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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 mytheThe purpose of this analysis is to depict one century of “littérature fantastique” through thestatus of the narrator which implicates also the status of its alter ego, the narratee. The mainidea rests on the theory of an evolution from Edgar Allan Poe’s narrators to Richard Matheson’svia French and Anglo-Saxon authors like Charles Nodier, Jules Verne, Guy de Maupassant, RobertLouis Stevenson, Bram Stoker, Henry James, Howard Phillips Lovecraft.The history of “littérature fantastique” is divided into three important periods, each of thempermitting it successively to be born (by generic criticism), to triumph (by the criticism of narrationitself) and to survive (by the criticism of language).“Littérature fantastique” follows the generalevolution of literature, but its narrator is a realcase to examine in its interactions withsupernatural events he tells, with the narrativeitself, with its proper character and with its“éthos”. This unreliable narrator is, fornarratology, like a myth
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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 jeuThe 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 confrontationIn 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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Jirsved, Karin. "Levnadsberättelsen som ett verktyg i en personcentrerad omvårdnad vid demenssjukdom." Thesis, Sophiahemmet Högskola, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:shh:diva-2419.
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SAMMANFATTNING Inledning och bakgrund Demenssjukdomar ökar i vårt land och dessa innebär funktionsnedsättningar i en varierande grad och på olika plan under sjukdomsprocessen. Demenssjukdomarna påverkar hela livssituationen för den som är drabbad men också för de närstående. Trots att flera personer har samma demenssjukdom kan deras symtombild variera. Det handlar om kognitiva, somatiska, beteendemässiga och psykologiska funktionsnedsättningar. Dessa nedsättningar kan bli ett hot mot personens identitet. För att ge en personcentrerad omvårdnad krävs stora kunskaper hos omvårdnadspersonalen både om demenssjukdomen men också om personen som finns bakom demenssjukdomen. En levnadsberättelse kan här bli ett verktyg och få en betydelse i den dagliga omvårdnaden och i den specifika omvårdnadssituationen i demensvården. Problemområde Antalet äldre personer ökar i vårt samhälle och därmed också risken att drabbas av demenssjukdomar. Det finns idag inget bot mot demenssjukdomar och därav blir omvårdnaden otroligt viktig. Vid demenssjukdomar förloras en del viktiga kognitiva förmågor hos de som drabbas vilket ställer stora krav på omvårdnaden och utformningen av densamma. Ett problem i omvårdnaden av personer som är drabbade av demenssjukdom kan vara hur omvårdnadspersonalen tolkar och förstår den demensdrabbade så att de kan anpassa sig efter deras behov. Större kunskaper om personens liv, vanor samt betydelsefulla händelser i livet ger omvårdnadspersonalen verktyg för att kunna erbjuda en personcentrerad omvårdnad. Föreliggande studie kan bidra med ökad kunskap av levnadsberättelsen som ett verktyg för en förbättrad personcentrerad omvårdnad av denna sårbara patientgrupp. Syfte Studiens syfte var att beskriva upplevelsen av att använda levnadsberättelsen som ett verktyg i en personcentrerad omvårdnad vid demenssjukdom. Metod Data har inhämtats från åtta intervjuer på ett äldreboende där demenssjuka bor och dessa har analyserats utifrån en kvalitativ innehållsanalys. Informanter i studien var sex undersköterskor och två sjuksköterskor. Resultat I resultatet presenteras fem kategorier och tio subkategorier som framkom i analysen av intervjuerna. Kategorierna presenteras enligt följande: personcentrerad vård, lära känna, levnadsberättelsen som verktyg, levnadsberättelsen som dokument och närståendes olika uppfattningar om innehåll i levnadsberättelsen. Subkategorierna presenteras enligt följande: personen bakom sjukdomen, närvarande personal, vardagliga och specifika omvårdnadssituationer, ökad förståelse, brister i levnadsberättelsen, att inte bli utlämnad, personliga och levande, dokumentation, delaktighet och påverkan. Slutsats Levnadsberättelsen är ett verktyg och en grund att använda i den personcentrerade omvårdnaden vid demenssjukdom menar de flesta av informanterna i studien. För att kunna använda den i en ännu större utsträckning krävs att detaljerna också dokumenteras och följes upp kontinuerligt. Dessa detaljer får personalen vetskap om i samband med att dagligen vara närvarande i omvårdnaden av de demenssjuka samt i sina relationer med närstående. Tolkningar och förståelse av demenssjukas behov bidrar då till att omvårdnadspersonalen kan anpassa sig efter den drabbades behov i en personcentrerad omvårdnad. Det finns också en betydelse om närstående varit delaktiga vid upprättandet av levnadsberättelsen och när i tiden som berättelsen tecknades ned. Närstående till demensdrabbade kan även påverka innehållet i levnadsberättelsen då de kan ha olika uppfattningar kring vad som ska stå i denna. Klinisk tillämpbarhet: Det finns ett behov att se över dokumentet som används till levnadsberättelsen. Vidare måste betydelsen av levnadsberättelsen i den dagliga personcentrerade omvårdnaden förankras hos både närstående och omvårdnadspersonal. Medvetenheten och betydelsen om dess användning blir här viktig. Skapandet av lämpligt dokumentationsställe för kontinuerlig dokumentation får också en stor roll i den dagliga omvårdnaden.ABSTRACT Introduction and background Disease related to dementia is increasing in Sweden and this implies disabilities of varying degree and at differing levels during the process of the disease. Changes in life situations result from dementia related disease, not only for the sufferer but also for their close relations and friends. Symptomatology can vary amongst individuals who have been given the same diagnosis: cognitive, somatic, behavioural and psychological disabilities are included. These disabilities may threaten the individual’s identity. In order to provide patient-centred care for these individuals, care providers require both in-depth knowledge about dementia and also about the individual who has been afflicted. A tool which may be useful in the daily care of individuals with dementia and also in specific care situations is the use of ”life story”. Problem area The number of older persons is increasing in our society and with it, the risk of being affected by dementia. Since there is, as yet, no cure for dementia, care is of central importance.. Important cognitive functions can be lost as a result of dementia and thus, care and the deliverance of care must be carefully planned. Care providers’ interpretation and understanding of each individual is important, as is adaptation of care to individual needs. Knowledge of the individual’s life, habits and important life events is implemental in the use of life story for the provision of person-centred care. The present study may allow more understanding of the use of life story as a tool for improved person-centred care for this vulnerable group. Aim The aim of the present study is to describe the experience of using life story as a tool in person-centred care of individuals with dementia. Method Data was collected in eight in-depth interviews with nurses and nurses' assistants at a home for persons suffering from dementia. The data was analysed using qualitative content analysis. Results Five categories and ten sub-categories emerged from the analysis of the interviews. The categories are as follows: person-centred care, getting to know, life story as a tool, life story as documentation and relatives’ different perceptions of the content of life stories. The sub-categories were as follows: the person behind the disease, attendant staff, everyday and specific care situations, increased understanding, flaws in life stories, to not be shown up, personal and alive, documentation, participation and influence. Conclusion Most of the informants in this study felt that life stories were a tool which provided a grounding to use in person-centred care of individuals with dementia. In order to use the tool to a greater extent, details should be documented and followed up continually. Care providers are given knowledge about these details through daily participation in care of the dement individual and through relationships with relatives. Interpretation and understanding of the needs of the individual contributes to deliverence of care adjusted to individual needs. It is of importance that relatives participate in the formation of the life story and also to document when it was drawn up. Close relatives to individuals suffering from dementia may also effect the content of the life story through differing perceptions about what should be documented. Clinical implications There is a need to revise documentation of life stories. It is important that the use of life story and its importance in deliverence of person-centred care is established with both relatives and care providers. Awareness of the usefulness of life story is important here. Establishment of a place for continual documentation of life stories is important in daily care of individuals with dementia.
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Touchette, Cynthia. "AUTOPORTRAIT, NARRATION ET IDENTITÉ." Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26625/26625.pdf.
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Croset, Grégoire. "La narration en poésie : pièges et enjeux d'une terminologie difficile." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43896.
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In this analytical research paper, the notions of narrator and narration in poetry are discussed in order to identify why the terminology in this particular genre is considered as problematic by most theorists. In its theoretical section, this paper focuses on Philippe Lejeune’s autobiographical and biographical pacts, and shows the limits of the two reading contracts in the poetical genre. Then, on the background of Brian McHale and Stefan Kjerkegaard’s works on segmentivity, this paper explains the narrative process that can be found in the visual form of poetry. Finally, discussing Brian McAllister and Marie-Laure Ryan’s works on narrativity, this study explains that a story is a mental image that the transposition to a media will transform in order to best represent according to its own limits. In its analytical part, and mirroring the theoretical part, this study focuses on identifying the narrator, the narrative process, as well as the degree of narrativity of four poems by David Diop, Charles Pennequin, Ilse Garnier and Pierre Garnier. Thoses poems, chosen on the ground that they are good representative examples of narrative poetry, lyric poetry and visual poetry, help test the theories in practice. The results show that in the narrative poem, although the identity of the narrator is hard to establish, the narrative process is clear and the degree of narrativity is high. In the lyric and visual poems on the other hand, even if the segmentivity theory helps ‘reconstruct’ the narration when linking words are missing, the difficulty to identify narrative events in the lyric poem and a story world in the case of the visual poetry makes the emergence of a story world, and in turn of a narrator, problematic.
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DelConte, Matthew T. "Who speaks, who listens, who acts a new model for understanding narrative /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1055173633.
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Thesis (Ph. D.)--Ohio State University, 2003.Document formatted into pages; contains x, 217 p. Includes bibliographical references (p. 210-217). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 June 3.
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Hebbard, Aaron B. "Narrative irenics in the Gospel of Mark." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.
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Rigby, Lawrence Dale. "Of goat glands, potency pills, and other conjugal acts /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9988695.
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Englebert, Annick. "L'éternel infinitif de narration français." Doctoral thesis, Universite Libre de Bruxelles, 1993. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212767.
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Igelström, Ann. "Narration in the screenplay text." Thesis, Bangor University, 2014. https://research.bangor.ac.uk/portal/en/theses/narration-in-the-screenplay-text(616fca70-d82f-4ce8-b93b-ab8cfbb2da2e).html.
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This thesis examines the narration in screenplay texts. The aim is to explore how the screenwriter, through the screenplay text, communicates the potential film to the reader. The thesis thus situates the screenplay in a communicational context, and argues that the screenplay text is a means of communication. In many cases, the screenplay text is the writer's only means of communicating with a potential investor, thus determining whether the screenplay will fulfil its purpose of becoming a film. Using a communicational approach enables a close examination of the different extratextual and intratextual narrating voices that communicate the story and the look of the potential film. The thesis relates the screenplay text to narrational theories from literary and film theory, and proposes its own narrative communication model suited to the screenplay. The model places the various narrating voices on different narrative levels that show the voices' relation to the text, the fiction, and the scene. The communication model also identifies the voices' addressees. Through close readings of screenplay texts, the thesis examines how different narrating voices function and how they can be characterised. The discussions focus on how these voices use different techniques to narrate the story and indicate the look of the potential film. The discussions particularly highlight how the voices influence the readers' visualisation of the potential film, since this is a distinguishing feature of the screenplay text-type. Narration in the Screenplay Text is an important contribution to text-based screenplay research. It offers a unique approach and a clear terminology that creates a platform for future screenplay research.
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Campaignolle, Hélène. "Le récit non-aristotélicien de la fin du XVIIè siècle au XXè siècle : une poétique de l'incertitude." Paris 7, 2004. http://www.theses.fr/2004PA070028.
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Cette recherche porte sur l'écriture narrative occidentale et l'évolution de ses formes depuis la fin de l'ère classique, à partir d'une confrontation initiale entre deux modèles de discours, l'un unitaire, le paradigme aristotélicien, le second, pluriel, le paradigme licymnioplinien. Après exposé de ces deux paradigmes, dans leurs implications rhétoriques, poétiques et praxiques, l'auteur envisage une définition élargie du récit intégrant la pluralité et la mobilité [Partie 1]. La réflexion se poursuit par une enquête sur les conditions d'apparition, de la fin du XVIIe siècle à la fin du XIXe siècle, de figures du discours opposées au paradigme unitaire aristotélicien: certains éléments formels -la fracture, la digression, la mobilité - sont relevés dans des textes narratifs (Furetière, Diderot, Nerval) et non narratifs (La Rochefoucauld) puis mis en rapport avec le contexte épistémologique de ces œuvres: l'émergence de l'incertitude [Partie Il]. L'auteur analyse, à partir de là, le développement, au XXe siècle, de formes combinatoires du texte poétique (Mallarmé, Oulipo) et narratif (Borgès, Queneau, Butor, Saporta, Calvino) pour évaluer les implications théoriques du développement de nouveaux types de récits non aristotéliciens, pluriels et combinatoires, pour la définition occidentale du récit et de ses catégories (temps et causalité) [Partie III]. La dernière partie est consacrée à l'écriture narrative hypertextuelle, développée dans le dernier quart du XXe siècle : après définition technique et rhétorique, l'auteur procède à l'analyse sémiotique de ces œuvres, y soulignant les liens nouveaux créés entre incertitude, image et récit pluriel [Partie IV]This research focuses on occidental narrative writing and the evolution of its forms from the end of the classical era, by first confronting two models of discourse: unitary, the "aristotelian" paradigm and plural, the "licymnio-plinian" paradigm. From a definition of these two paradigms in their rhetorical, poetical and praxical implications, the research tackles with the idea of a definition of narrative including the concepts of mobility and plurality [Part 1]. The reflexion follows with an inquiry through the elements from the end of the XVllth century to the end of the XIXth century to understand the conditions of appearances of figures of discourse opposite to the unitary paradigm. Some formal elements - fracture, digression, mobility - are noted down in narrative (Furetière, Diderot, Nerval) and non narrative texts (La Rochefoucauld). These formal elements are then linked to the epistemological context of the works, the emergence and developing of uncertainty [Part Il]. The XXth century is studied through the development of combinatory texts in poetry (Mallarmé, Oulipo) and narrative (Borges, Queneau, Butor, Saporta, Calvino) to follow by an inquiry about the consequences of the appearance of new non-aristotelian narrative forms, plural and combinatory, for the occidental definition of narrative and its categories (time and causality) [Part III]. The last part centres on narrative hypertextual narratives developed in the last quarter of the XXth century. After a technical and rhetorical definition, the study proceeds to a semiotical analysis of these works, underlining new links between uncertainty, image, and plural narrative [Part IV]
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Jong, Irene J. F. de. "Narrators and focalizers : the presentation of the story in the "Iliad /." Amsterdam : B.R. Grüner, 1987. http://catalogue.bnf.fr/ark:/12148/cb34945571d.
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Lindberg, Linnea. "How Narrative Devices Convey the Theme of Love in Toni Morrison’s The Bluest Eye." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-37508.
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This essay focuses on the way in which three narrative devices expand upon three types of love depicted in Toni Morrison’s novel The Bluest Eye. The three narrative devices examined in this essay are narrator, paratext and the irony of the Breedlove family name. These devices all serve the purpose of conveying different types of love in Morrison’s novel and how these types of love affect the characters of the novel, especially the protagonist Pecola Breedlove. Narrator plays an important role because the narrative voice changes throughout the novel, shifting between Claudia MacTeer and a third-person omniscient narrator. This shifting perspective shows the reader how the types of love affect Pecola both through a child’s perspective and as well as through third-person narration. The Dick and Jane paratext contrasts the Breedlove family to white American ideals of familial love and happiness. Finally, the lack of familial love within the Breedlove family truly shows the irony of the Breedlove family name. The lack of love forces Pecola to internalize her self-hatred while the destructive, distant and judgmental relationship between Mrs. Breedlove and Pecola causes both characters to become delusional and dissatisfied with their sense of self. Friendship is the only place where Pecola finds love, shown to her by Claudia and Frieda; however, Pecola has already descended too far into madness for their love to help her. Although Pecola should find solace in the three types of love that are presented through the novel’s narrative devices, they all contribute to her disillusionment and, ultimately, her descent into madness.
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Miller, Daniel Quentin. "Narrative Theory and James Joyce's "Finnegan's Wake": Voice and Self-Narration in "Night Lessons"." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625593.
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Berger, Iris. "Narration as action : the potential of pedagogical narration for leadership enactment in early childhood education contexts." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45493.
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In the field of Early Childhood Education (ECE), especially in the sector that focuses on provision of care and education for children under the age of five, the concept of leadership has been under explored theoretically and empirically. The paucity in ECE leadership research has become particularly troubling because early education has recently been the subject of major policy changes. The changes are characterized by formulation of centralized ECE curricula and closer structural relations between ECE and formal schooling. These changes present a growing risk of narrowing the possibilities for thinking what ECE might be about/for.
The purpose of this qualitative multiple-case research project was to study the leadership potential that an innovative practice called pedagogical narration has for reinvigorating public conversations that complicate and broaden the discussion about purposes and values of early education. Pedagogical narration involves a process through which early childhood educators create and share narratives about significant pedagogical occurrences with children from their early childhood settings with the purpose of engaging others in critical dialogue where questions about meanings, identities, and values are made visible and open for disputation and renewal.
The study focused on exploring what new possibilities for leadership enactment and leadership identities arise when early childhood educators engage with the practice of pedagogical narration. By drawing on Hannah Arendt’s political theory, leadership was reconstituted as ethical and political action that is enacted through inserting into the public domain narratives that interrupt habitual thought, opening the space for new understandings of our plural existence.
Significant leadership events illuminated the potential of pedagogical narration for enacting leadership through: reconstituting ECE as a public space, mitigating habits of thoughtlessness, and pluralizing the identities of children. The study offers new conceptual options for theorizing and enacting leadership in ECE contexts, as well as providing a conceptual terrain from which new leadership identities for early childhood educators can emerge.
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Duong, Yen. "Écoute la porte se ferme." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ57111.pdf.
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Tikka, P. (Piiastiina). "Narration in Jeanette Winterson's Gut Symmetries." Master's thesis, University of Oulu, 2002. http://urn.fi/urn:nbn:fi-fe19991199.
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Reitere, Elīna [Verfasser]. "Narration in slow cinema / Elīna Reitere." Mainz : Universitätsbibliothek Mainz, 2018. http://d-nb.info/1150981393/34.
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Grig, Lucy Hannah Charlotte. "Late antique martyrs : narration and representation." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/272120.
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Cortés, María Lourdes. "Lecture cinématographique de la narration latinoaméricaine." Paris 3, 1997. http://www.theses.fr/1998PA030003.
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Notre etude est une approche concernant la problematique de l'adaptation litteraire au cinema, en particulier, la prose narrative latino-americain posterieure aux annees 60 (le "boom"), avec des auteurs comme j. L. Borges, gabriel garcia marquez, jose donoso, carlos fuentes et manuel puig. Nous comprenons l'adaptation comme une lecture/ecriture d'un texte litteraire; une interpretation particuliere d'un texte de base, elaboree a partir de facteurs historiques, economiques, sociaux, cinematographiques, issus de l'encyclopedie personnelle de son realisateur; et qui se cristallise dans un produit nouveau, l'adaptation filmique. La these est divisee en trois parties. La premiere comprend l'etude du "paratexte", a savoir la peripherie du texte. Dans la deuxieme partie nous analysons les elements du recit que l'on considere fondamentaux : personnage, espace, temps et instance de narration. Dans la troisieme partie nous avons analyse des elements fondamentaux servant de support au texte filmique : la bande image et la bande son. Finalement, le dernier chapitre "la fuite de l'adaptation" propose une recapitulation des analyses faites, du point de vue de certaines figures du texte litteraire contemporain, qui semblent resister a toute transposition au cinema. Nous avons pu constater que les textes litteraires analyses appartiennent a une tradition caracterisee par la rupture avec les modeles de representation qui produisent des effets de realite. En revanche, les adaptations cinematographiques ne correspondent pas a ce type d'ecriture et suivent la tradition du roman du xixeme siecle, qui propose un recit en tant que centre et qui cree des effets de realite en essayant de se proposer comme un miroir du monde. La these demontre donc la rupture evidente entre le type d'ecriture de la litterature du "boom" et celui de leurs adaptations, ainsi que le type de lecteurs/spectateurs crees par les textes litteraires et filmiques, et de ce fait, le dephasage de receptionOur study looks at the problem of the litterary adaptation of film making, in particular, latin-american prose after the 60's "boom" with authors such as jorge luis borges, gabriel garcia marquez, jose donoso, carlos fuentes and manuel puig. We understand "adaptation" as a reading/writing of a litterary text; a particular interpretation from a main text, produced by historical, economical, social, cinematographical factors, based on the "encyclopedia" of its director; and which appears as a new product : film adaptation. The thesis is divided in three sections. The first include the study of the "paratexte" : the frame of the text. In the second part we analyse the main elements which are the pilars of the story : caracters, places, time and narration. In the third part we have analysed the main elements which constitute the film text : the soundtrack and the filmtrack. Finally, the last chapter concerns the study of certain caracters of the contemporary text, which seem to resist all cinematographic transposition. We have noticed that the analysed texts belong to a tradition which has caracteristics of breaking up with the representations which produces models of realism. On the other hand, the film adaptations do not correspond at this particular type of writing; they tend to follow the tradition of the 19th century novel, which offers a story as a base and which creates realism by trying to act as a mirror reflecting the world. The thesis demonstrates the division between the style of writing of the authors of the "boom" and the one of their adaptations, as well as the type of the readers/viewers created by the texts, both litterary and cinematographical, and the change of phase of their reception
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Zere, Abraham T. "Narration in Gebreyesus Hailu's The Conscript." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1407920806.
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Berkowitz, Gary. "Semi-public narration in Apollonius' Argonautica /." Leuven ; Paris ; Dudley (Mass.) : Peeters, 2004. http://catalogue.bnf.fr/ark:/12148/cb39233620k.
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Marzougui, Mohamed Hédi Pich Edgard. "Narration et première personne chez Giono." [S.l.] : [s.n.], 1999. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/1999/mmarzougui.
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Svensson, David, and Elin Löfgren. "En historia full av liv : narrativ historieundervisning för mellanstadiet." Thesis, Högskolan Kristianstad, Fakulteten för lärarutbildning, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-20669.
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Detta arbete syftar till att undersöka verksamma historielärares uppfattning om narrativ historieundervisning. Den didaktiska pendeln har svängt i takt med de trender som färgat undervisningen och den narrativa traditionen har kommit och gått. Narrativ undervisning är ett omdiskuterat ämne men dess fördelar har sedan 1980-talet etablerats i allt större utsträckning, trots det lyser den berättande läraren med sin frånvaro i majoriteten av de svenska klassrummen. Den befintliga forskningen kring narrativ historieundervisning har sällan riktats mot verksamheten på mellanstadiet, vilket denna studie har haft som huvudsakligt fokus. Under de genomförda intervjuerna beskriver verksamma historielärare på mellanstadiet hur de förhåller sig till narrativ historieundervisning samt hur de upplever att narrativ undervisning påverkar deltagande individer. Utifrån den samlade definitionen av narrativitet, vilken grundar sig på teoretiker som Rüsen, Karlegärd och Fines, analyseras intervjuerna. Studien visar att verksamma historielärare har en mycket bred syn på begreppet narrativitet och gärna använder sig av externa medier hellre än att bedriva den klassiska formen av narrativ undervisning. Trots att den berättande läraren verkar lysa med sin frånvaro ser de intervjuade lärarna mycket positivt på andra former av narrativitet i klassrummet och har ambitioner att utöka detta arbete ytterligare, men att yttre faktorer gör att de känner sig begränsade.
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Margaronis, Maria. "Beyond alienation : from the safety of David Storey's grand narrative to the perils of narration." Thesis, Lancaster University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359801.
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Le, Guelte Alain-Philippe. "La mise en intrigue du problème des limites de l'interprétation." Bordeaux 3, 1998. http://www.theses.fr/1998BOR30022.
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Si nous considerons le recit et l'interpretation comme des actions, il nous incombe de decider et preciser leur importance et leur signification, comme de les specifier litteraires ou non, selon la disposition de nos criteres (fiction, diction, institution). Je propose une description de la litterature en terme de fonction et de connaissance : reconnaitre le recit et son interpretation, c'est partager des conditions communes, selon la regle transitive de la mise en intrigue. L'investissement de la poetique par l'ethique produit le recit comme interpretation, l'interpretation comme notre responsabilite, et le rapport de l'individu et de la communaute, tel qu'institue par l'intervention de l'identite narrativeIf we consider narrative and interpretation as forms of action, we must then decide on and specify their importance and meaning as well as making clear whether they are literary or not, according to the position of our criteria (fiction, fiction, institution). I propose a description of literature in terms of fonction and cognition : to recognise narrative and its interpretation is to share common conditions, according to the transitive rule of implotment. Investments of poetics by ethics produces the narrative as interpretation, interpretation as our responsability, and the relation of the individual to the community, as it constructed by the intervention of narrative identity
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Haevens, Gwendolyn. "Mad Pursuits : Therapeutic Narration in Postwar American Fiction." Doctoral thesis, Uppsala universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-263167.
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Mad Pursuits: Therapeutic Narration in Postwar American Fiction examines three mid-century American novels—J.D. Salinger’s The Catcher in the Rye (1951), Ralph Ellison’s Invisible Man (1952), and Sylvia Plath’s The Bell Jar (1963)—in relation to the rise and popularization of psychoanalytic theory in America. The study historicizes these landmark novels as representing and interrogating postwar America’s confidence in the therapeutic capacity of narrative to redress psychological problems. Drawing on key concepts from narrative theory and the multidisciplinary field of narrative and identity studies, I argue that these texts develop a multi-layered, formal problematization of therapeutic narration: the narrativization of the self through modes of interpretation based on character action and development. The study, thus, investigates how the texts both critique the purported effectiveness of being healed through narrative means, as well as how they problematize their society’s investment in this method. I propose that the novels ultimately explore submerged possibilities for realizing what I call fugitive selves by creating self-representations that negotiate and exceed the confines of the paradigmatic models of plot and character of the period. In Chapter One, I argue that the ego and pop psychological movements during the postwar era encouraged the American public to define and realize psychological health, success and happiness through narrativized means. I show in Chapter Two how careful differentiation between narrative levels of interpretation in The Bell Jar reveals the novel’s complication of the self created in narrative, with and against the socio-cultural scripts and therapeutic assumptions of the period. Chapter Three concentrates on The Catcher in the Rye’s various methods of de-composing the narrative identity of the subject created through developmental and therapeutic narration. In the final chapter, I read Invisible Man as a satire of postwar psychoanalytic theory and method specifically concerning racialized narrative identities, and as a reflection on a method of enduring psychological illness. The Conclusion brings together several argumentative strands running throughout the dissertation regarding what the novels contrastively reveal about the perils, and even the possibilities, inherent in the narrativizing of the self in early postwar America.
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Puccinelli, Maysa. "L'écran de Charon : la traversée du sujet de langage dans la narration cinématographique." Thesis, Université Côte d'Azur (ComUE), 2017. http://www.theses.fr/2017AZUR2022/document.
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Ce résumé étendu prend son origine a par tir de la thèse “L'écran de Charon: la traversée du sujet du langage dans la narration cinématographique” réalisée en régime de cotutelle entre les universités de Brasília, Brésil, et Nice Sophia Antipolis, Fance. Il s'agit d'une synthèse de l'investigation psychanalytique concernant deux styles narratifs: moderne et classique. Ils sont pensés, avant tout, par rapport la production cinématographique. Dans le présent rapport, nous discutons de la question de la jouissance à partir de l'amalgame signifiant des mots français jeu et jouissance. Ainsi, notre mot-valise - “la jeuïssance” - nous permettra d'articuler la jouissance du sujet du langage à la production narrative. Il sera évoqué les catégories engendrées dans le Triskel lacanien, à savoir: la jouissance de l'Autre, la jouissance du sens et la jouissance Phallique. Elles sont articulées sur la logique borroméenne avec les productions narratives moderne, classique et classique-industrielle. Avec un montage de notre triskel, nous identifions dans la figure du trompe-l'oeil la fonction de l'objet petit a du champs narratif. Pour notre traversée des inferos lacaniens, nous pensons avoir trouvé dans la figure de jeuïssance un dispositif pour analyser la narration, composé exclusivement de matériel psychanalytique. Ainsi, dans n'importe quelle production narrative du sujet de langage, les narrations sont enterrées dans la supposée terre-ferme de la science ou de la religion, ou bien dans les sables mouvants des arts. Ce voyage psychanalytique nous fera atteindre un champs bien delà du principe du plaisirThis extended summary originates from the thesis "The screen of Charon: the crossing of the subject of language in the cinematographic narrative" carried out under collaboration between the universities of Brasília, Brazil, and Nice Sophia Antipolis, Fance. It is a synthesis of psychoanalytic investigation concerning two narrative styles: modern and classical. First and foremost, they are concerned with film production. In this report we discuss the issue of pleasure from the amalgam formed by the French words “jeu” (game, play) and “jouissance” (the act of experiencing pleasure). Thus, our “mot-valise” "jeuïssance" (“playsure”) will allow us to articulate the experience of pleasure undergone by the subject of language with the narrative production. The categories created in the Lacanian Triskel will be evoked, namely: the pleasure of the Other, the pleasure of meaning and the pleasure of the Phallic. They are articulated on a borromean logic with modern, classical and classical-industrial narrative productions. By creating our triskel, we identify, in the figure of the trompe-l'oeil, the function of the small object as the narrative field. By crossing the lacanian inferos, we believe to have found in the figure of “playsure” a device for analyzing narration, composed exclusively of psychoanalytic material. Thus, in any narrative production of a subject of language, narratives are either buried in the supposed firm land of science or religion or in the moving sands of the arts. This psychoanalytic journey will take us far beyond the principle of pleasure
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Pinault, David. "Story-telling techniques in the "Arabian nights" /." Leiden : E. J. Brill, 1992. http://catalogue.bnf.fr/ark:/12148/cb35559510t.
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Sidaoui, Sihem. "Figures du sujet dans la narration des années 1990-2000 : une approche socio-poétique de la narration discordante." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00875682.
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Figures du sujet dans le roman fin de siècle des années 1990-2000, interroge, dans une perspective socio-poétique, les dispositions que prend le sujet dans deux espaces littéraires et culturels, à partir d'une étude synchronique de quelques romans tunisiens et français contemporains : Hayet ou la passion d'Elles d'Anouar Attia, Un an de Jean Echenoz, Monsieur L... d'Azza Filali, La Télévision de Jean-Philippe Toussaint et Dondog d'Antoine Volodine. Notre point de départ a été le constat d'une orientation post-formaliste dans les discours critiques littéraire et philosophique qui marquent un " retour spectral " du sujet historique. Des problèmes esthétiques, épistémologiques et poétiques sont mis en relation. Plus qu'une crise du personnage, une déficience ludique du narrateur est notée dans le corpus français. Dans une perspective sociocritique, le déficit du narrateur renvoie à une crise des institutions plutôt qu'à un abandon du projet politique de la modernité. Dans les romans tunisiens, la crise du sujet personnage est isolée. L'autorité du narrateur est maintenue, tout en étant déjouée pour signifier un écart et un désir : créer les conditions de possibilité d'une ouverture de l'expérience. La " narration discordante " est l'expression d'un problème de lisibilité du monde de la fiction. Toutefois, d'un point de vue pragmatique, les stratégies narratives de la discordance deviennent ce qui aiguise la présence du sujet lecteur, sollicité pour une contribution à la lisibilité de l'histoire. Nous y lisons, dans les deux cultures, une invitation du discours littéraire au sujet historique à tenter de tracer les contours d'une modernité politique inédite.
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Chan, David. "Exploring the narrative sermon at Vancouver Pacific Grace Chinese Church." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Kaapanda, M. N. "Decolonisation and the narration of international community." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ63080.pdf.
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Pettersson, Ulf. "Textmedierade virtuella världar : Narration, perception och kognition." Doctoral thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-29606.
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This thesis synthezises theories from intermedia studies, semiotics, Gestalt psychology, cognitive linguistics, cognitive psychology, cognitive poetics, reader response criticism, narratology and possible worlds-theories adjusted to literary studies. The aim is to provide a transdisciplinary explanatory model of the transaction between text and reader during the reading process resulting in the reader experiencing a mental, virtual world. Departing from Mitchells statement that all media are mixed media, this thesis points to Peirce’s tricotomies of different types of signs and to the relation between representamen (sign), object and interpretant, which states that the interpretant can be developed into a more complex sign, for example from a symbolic to an iconic sign. This is explained in cognitive science by the fact that our perceptions are multimodal. We can easily connect sounds and symbolic signs to images. Our brain is highly active in finding structures and patterns, matching them with structures already stored in memory. Cognitive semantics holds that such structures and schematic mental images form the basis for our understanding of concepts. In cognitive linguistics Lakoff and Johnsons theories of conceptual metaphors show that our bodily experiences are fundamental in thought and language, and that abstract thought is concretized by a metaphorical system grounded in our bodily, spatial experiences. Cognitive science has shown that we build situation models based on what the text describes. These mental models are simultaneously influenced by the reader’s personal world knowledge and earlier experiences. Reader response-theorists emphasize the number of gaps that a text leaves to the reader to fill in, using scripts. Eye tracking research reveals that people use mental imaging both when they are re-describing a previously seen picture and when their re-description is based purely on verbal information about a picture. Mental spaces are small conceptual packets constructed as we think and talk. A story is built up by a large number of such spaces and the viewpoint and focus changes constantly. There are numerous possible combinations and relations of mental spaces. For the reader it is important to separate them as well as to connect them. Mental spaces can also be blended. In their integration network model Fauconnier and Turner describe four types of blending, where the structures of the input spaces are blended in different ways. A similar act of separation and fusion is needed dealing with different diegetic levels and focalizations, the question of who tells and who sees in the text. Ryan uses possible worlds-theories from modal logic to describe fictional worlds as both possible and parallel worlds. While fictional worlds are comparable to possible worlds if seen as mental constructions created within our actual world, they must also be treated as parallel worlds, with their own actual, reference world from which their own logic stems. As readers we must recenter ourselves into this fictional world to be able to deal with states of affairs that are logically impossible in our own actual world. The principle of minimal departure states that during our recentering, we only make the adjustments necessary due to explicit statements in the text.
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Preston, Mary Elizabeth. "Homodiegetic Narration: Reliability, Selfconsciousness, Ideology, and Ethics." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392744330.
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Deutschmann, Peter. "Intersubjektivität und Narration : Gogol', Erofeev, Sorokin, Mamleev /." Frankfurt : P. Lang, 2003. http://catalogue.bnf.fr/ark:/12148/cb40035037n.
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Federer, Lisa M. "Ghosts and Lovers." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4521/.
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Ghosts and Lovers is a collection of short stories told from the points-of-view of four related characters. Travis is a bisexual restaurant owner who fears commitment and longs for the idealistic version of love that he remembers from his past. Ezra, his boyfriend, is an artist struggling to accept the inherent imperfections of life. Travis's ex-girlfriend, Beth, attempts to come to terms with the life that she has chosen for herself. Her husband, Richard, deals with feelings of helplessness as he watches the events of his life unfold before him. By depicting the events of the story from multiple perspectives, the collection attempts to create a more objective view of reality than is ordinarily possible in fiction. An introductory preface examines the role of unreliable narrators and how reality is presented in fiction.
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Young, Sarah J. "Dostoevsky's The idiot and the ethical foundations of narrative reading, narrating, scripting /." London : Anthem Press, 2004. http://catalog.hathitrust.org/api/volumes/oclc/56540766.html.
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Holtzhausen, Janita. "Whose story is it anyway? The ethics of narration and the narration of ethics in Summertime and Die Sneeuslaper." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/11159.
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Includes bibliographical references.This dissertation analyses and compares the narrative strategies in J.M. Coetzee’s Summertime and Marlene van Niekerk’s Die sneeuslaper and considers the implications of these strategies for the authors’ exploration of the ethics of writing. Much has been written about the literary oeuvres of both Coetzee and Van Niekerk, including studies of the translations of Van Niekerk’s Afrikaans novels into English. There are few “interlingual” comparative studies of contemporary works in Afrikaans and English, however, and certainly none to my knowledge which compares the work of Coetzee and Van Niekerk. My contribution to the conversation about Coetzee’s and Van Niekerk’s work, but also to an increasingly multilingual and interconnected South African literary criticism, will be a comparison of one recent work by each of these two authors, written in English and Afrikaans respectively. I draw on the theories of Bakhtin, Barthes and Levinas to consider the ethical dimension of texts in which “double-voicedness”, a questioning not only of existence, but of the self is fore grounded in the content and narrative structure; where there is a shift in focus from the author to the reader (“the birth of the reader”) and “utterances” are made with the response of “the other” in mind.
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Perron, Bernard. "La spectature prise au jeu, la narration, la cognition et le jeu dans le cinéma narratif." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26715.pdf.
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Zulu, Corrine Zandile. "Account-giving in the narratives of personal experience in isiZulu." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1327.
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Lagacé, Michel Francis. "Dialogue entre narrateur et narrataires, facétie romanesque intitulée La gaie planète et essai théorique afférent." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26384.pdf.
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Pedneault, Marjorie. "La rumeur." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.
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