Routledge Encyclopedia of Narrative Theory
... Herman, Jahn and Ryan (2005) also concur to this notion and suggest that -a reliable narrator is one whose reports and judgments are endorsed by the implied author, and an unreliable narrator is one whose reports and judgements are not Additionally, the unreliable narrator also comes in both first-person narrator and third person narrator. Fludernik (2009) notes that a -First-person narration focalizes the narrative through the perspective of a single character. ...
... The concept of order in Genette's work is -the relation between chronological sequence and discourse sequence‖ Meaning that the chronological sequence of the narrative can go hand in hand with the discourse of the story or it can deviate from it. (Herman, Jahn, & Ryan, 2005). A story for instance that is experienced in a flashback or flash-forward would mean that the chronological sequences of the narrative do not align with the discourse that is why there is this to and fro in the narrative. ...
... For the most part, the element of Voice is usually intertwined with the narrator's position in the narrative (focalisation). However, Genette does not focus solely on the actual position but also on the persona so to say of the narrator and therefore distinguishes between -who is speaking by reference to grammatical person is inadequate because any narrator can say ‗I'‖ (Herman, Jahn, & Ryan, 2005, p. 504). ...
This research aims at identifying narrative structures and narratological concepts that link or separate the Western Narrative from the Postcolonial one. In narration, only the internal mechanisms have been dealt with whilst analysing. The core similarity between the two novels, Gone Girl - written by Gillian Flynn and Midnight's Children - written by Selman Rushdie - is that they ensue from oppression. Saleem, the unreliable narrator of Midnight's Children, blends his individualistic narrative derived from his memory with a nationwide narrative of the birth of India, resulting in a historiographic metafictitious narrative. Amy Elliot and Nick Dunne, the two narrators of Gone Girl, express the female-male power struggle analogised on the dominance over the narrator‘s position. Having proved to be a metafictitious unreliable narrator, Diary Amy was also employed as a narratological tool that helped Amy Elliot secure her narrative dominance. However, this research aimed to draw a schematic narratological literary analysis and compare the Western and the Postcolonial discourses, having uncovered that they are far more similar than dissimilar.
... This content was also presenting other characters that Claris talked about: her birthday friend, some friends whom both Claris and the birthday friend knew, and Claris's parents. Each unit of characters has a different role that produced the dramatic situation in this story [19]. ...
... Dramatic events are an occurred event in the narrative that exaggerates the situation [19]. The dramatic events in the narrative content gave fear effect to their audiences. ...
... Past experiences get involved in reconstructing story with a present point of view, in having past and present connected [19]. Retrospective narrative content in Jouska Instagram (see figure 6 and 7) explained step by step how financial problems or conflicts experienced by characters in the story can occur. ...
Based on theories of narrative paradigm by Walter Fisher, narrative and narratology, and storytelling, this descriptive study analyses the narrative content and storytelling on late Instagram of Jouska, the financial planning company in Indonesia. This study aims to get an understanding of how Jouska applied the narrative and storytelling criteria on its Instagram contents and how the content could persuade the audience to make a set of good associations linked to the brand in their mind. This qualitative content analysis collected data by using maximum variation sampling to decide the population, and then reduced it to get the sample. The coding frame was produced by using concept-driven strategy to get main categories. They are the criteria of a good narrative and storytelling based on theories: dramatic events, complex narrative, retrospective evaluation, causal development, enthymemes, storyline, responsive designed story, and catchy phrase. The complex narrative which most of them posted on Instagram Stories is more likely to have the complete criteria. The result of this qualitative content analysis shows that Jouska contents did not always have all criteria of a good narrative. The result also shows that the success of Jouska branding strategy due to dramatism in almost all narrative content.
... Stories are perceived to be a unique form of discourse that are built on consistent, identifiable structures. Their typical content and ordering can be described in terms of internal structures called schemata that are organizational units of the stories (Bartlett 1932, as cited in Herman et al. 2010). In Functional context of narratives, it may be understood as the different stage and phases that construct the narrative and which are realized through the interpretation of Functional labels such as Orientation-Resolution structures and setting, event, solution etc. labels. ...
... It connects the story in terms of space and time. (Herman et al. 2010). Considering the Functional narrative genre-based perspective, temporality and causality become the important components for events realization as the text unfolds following step by step procedures and realization of events takes place linearly under different staged and phrasal categories as where different episodes of the text are presented as timeline. ...
The present study aims to investigate a genre-based story phases analysis as to explore schematic structures in terms of stages and phases embedded in the selected narratives, by adopting the Sydney School approach that is inspired by Systemic Functional Linguistics. The analysis has been achieved through story family genre framework (Martin & Rose, 2008), which includes story phases genre analysis as its subcategory. Three narratives have been taken from Gulisatan e Saadi with the purpose to explore the hierarchical organization of the stories and unfold stages and phases of the selected texts. By applying story family strategy, the analysis has been achieved through three generic structures, namely orientation. complication and resolution, and through phases such as solution, reaction, comment, events and so on. The stages are stable components, while phase are variable. The findings state that the specific story generic frames unfold events through different hierarchies of stages and phases. Neither stages nor phases are constant in the narratives, rather they show inconsistency and variability in the stories.
... Por esse motivo, sem dúvida, podemos falar da narração como uma forma de organização das experiências humanas (MARCHESE, 1990, p. 149). Efetivamente, o homem conhece e decodifica o ambiente ao seu redor por meio de um paradigma narrativo sustentado por categorias consequenciais de espaço-tempo, causa-efeito (HERMAN, 2006(HERMAN, , 2013JAHN;RYAN, 2004). Assim sendo, parece razoável pensar em um verdadeiro instinto narrativo que nos faça falar, assim como Fisher (1987), de um homo narrans, além dos epítetos mais conhecidos do homem, como zoon politikon, homo faber, homo oeconomicus, etc. O reconhecimento da narração como paradigma de identificação próprio do homem (JEDLOWSKI, 2000) foi a força motriz da chamada virada narrativa, ramo científico com inúmeros desdobramentos. ...
... Por esse motivo, sem dúvida, podemos falar da narração como uma forma de organização das experiências humanas (MARCHESE, 1990, p. 149). Efetivamente, o homem conhece e decodifica o ambiente ao seu redor por meio de um paradigma narrativo sustentado por categorias consequenciais de espaço-tempo, causa-efeito (HERMAN, 2006(HERMAN, , 2013JAHN;RYAN, 2004). Assim sendo, parece razoável pensar em um verdadeiro instinto narrativo que nos faça falar, assim como Fisher (1987), de um homo narrans, além dos epítetos mais conhecidos do homem, como zoon politikon, homo faber, homo oeconomicus, etc. O reconhecimento da narração como paradigma de identificação próprio do homem (JEDLOWSKI, 2000) foi a força motriz da chamada virada narrativa, ramo científico com inúmeros desdobramentos. ...
... Framing so defined is adopted in the present study. According to Abbott (2002), Baker (2006) and Herman et al. (2005), framing can serve as a tool of analysis which demonstrates how the same narrative can be reframed in different ways by different narrators, including translators. Since framing by definition designates a perspective for the readership, it inevitably reflects a point of view that relates to the narrators' sociocultural positioning. ...
This article examines the various devices which the translators of Yeeyan Sport employ to reframe certain narratives of China and Chinese sport that were encoded in the Western media during the convening of the 2012 London Olympics. They range from selective appropriation, labelling, temporal and spatial framing, to repositioning of participants. In so doing, we are enabled to understand the hold of 'positioning' over linguistic production, and particularly how the translators' claimed position can conflict with their position which is performed in their action of framing and which is embodied in the narratives they construct in translation. It also calls attention to the role of news translation in reconstructing national identity, and particularly, how translation of sports news can be infused with ethnocentric undertones.
... The story in the novel also includes conversations which makes it more realistic. According to Herman, et al. (2010), conversations in a novel is to characterize the characters to bring out a sense of reality to the readers. Hence, the conversations are one of the important factors in a novel to make the story more sensible. ...
This study aims to analyze the speech acts based on Searle’s classification of illocutionary acts and perlocutionary acts in the teen novel, ‘Dilan, Dia adalah Dilanku Tahun 1990’. This research aims to identify and describe these acts as done by one of the main characters, Dilan. This research used a qualitative method. The data were in the form of a description where all of Dilan’s utterances are identified in the novel and further analyzed. The findings of this research showed that there are five types of illocutionary acts in the novel. They are assertive, directive, commisive, expressive, and declarative. The assertive type is the dominant type used by Dilan rather than the other types. In terms of the perlocutionary act, the effect of Dilan’s utterances tends to persuade his hearers, impress, encourage, convince, amuse, intimidate, inform and surprise them. As a consequence, persuading the hearers is the dominant effect based on Dilan’s utterances. The context of situation determined all the acts performed by this main character. Conclusively, the findings of this study are expected to broaden the context of linguistics, especially of speech acts as a part of pragmatics in linguistics.
... According to the narrative, the space on TikTok can be divided into story space and discursive space. The former refers to the present context in which the act or story takes place, while the latter refers to the narrator's space, including the context in which the narrator tells or writes (Herman et al., 2010). Most of the videos are dominated by the narratives of TikTok users, and the narrator is often the experiencer of the space. ...
The city on social media has become a hot topic in the study of city communication and city image. From the perspective of spatial theory and the communication characteristics of social media, this paper divides the spatial imagery of TikTok into three spaces: material space-cognitive attention, mental space-mental association, and relational space-emotional involvement. Based on the content analysis of 40 videos, we analyze the process of social media using cognition, association, and emotion as the starting points to increase the material space, expand the mental space, and expand the relational space. We find that spatial imagery can be co-constructed from the material space, mental space, and relational space. Lastly, the model is changed, and the value of using spatial theory to understand how city images are made is talked about.
... Narrative has a history almost as long as human beings. As early as in ancient Greece, Aristotle already had a discussion of narrative [19]. In the view of historians, to organize the material in chronological order and concentrate the content into a continuous story can be regarded as narrative [20]. ...
Recent decades have seen an increasing interest in the urban regeneration of inner-city areas in China. As urban areas take shape based on cultural aspects as much as on physical aspects, this paper employs the theory of place narrative to explore the strategies involved in culture-oriented urban regeneration. Initially, this paper sets out the basic theory of place narrative, which is relevant not only for the way in which a particular regenerated urban area is presented to the general public, but also for the way in which the hidden cultural information of the city translates into concrete urban developments. It also examines the urban regeneration of Haiyan (Zhejiang), an ongoing case, by applying methods and concepts of narrative theory. The main idea of urban regeneration is illustrated, based on the use of ‘culture’ as the revitalizing mechanism. Firstly, the method of place narrative is used to sort out and interpret the cultural information, which is commonly attached to the cultural resources in the context of urban space. Secondly, based on the idea of narrative structures, cultural resources can be integrated into the urban system connotationally and physically as well. Thirdly, cultural events are organized in the urban space to promote the experience of the place. The greatest contribution of this research is to provide a new approach, i.e., place narrative, to culture-oriented urban regeneration and for its sustainable development as well.
... Researchers of neuropsychology provide another definition of narrative: "in part, a coherent causal-temporal ordering of select information" (Mar 2004(Mar , 1425. David Herman also describes narrative as "a tool for thinking" that functions in various ways, for instance, often as "a problem-solving strategy" (Herman 2003, 163) and a "basic human strategy for coming to terms with time, process, and change" (Herman 2010) while Roger Schank simply states that "storytelling and understanding are functionally the same thing" (Schank in Young and Saver 2001, 73). A similar view, inspired by phenomenology, is that "it is the human mind that organizes into discrete entities a world which is otherwise continuous and fluid. ...
... The plot is another important variable. There is extensive discussion of narrative, story and plot within literary and cultural theory (see e.g., Herman et al., 2010;Ryan, 2017). In this chapter, I use both terms-narrative and story-but it is worth bearing in mind that there are differences between them. ...
‘Setting out to de-mystify energy innovation, this book provides a comprehensive, grounded and accessible overview of the insights that a social perspective on energy transitions brings. With a focus on smart grids, drawing on examples from Australia and around the world, it explores the dynamics of innovation in practice, the stories we tell about it, and how nostalgia for times gone past will shape energy futures. A practical, insightful guide for the transition pathways ahead.’
—Professor Harriet Bulkeley, Durham University, and Copernicus Institute of Sustainable Development, Utrecht University
‘The electricity grid already was a uniquely complex machine so what does it take to make it “smart”? Engineering can detail the material ingredients, but only the social sciences can explain the messy process of trying to make such innovations happen. In the short space of this unique book, Lovell provides expert guidance to the social science theories behind innovation, sheds new light on Australia’s smart grid experiments and (wait for it) explains why nostalgia matters.’
—Dan van der Horst, Professor of Energy, Environment and Society, University of Edinburgh
‘Lovell presents an accessible and insightful framework for considering energy innovation. Through current case studies, she makes a powerful argument for more attention to be given to the social and human dimensions of innovation in the energy transition. This is a valuable contribution for those who commission and fund energy research, those who undertake research, and those who use the results.’
—Drew Clarke, Chair, Australian Council of Learned Academies (ACOLA) ‘Australian Energy Transition Research Plan’
This open access book uses smart grids to explore and better understand energy innovation, from a social science perspective. It provides ways to think about and plan for energy sector reform and innovation, drawing on core ideas from social and innovation theory, and centred on smart grids as a case study.
Heather Lovell is Professor of Energy and Society at the University of Tasmania, Australia.
... The plot is another important variable. There is extensive discussion of narrative, story and plot within literary and cultural theory (see e.g., Herman et al., 2010;Ryan, 2017). In this chapter, I use both terms-narrative and story-but it is worth bearing in mind that there are differences between them. ...
Stories pervade society and play a role in helping us to simplify and make sense of new innovations such as smart grids. Narratives are useful to study not only because of the things, people and organisations that they speak to but also because of the things that are not said—the silences. There are many narratives about smart grids and in this chapter I explore three examples: a global industry narrative about households and their willingness to participate in smart grids; a narrative of policy failure about a smart grid project in the State of Victoria, Australia; and narratives that compete with smart grids, including the hydrogen economy and off-grid energy futures.
... Over the last few decades since the narrative turn, psychologists have shown growing interests in understanding individuals' narrative and narrative identity that challenges the positivist approach to examine human experiences (Bruner, 1986;Herman et al., 2010;McAdams, 1985). Narrative identity, or the concept of identity as a life story, is an evolving process that remains to be worked on throughout one's life course (McAdams, 1985(McAdams, , 2018McLean, 2017). ...
In this article, we focused on the polyphonic view of one’s narrative identity as dialogical, multiple, and decentralized. We first briefly summarized the major tenets of the dialogical self theory (DST) and discussed limited attention to individuals with intersecting marginalized identities within the DST literature. To illustrate the complexity and interwovenness of such individuals, we employed a composite case study of Lee, an East Asian gay sojourner in the U.S. who is negotiating the process of coming out. We dissected three of Lee’s I-positions (i.e., I-as-Queer, I-as-Moral, I-as-Diasporic) across two different time points and discussed the dialogical relationships between each position both spatially and temporally. Lastly, we discuss DST-oriented clinical strategies and potential directions for future research.
... Unlike traditional vignettes, CYOA paradigms require a certain degree of literary creativity and planning from the developer. Based in literary fiction, these interactive narratives include several elements that aid participants in placing themselves in the situation and experiencing high degrees of personal engagement: fragmentation, use of second-person language, vivid mental imagery and language, and a clear relation between decision and subsequent narrative (Green & Jenkins, 2014;Herman et al., 2010). A CYOA narrative is fragmented; broken into passages, which are displayed to the participant separately (Freedman et al., 2018). ...
Research into suspect and defendant decision-making has predominantly utilized three paradigms: retrospective accounts, vignettes, and cheating paradigm studies. All three have been limited in their ability to capture the complexity and interdependence of decisions across the legal process, prompting arguments for the need to devise additional research paradigms for the study of defendant decision-making. In this paper, we describe the development and initial testing of a new paradigm with which to study these decisions: a Choose-Your-Own-Adventure (CYOA) experiment depicting the entire legal process, in the context of a campus sexual assault allegation. Using data from 154 predominantly white (75%), college-age (M = 23.43, SD = 2.3), heterosexual (71%) male participant-defendants, we evaluate the advantages of the paradigm in capturing the complexity of the legal process, while generating strong participant immersion. Bayesian SEM analyses indicated interrelatedness among several participant decisions, highlighting the impact of self-assignment of guilt status and attorney advice on subsequent decisions. Participants also reported strong emotional investment in their character's outcomes, perceptions of agency and control, as well as situational realism within the paradigm. Results show the promise of the CYOA as a cost-effective, engaging, easily customizable paradigm with which to study criminal defendant decision-making.
... Unlike traditional vignettes, CYOA paradigms require a certain degree of literary creativity and planning from the developer. Based in literary fiction, these interactive narratives include several elements that aid participants in placing themselves in the situation and experiencing high degrees of personal engagement: fragmentation, use of second-person language, vivid mental imagery and language, and a clear relation between decision and subsequent narrative (Green & Jenkins, 2014;Herman et al., 2010). A CYOA narrative is fragmented; broken into passages, which are displayed to the participant separately (Freedman et al., 2018). ...
Research into suspect and defendant decision-making has predominantly utilized three paradigms: retrospective accounts, vignettes, and cheating paradigm studies. All three have been limited in their ability to capture the complexity and interdependence of decisions across the legal process, prompting arguments for the need to devise additional research paradigms for the study of defendant decision-making. In this paper, we describe the development and initial testing of a new paradigm with which to study these decisions: a Choose-Your-Own-Adventure (CYOA) experiment depicting the entire legal process, in the context of a campus sexual assault allegation. Using data from 154 predominantly white (75%), college-age (M = 23.43, SD = 2.3), heterosexual (71%) male participant-defendants, we evaluate the advantages of the paradigm in capturing the complexity of the legal process, while generating strong participant immersion. Bayesian SEM analyses indicated interrelatedness among several participant decisions, highlighting the impact of self-assignment of guilt status and attorney advice on subsequent decisions. Participants also reported strong emotional investment in their character's outcomes, perceptions of agency and control, as well as situational realism within the paradigm. Results show the promise of the CYOA as a cost-effective, engaging, easily customizable paradigm with which to study criminal defendant decision-making.
Gandhi structures his life story around the conducting of a series of experiments with Truth through which he hopes to achieve moksha: ultimate spiritual salvation in the form of communion with God. His objective in documenting these experiments was to reveal to his readers the path to Truth; as his narrative was structured around these spiritual experiments, he asserted that it charted the journey of his soul rather than his self and was therefore devoid of the egotism typical of autobiographical writing. As discussed earlier, as autobiographical writer/narrator/subject, Gandhi’s construction of selfhood is concomitantly woven into and part of the very fabric of this autobiographical text. This chapter employs a cognitive stylistic typology—Emmott’s (2002) model of “split selves”—which facilitates analysis of the composition of the autobiographical identity linguistically represented in the text.KeywordsGandhi
An Autobiography, or The Story of My Experiments with Truth
Indian autobiographyCognitive Stylistics“Split selves”
Commentary that observes the frequency of the appearances of images of disaster pervades much of the discourse surrounding postwar Japanese popular culture, and especially Japanese science fiction. Against such approaches, I argue that it is more productive to read these narratives of disaster through the critical lens of the genre’s engagement with the problem of futurity. My contention then is that these narratives of disaster do not merely function as imaginative repetitions or re-enactments of past events, but also take on an anticipatory quality, affectively preparing and the ground for and pre-empting responses to future events. I examine the work of Komatsu Sakyō (1931–2011) in particular, whose writing makes for an illustrative test case for articulating the premediative dimension of disaster narratives in postwar Japanese science fiction.
This chapter outlines some theoretical aspects concerning continuous pictorial narrative, as dealt with in the domains of art history, psychology and its neighbouring fields and psychology of art, focusing on selected studies useful for framing issues relevant to the study presented in the following chapters. The study was specifically designed to inquire how artists solve the problem of telling the episodes that compose a story, which have a sequential and therefore temporal progression, using static media that both perceptually and representationally are distinguished only by spatial sign-elements. More broadly, it also pursued the intention to inquire how artists’ representational intents are linked to both certain psychological ‘rules’ and certain historical-artistic conventions or constraints, trying to join two strands of research, psychological and art-historical, and two interconnected components of art-making – rules of vision and rules of composition – considering the knowledge of the artist in its cognitive entirety and the artistic work as a Gestalt, that is, in its wholeness.
Through an external approach, this chapter surveys the different storyworlds of the selected texts, categorized by whether in these worlds the characters act, make others act, or are acted upon, according to possible worlds theories applied to cognitive narratology in Fictional Minds by Alan Palmer and his interpretations of Lubomir Doležel’s Heterocosmica. In relation to the dual structures of these storyworlds suggested by Doležel, in which each (sub)genre’s storyworlds pair ability and another modality—those of knowledge (science fiction), duty (dystopian speculative fiction), and a deceptive ability (transfiction), respectively—this chapter depicts dissonant fictional minds in action that both gradually become resistant to the world they live in and whose readings make them aware of their different embodiments: mutants (science fiction), witnesses (dystopian speculative fiction), and body-corpora (transfiction).
This special issue deals with existing theory narratives and conceptions in DH scholarship. Introducing the neologism “theorytellings”, this special issue invites DH scholars to narrate and discuss their own theoretical contributions to the field.
This book calls for an investigation of the ›borderlands of narrativity‹ — the complex and culturally productive area where the symbolic form of narrative meets other symbolic logics, such as data(base), play, spectacle, or ritual. It opens up a conversation about the ›beyond‹ of narrative, about the myriad constellations in which narrativity interlaces with, rubs against, or morphs into the principles of other forms. To conceptualize these borderlands, the book introduces the notion of »narrative liminality,« which the 16 articles utilize to engage literature, popular culture, digital technology, historical artifacts, and other kinds of texts from a time span of close to 200 years.
The following study addresses, from a design perspective, narrative visualization using augmented reality (AR) in real physical spaces, and specifically in spaces with no semantic relation with the represented data. We intend to identify the aspects augmented reality adds, as narrative possibilities, to data visualization. Particularly, we seek to identify the aspects augmented reality introduces regarding the three dimensions of narrative visualization—view, focus and sequence. For this purpose, we adopted a comparative analysis of a set of fifty case studies, specifically, narrative visualizations using augmented reality from a journalistic scope, where narrative is a key feature. Despite the strong explanatory character that characterizes the set of analyzed cases, which sometimes limits the user’s agency, there is a strong interactive factor. It was found that augmented reality can expand the narrative possibilities in the three dimensions mentioned—view, focus and sequence—but especially regarding visual strategies where simulation plays an essential role. As a visual strategy, simulation can provide the context for communication or be the object of communication itself, as a replica.
Augmented Reality (AR) has become an increasingly used technology to support and enhance the enjoyment of cultural heritage. Particularly relevant is its importance for digital storytelling: by framing a portion of a fresco or painting with a smartphone, an AR mobile application can provide contextually relevant information, also in the form of multimedia content, that can help the user to understand the story and meaning behind the images. In this type of application, human factors are of fundamental importance for the effectiveness of the narrative: a mobile AR application must avoid distracting the user’s attention from the content in order to encourage a good level of concentration and immersion. The case study presented in this paper deals with a mobile AR application developed to guide visitors in the interpretation of the frescoes inside the Basilica of Saint Catherina of Alexandria in Galatina. The aim of the study is the analysis of the relations among usability, user experience and mental workload factors in AR-based digital storytelling.
Oyunların bilimsel çerçevede incelenmeye başladığı ilk yıllardan itibaren, oyunların bir
anlatı olup olmadığı üzerine tartışılmış, günümüzde ise oyunların interaktif hikâyeler içeren
anlatılar oldukları düşüncesi kabul görmüştür. Bugün oyunlar, “Oyun Çalışmaları” başlığı
altında incelenmektedir. Dijital oyunları oluşturan ögelerden biri olan oyun hikâyesi, oyun
tasarımcıları tarafından kurgulanmaktadır. Ancak, oyun çalışmalarında önemli bir yeri olan
etkileşimin, çizgisel oyun tasarımına sahip olan örnekler söz konusu olduğunda nasıl bir etkiye
yol açtığı net bir biçimde açıklanmamıştır. Bu çalışmada, çizgisel oyun tasarımına sahip olan
The Last of Us Part I ve Part II oyunlarının hikâyesi, anlatı oluşturucularından biri olan
çekirdek/uydu kavramları açısından incelenmiştir. İnceleme sonucunda, oyuncunun etkileşimi
ile ortaya çıkan hareket ve olayların, oyunların uydu olaylarını oluşturduğu görülmüştür.
Oyuncunun etkileşimine izin vermeyen, oyun içerisinde yeni görevler sunan ve oyun
anlatısında büyük öneme sahip olan çekirdek olayların ise sinematik ara sahneler ile
gerçekleştiği saptanmıştır.
This article studies the spatial lexical item “Northern Country” that seemingly acquired an ideological character in historically crucial periods of the Georgian monarchy, that is, the 4th and 19th centuries. It attempts to overview the semanticization process of the concept “Northern Country” through analysis of historical literary works depicting the Christianization of Georgia on the one hand, and 19th century colonial period Georgian poetry on the other, as well as define literary strategies that furnished the spatial marker with national stereotypical meaning. The research is based on the theoretical foundations of the study of national self-imagery. In the given context, literature represents a medium of public awareness.
Orhan Kemal’in Murtaza romanı önce 17 Ocak-29 Şubat 1952 tarihleri arasında Vatan gazetesinde tefrika halinde yayımlanmış, ardından aynı yıl kitap halinde basılmıştır. Roman olarak ilgi gören Murtaza, sinema ve tiyatroya da uyarlanmıştır. Çeşitli çalışmalarda farklı yönleriyle ele alınan roman, bu makalede laytmotifler açısından incelenmiştir. Çalışmanın giriş kısmında terim sözlüklerinden yola çıkılarak bu tekniğin tanımı ve edebi eserlerde kullanılışı hakkında genel bilgiler aktarılmıştır. Ardından Murtaza romanıyla ilgili kısaca bilgi verilip asıl konu olan laytmotiflere geçilmiştir. Makale, laytmotif tekniğinin romanda nasıl kullanıldığını göstermeyi hedeflemektedir. Romandaki laytmotifler çeşit ve işlev açısından iki ana başlıkta ele alınmıştır. Laytmotif çeşitleri, toplumsal değerlerle, fiziksel özelliklerle ve davranış şekilleriyle ilgili tekrarlar olmak üzere üç alt başlıkta değerlendirilmiştir. Murtaza romanında laytmotiflerin iki temel işlevi saptanmıştır: karakter çizme ve mizahi bir atmosfer oluşturma. Sonuç kısmında ise romandaki tekrarların hangi amaca hizmet ettiği ve esere ne kattığı soruları cevaplanmaya çalışılmıştır. Murtaza romanı laytmotif tekniğinin romanda geniş ve başarılı bir şekilde kullanıldığı örneklerden biridir.
There are multiple different narrative modes in the Indian tradition with stories told mainly through performances and the storyteller often seen as a teacher. Education in India often has to cater to diverse needs, respond to extreme challenges resulting – among others – from multiplicity of languages and cultures and lack of students’ motivation, which are present in many other countries. I observed the endeavours of a non-profit organisation Katha in its real environment in New Delhi. I gathered the data on Katha’s activities using mostly narrative inquiry focusing on Katha’s specific categories which in turn revealed Katha’s narrative approach – the most important initiatives are underpinned by the stories and the desire to allow children to take joy from reading them. I describe some of the similarities I observed in other educational projects in Brazil and Colombia in order to show their interconnectedness, the integration of the teaching and learning processes with stories, the holism of the endeavours, where all the activities are governed by the common goal of relevancy to the lives of the children and emotions forming an essential part of classroom activities. The observations made me realise that besides the teacher training and curriculum curation it was the engagement of the community that was the core of the success of Katha’s activities enabled by the stories and storytelling.
The proponents of the contemporary storytelling boom, such as professional business storytellers and self-help coaches, urge individuals, groups, institutions, and corporations alike to find and tell their story. Social media as the predominant narrative environment for contemporary storytellers promotes the instrumentalization and commodification of stories of personal experience. Literary fiction as the primary locus for narrative experimentation finds itself conditioned and challenged by the story logic of social media, but it also possesses unique affordances for a critical engagement with the current celebration of narrative. How should a narrative theorist position oneself vis-à-vis these developments that are currently changing the public notions of what narratives are and what they can do? By drawing from narrative hermeneutics and cognitive and rhetorical narratology, this article outlines a “story-critical” approach to the current storytelling boom and provides examples of how to bring narrative-theoretical findings to bear on public and professional nonacademic storytalk. The article focuses particularly on a critical analysis of storytelling consultancy, provides an overview of antinarrativist approaches and recent criticism of the storytelling boom in narrative studies, analyzes the story logic of social media, discusses the critical potential of contemporary “metanarrative” forms of fiction, and proposes narrative hermeneutics as one possible paradigm for the critical examination of storytelling cultures. It concludes by envisioning future forms of public critical engagement for narrative theorists. Popular notions of narrative tend to celebrate the cognitive and moral benefits of storytelling while downplaying the limits of narrative understanding and popular story formulas; this article thus identifies the dissemination of tools for a critical narrative analysis among various audiences as an important task for narrative scholars.
El artículo cuestiona el performance masculino en condiciones de guerra en la novela La sirvienta y el luchador (2011), de Horacio Castellano Moya, y cómo un tipo de masculinidad residual es reiterada a través de prácticas y fantasías y, a su vez, avalada por una sociedad heteropatriarcal. Dentro del mundo narrativo, la interconexión militarismo y comunidad masculina es evidente; la guerra ha intoxicado la vida de sus personajes. Tanto las figuras de Belka y Rita logran crear estrategias de sobrevivencia en un mundo marcadamente hostil. Basado en las nociones de la narratología feminista (Lanser, 1986), la interseccionalidad (Hill Collins, 2019) y los estudios críticos de las masculinidades (Horrocks, 1994; Higate, 2003; Brandes, 2003), el artículo explora las dimensiones negativas de las masculinidades residuales y sus imperativos. Para poner en perspectiva la novela se consideró necesario, primero, abordar la cuestión militar en la producción moyana, lo cual deja ver las profundas conexiones históricas y psicosociales; de ahí que, por ejemplo, una de las referencias teóricas sea Martín-Baró (1990). El artículo está dividido en cuatro partes: militarismo, una revisión a la crítica sobre La sirvienta y el luchador, los imperativos masculinos en la guerra y las conclusiones.
In this study, evaluative language in narratives of 15 healthy and 15 schizophrenic females was compared using the Structure of Evaluative Components. The two groups were matched for chronological age and socioeconomic status. A movie named “The Pear Film” (http://chafe.faculty.linguistics.ucsb.edu/pearfilm.htm) was used to elicit the narratives. The Goal evaluative component in the schizophrenic population and the Ownership in healthy individuals were used more than other components within the narratives of each respective group. Significant differences (Mann-Whitney and t-test) between the two groups in using evaluative components were determined using statistical analysis. In general, patients used less evaluative components in their narratives compared to healthy participants and as per specific components, healthy subjects utilized five evaluative components more than patients, which was found to be a significant difference; Goal, Assumption, Ownership, Metaphor, and Causality were those five components. These findings confirm that the ability to use evaluative language in schizophrenia is reduced.
This article aims to examine Nasturi-Kurdish socio-cultural relations by
employing the field research data and narrative theory from the 19th
century to the First World War. This study examine the axis of the
Nestorian and Kurdish socio-cultural relations who lived together in
Hakkari, their historical progress and transformation. In addition, this
study further explores the similarities and differences between the nasturi
and kurdish marital customs, mystical beliefs, and daily lifestyles. The data
of the study were obtained through conducting semi-structured
interviews in Hakkari and its districts and the Kurdistan Regional
Government. The data obtained from the field research were compared
with the Nasturi and Kurdish perspectives. Pierre Bourdieu’s relational
sociology and narrative theory were used for data analysis. This study
highlights the context of the social life practices of Nasturi and Kurds who
have lived together for centuries from the perspective of the descendants
of both communities. Although Nasturi and Kurdish religion and language,
the daily life, tribal formations, traditional customs and cultural lives differ,
these two communities share quate many socio-cultural similarities. This
study indicated that the relations of both communities have historically
been based on friendship and neighborliness. Hovewer, such relations
were frequently disrupted by the work of missionaries and foreign
influences. Nasturi and the Kurds have upheld shared and common sociocultural values that have flourished throughout history. However, often
with the influence of external factors, these socio-cultural values have
been replaced by intransigences and conflicts
This study addresses the journey of Håkan, a young Swedish man who does not speak English, and the obstacles he encounters during his quest to locate his brother, Linus, in Hernan Diaz's In the Distance, (2017). Håkan becomes a legend in the eyes of the indigenous people and the immigrants who meet him in the landscape of the American West. However, he is lost in the wilderness of West America, unable to move forward to find his brother or travel back to his home. Through an archetypal approach, this study probes deeply into the impact of such archetypes as hero, journey, the American Dream, and others on Håkan's life, a life which becomes boring, routine, and repetitious. The study also traces the narrative techniques used by Diaz to make the readers live the experiences of the protagonist, which are marked by perplexity, stagnancy, and repetition. The focus is on the techniques relevant to aspects like style, plot, setting, and character, and how such techniques integrate with the archetypes to assist the readers in clearly understanding the story. The study finds many archetypes used by the author to manifest Hå kan as a myth, a giant, sometimes a killer, and a villain accused of murdering indigenous people, as they claim. The use of the narrative techniques of language, spaces, repetition, and backstory are intertwined with the archetypes to show the stages of loss and stagnancy in Håkan's life during his quest for his brother in that large wilderness of West America.
Daniel Defoe's novels have long been studied as eighteenth-century novels of religious morality. These novels have frequently been seen as stories of sins, exploring the courses taken by the narrator-protagonists to repent and find physical and spiritual deliverance after being punished. Unlike these studies, this dissertation uses a recent theoretical framework in literary trauma studies to look at seven of Defoe's novels as first-person retrospective narrations of transgressions regarding familial obligations and to analyze the construction of fictional moral injury through stylistic techniques in the narrative. To do so, it uses Pederson's moral injury model to investigate filial, parental, and matrimonial transgressions and their ensuing moral injury. Three key arguments drive this research. Firstly, the theme of moral injury is not limited to recent narrative fiction, or to narrowly-defined trauma fiction. Secondly, a detailed analysis of these novels reveals that not every act of transgression causes moral injury because transgressors' personal moral values and abilities to contextualize these actions are principal factors in producing moral injury. Finally, the themes of literary texts (such as Defoe's recurring theme of transgressions and moral injury) can impact the form and style of that text (here in the case of temporal distortions, often supported by certain literary tropes). As a result of its thematic and textual analysis, this dissertation supports its arguments and reveals how the narrative structures in Defoe's novels are manipulated to represent these narrators' senses of shame and guilt and their ways of working through these feelings.
https://hdl.handle.net/11511/97310
This study explores the relational process of catching feelings and examines how emerging adults view the catching feelings process. In a two-step collection process through focus groups (n = 17) and individual interviews (n = 15), collegiate (or early) emerging adults discussed the relational process of catching feelings. This relational process begins when initially the person who catches feelings engages in a relational investigation of their potential new partner, relying on disclosure to cultivate their budding feelings. This relational investigation, using rumination and information seeking to reduce uncertainty, helps to bring individuals closer to their Person of Interest, hopefully culminating in mutual disclosure and connection. These findings offer insight into the conceptualization of emerging adult contemporary romantic relationships.
Policy regarding people arriving by boat in order to seek asylum was a key focus of political discourse during the 2013 Australian Federal Election campaign. Evening television news reports on the unfolding election revealed a bipartisan push for increasingly punitive approaches to the treatment of people seeking asylum. As such borders and the processes and practices involved in discursively constructing them, as well as the linguistic and visual strategies deployed around maintaining and protecting them were dominating themes of political discourse throughout the campaign and the ensuing election coverage.
Psychotherapie lebt vom Erzählen. Der Alltag des Patienten kommt als erzähltes
Leben in die Behandlung. Patienten erzählen, Therapeuten auch. Patienten erzählen
aus ihrer Biografie, Therapeuten erzählen in Supervisionen und Falldarstellungen
von ihren Patienten. Sie gebrauchen erzählende Rede, wenn sie Konflikt,
Struktur, Beziehungsmuster und Kindheitsentwicklung schildern. Man erzählt
von Patienten Geschichten über günstige oder schädliche Beziehungsschicksale,
man schenkt ihren Alltagserzählungen und Träumen Aufmerksamkeit. Den Erzählungen des
Patienten genau zuzuhören, ist für den Therapeuten professionelle Pflicht.
Patienten sprechen von Beschwerden und Problemen, und sie tun das erzählend.
Sie erzählen vom Beginn ihrer Beschwerden, ihrer Biografie und ihren Belastungen.
Erzählen ist ein Regulativ des Befindens. Der Therapeut findet als narrativer
Experte Zugang zu den Präferenzen, Aversionen, Anliegen und Blockaden des Patienten.
Das gelingt über narrative Teilhabe. Der therapeutische Pakt mit der narrativen
Welt ist für die Vertrauens- und Verständnisbildung zentral. Für Entwicklung und Veränderung im psychotherapeutischen Geschehen braucht es den Mut zum Perspektivenwechsel, den
Blick auf den Dritten, die lebenspraktische Orientierung. Das therapeutische Gespräch
entfaltet also einerseits das persönliche Weltverhältnis des Patienten, andererseits
ermutigt es zum Verlassen der narrativen Heimatbasis.
Im Buch wird aufgezeigt, welche Rolle das Narrativ in der Psychotherapie spielt, besonders in psychodynamischen Zusammenhängen. Das Buch profitiert in hohem Maße von Ton- und Videoaufnahmen, die Eingang in
die psychotherapeutische Forschung , auch Supervision und
Behandlungsalltag gefunden haben. Daher ist es möglich, das biografische Erzählen in der Therapiesituation in
zahlreichen Beispielen vorzustellen, zu beschreiben und die kommunikative wie
auch klinische Bedeutung der genauen Exploration einzelner Erzählungen herauszustellen.
Besondere Aufmerksamkeit gilt dem Wunsch. Erzählen ist, so könnte
man sagen, Wunschdenken. Lässt sich das im Einzelfall zeigen? Ist das nützlich
für Psychodiagnostik und Psychotherapie? Darauf wird ausführlich eingegangen.
Wie Therapeut und Patient Erzählungen zum gemeinsamen Gegenstand ihrer
Aufmerksamkeit machen und zum Verstehen von Konflikt, Beziehung und zentralen
Anliegen des Patienten gelangen können, diesem Interesse gilt der Schlussteil
des Buches.
Los Libros de Texto Gratuitos (LTG) son repartidos desde 1960 como textos de enseñanza escolar y son obligatorios para todos los niños mexicanos. Este hecho los convierte en una herramienta de dominación ideológica utilizada por el gobierno para diseñar, entre otras cosas, un modelo compartido de identidad nacional. Por esta razón, los propósitos de esta investigación han sido los de analizar las estrategias de construcción discursiva mediante las cuales se estructuró el Modelo Cognitivo Idealizado (MCI) de identidad nacional mexicana en cuatro generaciones de LTG de primero de primaria (1960-1971; 1972-1980; 1981-1993; 1994-2009); verificar cuál fue la evolución de dicho MCI; y dilucidar en qué medida se refleja en las narrativas de personas que estudiaron con estos libros. El proyecto se estructuró en torno a dos ejes que dividen el estudio en dos partes. La primera comprende el análisis multimodal (icónico y verbal) de los libros abordado a partir de herramientas de la Lingüística Cognitiva, los Estudios Críticos del Discurso de orientación sociocognitiva y la semiótica social. La segunda parte de la investigación es de tipo empírico e implica la realización de entrevistas semidirigidas y el análisis de la manifestación de estos MCI en las narrativas de personas que utilizaron los manuales durante su educación primaria. Así, los aspectos más novedosos de esta investigación son, por un lado, la naturaleza del corpus, que incluye cuatro generaciones tanto de LTG como de individuos, lo cual hace posible un estudio diacrónico y contrastivo del esquema mental identitario. Además, el análisis de los libros escolares mexicanos aquí propuesto, forma parte de los pocos trabajos que se anclan en perspectivas lingüísticas, ya que la mayoría de las investigaciones se han hecho en el ámbito de la antropología, la historiografía, la sociología y las ciencias educativas. Por otro lado, el acercamiento altamente interdisciplinar constituye un aporte importante en el campo de los estudios del discurso en español. En especial, la utilización de herramientas de la LC brinda novedad a la investigación debido a que el análisis crítico desde un punto de vista cognitivo constituye un terreno prácticamente ignoto.
ABSTRACT:
Free Textbooks (LTG) have been distributed since 1960 as school textbooks and are compulsory for all Mexican children. As such, they have functioned as instruments of ideological domination used by the government, among other functions, to present a shared model of national identity. For this reason, the general purpose of this research has been to analyze the strategies of discursive construction through which the Idealized Cognitive Model (Lakoff 1987, MCI) of Mexican national identity was structured into four generations of first- primary LTGs (1960-1971; 1972-1980; 1981-1993; 1994-2009), how and why these models were modified in the newer editions and to what extent such MCIs are reflected in the narratives of people who studied with these books. The project was structured around two axes that divide the study into two parts. The first includes the multimodal analysis (iconic and verbal) of the books approached using methodologies from Cognitive Linguistics (CL), Critical Discourse Studies with a sociocognitive orientation and Social Semiotics. The second, empirical part of the research has involved semi-guided interviews and the analysis of how these ICMs are manifested in the narration of people who used the manuals during primary education. Thus, the most novel aspects of this research are, on the one hand, the nature of the corpus, which includes four generations of both LTG and individuals, which makes possible a diachronic and contrastive study of the identity mental scheme. Also, the analysis of Mexican schoolbooks here proposed, is part of the few works that are anchored in linguistic perspectives, since most of the research has been done in the field of anthropology, historiography, sociology and educational sciences. On the other hand, the highly interdisciplinary approach constitutes an important contribution in the field of discourse studies in Spanish. In particular, the use of CL tools provides novelty to this research because critical analysis from a cognitive point of view constitutes practically unknown terrain.
The Routledge Handbook of Translation History presents the first comprehensive, state-of-the-art overview of this multi-faceted disciplinary area and serves both as an introduction to carrying out research into translation and interpreting history and as a key point of reference for some of its main theoretical and methodological issues, interdisciplinary approaches, and research themes.
The Handbook brings together 30 eminent international scholars from a wide range of disciplinary backgrounds, offering examples of the most innovative research while representing a wide range of approaches, themes, and cultural contexts. The Handbook is divided into four sections: the first looks at some key methodological and theoretical approaches; the second examines some of the key research areas that have developed an interdisciplinary dialogue with translation history; the third looks at translation history from the perspective of specific cultural and religious perspectives; and the fourth offers a selection of case studies on some of the key topics to have emerged in translation and interpreting history over the past 20 years.
Scholars have been investigating detective stories and crime fiction mostly as literary works reflecting the societies that produced them and the movement from modernism to postmodernism. However, these genres have generally been neglected by literary geographers. In the attempt to fill such an epistemological vacuum, this paper examines and compare the function and importance of geography in both classic and late 20th century detective stories. Arthur Conan Doyle’s and Agatha Christie’s detective stories are compared to Mediterranean noir books by Manuel Montalbán, Andrea Camilleri and Jean Claude Izzo. While space is shown to be at the center of the investigations in the former two authors, the latter rather focus on place, that is space invested by the authors with meaning and feelings of identity and belonging. From this perspective, the article argues that detective investigations have become a narrative medium allowing the readership to explore the writer’s representation/construction of his own territorial context, or place-setting, which functions as a co-protagonist of the novel. In conclusion, the paper suggests that the emerging role of place in some of the later popular crime fiction can be interpreted as the result of writer’s sentiment of belonging and, according to Appadurai’s theory, as a literary and geographical discourse aimed at the production of locality.
This paper considers the problem of a narrative philosophy according to F. W. J. Schelling and narrative logic according to Franklin Ankersmit. Referring to these examples, I ask whether there is any philosophy to narrative at all. First, I discuss Schelling’s views from his unfinished work “The Ages of the World,” as well as his later dialectics of mythology of revelation from the system of the ages of the world. I focus on a dialectics of figurative and speculative order, which is at the core of Schelling’s project to tell philosophy in the form of poetry and demonstrate the origins of Schelling’s narrative philosophy in his early, transcendental thought. Next, I juxtapose my findings with Ankersmit’s analysis of historians’ language. I also consider whether, and how, some of these ideas can be applied in contemporary narrative research.
ResearchGate has not been able to resolve any references for this publication.