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Story and Discourse: Narrative Structure in Fiction and Film
31 May 1980-
About: The article was published on 1980-05-31 and is currently open access. It has received 1885 citations till now. The article focuses on the topics: Narrative structure & Narrative criticism.
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08 Oct 2009
TL;DR: The authors introduce the most prominent British and American novelists associated with post-modernism, from the 'pioneers', Beckett, Borges and Burroughs, to important post-war writers such as Pynchon, Carter, Atwood, Morrison, Gibson, Auster, DeLillo, and Ellis.
Abstract: Postmodern fiction presents a challenge to the reader: instead of enjoying it passively, the reader has to work to understand its meanings, to think about what fiction is, and to question their own responses. Yet this very challenge makes postmodern writing so much fun to read and rewarding to study. Unlike most introductions to postmodernism and fiction, this book places the emphasis on literature rather than theory. It introduces the most prominent British and American novelists associated with postmodernism, from the 'pioneers', Beckett, Borges and Burroughs, to important post-war writers such as Pynchon, Carter, Atwood, Morrison, Gibson, Auster, DeLillo, and Ellis. Designed for students and clearly written, this Introduction explains the preoccupations, styles and techniques that unite postmodern authors. Their work is characterized by a self-reflexive acknowledgement of its status as fiction, and by the various ways in which it challenges readers to question common-sense and commonplace assumptions about literature.
106 citations
Book•
14 Jan 2010TL;DR: A Philosophy of Cinematic Art as mentioned in this paper examines the work of leading film theorists and philosophers of film, and develops a powerful framework with which to think about cinema as an art form.
Abstract: A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium Groundbreaking in its coverage of a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames Written in a clear and accessible style, the book examines the work of leading film theorists and philosophers of film, and develops a powerful framework with which to think about cinema as an art
103 citations
01 Dec 1999
TL;DR: It is argued that reconsidering archaeology's positioning across the 19th‐century science‐humanities divide suggests a broader approach to the idea of what constitutes a narrative which can offer fresh opportunities for useful reflexivity and experimentation in presentation.
Abstract: With a few exceptions, archaeologists have been far less concerned with the form of their texts or problems of authorship than have ethnographers. Typically, archaeologies are presented in the form of narratives understood as sequential stories. Approaches to narrative analysis drawn from literary theory, philosophy, and sociology and definitions of characters, events, and plots are examined, together with particular problems these may pose for the discipline of archaeology. It is suggested that neither literary analysis nor the tendency to write and evaluate archaeological and historical narratives in terms of explanatory value takes sufficient account of the often hybrid nature and aims of these texts and the contexts in which they were produced. This argument is illustrated with particular reference to stories of the Mesolithic‐Neolithic transition in Europe. It is argued that reconsidering archaeology's positioning across the 19th‐century science‐humanities divide suggests a broader approach to the id...
100 citations
TL;DR: In this paper, an emerging form of participatory culture, one that is not a modification or elaboration of a primary producer's content, is introduced, and how the artifacts are created and used.
Abstract: This article introduces an emerging form of participatory culture, one that is not a modification or elaboration of a primary producer's content. Instead, this article details how the artifacts cre...
100 citations
TL;DR: By examining the successes of existing research, this survey identifies potential new research directions in the field of computational narrative and identifies the advantages of developing a standard model of narrative to allow for collaboration between plot and space automation techniques.
Abstract: Computers are often used as tools to design, implement, and even visualize a variety of narrative forms. Many researchers and artists are now further attempting to engage the computer actively throughout the development of the narrative itself. Any form of computational narrative authoring is at some level always mixed-initiative , meaning that the processing capabilities of the computer are utilized with a varying degree to automate certain features of the authoring process. We structure this survey by focusing on two key components of stories, plot and space , and more specifically the degree to which these are either automated by the computer or authored manually . By examining the successes of existing research, we identify potential new research directions in the field of computational narrative. We also identify the advantages of developing a standard model of narrative to allow for collaboration between plot and space automation techniques. This would likely benefit the field of automated space generation with the strengths in the field of automated plot generation.
99 citations
Cites methods from "Story and Discourse: Narrative Stru..."
...The terms narrative, story, discourse, plot, and space come directly from Abbott and Chatman....
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...turalist narrative theories provided by Barthes [11], Abbott [12], and Chatman [13]....
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...[13] S. B. Chatman, Story and Discourse: Narrative Structure in Fiction and Film....
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...For the definitions, we drew upon the narrative structures proposed in the above surveys, and more specifically, the struc- turalist narrative theories provided by Barthes [11], Abbott [12], and Chatman [13]....
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