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Journal ArticleDOI

Narrative discourse : an essay in method

23 Jan 1980-Comparative Literature (Cornell University Press)-Vol. 32, Iss: 4, pp 413
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
Citations
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Journal ArticleDOI
TL;DR: In this article, the authors apply the framework of conceptual integration (or blending) theory (as developed by Fauconnier and Turner) to the analysis of several travel narratives by Jonathan Raban.
Abstract: This article1 applies the framework of conceptual integration (or blending) theory (as developed by Fauconnier and Turner) to the analysis of several travel narratives by Jonathan Raban. The primar...

50 citations

Journal ArticleDOI
01 Jan 2007
TL;DR: The authors studied the influence of the Iliad on ancient historians and argued that despite the problematic nature of Odysseus' character, he was seen by historians largely in a positive light; and his curiosity, patience, cleverness, and narrative skill played fundamental roles in the subject matter and methodology of ancient history.
Abstract: Studies of Homer's influence on ancient historiography have concentrated naturally on the Iliad, a martial epic emphasising war, battle, bravery, and glory. This article, working through the figure of Odysseus, looks more closely at the influence of the Odys- sey on ancient historians. It is argued that despite the problematic nature of Odysseus' character, he was seen by historians largely in a positive light; and his curiosity, patience, cleverness, and narrative skill played fundamental roles in the subject matter and methodol - ogy of ancient historiography.*

49 citations

Journal ArticleDOI
TL;DR: Focalization as mentioned in this paper is a fundamental analytical concept in narrative theory that allows researchers to distinguish between the narration of a story on the one hand and the mental processing of that story by a character or by the narrator.
Abstract: Focalization, the !ltering of a story through a consciousness prior to and/or embedded within its narratorial mediation, is a fundamental analytical concept in narrative theory.1 It allows researchers to di\"erentiate between the narration of a story on the one hand and the mental processing of that story by a character—or by the narrator— on the other, thereby providing crucial insights into the representation of consciousness in !ction. Yet focalization remains one of the most problematic and contentious narratological concepts. As testi!ed to by a recent handbook devoted to focalization (Hühn, Schmid, and Schönert), discussions continue to be very much geared toward principled dogmatic questions (such as whether narrators can be focalizers) and typological distinctions, to the detriment of proving the concept’s usefulness for actual analyses. Some of the questions regarding focalization that have not yet been satisfactorily answered include: (1) #e scope of the concept. Even though Shlomith Rimmon-Kenan proposed to include aspects of cognition and judgment as well as of sense perception in the category as early as 1983, there has since been a trend to revert to older concepts of “perspective” (Herman, Basic Elements, “Beyond Voice,” and “Multimodal Storytelling”)2 and “point of view” (Simpson), both of which are more narrowly concerned with visual perception.3 Other scholars, while referring to “focalization” rather than “perspective,” have nevertheless spoken out against including “other types of thinking such as cognition and the emotions” in the category, advocating its use for phenomena of sense perception exclusively (Palmer 49; see also Herman and Vervaeck; Margolin; Prince).4 So far, then, no agreement has been reached as to whether cognition should be included in focalization; whether the concept ought, conversely, to be restricted to instances of (optical) perspectivation; or whether one might resolve these issues by

49 citations

Journal ArticleDOI
TL;DR: A controlled user study shows that users with no expertise are able to understand visual patterns of nonlinear narratives using story curves, and highlights potential use cases in screenplay writing and analysis, education and film production.
Abstract: In this paper, we present story curves, a visualization technique for exploring and communicating nonlinear narratives in movies. A nonlinear narrative is a storytelling device that portrays events of a story out of chronological order, e.g., in reverse order or going back and forth between past and future events. Many acclaimed movies employ unique narrative patterns which in turn have inspired other movies and contributed to the broader analysis of narrative patterns in movies. However, understanding and communicating nonlinear narratives is a difficult task due to complex temporal disruptions in the order of events as well as no explicit records specifying the actual temporal order of the underlying story. Story curves visualize the nonlinear narrative of a movie by showing the order in which events are told in the movie and comparing them to their actual chronological order, resulting in possibly meandering visual patterns in the curve. We also present Story Explorer, an interactive tool that visualizes a story curve together with complementary information such as characters and settings. Story Explorer further provides a script curation interface that allows users to specify the chronological order of events in movies. We used Story Explorer to analyze 10 popular nonlinear movies and describe the spectrum of narrative patterns that we discovered, including some novel patterns not previously described in the literature. Feedback from experts highlights potential use cases in screenplay writing and analysis, education and film production. A controlled user study shows that users with no expertise are able to understand visual patterns of nonlinear narratives using story curves.

47 citations

Journal ArticleDOI
TL;DR: The ghost always presents a problem, not merely because it might provoke disbelief, but because it is only admissible insofar as it can be domesticated by a modern concept of time as discussed by the authors.
Abstract: Spectral Times: The Ghost Film As Historical Allegory Bliss Cua Lim Ghosts call our calendars into question. The temporality of haunting, through which events and people return from the limits of time and mortal- ity, differs sharply from the modern concept of a linear, progressive, universal time. The hauntings recounted by ghost narratives are not merely instances of the past reasserting itself in a stable present, as is usually assumed; on the contrary, the ghostly return of traumatic events precisely troubles the boundaries of past, present, and future, and cannot be written back to the complacency of a homogeneous, empty time. The ghost always presents a problem, not merely because it might provoke disbelief, but because it is only admissible insofar as it can be domesticated by a modern concept of time. 1 Modern time consciousness can be characterized as disenchanted (the supernatural has no historical agency); empty (a single universal history includes all events, irrespective of cultural disparity); and homogeneous (history transcends the “singularity” of events, because it exists positions 9:2 © 2001 by Duke University Press

47 citations

References
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61 citations

Book
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55 citations

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

Book
01 Jan 1950

7 citations

Book
01 Jan 1965

6 citations