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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Journal Article•
TL;DR: In this article, a proposal for the assessment and classification of different types of texts that exist under the umbrella terms of "comics" and "comic books", with a view to placing them within what can be called the "iconical discourse community".
Abstract: In current criticism on comic books and graphic novels there is a recurrent use of the terms ‘comic’ or ‘comic book’ to refer both to the language employed by these texts and to the different subgenres that use this language Comic strips, comic books and graphic novels share the common characteristic of employing the same iconical language Nevertheless, they are different texts that should each be placed in their own context in order to understand their generic specificities Their contextualisation will help avoid the confusion produced by the indiscriminate use of the term ‘comic’ This article aims to offer a proposal for the assessment and classification of the different types of texts that exist under the umbrella terms of ‘comics’ and ‘comic books’, with a view to placing them within what can be called the ‘iconical discourse community’
11 citations
Dissertation•
16 Feb 2011
TL;DR: This research seeks to develop a descriptive framework to characterize and describe interactive and game narratives by applying and extending narrative theory and applies this framework to three games to unravelled how various narrative principles and techniques operate in games.
Abstract: With rapid innovation in computational technologies, storytelling has found a new home in interactive digital media. Among all forms of interactive narrative, story-based digital games are clearly the most prosperous domain thanks to their incredible popularity. Narrative design for such games, however, is often under studied in the current practice of game analysis due to the lack of a mature discourse model specifically for games and interactive narratives. To facilitate a deep understanding of game narratives, powerful analytical instruments are needed to characterize game narratives and describe how narrative works in games. This research seeks to develop a descriptive framework to characterize and describe interactive and game narratives by applying and extending narrative theory. The framework aims to bring out new insights on interactive storytelling by observing how game narratives are constructed, what narrative techniques are used, and how narrative structure and technique affect the narrative and gameplay experience. By applying this framework to three games, the in-depth analyses systematically unravelled how various narrative principles and techniques operate in games and demonstrated the utility of the framework as an analytical instrument for the observation and understanding of the structure of interactive narratives.
11 citations
01 Jan 2010
TL;DR: The authors argue that Kaneian theatre describes a new tragic mode which is primarily based on the psycho(patho)logical suffering it portrays, and suggest that Kane's plays implicitly criticise a growing culture of missing ontological stability and problematic interpersonal relations.
Abstract: This study argues that Sarah Kane’s work for the theatre proposes a new tragic aesthetic for the contemporary stage which in many ways transcends the limited genre definitions with which her work is generally associated. By realising a rudimentary tragic dialectic between the traumatised subject and an invariably unattainable ‘other’, it is argued that Kaneian theatre describes a new tragic mode which is primarily based on the psycho(patho)logical suffering it portrays. The study suggests that Sarah Kane’s work introduces an aesthetic complex termed the ‘empty I’ which manifests itself through notions of ‘empty space’, ‘traumatic loss’ and ‘impossible love’. Via an in-depth reading of the plays, it shows that the playwright’s radical formal efforts are bound to an ongoing attempt to unite dramatic form with tragic content, and it is further argued that Kane’s plays implicitly criticise a growing culture of missing ontological stability and problematic interpersonal relations. The new tragic aesthetic defined this way proves to be as much about aesthetisised traumatic suffering as it laments a deficient form of contemporary subjectivity. The thesis concludes with the suggestion that Kane’s work implies a social rather than a theatrical reconciliation of the tragic disposition it depicts. there is a loneliness in this world so great that you can see it in the slow movement of the hands of a clock.
11 citations
TL;DR: In this paper, the authors demonstrate a reflective use of literary devices, within an over-arching concept of narrative, in practical coaching, and show the benefits of working with literary devices within the coaching relationship and provide a few practitioner tips.
Abstract: Purpose – The aim of this paper is to demonstrate a reflective use of literary devices, within an over‐arching concept of narrative, in practical coaching. The paper also aims to show the benefits of working with literary devices within the coaching relationship and provide a few practitioner tips.Design/methodology/approach – Using case study methodology and based on the recorded field notes of five participating coachees, the nature of the relationship between coach and coachee in coaching conversations forms the empirical basis of the paper. A framework of sub‐headings of different forms of narrative; stream of consciousness, metaphor, time and space, analepsis, prolepsis and focalisation are applied to the case studies in the context of coaching sessions. The analysis includes reflections of the coach.Findings – Literary language devices associated with narrative can be applied in the coaching context. Such techniques can be used for the analysis and interpretation of coaching conversations to enable ...
11 citations
TL;DR: The authors introduced transmedial narratological conceptualizations of metalepsis as an analytical tool for animation and discussed a wide range of examples, testing the applicability of the framework to various animated forms.
Abstract: This article explores a highly striking phenomenon termed metalepsis. A metalepsis is a fictional and paradoxical transgression of the border between mutually exclusive worlds that cannot be transgressed in our actual world. The hand of the animator reaching into the diegesis of his creations as well as characters communicating with the audience, escaping to the world of their creators, or altering their own worlds are all different types of metaleptic transgressions. Even though this phenomenon appears extensively throughout the history of animation, it has not been theorized in animation studies thus far. This article introduces transmedial narratological conceptualizations of metalepsis as an analytical tool for animation. It discusses a wide range of examples, testing the applicability of the framework to various animated forms.
11 citations
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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