Journal articles: 'Story line'

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Ivanova, Natal'ia. "The Simplification Story Line." Russian Studies in Literature 46, no. 1 (December 2009): 82–97. http://dx.doi.org/10.2753/rsl1061-1975460107.

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Ivanova, Natal'ia. "The Simplification Story Line." Russian Social Science Review 52, no. 4 (July 2011): 79–94. http://dx.doi.org/10.1080/10611428.2011.11065438.

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Shamsie, Kamila. "Hostage To a Story Line." Index on Censorship 36, no. 4 (November 2007): 12–17. http://dx.doi.org/10.1080/03064220701741622.

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Davis, Boyd H. "Tangle in the story line." Children's Literature in Education 16, no. 4 (1985): 227–32. http://dx.doi.org/10.1007/bf01139666.

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Koshelev, V. A. "Pushkin’s Story Line about the «Improviser»." Russkaya Literatura 1 (2018): 61–72. http://dx.doi.org/10.31860/0131-6095-2018-1-61-72.

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Needham, Catherine. "Personalization: From Story-line to Practice." Social Policy & Administration 45, no. 1 (January 19, 2011): 54–68. http://dx.doi.org/10.1111/j.1467-9515.2010.00753.x.

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Karim, Abdul, Yogi Wiratomo, and Indah Mayang Purnama. "Workshop Perancangan Story Board dan Story Line dalam Pembuatan Komikstrip Matematika." Jurnal ABDINUS : Jurnal Pengabdian Nusantara 3, no. 2 (February 25, 2020): 226–34. http://dx.doi.org/10.29407/ja.v3i2.13715.

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Community service program about workshop design storyboard and storyline in making comic strips present to train MGMP mathematics teachers at Cisarua Commissariat Middle School in Bogor Regency. This program is carried out with the aim of providing services to teachers on developing comic strip learning media with ADDIE instructional designs through training that will be provided by the implementation team. The method of implementing service is preparation, implementation and evaluation. Location of community service at SMP Negeri 1 Ciawi Bogor, Jl. Veteran III Banjarwangi Ciawi Kab. Bogor. the tools needed such as seminar kits, speakers, and LCDs. The number of trainees is 50 mathematics teachers. The training activities were held on June 24, 2019. During the implementation stage, the presenters provided material on the development approach using ADDIE instructional design and how to create storyboards and storylines in the design of mathematical comic strips. The output produced in the community service program is in the form of knowledge and understanding in the development of comic-based learning media and the design of storyboard and storyline for grade VII junior high school.

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Rizali, Muhammad, Zainal Warhat, and Edwar Zebua. "PENGARUH ELEMEN-ELEMEN DESAIN KOMUNIKASI VISUAL (DKV) BOX ART GAME TERHADAP STORY LINE BERDASARKAN PERSEPSI GAMERS PADA VIDEO GAME POPULER DI INDONESIA." Gorga : Jurnal Seni Rupa 8, no. 2 (September 27, 2019): 295. http://dx.doi.org/10.24114/gr.v8i2.14700.

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AbstrakTujuan penelitian ini adalah untuk mengetahui pengaruh parsial dan simultan elemen gambar, elemen huruf, dan elemen warna DKV desain Box Art Game pada story line video game. Jenis penelitian ini adalah survey eksplanasi. Instrumen dalam penelitian ini menggunakan kuesioner dengan jumlah sampel sebanyak 151 responden gamer yang diperoleh secara on line melalui media sosial face book. Teknik pengambilan sampel menggunakan acak sederhana dengan cara mengupload kuesioner ke jaringan grup media sosial gamer face book. Teknik analisis data yang digunakan dalam penelitian ini adalah analisis regresi berganda. Instrumen penelitian yang digunakan telah diuji terlebih dahulu validitas dan reliabilitasnya. Persamaan regresi linear dengan menggunaan SPSS diperoleh: Y = -1,029 + 0,305 X1 + 0,05 X2 + 0,250 X3 + e. Melalui pengujian hipotesis diperoleh bahwa ada pengaruh parsial elemen gambar (X1) dan elemen warna (X3) terhadap story line (Y) diterima, sedangkan pengaruh elemen huruf (X2) terhadap story line (Y) ditolak. Pengaruh simultan elemen gambar (X1), eleman huruf (X2) dan elemen warna (X3) terhadap story line (Y) diterima. Berdasarkan pengujian hipotesis maka dapat disimpulkan variabel elemen gambar dan elemen warna berpengaruh dalam menjelaskan story line video game. Elemen huruf tidak berpengaruh dalam menjelaskan story line video game. Dalam penelitian ini elemen gambar memberi pengaruh paling besar terhadap story line dengan koefisien regresi 0,305. Secara simultan elemen gambar, eleman huruf dan elemen warna berpengaruh menjelaskan story line video game sebesar 44%.Kata Kunci: desain, box art game, elemen.AbstractThe purpose of this study was to determine the effect of partial and simultaneous image elements, letter elements, and color elements DKV design Box Art Game on the video game story line. This type of research is an explanatory survey. The instrument in this study used a questionnaire with a total sample of 151 gamers who were obtained online through face book social media. The sampling technique uses simple random method by uploading questionnaires to the network network of face book gamers. The data analysis technique used in this study is multiple regression analysis. The research instrument used was tested for its validity and reliability. The linear regression equation using SPSS is obtained: Y = -1,029 + 0,305 X1 + 0,05 X2 + 0,250 X3 + e. Through testing the hypothesis, it was found that there was a partial effect of the image element (X1) and color element (X3) on the story line (Y) received, while the influence of the letter element (X2) on story line (Y) was rejected. The effect of simultaneous image elements (X1), letters (X2) and color elements (X3) on story line (Y) is accepted. Based on hypothesis testing, it can be concluded that the variable image elements and color elements are influential in explaining the story line of video games. The letter element has no effect in explaining the story line of video games. In this study the image element gives the most influence on the story line with a regression coefficient of 0.305. Simultaneously drawing elements, elements of letters and influential color elements explain the video game story line by 44%.. Keywords: desain, box art game, elemen.

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YOKONO, HIKARU. "Construction of story summarization system toward producing coherent summary consistent with story line." Journal of Natural Language Processing 15, no. 5 (2008): 45–71. http://dx.doi.org/10.5715/jnlp.15.5_45.

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Brown, Arthur A. "The Primordial Affirmations of Literature." Janus Head 14, no. 2 (2015): 185–200. http://dx.doi.org/10.5840/jh201514226.

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Stephen Crane’s short story “The Open Boat”—a tale “intended to be after the fact”—affirms Merleau-Ponty’s conclusion that “The perceived world is the always presupposed foundation of all rationality, all value and all existence.” The story dramatizes and reflects on the men’s situation in the world, their inter-subjective experience against the background of non-human nature. In facing the imminent possibility of their own deaths as, for each of them, “the final phenomenon of nature,” the men become “interpreters” of what is primary in the human condition. The line between the world of the reader and the world of the story, like the line between consciousness and being, is less a line than a horizon.

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Nefovska-Danilovic, Marija, Mira Petronijevic, and Branko Savija. "Traffic-induced vibrations of frame structures." Canadian Journal of Civil Engineering 40, no. 2 (February 2013): 158–71. http://dx.doi.org/10.1139/cjce-2011-0247.

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Using the spectral element method (SEM), a 2-D numerical model of multi-storey frame structures has been developed. The model has been used to predict traffic-induced vibrations of two, six, and twelve-story concrete buildings measured along the route of a future metro line in Belgrade, the capital of Serbia. Vibration simulations of the six-storey frame match satisfactorily the measured dynamic response. However, there is a difference between numerical simulation and the actual measurements for the two-storey and twelve-story buildings. The results indicate a great potential of the proposed SEM to simulate ground-induced vibrations of frame buildings. However, more complex structural models should be developed to better replicate actual situations.

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Rothman, Laurence S. "A story of a seminal line-shape paper." Journal of Quantitative Spectroscopy and Radiative Transfer 111, no. 11 (July 2010): 1461–62. http://dx.doi.org/10.1016/j.jqsrt.2010.01.034.

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Rowland, Lewis P. "Bookshelf: The Story Behind an Immortal Cell Line." Neurology Today 11, no. 10 (May 2011): 25. http://dx.doi.org/10.1097/01.nt.0000398696.63196.eb.

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Alary, Didier, and Hervé Lambert. "The Myriade product line, a real success story." Acta Astronautica 61, no. 1-6 (June 2007): 223–27. http://dx.doi.org/10.1016/j.actaastro.2007.01.043.

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Dagenais, Andre. "Teaching High School Physics With a Story-Line." Interchange 41, no. 4 (October 2010): 335–45. http://dx.doi.org/10.1007/s10780-010-9134-z.

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Lee, O.-Joun, Eun-Soon You, and Jin-Taek Kim. "Plot Structure Decomposition in Narrative Multimedia by Analyzing Personalities of Fictional Characters." Applied Sciences 11, no. 4 (February 11, 2021): 1645. http://dx.doi.org/10.3390/app11041645.

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This study aims to decompose plot structures of stories in narrative multimedia (i.e., creative works that contain stories and are distributed through multimedia). Since a story is interwoven with main plots and subplots (i.e., primary and ancillary story lines), decomposing a story into multiple story lines enables us to analyze how events in the story are allocated and logically connected. For the decomposition, the existing studies employed character networks (i.e., social networks of characters that appeared in a story) and assumed that characters’ social relationships are consistent in a story line. However, these studies overlooked that social relationships significantly change around major events. To solve this problem, we attempt to use the changes for distinguishing story lines rather than suffer from the changes. We concentrate on the changes in characters’ social relationships being the result of changes in their personalities. Moreover, these changes gradually proceed within a story line. Therefore, we first propose features for measuring changes in personalities of characters: (i) Degrees of characters in character networks, (ii) lengths of dialogues spoken by characters, and (iii) ratios of out-degrees for in-degrees of characters in character networks. We supposed these features reflect importance, inner/outer conflicts, and activeness of characters, respectively. Since characters’ personalities gradually change in a story line, we can suppose that the features also show gradual story developments in a story line. Therefore, we conduct regression for each feature to discover dominant tendencies of the features. By filtering scenes that do not follow the tendencies, we extract a story line that exhibits the most dominant personality changes. We can decompose stories into multiple story lines by iterating the regression and filtering. Besides, personalities of characters change more significantly in major story lines. Based on this assumption, we also propose methods for discriminating main plots. Finally, we evaluated the accuracy of the proposed methods by applying them to the movies, which is one of the most popular narrative multimedia.

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Cochran, Robert. "Ride It like You're Flyin': The Story of "The Rock Island Line"." Arkansas Historical Quarterly 56, no. 2 (1997): 201. http://dx.doi.org/10.2307/40023678.

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Azizah, Aida, and Leli Nisfi Setiana. "KARAKTER TOKOH DALAM NOVEL LANGIT MEKAH BERKABUT MERAH KARYA GEIDURRAHMAN AL-MISHRY BERBASIS NILAI-NILAI KARAKTER RELIGIUS DAN IMPLIKASINYA DALAM PEMBELAJARAN SASTRA DI MADRASAH ALIYAH." Refleksi Edukatika : Jurnal Ilmiah Kependidikan 7, no. 1 (December 17, 2017): 78–86. http://dx.doi.org/10.24176/re.v7i1.1815.

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Novel Langit Mekah Berkabut Merah work is a novel that has a lot of wisdom about religiousvalues. Religious value of these figures seen in the overall story is actualized through the elementsof the literary works of the builders. Author of the novel tells the story using language that is easyto understand and use easily understandable story line. The background of the story in the novel isparallel to the background of the life of the students, so that religious values can be utilized in theteaching of literature in class XII SMA / MA.

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Xu, Feifei, Xinpeng Wang, and Shanlin Zhou. "Story Generation Using Knowledge Graph under Psychological States." Wireless Communications and Mobile Computing 2021 (April 27, 2021): 1–12. http://dx.doi.org/10.1155/2021/5530618.

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Story generation, aiming to generate a story that people could understand easily, captures increasing researchers’ attention in recent years. However, a good story usually requires interesting and emotional plots. Previous works only consider a specific or binary emotion like positive or negative. In our work, we propose a Knowledge-Aware Generation framework under Controllable CondItions (K-GuCCI). The model assigns a change line of psychological states to story characters, which makes the story develop following the setting. Besides, we incorporate the knowledge graph into the model to facilitate the coherence of the story. Moreover, we investigate a metric AGPS to evaluate the accuracy of generated stories’ psychological states. Experiments exhibit that the proposed model improves over standard benchmarks, while also generating stories reliable and valid.

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Khokhlov, A. N. "The Immortality of the Germ Line: The Neverending Story." Moscow University Biological Sciences Bulletin 74, no. 4 (October 2019): 189–93. http://dx.doi.org/10.3103/s0096392519040059.

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Williams, Jeffrey, and G. W. Stephen Brodsky. "God's Dodger: The Story of a Front Line Chaplain." Journal of Military History 58, no. 1 (January 1994): 163. http://dx.doi.org/10.2307/2944206.

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Freedman, D. P. "Story Line: Exploring the Literature of the Appalachian Trail." Interdisciplinary Studies in Literature and Environment 6, no. 1 (January 1, 1999): 166–67. http://dx.doi.org/10.1093/isle/6.1.166.

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Philippon, Dan, and Ian Marshall. "Story Line: Exploring the Literature of the Appalachian Trail." South Atlantic Review 64, no. 1 (1999): 162. http://dx.doi.org/10.2307/3201771.

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Sobeih, Soraia Mohamed. "The Role of Identity of an Animated Character in the Story Line." Academic Research Community publication 1, no. 1 (September 18, 2017): 8. http://dx.doi.org/10.21625/archive.v1i1.130.

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The identity of an animated character means who he really is, or what are the characteristics that would never change? How the character sees himself and how others see him? It includes shape, color, race, beliefs, and choices in life.The more the storyteller gives identity to his animated character, the more it is sound and convincing. In that sense, it touches the audiences’ hearts as they feel its pain or happiness. In other words, they are involved in the story and united with the character.As the story begins, characters and settings are presented before the audience to get an overview of the characters’ identity. Then, more elements are to show up, like the conflict, the problem that needs to be solved and the rising actions, which are series of events that lead to the high main point or the climax. It is considered as a turning point of the story after which the falling actions come. The falling actions are events and complications that start to loosen the plot. Gradually, the solution shows up as the story ends either happily or tragically.Throughout the story line, these groups of events that form the story sometimes account for the appearance of an identity crisis that impact the character. It means that he is uncertain of his feelings about himself; he gets confused about what type of person he is or what is the true purpose of his life. It always takes making an existential that plays a big role in the story line.The identity crises appear in Toy Story 1995 to Buzz light-year when he discovers the truth of himself; that he is a toy, not a space ranger as he thought before. This made him give up hope of returning anywhere. It took him sometime to accept the fact of himself after seeing how Woody struggles to return them both to Andy. He tries his best to save his friend and return home safely, as being dictated by the role’s vision.In Toy Story 2 1999, the identity crises appear to Woody when Buzz strikes him with the fact that he is not a collector’s item. He is a child’s play thing, he is a toy. Then, a decision has to be made to return to Andy, and the struggles start with the Prospector.In Toy Story 3, 2010, the identity crises appear to Woody at the end of the story. He was suffering to be away from all his toy family that will be left in the attic, so he wrote on the box to be donated and he attached himself in, with them hoping that Andy gives him a very warm goodbye and leaves him with the rest of the toys in good hands.In Finding Nemo 2003, the identity crises for Nemo is when he chooses to touch the boat, even though it is a dangerous thing, just to prove to his father and his friends that he is brave. It led him to fall in the capture and to meet other fish Gill in

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Agapkina, Tatyana A. "Parallels in the verbal magic of Eastern and Southern Slavs: the “life” of things as a charm plot." Slavic Almanac, no. 3-4 (2020): 225–44. http://dx.doi.org/10.31168/2073-5731.2020.3-4.3.01.

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The article is devoted to the similarities between the Balkan-Slavic and the Ukrainian charms, namely, to the story, involving the “life” of things, or so-called operational plot. Parallels with the Balkan-Slavic charms that contain а “life story” of things (foodstuff s or plants) are found not throughout the entire space of the Ukrainian ethno-dialectal zone, but along the southwest-northeast line: in the Hutsul region and Bukovina, in Podolia and the Dnieper area, as well as in the Left-Bank Ukraine. There are four versions of this plot presented in charms: “the story of bread”, “the story of fl ax / hemp”, “the story of cheese / butter” and “the story of fi sh”. The article notes that all four versions are known both among the Balkan Slavs and the Ukrainians, although “the story of cheese” dominates in the Balkans, while “the story of bread” prevails in Ukraine. It is shown that in the Balkan-Slavic and Ukrainian traditions the coinciding plot elements of the charms, containing “life stories” of foodstuff s or plants, appear not as atomic facts, but as elements of a system. In particular, this is refl ected in the fact that the functions of individual versions of texts and the features of their poetics coincide.

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Perera, Suvendrini. "A Line in the Sea." Race & Class 44, no. 2 (October 2002): 23–39. http://dx.doi.org/10.1177/0306396802044002973.

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In the week before the attacks in the US 'changed the worldforever', a Norwegian container ship, the MV Tampa, rescued almost four hundred asylum seekers from asinking boat off the Indonesian archipelago. The captain sailed towards Australia, but was refused permission to land by a government declaring that this nation would 'not be held hostage by our own decency'. In the face of UN and international disapproval, the Tampa was boarded by armed troops and forcibly moved out of Australian waters. During the following week, capitalising on widespread general hostility towards Afghanistan and Islam in the wake of the September 11 attacks, the Australian parliament rushed through legislation implementing unprecedented measures to keep out asylum seekers. The Australian government's actions chillingly foreshadowed a wider western reaction. In May 2002, Britain's prime minister Blair proposed a series of initiatives strikingly similar to those adopted by Australia, including the use of the Royal Navy to intercept and turn back asylum seekers and the internment of refugees off-shore on large ships leased by the government. The story of the Tampa, then, is part of an unfolding global story.

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Nortj, L. "Die Abraham-motief in Matteus 1-4." Verbum et Ecclesia 19, no. 1 (August 6, 1998): 46–56. http://dx.doi.org/10.4102/ve.v19i1.1153.

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The Abraham-motive in Matthew 1-4 Matthew’s indication of Jesus as the Son of David and the Son of Abraham develop along two lines in Matthew’s story. Firstly, is Jesus portrayed as the Son of David, who represents the “Jewish” line in the story. And secondly Matthew is using Jesus as Son of Abraham to develop the “gentile” line in the story. Matthew uses the Abraham motives in chapters 1-4 to illustrate the inclusion of the gentiles into the new people of God. Under discussion are the gentile women in the genealogy and other possible motives that reflect the story of Abraham.

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Leska, L. P. "Mythology of object world in Maxim Garetsky’s works." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 3 (August 6, 2020): 345–54. http://dx.doi.org/10.29235/2524-2369-2020-65-3-345-354.

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A hypothetical proposition is stated that mythologization of objects in M. Garetsky’s works is a way to harmonize the surrounding world and man in it, and also a precise picture of the reality, a sign of changes and calamities.In accordance with M. Garetsky’s mythopoetical concept, the tragic spirit of human life is vivid in simultaneous personi fication of objects and objectivation of people; it is revealed in such moments as hiding face (“Winter”), or partial identification of man with clothes (“Guiet current”). Complete and irrevocable objectivation of man is presented by the author in the story “Winter” and the novel “Guiet current”.In the story “Winter” the central place, or a scene where objects attack man is a mythological image of a house, which fulfills various content and conceptual functions in the author’s mythmaking. On the one hand, the house is a protective hearth, which gives man complete protection, like in the stories “In a Sauna”, “Native Root”. On the other hand, it is a place of uncomfortable and constrained human life.It is stressed that in M. Garetsky’s descriptions we see a transition from life precision to dethronement of social myth. There is a similar fine line between life plane and myth in the story “In a Sauna”, but this work, unlike the story “Tar”, depicts not destruction of myth, but its growth and reinforcement, which is symbolically revealed in sentences and in magical charms (the story “Winter”).

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Greenhill, Robert G. "Book Review: We Were Different: The Tasman Express Line Story." International Journal of Maritime History 17, no. 1 (June 2005): 323–25. http://dx.doi.org/10.1177/084387140501700131.

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Boisseron, Bénédicte. "A Creole Line of Escape: A Story of Becoming-Dog." Contemporary French and Francophone Studies 10, no. 2 (April 2006): 205–16. http://dx.doi.org/10.1080/17409290600560310.

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Chaiyasit, Kamon, and Viroj Wiwanitkit. "Underlying metabolic syndrome, cancer and brain infarction: The story line." Diabetes & Metabolic Syndrome: Clinical Research & Reviews 6, no. 4 (October 2012): 214. http://dx.doi.org/10.1016/j.dsx.2012.08.015.

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Berton, Marco, and Emilia Järvelä. "Peaked sources and narrow‐line Seyfert 1s: A love story." Astronomische Nachrichten 342, no. 9-10 (November 2021): 1066–70. http://dx.doi.org/10.1002/asna.20210036.

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Liehr, Patricia. "Using Story Theory to Guide Nursing Practice." International Journal of Human Caring 4, no. 2 (March 2000): 13–18. http://dx.doi.org/10.20467/1091-5710.4.2.13.

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Attentively embracing story, a middle range nursing theory, is presented and its use in practice is discussed. The relevance of story path, represented by story-line and markings, is made explicit in the practice application, which describes using the theory with a person who has heart disease. The healing potential embedded in the human story is made explicit through the theory of attentively embracing story. Practicing with the theory is a healing art that promotes the transformational and self-transcendent potential of people.

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León, Carlos, Pablo Gervás, Pablo Delatorre, and Alan Tapscott. "Quantitative Characteristics of Human-Written Short Stories as a Metric for Automated Storytelling." New Generation Computing 38, no. 4 (October 14, 2020): 635–71. http://dx.doi.org/10.1007/s00354-020-00111-1.

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AbstractEvaluating the extent to which computer-produced stories are structured like human-invented narratives can be an important component of the quality of a story plot. In this paper, we report on an empirical experiment in which human subjects have invented short plots in a constrained scenario. The stories were annotated according to features commonly found in existing automatic story generators. The annotation was designed to measure the proportion and relations of story components that should be used in automatic computational systems for matching human behaviour. Results suggest that there are relatively common patterns that can be used as input data for identifying similarity to human-invented stories in automatic storytelling systems. The found patterns are in line with narratological models, and the results provide numerical quantification and layout of story components. The proposed method of story analysis is tested over two additional sources, the ROCStories corpus and stories generated by automated storytellers, to illustrate the valuable insights that may be derived from them.

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Latif, Abdul. "KISAH PEMBANGKANGAN IBLIS DALAM AL-QURAN." ALQALAM 34, no. 1 (June 30, 2017): 165. http://dx.doi.org/10.32678/alqalam.v34i1.739.

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This paper aims to show the stylistics of devil’s disobedience story in Al-Quran . There are seven stories in seven chapters of al-Quran which talk over devil’s disobedience story. This stylistics of devil’s disobedience narratives is analysed by the observation of al-Quran stories within stylistics frame. There were four stylistics which the writer found in this paper. First, the stylistics of this story used four exposure techniques, they were a story began by climax scene, a story began with no preface, a story described by human imagination involve, and a story with insertion of religiousness advices. Second, presentation of story’s elements in this story served all of elements within a story, they were prominent figure, phenomenon, and dialogue. Third, there were three kinds of repetition happened in this story, they were a repetition of story line with the different character, a repetition of story with the different chronology, and a repetition of story with the different language style. Fourth, the art of story description in this story could arouse our mind and psychomotor. Keywords: Stylistics, Devil’s Disobedience Story, Seven Stories

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Kriukova, M. I. "“Apocalyptic” Ekphrasis (I. Bunin – A. Grin – B. Yulsky)." Vestnik NSU. Series: History and Philology 21, no. 2 (March 1, 2022): 100–107. http://dx.doi.org/10.25205/1818-7919-2022-21-2-100-107.

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Purpose. The article is devoted to the story “Kaigorodov’s Line” by B. М. Yulsky, a writer of the Far Eastern emigration. The relevance of the work is determined by the increased interest in the work of Russian writers, who created their works outside of their homeland, but, nevertheless, reflected the traditions of Russian literature, as well as absorbed the culture of the environment. The purpose of the article is to consider the features of ekphrasis in Yulsky’s story “Kaigorodov’s Line”, to identify its functions.Results. The methodological basis of the article is determined by the unity of the historical-literary, comparative and structural approaches. The article analyzes the intertextual typological echoes with I. Bunin and A. Grin’s stories. In the texts of the writers of the first half of the 20th century, the plot is centered on an artist who has come through the trials of life and who is craving to create a masterpiece. The ekphrasis in Yulsky’s story has a plot-forming function. It is noted that the text contains two ekphrasises: first, the artist draws a picture in his imagination, and the second one is his creation, as a reflection of the soul, tormented by his difficult fate.Conclusion. It is concluded that the ekphrasis in Yulsky’s work is not only a separate description of the image in the text. The picture turns the course of events and defines the character’s fate. The ekphrasis in the story “Kaigorodov’s Line” is associated with the motive of madness and death.

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Sona, Damini, Devendra Kumar Kunjam, Prashant Kumar Gupta, Satyavati Rathiya, and Lowkesh Chandravanshi. "Ayurved for Skin Disorders, A Clinical Success Story of Guttate Psoriasis." International Journal of Ayurvedic Medicine 12, no. 1 (March 31, 2021): 153–58. http://dx.doi.org/10.47552/ijam.v12i1.1816.

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Psoriasis is a chronic inflammatory papulo-squamous disorder of skin characterized by sharply defined erythematous-squamous lesion varying from pinpoint to large plaque, affecting 1-3% of population worldwide. Psoriasis is well known for its course of remission and exacerbation. Here we report a case of 14-year-oldmale 42 kg weight, rotund physique child, diagnosed as Guttate psoriasis, Guttate psoriasis can be closely correlated with Ekkushtha (one of subtype of Kustha) in Ayurveda. Management of patient with, shodhan therapy (Biological purification of body) like mriduvirechan (Mild laxative) and shaman therapy (conservative therapy) showed remarkable improvement in patient condition. There is appreciable psychological health impairment found in patient, which adversely affect patient quality of life. This case study shows that Ayurveda line of treatment (Shodhan and shaman) gives significant result in the treatment of Guttate psoriasis.

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Chakraborty, Keya. "William Somerset Maugham’s The Ant and the Grasshopper: The Literary Implication of Unmasking George’s True Nature." Shanlax International Journal of Arts, Science and Humanities 7, no. 4 (April 1, 2020): 8–12. http://dx.doi.org/10.34293/sijash.v7i4.2337.

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In his 1938 autobiography, The Summing Up, Maugham makes a direct and lucid interpretation of how he observes life and its values as he says, “For art, if it is to be reckoned as one of the great values of life, must teach men humility, tolerance, wisdom, and magnanimity.” (1945, 303). The conventional way of teaching and adopting ‘value’ is shattered in Somerset Maugham’s short story The Ant and the Grasshopper. An autobiographical undertone clears the mystery of his intention as the story begins in the middle of a conversation between the writer himself and George, one of the characters in the story. Using literary devices like image, irony, and allusion, Maugham exerts his philosophy of defining value in the manner of unmasking the shell. Maugham rails against the labeled truth by alluding to Aesop’s fable. By reversing the story line, he showcases the paradoxes of life. The multifaceted variations of the term ‘Truth’ are denoted in a rather amusing way through the depiction of the character Tom Ramsay. Influenced by Baroch Spinoza’s ethics, Maugham inverted the labeled definition. The implications made through the story endorse the freedom of the individual to be true to his or her nature. By weaving a dramatic and well-knit plot, Maugham intends to exhort lessons regarding human nature and circumstance to their nature and situations. The dramatic twist shown by inverting Aesop’s fable makes it an exemplary tale about individual tolerance, altruism, and understanding, which are, according to Maugham, the values to be nurtured and brought to perfection. This study attempts to show how George’s true nature and feelings are unveiled to expose the hypocrisy prevalent in the cosmopolitan urban world.

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Frleta, Tomislav, and Zrinka Frleta. "Person and Personality – Dichotomy and the Proper Name." European Journal of Language and Literature 6, no. 2 (October 15, 2020): 50. http://dx.doi.org/10.26417/402nbu13n.

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In this article we will try to show how the binary structure of the novel is also contained in many small elements that can be found throughout the story. The main story line is told in two main parts: Frankenstein’s story and the Creature’s story. We will show how the author uses small dichotomies/binarisms in order to incorporate them in the bigger frame of the divided story. These dichotomies are mostly incorporated in proper names which mainly show the opposite of the character of the person (Victor – the beaten; Felix – the unlucky; Justine – unjustly murdered…).

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Snyman, J. J., and H. P. P. Lötto. "The saving of appearances: Denys Arcand’s Jesus of Montreal." Literator 13, no. 3 (May 6, 1992): 83–92. http://dx.doi.org/10.4102/lit.v13i3.773.

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The film Jesus of Montreal consists of an overlayering of stories presenting in a postmodern way the story (S1) of a group of actors’ attempt at an interpretation (S2) of an old story, the story of Jesus’ life and death (S3). In line with a typical postmodern approach the borders between these parallel narratives are blurred, the various texts become intertexts, the contents of the ‘original’ text are realized in the lives of the actors apparently without their realizing it. In this contribution the dialectics of Arcand’s postmodern procedure is followed up along two lines: firstly, the strategy of the overlayering of three narratives is uncovered In a second phase, the dialectics of appearance and truth in the overlayering of narratives is discussed.

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Brunger, Alan G. "Life along the Opeongo Line: the Story of a Canadian Colonization Road. By Joan Finnigan." Ontario History 97, no. 2 (2005): 237. http://dx.doi.org/10.7202/1065890ar.

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Kulyapin, Alexander. "Was there Nevsky? Ideology and Poetics of V. M. Shukshin’s Story “Conversations under a Clear Moon”." Philology & Human, no. 2 (July 21, 2021): 115–25. http://dx.doi.org/10.14258/filichel(2021)2-10.

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The article deals with the problematic issues and poetics of Shukshin’s story “Conversations under a Clear Moon”. Despite the fact that the title of the story contains the word “conversations”, there is no truly dialogical relations between the characters. The characters of the story, in fact, speak different languages. They need an interpreter, since they themselves do not understand interlocutor's speech well. The emergence of a language barrier between compatriots is natural. This is a consequence of the story’s character loss of identity: national, social and even gender. The writer focuses on the features of “non-Russianness” in the appearance, speeches, mentality of the main character - old man Baev. The process of losing national identity goes so far for Baev that he even puts forward an absurd hypothesis about his American origin. The interlocutor of Baev, Marya Selezneva, generally loses not only social, but also gender identity. The artistic world of the story “Conversations under a Clear Moon” is largely simulative. It is so illusory that the characters in the story cannot distinguish day from night, the moon from the sun. The line between (pseudo)life and death is practically erased in the story.

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AULT, ASHLEY. "A Symbol for Women's Progress: A Rhetorical Analysis of Hillary Rodham Clinton's Story as America's Story." Michigan Academician 42, no. 1 (September 1, 2015): 119–30. http://dx.doi.org/10.7245/0026-2005-42.1.119.

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ABSTRACT Hillary Rodham Clinton's life has been full of success, but the success has not been without difficulties. As a lawyer, she displayed her legal prowess by maintaining an aggressive and authoritative stand on upholding justice in society. This approach was effective for a lawyer; however, it was deemed disturbing, from the view of the public, in her role as first lady. As first lady, Clinton dealt with conflicting ideals regarding her manner and power in politics. After her husband's two terms as president, Clinton earned a position as a senator and eventually announced, as well as conceded, her candidacy for the 2008 democratic presidential nomination. As she learned to walk the fine line of gender norms, she became the only first lady to serve in the US Cabinet. Clinton breaks cultural barriers, challenges traditional perceptions, and advocates for women. Using rhetorical analysis and Aristotle's notions of ethos and pathos, I examine Clinton's speech announcing her candidacy for president and her address to the Democratic National Convention. I argue that, using a conversational style, she constructs herself as a symbol of progress within society for women and writes her role in history, while she makes America's story her own story.

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Triandafyllidou, Anna. "The Chernobyl Accident in the Italian Press: A `Media Story-Line'." Discourse & Society 6, no. 4 (October 1995): 517–36. http://dx.doi.org/10.1177/0957926595006004004.

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Ceres Amson, John. "Gregory's meridian line of 1673–74: a St Andrews detective story." BSHM Bulletin: Journal of the British Society for the History of Mathematics 23, no. 2 (May 2008): 58–72. http://dx.doi.org/10.1080/17498430802019804.

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Beijaard, Douwe, Jan van Driel, and Nico Verloop. "Evaluation of story-line methodology in research on teachers' practical knowledge." Studies in Educational Evaluation 25, no. 1 (January 1999): 47–62. http://dx.doi.org/10.1016/s0191-491x(99)00009-7.

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Colloredo-Mansfeld, Rudi. "Space, line and story in the invention of an Andean aesthetic." Journal of Material Culture 16, no. 1 (March 2011): 3–23. http://dx.doi.org/10.1177/1359183510394945.

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Coyne, James C., Howard Tennen, and Adelita V. Ranchor. "Positive Psychology in Cancer Care: A Story Line Resistant to Evidence." Annals of Behavioral Medicine 39, no. 1 (February 2010): 35–42. http://dx.doi.org/10.1007/s12160-010-9157-9.

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ZHAO, Yanqiu, and Xu SUN. "A Comparative Study of Density and Fineness in the Narratives of Chinese and Western Classical Novels." International Journal of Sino-Western Studies 21 (December 9, 2021): 189–205. http://dx.doi.org/10.37819/ijsws.21.150.

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Density refers to the number of story elements within a narrative of a given piece of writing. Fineness refers to the sufficiency and inherent completeness of the story elements displayed. In comparison, the density of story elements in ancient Chinese novels is higher, and the fineness is lower, while the density of story elements in Western novels is lower and the fineness is higher. This difference partly contributes to the simplicity and refinement of the structure of Chinese novels and the complexity and delicate nature of the structure of Western novels. However, each of these characteristics has its strengths, in line with the national culture and social framework from which the Chinese and Western novels emerged. As such, these elements found in both Chinese and Western novels can appropriately reflect the way of life of their respective societies and the thoughts and feelings of the people therein, both of which are worthy of recognition.

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Indrayati, Refita Ika, Pindi Setyawan, and Acep Iwan Saidi. "Narasi Visual Kematian Pada Ilustrasi Buku Cerita Rakyat Anak Indonesia." Jurnal Budaya Nusantara 2, no. 1 (September 1, 2018): 203–9. http://dx.doi.org/10.36456/b.nusantara.vol2.no1.a1713.

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Folklore used as a tool to transfer life lesson from generation to generation. In the midst of modern children'sbooks that carry moral as a main theme, folklore must comes with a new adaptation to compete with other stories. Thisadaptation forced to change how sensitive theme must be delivered, such as death. This study aims to explore howIndonesian folklore books that narrated death in terms of images, texts, and relationships built between the twoelements. Using content analysis, this research takes an example of story containing subtheme as story line from fourprinted books of Indonesian children â€™s folktales that published between 2015-2017.

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Journal articles on the topic 'Story line'

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