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Dissertations / Theses on the topic 'Theory of narration'
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Miller, Daniel Quentin. "Narrative Theory and James Joyce's "Finnegan's Wake": Voice and Self-Narration in "Night Lessons"." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625593.
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Toenjes, Alan M. "Hebrew narrative theory for proclamation /." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.
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DelConte, Matthew T. "Who speaks, who listens, who acts a new model for understanding narrative /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1055173633.
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Thesis (Ph. D.)--Ohio State University, 2003.Document formatted into pages; contains x, 217 p. Includes bibliographical references (p. 210-217). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 June 3.
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Niblaeus, Frida. "Stories and Dreams, Memories and Secrets : Functions of Narration in Amy Tan's The Hundred Secret Senses." Thesis, Stockholms universitet, Avdelningen för litteraturvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100455.
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The aim of this dissertation is to explore the functions of narration in Amy Tan’s novel The Hundred Secret Senses. The dissertation is divided into three parts: 1 ‘Introduction’, 2 ‘Analysis’ and 3 ‘Conclusion’. After presenting the writings of Amy Tan and my chosen primary literature, I give a brief survey of terms, theories and previous research. Part 2 ‘Analysis’ is presented in an order that corresponds approximately to the chronology of the primary literature, and will be divided into three chapters: 2.1 ‘Explain, Build a Relationship and Reflect’, 2.2 ‘Influence Thinking and Behaviour’ and 2.3 ‘Remember, Unify and Transmit’. Chapter 2.1 has the first half of the novel as its main focus. It is organised mainly after the clarity of the narrator’s voice, i.e. if the narrator shows (e.g. ‘indirect explanation’) or tells (e.g. ‘explicit explanation’), and analyses how narration functions in order to ‘explain’, ‘build a relationship’ and ‘reflect’ on events and other things. Chapter 2.2 elaborates on the narration that takes place before and after the trip to China, an event that divides the novel into two halves. This chapter deals with the function of ‘influence’, which can be seen as a result of the narrator’s authority and is summarised in the section called ‘Steps of Influence’. Chapter 2.3 delves into the functions of narration most visible in the novel’s second half, which takes place in China. The functions of ‘remembrance’, ‘unification’ and ‘transmission’ have many sub-functions in common, which could perhaps be seen as a result of the blurred perspectives in the novel’s plot. Part 3 aims to summarise the results of the analysis. A theme that recurs through the analysis of functions is the relationship and balance of authority between the two characters/narrators. Sometimes a narrator’s authority, or a shift in this balance, is a prerequisite of a function of narration.
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Horvath, Gyongyver. "From sequence to scenario : the historiography and theory of visual narration." Thesis, University of East Anglia, 2010. https://ueaeprints.uea.ac.uk/25603/.
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White, Holly. "Westminster's narration of neoliberal crisis : rationalising the irrational?" Thesis, Edge Hill University, 2017. http://repository.edgehill.ac.uk/9949/.
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The thesis draws upon the work of Antonio Gramsci, Stuart Hall, and Norman Fairclough to analyse Westminster narration of the neoliberal capitalist crisis from 2010-2015. It is argued that Westminster parties sought to ‘resolve’ the crisis by intensifying the neoliberal conditions that caused it. This served the interests of private capital whilst inflicting harm and injustice on the less powerful and less wealthy. The thesis centres on Westminster definers’ discursive strategies of crisis narration, which sought to rationalise their ‘resolution’ and maintain hegemony. This thesis addresses lacunae in the existing literature of elite narration of the crisis in a British context in a number of ways. It is concerned with the comparatively broad scope of Westminster definers’ narration of ‘causes’, responses and proposed responses to the crisis, and the discursive strategies for countering challenges presented by oppositional movements. It contributes an analysis of Westminster’s narration of challenges that began to emerge over the period. This thesis provides a longitudinal study examining the development of Westminster narratives between 2010 and 2015, contributing a detailed analysis of three ‘intense narration moments’: the General Election 2010, the Scottish Independence Referendum 2014, and the General Election 2015. Utilising Fairclough’s framework of critical discourse analysis, it critically analyses a comprehensive data set of 185 texts disseminated by Westminster definers. Texts include televised election debates, radio interviews, manifestos, budget statements, speeches, and posters. The thesis evidences that false, inaccurate, and misleading representations were central, systematic, and ubiquitous to Westminster’s narration of the crisis. It is argued that Westminster: restricted debate within narrow boundaries that excluded non-neoliberal alternatives and reinforced the ‘necessity’ of neoliberal responses. They identified ideologically advantageous but false ‘causes’ of crisis that had concomitant neoliberal responses and favourably structured Britain’s political agenda and shifted debate onto more neoliberal terrain. They operated to generate misunderstanding of Britain’s fiscal position to justify austerity, and constructed neoliberal responses as moral imperatives. Westminster definers countered challenges by representing parties inaccurately, constructing alternatives as unviable and immoral, and reinforcing an element of a challenge’s narrative but adopting a different framing to redirect Britain towards Westminster’s ‘resolution’.
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Haevens, Gwendolyn. "Mad Pursuits : Therapeutic Narration in Postwar American Fiction." Doctoral thesis, Uppsala universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-263167.
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Mad Pursuits: Therapeutic Narration in Postwar American Fiction examines three mid-century American novels—J.D. Salinger’s The Catcher in the Rye (1951), Ralph Ellison’s Invisible Man (1952), and Sylvia Plath’s The Bell Jar (1963)—in relation to the rise and popularization of psychoanalytic theory in America. The study historicizes these landmark novels as representing and interrogating postwar America’s confidence in the therapeutic capacity of narrative to redress psychological problems. Drawing on key concepts from narrative theory and the multidisciplinary field of narrative and identity studies, I argue that these texts develop a multi-layered, formal problematization of therapeutic narration: the narrativization of the self through modes of interpretation based on character action and development. The study, thus, investigates how the texts both critique the purported effectiveness of being healed through narrative means, as well as how they problematize their society’s investment in this method. I propose that the novels ultimately explore submerged possibilities for realizing what I call fugitive selves by creating self-representations that negotiate and exceed the confines of the paradigmatic models of plot and character of the period. In Chapter One, I argue that the ego and pop psychological movements during the postwar era encouraged the American public to define and realize psychological health, success and happiness through narrativized means. I show in Chapter Two how careful differentiation between narrative levels of interpretation in The Bell Jar reveals the novel’s complication of the self created in narrative, with and against the socio-cultural scripts and therapeutic assumptions of the period. Chapter Three concentrates on The Catcher in the Rye’s various methods of de-composing the narrative identity of the subject created through developmental and therapeutic narration. In the final chapter, I read Invisible Man as a satire of postwar psychoanalytic theory and method specifically concerning racialized narrative identities, and as a reflection on a method of enduring psychological illness. The Conclusion brings together several argumentative strands running throughout the dissertation regarding what the novels contrastively reveal about the perils, and even the possibilities, inherent in the narrativizing of the self in early postwar America.
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Chan, Ching-shing. "Rearticulating a politics of recognition : praxis, theory and narration of three Hong Kong intellectuals in public writing /." View abstract or full-text, 2004. http://library.ust.hk/cgi/db/thesis.pl?SOSC%202004%20CHAN.
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Thesis (Ph. D.)--Hong Kong University of Science and Technology, 2004.Includes bibliographical references (leaves 268-276). Also available in electronic version. Access restricted to campus users.
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FitzSimmons, David Scott. "I see, he says, perhaps, on time: vision, voice hypothetical narration, and temporality in William Faulkner’s fiction." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1061234845.
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Macfarlane, Karen E. "The politics of self-narration : contemporary Canadian women writers, feminist theory and metafictional strategies." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0016/NQ44504.pdf.
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Allrath, Gaby. "(En)Gendering unreliable narration : a feminist-narratological theory and analysis of unreliability in contemporary women's novels /." Trier : WVT, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2667925&prov=M&dok_var=1&dok_ext=htm.
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Pettersson, Ulf. "Textmedierade virtuella världar : Narration, perception och kognition." Doctoral thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-29606.
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This thesis synthezises theories from intermedia studies, semiotics, Gestalt psychology, cognitive linguistics, cognitive psychology, cognitive poetics, reader response criticism, narratology and possible worlds-theories adjusted to literary studies. The aim is to provide a transdisciplinary explanatory model of the transaction between text and reader during the reading process resulting in the reader experiencing a mental, virtual world. Departing from Mitchells statement that all media are mixed media, this thesis points to Peirce’s tricotomies of different types of signs and to the relation between representamen (sign), object and interpretant, which states that the interpretant can be developed into a more complex sign, for example from a symbolic to an iconic sign. This is explained in cognitive science by the fact that our perceptions are multimodal. We can easily connect sounds and symbolic signs to images. Our brain is highly active in finding structures and patterns, matching them with structures already stored in memory. Cognitive semantics holds that such structures and schematic mental images form the basis for our understanding of concepts. In cognitive linguistics Lakoff and Johnsons theories of conceptual metaphors show that our bodily experiences are fundamental in thought and language, and that abstract thought is concretized by a metaphorical system grounded in our bodily, spatial experiences. Cognitive science has shown that we build situation models based on what the text describes. These mental models are simultaneously influenced by the reader’s personal world knowledge and earlier experiences. Reader response-theorists emphasize the number of gaps that a text leaves to the reader to fill in, using scripts. Eye tracking research reveals that people use mental imaging both when they are re-describing a previously seen picture and when their re-description is based purely on verbal information about a picture. Mental spaces are small conceptual packets constructed as we think and talk. A story is built up by a large number of such spaces and the viewpoint and focus changes constantly. There are numerous possible combinations and relations of mental spaces. For the reader it is important to separate them as well as to connect them. Mental spaces can also be blended. In their integration network model Fauconnier and Turner describe four types of blending, where the structures of the input spaces are blended in different ways. A similar act of separation and fusion is needed dealing with different diegetic levels and focalizations, the question of who tells and who sees in the text. Ryan uses possible worlds-theories from modal logic to describe fictional worlds as both possible and parallel worlds. While fictional worlds are comparable to possible worlds if seen as mental constructions created within our actual world, they must also be treated as parallel worlds, with their own actual, reference world from which their own logic stems. As readers we must recenter ourselves into this fictional world to be able to deal with states of affairs that are logically impossible in our own actual world. The principle of minimal departure states that during our recentering, we only make the adjustments necessary due to explicit statements in the text.
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Boisvert, Nancy L. "Shards of Glass: Shame and Its Mitigation in Willa Cather's Work." Thesis, Boston College, 2020. http://hdl.handle.net/2345/bc-ir:109007.
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Thesis advisor: Marjorie E. HowesThis work applies current theories of affect to inform an understanding of the role of shame in the process of narration. It begins with a dual-sided hypothesis: experiences of humiliation and its consequence, shame, can initiate and mediate a narrative act, and the narrative process can immediately or over time mitigate and even eliminate the negative feelings of shame. The project particularly draws upon the pioneering affect theories of Silvan S. Tomkins to focus upon the life and written works of Willa Cather. It discovers and traces a poetics of shame as it occurs throughout the narratives she produced over a lifetime. It highlights how the Cathers’ forced migration from Virginia to Nebraska resulted in a loss of class and status as well as alterations in family dynamics. These disruptions created the foundations for her perceived humiliations and the shame that motivated her use of recurrent scenes, characters, narrative resolutions and even the very language she chose. This study emphasizes the usefulness of the application of affect studies for literary criticism and cultural studies
Thesis (PhD) — Boston College, 2020
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Schonfeld, Ida. "Narrating Me and the Discourse of Being Dealt With : Student’s democratic inclusion and execution of personalagency through the self narrative in art and media education." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5637.
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This paper is about how students, specifically those who have become marginalized becauseof neuro psychological divergences, depression and one case of narcolepsy, may, by usingself narration in art and media education, promote agency in order to develop the capability ofself advocating. Children must develop a perspective of themselves within society and itssocial structures in order to participate in the discourses concerning themselves as is theirdemocratic right according to the United Nations Conventions of the Rights of the Child.Educators of art and media are in a position to accommodate the intellectual developmentleading towards a meta perspective, by integrating the autobiographical into the ordinarycurriculum. Learning through storytelling is a method that can be applied in both visual artsand media to this end.The artistic manifestation of this work: seven students who attended Nikeungdom, an alternative high school program which does not lead to a degree, were asked toshare their life stories offering insight into how the autobiographical, narrating the self, can beaccessed and why it can be developmentally meaningful. These stories manifested in anedited audio file in which the students told about their journey through the educational systemand their experiences of performing in ways that do not fit inside “the box”. The audio filewas played as sound graffiti from speakers hidden in a tree outside of Konstfack, theeducational institution I attended. This symbolizes divergent students’ exclusion fromrepresenting themselves within formal institutions. The graffiti, subtle and subversive, is alsomade to be played outside of the Board of Education and the psychological institutions thatare supposed to care for these peoples’ development and wellbeing; their social inclusion. Theinstitutions that are in place to form children’s lives exclude these children’s own voices, theyare not enabled to represent themselves. The fact that there was no audience prepared to takethe time and make the effort to listen to the compilation of stories told by these outsiders wasmeaningful for the work. It was also important that the audio piece was not orchestrated as anextravaganza using showmanship to attract attention. It is the job of the authorities, theinstitutions, the politicians, the teachers and psychologists to listen and hear actively,encouraging social inclusion and self-representation within the governing institutions.
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Wiener, Oliver. "Apolls musikalische Reisen : zum Verhältnis von System, Text und Narration in Johann Nicolaus Forkels "Allgemeiner Geschichte der Musik" (1788-1801) /." Mainz : Are Edition, 2009. http://d-nb.info/99318006X/04.
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Curran, Andrew. "The Effect of Adding Relevant Music and Sound Effects to an Audio-Only Narration: A Three-Treatment Application of Mayer’s Coherence Principle." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1352397100.
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Delale, Sarah. "Diamant obscur. Composition et mise en livre de la narration chez Christine de Pizan." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040164.
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Pour Christine de Pizan, l’écriture et l’interprétation échappent irrémédiablement au vrai ; elles dépendent du vraisemblable et de l’opinion. Comment mener alors le lecteur vers le sens que l’auteur conçoit comme véritable ? Cette étude explore le lien unissant dans les œuvres narratives de Christine l’interprétation, le genre et la forme, comprise comme disposition, comme agencement intellectuel et matériel de la narration. Les manuscrits supervisés par Christine fondent les interprétations, enrichies par l’analyse des manuscrits non originaux et des éditions antérieures au XIXe siècle. De 1400 à 1408, les sept dits, les livres en prose et la Mutacion de fortune illustrent chez Christine deux modèles distincts d’enseignement narratif. Les dits transmettent une leçon implicite : les persona subjectives de l’auteur et du narrateur ne pouvant y servir de garant moral, c’est la disposition qui porte la signification. Le sens naît des concordances, des discordances et des ambiguïtés internes à la forme. Dans les livres en prose, l’auteur caractérise son propos en bien ou en mal, voix narrative et disposition explicitant des sens convergents. Dans ces deux modèles pourtant, l’écriture est toujours un mouvement de résolution : rêvant à dépasser la permanence du doute, elle élabore des procédés narratifs qui orientent a maxima l’interprétation. Le personnage d’auteur, propre à l’identification, devient lui-même une place interprétative proposée au lecteur depuis laquelle reconstruire par empathie une signification perpétuellement réactualisableFor Christine de Pizan, writing and interpretation do not depend on truth but on plausibility and opinion. Considering this, how can the author lead the reader to the meaning he considers as truth? This study explores the connection between interpretation, genre and form in the narrative works of Christine de Pizan – form being understood as a disposition, as the intellectual and material layout of the narration. Manuscripts supervised by Christine form the basis of our study, enriched by later manuscripts and early editions printed before the 19th century. From 1400 to 1408, the seven dits, the prose livres and the Mutacion de fortune reflect two different models of narrative meaning. The dits give an implicit lesson. The author and the narrator’s persona are too subjective to be answerable for the moral sense; the meaning is transmitted by the book’s disposition. Interpretations arise from coherency, incoherencies and ambiguities lying in the text. In the prose livres, the subject is presented as good or evil by the author; narrator and disposition explicitly convey the same meaning. Both models can be characterized as a resolving dynamics: aspiring to go past doubt, the writing contains narrative procedures that frame the interpretation as much as possible. The author’s character itself is constructed to prompt the reader’s empathy and identification; it constitutes a place from which to update a universal meaning
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Norlund, Sara. "The Lord of the Rings Through the Lens of Narratology : A Narratological Analysis of J. R. R. Tolkien's Masterpiece." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-32446.
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The aim with this essay is, through the lens of narratology, to study J.R.R. Tolkien’s The Lord of the Rings, and find as many examples of different narratological aspects as possible. These narratological aspects will then be presented in a thorough analysis. Furthermore, the difference in narratological theory between realistic and unrealistic literature is highlighted. The aim is also to try and find out whether the narrative structure might have influenced the novel’s popularity among its numerous readers. The analysis shows that the primary narrator is omniscient, the novel is well structured with good descriptions of the settings and well depicted portrayals of the characters. The analysis also shows that time and space are equally as important as in a classical work of fiction. Moreover, it is evident that the narrative structure is an essential aspect of the success and longevity of the novel, in which the narration and the characterizations are vital. The analysis also highlights the unrealistic features of the novel.
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Andréasson, Helén. "Det muntliga språkets status i skolan : Inriktning mot grundskolan årskurs Förskoleklass-3." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-43720.
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Syftet med mitt examensarbete är att undersöka vilken status den muntliga kommunikationen har i klassrummet. För att belysa detta har jag intervjuat sex verksamma lärare inom grundskolans lägre åldrar. Jag är nyfiken på hur de betraktar muntlig kommunikation, hur de ser på sitt arbete med att utveckla och stärka det muntliga språket hos eleverna, och vilken inställning de har till muntlig kommunikation i jämförelse med skriftlig kommunikation. Undersökningen är kvalitativ och ett sociokulturellt perspektiv har använts som teoretisk utgångspunkt, vilket utmärks av att lärande och utveckling tar form i kommunikation med andra individer. Kursplanen för svenska i årskurs 1-3 belägger att arbete med den muntliga förmågan är grundläggande för varje människas identitet, sociala trygghet och lärande, och bör därför vara en stor del av undervisningen. Dock förefaller den ha en underordnad ställning i förhållande till läs- och skrivutvecklingen. Resultatet visar att lärarens kunskapssyn och attityd till det talade språket, är en avgörande faktor för mängden muntlig kommunikation i klassrummet. Lärarna är positivt inställda till kommunikation i undervisningen och arbetar aktivt för att utveckla ett resonerande bland eleverna, genom att förespråka en positiv gruppdynamik och ett gott socialt klassrumsklimat i syfte att stärka alla elever och deras vilja till att våga tala.The aim of this study is to shed light on the status of oral communication in school. I am interested in examining how teachers define oral communication, how they perceive their work to develop and strengthen the oral language of the pupils, and their attitude to oral communication in comparison to written communication. The study is qualitative and a socio-cultural perspective has been used as a theoretical basis, which is characterized by learning and development in interaction between individuals. The syllabus for Swedish in grades 1-3 stresses oral ability as fundamental to every human identity, social security, and therefore states that it should be a big part of teaching. Contrarily, it appears that the oral ability stands subordinate to writing skills. The results of my investigation shows that a teacher's approach to and knowledge of oral ability is an essential factor in the amount of oral communication in the classroom. The teachers interviewed are in favor of communication in teaching and are actively working to develop a reasoning among students, by advocating a positive group dynamics and a good social climate in order to strengthen all the students and their willingness to dare speak.
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Edvardsson, David. "Atmosphere in care settings : Towards a broader understanding of the phenomenon." Doctoral thesis, Umeå : Institutionen för omvårdnad, Univ, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-406.
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Smith, Karen Mary. "In momentum : the navigation, narration, and negotiation of continuing professional development by mid-career artists in south west England." Thesis, University of Plymouth, 2010. http://hdl.handle.net/10026.1/305.
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This thesis explores the Continuing Professional Development (CPD) of mid-career artists in England and the South West of England in particular during 2000 to 2010. It identifies what their needs are and asks what CPD means to them; how they navigate their careers through their practice; how they articulate their needs; and how they negotiate to fulfil those needs. It examines to what extent the providers’ thinking about, and provision of, CPD in the region is aligned with the needs of the artists themselves. The individual narratives of artists are represented at the centre of this research. The research was developed in collaboration with University of Plymouth and the CPD agency, ArtsMatrix Ltd. Research methods used to collect data included extended dialogues with the artists Alyson Hallett, Mariele Neudecker, Helen Poynor and Phil Smith, via a series of walking interviews, using walking as an ethnographic research tool. By walking I engaged with a literal momentum of movement paralleling the physical and theoretical momentums of the artists’ practices. Policy and literature reviews; group interviews; artist interviews; desk-based research; observation and attendance at artist-led seminars and practice groups were also used. The research contrasts two CPD Schemes: The Contemporary Craft Fellowship Scheme, and The Artist as Cultural Agent: DIY. The thesis includes a policy and provision review of CPD literature in the UK and South West of England over the past ten years; a mapping of South West CPD provision for artists; and the identification and application of relevant theoretical and critical approaches to place, space, language and momentum in order to consider CPD provision in relation to the articulation, situation and concept of a career. This thesis argues that the language of CPD can constrain as much as enable artists’ development; that the terms “mid-career” and “South West” are open to contestation and can affect provider conceptualisations of artists in the region; and that artists need professional development throughout their careers but may not name it as such. I advocate for policy and provision to understand artists’ need to be supported “throughout” their practices rather than at certain points in a career, and advocate walking as both a research method and as one of a number of facilitative practices for those who provide CPD with or for experienced artists. I also advocate for artist-led CPD initiatives and an administrative support agency for artists.
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Sör, Sara. "Främjande av berättande i förskolan : En studie om förskollärares strategier för att främja berättande." Thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-56612.
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The purpose of my study was to find out what strategies educators use in preschool to promote narrative, both regarding the educators themselves and the children's narrative. This I wanted to find out by interviewing preschool teachers regarding how they feel that the preschool's activities and their actions promote the narrative, as well as the materials and environments used for this purpose. The method I used in the study was semistructured interviews. Participation was five respondents, all preschool teachers. The interviews were recorded with the respondents' consent. The result shows that the pre-school teachers in the study build different environments, create cozy spaces and specific reading lanes to promote the story. Even the light can be used to amplify the story. The results show that strategies used by the preschoolers to listen to children's stories are to ask questions about what the children are saying, follow-up questions based on the story, and to relate children's stories to what's happening in the day's activities. This is stated by all respondents as important in promoting children's own stories. Preschool teachers state that they use the voice, body and eye contact with the children, to show that they actively listen and that what the child is telling is important and priority.Syftet med min studie var att ta reda på vilka strategier pedagoger använder sig av i förskolan för att främja berättande, både gällande pedagogerna egna samt barnens berättande. Detta ville jag ta reda på genom att intervjua förskollärare gällande hur de anser att förskolans verksamhet och deras agerande främjar berättandet, samt vilka material och miljöer som används för detta ändamål. Metoden jag i studien använde var semistrukturerade intervjuer. Deltagande var fem respondenter, alla förskollärare. Intervjuerna spelades med respondenternas samtycke in. Resultatet visar att förskollärarna i studien bygger upp olika miljöer, skapar mysiga rum och specifika läshörnor för att främja berättandet. Även att ljuset kan användas för att förstärka berättandet. Resultatet visar att strategier som förskollärarna använder vid lyssnande till barnens berättelser är att ställa frågor om det barnen berättar, följdfrågor utifrån berättandet samt att relatera barnens berättelser till det som händer inom verksamheten under dagen. Detta förs fram av alla respondenter som viktigt i främjandet av barnens egna berättande. Förskollärarna uppger att de använder rösten, kroppen samt har ögonkontakt med barnen, för att visa att de aktivt lyssnar och att det barnen berättar är viktigt och prioriterat.
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Erlandsson, Niklas. "ANIMAL QUALIA AND NON-ANTHROPOCENTRIC NARRATION IN BARBARA GOWDY’S THE WHITE BONE : PROBLEMATIZING NONHUMAN EXPERIENTIALITY THROUGH ENVISIONMENTS IN THE EFL CLASSROOM." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104002.
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This thesis examines nonhuman phenomenological experiences, communication, and sensory perception in Barbara Gowdy’s The White Bone. Drawing on literary and pedagogical theories by Roman Bartosch, Monika Fludernik, Marco Caracciolo, David Herman, and Judith Langer, the thesis argues that Gowdy’s novel employs narrative strategies and devices that involve nonhuman experientiality evoked from sensorial configurations, narration, and textual cognitive and embodied experiences. These represented experiences disrupt human primacy by establishing a disorientation that challenges the anthropocentric bias in the novel and decenters the human reader. Moreover, the thesis offers suggestions for using the novel in conjunction with envisionment building to discuss animal alterity and anthropocentrism in the Swedish EFL classroom.
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Emig, John David. "Narrative versus traditional journalism: Appeal, believability, understanding, retention." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2307.
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Narrative journalism has enjoyed a resurgence of popularity in mainstream daily newspapers in the United States during the last decade. This popularity has encouraged many journalistic experts to proclaim that narrative journalism is well-liked by readers and may well become the savior of daily newspapering. This study attempts to determine reader preferences in four areas : appeal, believability, comprehension, and retention.
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Rossi, Raffaello. "Ontologies du sujet. Proust, Joyce et Kafka narrateurs modernistes." Thesis, Paris Est, 2016. http://www.theses.fr/2016PESC0034/document.
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Cette thèse se propose d’éclaircir des aspects communs au développement des genres narratifs dans la phase du modernisme européen autour de la Première Guerre mondiale à travers l’analyse comparée des œuvres et des projets littéraires de Marcel Proust, Franz Kafka et James Joyce. La démarche comparatiste se construit autour d’une réflexion sur les fonctions de la littérature dans le cadre de la modernité et du rapport au passé culturel, de la transformation des différentes instances subjectives opérant au niveau de l’autoreprésentation de l’écrivain et des personnages, ainsi que des différents aspects de la crise, de sa problématisation et enfin des transformations de la notion d’expérience dans sa configuration narrative. Une pluralité de méthodes et d’approches théoriques en est venue à s’imposer, allant de l’histoire des genres littéraires à la critique philosophique, de la perspective sociologique sur les processus de transformation opérant à l’échelle globale jusqu’aux propositions les plus récentes dans le champ des études modernistes. Chaque pôle thématique est ainsi traité selon sa spécificité mais aussi comme un élément paradigmatique commun aux auteurs examinés, utile à la compréhension du modernisme narratif. L’hypothèse à la base du présent travail concerne donc un lieu commun de la critique contemporaine, à savoir l’idée que la littérature au XXe siècle est marquée par une discontinuité nette face aux pratiques narratives du siècle précédent. Quelques fondements de ce principe sont remis en question, notamment concernant les concepts d’autonomie esthétique et celui de réalisme. Nous cherchons à comprendre de quelle manière ces idées, développées au cours du XIXe siècle, fournissent au modernisme les critères de vérité en lui permettant de créer une nouvelle perspective existentielle de l’œuvre comme explication subjective du monde, que nous proposerons d’appeler « ontologie du sujet »This research project focuses on some aspects in the development of modernist narratives before and immediately after World War I, through the analysis of literary projects and works by Marcel Proust, James Joyce and Franz Kafka. The comparison between these three authors is based on topics such as the function of literature in modern context and its relationship to cultural past ; the innovation regarding subjectivity in fiction, from the self-representation of the writer to the creation of characters ; the various aspects of crisis in the narrative configuration of experience, as well as the broadening of its signification.Such a framework required a wide scope in theoretical and methodological approaches, going from the history of literary genres to sociology, from philosophical views to the latest propositions in the field of Modernist Studies. Each one of the three thematic poles of the research is thus treated according to its specificity, but also as part of a common paradigm, which may be useful to a better understanding of a cultural phenomenon such us modernist narratives, which has not been completely historicized yet.The fundamental hypothesis of the entire research is thereby related to a common principle in literary criticism : the idea that the 20th century is marked by general discontinuity with the aesthetics belonging to the previous century. We question some of the theoretical foundations to this principle, especially regarding the perception of the revolt against the aesthetics of Symbolism and Naturalism, and proceed by trying to understand how categories such as that of aesthetic autonomy and realism are transformed and revitalized by the authors, becoming the inherited criteria of truth allowing the modernist work of narration to turn itself into a subjective description of the general sense of being, or as what we call it here, an «ontology of the subject»
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Ericsson, Calina. "Från teckning till färdig produktion : en studie av storyboards inom spelfilm och animerad film." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31172.
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In this thesis I focus on the artistry and essential work, behind the scenes that storyboard artists have contributed to, since the early days of film history. The works I will focus on are the important phases of pre-planning of feature films and animated films. I theorize on the aspect of what makes a good story and how it is brought to life on the screen, as well as how the story is actually conveyed with this drawings. The hypothesis maintains the importance of storyboards, as well as defining their main purpose. Using a formalistic point of view and historical argumentation, I examine and compare five different directors´ use of storyboards and how their respective collaborative teams (i.e director of photography, production designer and story artists, editors etc) create each film´s particular nuances and cinematic expressions. The source materials used are works by Bill Krohn, Giuseppe Cristiano, Steven D. Katz and Robert Kapsis, amongst others. The films/DVDs for my research have consisted of numerous behind-the-scenes materials and storyboards that have been featured with these filmic references. My conclusion is that the subsequent cinematic expression in each work is already apparent in the early process. This is revealed sometimes in the sketchbook of the director, but most often in the important collaborative work of the whole production team. In this we discover aspects as to what makes an elaborate, filmic masterpiece, facts most often unknown to a normal cinema audience.
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Melkner, Moser Linda. "Character Narrators, the Implied Author, and the Authorial Audience: A Rhetorical and Ethical Reading of Octavia E. Butler’s Parable of the Talents." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-49262.
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This essay considers the interplay between character narrators, the implied author, and the authorial audience in Octavia Butler’s Parable of the Talents. The aim of the study was to investigate how narrators, the implied author, and readers position themselves in relation to each other and in relation to the novel’s ethical dimensions. The theoretical framework is based on James Phelan’s theories on the rhetorical and ethical aspects of fiction. The essay argues that the implied author’s communication to the authorial audience is one of the reasons that the novel, like its prequel Parable of the Sower, often succeeds to function as warnings to the audience of dangers ahead. This is especially true regarding one of the implied author’s most consistent messages to the audience throughout the Parable novels: every choice has consequences, and those consequences need to be considered when we decide how to act and react in different circumstances, both as individuals and as a society.
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Hoffman, Yonina A. "The Voices of David Foster Wallace: Comic, Encyclopedic, Sincere." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1565611733072015.
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Stephenson, Susan Jane. "Narrative, self and political theory." Thesis, University of Southampton, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242510.
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Louchart, S. "Emergent narrative : towards a narrative theory of virtual reality." Thesis, University of Salford, 2007. http://usir.salford.ac.uk/14894/.
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The recent improvements and developments on Intelligent Agents (IA), Artificial Intelligence (AI) and 3D visualisation, coupled with an increasing desire to integrate interactivity within virtual spaces bring concerns in regard to the articulation of narratives in such environments.
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Trinchero, Beth. "Counter Narrating the Media’s Master Narrative: A Case Study of Victory High School." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/261.
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Since the publication of A Nation at Risk (National Commission on Excellence in Education, 1983), Berliner and Biddle (1995) have argued media have assisted leaders in creating a “manufactured crisis” (p. 4) about America’s public schools to scapegoat educators, push reforms, and minimize societal problems, such as systemic racism and declining economic growth, particularly in urban areas. The No Child Left Behind (NCLB) Act (2001) functions as an important articulation of this crisis (Granger, 2008).
Utilizing the theoretical lenses of master narrative theory (Lyotard, 1984), Critical Race Theory (Delgado & Stefancic, 2001), and social capital theory (Bourdieu, 1986; Coleman 1988), this study employed critical discourse analysis (Reisigl & Wodak, 2009) to unmask the mainstream media’s master narrative, or dominant story, about Victory High School (VHS), which was reconstituted under the authority of the NCLB Act (2001). Findings revealed a master narrative that racialized economic competition, vilified community members, and exonerated neoliberal reforms.
Drawing on the critical race methodology of counter-narratives (Yosso, 2006), individual and focus group interviews with 12 VHS teachers, alumni, and community elders illustrated how reforms fragmented this school community, destroying collective social capital, while protecting the interests of capitalism and neoliberalism.
By revealing the interests protected by the media’s master narrative and beginning a counter-narrative voiced by members of the community, this study contributes to recasting the history of the VHS community, to understanding the intersections between race and class in working class communities of color, and to exposing the impact of neoliberal educational reforms on urban schools.
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Lu, Andong. "Narrative space : a theory of narrative environment and its architecture." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611784.
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Wollam, Ashley J. "Discovering the Narrator-Ideal in Postmodern Fiction." Marietta College Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1210788218.
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Clark, Maxwell Haus. "Discovering Orientation between Theory and Narrative." The University of Montana, 2010. http://etd.lib.umt.edu/theses/available/etd-01152010-125350/.
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Through the concept of orientation, this essay attempts to establish a philosophical account of the structure of our daily lives. By examining Kants notion of orientation and Heideggers response to Kant, I highlight the importance of the fact that orientation comes from the world, not simply from our ability to determine our position in the world by means of a coordinate system. Consequently, I argue, the concrete instantiation of a life given in a narrative can supplement the structure that the theoretical framework of justice, which establishes the principles guiding the institutions of our society, claims to leave undetermined. This texture fills the space of justice and culture with tangible things and practices that make up our daily life. The novel America America is used as a diagnostic tool to illuminate the forces and opportunities found in our culture that need to be either recognized and avoided, or discovered, revealed, and spoken for. I suggest that instrumental reason and the attainment of mere pleasure, as a cultural forces guiding our practices, fail to provide a tenable answer to the question of the good life and that they should be avoided when we are considering the ultimate how and what of the practices that make up the structure of our lives. In response to the failure of instrumental reason, I propose a deepening of our practices by way of familiarity (through closeness) and accomplishment (through engagement) with the things that are integral to practices such as making maple syrup and preparing a meal.
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Rudrum, David. "Wittgenstein and the theory of narrative." Thesis, Royal Holloway, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392483.
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Vanalli, Marilani Soares. "Jorge Amado e a consciência discursível em A morte e a morte de Quincas Berro D'água /." Assis : [s.n.], 2003. http://hdl.handle.net/11449/94154.
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Orientador: Igor RossoniBanca: Sílvia Maria Azevedo
Banca: Sérgio Vicente Mota
Resumo: Este trabalho investigativo aborda questões relevantes sobre a consciência discursível em A morte e a morte de Quincas Berro D'Água de Jorge Amado. Observa-se, portanto, o reconhecido valor artístico que o conjunto da obra evidencia, e que através de uma sustentação teórica e pela aplicabilidade prática da mesma pode ficar comprovado o teor retórico ali contido.
Abstract: This present invesgative work approaches relevant matters about the discourssive consciousness on A morte de Quincas Berro D'Água de Jorge Amado. Therefore it is noticed the recognized artistic value that the set of the work shows up and also that included in the work confirmed.
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Brooks, Kevin Michael 1958. "Metalinear cinematic narrative : theory, process, and tool." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/9544.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1999.Includes bibliographical references (leaves 207-218).
Media entertainment technology is evolving rapidly. From radio to broadcast television to cable television, from motion picture film to the promise of digital video disks, as the media evolves, so do the stories told over these media. We already share many more stories and more types of stories from many more sources than we did a decade ago. This is due in part to the development of computer technology, the globalization of computer networks, and the emerging new medium which is an amalgam of television and the internet. The storyteller will need to invent new creative processes and work with new tools which support this new medium, this new narrative form. This thesis proposes the name Metalinear Narrative for the new narrative form. The metalinear narrative is a collection of small related story pieces designed to be arranged in many different ways, to tell many different linear stories from different points of view, with the aid of a story engine. Agent Stories is the software tool developed as part of this research for designing and presenting metalinear cinematic narratives. Agent Stories is comprised of a set of environments for authoring pieces of stories, authoring the relationships between the many story pieces, and for designing an abstract narrative structure for sequencing those pieces. Agent Stories also provides a set of software agents called story agents, which act as the drivers of the story engine. My thesis is that a writing tool which offers the author knowledgeable feedback about narrative construction and context during the creative process is essential to the task of creating metalinear narratives of significant dimension.
by Kevin Michael Brooks.
Ph.D.
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Wilby, Jennifer Margaret. "Hierarchy theory and epidemiology : a narrative critique." Thesis, University of Hull, 2007. http://hydra.hull.ac.uk/resources/hull:13819.
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Integrating approaches from systems thinking with the methods and tools from the discipline of epidemiology, at the level of the management of international health policy and emerging (and reemerging) infectious disease (EID), the subject of this thesis, is a novel approach. The aim of integrating these approaches in this thesis was to provide additional insights into the management of EID, alongside the aims of enriching the practice of both systems and epidemiology. This thesis proposed that applying a systemic approach using systems thinking (and specifically the systems approach that addresses problematical situations from a hierarchical perspective) in combination with existing epidemiological knowledge, could provide an enriched description for the modelling, planning, intervention, and response in an analysis of international guidance in public health policy-making. This research was undertaken using a multi-disciplinary multi-paradigm approach of combining the systematic review process with critical systems thinking to explore a functionalist and interpretive approach to hierarchical systems thinking. There are several outcomes from this research: 1) The compilation of a comprehensive narrative of published work on hierarchy theory and those areas of epidemiology relevant to this study; 2) a process for critical systematic review; 3) a narrative review and critical systems thinking analysis of functionalist and interpretive hierarchical approaches in complex systems; and 4) a critical reflection on the usefulness of combining these hierarchical systems approaches with methods and data from other disciplines; in this case, epidemiology and the study of EID. This research has shown that there are contributing risk factors in the emergence of infectious disease not addressed in current policy making procedures for EID. The implications of this are important in reviewing current EID policies. Further work in this area is suggested to investigate whether the functionalist and interpretive hierarchical analysis is feasible in other complex systems, and in further investigating the philosophy, principles and practice of this multi-disciplinary approach.
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Smit, Marius. "Interactive narrative generation using computational verb theory." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/27510.
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Interactive narrative extends traditional story-telling techniques by enabling previously passive observers to become active participants in the narrative events that unfold. A variety of approaches have attempted to construct such interactive narrative spaces and reconcile the goals of interactivity and dramatic story-telling. With the advent of the linguistic variable in 1972, a means was established for modelling natural language words and phrases mathematically and computationally. Over the past decade, the computational verb, first introduced in 1997, has been developed as a mathematical means of modelling natural language verbs in terms of dynamic systems, and vice versa. Computational verb theory extends the initial concept of the linguistic variable beyond being able to model adjectives, nouns, and passive states, into the realm of actions as denoted by natural language verbs. This thesis presents the framework and implementation of a system that generates interactive narrative spaces from narrative text. The concept of interactive narrative is introduced and recent developments in the area of interactive narrative are discussed. Secondly, a brief history of the development of the linguistic variable and the computational verb are provided. With the context of the computational verb (interactive) narrative generation (CVTNG) system presented, the underlying theoretical principles of the system are established. The CVTNG system principles are described in terms of fuzzy set, computational verb, and constraint satisfaction theory. The fuzzy set, computational verb, and constraint satisfaction principles are organised according to a CVTNG architecture. The CVTNG architecture is then described in terms of its subsystems, structures, algorithms, and interfaces. Each CVTNG system component is related to the overall design considerations and goals. A prototype of the CVTNG system is implemented and tested against a suite of natural language sentences. The behaviour and performance of the CVTNG system prototype are discussed in relation to the CVTNG system’s design principles. Results are calculated and stored as variable values that are dynamically and generically associated with representational means, specifically computer graphics, to illustrate the generation of interactive narrative spaces. Plans for future work are discussed to show the immense development potential of this application. The thesis concludes that the CVTNG system provides a solid and extendable base for the intuitive generation of interactive narrative spaces from narrative text, computational verb models, and freely associated media. CopyrightDissertation (MSc)--University of Pretoria, 2010.
Computer Science
Unrestricted
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Guimarães, Filho Gilberto. "O caráter narrativo da Constituição: identidade narrativa e Constituição justa a partir de Paul Ricoeur." Universidade do Vale do Rio dos Sinos, 2016. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6209.
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Os estudos constitucionais têm como preocupação central a limitação dos poderes e a definição dos direitos fundamentais. A importância disto é inegável, porém, tal perspectiva tem por fundamento concepções liberais, contratualistas, que, aliadas à ciência, excluem do pensamento constitucional os elementos e consequências narrativas, simbólicas e poéticas deste modelo narrativo. Neste sentido, partiremos da teoria narrativa, especialmente por meio da identidade narrativa em Paul Ricoeur, para desvelarmos elementos ocultos do pensamento constitucional que ignora o caráter narrativo da Constituição. Para este trajeto, no primeiro capítulo compreenderemos o que é a narrativa, a sua relação com a nossa identidade enquanto seres que narram a si mesmos (homo fabulans) e a dialética entre a mesmidade e a ipseidade em Paul Ricoeur. Feito este passo, no segundo capítulo entraremos no debate sobre a Constituição democrática a partir do debate entre Hans Kelsen e Carl Schmitt, enfocando no pluralismo atomismo de Kelsen e na unidade do povo em Schmitt, para retomarmos o pensamento constitucional como um pensamento sobre uma narrativa política fundamental, identificarmos diversas questões como questões narrativas. No terceiro e último capítulo desdobraremos as consequências da pequena ética de Ricoeur, recolocando a questão da constituição democrática na busca do que seria uma Constituição justa e a sua relação circular com uma promessa coletiva que une a nação (elemento da constituição democrática schmittiana) e, ao mesmo tempo, garantindo o pluralismo (elemento da constituição democrática kelseniana). A Constituição justa como a que concilia uma narrativa comum e as diversas narrativas singulares, reconhecendo-as no plano político.
The constitutional studies have as a central concern about the Constitution the power limitation and the definition of fundamental rights. The importance of this is undeniable, however, this perspective is founded on liberal and contractualist ideas, which, together with science, exclude at the constitutional thinking narrative, symbolic and poetic elements and consequences. In this sense, we depart with the narrative theory, especially through narrative identity in Paul Ricoeur, in order to unveil hidden elements of the narrative character of constitutional thought. For this path, in the first chapter we understand what is narrative, its relationship to our identity as beings who narrate themselves (homo fabulans) and the dialectic between sameness and selfhood in Paul Ricoeur. Done this step, the second chapter will enter into the debate on democratic Constitution from the debate between Hans Kelsen and Carl Schmitt, focusing on atomism and pluralism in Kelsen and the unity of the people in Schmitt, to reconstruct the constitutional thinking such a thought about a politics fundamental narrative, identifying various issues as narratives issues. In the third and final chapter entering the consequences of Ricoeur’s Little Ethics, we replace the issue of democratic constitution in search of what would be a fair Constitution and its circular relationship with a collective promise that unites the nation (Schmittian democratic constitution element) and, at the same time ensuring pluralism (kelsenian democratic constitution element). The fair Constitution which combines a common narrative and several unique narratives, recognizing them politically.
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Dedié, Catherine. "‚Mythische‘ Motivierung : Narrative Strukturen in Prosatexten der Frühromantik." Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCH040.
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Le but de notre étude était d'identifier des structures « analogues au mythe » dans des textes en prose du préromantisme allemand. La théorie sur laquelle nous nous appuyons est la théorie du « mythe formel » selon Clemens Lugowski. Notre hypothèse était qu'il y avait très souvent, dans les romans et contes du préromantisme allemand, des structures et qualités « mythiques » (au sens de mythe formel) qui sont liées de façon équivoque à des structures narratives modernes. Ces structures mythiques et prémodernes se manifestent particulièrement dans la motivation de l'action et dans l‘accumulation des motifs fatidiques et généalogiques. Notre étude a été réalisée en trois étapes. Dans un premier temps, nous avons analysé, discuté et adapté les théories de la motivation narrative et du mythe formel. Puis, nous avons élargi le sujet d’un point de vue de l’histoire culturelle, en expliquant le rôle du mythe, de la mythologie et du concept romantique de la « nouvelle mythologie » ainsi que l’idée de généalogie à la fin du 18ème siècle en Allemagne. Nous avons conclu la partie historico-culturelle par un chapitre sur la situation des éditions, des auteurs et de la littérature populaire vers 1800. Ensuite, nous avons concentré les analyses des textes sur des structures mythiques qui apparaissaient dans les motifs, dans la forme et dans les péritextes des contes et romans du préromantisme allemand. Notre corpus de textes se composa de romans et contes de Ludwig Tieck, Friedrich Schiller, Johann Wolfgang Goethe, Clemens Brentano, Dorothea Veit et NovalisThe aim of our study was to identify "myth-like" structures in prose texts of German early Romanticism. The theory on which we rely is the theory of the "formal myth" according to Clemens Lugowski. Our hypothesis was that in the novels and tales of German early Romanticism there were very often "mythical" structures and qualities (in the sense of a formal myth) that are linked equivocally to modern narrative structures. These mythical and premodern structures are particularly evident in the motivation of action and in the accumulation of fateful and genealogical motives. Our study was carried out in three steps. In a first step, we analyzed, discussed and adapted the theories of narrative motivation and formal myth. Then we broadened the subject from a historico-cultural perspective, explaining the contemporary role of myth, mythology and the romantic concept of the "new mythology" as well as the idea of genealogy at the end of the 18th century in Germany. We concluded the historico-cultural part with a chapter about the situation of editions, authors and popular literature around 1800. We then concentrated the analyzes of the texts on mythical structures that appeared in the motifs, in the form and in the peritexts of the tales and novels of German early Romanticism. Our corpus of texts consisted of tales and novels by Ludwig Tieck, Friedrich Schiller, Johann Wolfgang Goethe, Clemens Brentano, Dorothea Veit and Novalis
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Francioso, Monica. "Narrative theory and the theory of novelists in post-war Italy : 1956-2000." Thesis, Royal Holloway, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425371.
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Vidal, Leonardo Poglia. "Quis evaluates ipsos Watchmen? : Watchmen and narrative theory." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/103917.
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Uma das três obras que influenciaram profundamente gerações de escritores e leitores de quadrinhos no ano de 1986, junto a O Cavaleiro das Trevas, de Frank Miller e Maus, de Art Spiegelman, Watchmen, de Alan Moore e Dave Gibbons, é o mais próximo que se pode chegar de um cânone dos quadrinhos. A obra venceu o Prêmio Hugo de Ficção Científica de 1988, na categoria Outras Formas, e é considerada um dos melhores romances de todos os tempos pela revista Time. Um dos primeiros quadrinhos a sair da esfera das publicações especializadas e receber atenção de outras mídias, Watchmen é menção obrigatória para se entender a história do meio. Ainda assim, só começou a ser estudado com profundidade recentemente. A maior parte dos trabalhos sobre o quadrinho é centrada em suas propriedades históricas, a psicologia das personagens ou de que maneira estes se relacionam com a Filosofia – diferentes aspectos de uma obra meritória, que ao longo de muitos anos atingiu um grande público. O que esses estudos têm em comum é que, ao focar sua atenção nos detalhes, esquecem da narrativa – a estória que a obra conta. Esta dissertação enfoca o quadrinho como um todo; sua história e a maneira como é construída, através da teoria narrativa, considerada apropriada para este fim. A teoria narrativa é o foco da primeira parte do trabalho, junto à introdução por razões de espaço. Os trabalhos mais significativos na área são revisados e comentados. A linguagem dos quadrinhos e suas especificidades são o tema da segunda parte, também apresentando uma leitura das principais obras sobre o assunto. A terceira parte é dedicada às poucas tentativas realizadas com o intuito de conciliar ambas as linhas teóricas. A análise de Watchmen acontece na quarta seção. Além de listar os diferentes componentes narrativos, como eventos, cenário, tempo (dividido em ordem, duração e frequência), narrativa e focalização, também há uma extensa análise do estilo e das cores do traço, apresentada como um passo necessário na compreensão do tom e visão do narrador, dividido aqui entre meganarrador, monstrador e recitador. Na última parte, dedicada às considerações finais sobre o trabalho e que fins atingiu, se apresenta também uma interpretação do quadrinho, baseada em uma leitura pessoal.One of three books that deeply influenced generations of comics writers and readers in 1986, together with Frank Miller’s The Dark Knight Returns and Art Spiegelman’s Maus, Watchmen, by Alan Moore and Dave Gibbons, is as close to a canonic work as one could get, regarding comics. It won the 1988 Hugo Award, for science fiction books, in the Other Forms category, and was mentioned as one of the hundred best novels by Time magazine. One of the first comics to break out of the sphere of specialized reviews and receive acknowledgement from other media, it is an obligatory mention whenever one attempts to understand the History of the medium. And yet, it has not been thoroughly studied until recently. Most works dealing with the comic focus on its historical properties, the psychology of its characters or how they relate to Philosophy – different aspects of a merited novel which has achieved a large public throughout the years. But what these studies have in common is that, focusing on the detail, they overlook the narrative – the story presented in the work. This work focuses on the comic as a whole, its story and the way it is construed, through narrative theory – a theory based on the understanding of narratives and their constitutive parts, and, as such, clearly appropriate for the task. Narrative theory is the focus of the first part of the work, put together with the introduction for economy reasons. The most prominent works on the subject are reviewed and commented. The language of comics and its specificities are the theme of the second part of the work, also with reviews of its most significant works. The third part is dedicated to a few attempts of conciliation between both theoretical frameworks already developed. The analysis of Watchmen takes place in the fourth chapter. Besides listing the comic’s different narrative components, such as events, setting, time (divided in order, duration and frequency), narrative and focalization; there is also an extensive analysis of style and colors, presented as a necessary step in understanding the tone and views of the narrator, here divided into meganarrator, monstrator and reciter. In the final part, dedicated to considerations about the research and what it may have achieved, an interpretation of the novel is also presented, based on a personal reading.
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Sturgess, Philip. "Theorie et pratique de la narrativite." Paris 3, 1990. http://www.theses.fr/1990PA030060.
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Cette these a trait a la notion de narrativite. Elle se divise en deux parties. La premiere concerne la theorie de la narrativite, et la deuxieme les facons dont la narrativite fonctionne dans la pratique. Le denominateur commun entre les deux parties est un concept theorique que j'ai developpe, et que j'appelle : "logique de la narrativite". C'est ce concept qui unifie mon argumentation dans l'ensemble de cette these. La premiere partie de la these se divise en six chapitres. Le premier chapitre fournit une clarification detaillee de la notion de narrativite. Le chapitre 2 presente dans le detail ma propre approche theorique. Les chapitres 3 et 4 presentent deux approches controversees du recit, a savoir la deconstruction et la critique marxiste. Mon but est de faire apparaitre les problemes de leur argumentation. Le chapitre 5 presente une analyse critique des idees de la structure narrative et de la forme spatiale. Dans le chapitre 6 j'examine l'importante contribution francaise a ce champ de recherche, en particulier le travail de claude bremond, de paul ricoeur et de roland barthes. La deuxieme partie de la these se divise en quatre chapitres. Dans cette partie j'ai employe le concept de logique de la narrativite pour analyser quatre romans, qui representent les quatre "types" narratifs principaux : under western eyes de joseph conrad (recit desagence); ulysses de james joyce (recit de representation); at swim-two-birds de flann o'brien (recit metafictionnel); darkness at noon d'arthur koestler (recit sequentiel)This thesis deals with the notion of narrativity. It is divided into two parts. The first part concerns the theory of narrativity, and the second part the ways in which narrativity functions in practice. The common denominator between the two parts is a theoretical concept which i have developed and which is called "a logic of narrativity". It is thi concept which unifies my argument throughout the theis. The first part of the thesis is divided into six chapters. The first chapter provides a detailed clarification of the notion of narrativity. Chapter 2 present my own theoretical approach in detail. Chapters 3 and 4 present two controversial approaches to narrative, namely deconstruction and marxist criticism. My aim is to reveal the problems in their methods of argument. Chapter 5 presents a critical analysis of the ideas of narrative structure and spatial form. In chapter 6 i examine the important french contribution to this field of research, in particular the work of claude bremond, of paul ricoeur and of roland barthes. The second part of the thesis is divided into four chapters. In this part i have used the concept of a logic of narrativity to analyse four novels, which represent the four principal narrative "types" : joseph conrad's under western eyes (dis-ordered narrative) ; james joyce's ulysses (representation); flann o'brien's at swim-two-birds (metafiction); arthur koestler's darkness at noon 'sequential)
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Chesters, Timothy. "The ghost in France : theory and narrative (1546-1614)." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423344.
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Gordon, Randy. "Rehumanizing law : a narrative theory of law and democracy." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/2655.
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When we think of “law” in a popular sense, we think of “rules” or the institutions that make or enforce those rules (legislatures, the police, courts, etc.). But where do these rules come from and what makes them legal rules? Put differently, does a rule’s status as a legal rule mean that it is sealed off from the influence of other systems of human knowledge and inquiry (like the humanities)? There are many possible answers to these questions, but the one that I am concerned to examine in my work arises from narrative, which is one of the most fundamental modes of human expression. By keeping narratives at a distance or delay, law loses (and has indeed lost) some of its essential humanity. My project is, then, an attempt to explain the relationship between law and narrative, and—in the end—to suggest ways to rehumanize law by reconnecting it to its narrative roots and certain cognates in the humanities. To do this, I retell dozens of law-stories within a theoretical framework derived from literary, legal, and political theory.
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Insell, Maria Katherine. "Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.
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This analysis of the narrative/anti-narrative debate in avant-garde film theory and praxis is contextualized in terms of the developments in Modernism in the visual and plastic arts. The problems raised by the aesthetic strategies formal autonomy versus narrative appropriation are explored by examining several discrete historical paradigms rather than following a strict linear historical chronology of the development of Modernism and avant-garde practices. Therefore the late 1930's East/West debates between the four writers associated with the Frankfurt school were discussed because their discourses reveal a spectrum of possibilities which span each end of this polarized autonomy/efficacy argument. The discourses look at the issues of production aesthetics and reception aesthetics also. Within the parameters of East/West debates, the positioning of the subject in terms of "distracted habit" or "praxis" are critical considerations to a reception aesthetic. Another historical paradigm for this debate was the writing and film practice which emerged from the nexus of the events of May 1968. The East/West debates informed this writing and the development of the aesthetic questions raised by Peter Wollen in the "Two Avant-Gardes." Here the important issues of materialism, ontology, and the development of human perception are raised. The return to narrative is represented by the "second" avant-garde's film practice (Godard, Straub etc.) and informs the issues of new narrative in feminist film practices. This is narrative with a difference however. Here questions of language and the production of culture are critically examined and naturally the narrative/anti-narrative debate continues. Finally, these issues are brought foreword to the contemporary context and related specifically to the production of avant-garde film in Canada. One can see this contemporary debate in light of the past, however, the conclusions drawn by the thesis do not presume to resolve the narrative/anti-narrative debate or prescribe one particular approach, since this will arise from actual practice. The intention of the study is to introduce the central issues raised by social commitment/artistic autonomy and contribute to a better understanding of theoretical and practical implications of the debate over the use of narrative.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Osborne, Seth. "What do psychotherapists say about the importance, if any, of theory in their work with clients?" Thesis, University of Roehampton, 2016. https://pure.roehampton.ac.uk/portal/en/studentthesis/what-do-psychotherapists-say-about-the-importance-if-any-of-theory-in-their-work-with-clients(4d3814be-a890-437f-9363-2c5563b99e90).html.
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This thesis describes a narrative analysis which explored what psychotherapists say about the importance, if any, of theory in their work with clients. This research question was chosen due to both being important to the researcher’s development as a psychotherapist, and also because of how it related to fundamental and important questions of what psychotherapy is, and how it is best understood. A review of relevant literature revealed how psychotherapy could be understood as being theory-driven, yet also encompassing arguably less-theorised features, with the philosophy of Wittgenstein recognised for having relevance to this debate. Literature pertaining to the question of when theory may become more important to psychotherapists was also reviewed, with theory-driven modes of activity by psychotherapists found to sometimes be due to their own anxiety. After consideration of various methodological issues, in terms of researching what psychotherapists say, and the difficulty of researching theory through using a method containing theoretical principles itself, narrative analysis was eventually chosen as an appropriate research method. Six UKCP psychotherapists were interviewed, and their narratives analysed individually, before being summarised as more general findings. Discussion of these findings suggested that whilst theory was generally important to psychotherapists, their relationships to theory were also found to be complex and changeable, with a particular contribution to knowledge of the research being the understanding that psychotherapists may construct and renegotiate their relationships to theory through conversations with others. Possible implications arising from this research were then explored, both in terms of what it might mean for psychotherapeutic practice, and also for future research. The research was then critiqued before being concluded.
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Ethell, Linda. "Narrative identity and personal responsibility /." Connect to thesis, 2003. http://eprints.unimelb.edu.au/archive/00000790.
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Mack, Joseph Edward. "Teaching the Sermon: Lyric, Narrative, and T. S. Eliot." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91374.
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This thesis is an examination of the subsection of T. S. Eliot's The Waste Land that is aptly named "The Fire Sermon." The hybrid nature of this famous poem makes it open to a variety of readings, and these readings are often conflicting. Thus, the work, in spite of being a seminal text in literature, can be difficult to teach due to the complexity of the piece itself. This fact makes choosing a pedagogical approach to teaching The Waste Land a challenge. With the goal of making Eliot's poem more explorable, this thesis will undertake the task of an examination of "The Fire Sermon" using two distinctive theories. The theories in question are the theory of the lyric, exemplified by Jonathan Culler's writing, and the theory of heteroglossia established by Mikhail Bakhtin. However, that analysis will be merely a stepping stone for a more strictly pedagogical question that this project seeks to answer. That question is, namely, the query of which branch of contemporary theory, narrative or lyric, is more apt to present the issues inherent in "The Fire Sermon" in an effective and teachable manner. Both positions have a number of positive attributes and elements that make them uniquely suited to the examination of Eliot's writing.Master of Arts
Teaching poetry can be a difficult task. The basic question of “Why should I study poetry?” is one that many a professor has had to answer. While the scholarly community has done a decent job of articulating the value of the liberal arts, the specifics of how to teach difficult poetry is more of a gray area in scholarship. Certainly, a number of articles, opinions, and theories on how to best teach poetry exist, but creating a clear blueprint with examples of how to apply complex theories to a poem is essential to guiding new instructors into the field of teaching poetic works before an audience. This thesis is a work that shows several of the methods of studying poetry via an examination of several important poetic and narrative theories and the theorists that created said methods, and then the thesis undertakes a practical examination of a poem, a section of T. S. Eliot’s The Waste Land. The purpose of this thesis is to make critical theories and abstract ideas more applicable and valuable as usable tools in the classroom, rather than having them exist as ideas without a practical application. Knowledge is, after all, something made to be shared.