Log in

Relevant bibliographies by topics / Theory of narration / Journal articles

To see the other types of publications on this topic, follow the link: Theory of narration.

Journal articles on the topic 'Theory of narration'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Theory of narration.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Beehler, Brianna. "The Doll’s Gift." Nineteenth-Century Literature 75, no. 1 (June 2020): 24–49. http://dx.doi.org/10.1525/ncl.2020.75.1.24.

Full text

Abstract:

Brianna Beehler, “The Doll’s Gift: Ventriloquizing Bleak House” (pp. 24–49) This essay offers a new reading of the split narrative in Charles Dickens’s Bleak House (1852–53). Previous critics of the novel’s split narrative have primarily focused on the unequal knowledge and authority positions of the all-knowing third-person narrator and the unknowing first-person narrator, Esther Summerson. This division, however, does not fully account for the apparent slips and narrative exchanges between the two narrators, in which one narrator takes on the voice or knowledge position of the other. This essay takes up Robert Newsom’s suggestion that the only way to explain these “slips” is to conclude that Esther Summerson writes not only her own narration, but also that of the third-person narrator. However, the essay further argues that Esther uses the third-person narration to ventriloquize the voice of her mother, Lady Dedlock, in an effort to provide herself with the emotional support otherwise denied her. Readers may better understand Esther’s ventriloquism of the third-person narration by tracing how it mirrors her early daily ritual with her doll, in which she assumed both narrative positions at once. Object relations and gift theory further show how this dialogue creates a bond between the two narrations. Thus, characters and family structures that appear in the third-person narration and that may appear distant from Esther are actually her meditations on alternative maternal and familial relationships.

APA, Harvard, Vancouver, ISO, and other styles

2

Feng, Ma. "The Narrative Art of Contemplator: An Analysis on Milan Kundera’s Works." Lingua Cultura 3, no. 1 (May 30, 2009): 85. http://dx.doi.org/10.21512/lc.v3i1.335.

Full text

Abstract:

Article presented a narrative theoretical analysis on Milan Kundera’s works. Its emphasis point lied on the unity of the theory and the practical explanation to the text. Kundera’s works joined the unique ponder art and the narrative artistic together, which had led to the work a possible implication that would be much richer. Based on a macroscopic angle, this article used the relative theory, including theories on classic and latter classic narrates study. Then, based on the microscopic angle, this article mainly utilized the narrative theory about “the intervention” as well as the acceptable aesthetic theory. What’s more, the article did not only carry on a careful narrative analysis on Kundera’s creation, but also discussed the profound effect with which the narration brought. This article offered some careful and profound discussions respectively on the narrator’s and reader’s intervenes. The narrator intervenes stressed that the narrator’s “narration person, narration method and the narration identity” in the work, and discussed the narrator “we”, illusion narration, parenthesis replenishment narration as well as the Polyphony and reliability which were brought by the narration method and narrator’s identity. The reader intervene stressed the reader’s strategy during the connoisseurship and the acceptance process, and also evaluated reader’s identity during the reading process, and concerned about the lost readers in the “garden paths phenomenon and jungle for explanation”.

APA, Harvard, Vancouver, ISO, and other styles

3

Oktavia, Dini, Rahmadsyah Rangkuti, and Nuhammad Yusuf. "ELEMENTS OF NARRATIVE AND FUNCTION OF NARRATOR IN JUN CHIU’S CROP CIRCLES." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 4, no. 2 (December 28, 2020): 368–74. http://dx.doi.org/10.30743/ll.v4i2.2774.

Full text

Abstract:

The purposes of this study are to find out the elements of narrative and the function of narrator in Jun Chiu’s silent comic Crop Circles. This research applied qualitative design. The data of this study were in the form of 20 pictures taken from the silent comic. The data were collected through stages: finding out and determining, classifying and separating the pictures conveying illustration of a narrative. The analysis of the data was done qualitatively by using the theory of phase analysis by Miles, Huberman and Saldana covering condensation, display and verification. The research results show that the elements of narrative found in Jun Chiu’s comic pictures Crop Circles narrative mood (transposed speech-indirect style); narrative instance (narrative voice: heterodiegetic narrator, time of narration: simultaneous narration; narrative perspective: external focalization), narrative levels (embedded narrative, metalepsis) and narrative time (order: analepsis, narrative speed: ellipsis, frequency of events: singulative narration). The narrator carried ideological function because the narrator illustrates the pictures to introduce public policy.

APA, Harvard, Vancouver, ISO, and other styles

4

Zeman, Sonja. "Grammatik der Narration." Zeitschrift für germanistische Linguistik 48, no. 3 (November 25, 2020): 457–94. http://dx.doi.org/10.1515/zgl-2020-2011.

Full text

Abstract:

AbstractIs there a ‚narrative syntax‘, i. e. a special grammar restricted to narrative fiction? Starting from this question which has been investigated since early structuralism, the paper focusses on grammatical characteristics of narrative discourse mode and their implications for a linguistic theory of narration. Its goal is two-fold: In a first step, the traditional accounts by Benveniste, Hamburger, Kuroda and recent typological studies are brought together in order to support the claim that the distinction between narrative and non-narrative discourse mode is a fundamental one that has consequences for the use of grammar. In a second step, I discuss three central questions within the intersection between narrative micro- and macro-structures, namely (i) the definition of narrativity, (ii) the status of the narrator, and (iii) the relation between narration and fictionality. In sum, the article argues that investigations on the ‘grammar of narration’ do not just offer insights into a specific text configuration next to others, but are deeply linked to fundamental theoretical questions concerning the architecture of language – and that the comparison between linguistic and narratological categories offers a potential for addressing them.

APA, Harvard, Vancouver, ISO, and other styles

5

Milanowicz, Anna. "A Short Etude on Irony in Storytelling." Psychology of Language and Communication 23, no. 1 (January 1, 2019): 14–26. http://dx.doi.org/10.2478/plc-2019-0002.

Full text

Abstract:

Abstract This paper presents an overview of chosen concepts of irony as a communicative unit in the repertoire of the speaker. It adopts a framework of narration with emphasis on how minds in interactions co-construct meanings. Irony, which means more than it says, is always used with a specific attitude attached. Irony is thus an act of narrating the speakers’ mind, but in the speaker-hearer meaning perspective. Due to the fact that there is no narration without a text and no irony without narration, this paper links the Theory of Narrative Line and Narrative Field (Bokus, 1991, 1996, 1998) with a few selected views on the theory of irony (e.g., Clark and Gerrig, 1984; Sperber and Wilson, 1981, 1984) and research results. It also explains how the Cooperation Principle (Grice, 1975) is flouted and again recreated in the process of sharing meanings. Further, we refer to linguistic bias (Maass et al., 1989) and highlight perspective shifting in narration, which can change along the ‘narrative line’ and within the ‘narrative field.’ This paper builds a platform for combining the theories of irony with fields of narration. This perspective situates irony as a vehicle hinged in dialectics between the explicit and the implicit, the like and the dislike, the truth and the falsehood, the praise and the criticism. All of these can be read from irony.

APA, Harvard, Vancouver, ISO, and other styles

6

Asp, Carolyn, and Robert Con Davis. "Lacan and Narration: The Psychoanalytic Difference in Narrative Theory." Journal of the Midwest Modern Language Association 18, no. 1 (1985): 102. http://dx.doi.org/10.2307/1315106.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Niehr, Thomas. "Argumentation und Narration in verschwörungstheoretischen Youtube-Videos." Zeitschrift für Literaturwissenschaft und Linguistik 51, no. 2 (April 14, 2021): 299–320. http://dx.doi.org/10.1007/s41244-021-00203-5.

Full text

Abstract:

ZusammenfassungIn diesem Beitrag wird das Verhältnis von Argumentation und Narration in sogenannten Verschwörungstheorien näher beleuchtet. Im Anschluss an die in der klassischen Rhetorik beschriebene Funktion der narratio in einer Gerichtsrede wird der Frage nachgegangen, in welcher Weise narrative Elemente bei verschwörungstheoretischen Argumentationen eingesetzt werden und welche Funktionen sie dabei übernehmen. Am Beispiel ausgewählter Youtube-Videos des Verschwörungstheoretikers Heiko Schrang wird illustriert, wie narrative Elemente eine Argumentation stützen und Rezipient*innen Anschluss an die eigenen Wissensbestände sichern können.

APA, Harvard, Vancouver, ISO, and other styles

8

Borg, Kurt. "Narrating Trauma: Judith Butler on Narrative Coherence and the Politics of Self-Narration." Life Writing 15, no. 3 (July 3, 2018): 447–65. http://dx.doi.org/10.1080/14484528.2018.1475056.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Vos, Morris. "Dramatic narration: The speech criterion in seventeenth-century German narration theory." Neophilologus 75, no. 1 (January 1991): 112–18. http://dx.doi.org/10.1007/bf00310844.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Hidayat, Moh Wakhid. "QASAS AL-QUR`ĀN DALAM SUDUT PANDANG PRINSIP-PRINSIP STRUKTURALISME DAN NARASI (Pengantar Studi Sastra Narasi al-Qur`an)." Adabiyyāt: Jurnal Bahasa dan Sastra 8, no. 1 (July 31, 2009): 77. http://dx.doi.org/10.14421/ajbs.2009.08104.

Full text

Abstract:

Literary appreciation to the Koran becomes a fundamental idea in this study. Literary appreciation is used, because the Koran is a glorious Arabic literary bible which is strongly believed in its perfection and beauty. The object of this paradigm is not the unwritten words of Allah, but that of Allah that have been recorded in Arabic media, written in musha and communicated by human being. The main goals of this study are analyzing qasas al-Qur’ān from the aspect of principal structuralism and narrative theory. Analyzing qasas al-Qur’ān from this view is in harmony with tartīb al-āyāt theory and unity story theory by surah of Khalafullāh, and Qusb narration of classification. This analysis proposes three classifications of qasas al-Qur’ān and they are different from, for example, Manna’ al-Qassān, Mussafā Sulaimān, Khalafullāh, yet they share something in common with classification of Qasb. These classifications are: the first is one narration in one surah, the second is the collection of short narrations in a sequence of the surah, and the third is the collection of short narration in non-sequence of surah. These classifications become in harmony with the Koranic order, which collects its verses in one surah, in stead of collecting themes from various surah.

APA, Harvard, Vancouver, ISO, and other styles

11

Levina-Parker, Masha. "LOLITA IN LOLITA." Russkaya literatura 3 (2021): 226–48. http://dx.doi.org/10.31860/0131-6095-2021-3-226-248.

Full text

Abstract:

The article explores the construction of the image of Lolita in the novel. Seemingly, the image of Lolita is a complete construct of Humbert’s narration. However, Nabokov’s way of composing the no vel allows certain empirics contributing to formation of Lolita’s image to escape the control of the narrator. In order to understand how Lolita’s image is constructed, it is necessary to analyze how Nabokov constructs Humbert’s narration about Lolita. Humbert’s narration contains certain hidden autonomous signs that diverge from visible dimension of his narration and modify the portrait of Lolita.

APA, Harvard, Vancouver, ISO, and other styles

12

Steer, P. "Cosmopolitan Narration." Novel: A Forum on Fiction 44, no. 2 (June 1, 2011): 329–32. http://dx.doi.org/10.1215/00295132-1261076.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Mallier, Clara. "Tenses in translation: Benveniste’s ‘discourse’ and ‘historical narration’ in the first-person novel." Language and Literature: International Journal of Stylistics 23, no. 3 (July 31, 2014): 244–54. http://dx.doi.org/10.1177/0963947014536507.

Full text

Abstract:

This article deals with Emile Benveniste’s theory of enunciation (see ‘Subjectivity in Language’ and ‘The Correlations of Tense in the French Verb’ in Problems in General Linguistics, 1971 [1966] and ‘L’appareil formel de l’énonciation’ in Problèmes de linguistique générale, tome 2, 1970), in particular his distinction between historical narration and discourse, and the way it applies to the translation of first-person fiction. In French narratives, the main tense of discourse is the passé composé, which is related to the time of enunciation, while the tense of historical narration is traditionally the passé simple, which is related to the moment of the events reported. The passé composé thus draws attention to the narrating I’s retrospective gaze, while the passé simple reflects the experiencing I’s perspective within the story. This raises complex issues of translation because the narrative use of the passé composé has no equivalent in English, so that the distinction between the perspectives of the retrospective narrator and of his former self are expressed differently in the two languages. This article explores the impact of this phenomenon on four different French translations of Fitzgerald’s The Great Gatsby (Llona, 1926; Tournier, 1996; Wolkenstein, 2011 and Jaworski, 2012).

APA, Harvard, Vancouver, ISO, and other styles

14

Bennett, Philip E. "The Mirage of Fiction: Narration, Narrator, and Narratee in Froissart's Lyrico-Narrative Dits." Modern Language Review 86, no. 2 (April 1991): 285. http://dx.doi.org/10.2307/3730530.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Gordon, J. "Pedagogic Literary Narration in theory and action." L1 Educational Studies in Language and Literature 19, Running Issue, Running Issue (July 2019): 1–31. http://dx.doi.org/10.17239/l1esll-2019.19.01.11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Tilby, Michael. "Narration et loquacité." L'Année balzacienne 6, no. 1 (2005): 63. http://dx.doi.org/10.3917/balz.006.0063.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Zepp, Evelyn H., Alex Argyros, and Paul-F. Smets. "Crimes of Narration." SubStance 16, no. 3 (1987): 78. http://dx.doi.org/10.2307/3685199.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Mäkelä, Maria, and Merja Polvinen. "Narration and Focalization." Poetics Today 39, no. 3 (September 1, 2018): 495–521. http://dx.doi.org/10.1215/03335372-7032718.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Warodell, J. A. "(Un?)Reliable Narration." Cambridge Quarterly 42, no. 4 (November 9, 2013): 382–87. http://dx.doi.org/10.1093/camqtly/bft022.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Bareis, J. Alexander. "The Implied Fictional Narrator." Journal of Literary Theory 14, no. 1 (March 1, 2020): 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.

Full text

Abstract:

AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular during the heyday of classical literary narratology. For scholars like Genette (1988) and Cohn (1999), the category of the fictional narrator was at the centre of theoretical debates about the demarcation of fiction and non-fiction. Arguably, theorising about the fictional narrator necessitates theorising about fiction in general. From this, it follows that any account on which the fictional narrator is built ideally would be a theory of fiction compatible with all types of fictional narrative media – not just narrative fiction like novels and short stories.In this vein, this paper applies a transmedial approach to the question of fictional narrators in different media based on the transmedial theory of fiction in terms of make-believe by Kendall Walton (1990). Although the article shares roughly the same theoretical point of departure as Köppe and Stühring, that is, an analytical-philosophical theory of fiction as make-believe, it offers a diametrically different solution. Building on the distinction between direct and indirect fictional truths as developed by Kendall Walton in his seminal theory of fiction as make-believe (1990), this paper proposes the fictional presence of a narrator in all fictional narratives. Importantly, ›presence‹ in terms of being part of a work of fiction needs to be understood as exactly that: fictional presence, meaning that the question of what counts as a fictional truth is of great importance. Here, the distinction between direct and indirect fictional truths is crucial since not every fictional narrative – not even every literary fictional narrative – makes it directly fictionally true that it is narrated. To exemplify: not every novel begins with words like »Call me Ishmael«, i. e., stating direct fictional truths about its narrator. Indirect, implied fictional truths can also be part of the generation of the fictional truth of a fictional narrator. Therefore, the paper argues that every fictional narrative makes it (at least indirectly) fictionally true that it is narrated.More specifically, the argument is made that any theory of fictional narrative that accepts fictional narrators in some cases (as e. g. suggested by proponents of the so-called optional narrator theory, such as Currie [2010]), has to accept fictional narrators in all cases of fictional narratives. The only other option is to remove the category of fictional narrators altogether. Since the category of the fictional narrator has proved to be extremely useful in the history of narratology, such removal would be unfortunate, however. Instead, a solution is suggested that emphasizes the active role of recipients in the generation of fictional truths, and in particular in the generation of implied fictional truths.Once the narratological category of the fictional narrator is understood in terms of fictional truth, the methodological consequences can be fully grasped: without the generation of fictional truths in a game of make-believe, there are no fictional narratives – and no fictional narrators. The fictionality of narratives depends entirely on the fact that they are used as props in a game of make-believe. If they are not used in this manner, they are nothing but black dots on paper, the oxidation of silver through light, or any other technical description of artefacts containing representations. Fictional narrators are always based on fictional truths, they are the result of a game of make-believe, and hence the only evidence for a fictional narrator is always merely fictional. If it is impossible to imagine that the fictional work is narrated, then the work is not a narrative.In the first part of the paper, common arguments for and against the fictional narrator are discussed, such as the analytical, realist, transmedial, and the so-called evidence argument; in addition, unreliable narration in fictional film will be an important part in the defence of the ubiquitous fictional narrator in fictional narrative. If the category of unreliable narration relies on the interplay of both author, narration, and reader, the question of unreliable narration within narrative fiction that is not traditionally verbal, such as fiction films, becomes highly problematic. Based on Walton’s theory of make-believe, part two of the paper presents a number of reasons why at least implied fictional narrators are necessary for the definition of fictional narrative in different media and discusses the methodological consequences of this theoretical choice.

APA, Harvard, Vancouver, ISO, and other styles

21

Rutherford, R. B. "‘Why should I mention Io?’ Aspects of choral narration in Greek tragedy." Cambridge Classical Journal 53 (2007): 1–39. http://dx.doi.org/10.1017/s1750270500000038.

Full text

Abstract:

The study of narrative, narratology, has for some decades now been a well-established subdiscipline within the large field of critical methodology. Even classical scholars generally resistant to theory have found it acceptable. In part this can be explained by its classical ancestry: it was Plato who emphasised the importance of distinguishing narrator-voice and character-voice, and Aristotle who identified some of the key elements constituting plot structured as story. Part of the success of narratology is also due to the distinction of its classical practitioners. Naturally, the main emphasis among the studies of classical texts has been upon the major narrative forms, epic and the novel; but broader examination of the whole generic range has extended the scope of this method, and the first volume of an encyclopaedic study of narrator and narration in classical literature has recently appeared.

APA, Harvard, Vancouver, ISO, and other styles

22

Bernaerts, Lars, Liesbeth De Bleeker, and July De Wilde. "Narration and translation." Language and Literature: International Journal of Stylistics 23, no. 3 (July 31, 2014): 203–12. http://dx.doi.org/10.1177/0963947014536504.

Full text

Abstract:

This opening essay of the special issue on ‘Narration and Translation’ discusses the overlaps between the fields of narratology and translation studies. The fact that translation scholars have merely skimmed the surface of narratological issues relevant for the study of translation can be understood within the context of early developments in translation studies. The first explicit use of narratological models in this discipline has grown out of unease with the extant focus on the macrostructural level of translations. In recent decades, translation scholars have begun to include narrative approaches in their research. Some conceptualize the translator’s discursive presence by referring to a model of narrative communication, or borrow concepts from narratology in order to analyse observed shifts in literary translations. Outside the domain of literary translation studies, scholars have looked into the way translation can refashion narratives in the real world. Conversely, narrative theories have rarely dealt with translational issues, even though they often rely on translations of literary texts. The issue as a whole wants to enhance the dialogue between narratology and translation studies. Each essay explores aspects of the relation between narration and translation.

APA, Harvard, Vancouver, ISO, and other styles

23

Loriguillo-López, Antonio. "La comunicabilidad de lo ambiguo: una propuesta narratológica para el análisis de la ficción televisiva compleja." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 867. http://dx.doi.org/10.5944/signa.vol28.2019.25097.

Full text

Abstract:

El presente artículo propone una metodología de análisis de la narración ambigua en la ficción televisiva contemporánea, rasgo estilístico al alza entre propuestas comerciales. A través de la adaptación y aplicación de la comunicabilidad enunciada por David Bordwell como estrategia narrativa en su estudio de los modos de narración cinematográficos a una muestra de series dramáticas de origen anglosajón, se ofrece un primer tratamiento del modo narrativo de lo que desde los estudios televisivos se ha identificado como televisión compleja. Finalmente, se apunta a la correspondencia de este modelo con una nueva fase del modelo de narración del audiovisual postclásico.The present article proposes a methodology of analysis of the ambiguous narration in contemporary television fiction, a stylistic feature on the rise among commercial titles. Through the adaptation and application of the communicativeness formulated by David Bordwell as one of the categories of narrative strategies in his examination of the modes of narration in film to a sample of drama series produced in English-speaking regions, we offer a primary approach to the narrative mode of what has come to be known in the field of Television Studies as complex TV. Lastly, we note the correspondence between this model and a new phase of the audiovisual post-classical narration.

APA, Harvard, Vancouver, ISO, and other styles

24

Norrick, Neal R. "Remembering for narration and autobiographical memory." Language and Dialogue 2, no. 2 (August 13, 2012): 193–215. http://dx.doi.org/10.1075/ld.2.2.02nor.

Full text

Abstract:

This article proposes a notion of “remembering for narration” based on Slobin’s (1987) concept of “thinking for speaking” to circumvent issues of autobiographical memory and focus on narrative practices. It suggests that we recognize a special cognitive mode of remembering for narration, which involves selecting from episodic memory those details that fit some conceptualization of the event for present purposes, and are readily encodable in the language and narrative format chosen for the current context. It seeks to demonstrate the value of this perspective in considering constraints on remembering in the storytelling performance in various contexts such as getting one’s story straight with input from recipients, filling in gaps in memory and conjuring up details, developing a personal narrative through co-narration, and producing appropriate personal stories in response to previous stories by other participants, and thereby sheds light on narrative processes and their significance for autobiographical memory and identity construction.

APA, Harvard, Vancouver, ISO, and other styles

25

Fludernik, Monika. "Unreliable Narration." Poetica 32, no. 1-2 (December 17, 2000): 251–55. http://dx.doi.org/10.30965/25890530-032-01-02-90000012.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

White, Siân. "A “Hair-Trigger Society” and the Woman Who Felt Something in Anna Burns's Milkman." Genre 54, no. 1 (April 1, 2021): 111–37. http://dx.doi.org/10.1215/00166928-8911537.

Full text

Abstract:

This article responds to debates about the “big, ambitious novel” and “hysterical realism” by challenging several prevailing scholarly orthodoxies about large-scale fiction: that whole world-building precludes the rendering of a single, feeling human; that mimesis and “hysterical” traits, like absurdity, are mutually exclusive; or that a whole-world view requires third-person narrative omniscience. The analysis centers on Anna Burns's Milkman (2018), a novel set in Troubles-era Northern Ireland that connects a young woman's experience with gendered and sexual power to the behavior, prejudices, and tacit understandings that undergird a society locked in sectarian conflict. The article argues that the novel's form—a first-person, past-tense narration—lends the character-narrator unique credibility as a teller because she has both firsthand experience and the critical distance of hindsight. To avoid postures of certainty and authority that come with both political power and narrative omniscience, the narrator uses irony and self-consciousness to critique storyworld power dynamics and expectations of literary realism. Burns's big, ambitious novel reveals that conveying a whole world and portraying a single, feeling human are in fact mutually constitutive aims. Moreover, the digressive and often absurd narration is precisely what makes the storyworld a persuasively plausible, if not verisimilar, rendering of Troubles-era Northern Ireland. By linking nationalism to problems of gender and sexual politics at the time, Burns's novel issues a warning about the reactionary postures and polarization in the contemporary moment surrounding Brexit, the #MeToo movement, and surging violence in Northern Ireland.

APA, Harvard, Vancouver, ISO, and other styles

27

Kukkonen, Karin. "Flouting figures: Uncooperative narration in the fiction of Eliza Haywood." Language and Literature: International Journal of Stylistics 22, no. 3 (August 2013): 205–18. http://dx.doi.org/10.1177/0963947013489238.

Full text

Abstract:

Eliza Haywood’s narrators often display what could be termed ‘uncooperative narration’ in that they defy the smooth course that fictional narration is supposed to take, and claim to be unable to narrate strongly emotional states (in Love in Excess, 2000; first published 1719) or precipitate readers’ reactions to future events (in The History of Miss Betsy Thoughtless, 1998; first published 1751). Haywood’s strategies of uncooperative narration are based on rhetorical figures which flout the cooperative principle underlying human communication according to Grice: the denial of narration, adynaton, flouts the maxim of quantity; the time-based playing with readers’ meaning-making, prolepsis, flouts the maxim of manner. This article will develop an account of uncooperative narration on the basis of Gricean pragmatics (Grice, 1989) and Tomasello’s work on communication and cooperation in human evolution (Tomasello, 2008), which extends the traditional narratological focus on unreliable narration. Uncooperative narration challenges readers to find the communicative purpose behind flouting figures like adynaton and prolepsis, contributes to the characterisation of the narrator and, in Eliza Haywood’s fiction, often holds up a mirror to readers themselves.

APA, Harvard, Vancouver, ISO, and other styles

28

Gill, Patrick. "Dystopian and Utopian Omission of Discourse in Three Modern Robinsonades: Lord of the Flies, Concrete Island, The Red Turtle." Porównania 25 (December 15, 2019): 145–56. http://dx.doi.org/10.14746/por.2019.2.9.

Full text

Abstract:

The story of Robinson Crusoe comes to us in the guise of a first-person narrative based in part on a diary. Successor texts have traditionally adopted the same narrative situation, exploiting it in order to foreground ideas of authorship, textual authority and linguistic dominance. This essay pays particularly close attention to those Robinsonades that have not followed this pattern and have instead opted to omit meta-narration and intradiegetic narrator figures. It considers to what ends this is done in three modern Robinsonades: William Golding’s Lord of the Flies (1954), J. G. Ballard’s Concrete Island (1974), and Michael Dudok de Wit’s animated film The Red Turtle (2016).

APA, Harvard, Vancouver, ISO, and other styles

29

Abdullah Abdulateef, Huda. "Traumatic Narration: A Case Study of Toni Morrison’s Beloved." Journal of Education College Wasit University 4, no. 38 (May 3, 2020): 20. http://dx.doi.org/10.31185/eduj.vol4.iss38.1319.

Full text

Abstract:

This paper examines Laurie Vickroy’s (2002) main traumatic narrative strategies of intimacy, fragmentation, the dissociation of the character’s identity, images and dialogical conceptions of witnessing. Therefore, at first, it defines trauma theory and its importance to the analysis of trauma narratives. Then, as a case study, it focuses on Toni Morrison’s Beloved (1987) in terms of its trauma narrative structure and themes that come from three different real stories. It mainly shows how Vickroy’s strategies work to uncover Beloved’s traumatic themes of mother-daughter (s) relationship, memory, community, slavery and freedom through traumatic narration of testimony and fragmented narrative structure. Eventually, this paper explains the meaning of slavery and freedom, racial violence and racial reconciliation in Beloved through its traumatic narration and structure.

APA, Harvard, Vancouver, ISO, and other styles

30

Demjén, Zsófia. "The role of second-person narration in representing mental states in Sylvia Plath's Smith Journal." Journal of Literary Semantics 40, no. 1 (January 2011): 1–21. http://dx.doi.org/10.1515/jlse.2011.001.

Full text

Abstract:

AbstractThis paper looks at instances of second person narration in the first journal published inAppearances of second person narration are chronologically tracked through the data and compared to biographical developments in Sylvia Plath's life; entries written in the first- and second person are compared to each other to determine linguistic differences using corpus methods; the results of the two analyses are then interpreted in the light of traditional functions attributed to second person narration in narratology, and in the light of research in narrative psychology. The paper aims to demonstrate that second person narration can project a sense of emotional depth and inner conflict as well as of emotional balance. However, the temporal orientation of a given text will influence which of these effects predominates.

APA, Harvard, Vancouver, ISO, and other styles

31

Frome, Jonathan. "Intuition, Evidence, and Carroll's Theory of Narrative." Projections 14, no. 1 (March 1, 2020): 37–57. http://dx.doi.org/10.3167/proj.2020.140104.

Full text

Abstract:

AbstractOver the last thirty years, Noël Carroll has elaborated his theory of erotetic narration, which holds that most films have a narrative structure in which early scenes raise questions and later scenes answer them. Carroll's prolific publishing about this theory and his expansion of the theory to issues such as audience engagement, narrative closure, and film genre have bolstered its profile, but, despite its high visibility in the field, virtually no other scholars have either criticized or built upon the theory. This article uses Carroll's own criteria for evaluating film theories—evidentiary support, falsifiability, and explanatory power—to argue that erotetic theory's strange position in the field is due to its intuitive examples and equivocal descriptions, which make the theory appear highly plausible even though it is ultimately indefensible.

APA, Harvard, Vancouver, ISO, and other styles

32

Liu, Nan. "Peritext in the Picturebook: Can It Be Metanarrative?" International Research in Children's Literature 14, no. 2 (June 2021): 142–55. http://dx.doi.org/10.3366/ircl.2021.0393.

Full text

Abstract:

This paper focuses on how peritexts function in communicating a picturebook's narration and what impact they have on reading comprehension or interpretation. Based on modern narratological theory and research findings of metanarration, this study analyses the metanarrative function of peritexts in three picturebooks: Chester by Mélanie Watt, Black and White by David Macaulay, and Keine Angst vor gar Nichts by Gudrun Likar with illustrations by Manuela Olten. The findings of this study reveal that peritexts in picturebooks display metanarration at both a verbal and a visual level; they reflect the act or process of narration, highlight the book's narrative features, and affect the reader's reception of the picturebook.

APA, Harvard, Vancouver, ISO, and other styles

33

Tahiri, Lindita, and Muhamet Hamiti. "Post-communist Interpretation of History in the Albanian Literature in Kosovo." Balkanistic Forum 29, no. 3 (November 1, 2020): 91–107. http://dx.doi.org/10.37708/bf.swu.v29i3.5.

Full text

Abstract:

This article focuses on stylistic choices in the novel Im atë donte Adolfin (My father loved Adolph) by the Albanian author in Kosovo Mehmet Kraja (2005) as a strategy to generate a post-communist perspective of interpreting history. By blending first-person narration as confidentiality and third-person narration as conventionality (Barthes, 1978), the possessive construction ‘my father’ in this literary text serves both as referential label and deictic, generating dual focalization (Phelan, 2005). The heterodiegetic narrator is positioned simultaneously as a neutral eye witnessing narrator and as a signal of subjectivity. Even in cases of intradiegetic role the narrator remains detached interweaving his voice with the voice of the character. The synchronized overt and distant narratorial stances in this novel correspond with the demonstration of historical discourse as both subjective and factual narration. The relationship between fiction and truth has been widely treated in the post-modern intellectual thought, and as Borg (2010) points out in his study on Beckett and Joyce, the radical narrative innovations are “examples of a peculiarly modernist engagement with the nature of factual and fictional truth” (p. 179), suggesting that in modern literary texts “every event exists factually and fictionally at the same time” (p. 187). As a resonance to Borg’s analysis of modernist literature, in Kraja’s novel the knowledge about history consists of both factual and imaginative elements, bringing “the moment of truth in all its potential” (p. 191).

APA, Harvard, Vancouver, ISO, and other styles

34

Leneaux, Grant F. "Mario und der Zauberer: The Narration of Seduction or the Seduction of Narration?" Orbis Litterarum 40, no. 4 (April 1985): 327–47. http://dx.doi.org/10.1111/j.1600-0730.1985.tb00842.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Morrey, Douglas. "From Confusion to Conversion." Poetics Today 41, no. 3 (September 1, 2020): 347–67. http://dx.doi.org/10.1215/03335372-8519614.

Full text

Abstract:

Submission (2015), a novel in which a Muslim political party is elected to govern France, has been widely interpreted as part of a ubiquitous discourse of “declinism” in contemporary French intellectual culture. The novel has been accused of complicity with a reactionary politics favoring a return to strong patriarchal authority and national pride, while the narrative of the triumph of political Islam is frequently interpreted as a thinly veiled act of Islamophobia. This ideological interpretation is, however, complicated by the bad faith of the novel’s unreliable narrator, and by the ironic treatment of his narrative voice. By taking the elusiveness of this narration more fully into account, it becomes possible to read Submission as a tentative — if never unambiguous — narrative of religious conversion. To this extent, the treatment of Islam in Submission can be seen as consistent with the persistent but ambivalent role of religion in Houellebecq’s wider work.

APA, Harvard, Vancouver, ISO, and other styles

36

Toldi, Éva. "Heterotopic Discourse in Ivo Andrić’s The Damned Yard." Acta Universitatis Sapientiae, Philologica 9, no. 1 (September 26, 2017): 99–115. http://dx.doi.org/10.1515/ausp-2017-0008.

Full text

Abstract:

Abstract The paper analyzes Ivo Andrić’s novel The Damned Yard, a work that has received continuous critical attention since its publication. Its interpretation presents a challenge even to the latest schools of literary theory. With a focus on the poetics of space, the argument applies Michel Foucault’s theory and discusses the roles heterotopias play in structuring the narrative. Heterotopias reveal the attributes of real and metaphoric spaces, while the dynamics of space influence the movements of narration in the novel. Reproducing diverse forms of deviance, heterotopia delineates the frame of the individual’s identity. The conclusion suggests that the text’s complex metaphysical web of meanings is produced by the deranged identity appearing in a closed space, and the correspondingly deranged narration.

APA, Harvard, Vancouver, ISO, and other styles

37

Rembowska-Płuciennik, Magdalena. "Second-person narration as a joint action." Language and Literature: International Journal of Stylistics 27, no. 3 (August 2018): 159–75. http://dx.doi.org/10.1177/0963947018788519.

Full text

Abstract:

This article represents an attempt to free narratological typologies from the constraints of first- and third-person dualities. It argues that a new collaborative and multiagent model of second-person narratives is needed, and draws on the concept of enactment to help explain the specificity of second-person narration. The growing popularity of second-person narration in contemporary print literature is linked to the rapid development of multimedial storytelling strategies and new technological environments. The new status of second-person narration in print literature is connected with the increasing cultural need for participation in interactive and socially shared experiences or activities (real or virtual). Understanding second-person narration as such a joint action can thus help to understand its growing popularity, not only in terms of the stylistic alternative it affords to both first- and third-person narration, but also in conjunction with the rising cultural value of social cooperation or co-acting in the media-saturated reality. My hypothesis is that second-person narrative stimulates a specific mode of reader involvement, rooted in participation rather than immersion.

APA, Harvard, Vancouver, ISO, and other styles

38

McClatchie, Stephen. "Narrative Theory and Music; Or, the Tale of Kundry's Tale." Canadian University Music Review 18, no. 1 (March 15, 2013): 1–18. http://dx.doi.org/10.7202/1014817ar.

Full text

Abstract:

In recent years, narrative theory has been an influential model for many writers on music. Things in musical syntax like repetitions, expectations, and resolutions make it tempting to speak of music as narrative, as an emplotment of events, yet such a model in fact involves more narrativization than narrative. It is perhaps more fruitful to focus upon the musical side of unambiguously narrative moments. In this paper, I want to try to integrate recent approaches to musical narration by suggesting that narrative in music is a performance which functions according to the logic of the supplement. My approach will be two-fold: first, I want to justify restricting the enquiry to pre-existing narratives set to music by considering the limitations of the emplotment model; second, I shall use Kundry's Act II narrative in Wagner's Parsifal as a magnet to attract a number of narrative approaches: some will stick and some will not.

APA, Harvard, Vancouver, ISO, and other styles

39

Schely-Newman, Esther. ""I Hear from People Who Read Torah... "." Narrative Inquiry 9, no. 1 (January 1, 1999): 49–68. http://dx.doi.org/10.1075/ni.9.1.04sch.

Full text

Abstract:

The purpose of this paper is to analyze the ways a Jewish woman uses different genres in telling her life story. Setting the narrative within its cultural and social contexts enables an examination of narrative as a life story, as well as a mode of creating and expressing changes in women's roles. In her story, the narrator chooses to present herself as a disciple of a religious male leader (a rabbi), a position which allows her to use traditionally male genres of narration. Treating the interactions between reported and authored speech, and the multiplicity of dialogues the narrative maintains, provides an understanding of the methods for implicitly challenging gender construction by contesting genre distribution. {Personal narrative, Genre, Gender, Israeli women, Change)

APA, Harvard, Vancouver, ISO, and other styles

40

Mudford, Peter, and Homi K. Bhaba. "Nation and Narration." Modern Language Review 87, no. 4 (October 1992): 915. http://dx.doi.org/10.2307/3731433.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Friedrich, Udo. "Topik und Narration." Poetica 47, no. 1 (June 27, 2015): 1–24. http://dx.doi.org/10.30965/25890530-04701001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Friedrich, Udo. "Topik und Narration." Poetica 47, no. 1-2 (June 27, 2015): 1–24. http://dx.doi.org/10.30965/25890530-0470102001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Friedrich, Udo. "TOPIK UND NARRATION." Poetica 47, no. 1-2 (November 18, 2015): 1–24. http://dx.doi.org/10.1163/25890530-047-01-90000001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Bleumer, Hartmut, Kati Hannken-Illjes, and Dietmar Till. "Narration – Persuasion – Argumentation." Zeitschrift für Literaturwissenschaft und Linguistik 49, no. 1 (February 8, 2019): 1–28. http://dx.doi.org/10.1007/s41244-019-00121-7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Putzo, Christine. "Narration und Diagrammatik." Zeitschrift für Literaturwissenschaft und Linguistik 44, no. 4 (December 2014): 77–92. http://dx.doi.org/10.1007/bf03379715.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Putzo, Christine. "Narration und Diagrammatik." Zeitschrift für Literaturwissenschaft und Linguistik 44, no. 176 (December 2014): 77–92. http://dx.doi.org/10.1007/bf03377230.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Kimball, Samuel. "Uncanny Narration in Moby-Dick." American Literature 59, no. 4 (December 1987): 528. http://dx.doi.org/10.2307/2926610.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

O'Brien, Charles, David Bordwell, and Edward Branigan. "Narration in the Fiction Film." SubStance 15, no. 3 (1986): 96. http://dx.doi.org/10.2307/3684717.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Canhoto, Vinícius. "TEORIA DA LITERATURA E O PROBLEMA DO NARRADOR E NARRAÇÃO: UM DEBATE ENTRE BENJAMIN, LUKÁCS E ADORNO." CADERNOS WALTER BENJAMIN 18 (January 1, 2017): 89–111. http://dx.doi.org/10.17648/2175-1293-v182017-07.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Tosolini, Giulia. "La escritura epistolar entre pasado y presente: Habitaciones cerradas de Care Santos." Estudios Románicos 28 (December 20, 2019): 139–49. http://dx.doi.org/10.6018/er/377761.

Full text

Abstract:

El artículo se propone analizar la fragmentación narrativa creada por el uso de cartas, correos electrónicos y “escrituras del yo” en el esquema narrativo de Habitaciones cerradas (2011) de Care Santos, muestra de la literatura femenina española contemporánea. En la novela, una saga familiar con dos tramas paralelas, los saltos temporales y espaciales que mantienen viva la atención del lector, y a la vez, recrean el flujo de los recuerdos, se crean también gracias a las cartas colocadas a lo largo del cuento, que, simultáneamente, ofrecen detalles para la solución del misterio que desencadena la narración. The article focuses on how letters, mails and self-writing are used in the fragmented narrative scheme of Habitaciones cerradas (2011) by Care Santos. The novel is a family saga developing two parallel plots, jumping around space and time in order to keep the reader attentive and to return the structure of memories, while offering useful details to solve the mystery that narration develops.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!