Academic literature on the topic 'Traditional narratology'
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Journal articles on the topic "Traditional narratology"
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Trà My, Lê. "Functional of the character in traditional operetta (View of narratology)." Journal of Science, Social Science 60, no. 5 (2015): 29–33. http://dx.doi.org/10.18173/2354-1067.2015-0029.
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Lundholt, Marianne Wolff. "Narratologi og tekstlingvistik." K&K - Kultur og Klasse 34, no. 101 (April 2, 2006): 164–81. http://dx.doi.org/10.7146/kok.v34i101.22331.
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Et gensyn mellem to slægtninge Narratology and text linguisticsIn this article I argue for the application of linguistic methods in the study of narratives and map out the difference between linguistic narratology with its focus on »how« narration is established and traditional narratology where the focus is centred on anthropomorphic subjects, i.e. the »who«. The main argument of the article is that by changing the focus from narrator to certain linguistic constructions, we open up an often overlooked level of meaning; a level of meaning which only emerges through so-called function words or in the compounding of the words. This is exemplified by readings of the short story »Der er ikke flere sennepsmarker i Danmark« (2002) by Helle Helle and Jan Sonnergaard’s »Blackout« (1997) among others.
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Bennema, Cornelis. "How Readers Construct New Testament Characters: The Calling of Peter in the Gospels in Cognitive-Narratological Perspective." Biblical Interpretation 29, no. 4-5 (November 12, 2021): 430–51. http://dx.doi.org/10.1163/15685152-29040002.
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Abstract The discipline of cognitive narratology applies insights of cognitive linguistics to narrative analysis. This study seeks to demonstrate the value of cognitive narratology by exploring the role of the reader and the extent of the reader’s knowledge in constructing characters. While traditional narrative criticism often limits itself to the world of the text, cognitive narratology recognizes that the reader’s knowledge from other texts and the real world also contributes to the construction of characters. This study will show that the extent of the reader’s literary and social knowledge of a text affects the construction of characters. As a case study, we will examine the calling of Peter in the canonical Gospels and show how four readers with varying degrees of knowledge will arrive at different constructions of Peter’s character.
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Hamim, Sandi. "THE INSEPARABLE NARRATOLOGY AND GENRE IN DISNEY’S ALADDIN (2019): A STRUCTURALIST CRITICISM." KLAUSA (Kajian Linguistik, Pembelajaran Bahasa, dan Sastra) 4, no. 01 (August 28, 2020): 11–32. http://dx.doi.org/10.33479/klausa.v4i01.276.
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The current study aims to analyze the narratology and to identify the genre of Disney’s Aladdin (2019). It also discusses the relationship between narratology and the genre in the movie. The theories used in this study are narratology theory by Vladimir Propp and genre analysis by Northrop Frye with the structuralist criticism perspective. The study used the descriptive qualitative method. The findings of this study provide pieces of evidence that Disney’s Aladdin movie can be analyzed using Propp’s narratology. There are 30 of 31 functions of dramatis personae and 7 of 7 dramatis personae found in the movie. Those findings are deducted by focusing on the plot and characters in the movie. According to those findings, the genre of the movie based on Frye’s theory of myths is the mythos of spring (comedy). This is because the movie moves from the mythos of winter to summer (irony to romance). This finding is supported by the existence of the elements of conflict, disorder and confusion, and the triumph of traditional quest theory. It also supported by the existence of the category of irony, romance, and comedy (theory of modes in the movie. Hence, the researcher deduces that the narratological analysis and the genre in this study are intercorrelated and support one another.
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SHAPINSKAYA, EKATERINA. "STORYTELLING IN THE NARRATOLOGY OF DIGITAL ERA." Культурный код, no. 2022-1 (2021): 53–63. http://dx.doi.org/10.36945/2658-3852-2022-1-53-63.
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The paper examines transformation of narrative in digital epoch, which caused emergence of the form “storytelling”, that is, narrative used in Internet mostly with commercial purpose. Theory of narrative, which emerged as a method of narrative research in the XX century, the time of development of structuralism, is regarded from the point of view of its applicability to the texts of popular culture. Analysis of contemporary storytelling in its connection with traditional research in humanities is a new turn in studying digital culture in the context of humanities discourse. Internet narratives are examined as based on archetypal structures used in myths and legends and adopted to today’s realities. As a conclusion, suggestion is made about ambivalence of digital culture forms, including storytelling, which are linked to the past forms and categories but are used beyond the limits of cultural consumption.
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Horban, A. "NARRATIVE SPECIFICITY OF THE SHORT STORY "HEY YOU, LITTLE BARRELL..." BY V. VYNNYCHENKO." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 2(95) (December 17, 2021): 6–17. http://dx.doi.org/10.35433/philology.2(95).2021.6-17.
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The paper discusses the methodological potential of narratology that extends beyond the boundaries of traditional poetics taking the text of Volodymyr Vynnychenko’s short story "Hey you, little barrell..." as a case study. G. Genette’s definitions of the basic categories of narratology, such as story, discourse, anachronies, narrator’s types and functions, narrative distance and focalization are discussed. First and foremost, categories and paradigms introduced by G. Genette increase the possibilities of literary analysis. For example, there is no concept of a subject of vision (a focalizer) in traditional poetics. The paradigm of narrative perspective (focalization) developed by G. Genette is very important for studies of the narratives, besides, the narrative technique of modernism without this category is incomprehensible at all. Traditional poetics does not pay enough attention to anachrony, considering it together with other "off-plot elements", although analepsis and prolepsis are neither discursive nor descriptive. G. Genette presents detailed classification of analepsises and prolepsises, that determines the functionality of the analysis in context. Secondly, the paper clarifies, that the method of G. Genette’s narratology is not limited to tracing narrative categories as elements – it is also about their constant interrelation, i.e. the narrative model of the stories.
Vynnychenko’s short story is analyzed in terms of correlations between telling, showing and talking, as well as displays of character’s discourse and attributive discourse. The artistic viability of anachronies (analepses and prolepses) is examined in the compositional and semantic aspects. The paper focuses on some specific features of Vynnychenko’s narrative style, such as dominance of mimesis over diegesis, as well as narrative distance and the author’s self-elimination by means of focalization (both the internal and external one) that are typical for modernist writing.
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Kapinos, Elena V. "Epic, Lyrical and Dramatic Story in Theoretical and Historical Aspects: Chronicle of the All-Russian Conference “Theory of Literary Plot / Narratology – 6”." Studies in Theory of Literary Plot and Narratology 14, no. 2 (2019): 274–82. http://dx.doi.org/10.25205/2410-7883-2019-2-274-282.
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This article presents the chronicle of the “Theory of Literary Plot / Narratology – 6” conference, held on May 14–16, 2019, by the Literary Studies Department of the Institute of Philology of the Siberian Branch of the Russian Academy of Sciences (SB RAS). About 60 reports, prepared by researchers working in educational and scientific institutions of Siberia (Novosibirsk, Tomsk, Kemerovo, Barnaul, Krasnoyarsk, Rubtsovsk), as well as of Moscow, St. Petersburg, Perm and other cities, were delivered at the conference. Same as in previous years, this traditional conference was dedicated to the problems of creating a Dictionary of subjects and motifs of Russian literature (the work on compiling this multi-volume book is being carried out in the departments for the second decade). At the conference, the questions of literary plot theory and motif were discussed, the plot was taken as a concept of narratology, the history of specific plots was reconstructed, the review of plot and motif thesauruses of individual authors or works was made. The plot was considered in relation to the intertext in the motif – poetic path – poetic formula – name – word series of notions, taking into account the opposition of lyrical and epic, anarrative and narrative. In addition to theoretical reports, as well as studies reconstructing the transversal history of certain plots, works on the narratology and motif theory of the Siberian texts were also presented at the conference. The subject structure of opinion journalism (separately or in comparison with artistic subject structures) and multigenre works were also considered. A separate section was devoted to the ancient literature, and a rather large group (about a dozen) of researchers focused on the study of the lyrical plot, although the main interest was traditionally focused on the study of epos.
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Qasim, Zareena, and Asifa Qasim. "Narratology and character functions of Sohni Mahiwal: An actantial analysis." Journal of Humanities, Social and Management Sciences (JHSMS) 3, no. 1 (April 21, 2022): 154–68. http://dx.doi.org/10.47264/idea.jhsms/3.1.11.
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The study analyses Sohni Mahiwal, the renowned Punjabi folktale, by applying Greimas Actantial model for structural analysis. The purpose of this study is to explore the narrative structure and discover the character functions based on the model. Folktales are considered the simplest and oldest form of stories embedded in the local cultures. They broadly refer to orally transmitted, traditional narratives that carry cultural information. The findings show that all the major actantial categories proposed by Greimas such as subject, object, sender, receiver, helper, and opponent have been depicted in the selected folktale. The analysis revealed that many characters were found involved in several actant classes simultaneously. Structural analysis of the folktale uncovered two parallel acts/episodes. The parallelism in the contents of two acts of the tale serves a didactic function at the socio-cultural level besides entertaining the readers/ listeners proving the strength of true love. As far as the function is concerned, the tale successfully validates the culturally imparted message that the individuals who transgress the social norms are destined to perish.
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Scolari, Carlos A. "Lostology: Transmedia storytelling and expansion/compression strategies." Semiotica 2013, no. 195 (June 6, 2013): 45–68. http://dx.doi.org/10.1515/sem-2013-0038.
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Abstract The objective of this article is to analyze Lost from the perspective of transmedia storytelling and to propose a taxonomy of transmedia expansion/compression strategies. In the first section, the article presents the basic components of transmedia storytelling from a theoretical point of view that combines narratology and semiotics. After describing the most important components of Lost's transmedia fictional universe in the second section, the article presents a general description and taxonomy of expansion/compression narrative strategies based on traditional rhetorical categories. The article also analyzes “compressed texts” – like recapitulations – and their role inside the expansive strategies.
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Hanska, Jan. "Narrative approach to the art of war and military studies - Narratology as military science research paradigm." Journal of Military Studies 5, no. 1 (June 1, 2014): 1–19. http://dx.doi.org/10.1515/jms-2016-0186.
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Abstract The purpose of this article is to initiate discussion into the role narratives could play in military studies. Narratology is an old and well-established research paradigm that first emerged as part of the linguistic turn. Yet its potential has not been depleted. It is the study of narratives or stories. There are plenty of topics not yet approached from this perspective especially in the field of military studies. The military academia needs to broaden its scope of research and allow for alternative orientations and theories to be used to address traditional dilemmas, create new research paradigms and enrich the variety of analysis. Critical security studies approach shared topics with military studies by embracing the aesthetic turn that differentiates between the representation and the represented. The argument in this article is that to produce comprehensive information on its research topics military studies would benefit from embracing them as people experience them and not focus on their ontology. The article does not offer a methodological toolbox to the reader but rather an introduction to some classics of narratology and offers a few insights how this type of approach could be used in military history, strategy, operational art or even leadership studies.
Dissertations / Theses on the topic "Traditional narratology"
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Trese, Kelly. "Beyond the Frame Tale: Shifting Paradigms in the Narrative Framing Tradition." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:108258.
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Thesis advisor: Elizabeth RhodesHistorically, the narrative frame tale boasts a long and varied trajectory that originated in ancient India and includes texts such as the Panchatantra and the Arabian Nights. Eventually, many Eastern fables and the frame-tale structure that accompanied them entered the Western literary tradition through the cultural bridge that was medieval Spain. Considering the frame tale’s popularity in medieval texts, especially in fourteenth century Italian novella collections, it is curious to observe a decline in its use during the early-modern period in Europe. This study examines how the traditional framed novella collection dissolves into more fluid narrative forms. Novel, more structurally subtle types of framing devices, including the character-as-frame and the place-as-frame, maintain several consistent narratological functions with their historical counterparts. The frame tale’s form may have changed, but its function remains. The first chapter of this dissertation focuses on Boccaccio’s Decameron as the model for how a traditional frame tale functions. Four narratological framing functions – the aesthetic, the perspectivist, the metaleptic frame break, and the self-reflexive – work in concert to organize the text and engage readers in actively interpreting it. The remaining three chapters examine three exemplary moments in literary history when authors redesign and deploy the narrative frame: Lazarillo de Tormes, Part I of Don Quijote, and Cien años de soledad. These texts each create a paradigm shift by utilizing a well-known, well-established formal device in innovative ways. This dissertation argues that by understanding these works in a new light as framed texts, and by exposing the consistent functions at work within them, readers can better understand both the world of the text and the world outside it
Thesis (PhD) — Boston College, 2018
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Romance Languages and Literatures
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Jonutytė, Jurga. "Tradition as an experience of time: the intersection of phenomenological and narratological perspectives." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20071109_154210-66473.
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In recent years, philosophy of history has somewhat outgrown the two fields of interests often prescribed to that branch of philosophy: historiosophy and historics. Ordinarily, this outgrowth is inspired by efforts to reflect new forms of historiography (such as microhistory or history of daily life). However, such a move is also employed in attempting to explain non-professional, pre-theoretical or even pre-thematic relation to historical past. A daily historical consciousness – a notion that has became possible only in the latest philosophy of history – is investigated here as a phenomenon of tradition. As is the case with all concepts, sense of the concept of tradition is flexible, given its history, development and future tendencies. In view of the usage of the word “tradition” in contemporary practical and theoretical contexts, it is clear that this concept enjoys few open means of further development. It can be radicalized, i.e., made into a fetish or almost into a slogan; on the contrary, it can be demonized. It can also be seen as the name of a phenomenon experienced in all lives, irrespective of the time and culture in which they are lived. Of course, levels and intensities of these experiences are different. In all senses, the term tradition denotes a human way to understand a social dimension of time, and to act in that time. From the philosophical point of view, tradition is an aspect of the intersubjectivity of consciousness, and as such possesses its own... [to full text]Disertacijoje analizuojama tradicija kaip istorijos filosofijos problema. Disertacijos tikslas – ištirti tradicijos dinamiką kaip savitą laiko patirtį, parodant tradicijos sąvokos vietą ir jos produktyvumą šiuolaikinėje istorijos filosofijoje. Teorinis disertacijos pagrindas – fenomenologijos ir naratologijos sankirta, kuri pastaruosius kelis dešimtmečius formuojasi kaip atskira kultūros reiškinių apmąstymo metodika. Tradicijos tema istorijos filosofijoje plėtojama lygiagrečiai su doktrinomis, analizuojančiomis daugiasluoksnio, skirtingų tankių ir ritmų istorinio laiko patirtis. Fenomenologijoje ši tema atsiranda kaip intersubjektyvios laiko patirties apmąstymų tęsinys, naratologijoje – kaip pasakojimo situacijos ir dinamiškos pasakojimo struktūros analizės tąsa. Taigi naratyvo teorija, kaip ir fenomenologinė intersubjektyvumo teorija, įgalina tirti daugumą klausimų, susijusių su tradicijos fenomenu: istorinio laiko patirčių modusus, kolektyvinės atminties, naratyvinės tapatybės formavimosi klausimus. Pirmojoje bei antrojoje disertacijos dalyse parodoma tradicijos sąvokos raida istorijos filosofijos kontekste bei paaiškinamos prielaidos tradicijos kaip filosofinės problemos atsiradimui naratologijoje bei fenomenologijoje. Trečiojoje dalyje, remiantis abiejų krypčių teiginiais bei konceptais, ištiriami svarbiausi tradicijos kaip istorinio laiko patirties struktūriniai aspektai. Paskutinėje disertacijos dalyje analizuojamos tradicijos temos plėtojimo praktiniuose ir teoriniuose... [toliau žr. visą tekstą]
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Delhove, Arnaud. "La narration et ses structures en égyptien de tradition :approche philologique et narratologique des textes royaux de la XXVe dynastie." Doctoral thesis, Universite Libre de Bruxelles, 2017. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/249504.
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Ce travail porte sur la question de la verbalisation du récit dans sa structure formelle, par une approche philologique et narratologique, dans les textes royaux de la XXVe dynastie (dynastie couchite – 8e/7e s. avant notre ère), rédigés en égyptien de tradition. L’étude se fonde sur un corpus composé de 11 textes ayant comme caractéristiques d’être couchites, royaux, en égyptien de tradition, comportant des parties narratives, et suffisamment conservés. Parmi ceux-ci, l’on trouve la Stèle de la Victoire de Piânkhy (Caire JE 48862 ;JE 47086-47089) et la Stèle du Songe de Tanoutamon (Caire JE 48863). En outre, un corpus secondaire de 9 textes a été constitué dans une perspective synchronique et diachronique, avec par exemple les Annales d’Osorkon, ou encore les Annales de l’an 1-2 d’Irike-Amannote (Kawa IX), souverain de Couch postérieur à la XXVe dynastie. Pour répondre à la question de la structure formelle du récit, nous procédons en deux temps :d’abord par une étude des marqueurs narratifs (comme les auxiliaires séquentiels) ;puis par celle des structures et macrostructures du texte, en lien avec les séquences narratives ;enfin, par l’examen de facteurs influençant la verbalisation du récit. Dans la première partie, nous précisons dans une série de chapitres les formes et emplois des marqueurs narratifs (auxiliaires séquentiels, śpr pw ỉr.n⸗f, infinitifs narratifs, śḏm.ỉn⸗f, particules, dates, etc.). Pour chacun de ces marqueurs, nous faisons d’abord le point sur leurs formes et emplois en égyptien classique, néo-égyptien et égyptien de tradition, d’après les grandes synthèses grammaticales, avant de procéder à un examen systématique de leurs occurrences dans notre double corpus. En outre, précédant cette analyse, nous traitons de la situation linguistique à la XXVe dynastie (notamment la diglossie), et des caractéristiques de l’égyptien de tradition. Nous examinons également pour notre corpus principal la question de l’opposition des formes śḏm⸗f et śḏm.n⸗f. La seconde partie, qui s’appuie sur les marqueurs étudiés dans la première, traite des différents niveaux dans la structure générale du texte et du récit. Nous envisageons donc là les niveaux supérieurs à la proposition. Après des éléments théoriques sur la narration et sur la mise en récit de l’histoire, nous étudions le niveau séquentiel dans les récits du corpus, et mettons en évidence les structures épisodiques que l’on peut y trouver. Ensuite, nous examinons les éléments non-narratifs, descriptifs et dialogaux, et la façon dont ils intègrent ou sont intégrés dans les parties narratives. En nous appuyant sur les données de ces deux chapitres, nous envisageons alors les structures d’ordre supérieur à la séquence, pour remonter jusqu’au texte dans son ensemble. Enfin, pour montrer le lien entre la première et la deuxième partie, nous présentons la façon dont les marqueurs narratifs se spécialisent dans certains rôles dans la narration et la structuration du récit, et comment ils se hiérarchisent. Ce travail apporte donc une série de données sur la langue littéraire de la XXVe dynastie et ses caractéristiques, ainsi que sur la façon dont les rédacteurs recourent aux moyens linguistiques de l’égyptien de tradition pour organiser formellement leurs textes et transmettre, via le récit, l’histoire qu’ils voulaient communiquer.Doctorat en Langues, lettres et traductologie
info:eu-repo/semantics/nonPublished
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Jonutytė, Jurga. "Tradicija kaip laiko patirtis. Fenomenologinės ir naratologinės perspektyvų sankirta." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20071109_154234-26475.
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Disertacijoje analizuojama tradicija kaip istorijos filosofijos problema. Disertacijos tikslas – ištirti tradicijos dinamiką kaip savitą laiko patirtį, parodant tradicijos sąvokos vietą ir jos produktyvumą šiuolaikinėje istorijos filosofijoje. Teorinis disertacijos pagrindas – fenomenologijos ir naratologijos sankirta, kuri pastaruosius kelis dešimtmečius formuojasi kaip atskira kultūros reiškinių apmąstymo metodika. Tradicijos tema istorijos filosofijoje plėtojama lygiagrečiai su doktrinomis, analizuojančiomis daugiasluoksnio, skirtingų tankių ir ritmų istorinio laiko patirtis. Fenomenologijoje ši tema atsiranda kaip intersubjektyvios laiko patirties apmąstymų tęsinys, naratologijoje – kaip pasakojimo situacijos ir dinamiškos pasakojimo struktūros analizės tąsa. Taigi naratyvo teorija, kaip ir fenomenologinė intersubjektyvumo teorija, įgalina tirti daugumą klausimų, susijusių su tradicijos fenomenu: istorinio laiko patirčių modusus, kolektyvinės atminties, naratyvinės tapatybės formavimosi klausimus. Pirmojoje bei antrojoje disertacijos dalyse parodoma tradicijos sąvokos raida istorijos filosofijos kontekste bei paaiškinamos prielaidos tradicijos kaip filosofinės problemos atsiradimui naratologijoje bei fenomenologijoje. Trečiojoje dalyje, remiantis abiejų krypčių teiginiais bei konceptais, ištiriami svarbiausi tradicijos kaip istorinio laiko patirties struktūriniai aspektai. Paskutinėje disertacijos dalyje analizuojamos tradicijos temos plėtojimo praktiniuose ir teoriniuose... [toliau žr. visą tekstą]In recent years, philosophy of history has somewhat outgrown the two fields of interests often prescribed to that branch of philosophy: historiosophy and historics. Ordinarily, this outgrowth is inspired by efforts to reflect new forms of historiography (such as microhistory or history of daily life). However, such a move is also employed in attempting to explain non-professional, pre-theoretical or even pre-thematic relation to historical past. A daily historical consciousness – a notion that has became possible only in the latest philosophy of history – is investigated here as a phenomenon of tradition. As is the case with all concepts, sense of the concept of tradition is flexible, given its history, development and future tendencies. In view of the usage of the word “tradition” in contemporary practical and theoretical contexts, it is clear that this concept enjoys few open means of further development. It can be radicalized, i.e., made into a fetish or almost into a slogan; on the contrary, it can be demonized. It can also be seen as the name of a phenomenon experienced in all lives, irrespective of the time and culture in which they are lived. Of course, levels and intensities of these experiences are different. In all senses, the term tradition denotes a human way to understand a social dimension of time, and to act in that time. From the philosophical point of view, tradition is an aspect of the intersubjectivity of consciousness, and as such possesses its own... [to full text]
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Shortt, Butler Joanne. "Narrative structure and the individual in the Íslendingasögur : motivation, provocation and characterisation." Thesis, University of Cambridge, 2016. https://www.repository.cam.ac.uk/handle/1810/269413.
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This thesis takes a fresh, character-based approach to the Íslendingasögur. It is inspired by a narratological study that unites the functional and structural role of characters with their human, individualistic portrayal. My major objective is to demonstrate the important connection between characterisation and structure in the sagas. By drawing attention to characters that I term narrative triggers, I offer a way of reading the sagas that relies both on the narrative conventions of tradition and on the less predictable, personal interactions between the cast of any given saga. In the case of both major and minor figures in the Íslendingasögur a certain type of character is often present to perform necessary motivational functions, allowing the plot to develop. In Part I I emphasise the functional aspect of these characters, before exploring unusual examples that emphasise their individuality in Part II.The motivation of the plot is linked throughout to the figure of the ójafnaðarmaðr. A secondary objective is to provide a clearer understanding of the nature and function of this commonly occurring character type. The ójafnaðarmaðr is frequently alluded to in scholarship,but this thesis provides the first in-depth study of the portrayal of these characters. The quality that informs them (ójafnaðr,‘inequity’, lit. ‘unevenness’) is a threat to one of the core values of saga society and hints at an ‘unbalancing’ of social interactions and of the narrative equilibrium itself. That this unbalance leads to changes in the social structure of the setting is a key factor in driving the plots of the sagas along. For this reason, a detailed examination of the figure of the ójafnaðarmaðr is long overdue: they can be observed to perform a specific narrative function but are always fitted to suit their particular context. Focussing on the structural conventions of character introduction, Part I establishes my methodology and catalogues the examples of characters introduced as ójafnaðarmenn. The scope is limited to those introduced as such because it allows me to establish for the first time the full corpus and conventions of these characters and their introductions. Following developments in our understanding of the oral background to the sagas, my approach to these narratives is built upon the evidence of their shared origins in pre-literate storytelling [...]. The intersection between functionality and individuality in character brings certain aspects of the Íslendingasögur to the fore. Part II of this thesis shows that in combination with the structural markers explored in Part I, the sagas employ the collective perspective of the general public, other characters and ‘irrational’ motivators such as fate to contribute to their techniques of characterisation. Because disruptive qualities speak inherently of a difference in the way an individual sees themselves and in the way the public sees them, or we as an audience are meant to see them, figures termed ójafnaðarmaðr are an ideal focal point for the development of this study.
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Mitrea, Mihail. "Late-Byzantine hagiographer : Philotheos Kokkinos and his Vitae of Contemporary Saints." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31489.
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This dissertation offers the first systematic historical contextualization and literary analysis of the five saints' lives composed by Philotheos Kokkinos (ca. 1300-1378) for his contemporaries Nikodemos the Younger, Sabas the Younger, Isidore Boucheir, Germanos Maroules, and Gregory Palamas. Notwithstanding Kokkinos' prominent role in the political and ecclesiastical scene of fourteenth-century Byzantium, as well as the size and significance of his hagiographic oeuvre, both the hagiographer and his saints' lives have received surprisingly little scholarly attention. My dissertation fills this gap and shows Kokkinos as a gifted hagiographer who played a leading role, both through his ecclesiastical authority and hagiographic discourse, in orchestrating the societal breakthrough of hesychast theology that has remained at the core of Christian Orthodoxy up to this day. The dissertation is structured in three parts. The first, Philotheos Kokkinos and His OEuvre, offers an extensive biographical portrait of Kokkinos, introduces his literary oeuvre, and discusses its manuscript tradition. A thorough palaeographical investigation of fourteenth-century codices carrying his writings reveals Kokkinos' active involvement in the process of copying, reviewing, and publishing his own works. This section includes an analysis of the 'author's edition' manuscript Marcianus graecus 582, and presents its unusual fate. Moreover, Part I establishes the chronology of Kokkinos' vitae of contemporary saints and offers biographical sketches of his heroes, highlighting their relationship to their hagiographer. The second part, Narratological Analysis of Kokkinos' Vitae of Contemporary Saints, constitutes the first comprehensive analysis of Kokkinos' narrative technique. It first discusses the types of hagiographic composition ('hagiographic genre') Kokkinos employed for his saints' lives (hypomnema, bios kai politeia, and logos), and then it offers a detailed investigation that sheds light on the organization of the narrative in Kokkinos' vitae and his use of specific narrative devices. This includes a discussion of hesychastic elements couched in the narrative. Part II concludes with considerations on Kokkinos' style and intended audience. The third part, Saints and Society, begins with a detailed quantitative and qualitative analysis of the miracle accounts Kokkinos wove in his saints' lives. This considers the miracle typology, types of afflictions, methods of healing, and the demographic characteristics of the beneficiaries (such as age, gender, and social status), revealing that Kokkinos shows a predilection for including miracles for members of the aristocracy. Second, it presents Kokkinos' view on the relationship between the imperial office and ecclesiastical authority by analysing how he portrays the emperor(s) in his vitae. Moreover, this part addresses the saints' encounters with the 'other' (Muslims and Latins), revealing Kokkinos' nuanced understanding of the threats and opportunities raised by these interactions. Finally, it makes the claim that through his saints' lives Kokkinos offers models of identification and refuge in the troubled social and political context of fourteenth-century Byzantium, promoting a spiritual revival of society. As my dissertation shows, Kokkinos' vitae of contemporary saints sought to shape and were shaped by the political and theological disputes of fourteenth-century Byzantium, especially those surrounding hesychasm. Their analysis offers insights into the thought-world of their author and sheds more light on the late-Byzantine religious and cultural context of their production. The dissertation is equipped with six technical appendices presenting the chronology of Kokkinos' life and works, the narrative structure of his vitae of contemporary saints, a critical edition of the preface of his hitherto unedited Logos on All Saints (BHG 1617g), a transcription of two hitherto unedited prayers Kokkinos addressed to the emperors, the content of Marc. gr. 582 and Kokkinos' autograph interventions, and manuscript plates.
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Ivashkevych, E., and Yuliia Chala. "To the problem of studying narrative levels of graphic novels." Thesis, 2019. http://repository.kpi.kharkov.ua/handle/KhPI-Press/46383.
Full textBooks on the topic "Traditional narratology"
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Zuccala, Brian. A Self-Reflexive Verista Metareference and Autofiction in Luigi Capuana’s Narrative. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-398-4.
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With a Preface by Edwige Comoy Fusaro, this volume is one of few monographs on Italian post-Risorgimento author Luigi Capuana, and the first one written in English in more than forty years. Narratology and critical theory are combined with more ‘traditional’, historical-philological criticism to offer a radical rereading of the author’s narrative. Central to this study is the seemingly counter-intuitive notion of artistic self-reflexivity, which represents an innovative take on an author like Capuana, who has long been ‘canonised’ as a verista.
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Essays on Kurdish Narratology and Folklore: Oral Tradition, History, and Nationalism. de Gruyter GmbH, Walter, 2020.
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Korangy, Alireza. Essays on Kurdish Narratology and Folklore: Oral Tradition, History, and Nationalism. de Gruyter GmbH, Walter, 2020.
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Korangy, Alireza. Essays on Kurdish Narratology and Folklore: Oral Tradition, History, and Nationalism. de Gruyter GmbH, Walter, 2020.
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Blood on the Tides: The Ozidi Saga and Oral Epic Narratology. University of Rochester Press, 2014.
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Wilson, George M. Narrative. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0022.
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Narratology is the general theory of narratives and the structures they exemplify. The classical structuralist narratology of Todorov, C. Bremond, A. Greimas, and early Roland Barthes was concerned primarily with narrative as narrative product. In selecting that emphasis and in other methodological matters, these authors were influenced by their proto-structuralist predecessors, Russian formalists such as V. Shklovsky and V. Propp. Theorists in the linked traditions highlighted the fact that stories, both fictional and non-fictional, can be represented in very different narrative discourses. Indeed, the same story can be rendered in discourses that have been constructed within different media, such as literature, film, or theatre. A key analytical task of structuralist narratology has been to delineate the features of stories that are invariant across the fiction/non-fiction division and across the variety of their more specific realizations in different discourses and media.
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Netton, Ian Richard. Islam, Christianity and the Realms of the Miraculous. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748699063.001.0001.
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What is a miracle? Who believes in their possibility? What is the historical context within which they emerge?These and related questions have vexed, puzzled and, indeed, enthused scholars and believers, atheists and non-believers alike down the ages.This book examines this perennially fascinating subject of miracles with a comparative focus on two of the world’s great monotheistic religions, Islam and Christianity. Other texts have often approached the subject from a strictly theological, faith or, alternatively, rationalistic, perspective and made it their concern to prove or disprove the possibility of an alleged miraculous event. The approach adopted in this volume is quite different. It is strictly anthropological and phenomenological and the miracles are viewed in a new and dynamic fashion through the lens of narratology. The book examines the stories behind these miracles, the contexts which gave rise to them and allowed them to garner belief and flourish. Perspectives covered include the views of believers and non-believers alike in these phenomena. Similarities and differences in context and approach are explored with a primary focus on the five main anthropological topoi of food, water, blood, wood and stone, and cosmology. A range of intertextual elements in both these Islamic and Christian traditions is discerned.
Book chapters on the topic "Traditional narratology"
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Nomura, Ryota, and Takeshi Okada. "Assessing the Appeal Power of Narrative Performance by using Eyeblink Synchronization among Audience." In Computational and Cognitive Approaches to Narratology, 304–21. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0432-0.ch011.
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In this chapter, the authors showed that eyeblink synchronization enables researchers to investigate the appeal power of narrative performance empirically. The proposed method relies on the ability of audience members as epistemic agents to recognize and understand the performance. As spontaneous eyeblinks loosely co-vary with individual's allocation and release of attentions, the timings of eyeblinks could be entrained by the details of narrative performances as the common inputs. Thus, the standard basis accumulated by the collective eyeblink responses enables experimenter to judge whether or not a particular performance contains universal appeal to sense-making. Here, the authors introduced that the empirical studies to assess the appeal power of Rakugo (a traditional narrative performance). An expert artist, compared to a novice performer, created implicit breakpoints on participants' attentional process. It were discussed that the applicable scopes of the eyeblink relevant indices, upcoming research on eyeblink synchronization, and new research on human collective behaviors.
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McDaniel, Rudy, Stephen M. Fiore, and Denise Nicholson. "Serious Storytelling." In Advances in Multimedia and Interactive Technologies, 13–30. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-61520-739-8.ch002.
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In this chapter, the authors explore the nature and function of storytelling in serious games. Drawing from the field of narratology, they explore research related to narrative expression and relate those ideas to serious game design and development. They also consider interactive storytelling and apply and adapt traditional ideas about story as a static and predetermined entity into this new setting, a setting which depends in part upon gamer participation to craft dramatic experiences. The authors conceptualize narrative as a combination of plot, character, and environment, and then use that conceptualization to devise a narrative taxonomy that is useful as a heuristic for developing stronger stories in serious games. The chapter concludes with an analysis of the hybrid FPS/RPG game Fallout 3, an analysis included to show that even highly regarded and award-winning games are lacking in the narrative coherence necessary to improve the level of dramatic immersion in virtual worlds.
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Esteʿlami, Muhammad. "Narratology and Realities in the Study of ʿAṭṭār." In ʿAṭṭār and the Persian Sufi Tradition. I.B.Tauris, 2006. http://dx.doi.org/10.5040/9780755609567.ch-003.
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"8 From Stories in Drama to the Drama of (Performed) Stories: Late-Twentieth and Early-Twenty-First-Century Dissolutions of Established Generic Traditions and Cultural Histories as Well as the Generation of New, ‘Ex-centric’ Genres and Histories through Narrative." In A Narratology of Drama, 304–57. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110724110-008.
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"Constructing a Hymnic Narrative: Tradition and Innovation in the Longer Homeric Hymns." In Hymnic Narrative and the Narratology of Greek Hymns, 19–30. BRILL, 2015. http://dx.doi.org/10.1163/9789004289512_003.
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El Shakry, Hoda. "Threads of Transmission in Muḥammad Barrāda’s Luʿbat al-nisyān." In The Literary Qur'an, 141–58. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286362.003.0007.
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Literary critic and novelist Muḥammad Barrāda’s (b.1938) experimental 1987 Luʿbat al-Nisyān [the Game of Forgetting] is considered the Arabic postmodernist novel par excellence. The “nuṣ riwāʾī” [novelistic text] oscillates between historical, narrative, and meta-narrative time, as well as between diegetic and meta-textual narrators. Rather than aligning its authorial decentering and rhizomatic narrative structure with the collapsing of theological discourse as a totalizing force, this chapter reads Luʿbat al-Nisyān through Qurʾanic narratology and intertextuality. It situates the novel, on the one hand, in relation to Barrāda’s extensive critical writings on literary experimentation [tajrīb] and translation of Mikhail Bakhtin. On the other, it theorizes the work through narrative and formal modes and inflected by the Qurʾan—such as iltifāt, or rhetorical code-switching. Moreover, Luʿbat al-Nisyān’s use of multiple narrative perspectives and genealogies critically interrogates the hermeneutical practices surrounding the documentation, verification, and transmission of the apostolic tradition of hadith.
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Michułka, Dorota. "Spotkania z przeszłością. Metahistoria, wyobraźnia i fantastyka w narracjach Doroty Terakowskiej." In Imaginautka zaangażowana. Twórczość i biografia Doroty Terakowskiej z perspektywy XXI wieku, 179–98. Wydawnictwo Naukowe Uniwersytetu Pedagogicznego w Krakowie, 2021. http://dx.doi.org/10.24917/9788380847460.13.
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Encounters with the past. Metahistory, imagination, and fantasy in Dorota Terakowska’s narratives The encounters with the past, in which the childish and teenage protagonists of Dorota Terakowska’s novels are “entangled,” are present in the structure of her works mainly at the level of the figurative language of meta-story, in which the poetics of imagination and fantasy used by the writer as a literary convention play an important role. Analyzing the above issues from the perspective of narratology, the most important elements shaping the images of the past and the figures of memory in Terakowska’s works include: 1) literary conceptualizations of the image of a hero entangled in the past and seeking his or her own identity; 2) poetics of space-time; 3) organization of a plot scheme in which images of the past “operate” on the principle of strengthening the power of communication and provoke reflection on the present. History and the past are full of a sacred dimension in Terakowska’s works. Both the topoi of the wandering of the characters as they reach adulthood and the motif of the Song of the Only, which combines tradition with the present, and romantic images of the ruins of buildings from the past give the works an ambiguous symbolic dimension. They refer the reader to an unspecified past and tradition, which gives a deeper, metaphysical sense to the actions that the young heroes carry out in pursuit of their missions.
Conference papers on the topic "Traditional narratology"
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Savov, Smilen. "DANCE NARRATOLOGY (SIGHT, SOUND, MOTION AND EMOTION)." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-139.
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