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
Citations
More filters
03 Dec 2007
TL;DR: Taking four scenes from the children's story The Tale of Peter Rabbit, it is argued that in order to model narrative at three levels of abstraction, in terms of physics, characters and plot, there needs to be a "story-sense reasoning" level of abstraction.
Abstract: The telling and understanding of stories is a universal part of human experience. If we could reproduce even part of the process inside a computer, it could expand the possibilities for human-computer interaction enormously. We argue that in order to do so, we need to model narrative at three levels of abstraction, in terms of physics, characters and plot. Taking four scenes from the children's story The Tale of Peter Rabbit, we describe some of the challenges they present for modeling this kind of "story-sense reasoning".
5 citations
Cites background from "Narrative discourse : an essay in m..."
...We are not referring to the often-quoted division between story and discourse (Genette 1980), but a more basic division between story and plot....
[...]
01 May 2005
TL;DR: Kantianism In 1781, Kant, in his Critique of Pure Reason, delivered the bad news that the human mind can pose important, unavoidable philosophical questions that it cannot possibly answer as discussed by the authors.
Abstract: Kantianism In 1781, Kant, in his Critique of Pure Reason , delivered the bad news that the human mind can (even worse, must) pose important, unavoidable philosophical questions that it cannot possibly answer. These were distinct, perennial philosophical questions answerable, if at all, by pure reason alone, independent of any appeal to experience. (Kant thought the most important ones concerned freedom, the existence of God, and the immortality of the soul, but the scope of his critique also extended to issues such as the nature of the mind, the human good, the purpose of nature, or any attempt to know “things in themselves.”) While, according to Kant, we could at least settle once and for all just what those limits to knowledge were and why we were not able to cross such a boundary, that seemed small consolation. Metaphysics, the “queen of the sciences,” had understood itself as capable of knowing how things must be or could not be, and so had prided itself on the certainty of its claims and on a rigor in its method rivaled only by mathematics. So it was not for nothing that Kant became known as the “all-destroying.” The skeptical sentiment expressed in Kant's critical work was not, of course, isolated in Konigsberg. The latter half of the eighteenth century can be viewed as a collective debate about the nature and even future of rationalist philosophy, or philosophy as it had come to be understood since Plato (especially as the impact and advances of Newtonian physics were more and more felt) and about the right way to state the principles underlying an ever more popular empiricism.
5 citations
TL;DR: A new perspective is offered on the role of the iconicity assumption as prior belief, apart from prior knowledge about event sequences, in event understanding as well as memory, under a descriptive Bayesian framework.
Abstract: Incongruence between the narrated (encoded) order and the actual chronological order of events is ubiquitous in various kinds of narratives and information modalities. The iconicity assumpt...
5 citations
Proceedings Article•
01 Jan 2003TL;DR: The research project Common Tales explores the active participator model in a serial game structure that stages the flexible relationship between the two game heroes.
Abstract: Instead of confining the player to a single role, the active participator model positions the player in a more flexible position towards the fictional gameworld: involved and immersed in its various events without being limited to one role The research project Common Tales explores this model in a serial game structure that stages the flexible relationship between the two game heroes Players can change controls from one character to the other, guiding them through their adventures, and shaping their relationship with each other Enabled through interactive functionality and expressed though cinematic mediation and spatial organisation, the character-driven gameworld engages the player as the central addressee and originator at the same time
5 citations
References
More filters
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