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
15 Jan 2015
TL;DR: The "Universal Threshold Object" is a tangible device for television-like interactive narratives based on the TV show American Horror Story that uses gestural interactions with a tangible controller that provides haptic feedback as an interaction strategy to augment the narrative pleasures of immersion and dramatic agency.
Abstract: The "Universal Threshold Object" is a tangible device for television-like interactive narratives based on the TV show American Horror Story. The project uses gestural interactions with a tangible controller that provides haptic feedback as an interaction strategy to augment the narrative pleasures of immersion and dramatic agency. We leverage a branching scenario and story-driven gestural interaction with haptic feedback to provide limited sets of interactivity suitable for a television platform. From our research, design goals, and design process, we provide design implications for interactive narratives that employ gestural and haptic interactions.
14 citations
TL;DR: Results show that readers experienced more difficulties conjuring up mental images during reading descriptive style texts and that longer fixation duration on words were associated with enactive style text, and it is proposed that en active style involves more imagery processes which can be reflected in eye movement behavior.
Abstract: Based on Kuzmicova’s (2014) phenomenological typology of narrative styles, we studied the specific contributions of mental imagery to literary reading experience and to reading behavior by combining questionnaires with eye-tracking methodology. Specifically, we focused on the two main categories in Kuzmicova’s (2014) typology, i.e., texts dominated by an “enactive” style, and texts dominated by a “descriptive” style. “Enactive” style texts render characters interacting with their environment, and “descriptive” style texts render environments dissociated from human action. The quantitative analyses of word category distributions of two dominantly enactive and two dominantly descriptive texts indicated significant differences especially in the number of verbs, with more verbs in enactment compared to descriptive texts. In a second study, participants read two texts (one theoretically cueing descriptive imagery, the other cueing enactment imagery) while their eye movements were recorded. After reading, participants completed questionnaires assessing aspects of the reading experience generally, as well as their text-elicited mental imagery specifically. Results show that readers experienced more difficulties conjuring up mental images during reading descriptive style texts and that longer fixation duration on words were associated with enactive style text. We propose that enactive style involves more imagery processes which can be reflected in eye movement behavior.
14 citations
Book•
31 Jul 2006TL;DR: This book discusses the development of tone and rhythm in the postlude of Igor Stravinsky's opera, as well as some of the techniques used in postlude composition.
Abstract: Introduction Chapter 1: Ruins of Convention Conventions of Ruin Chapter 2: Beginnings and Endings Chapter 3: Arcadias and Arabesques Chapter 4: The Sketch Chapter 5: Auto-Quotation Chapter 6: Preludes: A Postlude Bibliography
14 citations
14 citations
TL;DR: In this paper, a structural approach to narrative, based on the work of Propp, Labov, van Dijk, Halliday, and others, is presented, where the subject is typically a social actor and the verb a social action.
Abstract: At the heart of this article is a structural approach to narrative, based on the work of Propp, Labov, van Dijk, Halliday, and others. The article highlights the structural features of narrative—basically, the organization of the genre around the semantic template actor-action-actor (syntactically rendered as subject-verb-object but where, in narrative, the subject is typically a social actor and the verb a social action) and the modifiers of each element of this triplet, such as time and space of action—and shows how to implement this structure in a computer environment and how to use this methodological tool in socio-historical research (namely, the rise of Italian fascism, 1919–22). But, taking a cue from Halliday’s cover jacket of his An Introduction to Functional Grammar, with its representation of a color circle, the paper takes the reader on an intellectual journey from Newton to Goethe—and the quality versus quantity debate—to Goethe and Propp, to end, back home, with Simmel and Weber.
14 citations
Cites background from "Narrative discourse : an essay in m..."
...Yet, is an emphasis on doing, on van Dijk’s discourse of action (van Dijk 1980, p. 13) or Genette’s narrative of events (Genette 1980, pp. 164, 169), enough to produce a narrative text?...
[...]
...The French structuralists adopted the Russian formalists’ basic distinction of fabula versus sjužet as histoire versus discours, later rendered in English as story versus discourse (see Benveniste 1971, pp. 206–208; Barthes 1977; Chatman 1978, p. 19; Genette 1980, pp. 25–27, Toolan 1988, pp. 11–12)....
[...]
...(Ricoeur 1984, p. 56; see also Genette 1980, pp. 164, 169)....
[...]
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