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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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Proceedings ArticleDOI
14 Aug 2017
TL;DR: A taxonomy of narrative-based physical games that builds from and extends Espen Aarseth's narrative theory of digital games is proposed and new possibilities for digital game narratives are suggested.
Abstract: Narrative-centric analog games 1 have emerged from a hybridization of genres: they borrow conventions from pen and paper-based role-playing games such as Dungeons and Dragons, as well as the foundations of eurogames and war games. Historically, board game narratives and themes have primarily been imposed through design elements rather than mechanics: in his study of Eurogames, Woods noted that while players often value a "sense of narrative" that unifies theme and mechanics, this is rarely an emphasis of the genre [34]. However, modern narrative-centric board games demonstrate new levels of unity between play and story, integrating players into the narrative as meaningful actors and borrowing conventions from video games to build nonlinear play. In this paper, we examine and compare some exemplars of the narrative-centric board game genre, and use these games as a lens to propose a taxonomy of narrative-based physical games that builds from and extends Espen Aarseth's narrative theory of digital games [1] and suggest new possibilities for digital game narratives.

10 citations


Cites methods from "Story and Discourse: Narrative Stru..."

  • ...Chatman uses the terms kernel (story-defining events) and satellites (supporting events) when discussing narrative more broadly in fiction [9], and we found these terms useful for more accurately defining the roles of the player and the game mechanics in shaping the narrative....

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Journal ArticleDOI
TL;DR: The authors apply Gerard Genette's narratology as a narrative-critical model for the exegesis of the Gospels of Mark, Luke, Matthew, and John, focusing on the role plot analysis fulfills in narrative criticism.
Abstract: Genre and plot oriented exegesis of Gospel material: Introducing narrative criticism This contribution to methodology and hermeneutics, consisting of two articles, aim to argue for combining historical criticism and narrative criticism. The first article shows how genre orientation can provide hermeneutical cues for determining an appropriate exegetical model and method. The article aims to apply Gerard Genette’s narratology as a narrative-critical model for the exegesis of Gospel material. The article focuses on the role plot analysis fulfills in narrative criticism. This discussion is illustrated with examples from the Gospels of Mark, Luke, Matthew and John. The article concludes with a preface to the second article in which aspects such as point of view and focalization, time and space, and characterization will be discussed, also applied to Gospel material.

10 citations

DOI
19 Aug 2014
TL;DR: Kata Kunci et al. as mentioned in this paper analyzed the types of speech acts and the classification of illocutionary speech acts in the conversation of Habibie and Ainun in the film "Habibie & Ainun 2012" and found that representatives were the most dominant type of speech act rather than the type of indirect speech act.
Abstract: Kata Kunci : Speech Acts, Analysis, Habibie Ainun This study aimed to analyze the types of speech acts and the classification of illocutionary speech acts occurred in the conversation of Habibie and Ainun in the film entitled Habibie and Ainun 2012. This study was a descriptive qualitative done on naturalistic inquiry on social phenomenon. The data were analyzed based on the theory of direct and indirect speech acts proposed by Yule (1996) and the analysis of the classification of illocutionary speech acts proposed by Searle (1977) consists of representative, directive commissive, expressive and declaration. Findings of this study showed there were 196 utterances of type of speech acts where the type of direct speech acts were 129 utterances (66%), meanwhile the type of indirect speech acts were 67 utterances (34%). There were totally 158 utterances analyzed as illocution where representatives were 90 utterances (51%), commisives were 39 utterances (25%), directive were 24 utterances (15%), expressive were 15 utterances (9%), and there was no declaration (0%). This study showed that the direct speech acts were the most dominant type of speech acts rather than the type of indirect speech act. In the types of illocutionary speech acts, representatives were the most dominant rather that the others types of illocutions. keyword : Speech Act, Analysis, Habibie Ainun

10 citations

Book ChapterDOI
01 Jan 2016
TL;DR: This chapter addresses a set of examples of approaches to the computational generation of literary texts based on particular techniques, proposes a computational model that captures the purpose-driven revision of generated artifacts, and reviews a number of ongoing research efforts that implement parts of this model.
Abstract: Over the past few years, advances in the area of computational creativity have explored the combination of generative processes and evaluation models to obtain artifacts that are both original and valuable. This has taken place in fields as different as music, graphical art, or mathematics. Many of these efforts rely on identifying a sweet spot where an existing technology provides a constructive process that resembles closely some part of a creative process of humans. However, these approaches very rarely model the iterative nature of creative process as observed in humans, where a creator sets out with a purpose in mind, and creates drafts and revises them successively until the purpose is met. While it is a fact that in truly creative processes the purpose may also evolve during revision, the lack of direction has always been a damaging criticism to early approaches to computational creativity. In this chapter we will address a set of examples of approaches to the computational generation of literary texts based on particular techniques, propose a computational model that captures the purpose-driven revision of generated artifacts, and review a number of ongoing research efforts that implement parts of this model.

10 citations

Journal ArticleDOI
01 Apr 2017
TL;DR: In this paper, the nature of data in criticism and the relation between data-driven literary criticism and more traditional forms of criticism are discussed, with emphasis on the possibilities and conceptual difficulties that come with the representation of large aggregates in novel form.
Abstract: This introduction frames the principal questions of this special issue: the nature of data in criticism and the relation between data-driven literary criticism and more traditional forms of criticism. The suggestion throughout is that the current tension in critical practice can be better understood by turning to nineteenth-century narratives and their fraught attempts at encapsulating and representing data. Particular attention is paid to the means of representing data in literary criticism, particularly through visualizations. The essays in this special issue are then discussed, with emphasis on the possibilities and conceptual difficulties that come with the representation of large aggregates in novel form.

10 citations


Cites background from "Story and Discourse: Narrative Stru..."

  • ...Narrative theory has long distinguished between the idea of fabula (events as they occurred) and sjužet (events as they were told) (Chatman 1978, 19 – 20)....

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