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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01 Jul 2019
TL;DR: The research interrogates the effectiveness the design and function of paratexts that help users to navigate online resources and invites to rethink the relation between the visual and the verbal in online resources.
Abstract: Art museums use a variety of online resources to tell the stories of their artworks and collections. Online publications, online exhibitions, and other interactive resources have interfaces with distinctive temporal and spatial qualities that determine the way narratives are presented and users interact with them. Temporality and spatiality are related to usability of interfaces. This paper draws upon concepts from narratology and digital narratology and uses empirical data from a specialised audience of art history and visual arts scholars to discuss the significance of time and space in online resources’ interfaces. The research interrogates the effectiveness the design and function of paratexts that help users to navigate online resources. Research results invite to rethink the relation between the visual and the verbal in online resources. The spatial disposition of illustrations, understood as paratextual elements, determines the mediality of a narrative. Lastly, it will be discussed how linearity and nonlinearity influences the interactions the user has with the resources. A linear continuous vertical interface requires more time from the user to be read and therefore is better suited for close reading than information seeking.
6 citations
Proceedings Article•
05 Sep 2014TL;DR: A system for generating textual narrations of what happened in a simulation-based serious game, focusing on the use of focalization and flashbacks to give the player insights into the internal state of non-player characters.
Abstract: In this paper we describe a system for generating textual narrations of what happened in a simulation-based serious game, focusing on the use of focalization (telling the story from the perspective of one of the characters) and flashbacks to give the player insights into the internal state of non-player characters.
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Cites background from "Narrative discourse : an essay in m..."
...The term was coined by Genette and Lewin (1983)....
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...The term was coined by Genette and Lewin (1983). Genette defined three types of focalization: zero, internal and external focalization. In narratives that have zero focalization, the perspective is that of an all-knowing narrator. This is how the Narrator originally functioned: the story was told using all available information, without using the perspective of a specific character. Internal focalization means the story is told by a character in the story, while external focalization means it is told by someone outside the story (who is not all knowing). Here, we focus on internal focalization. Like Gervás (2013), we approach focalization as an information filter: a focalized narrative only contains events that the focalizing character could either perceive or participated in....
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...The term was coined by Genette and Lewin (1983). Genette defined three types of focalization: zero, internal and external focalization....
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6 citations
TL;DR: Friedman as discussed by the authors pointed out that the linearity of temporal concepts like past and present is challenged as these constructs are collapsed into coexisting elements of the "space" of consciousness.
Abstract: As Susan Stanford Friedman has pointed out in her critical study aptly titled Mappings (1998), interpretations of narrative have often subtly privileged temporal over spatial analysis. (1) In part, this inclination has been fostered by the nature of narrative itself, which unfolds over time. It has also been supported by prevailing modes of narratology, which focus on the handling of time as a crucial (sometimes the crucial) variable in narrative structure. Following Gerard Genette, James Phelan has emphasized "progression" as the fundamental characteristic of narrative, which "must move, in both its telling and its reception, through time" (Phelan 1989, 15). Psychoanalytic approaches to literature, as well, have privileged temporal development. Peter Brooks has argued that plot is the "principal organizing force" of the meanings we derive from narrative, and that plot "develops its propositions only through temporal sequence and progression" (Brooks 1984, xi). Indeed, analysis of character, generally, tends to be temporally organized, tracing a pattern of development over time. Recent studies of narrative, however, have begun to attend more fully to spatial constructs and to adopt critical vocabulary based on spatial models. In a world reconfigured by multiple migration, globalization, travel, and new modes of communication, readers have begun to reexamine the extent to which space and movement configure lives and stories. This renewed attention to progression in space affects Western mindscapes in two ways. First, it expands and multiplies concepts of space, altering temporal concepts as a consequence. Material space--geographical or architectural space--which has always been crucial to the metanarratives of the West, is complicated by new conceptions of spatial relationships, encompassing, for example, cultural space, cyberspace, and virtual reality. On the other hand, the linearity of temporal concepts like past and present is challenged as these constructs are collapsed into coexisting elements of the "space" of consciousness. Second, the contemporary preoccupation with space ha s reconfigured the concept of "location" to include cultural as well as physical axes, with such elements of identity as class, gender, race, ethnicity, and national origin conceived as "positions" in a spatial continuum. As Friedman points out, "Space often functions as a trope for cultural location--for identity and knowledge as locationally as well as historically produced" (137). Friedman calls for readings that trace a text's "narrative geography." Following James Clifford, she argues for "knowledge produced through an itinerary, always marked by a 'way in,' a history of location and location of histories" (Clifford 1992, 105; Friedman 114). A "geographical, as opposed to developmental, rhetoric of identity" recognizes that who we are depends upon our place in a particular constellation of evolving ecologies (Friedman 143). Developing Clifford's play on alternative meanings of the syllable /roots/, theorists in both literary studies and anthropology have advocated "a dialogic movement back and forth between roots and routes"--that is, between rootedness and passage (Friedman 152). "Roots and routes are, in other words, two sides of the same coin: roots [in the botanical sense], signifying identity based on stable cores and continuities; routes [in the sense of a road or a course of passage], suggesting identity based on travel, change, and disruption" (Friedman 153). Analysis of "narrative geography" has developed in the context of both changing experiences of space and changing uses of space as metaphor. In a critique of established ways of thinking about textual form, Andrew Gibson has argued against conceptions of narrative space as unitary or singular, suggesting instead that narrative discourse configures movement through multiple spaces at once (1996, 16-17). Gibson cautions that "geometric spatial models and ideas of origin, fixity and essence cannot be separated" (21). …
6 citations
TL;DR: In this article, the authors argue that the vision of a sequence of images that relates information of the narrative future or past has become a staple of numerous network, basic cable and premium cable serials, including Buffy the Vampire Slayer (WB), Battlestar Galactica (SyFy) and Game of Thrones (HBO).
Abstract: Following the April 1990 debut of Twin Peaks on ABC, the vision - a sequence of images that relates information of the narrative future or past – has become a staple of numerous network, basic cable and premium cable serials, including Buffy the Vampire Slayer (WB), Battlestar Galactica (SyFy) and Game of Thrones (HBO). This paper argues that Peaks in effect had introduced a mode of storytelling called “visio-narrative,” which draws on ancient epic poetry by focusing on main characters that receive knowledge from enigmatic, god-like figures that control his world. Their visions disrupt linear storytelling, allowing a series to embrace the formal aspects of the medium and create the impression that its disparate episodes constitute a singular whole. This helps them qualify as ‘quality TV’, while disguising instances of authorial manipulation evident within the texts as products of divine internal causality.As a result, all narrative events, no matter how coincidental or inconsequential, become part of a grand design. Close examination of Twin Peaks and Carnivale will demonstrate how the mode operates, why it is popular among modern storytellers and how it can elevate a show’s cultural status.
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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