Narrative discourse : an essay in method
TL;DR: Cutler as mentioned in this paper presents a Translator's Preface Preface and Preface for English-to-Arabic Translating Translators (TSPT) with a preface by Jonathan Cutler.
Abstract: Foreword by Jonathan Cutler Translator's Preface PrefaceIntroduction 1. Order 2. Duration 3. Frequency 4. Mood 5. VoiceAfterword Bibliography Index
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25 Jul 2002
TL;DR: In this paper, a causal normalization approach is proposed to minimize causal functional dependencies within story logics and eliminate some unintended forms of causal coupling, which can reduce the kind of unexpected dead ends in game-play that lead to player perceptions of poor game design.
Abstract: A common experience in playing computer role-playing games, adventure games, and action games is to move through a complex environment only to discover that a quest cannot be completed, a barrier cannot be passed, or a goal cannot be achieved without reloading an earlier game state and trying different paths through the story. This is typically an unanticipated side effect caused by the player having moved through a sequence of actions or a pathway different from that anticipated by the game designers. Analogous side effects can be observed in traditional software engineering (referred to as data coupling and control coupling), in database design (in terms of unnormalized relations), and in knowledge base design (in terms of unnormalized truth-functional dependencies between declarative rules). In all cases, good design is a matter of minimizing functional dependencies, and therefore coupling relationships between different parts of the system structures, and deriving system design from the minimized dependency relationships. We propose a story logic design methodology, referred to as causal normalization, that minimizes some forms of causal functional dependency within story logics and therefore eliminates some unintended forms of causal coupling. This can reduce the kind of unexpected dead ends in game-play that lead to player perceptions of poor game design. Normalization may not be enough, however. Extending the principle of minimal coupling, we propose an object-oriented approach to story logic, and relate this to principles of normalization and game architecture.
10 citations
TL;DR: In this paper, Truffaut observes that if you question the audience at the end of Ensayo de un crimen, almost everybody will tell you that they just seen the story of a likable guy who kills women.
Abstract: In homage to Luis Bunuel and his comic film noir, Ensayo de un crimen (released internationally as The Criminal Life of Archibaldo de la Cruz, Mexico, 1955), Francois Truffaut writes that one of the film's most remarkable characteristics may be discovered upon leaving the cinema: "If you question the audience at the end [...] almost everybody will tell you that they've just seen the story of a likable guy who kills women. It is absolutely not true; Archibaldo has killed no one" (267). Since literary critics usually treat film almost exclusively as a selfcontained "text," the experience that takes place outside the darkened cinema is often regarded as an elusive, nebulous area beyond the realm of literary theory proper. Truffaut's observation, however, begs the question: How does a film achieve closure with its audience? According toJune Schlueter's work on the endings of theatrical plays, closure is not the same as an ending (in our case, a film's final frames) because viewers (whether real or implied) consent to closure based on how well the presentation of a story meets their expectations (24).1 Truffaut's comment offers a reading of the audience
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01 Jan 2008
TL;DR: This article analysed Oedipus' appearance during Odysseus' tale in book 11 of Homer's Odyssey in order to outline and test a methodology for appreciating the poetic and thematic implications of moments when 'extraneous' narratives or traditions appear in the Homeric poems.
Abstract: In this paper we analyse Oedipus' appearance during Odysseus' tale in book 11 of Homer's Odyssey in order to outline and test a methodology for appreciating the poetic and thematic implications of moments when 'extraneous' narratives or traditions appear in the Homeric poems. Our analysis, which draws on oral-formulaic theory, is offered partly as a re-evaluation of standard scholarly approaches that tend to over-rely on the assumed pre-eminence of Homeric narratives over other traditions in their original contexts or approaches that reduce such moments to instances of allusions to or parallels with fixed texts. In conjunction with perspectives grounded in orality, we emphasise the agonistic character of Greek poetry to explore the ways in which Odysseus' articulation of his Oedipus narrative exemplifies an attempt to appropriate and manipulate a rival tradition in the service of a particular narrative's ends. We focus specifically on the resonance of the phrases algea polla and mega ergon used by Odysseus as a narrator to draw a web of interconnections throughout Homeric and Archaic Greek poetry. Such an approach, in turn, suggests to what extent the Homeric Oedipus passage speaks to the themes and concerns of Homeric poetry rather than some lost Oedipal epic tradition and illustrates the importance of recognising the deeply competitive nature of Homeric narratives vis-a-vis other narrative traditions. In book 11 of the Odyssey, Odysseus entertains his Phaeacian hosts by narrating his experiences in the underworld. After conversing with his mother— and before talking with the other heroes from Troy—he sees a parade of women, which he goes on to describe for his audience. It includes the mother of Oedipus, Epicaste (Od. 11.271-80):
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Journal Article•
TL;DR: The authors discusses several examples of avant-garde multiauthorship developed by writers of the Language School: the collective authorship represented by L=A=N=G=U=A-G=E and other literary journals; Legend, a multia-uthored experimental poem by five authors; two poems written under the title “Non-Events” by Steve Benson and myself; and Carla Harryman and Lyn Hejinian's collaborative novel The Wide Road.
Abstract: Avant-gardes, in breaking down the boundaries of the autonomous author in favor of both the work and its immediate reception within its community, frequently employ strategies of “multiple authorship,” in which the work is positioned between two or more authors, toward a horizon of collective practice or politics. Any theory of the avant-garde must take into account not only the poetics of its devices of defamiliarization and their relation to the construction of new meaning but also its stakes in the discursive community defined by means of its literary practices. This essay discusses several examples of avant-garde multiauthorship developed by writers of the Language School: the collective authorship represented by L=A=N=G=U=A=G=E and other literary journals; Legend, a multiauthored experimental poem by five authors; two poems written under the title “Non-Events” by Steve Benson and myself; and Carla Harryman and Lyn Hejinian’s collaborative novel The Wide Road. Michel Foucault’s concept of “discursive formation” and Julia Kristeva’s dialectic of “symbolic” and “semiotic” provide critical terms for an approach to the politics of community enacted in works of the avant-garde. These cultural politics, and their implications for the genres of poetry and poetics, continue in the contemporary form of the poetics Listserve, itself seen as a form of multiauthorship.
10 citations
Dissertation•
01 Jan 2017
10 citations
References
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Book•
01 Jan 1954
TL;DR: Deuxieme tirage de cet essai critique de Georges Blin sur Stendhal, publie aux editions Jose Corti en 1954 as mentioned in this paper, et les images, une description a completer, une bibliotheque
Abstract: Deuxieme tirage de cet essai critique de Georges Blin sur Stendhal, publie aux editions Jose Corti en 1954.Deux images, une description a completer, une bibliotheque.
22 citations