Book•
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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30 Apr 2009
TL;DR: The mass media sees social change through gendered gaze, which often puts women at risk of negative representations, as can be seen in the coverage of women as victims of gender violence and sexual abuse, recurring images of women portrayed as prostitutes, as well as the ‘gold-digger' girls as mentioned in this paper.
Abstract: The mass media sees social change through gendered
spectacles, which often puts women at risk of
negative representations. The author addresses how
gender is constructed in Tanzanian newspapers and
local television drama against the backdrop of
political and economic reforms. The movement from
socialist to capitalist principles, starting in the
mid 1980s, fueled public distress concerning the
effects of Western influence and commercialization on
local culture and morality. This book shows that
conflicts and tensions arising from this process
reverberate in the mass media, as can be seen in the
massive coverage of women as victims of gender
violence and sexual abuse, recurring images of women
as prostitutes, as well as the ‘gold-digger’ girls.
This work offers an original contribution to research
on Tanzanian media and gender issues; linking
representations of women to power, empowerment and
development. With its explorative view and
comprehensive empirical analyses of cultural
representations, including examination of audiences’
interpretations, this book will be essential reading
for students and scholars of communications,
development studies and women’s studies.
9 citations
TL;DR: In this article, the authors argue in favor of a simpler and more rhetorical model than used by these two leading scholars within narratological studies, arguing that self-fashioning novels use autobiographical material and means with the intention of reaching specific aesthetic ends, such as the author's name, as in autofiction, or other material such as gender and correspondence in history and identity.
Abstract: On the basis of readings in several self-fashioning and thought-provoking novels by Philip Roth this article seeks to rethink a limited set of narratological core concepts such as fiction and fictionality in light of their treatment within recent theories on narrative communication by James Phelan (2011) and Richard Walsh (2007). I will argue in favor of a simpler and more rhetorical model than used by these two leading scholars within narratological studies. According to the definition employed in this essay, the self-fashioning novel uses autobiographical material and means with the intention of reaching specific aesthetic ends. These means might include the author’s name, as in autofiction, or other material such as gender and correspondence in history and identity. Autofictional novels use and abuse the autobiographical contract where author, narrator, and protagonist share the same name. Hence, some autofictions try to hide the fact that they are novels by assimilating autobiographical genres such as autobiography, confession, or memoir, while other autofictions are in fact more or less autobiographies, but use rhetoric related to and imported from fiction. I shall read Roth’s novels consecutively, as gradually developing new understandings of reality and identity, and trace the intersections of aesthetics and ethics in Roth’s body of works. For the most part, my focus will
9 citations
01 Jun 2019
TL;DR: A narratologically grounded definition of character is proposed for discussion at the workshop, and a preliminary yet straightforward supervised machine learning model with a small set of features that performs well on two corpora is demonstrated.
Abstract: Characters are a key element of narrative and so character identification plays an important role in automatic narrative understanding. Unfortunately, most prior work that incorporates character identification is not built upon a clear, theoretically grounded concept of character. They either take character identification for granted (e.g., using simple heuristics on referring expressions), or rely on simplified definitions that do not capture important distinctions between characters and other referents in the story. Prior approaches have also been rather complicated, relying, for example, on predefined case bases or ontologies. In this paper we propose a narratologically grounded definition of character for discussion at the workshop, and also demonstrate a preliminary yet straightforward supervised machine learning model with a small set of features that performs well on two corpora. The most important of the two corpora is a set of 46 Russian folktales, on which the model achieves an F1 of 0.81. Error analysis suggests that features relevant to the plot will be necessary for further improvements in performance.
9 citations
Proceedings Article•
01 Jan 2013TL;DR: How Stanislavski’s acting method (1959) served as the inspiration to design a game based on the Spanish classical theatre play, La Dama Boba (The Foolish Lady), and how it helped transform a narrative, dramatic in this case, into a digital game is described.
Abstract: The relationship between theatre and games has been repeatedly discussed (Laurel 1993; Murray 1997; Frasca 2004; El-Nasr 2007;Fernandez-Vara 2009), but its possibilities have not been explored in enough depth. This paper goes beyond a theoretical proposal, and describes how Stanislavski’s acting method (1959) served as the inspiration to design a game based on the Spanish classical theatre play, La Dama Boba (The Foolish Lady). The result was a point-and-click adventure game developed with the eAdventure platform, (Torrente, del Blanco, Marchiori, Moreno-Ger, Fernandez-Manjon 2010) a tool to create educational games. The paper provides an overview of the most and least successful aspects of this design method, and how it helped transform a narrative, dramatic in this case, into a digital game.
9 citations
Cites background from "Story and Discourse: Narrative Stru..."
...The relationship between the actor and the character is at the heart of The Method, and inessential in understanding how these techniques can lead to a transformative experience....
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...In adventure games, characters define the story (Chatman 1980); there is usually a player character who carries out the actions on behalf of the player....
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