Relevant bibliographies by topics / Narration

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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 'Narration'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 September 2024

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Journal articles on the topic "Narration"

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Ruthrof, Horst. "Narration/narrative/narration." Continuum 1, no. 1 (January 1988): 175–91. http://dx.doi.org/10.1080/10304318809359329.

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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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Waham, Jihad Jaafar, and Wan Mazlini Othoman. "NARRATION AS A MEANS OF COMMUNICATION IN SELECTED NOVELS BY J.M.COETZEE: WAITING FOR BARBARIANS AND FOE." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 3, no. 2 (December 19, 2019): 178–84. http://dx.doi.org/10.30743/ll.v3i2.1237.

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Narrations become very important such that, we tend to try to make others want to fit into them to identify with us, which is why narrative is often used in the recount of events, the past, geared to justify the systems of domination and control evident in the plight of South Africans during the apartheid period. Moreover, the narrative also shelters realities against which the truth can be judged, and they also have some sense or measure of proper world order, against which moral action can be judged. As such, narration point of view can also be determined through the perspective the story is being told. Be it the first person narrative where the author or narrator refers to himself with the personal pronoun of I, me, my, myself, however, this mode of narration may also use second and third-person pronouns in addition to the first-person point. Wherefore, the second Person narrator sees the author or narrator addresses the reader directly as you, and may use the words we and us as well in the process. The third person pronouns still could be used in a novel, in addition, where the narrator or author refrains from using a first or second person and only refers to characters as he or she or it to demonstrate his narrative techniques in this process. To this effect narrative technique employed by J.M. Coetzee’s as accounted in the selected novels used for this paperwork to explore Coetzee’s capabilities of developing a true sense of self as well as communicate to others through the Narration
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Oktavia, Dini, Rahmadsyah Rangkuti, and Nuhammad Yusuf. "ELEMENTS OF NARRATIVE AND FUNCTION OF NARRATOR IN JUN CHIU’S CROP CIRCLES." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 4, no. 2 (December 28, 2020): 368–74. http://dx.doi.org/10.30743/ll.v4i2.2774.

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The purposes of this study are to find out the elements of narrative and the function of narrator in Jun Chiu’s silent comic Crop Circles. This research applied qualitative design. The data of this study were in the form of 20 pictures taken from the silent comic. The data were collected through stages: finding out and determining, classifying and separating the pictures conveying illustration of a narrative. The analysis of the data was done qualitatively by using the theory of phase analysis by Miles, Huberman and Saldana covering condensation, display and verification. The research results show that the elements of narrative found in Jun Chiu’s comic pictures Crop Circles narrative mood (transposed speech-indirect style); narrative instance (narrative voice: heterodiegetic narrator, time of narration: simultaneous narration; narrative perspective: external focalization), narrative levels (embedded narrative, metalepsis) and narrative time (order: analepsis, narrative speed: ellipsis, frequency of events: singulative narration). The narrator carried ideological function because the narrator illustrates the pictures to introduce public policy.
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Bücking, Sebastian. "Narration Without Narrating." Zeitschrift für Literaturwissenschaft und Linguistik 52, no. 1 (February 28, 2022): 35–64. http://dx.doi.org/10.1007/s41244-022-00246-2.

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AbstractThis paper addresses the question of how to account for the distinction between narrator-creating and narrator-neutral narration from a linguistic perspective. I first take issue with the approach by Eckardt (2015), according to which narrator-neutral narration is due to a lack of knowledge about the narrating situation; specifically, I raise an existence problem, an anthropomorphism problem, and a tense problem. Second, combining ideas of the Institutional Theory of Fiction as described by Walton (1990) and Köppe/Stühring (2011) and formal tools of Attitude Description Theory as developed by Maier (2017), I propose an imagination-based alternative account of narrator-neutrality. According to this, the distinction between narrator-creating and narrator-neutral narration is captured by optional existential binding of a narrating situation and a narrator in an imagination component of an interpreter’s mental state. Particular attention is paid to the semantics of the German preterit in fictional narratives. On the one hand, I confirm the famous hypothesis by Hamburger (31977) and her successors in German linguistics that the preterit licenses an atemporal reading and thus an interpretation that eliminates the grammatical need for a narrating situation within the fiction. On the other hand, I reject the prevailing assumption that the preterit in its atemporal reading marks the fiction as such. In lieu thereof, the preterit is argued to instruct interpreters to imagine the story from the perspective of a distant observer.
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Feng, Ma. "The Narrative Art of Contemplator: An Analysis on Milan Kundera’s Works." Lingua Cultura 3, no. 1 (May 30, 2009): 85. http://dx.doi.org/10.21512/lc.v3i1.335.

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Article presented a narrative theoretical analysis on Milan Kundera’s works. Its emphasis point lied on the unity of the theory and the practical explanation to the text. Kundera’s works joined the unique ponder art and the narrative artistic together, which had led to the work a possible implication that would be much richer. Based on a macroscopic angle, this article used the relative theory, including theories on classic and latter classic narrates study. Then, based on the microscopic angle, this article mainly utilized the narrative theory about “the intervention” as well as the acceptable aesthetic theory. What’s more, the article did not only carry on a careful narrative analysis on Kundera’s creation, but also discussed the profound effect with which the narration brought. This article offered some careful and profound discussions respectively on the narrator’s and reader’s intervenes. The narrator intervenes stressed that the narrator’s “narration person, narration method and the narration identity” in the work, and discussed the narrator “we”, illusion narration, parenthesis replenishment narration as well as the Polyphony and reliability which were brought by the narration method and narrator’s identity. The reader intervene stressed the reader’s strategy during the connoisseurship and the acceptance process, and also evaluated reader’s identity during the reading process, and concerned about the lost readers in the “garden paths phenomenon and jungle for explanation”.
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Zeman, Sonja. "Grammatik der Narration." Zeitschrift für germanistische Linguistik 48, no. 3 (November 25, 2020): 457–94. http://dx.doi.org/10.1515/zgl-2020-2011.

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AbstractIs there a ‚narrative syntax‘, i. e. a special grammar restricted to narrative fiction? Starting from this question which has been investigated since early structuralism, the paper focusses on grammatical characteristics of narrative discourse mode and their implications for a linguistic theory of narration. Its goal is two-fold: In a first step, the traditional accounts by Benveniste, Hamburger, Kuroda and recent typological studies are brought together in order to support the claim that the distinction between narrative and non-narrative discourse mode is a fundamental one that has consequences for the use of grammar. In a second step, I discuss three central questions within the intersection between narrative micro- and macro-structures, namely (i) the definition of narrativity, (ii) the status of the narrator, and (iii) the relation between narration and fictionality. In sum, the article argues that investigations on the ‘grammar of narration’ do not just offer insights into a specific text configuration next to others, but are deeply linked to fundamental theoretical questions concerning the architecture of language – and that the comparison between linguistic and narratological categories offers a potential for addressing them.
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Gerasimenko, E. V. "THE SEMANTICS OF THE TYPE OF NARRATION IN THE NOVEL “GONE GIRL” BY G. FLYNN." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (June 25, 2019): 529–33. http://dx.doi.org/10.35634/2412-9534-2019-29-3-529-533.

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This article reveals the definition of “narration”, which is closely related to such categories as “narrator” and “types of narration”. The characteristics that influence the types of narration are analyzed. Scientists pay attention to the narrator’s awareness, his/her presence in the novel, his/her attitude to other characters, and according to that identify the types of the narrator. The form and type of narration of the modern American novel “Gone Girl” by G. Flynn influences the creation and revealing of heros’ images. The narrators describe the same events from their own points of view. The first person narrative, as a rule, creates an atmosphere of confidential conversation; however, the opposite perception is formed through the type of narration chosen by the author from the first person of two unreliable narrators.
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Klimek, Sonja. "Unzuverlässiges Erzählen als werkübergreifende Kategorie. Personale und impersonale Erzählinstanzen im phantastischen Kriminalroman." Journal of Literary Theory 12, no. 1 (March 26, 2018): 29–54. http://dx.doi.org/10.1515/jlt-2018-0003.

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Abstract This paper explores why unreliable narration should be considered as a concept not only applying to single works of fiction, but also to whole series of fiction, and why impersonal (›omniscient‹) narration can also be suspected of unreliability. Some literary genres show a great affinity to unreliable narration. In fantastic literature (in the narrower sense of the term), for instance, the reader’s »hesitation« towards which reality system rules within the fictive world often is due to the narration of an autodiegetic narrator whose credibility is not beyond doubt. Detective stories, in contrast, are usually set in a purely realistic world (in conflict with no other reality system) and typically do not foster any doubts regarding the reliability of their narrators. The only unreliable narrators we frequently meet in most detective stories are suspects who, in second level narrations, tell lies in order to misdirect the detective’s enquiries. Their untruthfulness is usually being uncovered at the end of the story, in the final resolution of the criminalistics riddle (›Whodunnit‹?), as part of the genre-typical ›narrative closure‹. As the new genre of detective novels emerged at the turn from the 19th to the 20th century, its specific genre conventions got more and more well-established. This made it possible for writers to playfully change some of these readers’ genre expectations – in order to better fulfil others. Agatha Christie, for example, in 1926 dared to undermine the »principle of charity« (Walton) that readers give to the reliability of first person narrators in detective stories – especially when such a narrator shows himself as being a close friend to the detective at work, as it was the case with Sir Arthur Conan Doyle’s famous Dr. Watson, friend to Sherlock Holmes. Christie dared to break this principle by establishing a first-person narrator who, at the end, turns out to be the murderer himself. Thus, she evades the »principle of charity«, but is not being penalised by readers and critics for having broken this one genre convention because she achieves a very astonishing resolution at the end of the case and thus reaches to fulfil another and even more crucial genre convention, that of a surprising ›narrative closure‹, in a very new and satisfying way. Fantastic literature and detective novels are usually two clearly distinct genres of narrative fiction with partly incommensurate genre conventions. Whereas in fantastic literature (in the narrower sense of the term), two reality systems collide, leaving the reader in uncertainty about which one of the two finally rules within the fictive world, detective novels usually are settled in a ›simply realistic‹ universe. Taking a closer look at a contemporary series of detective fiction, that is, the Dublin stories of Tana French (2007–), I will turn to an example in which the genre convention of ›intraserial coherence‹ provides evidence for the unreliability of the different narrators – whereas with regard only to each single volume of the series, each narrator could be perceived as being completely reliable. As soon as we have several narrators telling stories that take place within the same fictive world, unreliable narration can result from inconsistencies between the statements of the different narrators about what is fictionally true within this universe. Additionally, the Tana French example is of special interest for narratology because in one of the volumes, an impersonal and seemingly omniscient narrator appears. Omniscient narration is usually being regarded as incompatible with unreliability, but, as Janine Jacke has already shown, in fact is not: Also impersonal narration can mire in contradictions and thus turn out to be unreliable. With regard to Tana French’s novel, I would add that it can also be mistrusted because the utterances of this narration can conflict with those of other narrators in other volumes of the same series. So in the light of serial narration, the old question of whether impersonal narration (or an omniscient narrator) can be unreliable at all should be reconsidered. In the case of narrative seriality, the evidence for ascribing unreliability to one of its alternating narrators need not be found in the particular sequel narrated by her/him but in other sequels narrating about events within the same story world. Once again, narrative unreliability turns out to be a category rather of interpretation than of pure text analysis and description. Again, Tana French like previously Agatha Christie is not being penalised by readers and critics for having broken this one genre convention of letting her detective stories take place in a purely ›realistic‹ universe because today, genre conventions are merging more and more. Tana French achieves an even more tempting ›narrative tension‹ by keeping her readers in continuous uncertainty about whether a little bit of magic might be possible in the otherwise so quotidian world of her fictive detectives. Thus, the author metafictionally (and, later also overtly) flirts with the genre of »urban fantasy«, practicing a typical postmodern merging of well-established, hitherto distinct popular genres.
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Ravid, Dorit, and Yehudit Chen-Djemal. "Spoken and written narration in Hebrew." Written Language and Literacy 18, no. 1 (February 12, 2015): 56–81. http://dx.doi.org/10.1075/wll.18.1.03rav.

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The study is premised on speech and writing relying on differently coordinated temporal frames of communication, aiming to pinpoint the conceptual and linguistic differences between spoken and written Hebrew narration. This is a case study presenting in-depth psycholinguistic analyses of the oral and written versions of a personal-experience story produced by the same adult narrator in Hebrew, taking into account discursive functions, discourse stance, linguistic expression, and information flow, processing, and cohesion. Findings of parallel spoken and written content units presenting the same narrative information point to the interface of the narrative genre with the spoken and written modalities, together with the mature cognitive, linguistic, and social skills and experience of adulthood. Both spoken and written personal-experience adult narrative versions have a non-personal, non-specific, detached stance, though the written units are more abstract and syntactically complex. Adult narrating skill encompasses both modalities, recruiting different devices for the expression of cohesion.
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Dissertations / Theses on the topic "Narration"

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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 mythe
The 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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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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Niblaeus, Frida. "Stories and Dreams, Memories and Secrets : Functions of Narration in Amy Tan's The Hundred Secret Senses." Thesis, Stockholms universitet, Avdelningen för litteraturvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100455.

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The aim of this dissertation is to explore the functions of narration in Amy Tan’s novel The Hundred Secret Senses. The dissertation is divided into three parts: 1 ‘Introduction’, 2 ‘Analysis’ and 3 ‘Conclusion’. After presenting the writings of Amy Tan and my chosen primary literature, I give a brief survey of terms, theories and previous research. Part 2 ‘Analysis’ is presented in an order that corresponds approximately to the chronology of the primary literature, and will be divided into three chapters: 2.1 ‘Explain, Build a Relationship and Reflect’, 2.2 ‘Influence Thinking and Behaviour’ and 2.3 ‘Remember, Unify and Transmit’. Chapter 2.1 has the first half of the novel as its main focus. It is organised mainly after the clarity of the narrator’s voice, i.e. if the narrator shows (e.g. ‘indirect explanation’) or tells (e.g. ‘explicit explanation’), and analyses how narration functions in order to ‘explain’, ‘build a relationship’ and ‘reflect’ on events and other things. Chapter 2.2 elaborates on the narration that takes place before and after the trip to China, an event that divides the novel into two halves. This chapter deals with the function of ‘influence’, which can be seen as a result of the narrator’s authority and is summarised in the section called ‘Steps of Influence’. Chapter 2.3 delves into the functions of narration most visible in the novel’s second half, which takes place in China. The functions of ‘remembrance’, ‘unification’ and ‘transmission’ have many sub-functions in common, which could perhaps be seen as a result of the blurred perspectives in the novel’s plot. Part 3 aims to summarise the results of the analysis. A theme that recurs through the analysis of functions is the relationship and balance of authority between the two characters/narrators. Sometimes a narrator’s authority, or a shift in this balance, is a prerequisite of a function of narration.
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Andersson, Ingrid. "Bilingual and monolingual children's narration : discourse strategies and narrative styles /." Linköping : Tema, Univ, 1997. http://www.bibl.liu.se/liupubl/disp/disp97/arts156s.htm.

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Patel, Ian Sanjay. "Narrative accountability : self-narration, testimony and the call to account." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607818.

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Gossin, Richard. "Catechese et narration." Université Marc Bloch (Strasbourg) (1971-2008), 1995. http://www.theses.fr/1995STR20034.

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La catechese paroissiale des adolescents que l'auteur preconise est resolument narrative. Elle prend appui a la fois sur la theologie narrative et sur les travaux de paul ricoeur. L'introduction dresse un inventaire sommaire des tendances et des enjeux actuels de la catechese en france. La premiere partie pose les fondemants theologiques et narratologiques de la catechese. Elle situe le texte biblique a la fois comme coupure et comme reference. Trois dimensions, kerygmatique, trinitaire et hermeneutique, de la catechese narrative sont developpees. Les notions d'identite narrative et d'identite personnelle sont etablies sur le parcours de l'arc hermeneutique. Une ethique du dialogue souligne le lien etroit entre ethique et narration. A partir de ces fondements hermeneutiques, la condition des adolescents en situation catechetique est prise en compte. C'est ainsi que des choix pedagogiques sont determines (objectifs, contenus, evaluation), inspires par les pedagogies actuelles de la lecture. La methode de lecture de la bible prend appui sur la critique narrative. Dans la seconde partie, l'auteur rend compte d'une experience menee dans la region mulhousienne par une equipe de catechetes. La conclusion suggere une catechese concue comme un jeu
The catechesis that the author proposes is narrative. It takes one's stand upon narrative theology and paul ricoeur's works. The introduction schedules an inventoty of the present-day trends and stakes of catechesis in france. The first part lays the theological, pedagogical and hermeneutic basis of the catechesis : statute of the bible, identity, ethic, adolescence's condition. The second part prensents an narrative catechism tested in mulhouse, the conclusion suggests a cetchism imaginad like a game
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Harbin, Samuel L. "A model for theologically validating contemporary applications from Old Testament narratives a literary foundation /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Brasset, Rose-Line. "L'horloger." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0021/MQ46628.pdf.

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Delgado, Richet Aurora. "Les voix de la narration dans l'oeuvre romanesque de miguel delibes la production des annees 1973 a 1991." Paris 4, 1997. http://www.theses.fr/1997PA040271.

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Dans l'oeuvre romanesque de miguel delibes, les deux instances du recit que sont le narrateur et le personnage s'instaurent par leur nature de voix. La voix narrative construit toujours un discours, cependant elle se designe selon diverses strategies. Les textes a la premiere personne elaborent une situation de locution dans laquelle l'interlocuteur se trouve engage. Les signes de l'expressivite du langage du narrateur-personnage, qui se manifestent notamment par des commentaires, dessinent les contours d'une parole. L'apparition de certains de ces signes dans les romans heterodiegetiques permet alors de preciser la notion de "l'implication" de la voix narrative dans le recit, alors que leur absence revele une strategie differente dans laquelle la "distanciation" de la voix narrative se remarque notamment quand les paroles du personnage ne sont pas narrativisees. En effet, la maniere dont s'articulent la voix du narrateur et celle du personnage participe de la creation d'un effet de voix dans l'ensemble du texte : par l'emergence de la voix de celui-ci grace a des procedes qui soulignent sa perspective sensorielle, puis sa perspective verbale en integrant son activite nominative et son imaginaire dans le recit ; et d'autre part, par la representation de sa parole, en utilisant les signes distinctifs du discours direct dans l'ensemble du recit, et en citant ponctuellement des propos du personnage, de maniere dispersee. Ces procedes soulignent l'expressivite et le pouvoir de la parole. Aussi le texte resonne-t-il de l'ensemble des voix de la narration dans un mouvement d'echos et de confrontation
In the fiction of miguel delibes the two narrative poles namely the narrator and the character are established primaryly as voices. The narrative voice always elaborates a discourse, yet it reveals itself through various strategies. In first person novels a speach situation is created in which the addressee cannot but be involved. The signs of the expressivity of the narrator-character's language, notably perceptible in commentaries, serves to drawn the outliners of a speech. While the occurrence of some of these signs in heterodiegetiques narratives throws light on the notion of the narrative voice's implication in the narrative, their absence points to an altogether different strategy whereby the distance introduced between the voice and the narrative is particularly noticiable when the character's speech is not mediated. Indeed the way in wich the narrator's and the character's voices interelate is part and parcel of creating the effect of voice pervading the text : through the emerging voice of the character thanks to devices that enhance first his sensory then his verbal perspective by making his naming and imaginative power an integral part of the narrative; also through the representation of his speech by using the distinct marks of direct speech throughout the narrative and by occasionally and unexpectedly kuoting the character's own words here and there. Such devices bring out into relief the expressiveness and the weight of his speech. Thus the text resounds with all the voices at work in the narration, echoing and confronting one another in an ongoing mouvement
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Westphal, Richard F. Fortune Ron. "The place of narrative in composition studies a multidisciplinary approach /." Normal, Ill. Illinois State University, 1994. http://wwwlib.umi.com/cr/ilstu/fullcit?p9521346.

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Thesis (D.A.)--Illinois State University, 1994.
Title from title page screen, viewed April 17, 2006. Dissertation Committee: Ronald J. Fortune (chair), Lucia C. Getsi, Douglas Hesse. Includes bibliographical references (leaves 206-212) and abstract. Also available in print.
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Books on the topic "Narration"

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Gourdeau, Gabrielle. Analyse du discours narratif. Boucherville, Qué: Morin, 1993.

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Gourdeau, Gabrielle. Analyse du discours narratif. Boucherville, Québec: G. Morin, 1993.

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Cristopher, Nash, ed. Narrative in culture: The uses of storytelling in the sciences, philosophy, and literature. London: Routledge, 1994.

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Jean-Marie, Schaeffer, ed. Métalepses: Entorses au pacte de la représentataion. [Paris]: Éditions de l'École des Hautes Études en Sciences Sociales, 2005.

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Franco, Michael. Narration. Arlington, Mass. (22 Gray St., Arlington 02174): Dromenon Press, 1985.

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Franco, Michael. Narration. Arlington, Mass. (22 Gray St., Arlington 02174): Dromenon Press, 1985.

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Shurin, Aaron. Narrativity. Los Angeles, Calif: 20 Pages, 1990.

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Bartor, Assnat. Reading law as narrative: A study in the casuistic laws of the Pentateuch. Atlanta: Society of Biblical Literature, 2010.

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Elleström, Lars. Transmedial Narration. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-01294-6.

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Köppe, Tilmann, and Dorothee Birke. Author and narrator: Transdisciplinary contributions to a narratological debate. Berlin: De Gruyter, 2015.

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Book chapters on the topic "Narration"

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Munslow, Alun. "Narrating and Narration." In Narrative and History, 44–63. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1057/978-1-137-01943-1_4.

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Huber, Irmtraud. "Narrative Deictic Narration." In Present Tense Narration in Contemporary Fiction, 23–37. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56213-5_3.

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Neitzel, Britta. "Narration." In Philosophie des Computerspiels, 43–53. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04569-0_4.

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Elze, Jens. "Narration." In Postcolonial Modernism and the Picaresque Novel, 145–76. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51938-8_5.

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Gill, Richard. "Narration." In Mastering, 26–42. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-20852-0_3.

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Schmidt-Haberkamp, Barbara. "Narration." In Bonner Enzyklopädie der Globalität, 985–95. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-13819-6_81.

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Schmidt-Haberkamp, Barbara. "Narration." In The Bonn Handbook of Globality, 925–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-90382-8_16.

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Alberg Jensen, Peter. "Narrative Description or Descriptive Narration." In Verbal Aspect in Discourse, 383. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/pbns.5.20alb.

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Bøndergaard, Johanne Helbo. "Forensic Narration." In Forensic Memory, 167–216. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51766-7_4.

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Straub, Jürgen. "Erzähltheorie/Narration." In Handbuch Qualitative Forschung in der Psychologie, 136–50. Wiesbaden: VS Verlag für Sozialwissenschaften, 2010. http://dx.doi.org/10.1007/978-3-531-92052-8_9.

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Conference papers on the topic "Narration"

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Csorba, Diana. "DEVELOPING NARRATIVE INTELLIGENCE - KEY DIMENSIONS IN TRAINERS’TRAINING PROGRAMS." In eLSE 2012. Editura Universitara, 2012. http://dx.doi.org/10.12753/2066-026x-12-021.

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Most arguments and points that describe the quality of training programs demonstrate that narrative art plays a central role in the discourses and practices of training and change. The paper we propose supports an enthusiastic viewpoint that aims to reveal few basic guidelines of a plea for narrative art and a set of reasons supporting the importance of developing narrative intelligence through training programs for trainers. Throughout the paper we address few possible interrogations: What is a story/narration that calls for an action? What goals could be aimed by including a story/narration in a training session? What is narrative intelligence? What is known about narrative intelligence? How can it be developed/improved? Is narrative intelligence only a useful communication tool, or can it be used as an evaluation criteria for the effectiveness of all forms of communication directed to action? How to insert narration in a training session? How can you call to action using the art of narration? Is there a secret language of the trainer? How can it be cultivated? What other functions/roles can perform stories/narration used in a training session? In this paper I want to describe some of the properties of a world of “reality” constructed according to narrative principles and their force to act in educational space. In doing so, I have gone back and forth between describing narrative mental “powers” and the symbolic systems of narrative discourse that make the expression of these powers possible. It is only a beginning. My objective has been merely to lay out the ground plan of narrative realities and possible ways to develop narrative intelligence to teachers.
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LU, FUYAO. "TV VARIETY SHOW IN CHINESE STYLE: RESEARCH ON CROSS- MEDIA NARRATIVE FOR RECONSTRUCTION TO CHINESE." In 2023 9TH INTERNATIONAL SYMPOSIUM ON SOCIAL SCIENCE. Destech Publications, Inc., 2023. http://dx.doi.org/10.12783/dtssehs/isss2023/36077.

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The "Chinese-style variety show", of which the classic Chinese traditional culture is regarded as the main content, is classified as a cultural variety show, what has been an important TV program type on the screen in recent years. This study cites the crossmedia narrative theory as an important theoretical support to analyze the path to reshape traditional Chinese classics in TV variety shows. This study found that TV variety shows mainly use the methods of "centrifugal narration" and "centripetal narration" to design different themes around "Chinese style variety shows", as this kind of TV program mainly adopts the flexible narrative methods to complete the remodeling of traditional Chinese classics.
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Duh, Henry Been-Lirn, and Vivian Hsueh-Hua Chen. "Fantasies in narration." In the 7th International Conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1971630.1971632.

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Heitkemper-Yates, Michael. "Toward a Semiotics of Metafiction Narrative, Narration, and Postmodern Parody." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l31261.

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Thawait, Anjuli. "Evolution of Narcissistic Narration." In – The Asian Conference on Arts & Humanities 202. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2186-229x.2020.1.

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M. Ali Jabara, Kawthar. "The forced displacement of Jews in Iraq and the manifestations of return In the movie "Venice of the East"." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/1.

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The character of the Jew was absent from Iraqi cinematic works, while it was present in many Arab cinematic works produced in other Arab countries, and the manner of presenting these characters and the goals behind choosing that method differed. While this character was absent from the Iraqi cinematic narration, it was present in the Iraqi novelist narration, especially after the year 2003. Its presence in the Iraqi narration was diverse, due to the specificity of the Iraqi Jewish character and its attachment to the idea of being an Iraqi citizen, and the exclusion and forced displacement that Jews were subjected to in the modern history of Iraq. This absence in the cinematic texts is a continuation of this enforced absence. The Jewish character was never present in the Iraqi cinematic narration, as far as we know, except in one short fictional movie, which is the subject of this research. The research dealt with the movie “Venice of the East 2018” by screenwriter Mustafa Sattar Al-Rikabi and director Bahaa Al-Kazemi. We chose this movie for several reasons, some technical and some non-technical. One of the non-technical reasons is that feature cinematic texts rarely dealt with Jewish characters. The movie is the only Iraqi feature movie, according to our knowledge, produced after 2003, dealt with these characters, and assumed that one of them would return to Iraq. Therefore, our choice was while we were thinking of a research sample dealing with the personality of the Iraqi Jew and what is related to him and how it was expressed graphically. As for the technical reasons, it is due to the quality of the cinematic language level that the director employed to express what he wants in this movie, whose only hero is the character of the unnamed Jewish man played by the Iraqi actor (Sami Kaftan). As well as, many of the signs contained in the visual text that provide indications that may be conscious or unconscious of the situation of this segment of Iraqis, and this will become clear in the course of the research. 4 The research is divided into a number of subjects, including historical theory and applied cinema. The historical subjects included a set of points, namely (the Jews who they are and where they live) and (their presence in Iraq). The research then passed on the existence of (the Jewish character in the Iraqi narrative narrative), and how the Iraqi novelist dealt with the Jew in his novels after 2003, and does the Iraqi narration distinguish between the Jew and the Israeli or the Zionist. The applied part of the research followed, and included a (critical view of the movie) and then passed on the cinematic narration of events in the last subject (the narration of the cinematography). We studied the cinematic narration from three perspectives (cinematic shots, camera movement, camera angle and point of view), the research concluded with a set of results from criticism and analysis. It is worth mentioning that this research is an integral part of a previous unpublished study entitled (Ethnographic movie as artistic memory), which is an ethnographic study of the personality of the Jew in the Iraqi short movie.
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Juncu, Lilia. "The Interpretative-Ideological Function of the Narrator in Pashoptist Prose." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.27.

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Gathering several narrative and stylistic formulas, the prose of the Pasoptist period also highlights a diverse typology of narrators, who, apart from organizing the sequence of events (narration), also assume other roles, arising from the way these textual instances relate to the diegesis. In our communication, we will follow and comment on the interpretativeideological positioning of the narrators of some proses of the period in relation to the narrated events, in relation to the characters and narrators. We specify that this function, which requires the acting narrator (in the terminology of the French theorist Jaap Lintvelt) to define his attitude, to express his own opinions in relation to the characters and the narrators, is adopted by the narrators of the memoirist writings, signed by Mihail Kogălniceanu, Alecu Russo, Constantin Negruzzi, Vasile Alecsandri etc.
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Evans, David A., and John Reichenbach. "Need for automatically generated narration." In the fifth ACM workshop. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2390116.2390130.

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Regis Brasil, Priscilla. "Film as part of the thesis and mounting as a method for the social sciences." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.112.

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My argument is that the history of space can be built by montage. I'm a documentary filmmaker and editor. I understand film as a support for writing in fragments. I think that the filmic form, capable of carrying movements and times, testimonies and texts, past and present, is a suitable support for the history of space. There is a visual form of knowledge and a wisdom of the gaze, as in Warburg's Atlas, largely disregarded by the academy as a way of producing knowledge. If montage is a polyphonic device that uses forgotten remains and heterogeneous narrations to dismantle the official story and reassemble another story from its critical constellations, no instrument seems to me more adequate than a film to execute it. Through the search for other ways of narrating the urban experience, following Benjamin from the rags and the residues, operating knowledge from the anarchic potentialities of the fragment and the problematization through doubt, through the incomplete and through the unfinished. For Didi-Huberman, the empirical and creative exercise proposed by Benjamin is capable of bringing out other possibilities from the dismantling of certainties. It allows us to think through the differences in the gaps left between the fragments. The montage allows for the simultaneity of times and the emergence of symptoms, the revelation of failures, conflicts, heterogeneity, in perforating tradition and colliding with the text. If montage serves all this, it also serves the decolonization of perspectives and methodologies, serves to narrate the history of subalterns and the hidden histories of empires. It also can be used to articulate memory, narration and history in the attempt to grasp reality. I propose the use of cinematographic montage as a method of knowledge production, as an important part of the research and whose result will be a constitutive and inseparable part of the thesis. Film as a method for the social sciences. In addition to assembling the fragments, the author's narrative interference is a critical point of the proposed experience. Delivering an account of the position from which one narrates is, therefore, fundamental. The narration does not impose itself as a voice of God over the material, as it neither affirms nor has certainties. It is organized on the incompleteness of the process. The narration sheds light on the background of the painting, on what History disregarded, on what was considered disposable or unimportant by the discourse of the dominator. It is thinking through differences and from the cracks of what was enunciated by the authority. It is thinking from accidents and ghosts.I propose the integration of the result of film montage experience in the general organization of the thesis, so that the chapters can vary between the two supports, text and film, being organized according to what the material itself indicates.
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Guo, Yuzhen, and Wenwen Bi. "Contrastive Narration in Korean Family Drama." In Proceedings of the 4th International Conference on Humanities Science, Management and Education Technology (HSMET 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/hsmet-19.2019.97.

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Reports on the topic "Narration"

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Ertanowska, Delfina. Меми як спосіб комунікації в умовах війни. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11738.

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The article analyzes memes as a form of visual communication in war conditions, on the example of memes with Oleksii Arestovych and Valerii Zaluzhnyi, during the Russian armed aggression against Ukraine. Two forms of this method of communication have been described: direct communication and the method of narration. In the case of direct communication, memes are a communication tool of the hero of these memes, in the second, the way of narrating events. Key words: memes, war, Ukraine, visual communication, social media, Arestovych, Zaluzhnyi.
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Nieto Ferrando, J., A. del Rey Reguillo, and E. Afinoguenova. Narration and placement of tourist spaces in Spanish fiction cinema (1951-1977). Revista Latina de Comunicación Social, October 2015. http://dx.doi.org/10.4185/rlcs-2015-1061en.

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Yatsymirska, Mariya. MODERN MEDIA TEXT: POLITICAL NARRATIVES, MEANINGS AND SENSES, EMOTIONAL MARKERS. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11411.

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The article examines modern media texts in the field of political journalism; the role of information narratives and emotional markers in media doctrine is clarified; verbal expression of rational meanings in the articles of famous Ukrainian analysts is shown. Popular theories of emotions in the process of cognition are considered, their relationship with the author’s personality, reader psychology and gonzo journalism is shown. Since the media text, in contrast to the text, is a product of social communication, the main narrative is information with the intention of influencing public opinion. Media text implies the presence of the author as a creator of meanings. In addition, media texts have universal features: word, sound, visuality (stills, photos, videos). They are traditionally divided into radio, TV, newspaper and Internet texts. The concepts of multimedia and hypertext are related to online texts. Web combinations, especially in political journalism, have intensified the interactive branching of nonlinear texts that cannot be published in traditional media. The Internet as a medium has created the conditions for the exchange of ideas in the most emotional way. Hence Gonzo’s interest in journalism, which expresses impressions of certain events in words and epithets, regardless of their stylistic affiliation. There are many such examples on social media in connection with the events surrounding the Wagnerians, the Poroshenko case, Russia’s new aggression against Ukraine, and others. Thus, the study of new features of media text in the context of modern political narratives and emotional markers is important in media research. The article focuses review of etymology, origin and features of using lexemes “cмисл (meaning)” and “сенс (sense)” in linguistic practice of Ukrainians results in the development of meanings and functional stylistic coloring in the usage of these units. Lexemes “cмисл (meaning)” and “сенс (sense)” are used as synonyms, but there are specific fields of meanings where they cannot be interchanged: lexeme “сенс (sense)” should be used when it comes to reasonable grounds for something, lexeme “cмисл (meaning)” should be used when it comes to notion, concept, understanding. Modern political texts are most prominent in genres such as interviews with politicians, political commentaries, analytical articles by media experts and journalists, political reviews, political portraits, political talk shows, and conversations about recent events, accompanied by effective emotional narratives. Etymologically, the concept of “narrative” is associated with the Latin adjective “gnarus” – expert. Speakers, philosophers, and literary critics considered narrative an “example of the human mind.” In modern media texts it is not only “story”, “explanation”, “message techniques”, “chronological reproduction of events”, but first of all the semantic load and what subjective meanings the author voices; it is a process of logical presentation of arguments (narration). The highly professional narrator uses narration as a “method of organizing discourse” around facts and impressions, impresses with his political erudition, extraordinary intelligence and creativity. Some of the above theses are reflected in the following illustrations from the Ukrainian media: “Culture outside politics” – a pro-Russian narrative…” (MP Gabibullayeva); “The next will be Russia – in the post-Soviet space is the Arab Spring…” (journalist Vitaly Portnikov); “In Russia, only the collapse of Ukraine will be perceived as success” (Pavel Klimkin); “Our army is fighting, hiding from the leadership” (Yuri Butusov).
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González-Cabrera, C., and JJ Igartua. Formatos narrativos para la prevención del embarazo. Efecto de la modalidad narrativa en las actitudes de prevención. Revista Latina de Comunicación Social, November 2018. http://dx.doi.org/10.4185/rlcs-2018-1316.

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Shiller, Robert. Narrative Economics. Cambridge, MA: National Bureau of Economic Research, January 2017. http://dx.doi.org/10.3386/w23075.

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Driscoll, Mary C. Project Narrative. Office of Scientific and Technical Information (OSTI), July 2012. http://dx.doi.org/10.2172/1215448.

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Wilson, Gina. Narrative Painting. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6411.

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Porter, Wayne, and Mark Mykleby. A National Strategic Narrative. Fort Belvoir, VA: Defense Technical Information Center, January 2011. http://dx.doi.org/10.21236/ada543772.

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Ator, Robin. Boudica : an illustrated narrative. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5705.

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