Relevant bibliographies by topics / Esther narrative

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Esther narrative'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Esther narrative"

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Salotto, Eleanor. "Detecting Esther Summerson's Secrets: Dickens's Bleak House of Representation." Victorian Literature and Culture 25, no. 2 (1997): 333–49. http://dx.doi.org/10.1017/s1060150300004824.

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In this essay, I suggest that we may read Esther Summerson's narration in Bleak House through the lens of recent feminist theoretical speculations on mimicry and masquerade. I argue that Esther's narrative is a duplicitous one in that it redeploys masculine modes of discourse, calling attention to the production of women in that discourse. Writing a narrative about her life, Esther, in effect, copies masculine discourse, but she also writes over it imprinting her own signature. Esther's writing sheds much light on the text's obsessive focus on writing and copying; she produces copy, the copy of a Victorian ideal woman, but in doing so she engenders blots that preclude a unidimensional reading of her. I contend that Esther adopts a narrative veil; this then is her secret in the text which links feminine identity to mimicry and masquerade. At the center of the text is Dickens's mordant critique of the legal system and its machinations; similarly, I argue that Esther's narrative participates in the demolishing of the idea of a stable notion of feminine identity.
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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.

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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.
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Goldman, Stan. "Narrative and Ethical Ironies in Esther." Journal for the Study of the Old Testament 15, no. 47 (June 1990): 15–31. http://dx.doi.org/10.1177/030908929001504702.

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Gaines Walton, Julie. "“And all who joined them”: A faithful Christian reading of Esther in a post-Shoah world." Review & Expositor 118, no. 2 (May 2021): 209–13. http://dx.doi.org/10.1177/00346373211017824.

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Esther is, first and foremost, a narrative written by and for the Jewish people, a story the Jewish people have told to and about themselves for centuries. Esther is also a story Christians have frequently interpreted out of context. Christians can avoid culturally appropriating this narrative for their own purposes by committing to situate the story of Esther and the Jewish people in its original context, firmly in the center of any interpretation of the text. Modern readers find their place in the narrative in Esth 9:26-28, among “all who joined” the Jews in observing, remembering, and commemorating the events of the book of Esther, celebrated in the Jewish festival of Purim.
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Chapman, Siobhan. "‘From their point of view’: voice and speech in George Moore’s Esther Waters." Language and Literature: International Journal of Stylistics 11, no. 4 (November 2002): 307–23. http://dx.doi.org/10.1177/096394700201100402.

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George Moore’s Esther Waters 1983 [1894] has been praised by critics for the sustained manner in which Esther serves as the controlling consciousness of her own story. This article explores the possibility of using stylistic accounts of some of the distinctive linguistic features of the text to offer an explanation of this. As an illiterate servant girl as well as an unrepentant ‘fallen woman’, Esther is an unlikely and, at the time of first publication, controversial heroine, let alone central consciousness. The narrative of the novel is considered in terms of Uspensky’s (1973) notion of ‘point of view’, and various later developments of this, in order to assess how Esther acts as ‘characterfocalizer’ for her own story. The manner in which Esther gives ‘voice’ to that story is examined with reference to Leech and Short’s (1981) ‘cline of speech presentation’. Further, it is argued that Esther’s ‘voice’ is not only heard when her speech is represented, but permeates the narration of her story. Bakhtin’s (1981) notion of ‘voice-images’ is used to explore this idea. Throughout the discussion of these themes, comparisons are drawn with Thomas Hardy’s Tess of the D’Urbervilles, a novel very close to Esther Waters in date and theme, but in which some significantly different linguistic choices are made. It is argued that these differences can, in part, account for the different viewpoints, or ideological stances, of the two texts.1
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Kneebone, Emily. "Dilemmas of the Diaspora: The Esther Narrative in Josephus Antiquities 11.184-296." Ramus 36, no. 1 (2007): 51–77. http://dx.doi.org/10.1017/s0048671x00000795.

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Esther is the only book of the Hebrew Old Testament never to allude to God, and to refer to neither the Covenant, the sacred institutions of Israel, nor to Jewish religious practice. The book has long engendered a fascinated revulsion in many of its readers, not only for its notable lack (or writing-out?) of God, but also for its overt celebration of genocide and the dubious moral qualities of its protagonists. Luther famously wanted the book excised from the Christian canon altogether, and the nineteenth-century biblical scholar Heinrich Ewald declared that the story of Esther ‘knows nothing of high and pure truths’, and that on coming to it from the rest of the Old Testament ‘we fall, as it were, from heaven to earth’. Humphreys terms Esther one of the ‘most exclusive and nationalistic units within the Bible’, and for Anderson, writing in the aftermath of the Second World War, the tale resonates horribly with twentieth-century history and ‘unveils the dark passions of the human heart: envy, hatred, fear, anger, vindictiveness, pride, all of which are fused into an intense nationalism’.Rabbi Simeon ben Lakish, on the other hand, placed the Book of Esther on a par even with the Torah, a sentiment echoed, centuries later, by Maimonides, who famously declared that when the Prophets and Hagiographa pass away, only Esther and the Law would remain. And this triumphant assertion of the scroll's worth is reminiscent of the attitude of Josephus, who specifically includes Esther in his list of the twenty-two Jewish records, and who devotes the extensive central section of AJ 11 to the Esther pericope. The dating, both relative and absolute, of the texts of Esther has been fiercely disputed, and need not concern us here; it should suffice to note that two extant Greek translations, or rather adaptations, of the Book of Esther—the Septuagint (LXX) and the highly variant Alpha Text (AT)—offer countless minor variations on the Hebrew Masoretic Text (MT), and insert six extended passages into the narrative.
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Caracciolo, Marco. "Islands of Mind and Matter: Challenging Dualism in J. G. Ballard's ‘The Terminal Beach’ and The Chinese Room's Dear Esther." CounterText 4, no. 3 (December 2018): 341–61. http://dx.doi.org/10.3366/count.2018.0138.

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Ideas enter our mind, a realisation can dawn on us, and we should let bad news sink in. This article argues that experimental narrative can destabilise this widespread tendency to describe mental processes through spatial metaphors. My case studies are J. G. Ballard's short story ‘The Terminal Beach’ (1964) and Dear Esther (2012), an arthouse video game developed by The Chinese Room. These narratives develop and literalise metaphors for mind by foregrounding the continuity between the physical space of the setting (an island) and the protagonists’ existential predicament. Going beyond a dualistic reading of the ‘mind as space’ metaphor, these texts construct spaces that are more than a symbol for the characters’ mental processes: narrative space is causally linked to mind in neurophysiological terms (in Ballard's short story), or extends the protagonist's emotional meaning-making (in Dear Esther). This set-up is unsettling, I contend, because it raises deep questions about the relationship between subjective experience and material realities. By exploring these narratives and their ramifications, the article seeks to open a conversation between the cognitive humanities and the ‘nonhuman turn’ in contemporary literary studies.
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Wood, Sorrel. "Writing Esther: How do Writing, Power and Gender Intersect in the Megillah and its Literary Afterlife?" Open Theology 7, no. 1 (January 1, 2021): 35–59. http://dx.doi.org/10.1515/opth-2020-0146.

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Abstract There are two instances in the entire Hebrew Bible in which women feature as the to write. “One is Esther (Esther 9:29) and the other is:” כתב subject of the verb Jezebel (1 Kgs 21:8). This paper takes this fact as a starting point from which to illuminate the narrative and thematic junctures of writing, power and gender in Esther and its literary afterlife. It utilizes the hermeneutical framework of feminist literary theory, as well as drawing upon narratology and linguistic theory related to gender and power, and textual theory related to metatextuality and intertextuality, in order to explore the ways in which the narrator, the canonization process and the reception history of the text have functioned to constrain and restrain Esther’s authorial identity and status, and conversely the places and spaces where it has been developed and emphasised. Key areas of exploration include the writing culture of the Late Persian and Early Hellenistic periods, creative rewritings of Esther in the Targums and in Rabbinic Haggadah, and a consideration of the implications of the fact that Esther and Jezebel are the only explicitly identified female writers in the Hebrew Bible (Esther. (9:29, 1 Kings 21:8–9)).
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Jackson, Melissa A., and Bert Young. "Horribly hilarious: An interpretation of Esther." Review & Expositor 118, no. 2 (May 2021): 224–30. http://dx.doi.org/10.1177/00346373211023606.

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Finding humor in the book of Esther is not terribly unusual among those who read, study, and commentate on the book. Sustaining that outlook as the body count grows, however, proves more of an interpretive challenge. This interpretation of Esther, one that both adheres to the biblical narrative and follows a thread of the comic through it, undertakes that challenge. Comedy’s aspects of being revelatory and boundary-drawing enable a reading of Esther as farce that reckons with the troubling violence of Esther, without endorsing its replication beyond the story-world it inhabits.
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Sun, Chloe. "Ruth and Esther: Negotiable space in Christopher Wright’s The Mission of God?" Missiology: An International Review 46, no. 2 (November 10, 2017): 150–61. http://dx.doi.org/10.1177/0091829617737501.

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In the volume entitled The Mission of God, author Christopher J.H. Wright (2006) endeavors to search for a missional hermeneutic that unlocks the Bible’s grand narrative. The book’s comprehensiveness and extensiveness would be difficult to match in years to come. However, the books of Ruth and Esther are notably overlooked and mentioned only in passing. This glaring omission implies an insignificance and irrelevance of the two books in contributing to the hermeneutic of missions. Should these two books be included or excluded in the grand narrative of the mission of God? This paper positions Ruth and Esther at an indispensable place in a missional hermeneutic that nuances the intricacies of the Abrahamic covenant, the diaspora, and gender in God’s grand narrative.
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Dissertations / Theses on the topic "Esther narrative"

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Asplund, Ingeborg, and Gustav Eriksson. "Dear Esther : En studie av vad som påverkar upplevelser av interaktiva narrativ." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-29524.

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Today in 2015 the game industry grows and games become more advanced. This leads to that the ways interactive media such as games portray their narrative are also improving. Therefore we chose to examine what factors affected how five experienced gamers viewed the narrative in the game Dear Esther (The Chinese Room, 2012) the first time they played it. The investigation used stimulated recall in order to collect data and the data were analysed with the help of the EPP methodology. Our study showed there was a diversity in how the game’s narrative was perceived and that a number of factors affected the interpretations of the narrative. These factors were organised in four categories: exploration, feeling and atmosphere, player experience, and identification with the player character and theories around the narrative. A fifth category evaluation of the storytelling, described the player’s thoughts about the way the narrative was told. Our main conclusion was that the factors affecting the way players perceived the narrative of the game varied much depending on who played the game and what their regular experience of games were. For example some were more affected by environment and monologue while others was more affected by earlier experiences of how games used to work. The respondent’s perception of the game narrative were also affected by their own thoughts and theories around the narrative and what might have happened. We could also see there were several different thoughts and opinions on how the narrative style of the game worked and three participants thought it worked well.
Idag 2015 publiceras fler och mer avancerade spel än någonsin tidigare. Hand i hand med denna utveckling borde också utvecklingen av de narrativ som spel kan berätta gå. Därför undersöker vi i denna uppsats vilka faktorer som påverkade uppfattningen av narrativet i Dear Esther hos fem spelvana personer som tidigare inte spelat spelet. Undersökningen gjordes med hjälp av stimulated recall och data analyserades med hjälp av EPP-metoden. Vår studie visade på en stor spridning av upplevelserna och en mängd faktorer som påverkade upplevelsen av narrativet. Dessa faktorer delade vi in i olika kategorier. Dessa var Utforskning, Känslor och stämning, Spelarvana samt Identifikation med berättarkaraktären och teorier kring narrativ. En femte kategori kallad Värdering av berättartekniken beskrev hur spelarna uppfattat spelets berättarteknik. Den främsta slutsatsen vi kan dra är att de faktorer som påverkade hur respondenterna uppfattade Dear Esther och dess narrativ varierade mycket beroende på vem som spelade. Vissa av respondenterna påverkades mer av omgivningar och monologer, medan andra påverkades mer av sin egen vana och insikt i hur spel bör fungera. Alla påverkads dock mycket av sina egna tankar känslor och teorier kring vad som en gång hänt. Vi kunde också se att det fanns olika tankar och åsikter angående hur berättartekniken i spelet ansågs fungera och tre av respondenterna ansåg att det fungerade bra.
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Dickson, C. R. (Charles Richard). "The role and portrayal of the king in the Esther narrative : a narratological-synchronic reading of the Masoretic text of the Esther narrative." Thesis, University of Pretoria, 1999. http://hdl.handle.net/2263/29477.

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Barker, Daniel K. "A justification of the narrative presence of Esther Summerson in Charles Dickens's Bleak house /." Electronic version (PDF), 2004. http://dl.uncw.edu/etd/2004/barkerd/danielbarker.html.

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Young, Stephanie L. "Remembering the Past in Visual and Visionary Ways: Rhetorically Exploring the Narrative Potentialities of Esther Parada's Memory Art." View abstract, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3372364.

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Davis, Jessica. "A Historical Narrative on the Role of Mrs. Esther Brown in the Development of Desegregation Policy in Public Education." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/dissertations/1184.

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Mrs. Esther Brown, a White Jewish woman, made a significant contribution to the desegregation of public education in the 1940s. This research study establishes her role in the development of desegregation policy in public education in the contemporary public narrative on desegregation policy in the early1950s, the challenges to the implementation of the desegregation of public education, and the local context that led to the national fight against desegregation. The significance of this study is to highlight the struggles that activists, many of whom are unsung heroes, went through to navigate the struggles and processes that enabled the desegregation of public education in America.
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Vikander, Anette. "Feministpastorns kontraktsbrott : En narrativ analys av Esther Kazens feministiska motståndsberättelse." Thesis, Högskolan Dalarna, Institutionen för kultur och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37495.

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Uppsatsen behandlar hur frikyrkopastorn Esther Kazen med sin feministteologiska tolkning påverkas av genussystemet samt hur hon har nått ut med sitt narrativ trots sin underordnade position i maktordningen.Syftet med uppsatsen är att undersöka vilka mönster av genuskontraktet som framträder vid analys av Kazens narrativ samt vilka faktorer i berättelsen som kan ge förklaring till att hon funnit en publik för hennes teologiska tolkning. Frågeställningarna är följande: Vilka kontraktsbrott kan Kazen sägas göra utifrån Hirdmans begrepp genuskontrakt? Vilka mönster från Ingersolls så kallade ”war stories” kan identifieras i Kazens bok Feministpastorns tro och tvivel? Vilka stärkande faktorer möjliggör kontraktsbrotten? Skiljer sig Kazens narrativ från Ingersolls ”war stories”, och i så fall på vilka vis? Vilka samtida faktorer verkar ha möjliggjort förhandlingen samt spridning av Kazens feministiska narrativ?Metoden för studien är en narrativ analys där Kazens bok Feministpastorns tro och tvivel läses utifrån ett helhetsperspektiv med ett fokus på innehållet av berättelsen. Teorin för studien är dels Yvonne Hirdmans (2007) genusteoretiska begrepp genuskontraktet, dels Julie Ingersolls (2003) forskning kring de konflikter som uppstår mellan den patriarkala teologin och den feministiska teologin via insamlandet av kristna feministers berättelser som hon kallar war stories samt en del av Bruce Lincolns (1999) narrativa teori om det dynamiska samspelet mellan narrativ och samtid.Analysen visar att Kazen gör fyra kontraktsbrott. Kazens berättelse bär på många likheter med Ingersolls forskning av hur kristna feminister finner styrka, blir bemötta samt upplever situationer. Kazens berättelse skiljer sig från Ingersolls war stories när det kommer till hanterandet av meningsmotståndare och hur hon navigerar sig i de traditionella genusrelationerna. Enligt analysen verkar sociala medier som en konstruktiv maktfaktor som samverkar med samtidens feministiska anda och berättelser från metoo-rörelsen. Dessa har inneburit en maktförskjutning som möjliggjort spridningen av Kazens narrativ.
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Kranstuber, Haley Ann. "Let's Start at the Beginning: The Relationship between Entrance Narratives and Adoptees' Self Concepts." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1217370913.

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Hansson, Mikael, and Stefan Karlsson. "A Matter of Perspective : A Qualitative study of Player-presence in First-person Video Games." Thesis, Umeå universitet, Institutionen för informatik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-121058.

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In this study we aimed to investigate the process through which players of video games situate, and form an understanding of their presence within the virtual game environment. This study specifically investigates this process in games played through a first person perspective with the intention of minimising the amount of visual information provided the participants. For this purpose we created two scenarios within a videogame environment specifically design for the study. A total of thirteen participants took part in the study, and after each season a semi structured interview was performed. In a qualitative content analysis we identified patterns and commonalities ascertaining to our line of questioning, and conclude that while the player-presence relationship would appear to be largely dependent on the individual’s type of play, the varying focus on either narratology or ludology in our two scenarios did indeed influence the participants to approach this relationship similarly within the separate groups. Finally we defined four types of player-presence relationship, and how they can be said to relate to the varying ludonarrative dynamics within the two specified genres, as well as the varying types of play observed amongst the participants in our study.
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Lirot, Julie Ann. "La identidad postmoderna: Base tematica y estructural en la narrativa de Esther Tusquets y Reinaldo Arenas." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/289796.

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Esta tesis analiza la identidad y la estructura narrativa en las obras de dos escritores hispanos, Reinaldo Arenas y Esther Tusquets, quienes escriben al borde de la transicion entre una vision del mundo moderna a la postmoderna. Arguyo que las obras de estos dos autores cuestionan los procesos de la construccion de la identidad desde la perspectiva de los que son marginalizados por este proceso. Para hacer este analisis, estudio el debate entre el modernismo/postmodernismo dentro del mundo hispano y como este dialogo puede iluminar nuestra interpretacion de las complejidades y los constantes tematicos que presentan estos dos autores. De la misma manera, analizo como estos autores incluyen este debate dentro de su presentacion de la dinamica del desarrollo humano. Para tales propositos, analizare El amor es un juego solitario (1978), El mismo mar de todos los veranos (1979), Varada tras el ultimo naufragio (1980) de Esther Tusquets y El mundo alucinante (1968) de Reinaldo Arenas. En este analisis se consideraran las relaciones tanto socio-historicas como artisticas que existen entre Modernidad y Postmodernidad y la forma en que estas caracteristicas se presentan en los textos analizados. Se plantea que la verdadera relacion entre la modernidad y la postmodernidad no es una de superacion sino de dialogo, la postmodernidad es la problematizacion de la modernizacion. Los conceptos modernos de la Ilustracion son cuestionados por ser inadecuados para describir las situaciones actuales. Es este escepticismo profundo hacia todos los aspectos de la vida lo que define al postmodernismo. Se cree que la modernidad no ha alcanzado sus metas por ser imposibles. La narrativa de Esther Tusquets y la de Reinaldo Arenas presentan este escepticismo profundo con un estilo en que predominan las figuras repetitivas, el erotismo, el retorno, el tiempo circular, el mar y la muerte, tanto como los pre-textos literarios, los cuales se deconstruyen para despues reconstruirse dentro de la re-creacion de una identidad propia a traves de las relaciones sexuales y la muerte. Asi se cuestionan las fronteras entre el sexo y el genero en el establecimiento de la identidad, reinterpretando y reescribiendo el pasado.
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Van, Horne Kevin Reid. "Images of faith in political service an investigation of the narratives of Joseph, Esther, and Daniel /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Books on the topic "Esther narrative"

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Esther: The outer narrative and the hidden reading. Winona Lake, Ind: Eisenbrauns, 2011.

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Treloar, Richard Stanley. Esther and the 'final solutions': Theodicy and Hebrew biblical narrative. Adelaide: ATF Press, 2008.

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Esther and the 'final solutions': Theodicy and Hebrew biblical narrative. Adelaide: ATF Press, 2008.

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Die Esthernovelle: Vom Erzählten zur Erzählung : Studien zur Traditions- und Redaktionsgeschichte des Estherbuches. Leiden: Brill, 2000.

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Pisot ḥayai: Zikhronot shel Ester. 2nd ed. Ḥolon: Ester Ṭon, 2003.

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1932-, Schwartz Gerald, ed. A woman doctor's Civil War: Esther Hill Hawks' diary. Columbia, S.C: University of South Carolina Press, 1989.

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Ralph, Haas, and Ensley Philip, eds. Dear Esther: The Civil War letters of Private Aungier Dobbs, Centerville, Pennsylvania ... Apollo, PA: Closson Press, 1991.

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Lederman, Esther. Outlasting Hitler's armies: The story of Esther Guteman Lederman : followed by the same events as remembered by Ezjel Lederman, her husband. Kearney, NE: Morris Publishing, 2005.

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Zürich, Helmhaus, ed. Natürlich gebaut-- die Landschaft zwischen Konstruktion und Narration: Esther van der Bie, Peter Fischli, David Weiss, Walter Niedermayr, Mario Sala, Christoph Schreiber, Markus Schwander, Margherita Spiluttini, Jun Yang. Zürich: Helmhaus, 2003.

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Kahane, Deborah Hobler. No less a woman: Femininity, sexuality & breast cancer. 2nd ed. Almeda, CA: Hunter House, 1995.

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Book chapters on the topic "Esther narrative"

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Shatto, Susan. "Esthers Narrative." In The Companion to ‘Bleak House’, 281–84. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003196051-57.

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Shatto, Susan. "Esther's Narrative." In The Companion to ‘Bleak House’, 287. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003196051-59.

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Shatto, Susan. "Esther's Narrative." In The Companion to ‘Bleak House’, 294. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003196051-64.

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Shatto, Susan. "Esther's Narrative." In The Companion to ‘Bleak House’, 205–7. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003196051-30.

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Shatto, Susan. "Esther's Narrative." In The Companion to ‘Bleak House’, 126–29. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003196051-13.

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Shatto, Susan. "Esther's Narrative." In The Companion to ‘Bleak House’, 242–47. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003196051-43.

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Shatto, Susan. "Esther's Narrative." In The Companion to ‘Bleak House’, 182–85. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003196051-23.

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Shatto, Susan. "Esther's Narrative." In The Companion to ‘Bleak House’, 264. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003196051-50.

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Shatto, Susan. "Esther's Narrative." In The Companion to ‘Bleak House’, 220–23. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003196051-35.

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Shatto, Susan. "Esther's Narrative." In The Companion to ‘Bleak House’, 145–49. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003196051-17.

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Conference papers on the topic "Esther narrative"

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Ferreira, Vinicius Hartmann, and Luis Guilherme Eich. "INASH: Uma Ferramenta de Autoria para Narrativas Interativas Digitais." In III Encontro Nacional de Computação dos Institutos Federais. Sociedade Brasileira de Computação - SBC, 2020. http://dx.doi.org/10.5753/encompif.2016.9381.

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Este artigo apresenta a ferramenta INASH (Interactive Narratives Shared), que busca estimular a pratica da leitura e da escrita em estudantes através da construção de narrativas interativas. A ferramenta permite ao usuário criar suas próprias narrativas, estipulando caminhos alternativos para os leitores escolherem durante a leitura, e compartilhá-las com os demais usuários. Um experimento com o uso da ferramenta foi realizado com uma turma de ensino médio técnico composta por 24 alunos. Ao final do experimento os alunos responderam a um questionário através do qual foi possível identificar que a ferramenta apresenta elementos que podem estimular o interesse dos alunos pela escrita e pela leitura, como a interface gráfica de construção e o compartilhamento de suas produções.
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Rho, Myungsook. "Narrative Inquiry on Self-Esteem of College Students Education." In Education 2014. Science & Engineering Research Support soCiety, 2014. http://dx.doi.org/10.14257/astl.2014.71.26.

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Castro, Bruno Morais Neves de, Matheus Breno Santos, and Jaline Mombach. "Um Mapeamento de Ferramentas Digitais para Criação de Narrativas Não-Lineares." In Workshop de Informática na Escola. Sociedade Brasileira de Computação, 2019. http://dx.doi.org/10.5753/cbie.wie.2019.256.

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A narrativa não linear permite ao usuário a condução do fluxo da história, podendo percorrer caminhos diversos durante a evolução da trama. No entanto, as ferramentas digitais que apoiam essa criação são desconhecidas por muitos educadores. Por isso, este artigo tem como objetivo apresentar um mapeamento sobre trabalhos que explorem narrativas não-lineares no contexto da Informática na Educação Brasileira. O método adotado é o mapeamento sistemático, com inclusão de literatura cinzenta. Os resultados indicam que o número de publicações sobre esse assunto é pequeno e também que as ferramentas existentes têm limitações quanto à facilidade de uso, principalmente pela tradução incompleta em português.
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San Cornelio Esquerdo, Gemma. "Imágenes post-matern en instagram: el selfie como narrativa personal." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6883.

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La investigación académica sobre selfies se ha desarrollado ampliamente en los últimos años. Si bien la cobertura en medios de comunicación tiende a vincularlos con el narcisismo y la superficialidad, los selfies pueden darse en las situaciones más variadas, de lo mundano a lo socialmente significativo. Algunos estudios sobre el tema han adoptado una perspectiva cuantitativa, creando datasets o corpus de Big Data para recoger este tipo de imágenes y facilitar el análisis de sus aspectos formales, como los colores predominantes, el uso de filtros (Zarrella, 2014) o las conexiones a las convenciones del retrato profesional (Bruno et al., 2014). A este respecto, una contribución destacada es Selfiecity (2014), proyecto dirigido por Lev Manovich, que utiliza técnicas de cultural analytics para analizar un gran número de fotografías (120.000 selfies) publicadas en la plataforma Instagram y localizadas en cuatro ciudades. Sin embargo, su principal limitación es considerar el selfie como un objeto de investigación autocontenido, y frecuentemente desvinculado de otros tipos de prácticas de publicación de contenidos personales en las redes sociales. Dicho de otro modo, los selfies que circulan por las redes y plataformas de Internet pertenecen a sus usuarios, los cuales producen diferentes tipos de mensajes que tienen sentido en su globalidad. Nuestra sugerencia es analizar los selfies en este continuo, y entender qué papel juegan en tanto que historias, dentro de una narrativa personal. (Vivien y Burgess, 2013). No se trata, pues, de imágenes aisladas, sino de objetos comunicativos que circulan por las redes sociales. Constituyen algo más que una representación (Gómez y Thornham, 2015), incorporando elementos sociales y conversacionales. De este modo, el contexto del selfie constituye una parte esencial del mismo, entendido tanto en términos tecnológicos como discursivos.En la presente comunicación presentaré un estudio de caso, desarrollado en el marco del proyecto de investigación financiado Selfiestories y personal data (BBVA, 2014-2017). Durante dos años he realizado una etnografía digital de varias usuarias de instagram, mujeres que habían publicado selfies poco después de haber dado a luz. Estas acciones compartían la reivindicación del cuerpo natural -en oposición a las imágenes de cuerpos perfectos- que a menudo muestran determinadas celebrities, incluso después del parto. ¿Qué narrativas generan estas acciones?Para esta presentación elegiré dos ejemplos, que, a pesar de ser distintos entre sí, tienen en común que el selfie por el cual las empecé a seguir no es una imagen aislada, -por muy significante que ésta pueda ser- sino que cobra sentido dentro de una narrativa personal. De hecho, lo que revelan estos perfiles y sus dinámicas de publicación va mucho más allá y proponen matices muy distintos en lo que se refiere a formas de entender la maternidad y el cuerpo. En esta comunicación presentaré datos cuantitativos y cualitativos sobre los tipos de imágenes, interacciones y controversias generadas en el seno de sus narrativas personales.
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Leão, Carolina Morgado, and Claudiney Rodrigues Carrasco. "La influencia imagética en ''Las Trillizas de Belleville''." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5699.

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El objetivo de este trabajo es interpretar las referencias visuales contenidas en la animación ''Les Triplettes de Belleville'' (2003), de Sylvain Chomet. La comprensión será hecha a través de un análisis en el ámbito de la imagen y comunicacional: el aspecto visual expone en la película referencias puntuales a diversos artistas franceses y estadounidenses. Con este tipo de análisis es posible contextualizar y entender pequeños signos producidos a lo largo de la película. Un examen detallado revela cómo la narrativa posee un carácter cómico y crítico. Utilizaremos el concepto de “signo” de Mikhail Bakhtin para articular estas referencias de la imagen y para comprender su fuerza en la composición cómica y crítica de la narrativa en cuestión. Al utilizar diferentes formas de relacionar los signos visuales, el largo metraje explora una naturaleza lúdica, que forma parte de la narrativa y refuerza el sentido dramático. Por tanto, este análisis que profundiza en el estudio de los signos de la imagen, resultará en la comprensión de los valores y la creación de los sentidos construidos en la animación. http://dx.doi.org/10.4995/ANIAV.2017.5699
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Saburido, Beatriz, Angélica F. S. Dias, and Juliana B. S. França. "StoryGirl: programando através de narrativas." In Women in Information Technology. Sociedade Brasileira de Computação, 2021. http://dx.doi.org/10.5753/wit.2021.15881.

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Ao longo dos anos, tem-se observado a diminuição do número de mulheres que trabalham com áreas associadas ao STEAM (Science, Technology, Engineering, the Arts and Mathematics). No Brasil, este reflexo é instanciado já na entrada dos cursos de nível superior em tecnologia, que a cada ano recebem cada vez menos mulheres. Com a finalidade de fomentar a entrada de mulheres nos cursos de graduação em tecnologia no Brasil, este artigo apresenta a iniciativa proposta por um projeto de extensão universitária. Nele, meninas entre 11 e 15 anos são apresentadas às estruturas lógicas de programação em scratch e são orientadas a programarem os cenários de suas narrativas reais ou fictícias. Os resultados atingidos são promissores.
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ALMEIDA, FRANCIS SILVA DE, LUCIA HELENA BORGES DE OLIVEIRA, and SILVIA DENISE DOS SANTOS BISINOTTO. "A EXPERIÊNCIA DA DISCIPLINA “FELICIDADE E BEM-ESTAR” COMO ESTRATÉGIA ATIVA DE VIVÊNCIA (INTER)SUBJETIVA NO ENSINO SUPERIOR." In 26º CIAED Congresso Internacional ABED de Educação a Distância. Associação Brasileira de Educação a Distância - ABED, 2020. http://dx.doi.org/10.17143/ciaed.xxviciaed.2020.56078.

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ESTE TRABALHO TEM COMO OBJETIVO RELATAR A EXPERIÊNCIA DE PLANEJAMENTO E IMPLEMENTAÇÃO DA DISCIPLINA “FELICIDADE E BEM-ESTAR” NOS CURSOS DE GRADUAÇÃO NAS MODALIDADES PRESENCIAL E EAD DA UNIVERSIDADE DE UBERABA. O TEXTO SE ENCONTRA CIRCUNSTANCIADO NOS DADOS MAIS RECENTES SOBRE SAÚDE MENTAL E SOFRIMENTO PSÍQUICO EM ESTUDANTES DO ENSINO SUPERIOR E NAS DISCUSSÕES TEÓRICO-METODOLÓGICAS PUBLICADAS EM PERIÓDICOS E REPOSITÓRIOS DE ÂMBITO ACADÊMICO. DESSE MODO, REÚNE NO PRIMEIRO MOMENTO, AS CARACTERÍSTICAS DO TEXTO DE REVISÃO BIBLIOGRÁFICA (GIL, 2010) E, EM SEGUIDA, DO GÊNERO NARRATIVO PARA RELATO DE EXPERIÊNCIA (SEVERINO, 2007). POR FIM, ACENA ALGUMAS BREVES ANÁLISES SOBRE A IMPORTÂNCIA DA SISTEMATIZAÇÃO DE ESTUDOS E PRÁTICAS DE ESTRATÉGIAS ATIVAS (MORAN, 2018) COM FOCO NA VIVÊNCIA DA SUBJETIVIDADE E NA CONSTRUÇÃO DE COMPETÊNCIAS SOCIOEMOCIONAIS NO ENSINO SUPERIOR.
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ALMEIDA, FRANCIS SILVA DE, LUCIA HELENA BORGES DE OLIVEIRA, and SILVIA DENISE DOS SANTOS BISINOTTO. "A EXPERIÊNCIA DA DISCIPLINA “FELICIDADE E BEM-ESTAR” COMO ESTRATÉGIA ATIVA DE VIVÊNCIA (INTER)SUBJETIVA NO ENSINO SUPERIOR." In 26º CIAED Congresso Internacional ABED de Educação a Distância. Associação Brasileira de Educação a Distância - ABED, 2020. http://dx.doi.org/10.17143/ciaed.xxviciaed.2020.56078.

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ESTE TRABALHO TEM COMO OBJETIVO RELATAR A EXPERIÊNCIA DE PLANEJAMENTO E IMPLEMENTAÇÃO DA DISCIPLINA “FELICIDADE E BEM-ESTAR” NOS CURSOS DE GRADUAÇÃO NAS MODALIDADES PRESENCIAL E EAD DA UNIVERSIDADE DE UBERABA. O TEXTO SE ENCONTRA CIRCUNSTANCIADO NOS DADOS MAIS RECENTES SOBRE SAÚDE MENTAL E SOFRIMENTO PSÍQUICO EM ESTUDANTES DO ENSINO SUPERIOR E NAS DISCUSSÕES TEÓRICO-METODOLÓGICAS PUBLICADAS EM PERIÓDICOS E REPOSITÓRIOS DE ÂMBITO ACADÊMICO. DESSE MODO, REÚNE NO PRIMEIRO MOMENTO, AS CARACTERÍSTICAS DO TEXTO DE REVISÃO BIBLIOGRÁFICA (GIL, 2010) E, EM SEGUIDA, DO GÊNERO NARRATIVO PARA RELATO DE EXPERIÊNCIA (SEVERINO, 2007). POR FIM, ACENA ALGUMAS BREVES ANÁLISES SOBRE A IMPORTÂNCIA DA SISTEMATIZAÇÃO DE ESTUDOS E PRÁTICAS DE ESTRATÉGIAS ATIVAS (MORAN, 2018) COM FOCO NA VIVÊNCIA DA SUBJETIVIDADE E NA CONSTRUÇÃO DE COMPETÊNCIAS SOCIOEMOCIONAIS NO ENSINO SUPERIOR.
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Ferreira, Macio Rocha, and Tadeu Classe. "Design de Narrativas para Jogos Digitais Baseados em Processos de Negócio." In Anais Estendidos do Simpósio Brasileiro de Sistemas de Informação. Sociedade Brasileira de Computação (SBC), 2021. http://dx.doi.org/10.5753/sbsi.2021.15359.

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Jogos Digitais Baseados em Processos de Negócio (JDBPN) são um gênero de jogos que retratam processos organizacionais, permitindo que os jogadores conheçam e reflitam sobre os aspectos do processo. As narrativas são um ponto crucial para que os jogadores consigam entender o contexto do jogo e o processo representado por ele. Este trabalho propõe um método de geração de roteiros para estes jogos a partir dos modelos de processos de negócio. A pesquisa usa a Design Science Research Methodology (DRSM) para conduzi-la. A avaliação da proposta será através de abordagens quali-quantitativas, por meio de análise de dados obtidos de questionários e entrevistas com as repostas de especialistas.
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Domingos, Bianca Siqueira Martins, Valéria Regina Zanetti, and Fabiana Felix do Amaral e Silva. "AS POTENCIALIDADES DA NETNOGRAFIA NA REALIZAÇÃO DE ESTUDO DE CASO AMPLIADO TRANSNACIONAL EM TEMPOS PANDÊMICOS." In VI Seminário do Programa de Pós-graduação Planejamento Urbano e Regional. Universidade do Vale do Paraíba, 2021. http://dx.doi.org/10.18066/semplur2021.01.

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Este resumo é um recorte da pesquisa de doutoramento intitulada "Graffiti e Narrativas Urbanas: Cartografia de Intervenções Artísticas em Municípios de Regiões Metropolitanas Latino-Americanas do Brasil e do Chile" e tem por objetivo apresentar as potencialidades da netnografia (ou etnografia virtual/digital) a partir da realização de Estudo de Caso Ampliado transnacional entre a Região Metropolitana do Vale do Paraíba e Litoral Norte (RMVPLN) e as cidades de Valparaíso e Santiago (Chile) em tempos pandêmicos. Este Estudo de Caso Ampliado possui centralidade nas narrativas de intervenções artísticas urbanas e visa identificar e categorizar artistas, espaços e coletivos e festivais nestas localidades a partir de parâmetros estabelecidos.
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Reports on the topic "Esther narrative"

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Rodríguez Borda, Nadia del Pilar, and María Isabel Porras Torres. Vivencias de la discapacidad en estudiantes universitarios de la modalidad virtual de la zona centro Boyacá como factor protector en salud pública. Universidad Nacional Abierta y a Distancia - UNAD, 2021. http://dx.doi.org/10.22490/ecisa.4765.

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El objetivo de la presente investigación es Interpretar las vivencias de la discapacidad, a partir de la narrativa de estudiantes universitarios de la modalidad virtual del departamento de Boyacá. Esta investigación se inscribe en el paradigma de naturaleza cualitativa, enfoque hermenéutico. Se seleccionarán a los participantes por bola de nieve o en cadena hasta la saturación teórica. Se recolectará la información por medio de una entrevista a profundidad, no estructurada basada en un derrotero temático afín a las categorías de análisis. Cada entrevista será grabada, transcrita y analizada. Posteriormente se realizará la codificación y categorización, para estructurar la historia de vida de cada participante. Este análisis e interpretación de los datos, requiere de un proceso de categorización y triangulación de los mismos, la comparación constante en cada uno de los pasos, y la ejecución de un análisis de contenido y un análisis visual. Así mismo se deberá elaborar matrices, que permitan la interpretación de la información, para finalmente comunicar los resultados obtenidos. Se realizará la comunicación de los resultados en primera medida a los participantes de la investigación quienes validarán la información y en segunda medida se realizará la comunicación relativa a los informes de corte académico.
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