Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Narrative.
Статті в журналах з теми "Narrative"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 статей у журналах для дослідження на тему "Narrative".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте статті в журналах для різних дисциплін та оформлюйте правильно вашу бібліографію.
1
Grim Feinberg, Joseph. "The Story of Dialectics and the Trickster of History." Praktyka Teoretyczna, no. 1(43) (August 1, 2022): 131–53. http://dx.doi.org/10.19195/prt.2022.1.6.
Повний текст джерелаАнотація:
Drawing on Hegel’s interpretation of narrative and Lyotard’s rejection of “grand” dialectical narratives, this paper addresses the relationship between emancipatory dialectics and narrative form. It begins by establishing the intimate connection between dialectical thought and narration. On this basis, the paper argues that varying conceptions of dialectics can be associated with varying structures of narrating history. Finally, the paper makes the case for identifying a specific narrative form adequate to the radical rereadings of Hegel that have replaced the perspective of the master (the subject privileged by a given system of historicity) with the perspective of the slave (who, while excluded from historicity, struggles against this exclusion). This narrative form corresponds to none of the classical Greek genres; it is best described as a trickster tale.
2
Salvato, Valentina, and Giuseppe Paternostro. "LA NARRAZIONE COME STRUMENTO DIDATTICO E DI RICERCA NELLA ESPERIENZA DI ITASTRA." Italiano LinguaDue 14, no. 1 (July 21, 2022): 49–62. http://dx.doi.org/10.54103/2037-3597/18153.
Повний текст джерелаАнотація:
L’obiettivo di questo lavoro è quello di presentare il ruolo della narrazione nel modello didattico e di ricerca della Scuola di lingua italiana per Stranieri dell’Università di Palermo. In particolare, gli autori illustrano i tre pilastri su cui poggia l’impianto narrativo del modello di Itastra: l’autobiografia linguistica (§ 2); i laboratori artistico-narrativi (§ 3); la narrazione come pratica discorsiva metacomuncativa (§ 4). In conclusione del lavoro (§ 5) si evidenzia, da un lato, come la narrazione consenta di ampliare la capacità degli insegnanti di riflettere sulla loro attività didattica; dall’altro come essa contribuisca alla costruzione di una comunità di apprendimento centrata sulla forza che le lingue hanno di valorizzare le diversità e favorire la loro convivenza. Narrative as a teaching and research method. The experience of ItaStra The paper illustrates the role of narratives in the teaching and research model developed by the Italian language school for Foreigners of the University of Palermo (ItaStra). In particular, we discuss the three pillars on which the narrative model is based: linguistic autobiography (§ 2); artistic and narrative labs (§ 3); narrative as a meta-communicative practice (§ 4). In the last section (§ 5), we focus the fact that narrative can help teachers broaden their reflective capacity about teaching; narratives support the construction of a learning community where multilingualism plays a central role.
3
Das, Shruti. "Counter-narrating: Re-constructing “Sita” in Amish's Sita: Warrior of Mithila." University of Bucharest Review. Literary and Cultural Studies Series 11, no. 2 (October 2021): 117–29. http://dx.doi.org/10.31178/ubr.11.2.9.
Повний текст джерелаАнотація:
Counter-narration re-casts existing narratives and foregrounds the marginalised by giving them agency and performativity. They are narratives that challenge and provide resistance against dominant and hegemonic grand narratives which have been instrumental in formulating a social ideology over a long period of time making them normative. The Ramayana, an ancient epic is a multi-layered story of Prince Rama and Princess Sita and their role in the politics of power, state and patriarchy. It is a grand or master narrative that presupposes the passivity of the female as normative. It portrays Sita, King Rama’s wife, as someone who experiences marginalization and oppression and is a victim of the dominant narrative of patriarchy. This paper will use the theory of counternarrative and analyse Amish Tripathi’s novel Sita: Warrior of Mithila (2017) in order to show how he has recast Sita deconstructing the myth of passivity. Here, Sita resists prescriptive norms of the dominant narrative, wherein she has been projected as the silent receptor and problematizes the patriarchal ideology propagated through the master narrative. This paper will show how counter storytelling or counter narrating by Amish Tripathi has challenged and defied the narrative silence and hegemony in The Ramayana, while making the female powerful and capable in education, warfare and state governance.
4
Ruthrof, Horst. "Narration/narrative/narration." Continuum 1, no. 1 (January 1988): 175–91. http://dx.doi.org/10.1080/10304318809359329.
Повний текст джерела
5
Cavalcanti, Erinaldo Vicente. "História, narrativa e ensino: diálogos, limites e possibilidades de uma reflexão teórica / History, narrative and education: dialogues, limits and possibilities of a theoretical reflection." Revista de História e Historiografia da Educação 4, no. 10 (July 2, 2020): 207. http://dx.doi.org/10.5380/rhhe.v4i10.72380.
Повний текст джерелаАнотація:
A narrativa foi — e é — objeto de reflexão na ciência história por diferentes autores e distintas abordagens. Este artigo acompanha o movimento de análise que tematiza a narrativa histórica, a fim de ampliar a reflexão acerca do “estatuto narrativo” da História acadêmica e didática e entender os limites e as possibilidades de sua pretensão em representar o passado. Com essa problematização, almeja-se colocar a narrativa como foco de análise no ensino de História como caminho passível para enfrentar as disputas de narrativas que perfilam o cotidiano da sala de aula. Para tanto, recorre-se a diferentes autores, em especial Paul Ricœur, para explicitar em que consiste a narrativa histórica e quais os procedimentos que atribuem legitimidade e reconhecimento a sua representação do passado. Pelo arcabouço teórico mobilizado, defende-se que os procedimentos constituidores da narrativa histórica podem ser acionados como uma estratégia viável para lidar com as disputas de narrativa em sala aula e promover o entendimento sobre a relação de confiança e credibilidade que esse relato escrito desfruta na tarefa de representar o passado.***The narrative was - and is - an object of reflection in history by different authors and different approaches. The article follows the movement of analysis that focuses on the historical narrative to broaden the reflection on the “narrative status” of History - academic and didactic – in order to understand the limits and possibilities of its claim to represent the past. With this problematization, the aim is to place the narrative as the focus of analysis in the teaching of History as a possible way to face the disputes of narratives that appear in the daily life of the classroom. To this end, it mobilizes different authors, especially Paul Ricoeur, to explain what the historical narrative consists of and which procedures give legitimacy and recognition to its representation of the past. Through the mobilized framework, it is argued that the procedures which constitute historical narrative can be used as a viable strategy to deal with classroom narrative disputes and to promote understanding of the relationship of trust and credibility that this written report rejoices in the task of representing the past.
6
Beaulieu, Steve. "Re-imagining first-person narrative as a collective voice in John Edgar Wideman’s Sent for you yesterday." Frontiers of Narrative Studies 4, no. 1 (June 28, 2018): 82–95. http://dx.doi.org/10.1515/fns-2018-0006.
Повний текст джерелаАнотація:
AbstractThis article considers the “narrating-I” in African American fiction, reexamining its significance for narratological and sociopolitical theorizations of literature. First-person narratives can normally be understood as autodiegetic, in which the narrators present their experiences from their own perspectives at the expense of access to the viewpoints of other characters. However, African American narratives sometimes present their readers with first-person narrators who are seemingly more omniscient. Able to slip across the boundaries that demarcate their experience from that of others, these narrators can adopt the subject positions of other characters, shifting narrative focalization in ways that would normatively be impossible. Unlike “we” narratives that rely on the first-person plural to evoke collective storytelling, these works pluralize an otherwise singular narrator into a different sort of collective multiplicity. This paper argues that this plurality and multiplicity problematize the limitations of first-person narration, and in so doing resonate with issues surrounding the sociopolitical imagining of community. Through an investigation into the innovative narrative structures of John Edgar Wideman’s Sent for you yesterday, this paper thus hopes to contribute to ongoing conversations in narrative studies by reassessing its standard narrative frameworks, as well as argue for the applicability of narratology to contemporary sociopolitical thought.
7
McCabe, Allyssa, Carole Peterson, and Dianne M. Connors. "Attachment security and narrative elaboration." International Journal of Behavioral Development 30, no. 5 (September 2006): 398–409. http://dx.doi.org/10.1177/0165025406071488.
Повний текст джерелаАнотація:
A key means of getting to know someone is through the sharing of personal experience narratives, an ability that shows considerable individual variation. Past research has documented a relationship between narration in conversations between children and their mothers and attachment security. However, children's narrative contributions are often embedded in an ongoing conversation which may be structured differently by mothers who also have assessed the extent to which their children use them as a secure base. In the present project, these two measurements were independent. Children's narration to an attentive, but non-scaffolding, stranger was investigated to see whether that, too, would correlate with security as assessed by mothers. Participants were 32 4-year-old children and their mothers. The security of children's attachment to their mother was assessed using the revised parent-reported 90-item Q-Sort and correlated with two measures of narration. One was simple length in words of the three longest narratives told to a friendly stranger, and the other was a composite formed from specific scored narrative variables. Both narrative measures were significantly correlated with attachment security, even after partialling out the effects of gender, age, and receptive vocabulary.These results suggest that securely-attached children have internalized the inclination to disclose themselves by means of relating narratives of some length and have begun to generalize this to adults outside their family.
8
Algül, Mustafa. "Anlatı İçinde Anlatı: “Into The Woods (Sihirli Orman)” Filminin Peri Masalı Anlatıları İçindeki Gezintisi." Etkileşim 4, no. 7 (April 2021): 128–49. http://dx.doi.org/10.32739/etkilesim.2021.7.121.
Повний текст джерелаАнотація:
Myths, epics, and tales have survived for centuries in the oral expression tradition and have been permanently transcribed from oral tradition into written form. They are the most frequently recreated narratives in the cinema with their fantastic narrative structures. Hollywood cinema has been using tales as visual narratives for years. Tales, which have been turned into a structure open to the interpretation in accordance with the changing world, on the one hand is being reediting continuously. On the other hand, they gain new appearances along with intertwined narrative structures. In Into the Woods (Rob Marshall, 2014), four different fairy tales were used together. In this study, it is aimed to determine what kind of changes has been carried out in the film in terms of the different stages of the fairy tales. For this purpose, while collecting the data by examining the narrative structure of the fairy tales, the action areas are identified in terms of the “five components” in the Greimas’ ‘canonical narrative’. Briefly, the main object in this paper is to explicate the status of the film within the types of the cinematic narratives.
9
Kanellou, Maria Athansiou, Eugenia Athansiou Korvesi, Asimina Ralli, Aggeliki Mouzaki, Fay Antoniou, Vasiliki Diamanti, and Sophia Papaioannou. "Narrative skills in preschool and first grade children." Preschool and Primary Education 4, no. 1 (May 30, 2016): 35. http://dx.doi.org/10.12681/ppej.207.
Повний текст джерелаАнотація:
The aim of the study was to investigate the developmental path of narrative skills of preschool and primary school children. Two hundred thirty seven Greek-speaking children from various regions of Greece participated in the study. They were separated in three age groups: 4-5, 5-6 and 6-7 years old. Retelling and narrative production skills were evaluated. Correlations between the two narrative skills were investigated. Four illustrated stories were used (two stories for retelling and two stories for narrative production).Children’s narratives were collected and transcribed from the recordings. Then, narratives were coded and assessed according to certain criteria: microstructure/ cohesion (conjunction and lexical cohesion) and macrostructure/ coherence (story grammar and temporal sequencing of actions and events). The findings revealed that narratives of older children tended to be better according to the story structure criteria in comparison to narratives produced by younger children. In addition, the qualitative analysis of children’s narratives demonstrated the different narrative levels (labeling, listing, connecting, sequencing and narrating) proposed by Stadler and Ward (2005). Children of all age groups performed better in retelling test compared to narrative production test. The results also revealed differences in performance in relation to gender (girls performed better than boys). Finally, a statistically significant correlation between children’s performance in retelling and narrative production skills was found. The results are discussed in terms of theoretical models of narrative abilities. Implications for research, theory and educational purposes are also discussed.
10
Fonioková, Zuzana. "Tellers and Experiencers in Autobiographical Narratives: Focalization in “Peeling the Onion” by Günter Grass and “The Liars’ Club” by Mary Karr." Prace Filologiczne. Literaturoznawstwo, no. 8(11) cz.1 (June 28, 2019): 113–28. http://dx.doi.org/10.32798/pflit.59.
Повний текст джерелаАнотація:
This article examines the narrative point of view in two autobiographical texts, pointing out the diverse effects the narratives achieve by means of different focalization strategies. After a short explication of the split between the narrator and protagonist in life stories, I look at focalization techniques in Günter Grass’s Peeling the Onion (2006), where the perception of the present self continuously interferes in the depiction of the past. The superior knowledge available to the narrator at the time of narration leads to an interpretation of the depicted events that the experiencing self could not provide. I argue that although the book calls attention to the constructive nature of memory and narrative that necessarily affects retrospective accounts of the past, it also states its preference for the lens of the present by employing focalization through the narrating I. I subsequently contrast Grass’s text and its narrative strategies with Mary Karr’s childhood memoir The Liars’ Club (1995) and demonstrate how this narrative attains its realistic effect by engaging the child protagonist as the predominant focalizer. By shifting focalization between the narrating I and the experiencing I, involving either the suspension or application of the narrator’s current
knowledge, Karr manipulates readers’ engagement with the narrative, such as their empathy and moral judgement. Furthermore, the text communicates a sense of identity and continuity between the experiencer and the teller, which stands in sharp contrast to the emphasis Grass’s narrative puts on the distance between these two positions. Finally, I briefly address the challenges presented by recent conceptions of identity construction to the distinction between the narrating I and the experiencing I, suggesting that these narratological concepts retain their relevance to discussions of autobiographical texts as literary works rather than stages of self-creation.
11
Paviotti, Antea. "God and COVID-19 in Burundian social media: The political fight for the control of the narrative." Journal of African Media Studies 13, no. 3 (September 1, 2021): 385–97. http://dx.doi.org/10.1386/jams_00055_1.
Повний текст джерелаАнотація:
While an incredible series of twists characterized the fight against COVID-19 in Burundi and its narration, references to God have never been missing in the narratives around the disease. Trust in God represented one of the pillars of the government’s narrative, next to an attitude of ‘denialism’, and the fight against ‘fake news’. This article analyses the evolution of the narration of COVID-19 on Twitter during the first three phases of the fight against the disease, focusing on the use of the religious narrative. Within Burundi’s contemporary sociopolitical context, analysis of these narratives on social media best demonstrates how the fight against COVID-19 in Burundi was a fight for the control of the narrative, and by extension for political legitimacy.
12
Gerstenberg, Annette. "Generational styles in oral storytelling." Narrative Inquiry 29, no. 1 (July 2, 2019): 1–28. http://dx.doi.org/10.1075/ni.18042.ger.
Повний текст джерелаАнотація:
Abstract When it comes to autobiographical narratives, the most spontaneous and natural manner is preferable. But neither individually told narratives nor those grounded in the communicative repertoire of a social group are easily comparable. A clearly identifiable tertium comparationis is mandatory. We present the results of an experimental ‘Narrative Priming’ setting with French students. A potentially underlying model of narrating from personal experience was activated via a narrative prime, and in a second step, the participants were asked to tell a narrative of their own. The analysis focuses on similarities and differences between the primes and the students’ narratives. The results give evidence for the possibility to elicit a set of comparable narratives via a prime, and to activate an underlying narrative template. Meaningful differences are discussed as generational and age related styles. The transcriptions from the participants that authorized the publication are available online.
13
Klatetzki, Thomas. "Der Wandel von Wissenspraktiken in den sozialen Diensten und Einrichtungen der Kinder- und Jugendhilfe." Forum Erziehungshilfen, no. 2 (April 16, 2019): 72–75. http://dx.doi.org/10.3262/foe1902072.
Повний текст джерелаАнотація:
Die Organisationen der Kinder- und Jugendhilfe lassen sich als komplexe Handlungsnetze verstehen, die aus interaktiven, narrativ strukturierten Wissenspraktiken bestehen. Im Folgenden betrachtet der Autor den Einfluss von Wissensbeständen, die ihren Ursprung in Interaktionszusammenhängen außerhalb von sozialen Diensten und Einrichtungen haben, auf deren narrative Wissenspraktiken. Zu diesem Zweck erläutert der Beitrag zunächst, was unter dem Begriff der narrativen Wissenspraktiken zu verstehen ist und unterscheidet dann drei Formen des Einflusses, nämlich Wissensübermittlung auf der Basis gesellschaftlicher Moralerwartungen, Veränderung narrativer Praktiken durch Recht und Wandlungen in Organisationen durch Produkte disziplinär-professioneller Wissenspraktiken.
14
Russell, Robert L., Paul W. van den Broek, Scott Adams, Karen Rosenberger, and Todd Essig. "Analyzing Narratives in Psychotherapy: A Formal Framework and Empirical Analyses." Journal of Narrative and Life History 3, no. 4 (January 1, 1993): 337–60. http://dx.doi.org/10.1075/jnlh.3.4.02ana.
Повний текст джерелаАнотація:
Abstract Narration in psychotherapy has become a key area of theoretical and empiri-cal concern. Rationales for this new concern are provided in the context of introducing a three-dimensional model of narrative structure. Numerous measures corresponding to each dimension are operationally defined and used in an illustrative study of 16 pairs of temporally contiguous child-thera-pist stories sampled from Gardner's (1971) Therapeutic Communication with Children. As predicted, the therapist's narratives were more structurally con-nected, more often concerned with protagonists' internal psychological pro-cesses, and more elaborate/complex than the children's narratives. The therapist's narrative measures, however, did not seem adapted to the chil-dren's varying narrative competence, indicated by the absence of significant covariation with the children's narrative measures or with their age. These and additional analyses illustrate how to assess narrative processes in psycho-therapy and suggest future research on and training in the use of narratives in psychotherapy. (Psychology)
15
Rozhdestvenskaya, Elena Yu. "INTER-Encyclopedia: Narrative Interview." Inter 12, no. 4 (2020): 114–27. http://dx.doi.org/10.19181/inter.2020.12.4.8.
Повний текст джерелаАнотація:
The article describes the methodology and technique for conducting a narrative interview, as well as its analysis. The narrative interview method is presented from the perspective of a broader narrative approach based on communicative forms of storytelling. In the range of concepts of the narrative approach, the author considers the event, their selection, sequence, segmentation, linearization, coherence, the instance of the narrator, the double time perspective of the narrating I and the narrated I. The methodology of narrative interviewing by F. Schutze is presented, as well as his concept of analyzing the transcript of a narrative interview. G. Rosenthal's approach to the analysis of narrative interviews, as well as the basic principles of thematic or meaningful analysis of narratives are described.
16
Rutherford, Brian A. "Narrating the narrative turn in narrative accounting research:." Meditari Accountancy Research 26, no. 1 (April 9, 2018): 13–43. http://dx.doi.org/10.1108/medar-04-2017-0139.
Повний текст джерелаАнотація:
Purpose This paper aims to analyse the nature and extent of convergence within the literature of the narrative turn in narrative accounting research. Design/methodology/approach The paper offers an actor–network–theoretic perspective drawing on Latour’s theory of citation and Shwed and Bearman’s development of that theory to analyse patterns of convergence. Findings The paper finds that across the exemplars of narrative turn research examined, there is only a limited level of epistemic engagement so that exemplars achieve their status without undergoing trials of strength. Research limitations/implications The paper argues that the resources of the relevant academic community are spread so thinly that each seam – each research question, methodology or method and research context – is mined by no more than a small handful of researchers unable to generate a meaningful volume of contestation. Steps are suggested to better focus research activity. Originality/value The use of Latour’s theory of citation to analyse patterns of convergence in accounting research is innovative. The paper proposes a substantial change in the community’s approach to narrative turn research on accounting narratives.
17
Bąk, Melania. "Accounting narratives and disclosures in reporting the case of Letters from the Management Board Presidents of selected companies in the light of narrative economics." Ekonomia i Prawo 20, no. 2 (June 30, 2021): 213–38. http://dx.doi.org/10.12775/eip.2021.013.
Повний текст джерелаАнотація:
Motivation: At the initial stage of accounting evolution it was considered an economic science, closely related to the activities performed by economic entities in economic conditions. Therefore, narratives in economics should be considered a determinant for the development of narratives in accounting. The indication of narrative economics as a reference point for narration in accounting supplements the research gap, since nowadays narratives in accounting are most often interpreted as the narratives prepared by companies and addressed to the potential stakeholders in the context of achieving specific goals by the management board and company executives.
Aim: The purpose of the article is to address the phenomenon of narrative accounting in the light of narrative economics and the evolution of reporting targeting non-financial information.
Results: Economic narratives facilitate the understanding of numbers, extend and supplement financial information and allow for the interpretation of economic processes. The narratives coming from economics are processed and disclosed in accounting. They are an indispensable attribute of modern accounting as well as its narration. Reporting is an important instrument allowing narration in accounting (primarily non-financial reporting). The research confirms: positive messages included in the analysed Letters from Management Board Presidents; references in the text to economic factors and the characteristic financial and social activities in specific companies; indication of the key words in the text, among which the dominant ones are those with a positive overtone and also the ones relating to non-material resources; creating narrative reporting in order to develop and strengthen relationships with potential stakeholders.
18
Smorti, Andrea. "Autobiographical memory and autobiographical narrative." Narrative Inquiry 21, no. 2 (December 31, 2011): 303–10. http://dx.doi.org/10.1075/ni.21.2.08smo.
Повний текст джерелаАнотація:
In this contribution I discuss the link existing between autobiographical memory and autobiographical narrative and, in this context, the concept of coherence. Starting from the Bruner’s seminal concept of autobiographical self, I firstly analyze how autobiographical memories and autobiographical narrative influence each other and, somehow, mirror reciprocally and then I present some results of my previous studies using a methodology consisting in “narrating-transcribing-reading-narrating.” The results show that self narratives can have positive effects on the narrators if they are provided with a tool to reflect on their memories. Moreover these results show that autobiography in its double sides — that of memory and that of narrative — is a process of continuous construction but also that this construction is deeply linked to social interactions.
19
Musikhin, Gleb. "Narrative as a Meaning-Forming Element of Political Symbolization." Issues of Economic Theory 23, no. 2 (May 22, 2024): 116–33. http://dx.doi.org/10.52342/2587-7666vte_2024_2_116_133.
Повний текст джерелаАнотація:
The article deals with a theoretical analysis of the concept of political narrative as a political reality, which is not reducible to a set of positivistically established facts. In the context of political symbolization, narratives as elements of interpretation of politics implicate political meanings through verbal situations that develop as an interaction of judgments. Political narratives function as mediators in social activities and not only communicate information, but do it incrementing new meanings, as political narratives are conveyed through deliberation. The “narrative identity” is formed as a reference to metanarratives and their creators. The author shows that any symbolic political reality is a constellation of involvement narratives that create verbal situations of interactions between community members and the collective history as a narration. Therefore, a narrative introduces individuals into a political context. This enables to fix the narrative “footprint” of joint social practices that are named “culture”, “nation”, “country”, etc. At the same time, the author substantiates that the form and the content of political narratives have the meaning of retrospective inner causality, since the inherited array of political interpretations is constantly «retold» in the present reality. It is concluded that in the context of political symbolization, narrative can be an analytical solution of the problem of interaction between individual consciousness and a society.
20
Schumacher, Frauke. "gegenrede im gar gebrast (248,2)." Beiträge zur Geschichte der deutschen Sprache und Literatur 139, no. 4 (December 1, 2017): 526–64. http://dx.doi.org/10.1515/bgsl-2017-0044.
Повний текст джерелаАнотація:
Abstract One of the characteristic features of Wolfram’s ›Parzival‹ is the narrative technique of temporarily holding back information. Based on Genette’s theory of narrative levels as well as Scheffel’s thoughts on self-reflexivity of literature and Weber’s definition of analytical narration, this paper tries to show that many of the narratives and speeches produced by characters in the novel mirror this narrative technique. Furthermore, it asks about explanations and intentions that are related to these narratives and speeches, about their (potential) effects on the protagonists and the audience, and about conclusions that can be drawn with regard to the poetological concept of the novel.
21
Demyankov, V. Z. "NARRATIVE AND DISCOURSE." Voprosy Kognitivnoy Lingvistiki, no. 4 (2022): 5–16. http://dx.doi.org/10.20916/1812-3228-2022-4-5-16.
Повний текст джерелаАнотація:
Ideas of “knowing” and of “being known” are traditionally ascribed to the Latin ‘gnārus’, the commonly recognized etymological source of the Latin ‘nārrō’ which normally meant “I am telling”. A prototypical narrative’s main property is cohesion, because narratives typically present chains of events and/or describe states of affairs which are not invented on the spot: prototypically, the narrator already ‘knows’ and the audience ‘learns’ them from the narration. At the same time, a prototypical discourse is coherent, consistently proving or disproving a certain line of ‘discursive’ thinking. Narrative discourses have both properties. A corpus investigation of the word ‘narrative’ and of its cognates and derivatives is here exposed, in several Romance languages (Latin, French, Italian, Spanish), in Germanic (English and German) and in Russian. It shows different tendencies of development of the meaning ‘narrative’ in the course of several centuries. There are three groups of languages, depending on which the lexeme statistically prevails in the corpus: verb-oriented Latin and Italian, narration-oriented French and Spanish, and narrative-oriented English, German, and Russian. Therefore, a critical look is necessary at the existing definitions of the terms ‘narrative’ and ‘discourse’, thus narrowing their semantic scopes and delimiting them from each other.
22
Lima, Amanda Avelar, and Carla Salati Almeida Ghirello-Pires. "O PAPEL DAS ESTÓRIAS INFANTIS NO DESENVOLVIMENTO DA LINGUAGEM EM CRIANÇAS E ADOLESCENTES COM SÍNDROME DE DOWN." Revista Conhecimento Online 2 (May 28, 2019): 131. http://dx.doi.org/10.25112/rco.v2i0.1702.
Повний текст джерелаАнотація:
O presente estudo propõe estimular o desenvolvimento da linguagem por meio das narrativas infantis em crianças e adolescentes com Síndrome de Down (SD), além de identificar as fases do desenvolvimento do discurso narrativo em que cada indivíduo se encontra. O presente artigo tem pressupostos teórico-metodológicos da Neurolinguística Discursiva (ND), com caráter transversal e de cunho qualitativo. Os participantes foram selecionados no Laboratório de Estudos e Pesquisa em Neurolinguística (LAPEN), localizado na Universidade Estadual da Bahia (UESB) em Vitória da Conquista - Bahia, sendo 4 crianças/pré-adolescentes com SD, do sexo feminino, com idade entre 8 e 12 anos. A intervenção seguiu-se com um total de 9 encontros semanais de maneira individual com cada participante, em uma sala reservada no LAPEN, com duração de 30 minutos. Em cada sessão, foram realizadas 3 etapas: contagem, atividade distratora e recontagem. O período das intervenções foi entre os meses de agosto/2016 a fevereiro/2017. Para a análise de dados, as intervenções realizadas foram filmadas, transcritas e categorizadas. A categorização do discurso narrativo foi feita utilizando as três fases do desenvolvimento propostas por Perroni (1992): Protonarrativa, Narrativa Primitiva e Narrativa. Os resultados evidenciaram que as crianças e pré-adolescentes com SD encontram-se em fases distintas do desenvolvimento do discurso narrativo, não sendo relacionado com a idade cronológica e nem com a idade de início das intervenções na linguagem. Além disso, a estimulação através de histórias infantis propiciou o desenvolvimento do discurso narrativo, que acarreta em um melhor desempenho linguístico e oportuniza o uso da linguagem para diferentes contextos.Palavras-chave: Síndrome de Down. Discurso narrativo. Linguagem.ABSTRACTThe present study proposes to stimulate the development of language through children’s narratives in children and adolescents with Down Syndrome (SD), as well as to identify the phases of the development of the narrative discourse in which each individual is. The present article has theoretical and methodological assumptions of the Discursive Neurolinguistic (ND), with transversal character and qualitative character. The participants were selected from the Laboratory of Neurolinguistic Studies and Research (LAPEN), located at the State University of Bahia (UESB) in Vitória da Conquista - Bahia, with four children / pre-adolescents with SD, female, aged 8 and 12 years. The intervention was followed by a total of 9 weekly meetings individually with each participant, in a room reserved in LAPEN, lasting 30 minutes. In each session, 3 steps were performed: counting, distracting activity and recounting. The period of the interventions was between the months of August / 2016 to February / 2017. For data analysis, the interventions were filmed, transcribed and categorized. The categorization of narrative discourse was made using the three phases of development proposed by Perroni (1992): Protonarrativa, Primitive Narrative and Narrative. The results showed that children and pre-adolescents with DS are at different stages of the development of narrative discourse, not related to the chronological age or the age of onset of speech interventions. In addition, stimulation through children’s stories led to the development of narrative discourse, which leads to better linguistic performance and allows the use of language for different contexts.Keywords: Down syndrome. Narrative speech. Language.
23
von Arnauld, Andreas. "Norms and Narrative." German Law Journal 18, no. 2 (March 1, 2017): 309–30. http://dx.doi.org/10.1017/s2071832200021970.
Повний текст джерелаАнотація:
As a normative social practice, law mediates between the “is” and the “ought,” between prescription and description. Obviously, narratives and narration play a role in law when it comes to describing facts and events: The testimony of a witness in court, the presentation of the case in a judgment, or (semi-)fictional cases used for legal education spring to mind. In this Article, however, the focus is on the prescriptive side of law. If, in line with the definition given by Matías Martínez and Michael Scheffel, a narrative is to be understood as a “sequence of events and actions producing at the level of [literary] action an autonomous structure of meaning,” it becomes possible to identify narratives and narrative elements within legal norms and provisions. The first part of this paper will deal with grand historical —or historicizing—narratives and cast some light on how they are used to give sense and direction to the interpretation and application of, especially, constitutional principles. The second part will suggest a narratological perspective on statutory law and attempt to reconstruct the process of norm application. This Article argues that this process relies mainly on comparative methods, and that narratives mediate between the seemingly opposed spheres of law and fact. Both kinds of narratives, thegrands récitsof constitutional law and thepetits récitsof statutory law, though quite different at first sight, possess common traits. They both fit the definition of narrative just cited; they both result from a process of selection and are thus prone to exclusionary effects. Moreover, the grand narratives of constitutional law also affect statutory law, its interpretation, and its application.
24
ALESHCHANOVA, I. V. "REFLECTION OF SOCIOCULTURAL CONTEXT IN NARRATIVE (ON THE EXAMPLE OF THE VICTORIAN ERA NARRATIVES)." PRIMO ASPECTU, no. 4(56) (December 2023): 30–34. http://dx.doi.org/10.35211/2500-2635-2023-4-56-30-34.
Повний текст джерелаАнотація:
The article considers the issue of narrative sociocultural orientation as a way of translating general cultural norms and values, mechanism of social interaction organization. The author substantiates relationship between narrative texts structural-content characteristics and the corresponding sociocultural context. A method of researching a narrative text is proposed. It involves study of narration event structure and reflected value and role models in social relations organization, correspondence of the narration main plot to traditional archetypical plots and presence of the storyline narrative transformations is revealed. Empirical material of the study is the Victorian era narrative texts. Analyzing narrative forms of that time, the author reveals sociocultural changes influence on textual characteristics. Compositional and plot construction of narratives represents the Victorian era heterogeneity. The narration reflects social contradictions between conservative system of values inculcated by church and the state and search for relevant spiritual guidelines by progressively thinking individuals. Rapid growth of science and new industrial relations undermined faith in the biblical truths stability, the Victorian system of values impeccability. These sociocultural tendencies find expression in the motifs of open or veiled satirical criticism of the Victorian society hypocritical morality, assertion of human rights to boldly express their own assessment of social issues through narrative storyline event blocks inversion.
25
Oenning da Silva, Rita de Cácia. "Quem conta um conto aumenta muito mais que um ponto: narrativa, produção de si e gênero na produção fílmica com crianças pequenas." Perspectiva 33, no. 3 (April 1, 2016): 1069–88. http://dx.doi.org/10.5007/2175-795x.2015v33n3p1069.
Повний текст джерелаАнотація:
Analisando as performances narrativas do conto Chapeuzinho Vermelho de três crianças pequenas (2 a 4 anos de idade) frente à câmera filmadora, este artigo apresenta e discute o modo como essas narrativas tanto expressam quanto constituem o mundo e os sujeitos narradores. Variando na forma narrativa, no conteúdo e nos personagens clássicos do conto, essas performances narrativas revelam como as crianças narradoras entendem e dinamizam relações: entre seus pares (atentando especialmente para as relações de gênero – gender); com outros seres (imaginários ou não); e com o próprio gênero narrativo. A análise aponta para como, através dessas narrativas, estão testando possibilidades (de e entre seres, de linguagens, de fórmulas narrativas, de interação e estética). Chama-se a atenção para a capacidade transformativa e criativa presente nas performances narrativas de crianças pequenas e do aspecto filosófico do seu pensamento. Dessa forma, narrando frente à câmera e à plateia, fazem-se sujeitos: produzem a si mesmas e o mundo. More then just telling tales: narrative, self production and gender/genre in film production with small children AbstractThrough an analysis of the narratives of three small children playing with a video camera, the article presents and discusses the way that small children both express and produce themselves. As they vary the narrative form, the plot, and the characters of Little Red Riding Hood, these children's performances reveal how they understand and catalyze relations with their peers (especially subverting gender relations), with other beings (human, animal, imaginary beings etc.), and with narrative genre. Through these narratives they test the possibilities of beings, of interaction, and of language, opening a range of possibilities for an aesthetic of self. Based on an extensive background of film production with children, I point out the philosophical aspects of this production, showing how the performative and creative capacity of children open a space where they represent them selves. Narrating for the camera or for an audience, these children turn themselves into social subjects, thus producing themselves and the world.Keywords: Small Children. Narrative Performance. Digital Media. El cuento va más allá de lo contado: la narrativa, la producción de sí mismo, y el género en la producción cinematográfica con niños pequeños ResumenAnalizando de las narrativas de Caperucita Roja contadas por tres niños pequeños (2-4 años) en frente de la videocámara, este artículo presenta y discute cómo estas narrativas tanto expresan el mundo y como constituyen a sus narradores como sujetos. Estas actuaciones narrativas revelan cómo los pequeños narradores entienden y crean relaciones: entre pares (con especial atención a las relaciones de género); con otros seres (de ficción o no); y con su propio género narrativo. Los análisis apunta a las posibilidades de cómo, a través de estos relatos, están probando posibilidades (entre los seres, los idiomas, las fórmulas narrativas, la interacción y la estética). Llama la atención sobre la capacidad transformadora y creativa de este interpretaciones narrativas de los niños pequeños y el aspecto filosófico de su pensamiento. Por lo tanto, haciendo la narración delante de la cámara y del público, se convierten en sujetos: producen ellos mismos y el mundo.Palabras claves: Primera Infancia. Narrativa. Género.
26
Ringskou, Lea, Christoffer Vengsgaard, and Caroline Bach. "Klubpædagogen mellem demokrati, frihed og markedsgørelse?" Forskning i Pædagogers Profession og Uddannelse 4, no. 2 (October 19, 2020): 16. http://dx.doi.org/10.7146/fppu.v4i2.122504.
Повний текст джерелаАнотація:
ResuméArtiklen omhandler et toårigt forskningsprojekt på VIA Pædagoguddannelse om klubpædagogisk professionsidentitet. I forskningsprojektet er der udført 11 kvalitative semistrukturerede interviews. Ud fra interviewene konstruerer vi analytisk tre dominerende narrativer: klubpædagogen som demokratisk medborgerskaber, frihedens klubpædagog og klubpædagogen som sælger. Ud fra narrativerne præsenterer vi tre større historisk og kulturelt forankrede nøglefortællinger om klubpædagogisk professionsidentitet. De to første narrativer indeholder nøglefortællinger om demokrati og frihed, der trækker på klassisk reformpædagogik og kritisk frigørende pædagogik. Heroverfor indeholder narrativet pædagogen som sælger en historisk nyere nøglefortælling om markedsgørelse. Vi betragter mødet mellem nøglefortællingerne som en mere overordnet fortælling om klubpædagogisk professionsidentitet mellem tradition og forandring. Afslutningsvis diskuterer vi, hvilke udfordringer og muligheder mødet mellem nøglefortællingerne, nærmere bestemt mødet mellem demokrati og frihed på den ene side og markedsgørelse på den anden, potentielt kan indeholde i forhold til klubpædagogisk professionsidentitet og omverdenens anerkendelse. På den ene side kan markedsgørelsen tolkes som risiko for dekonstruktion af klubpædagogisk professionsidentitet, der vil kunne udhule nøglefortællingerne om demokrati og frihed. På den anden side kan der argumenteres for, at netop nøglefortællingen om markedsgørelsen kan tolkes som mulighed for at styrke de to andre nøglefortællinger og at den sigt vil kunne bidrage til stabilisering og anerkendelse af klubpædagogisk professionsidentitet.
AbstractLeisure time pedagogue working in youth clubs: between democracy, freedom and marketing? Three key narratives in professional identity of leisure time pedagogues working in youth clubsIn this article, we present the results of a research project about the professional identity of leisure time pedagogue working in different forms of youth clubs with children and teenagers from 10 to 18+ years of age. We base the analysis on 11 qualitative semi-structured interviews. Through the analysis, we construct three key narratives: a key narrative concerning democracy, a key narrative concerning freedom and a key narrative concerning marketing (sale). We use these three key narratives to illustrate the complexity of the professional identity of the leisure time pedagogue. Both tradition and renewal characterizes the professional identity of the leisure time pedagogues. In the final section, we discuss the encounter between the key narratives of democracy and freedom on the one hand and the key narrative of marketing on the other. What are the possible pitfalls and potentials in this encounter, when the pedagogues strives for the acknowledgement and acceptance of professional identity?
27
May, Rachel. "Narrating Landscape, Landscaping Narrative." Russian Studies in Literature 39, no. 3 (July 2003): 65–87. http://dx.doi.org/10.2753/rsl1061-1975390365.
Повний текст джерела
28
Smith, Sidonie, and Julia Watson. "Metalepsis in Autobiographical Narrative." European Journal of Life Writing 8 (April 9, 2019): 1–27. http://dx.doi.org/10.21827/ejlw.8.35479.
Повний текст джерелаАнотація:
How do fictional tactics operate in what is often simplistically termed the “factual” or referential world of autobiographical discourse? Many narratologists view the rhetorical figure of metalepsis as distinctive to metafictional texts and constitutive of “fictional” narration, which they posit in antithesis to “factual” narration. But regarding autobiographical narrative only within the realm of fact ignores its complexity. While some theorists of autobiographical narrative have read it through the rhetorical figure of prosopopeia, as elaborated by Paul de Man in characterizing its “de-facement” of subjectivity, we argue that the figure of metalepsis operates productively in autobiographical narrative, particularly hybrid and experimental texts. The use of metalepsis shifts levels or layers of narration across temporal and spatial planes in ways that confuse its diegetic and metadiegetic levels. That is, autobiographical narrative, while filtered through the récit factuel, is not consistently fixed in an extratextual, ontologically unified, referential world. We pursue this argument by exploring four cases: the circuit of transfer in incomplete conversion narrative (Rowlandson’s A True History of the Captivity and Restoration of Mrs. Mary Rowlandson); palimsistic seepage between the Bildungsroman and trauma narrative (Eggers’ A Heartbreaking Work of Staggering Genius); narrative collision of “parallel universes” (Kaysen’s Girl, Interrupted); and unstable witness to collective trauma by a second-generation narrator (Spiegelman’s Maus: A Survivor’s Tale). Recent critical studies of metalepsis also probe how it presses at the limits of referentiality in life narratives by J. M. Coetzee, Javier Marías, and Christine Brooke-Rose. In sum, autobiographical narrative is by no means a referential, “monologic” mode easily differentiated from the dialogism and metadiscursivity of the novel; rather, it is a mode unsettled by figural, discursive, and temporal boundary-crossing.
29
Gillam, Sandra L., Abbie Olszewski, Katie Squires, Katie Wolfe, Timothy Slocum, and Ronald B. Gillam. "Improving Narrative Production in Children With Language Disorders: An Early-Stage Efficacy Study of a Narrative Intervention Program." Language, Speech, and Hearing Services in Schools 49, no. 2 (April 5, 2018): 197–212. http://dx.doi.org/10.1044/2017_lshss-17-0047.
Повний текст джерелаАнотація:
Purpose As noted in this forum, more research is needed to support the work of school-based speech-language pathologists who are designing and implementing interventions for students with language disorders. This article presents the findings of a multiple-baseline, single-subject study that was conducted to assess the outcomes of an intervention designed to improve narrative discourse proficiency for children with language disorders. Method Four school-age children with language disorders that included deficits in narration received an experimental version of a 3-phase narrative language intervention program called Supporting Knowledge in Language and Literacy (Gillam, Gillam, & Laing, 2014). Two additional children remained in baseline throughout the study and served as controls for history, testing, and maturation effects. Measures of story productivity (number of different words) and overall story complexity (Monitoring Indicators of Scholarly Language; Gillam, Gillam, Fargo, Olszewski, & Segura, 2016) were used to assess the children's self-generated narratives. Results After the onset of treatment, all 4 children who received the narrative intervention made moderate-to-large improvements in narrative productivity (number of different words). Three of the 4 children also made moderate-to-large improvements in narrative complexity (Monitoring Indicators of Scholarly Language). The narrative abilities of the 2 children who did not receive intervention did not change over the course of the study. Conclusion This study provides evidence for the feasibility of the Supporting Knowledge in Language and Literacy narrative instruction program for improving self-generated narratives by children with language disorders. Future research is needed to determine how gains in oral narration transfer to written narrative skills.
30
Chenganakkattil, Muhamed Riyaz. "Unnaturalness of Hajj narratives: We-narrative and narrating performative collective subjectivity." Performing Islam 6, no. 2 (December 1, 2017): 155–71. http://dx.doi.org/10.1386/pi.6.2.155_1.
Повний текст джерела
31
Nikolaienko, Valeriya. "Modeling the narrative viewpoint: narrative spaces and the labovian narrative structure." 98, no. 98 (December 25, 2023): 38–47. http://dx.doi.org/10.26565/2786-5312-2023-98-05.
Повний текст джерелаАнотація:
The article addresses the methodological challenge of studying narratives of various genres in their natural discursive environment. The proposed model combines the narrative spaces approach to narrative construction developed by Dancygier and the classic Labov & Waletzky narrative segmentation model. I undertake a modeling experiment targeting four narratives of personal experience, two oral and two written, from news, political, humorous, and oneiric reflective contexts. I accommodate the classic narrative structure model of Abstract, Orientation, Complication, Resolution, Evaluation, and Coda to tag narrative spaces rather than narrative clauses. This revised vision of the narrative structural elements combined with the cognitive narratology concept of narrative spaces aims to address the viewpoint configurations. Namely, I focus on the discussion of the elements of Abstract, Evaluation, and Coda, which position the narrative in its discursive context and essentially constitute the extra-narrative system. These elements allow embedding the narrative in the pragmatic context and account for its tellability. In turn, this discursive positioning depends on the viewpoint configuration of the narrative of personal experience. I regard viewpoint configurations as elements governed by the narrative genre. I argue that the viewpoint compression and decompression processes and narrative embedding strategies are genre-specific. Narratives of different genres demonstrate stronger or weaker extra-narrative system and varied tendencies towards multiple viewpoints and their compression.
32
Reitan, Rolf. "Teorier om dufortællinger: En blindgyde?" K&K - Kultur og Klasse 39, no. 112 (December 25, 2011): 107–32. http://dx.doi.org/10.7146/kok.v39i112.15747.
Повний текст джерелаАнотація:
THEORIZING SECOND-PERSON NARRATIVES: A BACKWATER PROJECT? | In this paper Rolf Reitan proposes a closer look at three very different perspectives on second person narrative: Brian Richardson, Irene Kacandes, and Monika Fludernik have been classical references for some time, but they have never, according to Reitan, been seriously discussed. The paper begins by examining Kacandes’ intriguing concept of ‘radical narrative apostrophe’, and then discusses the three authors’ very different typological proposals. Borrowing Richardson’s idea of a Standard Form of second person narration, it returns to Butor’s La Modification to investigate the question of address (a pivotal question in Fludernik’s articles), which then leads to a strict definition of a prototypical “genre” of Standard Form narratives. Passing through conceptual landscapes of fiction, apostrophe, and postmodernism, some tricky questions concerning selfaddress,and some of Margolin’s analytic formulas, are considered. At last, by way of proposing a much needed subdivision of the Standard Form, Reitan discusses the strange narrating voice in La modification: not a narratorial voice, but a readerly voice created in the author’s writing.
33
BARWELL, ISMAY. "Understanding Narratives and Narrative Understanding." Journal of Aesthetics and Art Criticism 67, no. 1 (February 2009): 49–59. http://dx.doi.org/10.1111/j.1540-6245.2008.01334.x.
Повний текст джерела
34
Poirier, John C. "Narrative Theology and Pentecostal Commitments." Journal of Pentecostal Theology 16, no. 2 (2008): 69–85. http://dx.doi.org/10.1163/174552508x294206.
Повний текст джерелаАнотація:
AbstractA number of Pentecostal scholars have proposed that narrative theology represents an appropriate reading strategy for Pentecostals. This article introduces three lines of critique against such a proposal: (1) the understanding of truth that underlies the apostolic kerygma is incompatible with that which underlies narrative theology, (2) the notion that personal identity is narratival has been built upon the ghostless anthropology of Gilbert Ryle, a scheme that conflicts with both NT soteriology and Paul's discussion of how spiritual gifts work through the believer, and (3) early forms of narrative theology translated the Gospels' healing narratives into illustrations of a spiritualized understanding of the gospel.
35
Umphrey, Laura R., and Joanne Cacciatore. "Coping with the Ultimate Deprivation: Narrative Themes in a Parental Bereavement Support Group." OMEGA - Journal of Death and Dying 63, no. 2 (October 2011): 141–60. http://dx.doi.org/10.2190/om.63.2.c.
Повний текст джерелаАнотація:
Support groups are often used to help individuals cope with challenging and unusual life circumstances through narration. Yet, little is known about specific meta-communication within a support group setting and in what ways these interactions may benefit participants. This study uncovers narrative themes that were expressed during a series of support group meetings specific to bereaved parents. Three central narratives were revealed in the analysis including the death story narrative, coping/negotiating narrative, and connecting through communication with others narrative. This research underscores the vital outlet that the support group serves for participants and the communicative means by which subjective healing can occur.
36
Abdul Hussein, Dr Hussein Ali, Lecture Mayada Abdul Amir Karim, and Ass Lecture Abbas Hazem Muhammad. "The introduction from a narrative perspective in the 'Smart book'." Thi Qar Arts Journal 1, no. 43 (September 30, 2023): 83–104. http://dx.doi.org/10.32792/tqartj.v1i43.472.
Повний текст джерелаАнотація:
There is no doubt that the news is one of the closest narratives to the story, and people have transmitted the news in their first era until it became their companion and the fruit of their conversations, where the Arabs were passionate about narrating and documenting the news until many of those news documents reached us, many of which have not been studied yet, and Arab researchers in the modern era have paid attention to this huge narrative heritage that our ancestors left written in the folds of huge volumes, although most of it was lost and lost, and perhaps the development that has reached the methods of studying and criticizing narrative genres, which resulted in a science in itself, is “narrative science” One of the reasons for this attention. The narrative structure of the news consists of several elements, one of which complements the other in its introduction, which is the introduction that the research seeks to study in one of the Arabic news documents attributed to Ibn al-Jawzi and titled (The Smart), due to the importance that this narrative element is distinguished by being an effective element in The structure of the news is what begins with the narration and what first strikes the ears. The structure of the research was based on three demands. The first one stopped at the concept of both news and introduction, as the research is based on showing (the introduction) from a narrative perspective in a book (news), while the second demand defined the general structure of the book under study and showing the most prominent narrative characteristics in it. To end up with us at The third requirement, which was concerned with studying the introduction in this book, is a study that is consistent with modern narrative discourse.
37
BUTS, Zhanna. "EPIGRAPH AS A MANIPULATIVE ELEMENT OF THE NARRATIVE TECHNIQUE OF MODERN FRENCH WOMEN’S PROSE." Folia Philologica, no. 3 (2022): 30–36. http://dx.doi.org/10.17721/folia.philologica/2022/3/4.
Повний текст джерелаАнотація:
The proposed article focuses on the study of the literary narrative of modern French prose. Namely, the article examined epigraphs in detail as structural elements of narratives of women’s prose, which acquire manipulative characteristics and influence the construction of the corresponding narratives. The research has reviewed the narrative spaces of modern French writers artists, namely T. de Rosney and A.-M. Lugan. For the first time, the manipulative functions of individual structural elements of the artistic space, which influence not only the organization of the narrative, but also the narrative technique of modern women’s prose, were revealed on the material of the works of French authors in the course of narratological research. This article has outlined the main paradigms of poetics. Special focus is laid on the analysis of the literary narrative spaces theory, the research on manipulative influence, in particular, speech manipulation. Narrative techniques of novels by French writers T. de Rosney and A.-M. Lugan are characterized and described. The formulated features of epigraphs as structural elements of the narrative space are focused on the manipulative influence that these compositional positions of the organization of the literary narrative receive. The research revealed that female writers gravitate towards certain narrative techniques. So, for example, the works of T. de Rosney belong to the heterodiegetic type of narration, while A.-M. Lugan tries to create in the form of homodiegetic type. Such differentiation can be explained by the personal worldview of these writers, since one of them (A.-M. Lugan) worked as a psychologist for a long time, which led to the choice of the narrative technique (from the first person, focused on the outside). In accordance with the type of narrative, epigraphs for each of the novels were also chosen. So, for the heterodiegetic narrative type, epigraphs represent famous people's quotes, which implicitly indicate the plot and structure of the corresponding narrative space. Whereas the homodiegetic type of narration tends to choose mostly scholars', particlularly Z. Freud's, quotes, which contributes to the manipulation of readers, since it is aimed at the readers’ emotions.
38
Barinaga López, Borja, Isidro Moreno Sánchez, and Andrés Adolfo Navarro Newball. "La narrativa hipermedia en el museo. El presente del futuro." Obra digital, no. 12 (February 28, 2017): 101–21. http://dx.doi.org/10.25029/od.2017.119.12.
Повний текст джерелаАнотація:
La narrativa hipermedia aleja el museo del templo de las musas y contribuye a acercarlo a todas las personas. Gracias a esta narrativa, el museo in situ se hace virtual y ubicuo, y, por medio de los dispositivos móviles, nos acompaña siempre. Pero el museo no utiliza adecuadamente la distintas estructuras que cobijan la narrativa hipermedia, ya que privilegia, casi exclusivamente, la informativa. Por otra parte, no potencia la interactividad con interacción orientada a la participación y la cooperación de todas las personas. Esta investigación plantea el presente de la narrativa hipermedia en el museo y apunta algunas claves para su necesaria evolución. Hypermedia narratives in museums. The present of the futureAbstractHypermedia narratives take museums away from the Temple of the Muses and bring them closer to people. Thanks to these narratives, in situ museums can become virtual and ubiquitous and, by means of mobile devices, they are always available. However, museums tend not to use hypermedia narrative structures appropriately, because they almost exclusively favor information structures. Furthermore, museums do not encourage interactivity with interaction oriented to participation and cooperation. Our research questions the current role of hypermedia narratives in museums and points to the need for change.Keywords: Hypermedia museography, hypermedia narrative, interaction, interactivity, mobile hipermedia, transmedia narrativepp. 101-121
39
Zhao, Yiheng. "Narratorial frame–person duality: an analysis in general narratology." Chinese Semiotic Studies 18, no. 3 (August 1, 2022): 427–40. http://dx.doi.org/10.1515/css-2022-2074.
Повний текст джерелаАнотація:
Abstract There can be no narrative text without a narrator. Locating the source of narration is the starting point for an understanding of any narrative. There is no agreement among narratologists, nevertheless, on how the narrator could be located in a narrative text, in a so-called “third-person” fictional narrative, for instance, or in dramatic or cinematic narratives. The narrator should be ubiquitous in theory, yet is extremely elusive in practice. That is why there has hardly been any effort among scholars to offer a description of the general shape of the narrator. The present paper attempts to divide all narratives into a few categories in terms of narratorial transfiguration so as to reveal the narrator’s various shapes, from a fully individuated flesh-and-blood person to a fictionalized character, to an almost totally depersonalized frame. The narrator, however, consistently functions as the source of the narrative discourse, sliding in a frame–person scalar duality, but always integrating both. The narrator’s duality provides the key to a general narratology.
40
Amlinger, Carolin. "Narrative Soziologien. Erzählen als Methode in den Sozialwissenschaften." ZTS Zeitschrift für Theoretische Soziologie, no. 2 (January 17, 2024): 283–303. http://dx.doi.org/10.3262/zts2302283.
Повний текст джерелаАнотація:
Der Beitrag stellt Ansätze narrativer Soziologien vor, die sich seit dem Narrative Turn in den Sozialwissenschaften etabliert haben. Ihnen ist gemein, dass sie liminale Schreibpraktiken einfordern, die zwischen öffentlichen Anliegen und fachlicher Wissensproduktion vermitteln sollen. Insbesondere dem expressiven Erzählen wird in narrativen Soziologien die Funktion zugeschrieben, reflexive Sichtweisen zu generieren und zum Handeln zu aktivieren. Da eine soziologische Erzähltheorie bislang nur in Ansätzen existiert, stehen zum einen die Eigenschaften und Funktionen im Mittelpunkt, die dem Erzählen für die soziologische Wissensproduktion und -vermittlung zugeschrieben werden. Daneben werden zum anderen die normativen Vorannahmen rekonstruiert, die mit narrativen Textverfahren in Verbindung gebracht werden. Denn narrative Soziologien transportieren Verständnisse von ›richtiger‹ und ›falscher‹ soziologischer Schreibpraxis, die in der Forschungspraxis meist nur latent wirksam sind.
41
Kim, Jungah. "Nomadic Narrative in Charlotte Brontë’s Villette." Humanities 8, no. 2 (March 28, 2019): 65. http://dx.doi.org/10.3390/h8020065.
Повний текст джерелаАнотація:
Various critics have examined Charlotte Brontë’s Villette’s missing ending as a proof of Lucy Snowe’s unreliability in leaving the narrative purposefully ambiguous to escape her possible negative ending. I, however, interpret the ending as one of the ways in which she actively and positively refuses the concept of closure, and rather, creates, what I would call, a nomadic narrative. Nomadic narrative is term I coined based on the idea of Rosi Braidotti’s nomadic theory and Georg Lukács’s The Theory of the Novel to re-imagine Lucy’s narration and narrative, not as a concealment, but as an embracement of her nomadic subjectivity and acknowledgement that she has no true end. I further argue that nomadic narrative is a narrative that fractures and recreates itself through its gaps and rewritten portions, gaining its own sense of agency. Unlike narratives that only fixate on protagonists, nomadic narrative becomes an open and posthuman space that allows the incorporation of nonhuman subjects.
42
McClatchie, Stephen. "Narrative Theory and Music; Or, the Tale of Kundry's Tale." Canadian University Music Review 18, no. 1 (March 15, 2013): 1–18. http://dx.doi.org/10.7202/1014817ar.
Повний текст джерелаАнотація:
In recent years, narrative theory has been an influential model for many writers on music. Things in musical syntax like repetitions, expectations, and resolutions make it tempting to speak of music as narrative, as an emplotment of events, yet such a model in fact involves more narrativization than narrative. It is perhaps more fruitful to focus upon the musical side of unambiguously narrative moments. In this paper, I want to try to integrate recent approaches to musical narration by suggesting that narrative in music is a performance which functions according to the logic of the supplement. My approach will be two-fold: first, I want to justify restricting the enquiry to pre-existing narratives set to music by considering the limitations of the emplotment model; second, I shall use Kundry's Act II narrative in Wagner's Parsifal as a magnet to attract a number of narrative approaches: some will stick and some will not.
43
Abdullah Abdulateef, Huda. "Traumatic Narration: A Case Study of Toni Morrison’s Beloved." Journal of Education College Wasit University 4, no. 38 (May 3, 2020): 20. http://dx.doi.org/10.31185/eduj.vol4.iss38.1319.
Повний текст джерелаАнотація:
This paper examines Laurie Vickroy’s (2002) main traumatic narrative strategies of intimacy, fragmentation, the dissociation of the character’s identity, images and dialogical conceptions of witnessing. Therefore, at first, it defines trauma theory and its importance to the analysis of trauma narratives. Then, as a case study, it focuses on Toni Morrison’s Beloved (1987) in terms of its trauma narrative structure and themes that come from three different real stories. It mainly shows how Vickroy’s strategies work to uncover Beloved’s traumatic themes of mother-daughter (s) relationship, memory, community, slavery and freedom through traumatic narration of testimony and fragmented narrative structure. Eventually, this paper explains the meaning of slavery and freedom, racial violence and racial reconciliation in Beloved through its traumatic narration and structure.
44
Ibrahim Mohammed Alyasri, Ammar. "The Structural Representations for the Meta-Fiction in Postmodernism Films." Dirasat: Human and Social Sciences 49, no. 1 (August 2, 2022): 508–23. http://dx.doi.org/10.35516/hum.v49i1.1674.
Повний текст джерелаАнотація:
The research discusses the meta-narrative structure, which is a postmodern narrative , The first chapter included the problem of research, its purpose, importance and limits, while the second chapter included two sections, the first was under the title of postmodern narratives between the novel and the movie and the second under the title of mechanisms of construction meta-narrative in the film novel, while the third chapter included research procedures, while the fourth chapter Analysis of the sample is the film (Geneina fish)for the director (Yusri Nasrallah). From the results obtained, the research sample saw the technology of breaking the narration of narration on three levels, Through the comments of representatives, sub-titles and the embedded film, my research contains also sources.
45
Francese, Joseph. "Staged Narratives/Narrative Stages: Essays on Italian Prose Narrative and Theatre." Italian Culture 37, no. 2 (July 3, 2019): 171–73. http://dx.doi.org/10.1080/01614622.2019.1683271.
Повний текст джерела
46
Stampino, Maria Galli. "Staged Narratives / Narrative Stages: Essays on Italian Prose Narrative and Theatre." Italian Americana XXXVII, no. 2 (August 1, 2019): 205–6. http://dx.doi.org/10.5406/2327753x.37.2.32.
Повний текст джерела
47
Sellers, Annalee. "“A lot of men too indolent for whist—and a story” The Telling Situation in “Youth,” Heart of Darkness , and Lord Jim." Conradiana 51, no. 3 (December 2019): 153–77. http://dx.doi.org/10.1353/cnd.2019.a910734.
Повний текст джерелаАнотація:
ABSTRACT: This essay closely reads the “telling situations” of the Marlow trilogy. These meta-narratives represent a specific type of the storytelling “occasion” (James Phelan’s “narrative as rhetoric”) that is self-conscious. I argue Conrad was ultimately more interested in how we impose the form of a narrative onto a narration of another person’s life-events in an attempt to account for the other’s thoughts, feelings, beliefs, and desires than in the life-events themselves, hence my focus on meta-narrative and narration. In these meta-narratives, Marlow points to the ways in which his anticipation of his audience’s expectations for his stories (namely that a tale will set them to rest) have shaped their narrative structure. The shift in Marlow’s role as narrator from “Youth” to the subsequent tales is revolutionary: in “Youth,” Marlow’s tale is flawlessly transmitted and received, setting everyone involved at rest; in Heart of Darkness , Marlow refuses to satisfy his audience’s expectations, narrativizing Kurtz, through an unreliable interpretation of his last words, as a tragic hero in order, instead, to set himself at rest; and in Lord Jim , Marlow has transformed into someone who is wary of his own and others’ need to redeem Jim in the form of narrative. Marlow’s function as character-narrator is to make readers constantly aware that when someone—whether implied author, narrator, character, or implied reader—writes the stories of others’ lives, she does so as the result of some underlying motivation and under the pressures of her own and audiences’ expectations and narrative form.
48
D, Umadevi. "Counter-Narrative Tradition." International Research Journal of Tamil 3, no. 3 (July 26, 2021): 97–102. http://dx.doi.org/10.34256/irjt21313.
Повний текст джерелаАнотація:
The term “counter narrative” refers to a narrative that takes on meaning through its relation with one or more other narratives. While this relation is not necessarily oppositional, it involves a stance toward some other narrative(s), and it is this aspect of stance, or position, that distinguishes counter narrative from other forms of intertextuality. The article explained, “counter‐narratives only make sense in relation to something else, that which they are countering counter narratives has been seen as a means of opposing or resisting socially and culturally informed master narratives (about, for example, skin colour, ethnicity, and food culture), which are often normative or oppressive, or exclude perspectives or experiences that diverge from those conveyed through master narratives. In this sense, counter narratives play a role in storytellers positioning themselves against, or critiquing, the themes and ideologies of master narratives. Used in this way, “counter narratives” refer to “the stories which people tell and live which offer resistance, either implicitly or explicitly, to dominant cultural narratives” This articles explains the counter narratives on perception of black skin colour and food culture. Both the concepts of counter-culture and counter-narrative tradition are new in the folklore field of Tamil traction.
49
Filatov, Philip R. "Psychoanalytic case as a narrative and textual representation of the patient." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 8, no. 3 (September 1, 2023): 137–59. http://dx.doi.org/10.18522/2415-8852-2023-3-137-159.
Повний текст джерелаАнотація:
In the article a special type (form) of clinical history – a psychoanalytic case is considered as a narrative genre that has developed in the discursive practice of psychoanalysis at the intersection of medicine and literature under the influence of S. Freud’s classical works. According to the narrative approach, author of the article discusses, how the narration is constructed within the framework of psychoanalytic cases; the functions of case-narratives are clarified. It is noted, that in practice these forms of narration serve as models for understanding and structuring the experience of dialogic interaction between the analyst and his patient (analysand). At the same time, a case narrative is a means of professional self-identification, self-presentation and positioning of a practicing specialist in his collegial environment, a way to maintain and strengthen a sense of belonging to the psychoanalytic community. Apart from this, a psychoanalytic theory also has a narrative basis, which is extremely heterogeneous. Behind any theoretical construct of classical psychoanalysis there are one key (basic) narrative and series of additional ones. These are not only clinical stories, but also myths, literary works, psychobiographies of outstanding personalities. In content, a psychoanalytic case is always an epistemological narrative, a story about self-knowledge and knowledge of each other; struc-turally, it is a double narrative that unites two stories correlated with each other: “raw” or primary, compiled from the words of the analysand and his / her relatives, and processed or secondary, formed as a result of the analysis and including the dynamics of the transformative psychotherapeutic relationships. It is also stressed, that a distinctive feature of the narration in the case is the use of embedded narratives, in particular, analysand’s dreams or fantasies. Two questions are discussed: what happens when analysand becomes the personage of his psychoanalyst, and how we can characterize the representation of patient’s personality in the text of a psychoanalytic case.
50
Guerin, Caroline A., and Davi Thornton. "Narrating Space/Spatializing Narrative: Where Narrative Theory and Geography Meet." Quarterly Journal of Speech 103, no. 3 (June 7, 2017): 304–7. http://dx.doi.org/10.1080/00335630.2017.1331886.
Повний текст джерела