changed. The discussion deals with the specialization during development of the use of and within a speaker's discourse.
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Pérez Gómez, L., A. Barrio Nespereira, A. González Fernández, O. W. Muquebil Ali Al Shaban Rodríguez, and C. F. Rueda Rodríguez. "Folie à deux through a case report." European Psychiatry 33, S1 (March 2016): S365. http://dx.doi.org/10.1016/j.eurpsy.2016.01.1307.
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IntroductionThe first reference to the shared delusions emerged in France in the nineteenth century. Shared delusions can be classified in three frames with different nosological value: simultaneous folie à deux, imposed folie à deux and communicated folie à deux.ObjectivesA review of the structures of presentation of this psychiatric disorder through a case report and checking the categorization of the classic folie à deux in the current diagnostic manuals.MethodsDiscussion through a case report of delusional disorder among twins. After several interviews with the patients we found that both have a complex delusional system, structured and bizarre at the same time. There was a clearly paranoid tinge in the narration which main theme is religion.ResultsDelusional clinical appears identically and simultaneously in both subjects with equal readiness and doesn’t give up after the admission of the patients in two different psychiatric hospitalization units.ConclusionsIn the ICD-10 and DSM-5, diagnostics would be different depending on the kind of folie à deux. In simultaneous folie à deux and communicated folie à deux the dominant partner would receive a diagnosis of delusional disorder with ICD-10 and DSM-5. The acceptor partner would receive a diagnosis of delusional disorder induced with the ICD-10 and a diagnosis of unspecified schizophrenia spectrum and other psychotic disorder with the DSM-5. In a simultaneous folie à deux, both subjects would have a diagnosis of delusional disorder in both manuals. We think that this is the right choice.Disclosure of interestThe authors have not supplied their declaration of competing interest.
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Viķis-Freibergs, Vaira. "Narrative Structures, Meanings, and Life Histories in the Historical Novel Kaugurieši." Journal of Narrative and Life History 1, no. 4 (January 1, 1991): 343–62. http://dx.doi.org/10.1075/jnlh.1.4.05str.
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Abstract Narrative structures serve the double function of selecting episodes and charac-ters to be included in the narration, as well as offering a generative mechanism for their sequencing, both functions being simultaneous and mutually interac-tive. According to Eco (1984), narrative structures are multilayered, including an abstract level of ideology. Few studies have been done on specific narrative subgenres, such as the historical novel. This article examines a historical novel by Latvian writer Karlis Zariņš (1938, 1948, 1975, 1985), which depicts a failed peasant uprising at Kauguri, Latvia in 1802. Bakhtine's (1978) theoreti-cal notion of chronotope is invoked, distinguishing the external chronotope— the general historical and geographic situation—from the internal chronotope—the sequence of individual transformations. In Kaugurieši, the ex-ternal chronotope is depicted as a sociopolitical chess game, in which the Rus-sian king and the German knights play active roles, the queen is chance, and the pawns (Latvian peasants) are helpless victims. The plot centers on a tragi-cally failed attempt by the Latvians to change the historical givens by becom-ing an active, collective force. The internal chronotopes reveal the paths of individual lives, some of which follow the abstract model of heroic quest and sacrifice. (Psychohistory)
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Bär, S. F. "THE SECOND DIVINE COUNCIL AT ODYSSEY 5.1–42 RECONSIDERED." Akroterion 66 (2021): 1–16. http://dx.doi.org/10.7445/66--1031.
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This article reconsiders the much-discussed second divine council at the beginning of Book 5 of the Odyssey (5.1–42). It is demonstrated that this assembly is not a case of successive narration of simultaneous actions, as many scholars have maintained, but that the second council is necessary because Zeus, in order to avoid interdivine conflicts, has not kept his promise to initiate Odysseus’ repatriation as announced in the first council. It is further argued that Athene’s speech to Zeus (5.7–20), with its minacious tone and its cento-like composition, serves to put pressure on Zeus and to display Athene’s intellectual superiority.
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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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Hawdon, John M., and James P. Bernot. "Teaching Parasitology Lab Remotely Using Livestreaming." American Biology Teacher 84, no. 5 (May 1, 2022): 312–14. http://dx.doi.org/10.1525/abt.2022.84.5.312.
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Teaching biology laboratories remotely presents unique problems and challenges for instructors. Microscopic examination of specimens, as is common in parasitology labs, is especially difficult given the limited quantity of teaching specimens and the need for each student to have access to a microscope at their remote location. Observing images of parasites on the internet coupled with written exercises, while useful, is unrepresentative of real-world laboratory or field conditions. To provide a more realistic microscopy-centered synchronous experience for our parasitology class during the coronavirus pandemic, we used a smartphone mounted on a student microscope to livestream examination of parasite specimens to remote students via the Webex meeting app. This allowed two instructors, working from separate locations, to present and narrate the view of the specimens through the microscope in real time to the remotely located class. While less than ideal, livestreaming microscopic views of parasite specimens together with simultaneous instructor narration provided a reasonable remote substitute for a hands-on parasitology lab experience.
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Gregson, Nicky, Alan Metcalfe, and Louise Crewe. "Identity, Mobility, and the Throwaway Society." Environment and Planning D: Society and Space 25, no. 4 (August 2007): 682–700. http://dx.doi.org/10.1068/d418t.
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This paper provides a critique of the concept of the throwaway society. Drawing on two years of intensive qualitative research, we argue that the concept of the throwaway society does not bear scrutiny. Rather than throwing things away households are shown consistently to engage in simultaneous practices of saving and wasting when getting rid of consumer objects. Saving and wasting are shown to be critical to materialising identities and the key social relations of family and home. Focusing on self, the couple relation, and the mother–child relation, we show how wasting things is intimately connected to the narration of self and to the enactment of specific love relations. The paper also shows how wasting things is central to moving home, constituting a surplus and then an excess of household possessions. The paper concludes by arguing that to understand the increasing amount of matter being turned to waste in the UK requires a focus on love relations and mobility, and not on the trajectories of things themselves.
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Selby, Martha Ann. "Extreme Poetry: The South Asian Movement of Simultaneous Narration. By Yigal Bronner. New York: Columbia University Press, 2010. xvi, 356 pp. $50.00 (cloth)." Journal of Asian Studies 70, no. 2 (May 2011): 606–8. http://dx.doi.org/10.1017/s0021911811000659.
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Larionova, Anna N. "Diaries of the Protagonist in the Structure of Autobiographical Prose by A. A. Grigoriev (Based on the Stories “Man of the Future,” “My Acquaintance with Vitalin,” “Ophelia”)." Two centuries of Russian classics 4, no. 3 (2022): 52–65. http://dx.doi.org/10.22455/2686-7494-2022-4-3-52-65.
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The basis of the trilogy about Vitalin by A. A. Grigoriev is the diary entries of the autobiographical character. The writer consciously refers to this form of narration, since it allows the most complete disclosure of the inner world of the protagonist, conveying his thoughts, feelings, emotions, showing the complexity and inconsistency of his nature. Thanks to fragments of the diaries, the themes of the stories expand: from love experiences to philosophical reflections, reflections on the truth, the meaning of life, and the search for happiness. The protagonist’s diary also influences the chronotope of stories, expanding the space and time of the narrative, introducing a life background, background of events into the work, and at the same time enriching our understanding of the character. The author of the article briefly dwells on the autobiographical elements in the life of Arseny Vitalin, notes his resemblance to the character of the novel by M. Yu. Lermontov — Pechorin. Special attention is paid to the genre originality of Grigoriev’s works, their simultaneous isolation and inclusion in the cycle, trilogy. Besides the article discusses the diary fragment “The Dreamer’s Diary” and its meaning in the text. Psychologically convincingly, the author shows that Vitalin, immersed in love experiences, but unable to share his thoughts with someone close to him, finds an outlet for his pent-up feelings in keeping a diary, on the pages of which he gives free rein to his feelings and actions.
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Zilber, Tammar B. "Stories and the Discursive Dynamics of Institutional Entrepreneurship: The Case of Israeli High-tech after the Bubble." Organization Studies 28, no. 7 (July 2007): 1035–54. http://dx.doi.org/10.1177/0170840607078113.
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Based on an in-depth analysis of a field-wide high-tech conference held in Israel after the dot-com crash of 2000, I examine the role and usage of stories in the discursive dynamics of institutional entrepreneurship. Actors who represented different groups in the field were engaged in constructing a shared story of the crisis that reflected and further strengthened the established institutional order. Concurrently, the same actors were also each telling a counter-story of indictment, blaming other groups for the crisis and calling for changes in the institutional order. Institutional entrepreneurship, then, centered on efforts of sense-making through the narration of stories. The three accounts of the high-tech 2000 fall reflected simultaneous efforts of both collaboration in maintaining the institutional order and contestation that could potentially disrupt it. The delicate balance between these contradictory orientations was carried out by the skillful manipulation of explicit and implicit meanings, which was made possible by the use of stories as the medium of, and resource for, institutional entrepreneurship.
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Yan, Jing, and Stephen Matthews. "Relative clauses in English-Mandarin bilingual children." Chinese Language and Discourse 8, no. 1 (September 21, 2017): 1–17. http://dx.doi.org/10.1075/cld.8.1.01yan.
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Abstract The role of cross-linguistic influence in bilingual children’s development remains a matter of debate. Some researchers have proposed that simultaneous bilingual learners develop the linguistic systems of two languages in the same way as matched monolingual children do. Other researchers have argued that bilingual children show different developmental pathways. This study investigates cross-linguistic influence in the acquisition of relative clauses by English-Mandarin bilingual children in Singapore. The elicitation task included narration and interview tasks. Thirty-six primary school students aged 6 to 11 years completed the task in both English and Mandarin. The results reveal that the number of relative clauses increased with age in both languages. Participants had a preference for subject relatives over object relatives. The most frequent error type in Mandarin involves postnominal relative clauses, which have not been reported in monolingual children in the literature and thus can be treated as evidence of transfer from English. The findings of this study provide evidence for cross-linguistic influence in bilingual children’s speech.
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Down, Simon, and James Reveley. "Between narration and interaction: Situating first-line supervisor identity work." Human Relations 62, no. 3 (March 2009): 379–401. http://dx.doi.org/10.1177/0018726708101043.
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This article examines how frontline managers establish managerial identities. It combines narrational and Goffmanesque conceptions of managerial identity work in a longitudinal study of one first-line supervisor at a restructured Australian industrial plant. We argue that, singly, neither self-narration nor dramaturgical performance accounts for the practical discursive work that constructs managerial `identity'. We demonstrate that frontline manager identity work is an iterative process in which self-narration and dramaturgical performance are almost seamlessly interwoven. The supervisor uses these different identity work stratagems simultaneously, and they are processually co-dependent. We conclude, therefore, that organizational scholars who study how persons construct managerial identities should take Goffman's dramaturgical perspective more seriously. It is an indispensible complement to the analysis of identity narratives, because successful performances undergird managers' attempts to craft stable narrative identities.
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Mattos, Cristine Fickelscherer. "Narrativa seriada e comunicação: meios, modos e tempos." Texto Livre: Linguagem e Tecnologia 11, no. 3 (December 26, 2018): 268–80. http://dx.doi.org/10.17851/1983-3652.11.3.268-280.
Full textAbstract:
RESUMO: O trabalho observa as características comunicativas da narrativa seriada do ponto de vista dos estudos contemporâneos de narratologia, em diversos tempos, modos e meios. Emprega o conceito de narrativa transmidiática para examinar a diversificada dinâmica de produção e recepção do gênero serial de forma contrastiva e diacrônica, e pondera acerca de seus efeitos sobre os seus elementos narrativos. Observa como inovações tecnológicas suscitam novos modos de narrativa seriada, que acionam novas referencialidades, através da complexa triangulação que envolve produção, recepção e meio de transmissão. Estuda ainda como contextos midiáticos específicos associam-se a disposições produtivas e receptivas que trabalham as heranças da narrativa seriada para simultaneamente alterá-las e reafirmá-las.
PALAVRAS-CHAVE: narratologia transmidiática; narrativa seriada;série televisiva.
ABSTRACT: The work observes the communicative characteristics of the serial narrative from the point of view of contemporary studies of narratology, at different ages, modes and media. Inside a transmedial narratology, it examines its diversified dynamics of production and reception in a contrastive and diachronic way and ponders about its effects on the narrative elements. It observes how technological innovations give rise to new modes of serial narrative that trigger new referentialities through the complex triangulation that involves production, reception, and mediation. It also studies how specific media contexts associate themselves with productive and receptive dispositions that work the heritages of the serial narrative to change and simultaneously reaffirm them.
KEYWORDS: transmedialnarratology; serial narrative; TV show.
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Tahiri, Lindita, and Muhamet Hamiti. "Post-communist Interpretation of History in the Albanian Literature in Kosovo." Balkanistic Forum 29, no. 3 (November 1, 2020): 91–107. http://dx.doi.org/10.37708/bf.swu.v29i3.5.
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This article focuses on stylistic choices in the novel Im atë donte Adolfin (My father loved Adolph) by the Albanian author in Kosovo Mehmet Kraja (2005) as a strategy to generate a post-communist perspective of interpreting history. By blending first-person narration as confidentiality and third-person narration as conventionality (Barthes, 1978), the possessive construction ‘my father’ in this literary text serves both as referential label and deictic, generating dual focalization (Phelan, 2005). The heterodiegetic narrator is positioned simultaneously as a neutral eye witnessing narrator and as a signal of subjectivity. Even in cases of intradiegetic role the narrator remains detached interweaving his voice with the voice of the character. The synchronized overt and distant narratorial stances in this novel correspond with the demonstration of historical discourse as both subjective and factual narration. The relationship between fiction and truth has been widely treated in the post-modern intellectual thought, and as Borg (2010) points out in his study on Beckett and Joyce, the radical narrative innovations are “examples of a peculiarly modernist engagement with the nature of factual and fictional truth” (p. 179), suggesting that in modern literary texts “every event exists factually and fictionally at the same time” (p. 187). As a resonance to Borg’s analysis of modernist literature, in Kraja’s novel the knowledge about history consists of both factual and imaginative elements, bringing “the moment of truth in all its potential” (p. 191).
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Furoidah, Asri, and Alberta Natasia Adji. "BENTUK KOMUNIKASI TEKS PADA KUMPULAN CERPEN CORAT-CORET DI TOILET KARYA EKA KURNIAWAN." RETORIKA: Jurnal Bahasa, Sastra, dan Pengajarannya 12, no. 1 (February 27, 2019): 1. http://dx.doi.org/10.26858/retorika.v12i1.6891.
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The Form of Text Communication in Eka Kurniawan’s Corat-coret di Toilet Short Story Collection. The purpose of this study is to find the method of text communication in the Corat-coret di Tolet short stories collection. The form of this study is a literary study with structural analysis methods as offered in the narrative theory of Gerard Gennette. The results of the study are the classification of the text communication method of short stories namely: zero and fixed internal focalization; subsequent and simultaneous narrating times; intradiegetic-heterodiegetic, extradiegetic-heterodiegetic, and intradiegetic-homodiegetic types of narrating level and person; the character and writer as a narrator. The findings of the classification of text communication methods indicate the existence of a gender bias that alienates women's position in the story.
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Asadi Amjad, Fazel, and Bahare Jalali Farahani. "Reclaming Identity through Communal Voice: Narrating Self-Recognition in Leila Aboulela’s The Kindness of Enemies." Journal of Critical Studies in Language and Literature 3, no. 6 (November 23, 2022): 19–27. http://dx.doi.org/10.46809/jcsll.v3i6.179.
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This study provides a postcolonial narratological analysis of The Kindness of Enemies to explore different layers of identity formation for Muslim immigrants. The novel chronicles the dilemmas Natasha, a Muslim professor of history that teaches at a Scottish university and studies Imam Shamil’s jihad, experiences in maintaining an independent sense of identity far from a Westernized mindset. A stylistic axis whereby the author mirrors this complexity is the simultaneous utilization of the first-person verbatim narrative of Natasha and the third-person omniscient historical narrative of Shamil with three distinct focalizers. Such structure highlights the significance of spaciotemporality, narrator, focalizer, and communal voice. The study pinpoints that both parts of the novel are narrated by a single narrator (Natasha). As her supposedly assimilated identity of an exemplary university lecturer is tarnished, she realizes the futility of hybridity that has left her in state of adrift-ness. Narrating historical events through the focalization of three imperialized characters, she becomes the communal voice of those whose identity is besmeared by imperialism and those who attempt to resist, which in turn allows her to exercise agency.
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Simões Marques, Isabelle, and Michele Koven. "(Co)narrações de viagens para Portugal por lusodescendentes no Facebook." Revista da Associação Portuguesa de Linguística, no. 4 (October 15, 2018): 134–51. http://dx.doi.org/10.26334/2183-9077/rapln4ano2018a37.
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This article combines the study of online narratives as social practices and the linguistic anthropological study of imagined communities, to examine a set of non-canonical narrative practices in a Facebook group for the Portuguese diaspora in France. Instead of reports of individual members’ past experiences, these narratives function as invitations to other group members to co-tell typical, shared experiences. Specifically, we investigate how group members share vacation trips to Portugal with each other in ways that produce a sense of collective and simultaneous experience. They accomplish this through deictically-based narrative strategies that shift the social, spatial, and temporal perspectives of narrating and narrated frames in ways that link the following: individual I’s with collective we’s, one-time events with timeless event types, and co-presence online with co-presence on vacation. Through these strategies, participants connect Facebook narrations of vacations to the larger social project of diasporic longing for and return to Portugal.
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Simões Marques, Isabelle, and Michèle Koven. "“We are going to our Portuguese homeland!”." Storytelling in the Digital Age 27, no. 2 (October 6, 2017): 286–310. http://dx.doi.org/10.1075/ni.27.2.05sim.
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Abstract This article combines the study of online narratives as social practices and the linguistic anthropological study of imagined communities, to examine a set of non-canonical narrative practices in a Facebook group for the Portuguese diaspora in France. Instead of reports of individual members’ past experiences, these narratives function as invitations to other group members to co-tell typical, shared experiences. Specifically, we investigate how group members share vacation trips to Portugal with each other in ways that produce a sense of collective and simultaneous experience. They accomplish this through deictically-based narrative strategies that shift the social, spatial, and temporal perspectives of narrating and narrated frames in ways that link the following: individual I’s with collective we’s, one-time events with timeless event types, and co-presence online with co-presence on vacation. Through these strategies, participants connect Facebook narrations of vacations to the larger social project of diasporic longing for and return to Portugal.
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Ratnadewi, Dwijani, and Armeria Wijaya. "A home-based intervention towards preschoolers’ EFL sentence development." JEES (Journal of English Educators Society) 6, no. 1 (March 7, 2021): 35–41. http://dx.doi.org/10.21070/jees.v6i1.779.
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Research has shown that the initial few years of children’s lives are the best times for language to develop at a rapid pace, the first language (L1) or a foreign language (FL) may be acquired these times. Researches on preschoolers FL acquisition with home-based intervention (HBI) have not been studied extensively under the L1 environment. This study aims to examine the results of HBI on the development of the acquisition of Indonesian preschoolers’ English as a Foreign Language (EFL) sentences. This research is a case study with naturalistic observation design, where data were obtained from logbooks and interview. The research subjects were 2 preschoolers about 36 months. The study’s duration was 24 months from the 13th until the 36th month with HBI, namely parents-based and authentic/semi authentic-media intervention. The data were the children’s English sentences taken at 24th to 36th months at their own homes. The Owens’ acquisition of sentence forms measured the English sentences’ development of in the respondents’ conversation and self-narration. This research found that at about 36th month, these Indonesian preschoolers were able to communicate in English in various sentences such as declarative, negative, interrogative, imperative, embedded and conjoining.
HIGHLIGHTS:
Simultaneous foreign language learning and first language acquisition for children is tangible advantage.
Authentic input and active interaction act as the language environment substitute in foreign language learning.
Intensive learning makes preschoolers speak a foreign language earlier.
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Melnik, Vladimir I. "Poetics of the Epic Image in Works by Ivan Goncharov." Вестник Пермского университета. Российская и зарубежная филология 14, no. 3 (2022): 113–24. http://dx.doi.org/10.17072/2073-6681-2022-3-113-124.
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Ivan Goncharov’s poetics is distinguished by a special kind of organicity (according to N. I. Prutskov’s terminology, Goncharov’s ‘organic novel’). It allows one to consider a person in extremely close unity not only with the social environment but also with the natural-cosmic, religious and other aspects of life. An artist, in fact, depicts a person as part of concepts such as nature, space, national mentality, etc., taken and represented in an organic unity of simultaneous and joint manifestations in the human psyche (the coincidence of the psycho-biological rhythm of a person with small and large rhythms of the surrounding life and the universe). The writer shows these connections using the poetics of depicting a single rhythmic ‘pulsation’ of a person and the surrounding life, the poetics of depicting ‘organic repetitions’ (natural cycles of the seasons, morally significant toponymy, etc.) with the obligatory exit from cyclical repetition at the moment of ‘transformation’, a qualitative change toward spiritualization. Rhythmic repetitions are so obvious and artistically accentuated, and spiritual ‘breakthroughs’ are so microscopic (and by no means always obvious even to researchers) that it gives the impression of an epically unhurried, almost protracted narration. In this case, Goncharov, as an artist, is trying to base his poetics on the Parable of the Sower (‘A man scatters seed on the ground. <…> whether he sleeps or gets up, the seed sprouts and grows, though he does not know how’). This is how Goncharov sets and develops one of his main themes: God’s Mystery in man and the world.
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Lojanica, Marija. "TOWARDS A NEW POETICS OF URBAN SPACE." Nasledje, Kragujevac XVIII, no. 50 (2021): 293–306. http://dx.doi.org/10.46793/naskg2150.293l.
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The paper focuses on the ontological and narrative aspects of contemporary urban experience as simultaneously realized within two domains: actual and virtual. Examining the issue on the multidisciplinary horizon of spatial studies, we have attempted to establish a tentative analysis platform relying on Ricoeur’s concept of identity, be it human or urban, as produced within the continual process of self-narration. Such an approach has enabled the bridging of various scientific disciplines (urbanism, digital esthetics, ontology, cultural studies, and literary theory) and theoretical viewpoints (structuralism, poststructuralism, phenomenology, etc). Accordingly, the paper has treated the ontological status of cyberspace as an architectural and urbanistic issue, all the while concentrating on the following: inhabitability potential of cyber environments, identity and community formation in virtual worlds, and the possibility of reviving the poietic aspect of technological production. The exploration of the multifaceted narrative identity of contemporary city thus became a vantage point from which to interpret not only the past, present and future of our urban environments but also human narrato-ontological premises.
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Liu, Xia. "The ballad as a narrative genre of the chamber-vocal music." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 123–36. http://dx.doi.org/10.34064/khnum2-21.08.
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The ballad as a narrative genre of the chamber-vocal music. Logical reason for research. The relevance of the topic of the present research is due to the fact that in music the interaction of purely musical and extra-musical phenomena continues to remain in the focus of increased attention of the researchers who represent both musicology and other areas of humanitarian knowledge. This interaction has a synergistic effect, which lies in the fact that the combination of the simultaneous influence of words and music, integrated into a single whole, leads to a significantly greater effect of these factors together, rather than separately. Such emergence is clearly manifested during all types of musician’s activities – composing, performing, listening, but has not yet been sufficiently developed in musical science. And the need for a connection between musical science and practice directs our attention to such types of synergistic interaction in music, and one of the most basic is the interaction of music itself (of purely musical, sound patterns) and the verbal text (of the sphere of extramusical – specific images, characters, events, etc.). One of the concepts associated with the verbal text, which has its own specific qualities, is the “narrative”, and the study of the narrativeness as a special property (or a complex of properties) of a vocal musical composition with a narrative text, its potential, performance specifics and characteristics of perception by the listener seems relevant both in theoretical and practical directions. Innovation. The article is devoted to a chamber-vocal ballad, one of the genre indicators of which is the narrativeness. The narrativeness is understood as a special quality of a musical composition, in particular, a vocal one, which relies on narration (both verbal and achieved by means of musical expression). The narrative narration is connected, on the one hand, with eventfulness, plot; on the other hand, it is characterized by an emotional and ethical assessment of the reflected events. In the vocal music, the conductor of the narrative is the word, however, only those genres of the vocal music can be defined as narrative, where the verbal text itself has narrative qualities. The vocal ballad is such among the genres of the vocal music, and its literary origin and narrativeness as the main genetic trait determined the corresponding narrative specificity. The narrativeness as a genre factor in the ballad is the result of the synthesis of a narrative verbal text and the corresponding eventfulness of a vocal composition (an extra-musical component) and the specifics of their musical embodiment (a musical component). As one of its tasks the concert practice of a vocal ballad performer has the realization of the narrativeness as a quality of the performing-composing interpretation, which represents the understanding and presentation of the artistic potential of a musical composition. The narrativeness can manifest itself at different levels of the musical text of the ballad, usually enhancing the emotional and ethical assessment of the events. Objectives. The purpose of the present research is to reveal the specifics of the narrativeness of the chamber-vocal genre of the ballad. Methods. The main methods of the presented research are genre and systemic. The genre method is associated with the need to characterize the chamber-vocal genre of the ballad in connection with the chosen perspective of studying the meaning and action of the narrative in it. The systemic method makes it possible to identify and systematize the peculiarities of the interaction of the extra-musical narrative and the means of musical expression in a specific genre, namely, the chamber-vocal ballad. Results and Discussion. The movement into the inter-disciplinary field remains a promising growth point in modern research in the sphere of humanities, where different areas of knowledge actively interact and share their experience. This also applies to musicology. Active assimilation of knowledge from other sciences helps to see from a new perspective many problems, the study of which by traditional methods has practically exhausted its potential. One of the concepts that can help in the study of the patterns of interaction between words and music in musical art is the “narrative” as a special quality of the verbal text. The narrative involved in the field of musical science receives additional scientific “saturation”, scientific meanings and research perspectives. The development of an integrative scientific approach for two disciplines such as linguistics and musicology goes beyond their case studies and focuses on connecting the laws of “musical structures” to the analysis of the verbal text: for example, such concepts as tension and decline, open and closed form, the lyrical, harmonic content, etc. The need to comprehend the dynamic nature of the narrative text leads to an expansion of the horizon of research related to the concepts of the birth of the text and the perception of the text, and the theory of musical forms is the closest to the narratology in this regard. Indeed, the organization of verbal and musical communication obeys the general laws of dynamism and temporality: the basis of both linguistic and musical structures is the procedural nature of the development of information. The convergence of musicality and narrativeness has led to the development of such a concept as a “musical intrigue” in the works of the French narratologists R. Barony, F. Revaz and others. In musical science, there is a concept that, in our opinion, is associated with a “musical intrigue”, but is more capacious and better explaining the narrative in music of both, a purely musical and extramusical nature – this is musical “eventfulness” (N. Gerasimova-Persidskaya, A. Ivko, and A. Durnev), which is understood broadly and multi-dimensionally, both in connection with the events “introduced” to music with the word, and with purely musical “events” – harmonic, rhythmic, intonational, timbre-acoustic, etc. Such musical eventfulness, unfolded in the narration with a sequential presentation of the events from the “third” person and an emotional assessment of the happening things – both in the verbal and musical text, is most clearly represented in the chamber-vocal genre of the ballad. Owing to the literary origin of the genre and its original narrative nature, it has retained its narrative nature in music (this applies to both the vocal and instrumental ballads). Most often, the musical text in the vocal ballad is subordinated to the verbal one, it is an illustration of the events that are taking place and at the same time enhances their emotional assessment. Conclusions. The narrativeness in the vocal music is primarily related to its extra-musical source. The narrativeness as a special quality of a narrative eventful text is characterized by an emotional attitude and a corresponding assessment, which is dictated from the outside (by the “storyteller”) to the person at whom the narrative is directed – in the sphere of musical practice this is the listener. Since the text (the word) is used in the vocal music, here we should talk about the narrative with all the specifics of its action. Very various texts are used in the vocal music, and not all of them are narrative, therefore, the narrativeness as a genre quality in its pure form can be traced in the genre of the vocal ballad due to its literary origin and narrative character. That is why the most indicative vocal genre in the aspect of the narrativeness is such a genre of the chamber-vocal music as the ballad. The nature of the narrativeness: in the vocal ballad it determines the verbal text, and the means of musical expression, as a rule, embody both the events reflected in the text and their emotional assessment. The prospects for the study of the narrativeness in musical art are associated not only with the characteristics of the interaction of musical and extra-musical principles in the vocal music (both in the chamber music and in the large genres), but also with the study of manifestations of the narrativeness in instrumental music, especially in such compositions that are not associated with extra-musical manifestations even in minimal form (program headers and the like). In addition, since the narrativeness is associated with a “storyteller”-intermediary between the source of information and its recipient, it can be argued that the narrativeness in musical art is also associated with the performing art as one of its tasks, literally or figuratively.
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Al-Rahbi, Ahmed Mohammed. "Modern Arabic Literature. “The Breaker” Edwar Al-Kharrat." Asia and Africa Today, no. 8 (2022): 78. http://dx.doi.org/10.31857/s032150750021327-1.
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The article is devoted to the developing of modernism in Arabic prose and the art of one of the most prominent figures of this trend - Edwar al-Kharrat (1926-2015). The end of the dominance of the classical novel exactly in the first half of the 20th century and the turn of the generation of the 60s to new artistic techniques is directly associated with the historical events of 1967 (Six-Day War). It is noted that one of the consequences of these events for literature was the change of discourse - from revival (an-Nahda) to defeat (an-Naksa). The artistic method of Edwar al-Kharrat is characterized in detail on the examples of his early story “Station” and the novel “Rama and the Dragon”, which was included in the top ten Arabic-language novels of all time by the Union of Arab Writers. The authors distinguish thematic blocks in the works of al-Kharrat: the eternal themes of love, life and suffering, which are passed through Hellenistic and Middle Eastern mythologies and Christian philosophy. Such techniques of al-Kharrat as playing with the chronotope, narration through the subjective perception, attention to sensations, replacing the plot with a description, using dichotomy - the opposition of male and female, Christianity and Islam etc. are highlighted. Also the authors stress the significance of al-Kharrat's theoretical works on literature, where the artistic method, defined by him as a “new sensibility” and opposed by critics to what was called “al-Mahfuzia”, is comprehended. The question is raised about the role of al-Kharrat in the history of the latest literature of the Arab countries, while the authors try to remove the contradiction that is seen in the inimitability of al-Kharrat and his simultaneous fundamental influence on subsequent generations of prose writers.
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Kemarskaya, Irina Nikolaevna. "TV- Show: From the Audience Habits To Principles of Dramaturgy." Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 126–36. http://dx.doi.org/10.17816/vgik64126-136.
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The article is devoted to the scriptwriting of TV shows and the role of the social practices of TV-viewing in the creation of script plot of periodical programs. Script construction of contemporary TV shows differs greatly from the classical film screenwriting due to its primarily focusing on predicted audience reactions in every single moment of broadcasting. The show creators are directed by the intention of giving the viewer the opportunities to feel the emotions he/she anticipates watching every new issue of the program. In order to attract the audience to the screen, hold it, to ensure its return to the favorite show the TV creators are obliged to imagine the established rituals and social practices of screen viewing. The paper covers the historical aspects of the social TV viewing practices, their formation and dynamics, from the Soviet "collective viewing" in a communal apartments with a sole TV-set up to a contemporary tendency of individual binge-watching of full ser seasons through internet services. The author specially emphasizes gender, generational, socio-demographic differences in TV watching and their influence on different creative techniques and discoveries. As to the gender habits of audiovisual information perception, the author pays attention to the so called "female" way of TV watching, characteristic of empathy, emotional involvement in the perception of the show, against the "male" choice of action, spectacle dynamics and often simultaneous viewing of different channels. Changes in common practices of TV watching cause the script decisions, adapted to the habitual behavior of different audience groups (shortening of audiovisual elements within programs, clip cutting, priority of emotion over logic-screen narration, etc.). Resume: rapid changes of screen watching social practices challenge the well-known creative technologies, turning the familiar TV shows into the part of the hypertext with different logic of reading and understanding.
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Roganovic, Vladimir. "Ivo Andric’s Mediterranean winters: Merging of identity and otherness." Bulletin de l'Institut etnographique 68, no. 2 (2020): 439–51. http://dx.doi.org/10.2298/gei2002439r.
Full textAbstract:
Comparing the summer and winter Mediterranean, Ivo Andric arrives at exceptionally compelling narrative solutions. Considered from the outside, these are two completely different images. Even the very stage, the centre of the action, seems not to be the same, despite having the same name. Winter is a soft aquarelle, summer an explosion of light and a hymn to the sun. However, the real meaning of the narrative process is shown above all in the uniqueness of Andric?s discourse. The narrative and artistic approaches in both cases - despite being distinct in topic and motive - are stylistically and methodologically so convergent that details, events, even literary characters merge and overlap amongst themselves in the same way. Neither in summer nor in winter are they sharply delineated against the remaining reality; rather ?it all crosses over into the other, merges, and flow?, as the writer says himself. In the same fashion, Andric?s narrative strategy shies away from making sharp boundaries between the identity and narration of the extradiegetic narrator, i.e. between the individual identity and otherness. For if the individual conscience is not reduced to a purely psychological conscience, and if it is simultaneously a social, cultural, and ideological conscience, then its rapport with life choices cannot be considered only as a form of an individual, psychological identification. Before becoming a cause for identification (with itself, as Otherness), Andric?s story is fundamentally a cause of a wider cultural and ideological recognition. Which, ultimately, was the objective of Andric?s late-in-life escape to the other, Mediterranean ambiance.
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N.O., Likhomanova. "THE FAMILY NARRATIVE IN THE NOVEL “BUKOVA ZEMLYA” [BEECH LAND] BY MARIYA MATIOS." South archive (philological sciences), no. 84 (December 23, 2020): 42–46. http://dx.doi.org/10.32999/ksu2663-2691/2020-84-6.
Full textAbstract:
The purpose of the research is to define “family narrative” term; to analyze its structure as well as typological features in “Bukova Zemlya” [Beech Land]. Panorama-novel covering 225 years” by M. Matios published in 2019.Methods have been designed in compliance with the key principles of narratology (particularly, works by Roland Barthes, Gérard Genette, Yury Lotman, Vladimir Propp, Wolf Schmid, etc), the inter-relation of narration types as well as the implemented forms of memory’s reproduction.Results. The author of the research has suggested a definition of “family narrative” term as a form of transformation of cultural, historical and communicative memory. The author has identified and analyzed its structure, key functions, typological and individual features using “Bukova Zemlya” novel by M. Matios. The text of the novel is built as a linear narrative of four families during 225 years in XVIII-XX centuries at the territory of Bukovyna (currently, in the South-West of Ukraine). According to G. Genette’s typology, the impartiality of the story is achieved via conducting a narration on behalf of a heterodiegetic narrator in an extradiegetic situation. Combination of a family and a historical narratives is typologically manifested through detailed descriptions of ancestry trees; family stories; ethnography-styled descriptions of customs and every-day living of Hutsuls [an ethnic group living in Caprathian mountains of Ukraine or nearby]. The author also mentions well-known historical figures, uses testimonies of the individuals who lived in those times found in archive sources on the First World War, protests, rallies and riots in 1918; describes the events of the Second World War, anti-Soviet Resistance in Bukovyna and finishes the novel with the events of the War in Donbas in 2014. Following the classification approach by G. Genette, M. Matios applies an internal focalization of a plural type. In particular, the views of the various characters are presented from the perspective of a heterodiegenetic narrator. For example, one of the novel’s chapters describes a cross-cutting theme of war simultaneously both as viewed by a peasant, Dariy Berehovchuk, and by an ambassador, Nikolay Vasylko. The family narrative includes specific typology features as “sine qua non” components of the plot: birth, marriage, re-location (home/village/city/home country), hardships (diseases, famines, the Holocaust, wars), death. The author’s specific elements of her view upon the family narrative include the themes of Land, the God and belief, Language, Ethnicity (including the topic of multiple ethnic groups living in Bukovyna). The novel also has such popular elements for a family narrative as images of twins (or twin strangers) and some borrowed traditional features of folk epic tales: cases of “magical recognition” and “magical prophecy” for a future of a kin.Conclusions. The family narrative of M. Matios’ novel includes both typology and individual features. It is built in compliance with the structure of the internal focalization of plural type. The narration is presented as conducted by a heterodiegentic narrator in a extradiegenetic situation. Hence, an impartiality of a narration and a subjectivity of a discourse in present time provides for realization of “I”-presence of a reader and avoiding idealization and mythologization of a family narrative, which are quite traditional for it.Key words: narration, heterodiegenetic narrator, historical narrative, cultural memory, communicative memory. Мета – визначити поняття «родинний наратив», проаналізувати його структуру та типологічні ознаки у творі М. Матіос «Букова земля. Роман-панорама завдовжки у 225 років» (2019).Методи дослідження формуються відповідно до основних положень наратології (праці Р. Барта, Ж. Женетта, Ю. Лотмана, В. Проппа, В. Шміда та ін.), взаємозв’язку типу нарації і втілених форм репродукції пам’яті.Результати. У процесі дослідження було запропоновано дефініцію поняття «родинний наратив» як форми трансформації культурної, історичної та комунікативної пам’яті. Визначено та проаналізовано його структуру, основні функції, типологічні та індивідуальні ознаки на прикладі роману М. Матіос «Букова земля». Зазначено, що текст побудований у формі лінійного наративу історії чотирьох родів протягом 225 років на території Буковини XVIII–XXI століть. Об’єктивність викладу досяга-ється, за типологією Ж. Женетта, завдяки нарації від імені гетеродієгетичного наратора в екстрадієгетичній ситуації. Типо-логічною ознакою є поєднання родинного та історичного наративів, що демонструється через детальний опис родоводів, сімейних історій, етнографічного опису побуту та звичаїв гуцулів, згадок про відомих осіб, використання свідчень сучасників з архівних джерел подій Першої світової війни, протестів, мітингів і заворушень 1918 р., подій Другої світової війни, істо-рії антирадянського опору на Буковині та завершення оповіді роману подіями війни на Донбасі у 2014 р. За класифікацією Ж. Женетта, в романі використано внутрішню фокалізацію множинного типу, а саме подаються погляди різних персонажів із точки зору гетеродієгетичного наратора. Наприклад, наскрізна тема війни в одному з епізодів роману одночасно описується з погляду селянина Дарія Береговчука і посла Николая Василька. Типологічними ознаками родинного наративу є і неодмінні складники сюжету: народження, одруження, зміна місця (дому/села/міста/батьківщини), випробування (хвороби, голод, голо-кост, війна), смерть. Виразними елементами авторського погляду на родинний наратив стали теми землі, Бога і віри, мови, національності (зокрема, і тема багатонаціональної буковинської землі). У романі присутні і такі поширені елементи родин-ного наративу, як образи близнюків (або двійників), а також запозичені усталені ознаки сюжетів народного епосу – епізоди чарівного упізнання і магічного передбачення майбутнього роду.Висновки. Родинний наратив роману М. Матіос містить типологічні та індивідуальні ознаки, формується відповідно до структури внутрішньої фокалізації множинного типу. Нарація подається у викладі гетеродієгетичного наратора в екстрадієге-тичній ситуації. Таким чином, об’єктивність оповіді та суб’єктивність дискурсу теперішнього часу дає змогу втілитися ефекту «я»-присутності читача та уникнути традиційної для родинного наративу ідеалізації та міфологізації.Ключові слова: нарація, гетеродієгетичний наратор, історичний наратив, культурна пам’ять, історична пам’ять, комуні-кативна пам’ять.
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Shalimova, Nadezhda S. "‘A frightening, scary book about children…’: the Poetics of the Novel ‘The Little Friend’ by D. Tartt." Вестник Пермского университета. Российская и зарубежная филология 14, no. 4 (2022): 134–43. http://dx.doi.org/10.17072/2073-6681-2022-4-134-143.
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The article is devoted to comprehensive research on the novel The Little Friend by D. Tartt. It investigates the narrative features and genre characteristics of the literary work. The immanent method was used in research to study the narrative model: the symbolic meaning of the title, the specifics of the settings and plot structure, means of characterization, the theme of racial inequality, intertextuality, and photographic ekphrasis in the novel. The contextual method allowed us to identify the features of the ‘southern noir’ in the novel, as well as to consider the traditional and innovative manifestations of the characteristics of young adult literature. The theme of growing up in the novel is associated with traditional motives of loss, experiencing death, illness, mental pain, disappointment, and self-attainment. The Little Friend is third-person narration, this is the only work by D. Tartt where it is used, opposite to the retrospective confessional narration of the novels The Secret History and The Goldfinch. The story is told by the omniscient author who enters the mind of his character. It gives the writer the possibility to focus not only on the inner world of the main characters but also to present the historical and cultural background, as well as to create expressive psychological portraits of the minor characters and their families. The tone of the novel is quite conversational; the narrator is very exact in describing the characters and places. The paper concludes that the novel simultaneously contains the features of young adult fiction – the theme of growing up through overcoming trials (loneliness, loss, fighting the evil / awareness of the illusory nature of ideas about it), and the characteristics of the literature of the American South, the contexts of which play a crucial role for D. Tartt as a writer and a person.
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Parrill, Fey. "Dual viewpoint gestures." Gesture 9, no. 3 (December 17, 2009): 271–89. http://dx.doi.org/10.1075/gest.9.3.01par.
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This paper examines gestures that simultaneously express multiple physical perspectives, known as dual viewpoint gestures. These gestures were first discussed in McNeill’s 1992 book, Hand and mind. We examine a corpus of approximately fifteen hours of narrative data, and use these data to extend McNeill’s observations about the different possibilities for combining viewpoints. We also show that a phenomenon thought to be present only in the narrations of children is present in the narrations of adults. We discuss the significance of these gestures for theories of speech-gesture integration.
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Ladewig, Silva, and Lena Hotze. "Zur temporalen Entfaltung und multimodalen Orchestrierung von konzeptuellen Räumen am Beispiel einer Erzählung." Linguistik Online 104, no. 4 (November 15, 2020): 109–36. http://dx.doi.org/10.13092/lo.104.7320.
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The study presented in this article investigates the temporal unfolding and multimodal orchestration of meaning in a narration. Two aspects are focused on. First, the temporal and multimodal orchestration of conceptual spaces in the entire narrative is described. Five conceptual spaces were identified which were construed by multiple visual-kinesic modalities and speech. Moreover, the study showed that the conceptual spaces are often created simultaneously, which, however, does not lead to communication problems due to the media properties of the modalities involved (see also Schmitt 2005). The second part of the analysis zoomed in onto the phase of the narrative climax in which the multimodal production of the narrative space with role shift dominated. By applying a timeline-annotation procedure for gestures (Müller/Ladewig 2013) a temporally unfolding salience structure (Müller/Tag 2010) could be reconstructed which highlights certain semantic aspects in the creation and flow of multimodal meaning. Thus, specific information “necessary” to understand the climax of the narration was foregrounded and made prominent for a co-participant. By focusing methodically and theoretically on the temporal structure and the interplay of different modalities, the paper offers a further contribution to the current discussion about temporality, dynamics and multimodality of language (Deppermann/Günthner 2015; Müller 2008b).
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Zhao, Yurong, and Yang Zhao. "A corpus-based discourse analysis of conversational storytelling in Chinese adults." Chinese Language and Discourse 5, no. 1 (September 12, 2014): 53–78. http://dx.doi.org/10.1075/cld.5.1.03zha.
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This paper presents a corpus-based analysis of the nature of spontaneous storytelling activity in daily conversation. Based on both the structural and interactional views of oral narrative, we propose to add another perspective, arguing that conversational storytelling is a three-dimensional construct, with narrative, interactive and cognitive functions performed simultaneously in the context of social communication. The study has recorded 15 pieces of casual talks by 11 adult native speakers of Chinese and extracted 87 stories altogether. From the data, we observe that in the process of conversational narratives, (1) narration is achieved interactively, with the narrative sequence, story structure and even tellership all framed by communicative needs; (2) interactional activities, such as self-image building, interpersonal work and social-cultural practice are engaged in; (3) intersubjective social cognition is also achieved as personal experience becomes shared and cooperatively interpreted.
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Praminatih, Gusti Ayu, and Retno Juwita Sari. "Investigating Women’s Representation and Identity in Tourism Context Using Narration: A Perspective from Bali." Humanis 26, no. 4 (November 26, 2022): 441. http://dx.doi.org/10.24843/jh.2022.v26.i04.p12.
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The present study discussed the representation and identity of three selected women figures who contributed to the development of tourism in Bali and worked as a team leader, an entrepreneur, and an influencer, respectively. This study has two objectives: 1. to find out how women represent themselves and 2) to find out how women build their identity in the tourism context using narration. The authors used narrative inquiry to collect valuable stories from the informants. Using narrative inquiry, the stories produced by the informants were unique and meaningful. The study’s results revealed that women represented themselves as figures responsible for fulfilling domestic, i.e. family, and non-domestic roles, i.e. careers. The study also revealed that they still embraced traditional and domestic roles as their identity while simultaneously managing to actualise themselves in their careers. Keywords: identity, gender, narrative inquiry, women’s representation, women’s language
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Havercroft, Barbara. "The Trauma of Child Death: The Discourse of Mourning in Camille Laurens's and Laure Adler's Autobiographical Writings." Irish Journal of French Studies 19, no. 1 (December 9, 2019): 53–69. http://dx.doi.org/10.7173/164913319827945792.
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This article addresses a noteworthy development in French women's autobiographical texts of the extreme contemporary: the painful writing of mourning subsequent to the traumatic death of a child. Trauma theorists such as Cathy Caruth, Susan Brison, Shoshana Felman, and Dori Laub insist on the importance of the narration of the traumatic experience in the form of a 'meaningful [...] story' (Caruth, 1996: 117) enabling the object of the trauma to become the subject of her own story, and thus effecting a transformation of her status from passive victim to agential subject. If, however, trauma is beyond words and 'unspeakable' (in both senses of the adjective), how can one find the adequate discursive means to represent it, how can one transform the traumatic experience into a narrative? Drawing on theories of trauma and mourning, the article analyzes the ways in which two contemporary French writers, Laure Adler and Camille Laurens, deal with this daunting discursive dilemma, following the passing of their respective infants. Using various textual strategies, Adler and Laurens both succeed in narrating poignant accounts of loss, producing in each case a 'livre-tombeau' which is simultaneously a book of death and a book of life, allowing the deceased infant to live on through the writing of the trauma of mourning.
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Shigematsu, Eri. "Defoe’s psychological realism: The effect of directness in indirect consciousness representation categories." Language and Literature: International Journal of Stylistics 27, no. 2 (May 2018): 71–85. http://dx.doi.org/10.1177/0963947018782008.
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Daniel Defoe’s fictional autobiographies represent the life of an individual through personal memories. Although he has often been associated with circumstantial realism rather than psychological realism, Defoe in fact represents the psychological as well as social and economic realities of his characters. In Defoe’s first-person autobiographical narratives, the person who narrates (i.e. the narrating self) and the one who experiences (i.e. the experiencing self) share the same pronoun, ‘I’, which exhibits a fluctuating internal tension between the two selves. This article aims to investigate Defoe’s psychological realism in terms of this internal tension, focusing on the narrative techniques for representing consciousness in which the points of view of the two selves are mingled. The representation of consciousness by means of what is called free indirect speech and thought (FIST) is under development in the early eighteenth century. In Defoe’s fictions, however, the internal tension between the two selves is abundantly indicated by his use of FIST and his handling of directness (the-experiencing-self-oriented deictic and expressive elements) within indirect representations of consciousness (indirect speech and thought (IST) and narrator’s representation of speech/thought act (NRSA/TA)) and within narration (N). The analysis demonstrates that, like FIST, direct elements used in indirect consciousness representation categories show the narrating self’s empathetic identification with the past self, which simultaneously evokes the reader’s empathetic feelings towards the psychology of the experiencing self. It consequently reveals that the creation of empathetic effects through directness helped Defoe to represent the psyches of individuals in remembering as in real life.
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Muratov, Yu M. "A self-destructing narration. The egocentricity of language, transcendence of poetry, and psychoanalysis in P. J. Jouve’s novel <i>Hecate</i>." Voprosy literatury, no. 6 (March 22, 2022): 136–57. http://dx.doi.org/10.31425/0042-8795-2021-6-136-157.
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Hitherto untranslated into Russian, P. J. Jouve’s Hecate (1928) not only interprets myths about the mysterious Greek goddess, doing it in the guise of a love-and-crime chronicle, but also represents the author’s unique attempt to construct a work of fiction on the principle of permanent self-destruction. Y. Muratov sets out to examine the novel’s plot and structure in the first study of its kind. According to the scholar, Jouve, in full adherence to modernist laws and simultaneously experimenting with them, purposely destroys his narrative, turning the destruction into a method: just as the characters in Hecate cannot be sure who they are and try to see themselves in other people’s reflections, the reader is deprived of the means to tell who they are reading about — neither quotation marks, nor the dialogue form, nor context offer any point of reference. Interestingly, Jouve does not play with grammatical person in order to shift the viewpoint of the narration, as in ordinary narrative practice, but to dismantle classical narration and immerse it in the process of creation, luring the reader into a kind of Plato’s cave of linguistically symbolical metafiction.
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EISMONT, POLINA M. "NARRATIVE TOPIC IN ORAL STORIES BY PRESCHOOLERS AND YOUNGER SCHOOLERS." Cherepovets State University Bulletin 6, no. 99 (2020): 165–74. http://dx.doi.org/10.23859/1994-0637-2020-6-99-14.
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A narrative topic is a means of the communicative text organization, expressed by adverbs of place or time, that are located at the beginning of an utterance and do not carry any communicative function within the information structure of the utterance itself. An experimental study of oral unprepared stories produced by children of senior preschool and primary school age has shown that a narrative topic appears in their narratives only when the narrator cannot construct a text in advance and is forced to describe events simultaneously with their observation.
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Guk, Alexey А. "VOLUTION OF SPATIAL-TIME PARAMETERS OF AUDIOVISUAL IMAGES IN THE PROCESS OF CREATING THE SCREEN MASTERPIECES (ON THE FACTS OF PHOTOGRAPHY, FILM, TELEVISION, VIDEO)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 65–74. http://dx.doi.org/10.17223/22220836/42/6.
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On-screen creativity is a single cultural-aesthetic system, operating with the language of visual and audiovisual images, the basic source of which is inseparably linked with such categories of reality as space and time. Their special position is determined by the fact that they are attributes of the existence of life forms and without their reflection any on-screen creativity becomes impossible. At certain stages of its historical evolution, screen creativity grew by new typical formations. The photography appeared first, then the cinema, and later on television, in the depths of which, after a while, the video was parted. Each new type at the level of space-time relations with the reality preceeding the camera formed its own special principles of screen narration. At the same time, they depended on the features of the new technological system, and on the dominant modes of visuality on an individual and collective levels. In this process, the cultural-aesthetic progress in on-screen creativity was reflected. The general logic of the relationship of the author of the screen work and the displayed reality in terms of its on-screen chronotope organization has evolved from a single, instantaneous discretization of it, to a total space-time continuity. From the author’s point of view, the more speculative picture of this process looked as follows: the photographic chronotope is characterized by a single spatial appearance of the displayed object and its temporary immobility (static); the cinematic chronotope is characterized by an editorial multiplicity of forms of the displayed object, which recreates conditional space and conditional time on the screen; the television chronotope is characterized by a simultaneous multiplicity of forms of the displayed object, which recreates the conditional space and real time on the screen; the video chronotype is characterized by a continual multiplicity of shapes of the displayed object, which recreates real space and real time on the screen. It is obvious that the evolution of screen creativity stimulated the development of new creative possibilities in terms of the spatial and temporal organization of audiovisual images, which in turn contributed to the establishment and enrichment of specific cultural aesthetic formations. Their common aspiration was focused on achieving natural integrity and authenticity in presenting life forms on the screen.
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Bús, Éva. "Senses of an Ending." Transcultural Studies 13, no. 1 (May 25, 2017): 56–70. http://dx.doi.org/10.1163/23751606-01301004.
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It is possible to read Peter Carey’s short story, Concerning the Greek Tyrant, as an adaptation of one of the first grand achievements of the occidental storytelling tradition: The Iliad. When creating one of his “what–if” 1 stories from the raw material of the various myths of the Trojan War, Carey turns the Homeric story on its head, simultaneously challenging concepts central to the latest theories of narrative fiction, such as the question of narrative sequence, shifts in the narrative perspective, the representation of temporal experience, and the technique of metanarrative. When uprooting the myth of the Trojan war from the “lost order of time” and making it a story of “the here and now”, 2 Carey joins an almost three-thousand-year-long tradition while breaking away from it simultaneously. The paper aims to examine a manifest duality of the textual actions 3 in Concerning the Greek Tyrant. Its historical plot 4 appears to be a realistic adaptation of a few of the closing events of the war as reconstructed from a variety of sources on the one hand, and a narrative of how Homer suffers from writer’s block on the other. On the linguistic level of narration, however, the text is permeated by irony, a mastertrope (Burke 1945) whose dialectic nature further enhances the aforementioned duality, and helps the various dimensions of the text reflect and comment on each other.