To see the other types of publications on this topic, follow the link: Narration.
Journal articles on the topic 'Narration'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Narration.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Ruthrof, Horst. "Narration/narrative/narration." Continuum 1, no. 1 (January 1988): 175–91. http://dx.doi.org/10.1080/10304318809359329.
Full text
2
Beehler, Brianna. "The Doll’s Gift." Nineteenth-Century Literature 75, no. 1 (June 2020): 24–49. http://dx.doi.org/10.1525/ncl.2020.75.1.24.
Full textAbstract:
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.
3
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.
Full textAbstract:
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
4
Oktavia, Dini, Rahmadsyah Rangkuti, and Nuhammad Yusuf. "ELEMENTS OF NARRATIVE AND FUNCTION OF NARRATOR IN JUN CHIU’S CROP CIRCLES." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 4, no. 2 (December 28, 2020): 368–74. http://dx.doi.org/10.30743/ll.v4i2.2774.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
Feng, Ma. "The Narrative Art of Contemplator: An Analysis on Milan Kundera’s Works." Lingua Cultura 3, no. 1 (May 30, 2009): 85. http://dx.doi.org/10.21512/lc.v3i1.335.
Full textAbstract:
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”.
7
Zeman, Sonja. "Grammatik der Narration." Zeitschrift für germanistische Linguistik 48, no. 3 (November 25, 2020): 457–94. http://dx.doi.org/10.1515/zgl-2020-2011.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Horstmann, Jan. "Zeitraum und Raumzeit: Dimensionen zeitlicher und räumlicher Narration im Theater." Journal of Literary Theory 13, no. 2 (September 6, 2019): 185–205. http://dx.doi.org/10.1515/jlt-2019-0007.
Full textAbstract:
Abstract The positioning in space and time of performed narration in theater poses a specific challenge to classical narratological categories of structuralist descent (developed, for example, by Gérard Genette or Wolf Schmid, for the analysis of narrative fiction). Time is the phenomenon which connects narratology and theater studies: on the one hand, it provides the basis for nearly every definition of narrativity; on the other, it grounds a number of different methodologies for the analysis of theater stagings, as well as theories of performance – with their emphasis on transience, the ephemeral, and the unrepeatable, singular or transitory nature of the technically unreproducible art of theater (e. g. by Erika Fischer-Lichte). This turn towards temporality is also present in theories of postdramatic theater (by Hans-Thies Lehman) and performance art. Narrating always takes place in time; likewise, every performance is a handling of and an encounter with time. Furthermore, performed narration gains a concrete spatial setting by virtue of its location on a stage or comparable performance area, so that the spatial structures contained in this setting exist in relation to the temporal structures of the act of theatrical telling, as well as the content of what is told. Both temporal and spatial structures of theater stagings can be systematically described and analyzed with a narratological vocabulary. With references to Seymour Chatman, Käte Hamburger and Markus Kuhn among others, the contribution discusses how narratological parameters for the analysis of temporal and spatial relations can be productively expanded in relation to theater and performance analysis. For exemplary purposes, it refers to Dimiter Gotscheff’s staging of Peter Handke’s Immer noch Sturm (which premiered in 2011 at the Thalia Theater Hamburg in cooperation with the Salzburger Festspiele), focusing on its transmedial broadening of temporal categories like order, duration, and frequency, and subsequent, prior, or simultaneous narration. The broadening itself proves feasible since all categories of temporal narration can be applied to performative narration in the theater – at times even more fruitfully than in written language, as is the case, for example, with the concept of ›duration‹. The concept of ›time of narration‹ too can be productively applied to theater. Whilst a subsequent narration is frequently considered the standard case in written-language narratives on the one hand – a conclusion that is, however, only correct if the narrator figure and narrative stand in spatiotemporal relation to one another, i. e. if a homodiegetic narrator figure is present – it is commonly held that in scenic-performed narration, on the other hand, the telling and the told take place simultaneously. The present contribution argues against this interpretation, as it stems from a misguided understanding of the ›liveness‹ of performance. ›Liveness‹ refers only to the relationship between viewers and performers and their respective presence, but not to their temporal and spatial relationship to the told. Rather, the following will argue that the time of narration in theater (as well as in film) stays unmarked in most cases. It is possible, however, to stage subsequent, prior, or simultaneous narration, too. Immer noch Sturm is one example for a performed subsequent narration. For audiovisual narration, then, a special case of iterative narration (telling once what happened n times) can be identified, which is to tell a few times (n minus x) what happened n times. As an additional category for the analysis of narrative temporality in audiovisual narrative media, I propose what I venture to call ›synchronized narration‹, in order to describe the specificity of spatiotemporal relations in performance. In synchronized narration, two or more events (that happen at different places or times in the narrative world) are shown at the same time on stage. This synchronized performance of several events is only realizable within the audiovisual dimension of spatial narration and not in written-language based narration. Furthermore, for narrative space relations the categories ›space covering‹, ›space extending‹, and ›space reducing narration‹ are suggested in order to analyze the relationships between discourse space and story space(s). Discourse space emerges in the concrete physical space of the performance when narrativity is present. Within this discourse space any amount of story spaces (with any expansion) can emerge. However, whilst in time-extending narration the time of the telling is longer than the time of the told, in space-extending narration the told space is bigger than the space of the telling. This principle is analogously valid for time-reducing or space-reducing narration. The transmission and media-specific broadening of temporal and spatial narratological parameters reveals how time and space form a continuum and should thus be linked and discussed alongside one another in analytical approaches to narrative artifacts. The staging of Immer noch Sturm actualizes a metaleptic structure, in which temporal borders are systematically dissolved and the overstepping of spatial borders becomes an indicator for the merging of different temporal levels. Referring back to established narratological parameters and developing analogous conceptual tools for narrative space facilitates a comparative analysis both of specific narratives and of narrative media and thus not only offers a productive challenge of classical narratological parameters, but allows to investigate and construct a holistic – if culture-specific – overall view of narration.
12
Noy, Chaim. "Gestures of closure: A small stories approach to museumgoers' texts." Text & Talk 40, no. 6 (November 26, 2020): 733–53. http://dx.doi.org/10.1515/text-2020-2076.
Full textAbstract:
AbstractMuseums are familiar public institutions whose primary mode of mediation is narration. They are geared toward narrating collective stories that are authoritative, linear, and grand in scope. Yet with the historical turn museums have recently taken from collection-centered to audience-centered institutions – coupled with a participatory mode of mediation – more than ever museumgoers are now invited to participate in these grand narrations. This article examines the institutional interaction between museums and museumgoers, and the texts that the latter produce in situ. It analyzes over 3000 texts that visitors wrote at the Florida Holocaust Museum, between 2012 and 2015. It employs the “small stories” framework to explore the interactional narrative structure and features within which museumgoers' written comments are elicited and displayed in museums. The analysis highlights the narrative functions and authorial roles that museumgoers are ascribed institutionally, and whether and how they discursively occupy them. Three main narrative strategies of/for participation are discerned, through which museumgoers variously perform gestures of closure of their visit. These narrative gestures index ways, in which visitors signal the approaching end of the museum's narration, employing diverse discursive resources, while adding a coda or a resolution to the institutional narrative.
13
Eyben, Piero. "Da herança do outro na narrativa homérica." Aletria: Revista de Estudos de Literatura 19, no. 3 (December 31, 2009): 115–27. http://dx.doi.org/10.17851/2317-2096.19.3.115-127.
Full textAbstract:
Resumo: O presente artigo tem por objetivo discutir a construção da herança narrativa advinda do texto homérico, pela Odisséia, enquanto partes constitutivas dos conceitos filosóficos de dom e temporalidade. Nesse sentido, buscou-se, pela análise da enunciação de Odisseu-narrador (entendida sempre como metáfora do próprio ato de narrar), compreender como o processo de nomeação produz um efeito de identidade na alteridade da recepção da herança clássica.Palavras-chave: Narração; dom; tempo.Abstract: This article aims to discuss the construction of the narrative heritage arising from the Homeric narrative, in the Odyssey, as constituent parts of the philosophical concepts of gift and temporality. Therefore, by the analysis of the enunciation of Odisseus-narrator (always understood as a metaphor to describe the act of narration itself), we understand how the nomination process produces an effect of identity on the alterity of classical heritage reception.Keywords: Narration; Gift; Time.
14
Resen, I. Wayan. "The Narrative Technique in Winnie Eads’ Short Story The Grandfather: A Stylistic Approach." Studies in English Language Teaching 5, no. 2 (April 14, 2017): 186. http://dx.doi.org/10.22158/selt.v5n2p186.
Full textAbstract:
<p><em>This study on “The Narrative Technique in Winnie Eads’ Short Story The Grandfather: A Stylistic Approach” takes as its focus the narrative technique which generates the aesthetic effects of the story. The narrative technique designed to be adopted for the narration of the story in the first person and merely by a kid narrator necessarily integrates into itself the language style which is constituted by such specific use of language (English) to suit the aesthetic need of the narration. The aesthetic effect achieved through the fusion of the child first-person narration and the specific language style in the story is one in the form of aesthetics of realism, particularly realism in the characterization of the grandfather as the main character and of Pete as the child narrator, which constitutes the attractiveness of the story. Using a stylistic approach in the analysis of the narration, this article is aimed at revealing how the specific language use in the short story The Grandfather constitutes a quite effective device for aesthetic achievement.</em><em></em></p>
15
Bieliekhova, Larysa, and Alla Tsapiv. "Cognitive Play Model of Narration “Quest” in Roald Dahl’s Fairy Tale Charlie and the Chocolate Factory." PSYCHOLINGUISTICS 25, no. 2 (April 18, 2019): 11–30. http://dx.doi.org/10.31470/2309-1797-2019-25-2-11-30.
Full textAbstract:
The article focuses on reconstruction and analysis of the model of narration “Quest” in Roald Dahl’s fairy tale Charlie and the Сhocolate Factory. A narrative text is considered as a unit with semantic and communicative completeness. It is claimed that the elements of the narrative structure are narrator, narratee, the story (which includes the plot and its composition, fiction characters) and the model of narration. It is assumed that model of narration is a cognitive and linguistic construal, inbuilt into the narrative structure of the text. It is believed that play tenet forms the background of the model of narration of the fairy tale Charlie and the Сhocolate Factory. The model of narration determines a definite plot and composition, a certain type of narrator and narratee. The semantics of search is realized in the plot – the search of the Golden ticket, the search of the secrets of the chocolate factory, overcoming the obstacles. Characters of the fairy tale are quest participants. Four of them personify simulacrums of modern society (Bodriyar) – greed and gluttony (Augustus Gloop), parent’s permissiveness (Veruca Salt), uncontrolled TV watching (Mike Teavee), vanity (Violet Beauregarde). The fifth quest participant Charlie Bucket embodies modesty and honesty. The narrator of the fairy tale tells the story from the point of view a didactic adult, who criticizes pseudo values of the characters and supports honesty of the main hero Charlie. The narrator as if teaches the implied child reader through the quest-game what is true and what is simulacrum. The winner of the quest becomes Charlie and other participants fail the quest because of their uncontrolled behavior.
16
Schapp, Jan. "Verstrickung und Erzählung." Phänomenologische Forschungen 2007, no. 1 (2007): 125–44. http://dx.doi.org/10.28937/1000107939.
Full textAbstract:
Concerning the modern discussion about the relation between event and narration and “Time and Narration” (Paul Ricoeur) the author asks about the relation between entanglement and narration in Wilhelm Schapps philosophy of stories. The philosophy of stories does not approve a systematisation of the topic but does allow its discussion under various aspects. Among those, the author chooses the existence of narrations in the stories of the entangled, the silent speaking, the entanglement in a positive world and the relation between the story of one’s life and poetry. The essay also is a contribution to basic questions of narrative ethics.
17
Stukker, Ninke. "Genre as a factor determining the viewpoint-marking quality of verb tenses." Cognitive Linguistics 30, no. 2 (May 27, 2019): 305–25. http://dx.doi.org/10.1515/cog-2018-0038.
Full textAbstract:
AbstractVerb tenses play an important role in managing deictic relations between the narrator, the audience and the events happening in the story world. Across languages, the Simple Past is considered the conventional story-telling tense, reflecting the prototypical deictic configuration of stories in which the narrator is positioned at some distance from the events unfolding in the story. The Simple Present, on the other hand, is considered a marked option for narration, assumed to automatically result in a shift to a subjective perspective. This paper reports on an analysis of a corpus made up of Dutch fictional short stories, news reports and feature articles. The results suggest that conventions for use and interpretation of verb tenses in narrative contexts are in fact genre-dependent. In the news genres, the Simple Present tense dominated in narration. This did not automatically result in a subjective mode or narration, but was naturally used to express a default narration of story events that temporally overlap with the temporal deictic center of the communicative ground. These findings suggest that previous analyses of verb tenses in relation to narration reflect an over-generalization based on the situational characteristics of prototypical narrative genres such as literary fiction and personal anecdotes.
18
Bokus, Barbara. "Peer Co-Narration: Changes in Structure of Preschoolers' Participation." Journal of Narrative and Life History 2, no. 3 (January 1, 1992): 253–75. http://dx.doi.org/10.1075/jnlh.2.3.05pee.
Full textAbstract:
Abstract This article represents the interactional approach to the study of child narration. The analyses reveal the process of story creation by children in the roles of narrator and co-narrator. In building a narrative text alone (solo narration) or together with another child (co-narration), the child transmits new information to the peer listener about the adventures of storybook heroes. Nine hundred and sixty children ranging in age from 3 to 7 years took part in the investigation (384 in narrator and co-narrator roles and 576 in listener roles). A modified version of Peterson and McCabe's (1983) method of narrative analysis was used. The results showed that co-constructed narratives underwent change with age in reference complexity (greater change than in solo constructed ones). Co-narrator contributions were analyzed in terms of (a) new reference content (introducing new reference situations), and (b) operations upon the partner's text (in various categories mainly confirmational and supplementary). The dominant partner in introducing new content was the initiator of the dis-course, whereas the dominant one in performing text operations was the con-tinuer. Changes across the age span were found in both types of co-narrator contribution. These results showed the changing structure of preschoolers' par-ticipation in co-narrative discourse. (Psycholinguistics)
19
Cheremisinova, Larisa I. "Narrative Strategy in Afanasy Fet’s Story The Golts Family." Tekst. Kniga. Knigoizdanie, no. 24 (2020): 5–20. http://dx.doi.org/10.17223/23062061/24/1.
Full textAbstract:
In the modern research on Afanasy Fet, questions of “prosaic” Fet studies remain poorly investigated: the poetics of Fet’s prose, the specifics of its narrative, the genre features of the works, the comparative analysis of Fet’s narrative practice and contemporary writers’ works. Examination of ways of implementing the narrative strategy in the story The Golts Family requires clarification of the genre features of this work since the principles of narration largely depend on the genre. The volume of this text, the coverage of the events depicted in it, the presence of several plot lines, the abundance of static narrative elements, the constructive role of the narrator, the organization of the narration mainly by descriptions and arguments rather than by event series make The Golts Family a story. The differences of subjects and types of narrative divide the story into two parts. The first part (Chapters 1–3) presents an objective narrative on behalf of an “omniscient” narrator. Starting from Chapter 4, the narrative type changes to “Inarration”, which continues until the very end of the story. A special lyrical atmosphere, an intimate tone, the warmth of memories cocoon the “cuirassier” pages of the story. Fet was faced with a difficult creative task: to depict the fate of the vet Golts and his family against the background of documentary episodes of the life of the cuirassier regiment. The search for the solution entailed a special way of implementing a narrative strategy, in particular, a change in the types of narration. The “interchangeability” of the storyteller and the narrator, changes in the perspectives of the image, in the points of view, and, at the same time, in the types of narration are artistically justified in Fet’s story for they fulfill a certain super-task. The “mediation” of the narrator allows the reader to enter the depicted world and look at the events through the eyes of the characters. In The Golts Family, views “from the outside” and “from the inside”, subjective and objective narratives intertwined. This allowed the author to capture a broad picture of life, to create a multidimensional live image that combines various character traits and possesses individuality and integrity. The author shows Golts’ tragic fate as if “from the outside”, on behalf of the narrator. The appearance of the narrator—the regimental adjutant—changes the point of view in the story and gives a different perspective of the image. The reader now perceives the world of artwork through the character’s consciousness. The position of narrating endows the story with lyricism and cordiality, “revives” it “from the inside”. Thus, the author unwittingly balances the internal and external positions, binds together the whole story.
20
Ur Rehman, Habib. "جہالت ِ راوی کے مصداق اور حکم میں محدثین و اصولیین کا منہج و اسلوب Method and Style of Muḥaddithīn and Uṣūliyyīn regarding the Meaning and Ruling of Obscurity of the Narrator." Al-Wifaq, no. 4.2 (December 31, 2021): 21–44. http://dx.doi.org/10.55603/alwifaq.v4i2.u2.
Full textAbstract:
The obscurity of the narrator is one of the reasons for defamation in the narrator, on the basis of which the narrator is deprived of the status of acceptance. There is a difference of opinion among Muḥaddithīn and Uṣūliyyīn as to its meaning and there is also a difference in ruling on the basis of this. According to the Muḥaddithīn, obscurity depends on the number of narrators narrating from a narrator, and according to the Ḥanafī Uṣūliyyīn, it depends on the number of narrations. Therefore, if two or more narrators narrate from a narrator, he will go out of obscurity, while according to the Ḥanafī Uṣūliyyīn, if only one or two narrators narrate from him, it is a sign that he is not associated with this science. In the rule of obscure narrator’s narration, Ḥanafī Uṣūliyyīn consider the era, so basically, the narration of an obscure narrator at an early age is acceptable except that there is another reason for not considering it. On the contrary, the obscure narrator is unreliable from the point of view of the Muḥaddithīn unless there is some evidence to dispel his obscurity. The point of view of Mutakallimīn is close to that of the Muḥaddithīn in this regard.
21
Rather, Nadeem Ahmad. "Grandmother as a Narrator in Raja Rao’s Kanthapura – A Critique." Literary Voice 1, no. 1 (2023): 108–16. http://dx.doi.org/10.59136/lv.2023.1.1.113.
Full textAbstract:
For any literary work, the narrative technique constitutes one of the essential requisites. How the art of narration is chiseled in a literary work is what lends it artistic and emotional credibility. In Kanthapura, Raja Rao experiments with the narrative technique. The novel is presented from the viewpoint of an old grandmother who relates the tale of the brave resistance of the people of Kanthapura to expel the British from India. The ancient Indian Puranic method has been preferred to the western narrative technique, which according to Raja Rao, suits the Indian credo and climate. In Kanthapura, Raja Rao sought to defamiliarize the English language by bringing to the standard English form Indian thought and feeling, Indian culture, and Indian ideology. The present paper essays to investigate how Raja Rao used different elements and structures in narrating Kanthapura as experimenting tools to lend the novel a lasting artistic quality that served the purpose he had in mind. The reliability of the narrator in her description and narration of incidents and characters will be under scrutiny.
22
Liefke, Kristina. "The Filmic Representation of ‘Relived’ Experiences." Epistemology & Philosophy of Science 59, no. 2 (2022): 56–65. http://dx.doi.org/10.5840/eps202259221.
Full textAbstract:
This comment discusses Emar Maier’s argument against the characterization of unreliable filmic narration as (first-)personal narration. My comment focuses on two assumptions of Maier’s argument, viz. that the narrating character’s mental states can be described independently of other mental states/experiences and that personal filmic narration can only proceed from a de se perspective (as captured by first-person shots). I contend that the majority of movies with unreliable narration represents an experientially parasitic mental state (typically, the character’s remembering – or ‘reliving’ – a defining personally experienced event). Since these states are well-known to involve perspective-shifting and various kinds of semantic enrichment, unreliable filmic representation is perfectly compatible with the presence of a personal narrator.
23
Milanowicz, Anna. "A Short Etude on Irony in Storytelling." Psychology of Language and Communication 23, no. 1 (January 1, 2019): 14–26. http://dx.doi.org/10.2478/plc-2019-0002.
Full textAbstract:
Abstract This paper presents an overview of chosen concepts of irony as a communicative unit in the repertoire of the speaker. It adopts a framework of narration with emphasis on how minds in interactions co-construct meanings. Irony, which means more than it says, is always used with a specific attitude attached. Irony is thus an act of narrating the speakers’ mind, but in the speaker-hearer meaning perspective. Due to the fact that there is no narration without a text and no irony without narration, this paper links the Theory of Narrative Line and Narrative Field (Bokus, 1991, 1996, 1998) with a few selected views on the theory of irony (e.g., Clark and Gerrig, 1984; Sperber and Wilson, 1981, 1984) and research results. It also explains how the Cooperation Principle (Grice, 1975) is flouted and again recreated in the process of sharing meanings. Further, we refer to linguistic bias (Maass et al., 1989) and highlight perspective shifting in narration, which can change along the ‘narrative line’ and within the ‘narrative field.’ This paper builds a platform for combining the theories of irony with fields of narration. This perspective situates irony as a vehicle hinged in dialectics between the explicit and the implicit, the like and the dislike, the truth and the falsehood, the praise and the criticism. All of these can be read from irony.
24
Al – Leheabi, Saleh Muhammad Zeki Mahmood. "The ability of AlBukhari to preserve the harmony between the Principles of the Science of History and the Science of Hadith in his book AlTarikh AlKabir “the Grand History”." Al-Adab Journal 1, no. 135 (December 12, 2020): 53–66. http://dx.doi.org/10.31973/aj.v1i135.662.
Full textAbstract:
This research deals with a very important subject: the ability of AlBukhari to preserve the harmony between the science of history and the science of Hadith in his book AlTarikh AlKabir “The Grand History”. In addition to explaining the nature of criteria of Hadith collection adopted by AlBukhari in the mentioned book.
For example, AlBukhari used to incorporate in each biography one chain of narration to refer through it or through the Matn (text) to the narrator. He may mention one chain of narration which is the most common. Sometimes he may use a group of chains of narration. He may increase them to reach ten which is very few in his book. Using such Hadith approach by AlBukhari has certain objectives: some are related to the biography of the narrator, others related to the persons mentioned in the chain of narration, and others related to the text, using relevant terminology etc.
AlBukhari didn’t only report the chain of narration without knowledge. He was a critique in most cases and gives his opinion. Sometimes he says, “the chain of narration isn’t acceptable” or “not strong”, or “there is something wrong with the chain of narration”. AlBukhari may have doubt about the authenticity and correctness of the narration, or may have a doubt about the Shaikh’s meeting the student. Sometimes, he says “I do not know of he heard from Abi Al Zinad or not “. This means that Al Bukhari as a Hadith scholar used his incredible skills to add a lot to the science of history, through the process of criticism, assessment, analysis of content of texts and the scrutiny of chains of narration. Such basics transfer History from its general narrative context to an established science.
The aim of this research is to clarify the scientific approach of AlBukari, with regards to texts he used in his book, AlTarikh AlKabir “The Grand History”. Sometimes he used to use the text in full, sometimes in parts, and then he repeats it with same chain of narration or with another chain, or uses many chains of narrations, and may only refer to the text, saying:(Thus, meaning, so forth, so on…).
Also, we aim to show the scientific approach of AlBukhari in mentioning the names of Shaikhs from whom the Hadith narrated, saying “It was heard from, from, it was heard, heard from”. Also, mentioning the names of narrators, saying “It was heard from him, it was narrated from him, from him”.
In addition to that AlBukhari used a group of words on amendment and documentation when mentioning the biography of narrators, such as saying “Trustworthy, his Hadith is well known, sincere”.
25
Wiese, Annjeanette. "Who says? Problematic narration in Paul Auster’s City of glass." Frontiers of Narrative Studies 3, no. 2 (November 23, 2017): 304–18. http://dx.doi.org/10.1515/fns-2017-0020.
Full textAbstract:
AbstractThe conventions of narratological categories direct our expectations and interpretation as we read. But when these conventions are problematized, our interpretation becomes more theoretical, forcing us to contemplate why an author would choose to experiment with the category of, for example, narration. In Paul Auster’s City of glass (1985), we have what appears to be a heterodiegetic, omniscient narrator who is mostly, but not fully, unproblematic. By the end, however, we discover that this narrator is (also?) homodiegetic. Auster’s breaking of the rules of traditional narration by having a narrator who is both hetero- and homodiegetic not only leaves readers in a quandary as to how to interpret the text, it also makes us realize how much we rely on the narrator for meaning. I propose to analyze the novel in order to explore the rhetorical strategy of Auster’s refusal to maintain a stable narrator. This analysis will illustrate how the category of narration prompts an unexamined trust in the teller and is therefore essential for our understanding of truth and meaning in narrative. I contend, in other words, that Auster’s experimentation with the category of narration in City of glass is key to the text’s insistence on a revised understanding of truth.
26
Wong, Edwin. "The Harmony of Fixed Fate and Free Will in the Iliad." Antichthon 36 (November 2002): 1–18. http://dx.doi.org/10.1017/s0066477400001295.
Full textAbstract:
Eberhard argues convincingly in his 1923 volume, Das Schicksal als poetische Idee bei Homer that fate is a narrative device in the Iliad and Odyssey which guides the narration towards resolution. As an example of fate at work, he cites the narrator harnessing fate to fulfil ‘what must happen’ when Zeus finds the deaths of Sarpedon and Hector difficult. Movement towards resolution, however, is not the only force motivating the narration. Achilles' vacillations between remaining or quitting pull the narration away from resolution: such episodes suggest the idea of an apparent freedom within fate. If Iliadic fate or free will were unwavering dogmatic notions, their coexistence would be problematic. But perhaps harmony between the two is possible when free will in the Iliad is—like Eberhard's conception of fate—a poetic or narrative device.
27
Vujošević, Vladimir. "MOBY-DICK, MODERNISM AND THE “POST-DEATH” NARRATION." Folia linguistica et litteraria XIII, no. 45 (September 2023): 197–212. http://dx.doi.org/10.31902/fll.45.2023.11.
Full textAbstract:
There is a peculiar tendency among many first-person Modernist narrators to simulate the narrative perspective of “posthumousness” (as if these accounts were somehow narrated by the dead). The procedure (that could be termed the “post-death narration”) seems to be present in various proto-modernist and Modernist works such as Conrad's Heart of Darkness, Faulkner's The Sound and the Fury and Absalom, Absalom!, T.S. Eliot's The Waste Land, etc. This narrative perspective is entwined with the trauma discourse, and the article argues that some of the best-known Modernist techniques (like the stream of consciousness) are based on the Gothic model of spectral narration. In the works of the genre, ghosts are often portrayed as traumatized, incommunicative, and disoriented “shattered selves” eternally entrapped in the closed space of a single, repetitive traumatic memory. This also seems to be the case with many Modernist narrators. The article shows various ways this genre convention of the Gothic has been (re)used in Modernist storytelling. Furthermore, the “post-death narration” could also be interpreted as a “symptom” of extreme subjectivity and epistemic frustration (which are typical features of Modernist narration in general). It is also claimed that the narrative perspective of “posthumousness” was first employed in Melville's Moby-Dick and that Ishmael, the narrator of the novel, could be seen as the “prototype” of this kind of Modernist “post-death” narration.
28
Rantala, Kati. "Narrative Identity and Artistic Narration." Journal of Material Culture 2, no. 2 (July 1997): 219–39. http://dx.doi.org/10.1177/135918359700200204.
Full text
29
Luo, Jun, and Qing Yin. "On the Theoretical Construction of the Structural System of Semiotic Atoms in the Semantic Signs of Poetic Narrative Texts." Asian Journal of Social Science Studies 1, no. 1 (February 26, 2016): 39. http://dx.doi.org/10.20849/ajsss.v1i1.16.
Full textAbstract:
<p>The studies of poetic narratology has been extended to the macro-studies of the narrative language of poetic narrative texts ranging from narrative grammar to narrative model with a special attention paid to the exploration of the semiotic atoms of its semantic narration and the semiotic atoms of its pragmatic narration in poetic narrative texts as well as their interrelationships. What hasn’t been paid attention to in this area is the atomic structural system of the semiotic atoms of the narrative signs in poetic narrative texts. Grounded on the absence of studies in this regard, this essay aims to deal with the theoretical construction of the structure of the semiotic atoms of the semantic signs in the narrative language in the narrative poetic texts in terms of the semiotic atoms of the phonetic narration, the semiotic atoms of its semantic narration, the semiotic atoms of its pragmatic narration, the semiotic atoms of its grammatical narration as much as the semiotic atoms of its spatial narration in poetic narrative texts to develop and improve the theories of poetic narratology and expand its studies from macro-studies to micro-studies.</p>
30
Niehr, Thomas. "Argumentation und Narration in verschwörungstheoretischen Youtube-Videos." Zeitschrift für Literaturwissenschaft und Linguistik 51, no. 2 (April 14, 2021): 299–320. http://dx.doi.org/10.1007/s41244-021-00203-5.
Full textAbstract:
ZusammenfassungIn diesem Beitrag wird das Verhältnis von Argumentation und Narration in sogenannten Verschwörungstheorien näher beleuchtet. Im Anschluss an die in der klassischen Rhetorik beschriebene Funktion der narratio in einer Gerichtsrede wird der Frage nachgegangen, in welcher Weise narrative Elemente bei verschwörungstheoretischen Argumentationen eingesetzt werden und welche Funktionen sie dabei übernehmen. Am Beispiel ausgewählter Youtube-Videos des Verschwörungstheoretikers Heiko Schrang wird illustriert, wie narrative Elemente eine Argumentation stützen und Rezipient*innen Anschluss an die eigenen Wissensbestände sichern können.
31
Kragl, Florian. "Vergil und das Epische Erzählen." Literaturwissenschaftliches Jahrbuch 61, no. 1 (October 1, 2020): 9–51. http://dx.doi.org/10.3790/ljb.61.1.9.
Full textAbstract:
The article discusses Jan-Dirk Müller’s concept of ›epic narration‹ with respect to the dominant Virgilian tradition during the Middle Ages. Müller’s ›epic narration‹ is defined as a quasi-autochthonous vernacular mode of medieval, (at least seemingly) archaic narration, strictly distinct from the, so-to-speak, Virgilian world of the litterati, and closely resembling everyday conversation: ›Epic narration‹ is narration in the presence of narrator and audience; it unfolds common narrative knowledge; the narrated past and the presence of narration are closely intertwined; what is told, is simply true; time and space are organized primitively via deictic markers; the themes are, even if Müller somewhat skips that point, martial and belligerent. The article argues that Virgil’s Aeneid is no counterpart to that mode of ›epic narration‹, but that it participates in this more or less universal concept, albeit as its most sublime refinement. Virgil overcomes primitive ›epic narration‹ artistically by means of an unrivalled poetic perfection. This particular observation on the Aeneid poses severe questions to literary history. Even the vernacular poems offer no ›pure‹ ›epic narration‹, and Virgil’s epic in particular (as well as the Latin tradition in general, including Servius, Statius, Ovid etc) was most likely known to (most of the) vernacular poets. Hence, the idea of vernacular autonomy appears highly problematic. To put it bluntly, is the ›epic narration‹ of medieval literature an autochthonous vernacular mode, or does it, like so many other things, sprout in the long shadow of the Aeneid? Reflecting Müller’s ›epic narration‹ from a Virgilian perspective inevitably provokes a profound revision of medieval literary history.
32
Jang Nohyun. "Multiple Narration and Soul Narrator." Journal of Popular Narrative ll, no. 17 (June 2007): 187–218. http://dx.doi.org/10.18856/jpn.2007..17.006.
Full text
33
Aminah, Shobichatul. "Mengungkap Narasi Sejarah yang Disangkal dalam M/T to Morino Fushigi No Monogatari Karya Oe Kenzaburo." Lingua Cultura 7, no. 2 (November 30, 2013): 57. http://dx.doi.org/10.21512/lc.v7i2.419.
Full textAbstract:
M/T to Morino Fushigi no Monogatari, a novel by Oe Kenzaburo, offered a different history narration with legitimate history narration of Japan. In Oe’s perspective, the legitimate history of Japan was central to the Emperor. By the novel he attempted to narrate a history from another perspective that was from the perspective of a society of a hidden village in the basin of rural Shikoku forest who were culturally marginalized. The narrator in this novel had a responsibility to continue the narrative tradition to construct village history. The narrator constructed it by taking up history sources from that represent various perspectives. A history constructed by the narrator tended to inverse Japan’s official history, and narrated what is being disclaimed in Japan’s official history. That village history also pointed out that there was not any single version in history narration. Those various history versions coexist and are placed in equality in the novel.
34
d'Espèrey, Sylvie Franchet. "Rhetoric and Poetics in Quintilian: a Consideration of the Apostrophe." Rhetorica 24, no. 2 (2006): 163–85. http://dx.doi.org/10.1525/rh.2006.24.2.163.
Full textAbstract:
Abstract This article considers the difficulties faced by Quintilian in classifying and understanding apostrophe. He treats it as both a figure of thought, with examples from oratory, and a figure of speech, with examples from Virgilin which the narrator addresses characters of the poem. By inserting the otherwise unobtrusive narrator into the narrative, the effect of the Virgilian examples is to collapse the distinction between narration and narrative. Since Quintilian does not have this means of linguistic analysis at his disposal, he defines apostrophe as a figure of speech by bringing it into relation with other figures that also produce an effect of rupture at the level of narration, and he uses other oppositions that offer an imperfect treatment of the problem.
35
Klein, Michael L. "Chopin Fragments: Narrative Voice in the First Ballade." 19th-Century Music 42, no. 1 (2018): 30–52. http://dx.doi.org/10.1525/ncm.2018.42.1.30.
Full textAbstract:
This article considers the problem of narration in a collection of works gathered around Chopin's Ballade in G Minor, op. 23: Guillermo del Toro's Crimson Peak, Poe's “The Raven,” Mickiewicz's Konrad Wallenrod, Dickens's The Chimes, and Władysław Szpilman's The Pianist along with its cinematic adaptation by Roman Polanski. Chopin's Ballade is featured prominently in the two movies under consideration, while the remaining works are either influential for the composer (Konrad Wallenrod) or develop themes common to the Ballade. Study of narration in these works reveals that the narrator can be just as unstable in literary texts as in musical ones. The problems of narration that have been imputed to music are problems of narration itself. Regarding the era of Chopin's Ballade, these problems also point to unstable models of subjectivity, which the logic of narrative glosses over.
36
Marander-Eklund, Lena. "The Birth of a Child as Experienced and Narrated in the 1990s Finland." Folklore: Electronic Journal of Folklore 80 (December 2020): 125–50. http://dx.doi.org/10.7592/fejf2020.80.marander_eklund.
Full textAbstract:
In this article, I examine the way Swedish-speaking first-time mothers living in Finland narrate their experience of giving birth between 1993 and 1997. The object is narrating about the moment of birth and experiential dimension of giving birth. This includes an analysis of stylistic means used in narration, and the points of narration. The material consists of childbirth stories told by 14 Swedish-speaking first-time mothers in interviews during the 1990s. I define the story as a personal experience narrative. The stories show that the women’s experience is embodied. The birth-givers are more focused on giving birth than giving birth to a child and they relate to ambient norms and values in their narration.
37
Heith, Anne. "Millenarianism and the Narration of the Nation." Journal of Northern Studies 3, no. 1 (August 28, 2009): 13–29. http://dx.doi.org/10.36368/jns.v3i1.591.
Full textAbstract:
The Korpela movement was a millenarian movement which emerged in Northern Sweden in the nineteen-thirties. The article explores the use of historical subject matter about the movement in newspaper journalism, literary writing, and in the branding of Toivo Korpela and the Korpela movement on the World Wide Web in the context of present-day marketing of attractions for visitors. The argument of this article is that the literary writings of Henning and Ernst Sjöström and Bengt Pohjanen respectively represent two conflicting ways of narrating the Swedish nation. The Sjöström brothers’ novel Silverarken [‘The silver ark’] represents a nationalist pedagogy in which the narrative of the nation exemplifies a teleology of progress. This mode of narrating is problemized by a double narrative movement which includes a “‘timeless’ discourse of irrationality” (Bhabha), exemplified in a number of Bengt Pohjanen’s novels, which destabilizes and deconstructs the narration of the nation as a story about homogeneity and linear progress. This latter mode of narrating makes visible the split in the narration of the nation between the progressive, accumulative temporality of the modern Swedish welfare state and the performative subversion of an alternative logic which is also claimed to be representative.
38
Beyvers, Sarah E. "The game of narrative authority: Subversive wandering and unreliable narration in The Stanley Parable." Journal of Gaming & Virtual Worlds 12, no. 1 (March 1, 2020): 7–21. http://dx.doi.org/10.1386/jgvw_00002_1.
Full textAbstract:
This article explores how players’ attempts at subversive wandering in The Stanley Parable (2013) render the game’s narration unreliable and thus reveal its comments on the nature of ‘agency’ in video games. Unreliability brings the act of narration itself to the fore and exposes its mechanisms of manipulation. Players of The Stanley Parable may seek to contradict the voice-over narration subversively. They must find out, however, that, even though the narrator’s authorial omniscience and power are an illusion, they cannot break away from the predetermined path the game lays out. The narrator and the player are constantly fighting over who gets to tell the story and who therefore wins the game of narrative authority. Subversive wandering, as will be theorized in this article, exposes the impossibility of true player agency in the game’s set structure and comments on how player movement and interaction construct parts of a game’s narrative.
39
Zyryanov, Oleg V. "The Origins of the Personal Type of Narrative in D. N. Mamin-Sibiryak’s Shorter Prose." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 4 (2022): 53–70. http://dx.doi.org/10.15826/izv2.2022.24.4.064.
Full textAbstract:
Based on D. N. Mamin-Sibiryak’s shorter prose (essays, stories), the author distinguishes various types of narrative, i.e. first and third person narration and a personal type of narration. In several stories of the essay type, special markers of the presence of the personal narrator stand out expressed in characteristic motifs of admiration, interest, and curiosity. The author proves that during the period of the so-called “second debut” (1881–1882), Mamin began with the development of the form of a personal narrator, most characteristic of the genre of the essay, and gradually switched to the auctorial type of narrative, typical already of the genre of the story and assuming the form of an objective narrator author. It is also noted that in the form of an auctorial narration, Mamin successfully mastered the device of non-personal direct speech, or the speech interference of the character and the narrator author, which brings us to the rudimentary forms of “personal” narrative. From about the mid-1880s, the tendency towards a personal narrative became apparent, which is most noticeable in the stories Korobkin, Doctor Osokin’s Amendment and Simply, which focus on the state of the split consciousness of the character who finds himself in a situation of “man in front of a mirror” (M. M. Bakhtin) and acts as a direct subject of cognition. In the works of the same period (stories Between Us, The Old Fife, and others) a personal type of narration emerges clearly, which continues logically in the stories of the 1900s (Influenza. Monologue, A Dumpling and a Blot). The writer pays attention to the situation of the relationship between the character and the stereotyped nickname imposed on him, a certain “foreign” word-nomination, which leads to an increase in the act of self-awareness of the character and an intensification of the personal narrative. Finally, the article concludes that the development of a personal point of view in the narrative structure of the story leads Mamin-Sibiryak to the emergence of a new genre form, i.e. a personal “monologue” or “diary”, as well as to focus on the aesthetic potential of receptive poetics, which reveals points of convergence with genre variation of Chekhov’s “discovery story”.
40
Phelan, James. "Usandsynligheder, overkrydsninger og umuligheder. En retorisk tilgang til brud på den mimetiske karakternarrations kode." K&K - Kultur og Klasse 39, no. 112 (December 25, 2011): 33–50. http://dx.doi.org/10.7146/kok.v39i112.15743.
Full textAbstract:
IMPROBABILITIES, CROSSOVERS, AND IMPOSSIBILITIES | Extending and to some extent revising some of his earlier work, James Phelan in this essay examines three kinds of “unnatural”departures from the mimetic code. Paralepsis (or implausible knowledgeable narration), simultaneous present-tense character narration, and a kind of departure not previously noticed, which he calls cross over narration: “an author links the narration of two independent sets of events by transferring the effects of the narration of the one to the other.” In spite of being rather different ways of breaching the mimetic code, the three breaks form a useful cluster for investigating underlying conventions of reading that can explain why readers often do not notice the breakes. Phelan thus induces two Meta-Rules of Readerly Engagement: The Value Added Meta-Rule underlies the principle that disclosurefunctions trump narrator functions, and stipulates that readers overlook breaks in the mimetic code when those breaks enhance their reading experience; the Story over Discourse Meta-Rule stipulates that once a narrative foregrounds its mimetic component, readers will privilege story elements over discourseelements, and thus be inclined to overlook breaks in the code. Four additional Rules are derived from the Meta-Rules in a reading of Adventures of Huckleberry Finn, which serves as an example ofimplausibly knowledgeable narration. Rules and Meta-Rules are then deployed in reading a passage of The Great Gatsby, exemplifying crossover narration. A discussion with Henrik Skov Nielsen about the simultaneous present-tense narration in Glamorama marks both the closeness and a certain differencein perspective between rhetorical narratology and Nielsen’s concept of narration without narrators.
41
Schlickers, Sabine. "Perturbatory narration in literature und film." Frontiers of Narrative Studies 3, no. 2 (November 23, 2017): 206–23. http://dx.doi.org/10.1515/fns-2017-0014.
Full textAbstract:
AbstractPerturbatory narration is a new transmedial narratological concept conceived in order to analyze how innovative experimental fictional texts irritate the reader or spectator by transgressing or annulating the rules of the common narrative system. We distinguish three ludic narrative techniques which are sometimes even mutually exclusive, but nevertheless frequently combined in literary and filmic fiction. Perturbatory narration serves to model and systematize a narrative principle which combines devices of these three strategies, in particular of unreliable narration, paradoxical narration and puzzling narration. The dynamic interplay of these devices is illustrated with two short stories by Julio Cortázar, “Continuidad de los parques”/“The continuity of parks” (1964) and “Graffiti” (1980) and the filmic adaptation Furia (1999) of the latter.
42
Đerić-Dragičević, Borjanka. "Family history rewritten: How to narrate the life happening 'Tomorrow'." Reci Beograd 12, no. 13 (2020): 116–33. http://dx.doi.org/10.5937/reci2013116d.
Full textAbstract:
This paper is dedicated to exploring the narrative points and strategies in the novel Tomorrow, written by Graham Swift, a prominent English postmodern writer, with the main objective to draw attention to the nature of narration and narrators. The aim of the research is to give answers to the questions of choices made by the novelist when it comes to narrators, narration, narrative methods and techniques, and whether the narrators are (un)reliable, etc. The author of this paper tries to determine to which extent the 2nd person narration has become influential in postmodern literature - by being mysterious, ambiguous and unknown. We often do not know to whom a narrator is speaking, nor whose voice is being heard by readers. Contemporary narratological theories deny the existence of this clear, precise and uniformed narratological voice, whether it is an author, a narrator or a reader. These days, numerous avant-garde narratological strategies are being emphasized, most notably the "wandering" second person, used by the main character of the novel Tomorrow as well. The inseparable part of the research is also questioning the postmodern premises such as the final doubt considering the (re)presentation of a story, the truth and the past (both individual and collective) which influence the choices made while forming the narration in the novel. The narratological analysis has shown the nature of psychological, moral, as well as ethical competence of the narrator, Paula Hook - a successful woman of the 21st century - a professor, a mother, a wife, living an ideal life threatened by a profound family secret. She acts as a representative of the 21st century wandering narrator - she doubts, questions, rethinks - because the history, past and truth are being constantly questioned in contemporary societies and literature as well.
43
Mojtahedi, Mohammad Mahdi. "The Role of Process Information in Narrations While Learning With Animations and Static Pictures." International journal of Modern Achievement in Science, Engineering and Technology 1, no. 1 (November 17, 2023): 94–115. http://dx.doi.org/10.63053/ijset.8.
Full textAbstract:
The role of process information in annotating narrations used for learning with animations compared to static pictures is examined. In two experiments, seventh and eighth graders from German high schools were randomly assigned to learning environments which differed in the combination of visualization (no visualization vs. static pictures vs. animation) and type of narration (no narration vs. non-process narration vs. process narration.
44
YAAKOB, MOHD AIZUL. "PERIWAYATAN AL-TAFARRUD DAN IMPLIKASINYA KEPADA PENILAIAN SARJANA HADIS DALAM DISIPLIN AL-JARH WA AL-TA‘DIL." HADIS 13, no. 25 (May 23, 2023): 10–17. http://dx.doi.org/10.53840/hadis.v13i25.198.
Full textAbstract:
Hadith scholars have utilised a variety of approaches to determine the status al-jarh wa al-ta‘dil of a hadith narrator. One of these is by analysing the style of hadith narration he used. As a result, the occurrence of al-tafarrud narration is one of the types of hadith narration that influences the judgement of a narrator’s status of al-jarh wa al-ta‘dil. However, the impact of this part does not appear to have been discussed in contemporary hadith scholarly discussions. Even, the presence of this element is sometimes thought to have no influence on the narrator’s status or the narration itself. Therefore, this article will emphasise the impact of al-tafarrud factors in determining the credibility of hadith narrators. In order to achieve these objectives, a qualitative study was conducted to procure the data through library research. The data was then analyzed based on deductive methods. The study's results demonstrated that the frequency of the narrator's narrative, whether it be al-muwafaqah, al-mukhalafah, or al-tafarrud, is what determines the level of al-dabt of the narrator. The study also found that the rating of hadith scholars is influenced by how frequently an individual uses al-tafarrud in his or her narration. The terms commonly used for narrators who narrate hadith in al-tafarrud are such as munkar al-hadith, matruk al-hadith, la yutaba ‘alayh and la yahttaju bih idha infarada.
45
Orr, Leanard. "Narrative repetition, repetitive narration: A taxonomy." Neohelicon 23, no. 2 (September 1996): 203–21. http://dx.doi.org/10.1007/bf02435507.
Full text
46
Adam, Faisal, Husni Ahmadi, and Tajul Arifin. "Penolakan Parsial Kritikus terhadap Rawi Shaduq: Telaah Kritis atas ar-Rabi bin Anas." Asian Journal of Islamic Studies and Da'wah 2, no. 4 (June 26, 2024): 431–46. http://dx.doi.org/10.58578/ajisd.v2i4.3238.
Full textAbstract:
Al-Jarh wat Ta’dil is an important field in hadith studies that provides information about the conditions of hadith narrators based on critiques by critical scholars. These critiques follow a hierarchical structure, with shaduq being a level two endorsement after tsiqat. Despite being an endorsement, a narration from a shaduq narrator is not accepted outright and requires further scrutiny. This research analyzes the acceptance status of narrations from shaduq narrators according to critical scholars. It critically examines the case of the shaduq narrator named ar-Rabi bin Anas and investigates the reception status of his narrations. The methodology employed is qualitative with a descriptive-analytical approach, using references such as al-Jarh wat-Ta’dil literature, mustalah hadith, hadith collections, relevant books, and journals. The study demonstrates that among shaduq narrators, some receive negative critiques leading to partial rejection of their narrations. Furthermore, it shows that narrations from shaduq like ar-Rabi bin Anas are rejected if: First, they have negative critiques from scholars supported by indications after comparison with parallel narrations. Second, their hadiths are transmitted by problematic disciples; in ar-Rabi's case, his problematic disciple is Abu Ja’far ar-Razi, and the narration by this disciple occurs in isolation.
47
Sandanello, Franco Baptista. "Em nome do pai: autoritarismo e discurso patriarcal n’O Ateneu, de Raul Pompéia." RUA 22, no. 1 (June 16, 2016): 65. http://dx.doi.org/10.20396/rua.v22i1.8646070.
Full textAbstract:
O presente artigo discute elementos pontuais da narração do romance O Ateneu (1888), de Raul Pompéia, e interpreta as rememorações de seu narrador – Sérgio – como desenvolvimento de um discurso de poder patriarcal, que, antes de criticar imparcialmente as mazelas do ensino em um internato da época, acaba por reproduzir, através da repetição do discurso paterno, o conservadorismo paralelamente trazido de casa. Neste sentido, pretende-se relativizar o elemento puramente memorialístico da narração em face do lugar ideológico desta mesma voz narrativa, que se torna, por si só, o ponto central da crítica de Pompéia ao Brasil Monárquico.Abstract: The present article discusses specific narrative elements of O Ateneu (1888), a novel by Raul Pompeia, and interprets the recollections of its narrator – Sergio – as a development of patriarchal discourse, which, before criticizing the ills of education in a boarding school of its period, turns out to reproduce, through the repetition of his father’s speech, a parallel conservatism, brought from home. In this regard, this article aims to relativize the purely memorialistic elements of O Ateneu’s narration in face of the ideological basis of its narrative voice, here considered, in itself, the center point of Pompéia’s critique of Brazilian Monarchy.Keywords: Raul Pompéia; Ateneu; brazilian literature; narration.
48
Othman, Sakar Dlshad, and Najm Khalid Alwany. "The Routes and forms of Narrating Political Events in Mardin Ibrahim’s Novels." Halabja University Journal 7, no. 1 (March 30, 2022): 1–17. http://dx.doi.org/10.32410/huj-10401.
Full textAbstract:
This research is entitled (The Routes and forms of Narrating Political Events in Mardin Ibrahim’s Novels). The aim of this research is to discuss the narration techniques, alongside this, the political events bad consequences on the nations’ destiny is highlighted, especially those nations referred to in the novels of our framework. In this research, it is attempted to accurately clarify the narration time trends like rising route, falling route and twisting route, as well as clarifying the narration forms of the political events, like amalgamating and blending form, turn taking form and circular form. According to this research, it is realized that Mardin Ibrahim’s novels have strong and effective construction with reference to the events levels and their narrations. One of the findings of this research is that the falling route is generally used more than the other routes, and amalgamating and blending form is more broadly used than the other forms to enrich the novels.
49
Weigold, Matthias. "One Voice or Many? The Identity of the Narrators in Noah’s Birth Story (1QapGen 1–5.27) and in the ‘Book of the Words of Noah’ (1QapGen 5.29–18.23)." Aramaic Studies 8, no. 1-2 (2010): 89–105. http://dx.doi.org/10.1163/147783510x571605.
Full textAbstract:
The present article explores the puzzling variety of narrative voices in the so-called Genesis Apocryphon from Qumran Cave 1. Lamech, Noah, and Abram in turn act as first person narrator, and all three of these stories also include third person narration. Focusing on the columns preceding the Abram story, it is shown that both the account of Noah’s birth (1–5.27) and the ‘Book of the Words of Noah’ (5.29–18.23) are basically narrated in the first person by Lamech and Noah, respectively. It is concluded that the rare shifts to third person narration are not unusual in ancient Jewish literature.
50
Zolna, Jesse S. "The Effects of Study Time and Presentation Modality on Learning." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 51, no. 7 (October 2007): 512–15. http://dx.doi.org/10.1177/154193120705100701.
Full textAbstract:
The modality principle suggests that presenting words via audio-narration rather than visual-text can improve learning (Mayer, 2001). However, the use of narrations when verbal materials are lengthy can have cognitive costs, and learning from text can be improved when materials are self-paced or provide ample study time. Therefore, there might be circumstances under which using text would actually be better than using narration. In this experiment we compare learning from diagrams that accompany text or narration; we manipulated available study time while also providing learners control over the pace of presentation. The results show that under these conditions, using narration instead of text does not improve learning. Some additional study time improves learning from both narration and text. However, even greater amounts of study time improve learning from narrations but not text. Implications about when to apply the modality principle to multimedia instructional design are discussed.