Narratology - Science topic

Narratology can do beyond description at times. Examine the references in the work. There are chronological, spatial, historical ,onomastic, paratextual and universal references in narration. These references may require profound study of the reference to fully possess the skill to decipher hidden interpretations.

Please have a look at the following cite:

Yes, some times...

Regarding Stuctural Linear analysis very interesting - Following !

Good afternoon.

I am Olga Patiño, professor and researcher at Universidad Unipamericana in Colombia, recently we opened the "MiPana Diversa" research group to start boarding the topics of gender and diversity, currently I'm writing a paper for ALAADA, the Latin American Association of Asian Studies. My current paper is about a comparative analysis on gender situation between India and Colombia including the multigender issue.

If it matches your query please answer me back. Regards, Olga. 

"Negative plotting": notion proposed by Susan Lancer (Lanser, Susan (2011). “‘The Shadow Knows’: Negative Plotting and Feminist Thought.” Keynote Lecture, 2nd ENN Conference, Kolding.)

According to Colin Burnett, "negative plotting" describes narratives that create plots that truly compete for the viewer’s attention. As Karin Kukkonen explains, this narrational approach involves plots “shadowing” one another, that is, becoming “meaningful in their mutual contrast.” They must “negotiate different narrative perspectives and broke the struggle for interpretive dominance.” In a “realist” narrative like Ice Poison, negative plotting gives the film a “dialectical” dimension in which a consistent pattern of plot developments that show attempts on the part of the protagonist to overcome his social predicament “collide” with an opposing series of plot developments that undermine these attempts. See https://colinatthemovies.wordpress.com/2014/08/23/ice-poison-midi-z-2014-realist-transparency-and-dedramatization-in-the-contemporary-art-film/

See also 

Karin Kukkonen, the living handbook of narratology, 2014.

Thank you, Girish Sir. 

Hello, Yan Zheng

I have found definitions for con-create on the Internet (Google search, so you will be able to find these easily):

'to create at the same time'

p.45 in Merriam-Webster's Dictionary of Synonyms: (under the definition of annihilate) as '*invent, discover *make form, fashion, forge, shape, *renew, restore

In the Merriam-Webster dictionary:

it describes the word as archaic, but defines it as 'to create together'

To give it context, it has been used by various authors:

p.333 in  'Shining the Light VII: The First Alignment: World Peace' Robin Sharpe

p.131 in 'Theorism and the Ontological Theology of Paul Tillich

Co-create is the term that I am more familiar with.

'To create jointly'

'To create together'

So . . to return to your question . . both these could indicate audience participation - the terms are very comparable.

'Hope this helps

Best wishes, Mary

The following references from a recent literature review I undertook may be useful as they involve collaboration and discussion between researchers/teachers and higher education students to develop better support for Indigenous students:

Demosthenous, C.M. 2012, 'Inclusion/exclusion for Aboriginal and Torres Strait Islander students: Understanding how 'We' matters', Journal of Social Inclusion, vol. 3, no. 1, pp. 71-85.

Flood, J. 2013, 'Aboriginal women and higher education: A pilot study of what drives and sustains mature-age Aboriginal women to study at university' in R.G. Craven & J. Mooney (eds), Seeding Success in Indigenous Australian Higher Education, Emerald Group Publishing Limited, Bingley, UK. pp. 209-223.

Rigby, W., E. Duffy, J. Manners & H. Latham 2011, 'Closing the Gap: Cultural safety in Indigenous health education', Contemporary Nurse, vol. 37, no. 1, pp. 21-30.

Sherwood, J., N. Watson & S. Lighton 2013, 'Peer support: Mentoring responsive and trusting relationships' in R.G. Craven & J. Mooney (eds), Seeding Success in Indigenous Australian Higher Education, Emerald Group Publishing Limited, Bingley, UK. pp. 187-208.

Sometimes I think we get so wrapped up in the latest analytical or critical fad, theories, concepts, methods, procedures, approaches, etc. in consideration of a piece of literature (or art or music for that matter) that we entirely overlook a work's beauty, artistic value, message, emotional impact and the other components that make a creative piece worth reading, viewing, or listening to in the first place.  We miss the enjoyment of the tree because we are too engrossed in studying the forest around it.

But thanks to my colleagues on RG and thanks to RG itself I get plenty of inspiration for stories--one yesterday, and now this one today.

I think it will have to be written in the vein of Borges--the master of books and libraries.  Here's a synopsis so I don't forget to write it--some day!

THE LAST GREAT LITERARY MASTERPIECE by John F. Wilhite

In the year 2025 every library in the world and book depositories on the web will contain but one book.  It is located at the center of the libraries with a million other books surrounding it.  "The book" is known as the last great literary masterpiece, though no one knows why.  The author is unknown and the title is a dim echo of countless titles of great works since the beginning of the written word but none of them are discernible enough to give seekers of the book a clue.  Everyone thinks that the book is important but they don't know why, or remember why.  Everything that is to be known about the book--characters, plot, setting, style, theme and everything else that can be said or imagined about the last great masterpiece--is to be found in the million books surrounding the book.  They rest on circular shelves in a circular labyrinth.  In each book that elucidates the book there are but two or three words that can be used to shed light on the last great literary masterpiece.  All the other words are exact repetitions of the same words in thousands of books about the book.  Thousands of books are not about the book; they are about books that are about the book; and thousands more are about those books, and so on into a circular labyrinth of circular shelves holding a million books.  Seekers of the book must read every one of the million books about the book and extract the two or three words from each that can help unlock the mysteries of the book.  The one who succeeds in this task will have the glory and accolades for revealing to the world why the book is the last great literary masterpiece.

My apologies for boring you all with this; it doesn't even answer the question (all the answers above are excellent and provide abundant resources).  After teaching Garcia Marquez, Borges, and the rest of the "nueva narrative" bunch for so many years I just couldn't help myself. 

Cassy

Here is the Auden article: (on detective stories)... pretty old now though... :)

Cheers

JT

Narratives and reminiscences can be signposts that guide us through our lives. Their power stems from their ability to express more than can be said verbally. Often, people who lack the language abilities to describe sotuations or feelings use narratives, and this is particularly relevant to all age groups. For example, particular age groups or social gorups with limited education aren't always able to describe their feelings or opinions about given situations, so they use narratives to express themselves.