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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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Journal ArticleDOI
TL;DR: In this article, the authors argue that narrativity has the potential to be a key hermeneutical concept in ecumenical theology and propose transformation as the ultimate horizon of the faith and practice of the Christian koinonia.
Abstract: This article argues that narrativity has the potential to be a key hermeneutical concept in ecumenical theology. Instead of pursuing a complex elaboration of the notion, it will seek to explore various aspects of narrativity. The thesis will be explicated in three major steps, consecutively discussing culture as the general setting of narrativity, explicating narrativity as a concept that can helpfully address some of the major issues in ecumenical theology and proposing transformation as the ultimate horizon of the faith and practice of the Christian koinonia.

10 citations


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

  • ...Drawing from insights of literary theorists (Chatman, 1978; Rimmon-Kenan, 1983; Ronen, 1994; Scholes and Kellogg, 1968), he considers the following dimensions of story to be important: event (the content of a story; something which has happened); characters (the events in question have happened to…...

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  • ...Drawing from insights of literary theorists (Chatman, 1978; Rimmon-Kenan, 1983; Ronen, 1994; Scholes and Kellogg, 1968), he considers the following dimensions of story to be important: event (the content of a story; something which has happened); characters (the events in question have happened to somebody); emplotment (the organising principle of a story which provides its consistency); perspective (the way a story is rendered); and narrative (the communication process or plot involving the teller who is addressing a real or implied audience) (Bargár, 2016: 27–28; Hošek, 2013: 11–13)....

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01 Jan 1992
TL;DR: The authors define discourse as a set of constraints on semiosis, and then use this defmition to recognise translation as a possible index of intercultural discursive constraints, which is a more pertinent approach.
Abstract: The general attention to discourse analysis developed in the 1970s has found applications in translation theory in the 1980s and into the 1990s. However, a survey of the linguistic approaches concemed shows that many kinds of analysis are inappropriate to the study of translation quite simply because they cannot say if a source text and a target text can or should belong to the same discourse. That is, most theories cannot describe the limits of any particular discourse within or across different tongues. A more pertinent approach is to define discourse as a set of constraints on semiosis, and then use this defmition to recognise translation as a possible index of intercultural discursive constraints.

10 citations


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

  • ...…231 1970; Barthes 1970); 3) the definition of literary voice or speech modes as opposed to "story" (from Benveniste; but also Todorov 1971, 1978; Chatman 1978; and Todorov 's translations of the Russian Formalists, especially Shklovski 1917, 6); 4) the correspondence between language and social…...

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Journal ArticleDOI
02 Apr 2014
TL;DR: The purpose of this paper is to Bore how narrative can be applied to exhibits in the context of science centers to scaffold visitors science learning and analyze the theoretical, structural and epistemological properties of narrative.
Abstract: In this theoretical paper we explore the use of narrative as a learning tool in informal science settings. Specifically, the purpose of this paper is to ex-plore how narrative can be applied to exhibits in the context of science centers to scaffold visitors science learning. In exploring this idea, we analyze the theoretical, structural and epistemological properties of narrative. In the pages that follow, we first discuss the advantages and possibilities for learning that science centers offer alongside challenges and limitations. Next, we discuss the role of narrative in sci-ence, as a tool for supporting science learning. We then continue with an analysis of the structural and epistemological properties of narrative and discuss how those can serve to establish narrative as a learning tool.

10 citations

Proceedings ArticleDOI
06 Jan 1998
TL;DR: A system named "Authoring Environment for the Desktop" (AESOP) with two different types of "outlining" tools to handle two key aspects of preparation of a hypermedia document, spatial and temporal layout and hyperlinks among the Bento-Boxes.
Abstract: Because a hypermedia document is more complex than conventional text, it requires preparation with respect to two key aspects. First, the author begins to develop a "vision" of the document-usually based on some outline level description of his objectives. At the same time as this outline is being developed, the author begins to extract useful segments from his resource materials and prepares his first version of the logic of a system of hyperlinks among those segments. We present a system named "Authoring Environment for the Desktop" (AESOP) with two different types of "outlining" tools to handle these aspects. Planning the "vision" consists in defining a "logical" tree structure of the document. The plan for the link structure is based on a primitive unit called the view area, and AESOP provides a construct named Bento-Box for crating and manipulating view areas. Authors specify spatial and temporal layout within a single Bento-Box and define hyperlinks among the Bento-Boxes.

10 citations


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

  • ...However, in his book Story and Discourse Seymour Chatman [ 3 ] has done for narrative something very similar to what Toulmin did in his analysis of argument: He has proposed a set of categories that can be used to classify the points that go into making a Narrative....

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01 Jan 2003
TL;DR: In this paper, the authors focus on the agent of the translation, the translator, and her/his presence in the translated text, using the category of the implied translator, the creator of a new text for readers of the target text.
Abstract: When critics identify ‘manipulations’ in translations, these are often described and analysed in terms of the differing norms governing the source and the target languages, cultures and literatures. This article focuses on the agent of the translation, the translator, and her/his presence in the translated text. It presents a theoretical and analytical tool, a communicative model of translation, using the category of the implied translator, the creator of a new text for readers of the target text. This model links the theoretical fields of narratology and translation studies and helps to identify the agent of ‘change’ and the level of communication in which the most significant modifications take place. It is a model applicable to all translated narrated literature but, as examples illustrate, due to the asymmetrical communication in and around children’s literature, the implied translator as he/she becomes visible or audible as the narrator of the translation, is particularly tangible in translated children’s literature. MOTS-CLES/KEYWORDS implied translator, narrator of the translation, implied reader, invisibility, visibility When scholars or critics identify ‘changes,’ ‘adaptations’ or ‘manipulations’ in translations of children’s literature, they often rightly describe and analyse them in terms of the differing social, educational or literary norms prevailing in the source and the target languages, cultures and literatures at that given time. 1 A rich source of such observations are the many translations of Astrid Lindgren’s Pippi Langstrump (1945), which give a good indication of what was perceived by the target cultures, at the time of translation, to be inacceptable for child readers. In a scene in the novel Pippi, Tommy and Annika are playing in the attic when Pippi finds some pistols in a chest. She fires them in the air and then offers them to her friends who delightedly accept. In the German translation Pippi doesn’t give the pistols to her friends, instead she instructs them – and the readers – by changing her mind, putting them back in the chest and declaring “Das ist nichts fur Kinder!” (Lindgren 1965,205) (“that’s not right for

10 citations