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1
Tritter, Valérie. "Le statut du narrateur dans les littératures fantastiques française et anglo-saxonne d'E.A Poe à R.B. Matheson". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040236.
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L’objet de cette analyse est de dépeindre un siècle de littérature fantastique à travers le statut du narrateur qui implique d’envisager aussi le statut de son alter-ego, le narrataire. L’idée principale repose sur la théorie d’une évolution depuis les narrateurs d’E. A. Poe jusqu’à ceux de Richard Matheson, via les auteurs français et anglo-saxons tels Charles Nodier, Jules Verne, Guy de Maupassant, Robert Louis Stevenson, Bram Stoker, Hoxard Phillips Lovecraft.L’histoire de la littérature fantastique peut se subdiviser en trois périodes principales qui ont permis au fantastique de naître (par la critique des genres), de triompher (par la critique de la narration elle-même), et de survivre (par la critique du langage). La littérature fantastique suit l’évolution générale de la littérature, mais le narrateur se présente comme un cas à examiner dans ses interactions avec les événements surnaturels qu’il raconte,avec son propre récit, avec son propre personnage, avec son éthos. Ce narrateur “indigne de confiance” est, même pour la narratologie, un mytheThe purpose of this analysis is to depict one century of “littérature fantastique” through thestatus of the narrator which implicates also the status of its alter ego, the narratee. The mainidea rests on the theory of an evolution from Edgar Allan Poe’s narrators to Richard Matheson’svia French and Anglo-Saxon authors like Charles Nodier, Jules Verne, Guy de Maupassant, RobertLouis Stevenson, Bram Stoker, Henry James, Howard Phillips Lovecraft.The history of “littérature fantastique” is divided into three important periods, each of thempermitting it successively to be born (by generic criticism), to triumph (by the criticism of narrationitself) and to survive (by the criticism of language).“Littérature fantastique” follows the generalevolution of literature, but its narrator is a realcase to examine in its interactions withsupernatural events he tells, with the narrativeitself, with its proper character and with its“éthos”. This unreliable narrator is, fornarratology, like a myth
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Richardson, Scott Douglas. "The Homeric narrator /". Nashville (Tenn.) : Vanderbilt university press, 1990. http://catalogue.bnf.fr/ark:/12148/cb355564622.
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Srinivasan, Asha 1980. "Doubt, for narrator and orchestra". College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8085.
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Thesis (D.M.A.) -- University of Maryland, College Park, 2008.Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Sin, Ka-ki. "Narrator-public art landscape regeneration strategy /". View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B34609659.
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Sin, Ka-ki, e 冼家琪. "Narrator-public art landscape regeneration strategy". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45009661.
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Fraser, Graham 1966. "The self-conscious narrator in Beckett's trilogy /". Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59888.
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This thesis examines Beckett's trilogy as a work of metafiction, approaching each novel through its primary metafictional device, the self-conscious narrator. Since the narrators are aware of their roles as story-tellers, the examination is carried out in light of Beckett's pronouncements on the nature of art and the artist. Not only are the narrators found to meet Beckett's criteria for artists and artistic development, but Beckett's aesthetic is seen virtually to require self-consciousness. In their situations, their relationship to the audience (both reader and narratee) and the nature of their tales, the self-conscious narrators follow the artistic trajectory Beckett maps out in his critical writings. As Beckett's aesthetic is fulfilled, the narrators' increasing self-consciousness intensifies the metafictional aspects of the trilogy. The trilogy is thus a demonstration of Beckett's self-conscious aesthetic--a descent into reflexivity on the part of the narrators, and through the narrators, on the part of trilogy as a whole.
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CAETANO, DANIEL PECEGO VIEIRA. "THE OBSERVING NARRATOR: LINES, IDEAS AND DIALOGUES". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8985@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORA dissertação propõe questões sobre uma conduta determinada de narrador literário - um narrador que relate somente o que se pode ver e ouvir -, apresentando uma produção própria de ficção feita dentro desta forma e tecendo considerações a partir desta produção. Dessa forma, ela se constitui de três contos e ensaios em torno de questões desta produção. Pretende-se assim falar, por conseqüência, da própria criação literária, de seus caminhos e suas bordas, a partir de leituras de textos conhecidos sobre a própria escrita, como os de Edgar Allan Poe, Alain Robbe-Grillet, Italo Calvino, Umberto Eco e Ricardo Piglia.
This dissertation raises questions concerning a certain form of literary narrative - that of a narrator who reports only what can be seen and heard -, presenting the author s own literary work of this form and making considerations about it. The dissertation consists of three short stories and essays raising questions over these fictional texts. The intention is to discuss literary creation itself, its paths and borders, taking as starting point readings of well-known texts on writing itself by Edgar Allan Poe, Alain Robbe-Grillet, Italo Calvino, Umberto Eco and Ricardo Piglia.
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Ghani, Usman. "Abu Hurayra : a narrator of Hadith revisited". Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/4362.
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The task of preserving the Hadith was undertaken, according to the classical Muslim view, by the Companions of the Prophet Muhammad and, thereafter, the Tabicun (Successors), and then from generation to generation. Thus, we find this great amount of Hadith in front of us today. From amongst these Hadith we find as it is alleged a great proportion narrated by the Companion Abu Hurayra (d.57/58/59AH/681/682/683CE). He has narrated various kinds of narration, from those on creed to those on the ethics of Islam. However, his narrations have been looked upon with certain scepticism and criticism, as has his own personality, in both Classical Hadith scholarship and Modern Hadith scholarship. This research, entitled: ‘Abu Hurayra’ a Narrator of Hadith Revisited: An Examination into the Dichotomous Representations of an Important Figure in Hadith with special reference to Classical Islamic modes of Criticism, will discuss specifically Abu Hurayra the Companion of the Prophet Muhammad and his alleged status as a prolific narrator of the Hadith. The aim of this study is to highlight how Abu Hurayra is depicted and perceived by both Classical Hadith Scholarship and Modern Hadith Scholarship. Furthermore, the central argument of this thesis is that the charge of Abu Hurayra being a Mukthir (a prolifically active narrator who embellished his reports) is unfair for the simple reason that those traditions he uniquely transmits are rather small in number. Most of the other traditions with which his name is associated have concomitant and parallel isnads (Chains of Narration). This study therefore sets out to critically examine and analyse the life and narrations of Abu Hurayra in view of the academic debates on the wider issues of the authenticity of the sources and how they affect the arguments put forward by this research.
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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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Akujärvi, Johanna. "Researcher, traveller, narrator : studies in Pausanias' "Periegesis /". Stockholm : Almqvist & Wiksell International, 2005. http://catalogue.bnf.fr/ark:/12148/cb40070108z.
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Wirkus, Timothy Paul. "The Ingenious Narrator of Poe's Dupin Mysteries". BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3018.
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Scholarship on Edgar Allan Poe's Dupin stories consistently focuses on the stories' influence on the genre of detective fiction. One of the foundational genre elements pioneered by Poe in these tales is the sidekick/narrator. Throughout detective fiction, the less-intelligent sidekick has become a standard fixture, a convenient trope in foregrounding the brilliant machinations of the detective's mind. The attention the literature gives to the narrator of the Dupin tales is almost universally in terms of the sidekick/narrator figure as a trope of detective fiction; in this way, it seems that Dupin's companion has come to be read in terms of what he has in common with his successors, the Watsons and Archie Goodwins of mystery stories, rather than more strictly on the terms of what makes him unique. This thesis examines the ways in which the narrator alternately highlights (in subtle ways) and attempts to obfuscate (in equally subtle ways) his role as the fictional author of the tales. The narrator's role as writer complicates the reading of Dupin as the autonomous master of his own narrative, and as the narrator himself as a generic, dim-witted sidekick. In this way, Dupin and the narrator occupy flip sides of the same narrative coin—Dupin serves as the showman, and the narrator, the invisible author. As contrasting, complementary doubles of one another, they perform the function of collaborative authors, each one equally essential to the production of the tales. Similarly, this reevaluation of the narrator/sidekick as an author figure brings out ways in which the narrator's genius parallels and matches the genius of Dupin.
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Bauer, Shad A. "Film, Music, and the Narrational Extra Dimension". Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1365444831.
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Dimou-, Grampa Aspasia. "Outline's Silence – In Search for A Silent Narrator". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22228.
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Outline’s Silence: In Search for a Silent Narrator is a Bachelor research paper that hopes to open a discussion about Rachel Cusk’s Outline (2014) and the possibility that an absent and silent narrator could lead to a new and innovative writing mode. The paper bases its theory on Hayden White’s “The Value of Narrativity in the Representation of Reality” (1980) where White argues that moralization is unavoidable as long as there is a narrator in the text (27). Roland Barthes’s theories for a neutral writing mode and the notion of silence as they can be found in Writing Degree Zero (1953) and The Neutral (2002) respectively, are used here as the basis of argumentation. Outline’s narrator and her desire for passivity and silence are analyzed according to Barthes’s theories while its author’s writing is also examined for its neutrality. White’s work is used to support the paper’s argumentation that it is unlikely a narrator will be absent from a narrativized text. The paper concludes that although there is a desire for neutrality and silence both in the narrator’s character and in the author’s writing mode, this proves infeasible to apply in practice.
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Fontenelle, Jonathan Santos. "O Narrador António Lobo Antunes". Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=606.
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A presente dissertação trata dos romances Memória de Elefante, Os Cus de Judas e Conhecimento do Inferno do escritor português António Lobo Antunes. Para tal, a perspectiva assumida foi tentar entender as obras por parâmetros detectáveis nas mesmas e em outros meios pelos quais o autor dirige-se ao público como crônicas e entrevistas. Essa perspectiva permitiu destacar um aspecto essencial da obra do autor que a crítica em geral chama de uma certa tendência à autobiografia. Esse caráter autobiográfico não só é afirmado por Lobo Antunes como ele propõe sua expansão a todos os livros; só não se sabe se exclusivamente os literários ou não. A partir dessa expansão e de experimentações que algumas falas permitem é possível dissociar a idéia do autor estudado da idéia de autobiografia tradicionalmente demarcada que é estudada por Philippe Lejeune em Le Pacte Autobiographique. Além do que se torna aceitável dizer que, para o escritor português, autobiografia seria uma escrita que provasse a existência de um narrador. Baseando-se na hipótese de que Lobo Antunes deseja, de um modo geral, garantir sua existência e, desse modo, marcar a presença do humano no planeta, a dissertação buscou estabelecer uma outra autobiografia possível deste narrador a fim de destacá-lo e destacar o humano que ele expõeThis dissertation deals with the novels Memória de Elefante, Os Cus de Judas and Conhecimento do Inferno from the portuguese writer António Lobo Antunes. To that end, the view taken was to try to understand the work by parameters detectables in the same and others ways by which the author turns to the public like chronicles and interviews. That prospect highlights an essential aspect in the work of the author, that criticism in general calls "a certain tendency toward autobiography." This autobiographical character is not only claimed by Lobo Antunes as he proposes to expand to all books, but it is not known whether only the literature, or not. From this expansion and experimentation that allowed by some discourses is possible to separate the idea of an author studied from the idea of autobiography traditionally demarcated this subject is studied by Philippe Lejeune in Le pacte Autobiographique. In addition to what is acceptable to say, for the portuguese writer, autobiography is a writing that would prove the existence of a narrator. Based on the hypothesis that Lobo Antunes want, in general, ensure their existence and thus mark the presence of humans on the planet, the dissertation sought to create another possible autobiography of this narrator to highlight it and the humans he explains
15
Federer, Lisa M. "Ghosts and Lovers". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4521/.
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Ghosts and Lovers is a collection of short stories told from the points-of-view of four related characters. Travis is a bisexual restaurant owner who fears commitment and longs for the idealistic version of love that he remembers from his past. Ezra, his boyfriend, is an artist struggling to accept the inherent imperfections of life. Travis's ex-girlfriend, Beth, attempts to come to terms with the life that she has chosen for herself. Her husband, Richard, deals with feelings of helplessness as he watches the events of his life unfold before him. By depicting the events of the story from multiple perspectives, the collection attempts to create a more objective view of reality than is ordinarily possible in fiction. An introductory preface examines the role of unreliable narrators and how reality is presented in fiction.
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Ben-Dror, Yaffa. "Students' familiarity with the narrator in multimedia learning material". Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/324043/.
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This is a study of the influence of the familiarity of students with the narrator of video tutorials, in a blended learning situation, on both the perceived and actual effectiveness of the learning materials, in terms of students’ learning efficiency – where a course is traditional in format and online learning is carried out with the help of Narrated Video Screen Captures (NVSCs). The study also focused on the interaction of student-narrator gender similarity and students’ individual differences (conscientiousness and test-anxiety) with voice familiarity. Thus, the study sought to fill a gap in knowledge regarding the influence of familiarity with the narrator in multimedia learning material on the efficiency of learning within a blended learning context. The research paradigm was deductive, employing a mixed methods and a case study research and using quasi-experiments. In order to compare the relational efficiency of the different instructional conditions, a calculative approach was used that combined measurement of mental effort with task performance. In addition to the mental effort questionnaires and task performance, students completed an assessment questionnaire for the NVSCs. In addition, semi-structured interviews and a follow-up questionnaire were used for collection of corroborative data, in order to shed more light on this matter. Findings showed significant influence of voice familiarity on most of the learning efficiency indices and on perceived effectiveness of NVSCs. Gender similarity was significant only with unfamiliar voice and there was no significant interaction between conscientiousness and test anxiety and voice familiarity. Thus, it was concluded that when students have a personal relationship with the class teacher, exposure to multimedia learning materials with an unfamiliar narrator has an adverse influence on their learning efficiency. These findings add to the established voice related principles of Cognitive Theory of Multimedia Learning and Social Agency Theory. Contribution to knowledge was made by filling the gap in knowledge in the area of multimedia instructional design.
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Ben-Dror, Yaffa. "Students' familiarity with the narrator in multimedia learning material". Thesis, Anglia Ruskin University, 2014. https://arro.anglia.ac.uk/id/eprint/324043/1/Yaffa%20Ben-Dror%20PhD%20thesis%20%202014.pdf.
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This is a study of the influence of the familiarity of students with the narrator of video
tutorials, in a blended learning situation, on both the perceived and actual effectiveness of
the learning materials, in terms of students’ learning efficiency – where a course is
traditional in format and online learning is carried out with the help of Narrated Video
Screen Captures (NVSCs). The study also focused on the interaction of student-narrator
gender similarity and students’ individual differences (conscientiousness and test-anxiety)
with voice familiarity. Thus, the study sought to fill a gap in knowledge regarding the
influence of familiarity with the narrator in multimedia learning material on the efficiency
of learning within a blended learning context.
The research paradigm was deductive, employing a mixed methods and a case study
research and using quasi-experiments. In order to compare the relational efficiency of the
different instructional conditions, a calculative approach was used that combined
measurement of mental effort with task performance. In addition to the mental effort
questionnaires and task performance, students completed an assessment questionnaire for
the NVSCs. In addition, semi-structured interviews and a follow-up questionnaire were
used for collection of corroborative data, in order to shed more light on this matter.
Findings showed significant influence of voice familiarity on most of the learning
efficiency indices and on perceived effectiveness of NVSCs. Gender similarity was
significant only with unfamiliar voice and there was no significant interaction between
conscientiousness and test anxiety and voice familiarity.
Thus, it was concluded that when students have a personal relationship with the class
teacher, exposure to multimedia learning materials with an unfamiliar narrator has an
adverse influence on their learning efficiency. These findings add to the established voice
related principles of Cognitive Theory of Multimedia Learning and Social Agency
Theory. Contribution to knowledge was made by filling the gap in knowledge in the area
of multimedia instructional design.
18
Ventura, Mary Kathryn. "The meaning and impact of Nathaniel Hawthorne's narrator doubles". The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1347034119.
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Ahmad, Said Babura. "Narrator as interpreter : stability and variation in Hausa tales /". Köln : R. Köppe, 1997. http://catalogue.bnf.fr/ark:/12148/cb37213730g.
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Gaubytė, Raimonda. "Pasakojimo ir pasakotojo ypatybės Vytauto Martinkaus romane "Žemaičio garlėkys"". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120619_134201-43951.
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Vytauto Martinkaus romane „Žemaičio garlėkys“ atskleistos pasakojimo ypatybes: naracijos laikas (trukmė, tvarka, dažnis), naratorių tipai (ekstradiegetinis, intradiegetinis) ir pasakojimo funkcijos (naratyvinė, valdymo, komunikacinė, liudijimo, ideologinė) naudojantis Gerard Genette naratologija.The following characteristics of the narrative and the narrator are revealed in the novel „Žemaičio garlėkys“ through narratology: type of narrator (ekstradiegetic, intradiegetic), the time in the novel is classified by duration, frequency, and order; the functions in the narrative are as follows: narrative, operating, communicative, ideological functions and the function of witness.
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Suarez, Adriana Esther. "Desmaquillar, reescribir, maquillar. Algunos procedimientos narrativos en La novela de Perón de Tomás Eloy Martínez". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-21092011-090752/.
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Costa, Carlos Augusto Carneiro. "Como um corte de navalha: resistência e melancolia em Em câmara lenta, de Renato Tapajós". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-07102011-110812/.
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Esta dissertação tem como objetivo analisar o romance Em câmara lenta (1977), de Renato Tapajós, e suas relações com o contexto histórico da Ditadura Militar no Brasil (1964-1985), marcado pelo uso da violência extrema como mecanismo de repressão a manifestações artísticas e políticas contrárias ao poder autoritário. Considerando algumas abordagens teóricas sobre a configuração estética do romance moderno, bem como estudos sobre violência, suas ramificações e consequências para a constituição do sujeito, procuramos compreender o romance de Tapajós como produção literária que incorpora em sua elaboração formal os processos antagônicos de sua realidade histórica.This thesis aims to analyze the Renato Tapajós novel Em câmara lenta (1977), and its relationships with the historical context in Brazil\'s military dictatorship (1964-1985), marked by the use of extreme violence as a mechanism of repression of artistic and political manifestations against the authoritarian power. Considering some theoretical approaches on the aesthetics of modern novel, as well as some studies on violence, its ramifications and consequences for the constitution of the self, we seek to understand the Tapajós novel as a literary production that incorporates in its formal structure some antagonistic processes of its historical reality.
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Marques, Daniele Aparecida. "A vocalidade poética do narrador e a criança: uma relação de encantamento". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-27022014-161720/.
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O presente trabalho realiza uma abordagem sobre o Narrador em diferentes contextos e sua relação, na atualidade, com a criança, tendo em vista o encantamento que caracteriza e surge de tal vínculo. Neste sentido, partimos de reflexões de W. Benjamim e P. Zumthor, dentre outros autores sobre os assuntos abordados, enriquecidas pela visão nascida da experiência prática com a narração para as crianças e o encantamento com ela relacionado, utilizando, como exemplo para análise, experiências da autora em teatro narrativo para crianças. Abrangemos aspectos diversos da arte do narrador e elementos que compõem sua atuação e destacamos a imprescindibilidade da relação próxima, direta e afetiva para a instauração do encantamento, que torna possível a troca de experiências, e o papel da vocalidade poética como protagonista nesse processo.This work performs an approach on the Narrator in different contexts and their relationship, nowadays, with the child, considering the enchantment that characterizes and arises from this bond. Accordingly, W. Benjamin and P. Zumthor\'s reflections, as well as other authors, on the issues addressed were taken into account, enriched by the vision gained from the practical experience with storytelling for children and enchantment associated with it, based on the author\'s experiences with narrative theatre for children. Several aspects of the art of the narrator and elements that make up its performance were comprehended, and the indispensability of the close, direct and affective relationship for the development of enchantment was stood out, which makes possible the exchange of experiences and the role of poetic vocality as the protagonist in this process.
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Lunardi, Adriana Brasilia. "O sistema dos Anjos: memorabilia de uma família brasileira". Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3797.
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A internação hospitalar da irmã obriga a narradora de O sistema dos Anjos a realizar uma viagem às pressas do Rio de Janeiro para uma cidade ao sul do Brasil. A partir deste deslocamento, histórias da infância, da adolescência e do início da vida adulta vão surgindo na memória da viajante. A dissertação, em forma de romance, foi estruturada a partir de duas narrativas, ambas escritas em primeira pessoa, que formam um sistema único e colocam em dúvida a identidade daquela que está narrando. Quem o eu, quem o outro é o fio invisível que atravessa essa ficção composta de capítulos que ambientam diferentes fases, desde a gênese da família dos Anjos até a sua dissoluçãoThe hospitalization of her sister compels the narrator of O sistema dos Anjos: memorabilia de uma família brasileira to make a hurried trip from Rio de Janeiro to a city in the south of Brazil. From this displacement, stories of childhood, adolescence and the beginning of adult life surface from the memory of the traveller. The thesis, in novel format, is built around two narratives, both written in first person, presenting a unique system and casting doubt on the identity of the speaker. Who I am, who the other is, form the invisible line that per passes this fiction, composed of chapters that harbor different phases, from the genesis of the dos Anjos family to its dissolution
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Queiroz, Lucas Porto de. "Entre expansão digressiva e concentração moralizante: uma proposta semiótica para narrador saramaguiano". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-25102017-153742/.
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Sobretudo a partir do início da década de 1980, José Saramago notabilizou-se como um dos escritores de língua portuguesa a conquistar considerável apreço da crítica literária sem, em contrapartida, cobrar um texto que se possa considerar dos mais herméticos na literatura contemporânea, o que decerto contribuiu para a formação de um público leitor significativo. Entendendo que o narrador de seus romances, gênero em que o autor mais escreveu, responde bastante por essa combinação relativamente exitosa de público e crítica, esta dissertação volta-se diretamente para esta instância enunciativa. Investigamos o narrador saramaguiano, então, a partir do reconhecimento de dois vetores que consideramos distintivos desta instância enunciativa e que nomeamos como expansão digressiva e concentração moralizante. Apresentando e detalhando de que consiste cada um desses vetores, defendemos o reconhecimento possível de uma oscilação regulada entre ambos os movimentos. Expomos também as categorias narrativas e tensivas que nos parecem sustentar a expansão digressiva e a concentração moralizante. Paralelamente, desenvolvemos uma análise de parte da fortuna crítica saramaguiana, com a qual fizemos nossas análises se confrontarem - em especial quando essa crítica problematiza o quantum de moderno e de tradicional haveria nos romances do tal português. Defendemos, por fim, que as opções discursivas na instância enunciativa nos permitem aproximar a função desempenhada pelo actante narrador do éthos de um orador, tal como concebido pela retórica clássica. Verificamos, ainda, como os vetores expostos ao longo do trabalho dialogam com a categoria semiótica do estilo. Baseamo-nos em dois romances de José Saramago - Memorial do convento (1982) e A caverna (2000) - e utilizamos como referencial teórico a semiótica de linha francesa, nascida com Saussure, desenvolvida por Hjelmslev e aprimorada por Greimas e, mais recentemente, por Zilberberg.Mainly after the 80\'s decade, José Saramago has become one of the acclaimed writers in the Portuguese language literature to conquer considerable appreciation of the literature critique. Nevertheless, he presents a text that is not to be considered one of the most hermetic in the contemporaneous literature which surely contributes to gathering a significant public of readers. Understanding that the narrator of his novels, genre that he has produced the most, responds to this successful blend of public and critique, this research focuses directly to this enunciation instance. Therefore, we investigate the saramaguian narrator from the recognition of two vectors that are considered distinctive form this enunciation instance which were defined as digressive expansion and moralizing concentration. Presenting and detailing the constitution of those two vectors, we defend the possible recognition of a regulated oscillation between both movements. We also expose the narrative and tensive categories which seem to support the digressive expansion and moralizing concentration. Aside from that, we developed an analysis of part of the saramaguian critique fortune, confronting it to our analysis especially when this critique problematizes the extent of modern and traditional quantum in the Portuguese writer`s novels. At last, we defend that the discourse options in the enunciation instance allow us to approximate the developed function by the acting narrator of the ethos of an orator as conceived by the classical rethoric. We verified how the vectors exposed throughout the work dialog with the semiotic category of style. We based our analysis in the novels Memorial do convento (1982) e A caverna (2000) by José Saramago and we used as theoretical reference the French semiotics, born with Saussure, developed by Hjelmslev, imporved by Greimas and, more recently, by Zilberberg.
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Berman, Mona. "Elie Wiesel's fictional universe : the paradox of the mute narrator". Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1001829.
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The approach I have chosen for my study is to analyse the narrative techniques in Wiesel's fiction, with particular emphasis on the role of the narrator and listener in the narratives. This will not only highlight aspects of his authorial strategy involving the reader's response to various dimensions of the Holocaust, but will allow an appraisal of the literary merit of Wiesel's novels. The hushed reverence that tends to accompany allusions to Auschwitz and its literature has impeded certain theoretical investigations, with the result that most critical studies undertaken on Wiesel's works have dealt predominantly with themes and content rather than with form. A narrative approach, however, while it accounts for themes, does so within the narrative process of the work. Form and content are examined as interwoven entities in the particular context of an individual work. My decision to adopt this pursuit is based on the conviction that Wiesel's fiction is a significant contribution to the literature of testimony, not only because of its subject matter, but also because of the way in which his narrators unfold their stories with words suspended by silence in the text. The paradox of the mute narrator, the title of my study, is intended to convey the paradoxical quality of Wiesel's fiction and to show how silence, which is manifested in the themes of his work, is concretized by his strategy of entrusting the transmission of the tale to narrators, who, for various reasons have been silenced. A mute by definition cannot emit an articulate sound. A narrator, on the other hand, is a storyteller who is reliant on verbal articulation for communication. This contradiction in terms is dramatized in the novels and is symptomatic of the dilemma of Wiesel's narrators who are compelled to bear testimony through their silence. In my study of Wiesel's fiction, I will follow the chronological sequence in which the novels were written, although I will not be using a developmental approach, except to point out that the trilogy which marks the beginning of his exploration into narrative strategies, and The Testament, the last book I will be dealing with, are a culmination of his previous fictional techniques. While a developmental analysis of his fiction, particularly from a thematic point of view, enables the reader to gain insight into his background, which is important in a comprehensive study of his works, I feel that this avenue of investigation has been competently dealt with by other critics. Ellen Fine's Legacy of Night, one of the first book-length studies of Wiesel, puts forward a convincing argument for examining his fiction in chronological sequence as a kind of serialized journey from being a witness in l'univers concentrationnaire to bearing - witness in a post-Holocaust world. Furthermore, it is possible to trace the direction Wiesel's fiction follows, as in each book the seeds are sown for new ideas which are expanded upon in subsequent books. My discussion, however, will deal with the narrative process of each novel as an individual work in its own particular context. Apart from the trilogy which is examined in one chapter, and The Testament which serves as a conclusion to the study, I have not used cross references to Wiesel's other fiction when analysing specific books. Moreover, I have deliberately avoided including Wiesel's comments on his works and references to them in his essays, interviews and non-fiction writing. The reason for this approach is that I consider each novel to be a separate narrative work which merits an interpretative response that is independent of the comparative criteria that has up to now influenced the assessment of his fiction. (Introduction, p. 12-14)
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Collares, Paula Renata Lucas. "A pós-modernidade e os jogos de linguagem: o autor-narrador em pedro e paula e vícios e virtudes, de Helder Macedo". reponame:Repositório Institucional da FURG, 2011. http://repositorio.furg.br/handle/1/4867.
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Esta dissertação pretende avançar nos estudos referentes à pós-modernidade, preponderantemente analisando a metaficcionalidade como característica marcante desse período. Dessa forma, deseja-se investigar a construção ficcional do autor-narrador nas narrativas Pedro e Paula e Vícios e Virtudes, de Helder Macedo. A intenção é mostrar uma articulação entre a nova literatura portuguesa que ainda preserva certas particularidades, mas, por outro lado, dialoga com características marcantes da pós-modernidade. Sendo assim, tentaremos encontrar sentido nas marcas intertextuais, nos deslizamentos da voz do autor, na desconstrução da história oficial, no contato entre o discurso histórico e o literário. A análise das narrativas está ancorada nos pressupostos pós-estruturalistas e pós-modernos que entendem o sujeito inserido no discurso como linguagem, construção estética pensada em sua essencialidade.
This dissertation aims to conduct further studies related to postmodernity, preponderantly analyzing metafictionality as its hallmark. This study investigates the fictional construction of the author-narrator in the narratives Pedro e Paula and Vícios e Virtudes, by Helder Macedo. The intention is to show a link between the new Portuguese literature which still preserves certain particularities, but on the other hand, speaks to the remarkable characteristics of postmodernity. Therefore, we will try to find meaning in the intertextual marks, in the author’s voice slips, in the deconstruction of the official history, in the contact between literary and historical discourses. The analysis of the narrative is anchored in poststructuralist and postmodern assumptions which understand the subject inserted in discourse as language, aesthetic construction thought in its essentiality.
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Claxton, Cynthia Lois. "The role and performance of Herodotus as Narrator of the Histories /". Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11457.
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Christy, Elizabeth. "Narratological metamorphoses a study of the narrator stance in Apuleius' Metamorphoses /". Diss., Connect to the thesis, 1993. http://hdl.handle.net/10066/1476.
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Grimanis, Catherine. "The narrator in D.H. Lawrence's travel fiction : nostalgia, disillusion, and vision". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61874.
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Quarrie, Cynthia. "Laminations : nostalgia and the undifferentiated narrator in three novels by A.S.Byatt". Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79805.
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This study focuses on the first three historiographic novels in a projected quartet---The Virgin in the Garden, Still Life, and Babel Tower---which historicises what we now refer to as the "crises in representation" that occurred over the late 50s and into the 60s. I trace the figure of the Undifferentiated Narrator, both as it is referred to and read by the characters in the world of the novels, and as it is invoked or broken up by the forms of the narratives themselves.My methodology is outlined in the first section, wherein I place a reading of Byatt's work within the context of contemporary debate regarding the ethics of representation. Then I treat each novel separately, since each is a self-contained novelistic experiment with a different form of literary realism.
In the end I conclude that Byatt's use of polyvocality and multiple histories help us to come to terms with nostalgia for the self-present self, by showing us that it haunts every narrative (and anti-narrative) and is a coercive figure in every life.
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Francis, R. A. "The first-person narrator in the novels of the Abbe Prevost". Thesis, University of Nottingham, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.379128.
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Cohen, Claire. "The bourgeois narrator : studies in the later fiction of Wilhelm Raabe". Thesis, University College London (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322485.
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Keefe, Robert Michael. "Mysterium Cosmographicum, for Orchestra, Narrator/Actor, and Computer Music on Tape". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332398/.
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Mysterium Cosmographicum is a musical chronicle of an astronomy treatise by the German astronomer Johannes Kepler (1571-1630). Kepler's Mysterium cosmographicum (Tubingen, 1596), or "Secret of the Universe," was a means by which he justified the existence of the six planets discovered during his lifetime. Kepler, through flawless a priori reasoning, goes to great lengths to explain that the reason there are six and only six planets (Mercury, Venus, Earth, Mars, Jupiter, and Saturn) is because God had placed one of the five regular solids (tetrahedron, cube, octa-, dodeca-, and icosahedron) around each orbiting body. Needless to say, the publication was not very successful, nor did it gain much comment from Kepler's peers, Galileo Galilei (1564-1642) and Tycho Brahe (1546-1601). But hidden within the Mysterium cosmographicum. almost like a new planet waiting to be discovered, is one of Kepler's three laws of planetary motion, a law that held true for planets discovered long after Kepler's life-time.
Mysterium Cosmographicum is a monologue with music in three parts for orchestra, narrator/actor, and computer music on tape. All musical data structures ape generated via an interactive Pascal computer program that computes latitudinal and longitudinal coordinates For each of the nine planets as seen From a Fixed point on Earth For any given time Frame. These coordinates are then mapped onto selected musical parameters as determined by the composer.
Whenever Kepler reads From his treatise or From a lecture or correspondence, the monologue is supported by orchestral planetary data generated From the exact place, date, and time oF the treatise, lecture, or correspondence. To the best oF my knowledge, Mysterium Cosmographicum is the First composition ever written that employs planetary data as a supporting chronology to action and monologue.
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Alley, Candace P. "Jasmine's Secret: Narrative Cantata for Five Solo Voices, Narrator, and Orchestra". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935619/.
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Since Jasmine's Secret contains elements of cantata and follows a dramatic story or program, the work may be classified as a narrative or dramatic story or program, the work may be classified as a narrative or dramatic cantata employing five solo voices, narrator and orchestra. This work attempts a revival of these two genres as a combined entity due to the decreased popularity of both cantata and programmatic music in the 20th century.
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Patnoe, Elizabeth Louise. "Technique as Characterization: The Implications of Narrator Unreliability for Moral Liability". The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392654968.
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Ferenz, Volker. "Don't believe his lies : the unreliable narrator in contemporary American cinema /". Trier : Wiss. Verl. Trier, 2008. http://d-nb.info/990884805/04.
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Constantelos, Stephen B. "The Narrator in the Middle English Bird Debates: A Dynamic Convention". W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626052.
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Palmer, Marcus Sylvan. "Narrator transformations in the work of Arab-Argentine writer Jorge Asís". Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1377.
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Jorge Asís's narrative voices are transformed from on text to another. The Arab-Argentine author creates multiple narrators that interact with one another to further develop their textual identities. Discussions of authorial and narrative voices often coalesce into broad statements of alter-egos and pseudonyms that do not fully consider the nexus between them with writing practices. This study analyzes the author-narrator and narrator-narrator bonds in Argentine Orientalist, Mahyar, Costumbrista, and Testimonial writing practices.
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Saraiva, Isabela Cristina Terra. "Um novo olhar a figura do narrador : narradores de passagem". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284683.
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Orientador: Mario Alberto de SantanaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Luís Alberto de Abreu, dramaturgo brasileiro, propôs na Escola Livre de Teatro de Santo André um núcleo de pesquisa intitulado Narradores de Passagem. Esse Núcleo visa a formação de narradores na atualidade, embasando-se no narrador tradicional proposto por Walter Benjamin, mas realizando as adaptações necessárias para os dias de hoje. A formação deste narrador de passagem segue etapas específicas: discussões, estudos e análises sobre o narrador e as estruturas narrativas, aulas corporais, vocais e de memorização, apresentações em sala de aula e apresentações em campo. O objetivo dos narradores de passagem é gerar, por meio de apresentações artísticas de suas narrativas, reflexões acerca do tema passagem nos espectadores. O trabalho baseia-se na comparação das aulas assistidas no Núcleo, como aluna, no ano de 2006, com alguns trabalhos, pesquisas e autores que analisam o tema "narrador" e a performance artística da apresentação de um texto narrativo. A proposta deste trabalho é lançar um olhar sobre este novo modelo de narrador, analisar sua formação, bem como os resultados de sua atuação em campo. Palavras-chave: narrador, narrativa, teatro, dramaturgia, interpretação
Abstract: Luís Alberto de Abreu, Brazilian dramatist, proposed at Escola Livre de Teatro de Santo André a research group entitled Narradores de Passagem. This research group looks for the development of narrators in our current days, taking as example the narrator proposed by Walter Benjamin, but adapting it to our reality. The development of this "narrador de passagem" follows some guidelines: discussions about the topic, studies and analysis about the narrator and the structures of a narrative, as well as physical and vocal exercises, exercises to help memorizing the narratives and presentatios in class and in specific places. The goal of the "narradores de passagem" is to generate, through artistic presentations of their narratives, reflexions about the theme "death" in the spectators. This research is based on the comparison of the classes attended in the group, as a student, in the year of 2006, with some other researches, studies and authors who analyze the theme "narrator" and the artistic performance of a narrative text. The aim of this dissertation is to analyze deeply this new narrator, its development and the results of its performance in specific places. Key words: narrator, narrative, theater, playwright, interpretation
Mestrado
Mestre em Artes
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Passaes, Manoel Fernando. "\'Aparição\'de Vergilio Ferreira, para além do existencialismo, o humanismo integral". Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-01112007-145451/.
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Este trabalho analisa Aparição, obra do escritor português Vergílio Ferreira (1916-1996), na perspectiva da temática existencialista e nos aspectos de tempo e espaço. Vergílio, na linha de Sartre e, principalmente, de Heidegger, é obcecado pelo mistério do ser, pela procura do sentido da existência humana, o que o leva a refletir e observar sem cessar o homem, suas idéias e ações. Preso a um espaço e tempo determinado, com uma pseudoliberdade, o homem pensa e age inconscientemente, enfrenta problemas de relacionamento de seu eu com o eu do outro e não sabe como se colocar perante a finitude da vida. O homem deve procurar sua aparição ou epifania, aparecendo a si mesmo, com plena consciência de suas possibilidades e limitações, capaz de conhecer-se e assumir-se como ser com o outro, para a morte ou contra a morte. Filosofias e religiões não dão conta de conduzir o homem no caminho de busca de si mesmo. Ele está só, preso a um espaço e tempo povoados pela memória da morte, por diálogos que nunca se completam e símbolos que nada significam. Espaço e tempo são expressão, causa e conseqüência do pensamento e ação das personagens de Vergílio. É preciso evitar o espaço de baixo, apertado, frio, sem portas e sair para o sol, a lua, o campo, não se perder em tradições que estrangulam o progresso, viver com consciência e autenticidade, fazer com que o inferno não sejam os outros, que a introspecção não impeça o homem de construir com responsabilidade seu destino. Com um estilo personalíssimo, Vergílio discute os mais palpitantes temas que angustiam o homem desta e de outras épocas, acreditando na possibilidade de convivência e comunicação entre os homens, não comunhão, desde que sejam autênticos e não exijam mais do que a condição humana - votada à morte, frágil, limitada, entregue exclusivamente a si mesma - pode proporcionar. Pela arte, o homem pode auto-afirmar-se, sentir-se criador e esquecer, mesmo que por instantes, o peso de sua condição humana.This study analyses Aparição, a work of the Portuguese writer Vergílio Ferreira 1916-1996), in the perspective of existentialist theme, and in the aspects of time and space. Vergílio, like Sartre and, mainly, Heidegger, is fascinated by the being mystery and the search of the meaning of the human existence, which makes him to think and observe, without stopping, the man, his ideas and actions. Tied in a space and a definite time, with a false freedom, man unconsciously thinks and acts, faces communications problems from himself with the other, and he doesn\'t know how he stands facing the end of life. Man must search his apparition or epiphany, showing to himself, with a total idea of his possibilities and limitations, been able to know himself and also assume himself how to deal with the other man, with the death or against it. Philosophies and religions are not enough to guide the man in his way when looking for himself. He\'s absolutely alone, tied in a space and in a time full of memories of death, dialogues that never complete and symbols those mean nothing. Space and time are expressions, cause and consequence of the thought and action of Vergílio\'s characters. It\'s necessary to avoid down spaces, tied, cold, without doors and go to the direction of the sun, the moon, to long fields, not been lost in traditions that hold the progress and, although it seems unreasonable, to live with fairness and legitimateness the life, thinking that hell might not be the others, that introspection doesn\'t stop the action, and the man could be free to build, with responsibility his destiny.
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Silva, Marilde Alves da. "O riso ausente: desenho de infÃncias em seis contos de Moreira Campos: InfÃncia, A catita, Os meninos, Olhos espantados, Estrela VÃsper, A matutina e Cassiano". Universidade Federal do CearÃ, 2008. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=5292.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorEste trabalho tem por objetivo analisar de que forma ocorre a construÃÃo de um discurso sobre infÃncia na prosa de Moreira Campos, partindo dos contos: InfÃncia e A Catita do livro As Vozes do morto (1963); Os meninos e Olhos Espantados do livro O Puxador de terÃo (1969); Cassiano e Estrela VÃsper, A matutina do livro A Grande Mosca no copo de leite (1985), que compuserem o Corpus da pesquisa. Nossa hipÃtese à a de que a voz que constrÃi uma representaÃÃo de infÃncia pertenÃa ao narrador, que assume os discursos diante do processo de esvaziamento discursivo pelo qual a personagem infantil passa. Ele traduz, como organizador e condutor dos discursos, uma visÃo do adulto sobre a crianÃa, tendo em conta que em sua origem latina o termo infÃncia e cognatos cobrem a idÃia de ausÃncia de fala, desse modo a infÃncia à sempre um outro em relaÃÃo Ãquele que a nomeia e a estuda (LAJOLO, 2006, p.229).
This work aims to analyze how the construction of discourse about infancy occurs in Moreira Camposâ prose, starting from the stories: InfÃncia and A Catita from the book As Vozes do morto (1963); Os meninos and Olhos Espantados from the book O Puxador de terÃo (1969); Cassiano and Estrela VÃsper, A matutina from the book A Grande Mosca no copo de leite (1985), which composed the Corpus of the research. Our hypothesis is that the voice which builds an infancy representaton belongs to the narrator, who assumes the discourses in face of the process of discussive emptying the infant character has to go through. As an organizer and a conductor of the discourses, he translates the view of the adult about the child, considering that the term infancy and cognates in their latin origin mean absence of speech, thus, infancy is always another in relation to that one that names and studies it (LAJOLO, 2006, p.229).
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Rodrigues, Josà LourenÃo Becco. "EstÃrdias stories: the storyteller in General Court, GuimarÃes Rosa". Universidade Federal do CearÃ, 2005. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10092.
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nÃo hÃGuimarÃes Rosa was a storyteller. Throughout all his literary work, there are many storys, in all sizes and kinds. The characters who tell these stories are as important as the stories themselves. Among the many storytellers found in the pages of Corpo de baile we can remark the boy Miguilim, in âCampo Geralâ. Within these pages, we tried to understand the act of storytelling as a major factor in the growing process of Miguilim. He and the other children who are storytellers have a creative gift that make them distinct to the tradicional storytellers, the adults. In order to assay that , we compared the children storytellers (in Primeiras estÃrias) to Joana Xaviel and the old Camilo, traditional grown-up storytellers in âUma estÃria de amorâ. After that, we focused on the stories that Miguilm makes up/tells, pointing out the moment they are told, what motivates her making of, and their function in the narrative. We take these stories as part of a communicative process (though entirely fictional), thatâs why itâs very important to know their context and audience. After all, we compare the narrative of âCampo geralâ to the only text of the oral literature quoted by Miguilim: âHansel and Gretelâ. Many of the symbols and metaphors of the fairy tale were taken to the GuimarÃes Rosaâs literary piece, as an essential part of its themes and conflicts.
GuimarÃes Rosa era um contador de estÃrias. Em toda a sua obra as encontramos dos mais variados tamanhos e tipos. Se as estÃrias sÃo importantes na construÃÃo da sua obra, os personagens que as contam nÃo o sÃo menos. Entre os exemplos de contadores de estÃrias que se revelam nas pÃginas de Corpo de baile, conjunto de 7 novelas, destaca-se o menino Miguilim. No presente trabalho, pretendemos entender como o ato de contar estÃrias à determinante para a trajetÃria de vida e o amadurecimento de Miguilim. Tanto ele quanto os demais contadores crianÃas possuem uma capacidade criadora que os difere dos tradicionais contadores de estÃrias, jà adultos. Para afirmar tanto, comparamos outros contadores crianÃas (de Primeiras estÃrias) com Joana Xaviel e o Velho Camilo, exemplos de contadores tradicionais adultos encontrados em âUma estÃria de amorâ. Em seguida, nos centramos na estÃrias que Miguilim cria/conta, destacando cada uma delas assim como o momento em que sÃo contadas, o que motiva a sua criaÃÃo e qual a funÃÃo que exercem a partir daÃ. Analisaremos as estÃrias como parte de um processo comunicativo (mesmo que ficcional), portanto serà de relevÃncia notarmos o contexto em que estÃo inseridas e quem sÃo os seus ouvintes. Por fim, procederemos a uma anÃlise comparativa entre âCampo geralâ e o Ãnico texto da literatura oral citado por Miguilim: âJoÃo e Mariaâ. Muitos dos sÃmbolos e mensagens que encontramos no conto de fadas sÃo transportados para a novela, tomando parte na construÃÃo de seus temas e conflitos.
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Martins, Jaqueline Lemos. "O autor e o narrador nas tessituras da reportagem". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-22092016-151924/.
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Esta tese trata de aspectos da narrativa no jornalismo, mais especificamente na reportagem. Ao assumir a condição inequívoca de autoria no texto, o jornalista abre-se para possibilidade de dar maior complexidade ao ato narrativo, abre-se para articular vozes, visões de mundo e experiências. Nesta complexidade, é possível estabelecer dois sujeitos distintos: o autor (repórter) e o narrador (sujeito elaborado pelo repórter para contar uma história). O embasamento teórico da pesquisa procura articular as noções de complexidade e dialogia (Cremilda Medina) filosofia do diálogo (Martin Buber); ponto de vista (Norman Friedman); experiência e comportamento face a face (Erving Goffman). O autor no jornalismo é um mediador cultural, tem um lugar social demarcado por sua formação profissional e está diretamente ligado ao exercício de um ofício. Já o narrador, é uma criação do autor. É um sujeito que existe para narrar, que adota perspectivas e estratégias para contar uma história, um fato/acontecimento. A constituição do(s) narrador(es) do jornalismo está sob a batuta do autor jornalista. Estabelecemos conexões entre as referências teóricas e a experiência prática. Foram observadas um total de 20 reportagens publicadas/veiculadas em jornal, revista, rádio, televisão e web. Além da observação das reportagens, foram entrevistados os dez repórteres responsáveis por estes textos jornalísticosThis thesis treats aspects of narrative in journalism, more specifically in the report. When assuming an unequivocal condition of authorship in the text, the journalist opens to the possibility of giving more complexity to the narrative act, opens to articulate voices, world views and experiences. In this complexity, it is possible to establish two distinct subjects: the author (reporter) and the narrator (subject developed by the reporter to tell a story). The theoretical basis of the research intends to articulate the notions of complexity and dialogy (Cremilda Medina) ; philosophy of dialogue (Martin Buber); point of view (Norman Friedman); experience and behavior face to face (Erving Goffman). The author in journalism is a cultural mediator and has a social place demarcated by his professional qualification and is directly linked to the exercise of a craft. Yet, the narrator in journalism is a creation of the author. It is a subject that exists to narrate, which adopts perspectives and strategies to tell a story, a fact /event. The constitution of narrator(s) of journalism is under the baton of the author journalist . We established connections between theoretical references and practical experience. It was observed a total of 20 stories published/aired in newspapers, magazines, radio, television and web. In addition to observing the reports, ten reporters responsible for these journalistic texts were interviewed.
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Mattos, Tatiane Reghini de. "As vozes narrativas de Pepetela: A geração da utopia e Predadores". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-30062014-122910/.
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Esta pesquisa tem como objetivo a realização de uma análise comparativa entre as vozes que narram os romances A geração da utopia e Predadores, do escritor angolano Pepetela, a partir, principalmente, do mapeamento das consonâncias e dissonâncias entre as vozes, possibilitadas pelas condições históricas e ideológicas presentes em suas composições.The aim of the present research is to provide a comparative analysis between the narrative voices of the novels A geração da utopia and Predadores, written by the Angolan writer Pepetela. The comparison is mainly based on the mapping of the consonances and dissonances among these voices, allowed by historical and ideological conditions existent in his works.
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Capelli, Isabella Midena [UNESP]. "Incursões teóricas e ficcionais de Italo Calvino em Se um viajante numa noite de inverno". Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141490.
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
O presente estudo do romance Se um viajante numa noite de inverno, de Italo Calvino, analisa a construção da narrativa e algumas questões dela originadas, a partir, primeiramente, da análise da instância do narrador. Partindo da discussão de textos que tratam das noções de ficção, autor, leitor e leitura, as quais, de diversos modos, protagonizam o romance em pauta, a pesquisa percorre investigações sobre a metaficção, o ficcionismo e o papel do leitor no texto literário. A análise do romance observa a intertextualidade nas reflexões do narrador, que remetem a ensaios de Calvino, a textos de outros teóricos e a obras ficcionais diversas, e evidencia a repetição dos motivos e a falta de desenlace nas micro-narrativas, o que faz com que o prazer da leitura seja sempre interrompido e adiado, mas amplia o espaço da ficção.
This study of the novel If on a winter’s night a traveler, by Italo Calvino, aims to analyze the arrangement of the narrative and some questions it generates, starting primarily with the analysis of the narrating instance. This research begins with the discussion of texts that deal with the notions of fiction, author, reader and reading, all of which star in the novel at issue, and looks at studies about metafiction, ficcionismo, and the role of the reader in the literary text. The analysis of the novel looks at the intertextuality in the narrator’s thoughts, which allude to essays by Calvino himself, essays by other critics and various fictional works, and indicates the repetition of motives and the lack of denouement in the micro-narratives, which interrupts and delays the pleasure of reading, but expands the fictional space.
CNPq: 134002/2014-8
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Nami, Natália Corrêa. "A palavra-bolha: um estudo do conto de Lygia Fagundes Telles". Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3085.
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Neste estudo é analisado o conto da paulistana Lygia Fagundes Telles sob dois enfoques principais: a investigação a respeito do narrador e o exame das técnicas utilizadas na escritura lygiana em si. Em relação ao narrador, examinam-se as inovações trazidas pela escritora a partir do diálogo com a tradição machadiana de narrativa. Toma-se como ponto de partida da análise o conto Missa do Galo: variações sobre o mesmo tema (1977), escrito por Lygia Fagundes Telles sobre o conto homônimo de Machado de Assis. No que concerne ao segundo aspecto, a escrita lygiana em si, são examinadas técnicas que resultam no que se chamará de palavra-bolha, ou seja, uma escritura na qual a característica primordial é a leveza narrativa, mesmo nos contos onde está presente a tragicidade, e investiga-se, através dessa técnica, o tipo de realismo presente no conto lygiano. A expressão palavra-bolha foi escolhida a partir do título de um dos contos da autora, A estrutura da bolha de sabão. Com o objetivo de analisar a palavra-bolha, ou seja, as técnicas lygianas de escritura, foi realizada uma divisão didática em quatro grupos de temas, nos quais foram encaixados e examinados os contos escolhidos como amostragensTwo are the main viewpoints through which Lygia Fagundes Telless short story is analysed in this paper: her narrator and her writing techniques. Concerning the former, we look into similarities between hers and Machado de Assiss narrator and examine the innovation Lygia has brought. The starting point for Lygia Fagundes Telless narrators analysis is Missa do Galo: variações sobre o mesmo tema (1977), a short story she wrote based on Machado de Assiss original Missa do Galo (Midnight Mass). In relation to Lygia Fagundes Telless writing itself, we examine the techniques which result in what we here call the bubble-word, a way of writing whose main aspect is lightness, even in stories in which there is the traumatic element, and, through this bubble-word technique, we try to pinpoint the kind of realism present in Lygia Fagundes Telless short story. The term bubble-word has been taken from a Lygia Fagundes Telless short story called The structure of the soap bubble (A estrutura da bolha de sabão). For our objective of examining the bubble-word - i.e. Lygia Fagundes Telless writing techniques - to be met, our study has been divided into four thematic groups, in which we have inserted and analysed the chosen short stories as samples
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Jakutienė, Ramunė. "Pasakotojo funkcijos Sigito Parulskio romane „Murmanti siena“". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100903_123202-23720.
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Pasakojamasis diskursas siejamas su Gerard‘u Genette‘u, jo naratologiniai tyrinėjimai aštuntajame dešimtmetyje padarė didelį posūkį literatūrologijos moksle. Iš esmės keičiamas mąstymas apie pasakojimą. Todėl svarbiausia ne tai, kas papasakota, o tai, kaip pasakojama. Ši problema labai mažai, tiksliau visiškai netyrinėta, todėl nusprendėme darbo temą pasirinkti būtent tokią „Pasakotojo funkcijos Sigito Parulskio romane „Murmanti siena“.
Darbo objektas – pasakotojos funkcijos, jų kaita romane. Pasakotojas išryškėja kaip adresantas, vertybių saugotojas, veiksmo skatintojas ir vertintojas, kuris tam tikrą momentą įgauna atitinkamą galėjimą, kompetenciją atlikti vieną ar kitą veiksmą. Naratorius atlieka ne vien pasakotojo funkciją, kuri yra privaloma, bet tuo pat metu ir kitokias. Pirmoji, svarbiausioji, funkcija vadinama naratyvine, kitos keturios(ideologinė, liudijimo, komunikacinė, valdymo), jomis pasakotojas pasitelkia tik tam tikrais atvejais.
Šiuo darbu siekiame atskleisti, kaip keičiasi pasakotojo funkcijos romane, parodyti, kaip jomis naudojasi, pagrįsti tokį elgesį. Pasitelkdamas vieną ar kitą pasakotojo funkciją, naratorius pateikia kuriamos tikrovės įvykius. Tai atlieka sąmoningai, organizuotai, pagal situacija liudija, vertina, komentuoja.
Išanalizavę visą tekstą, galime teigti, jog naratorius plačiąją prasme, nėra tik stebėtojas ar įvykių fiksuotojas, jis adekvačiai reaguoja į pateikiamą diskursą, personažus, modeliuoja jų veiklą ir pats yra ne ką menkesnė figūra... [toliau žr. visą tekstą]The narrative discourse is related to Gerard Genette. In the eighth decade his narratological researches made a significant turnabout in the science of literary criticism. The thinking about the narration is basically changed. That is why the most important thing is not what is told but how it is told. This problem has been little investigated, to be more precise, it has not been investigated at all. That is why we decided to choose the following topic of the work: “The Narrator‘s Functions in the Novel “Murmanti siena” by Sigitas Parulskis”. The subject of the work is the narrator’s functions, their change in the novel. The narrator is revealed as an addresser, a preserver of values. He encourages and evaluates the action as well as he gets the appropriate ability, competence to perform one or another action. The narrator performs not only the narrator’s function which is compulsory but at the same time he performs other functions. The first and the most important function is called narrative, the other four functions are called ideological, communicative, operating and the function of witness. The narrator invokes them in some sort of cases. The aim of the work is to reveal how the narrator’s functions change in the novel, to show how they are used, to motivate such a behaviour. Invoking one or another function of the narrator, he presents events of the reality which is being created. This is performed in a deliberate, organized way, according to the situation the... [to full text]
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Miyakawa, Misako. "Narrative Frame in Conrad's Fiction : the Straggler, the Narrator, and the Audience". 京都大学 (Kyoto University), 2001. http://hdl.handle.net/2433/151376.
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Sweetapple, Kate, University of Western Sydney, of Arts Education and Social Sciences College e School of Contemporary Arts. "The rhetoric of distance : a model of the visual narrator in design". THESIS_CAESS_CAR_Sweetapple_K.xml, 2003. http://handle.uws.edu.au:8081/1959.7/752.
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This thesis describes the development of a model of the relationships between the designer and their visual outcome that is intended to assist the designers understanding and management of the viewer experience. To date the focus of design discourse has been towards theories of interpretation that offer methods to decode messages, one of the more significant being semiotics. The application of semiotic theory to the field of design has enabled a greater understanding of how meaning is produced in visual communication, it does not account for how the designer affects the type of engagement the viewer has with the material which is a significant aspect of the communication process. The aim of this research is to develop a model of the design/visual outcome relationship that will assist designer’s management of viewer experience. To develop this model, the author examined literary theory as it is a discourse that has analysed its own creative process extensively. While there are many useful parallels that can be drawn between design and literary discourses, it is the notion of distance that is the most useful for this research. Through modifying the textual devices used by an author to create these varying distances, a model that identifies four types of visual narrators was developed – Idiosyncratic, Implicit, Imperative and Esoteric. This research demonstrates the effectiveness of the design concept of distance as a method of analysis for design and proposes how the designers might adopt distance method for considering the viewer experience during the design process, as opposed to leaving it to semioticians to critique post-publicationDoctor of Philosophy (PhD) (Design)