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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
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Proceedings ArticleDOI
01 Oct 2014
TL;DR: In this article, mood-expressing, procedurally generated music for narrative foreshadowing in games was investigated, investigating the relationship between music and the player's experience of narrative events in a game.
Abstract: We experiment with mood-expressing, procedurally generated music for narrative foreshadowing in videogames, investigating the relationship between music and the player's experience of narrative events in a game. We designed and conducted a user study in which the game's music expresses true foreshadowing in some trials (e.g. foreboding music before a negative event) and false foreshadowing in others (e.g. happy music that does not lead to a positive event). We observed players playing the game, recorded analytics data, and had them complete a survey upon completion of the gameplay. Thirty undergraduate and graduate students participated in the study. Statistical analyses suggest that the use of musical cues for narrative foreshadowing induces a better perceived consistency between music and game narrative. Surprisingly, false foreshadowing was found to enhance the player's enjoyment.

20 citations


Cites background from "Narrative discourse : an essay in m..."

  • ...Genette characterizes foreshadowing as advance mention, being an indirect and implicit reference that may or may not be confirmed in its importance [13]....

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Journal ArticleDOI
TL;DR: In this article, a critical reading of Verdi's Rigoletto is presented, with three rather inconspicuous passages from Act II, moments which have little to connect them in form, function or musical setting, yet which, considered together, reveal a lack a small mystery that invites further exploration.
Abstract: A natural starting point for a critical reading of Verdi's Rigoletto might be the protagonist's 'Cortigiani, vil razza dannata' in Act II: an utterance around which much of the emotional intensity of the opera is centred. Rigoletto's outburst can be discussed to great advantage in terms of current musicological fashion, as it alters conventional forms in fascinating and provocative ways, and to great dramatic effect. Yet such an approach presupposes that the key to understanding operas lies in their Great Moments those passages of intense musical expression that tend to be quoted in movies and television commercials. Of course these moments are a crucial aspect of our delight, and can be a rich source for interpretative ventures. But there is more to opera: various levels of meaning invite our exploration and enjoyment; hermeneutic 'secrets' lurk behind seemingly 'trivial or irrelevant' passages, and can lead to new perspectives on familiar works. These kinds of meanings, however, confound exegesis through the usual methods of operatic criticism, which focus on demonstrating relationships between opera's multiple systems of words, action and music: for if dramatic meaning can also lie behind masks, peer out from the fissures between systems, then understanding will not emerge from analysing the music as a reflection of the verbal system or stage action. Yet neither can music alone be the locus of dramatic meaning; most of us would agree that music does not often have the semantic specificity to make direct references without the help of words. As some recent work in operatic analysis has shown, attempts to deal with the genre on its own terms should, ideally, account for as many of the various systems of opera as possible. Embracing conflicts and contradictions is one way to approach this complex interrelationship.2 Looking at gaps and incongruities encourages us to focus neither on the manipulation of individual systems nor on isolated moments, but rather on an elusive field of interaction: on how systems combine in a sophisticated interplay that accrues meaning across an entire opera. Accordingly, I begin this reading of Rigoletto with three rather inconspicuous passages from Act II, moments which have little to connect them in form, function or musical setting, yet which, considered together, reveal a lack a small mystery that invites further exploration.

20 citations

Journal ArticleDOI
TL;DR: This paper proposed a framework for applying narrative approaches to terrorist authored texts, in particular, autobiographies, to understand how individuals involved in militancy understand the world, draw upon existing narrative resources and give meaning to their actions.
Abstract: Narrative has recently garnered in much attention in the study of terrorism but remains poorly understood. This paper offers some initial steps towards translating the promise of narrative approaches into a set of steps for systematically analysing and understanding terrorists’ own accounts of their engagement with extremism and militancy. This approach rests on the assumption that terrorist authored accounts are more than post-hoc rhetorical exercises that aim to persuade others, or even the authors themselves, of the righteousness of their political cause or otherwise mitigate their responsibility for their involvement in violence. In particular, I advance a framework for methodically applying narrative approaches to terrorist authored texts, in particular, autobiographies. In doing so, I will demonstrate how this approach can help better comprehend how individuals involved in militancy understand the world, draw upon existing narrative resources and give meaning to their actions.

19 citations


Cites background or methods from "Narrative discourse : an essay in m..."

  • ...In his classic work on narratology, Narrative Discourse, Genette (1980) presents three concepts for understanding the presentation of time: order, duration, and frequency....

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  • ...Genette (1997) used the term ‘paratexts’ for this material, which lies somehow on the threshold of what would ordinarily be viewed as the narrative, or the presentation of events over time as contained within the text itself....

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01 Jan 2012
TL;DR: The research indicates that narrative plays an important part in constructing relevant meanings in medical interactions between doctor and patient, and suggests ways in which patients can shape their narratives to construct themselves as active agents to their benefit in doctor-patient interaction.
Abstract: This thesis presents research on how doctors and patients negotiate meaning through interaction, focusing on the role of narrative in the medical encounter. Within sociolinguistics, most previous studies using discourse analysis to analyze patients’ narratives have adopted the canonical (Labovian) framework. This thesis adds more recent approaches to narrative analysis, within an interactional sociolinguistics (IS) framework in order to examine the relationship between doctor elicitations and patient narratives. The analysis also explores the clinical approach of Narrative Medicine (NM), which offers patients “space” in which to construct their narratives, to create an interdisciplinary lens for exploring data. The data comprised 69 videotaped medical interviews, amounting to 18 hours of naturally occurring medical interactions, plus evaluative feedback from questionnaires and interviews with 12 doctors. All interactions were initially analyzed for canonical narrative components. Twelve interactions were then selected for more detailed analysis on the basis of the frequency of doctors’ elicitations, which represent medical interview approaches. The analysis of these interactions demonstrates how and to what extent participant roles and identities frame the co-construction of patient narratives. Evaluations of three of the interactions by 12 doctors provided information on how aspects of patient narratives are perceived by clinicians, particularly with respect to the types and amounts of patient information considered necessary for making diagnostic decisions. Key findings demonstrate that both patients and doctors seek to construct narrative coherence. The analysis shows how the frame of developing narrative coherence offers insights on the interactional narratives as they are co-constructed by participants. Patients living with chronic illness may have difficulty constructing coherent narratives, and thus, strategies for developing narrative coherence are important for both patients and doctors when managing patients’ chronic illnesses. Additionally, in constructing narrative coherence, patients present important aspects of their identities potentially offering important information related to their illness and intervention. Evaluating doctors’ also engaged in using this frame which offers insight into one way doctors develop their professional identities and perhaps indicates the strength of the role of narrative in our lives. This research represents a first attempt to use both interactional sociolinguistics and NM to contribute to the understanding of doctor-patient interaction. Overall, the research indicates that narrative plays an important part in constructing relevant meanings in medical interactions between doctor and patient. Patients strive to create a coherent narrative as they present their medical problem to their doctor. Although this analysis provides further evidence of the relevance of the power asymmetry in medical interviews, it also suggests ways in which patients can shape their narratives to…

19 citations

Dissertation
01 Jan 2011
TL;DR: Whether features of spoken language generally, and of youth language in particular, are available to foreign learners is addressed, and how some of these typically spoken features develop in French youth language and the extent to which they may be considered innovative is addressed.
Abstract: My research focuses on selected discourse features of spoken French, especially those typical of present-day youth language. The dissertation has two parts: 1) Analysis of features typical of spoken language, based on a corpus of recorded data from young people aged 20 to 30, speaking to each other in spontaneous informal conversations. The analysis focuses particularly on features with discourse-pragmatic functions, including discourse markers, general extenders, presentational constructions and dislocated structures. I also address the question of how some of these typically spoken features develop in French youth language and the extent to which they may be considered innovative. 2) Discussion of the role of spoken language in foreign language teaching and learning, based partly on the results of a questionnaire for university learners of French as a foreign language aimed at investigating their knowledge of spoken features. This section addresses the question of whether features of spoken language generally, and of youth language in particular, are available to foreign learners.

19 citations

References
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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

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