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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01 Jan 2017
TL;DR: In this article, the authors present a collection of examples from the Brahms corpus of Nachtigall, Todessehnen, and Schwermut, as well as several other works.
Abstract: ........................................................................................................................... iv Acknowledgements ......................................................................................................... vi List of examples ..................................................................................................................x List of figures .................................................................................................................. xvi List of tables.................................................................................................................. xviii Chapter 1 Constructing Meaning: Poetic Temporality and Harmonic Process Introduction ....................................................................................................1 Poetic Analysis...............................................................................................12 Musical Analysis ............................................................................................22 Three Case Studies .........................................................................................33 Chapter 2 Modal Ambiguity, Tonal Pairing, and the Portrayal of Layered Psychological States .............................................................................................................64 “Nachtigall” (op. 97, no. 1) ............................................................................69 “Es träumte mir,” (op. 57, no. 3) ....................................................................89 “Es hing der Reif” (op. 106, no. 3) ................................................................108 Chapter 3 Emergent Modality: Minor-to-major Progressions as “Tragic-toTranscendent Narratives .............................................................................127 “Dämmrung senkte sich von oben” (op. 59, no. 1) ........................................130 “Todessehnen” (op. 86, no. 6) .......................................................................156 “Schwermut” (op. 58, no. 5) ..........................................................................183 Chapter 4 Tonal Problems, Promissory Notes, and Narratives that Incorporate Them..............................................................................................................203 “Unbewegte laue Luft” (op. 57, no. 8) ...........................................................206 “Wehe, so willst du mich wieder” (op. 32, no. 5) ..........................................226 “Vorüber” (op. 58, no. 7) ...............................................................................250 “Wie rafft’ ich mich auf in der Nacht,” (op. 32, no. 1) ..................................268 Chapter 5 Brahms’s Self-Modeling: Recurring Keys and Their Narratives ............290 “Ein Wanderer” (op. 106, no. 5) ....................................................................294 “Heimkehr” (op. 7, no. 6) ..............................................................................305 “Treue Liebe” (op. 7, no. 1) ...........................................................................322 “Herbstgefühl” (op. 48, no. 7) .......................................................................329 “An die Nachtigall” (op. 46, no. 4) ................................................................339 Chapter 6 Conclusion ....................................................................................................357 Bibliography .................................................................................................361
9 citations
TL;DR: In this article, the authors used Burke9s dramaturgical perspective and visual narrative metaphor method to provide girls with a means of purification or a way of identifying both the devastating and redeeming nature of social aggression including a sequential move from pollution to redemption.
Abstract: The master narrative about social aggression is that it is devastating for girls. Absent from the narrative, however, are girls9 voices and a consideration of the positive benefits that targets might incur. Girls9 stories of social aggression can be hard to communicate, as adolescents experience challenges making sense of emotionally difficult events. Using Burke9s dramaturgical perspective and visual narrative metaphor method , the present study provided girls with a means of purification or a way of identifying both the devastating and redeeming nature of social aggression, including a sequential move from pollution to redemption . Forty-two middle school girls drew and orally described metaphors representing their negative feelings and positive outcomes associated with an experience of social aggression. The analysis revealed four categories of pollution metaphors and four categories of redemption metaphors, as well as five discourse structures that provided insight into how participants constructed their pollution and redemption narratives.
9 citations
01 Jan 2004
TL;DR: In this paper, the authors argue that video game music can be seen as an integral part of games' overall semantic structure and argue that game music provides a sense of space, characterization, and atmosphere in a game.
Abstract: of Thesis Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Arts PLAY ALONG: VIDEO GAME MUSIC AS METAPHOR AND METONYMY By Zachary Nathan Whalen May 2004 Chair: J. Yellowlees Douglas Major Department: English This thesis argues for an approach to studying video game music such that video game music can be seen as an integral part of games’ overall semantic structure. The terms metaphor and metonymy are borrowed from linguistics to describe two key functions of video game music. First, the metaphoric function of video game music provides a sense of space, characterization, and atmosphere in a game. It is also the way music in games can be frightening or can evoke particular moods. Second, the metonymic function of video game music is that which upholds the syntactic structure of the game by compelling the player’s involvement in progressing the game’s narrative. For example, game music supplies readers with clues about approaching enemies, therefore giving the players an edge and an incentive to keep playing. These two functions are also explored in the context of a discussion about video game playing as a state of “immersion,” “engagement,” or “flow” (ideas derived from schema theory and cognitive linguistics) which suggests that an ideal state of pleasurable gaming is something like an act of creation or empowerment. Also, these cognitive
9 citations
Dissertation•
01 Sep 2008
TL;DR: In this article, the authors present the RHETORF of Mark's CHARACTERIZATION of the DISCIPLES, and discuss the role of the author and the reader in the reading process.
Abstract: .............................................................................................................................................................................................................vii ABBREVIATIONS AND SYMBOLS......................................................................................................................................ix CHAPTER ONE INTRODUCTION...............................................................................................................................................................................................1 PROLOGUE......................................................................................................................................................................................................................................1 SITUATING THE PRESENT READING ................................................................................................................................................5 THE RHETORICAL FUNCTION OF MARK’S CHARACTERIZATION OF THE DISCIPLES.................7 The Markan Disciples as Serving a Polemical Function....................................................................................7 Theodore J. Weeden ...........................................................................................................................................................................7 Werner H. Kelber................................................................................................................................................................................10 Richard A. Horsley............................................................................................................................................................................13 The Markan Disciples as Serving a Pedagogical or Pastoral Function.........................................16 David J. Hawkin....................................................................................................................................................................................16 Robert C. Tannehill .........................................................................................................................................................................18 Ernest Best....................................................................................................................................................................................................20 Elizabeth Struthers Malbon....................................................................................................................................................21 MARK’S CHARACTERIZATION OF THE DISCIPLES...............................................................................................................23 Mary Ann Tolbert ..............................................................................................................................................................................23 Jack Dean Kingsbury.......................................................................................................................................................................27 Suzanne Watts Henderson......................................................................................................................................................29 CONCLUSION ....................................................................................................................................................................................................................32 THE PLAN FOR THIS STUDY.........................................................................................................................................................................34 CHAPTER TWO THE RHETORIC OF REPETITION......................................................................................................................................35 NARRATIVE CRITICISM .......................................................................................................................................................................................35 NARRATIVE CRITICISM — BASIC PERSPECTIVES ................................................................................................................36 NARRATIVE CRITICISM — KEY ELEMENTS .................................................................................................................................38 Narrative Structure — Story and Discourse.................................................................................................................38 Narrative Communication — Authors, Texts, and Readers....................................................................40 The Implied Author and the Narrator .....................................................................................................................41 The Implied Reader — The Authorial Reader vs. The Narrative Reader..................42 The Implied Reader as a Rereader.................................................................................................................................43 CONSTRUCTION GRAMMAR .....................................................................................................................................................................44 SEMANTIC FRAMES AND NARRATIVE FRAMES......................................................................................................................46 Semantic Frames ..............................................................................................................................................................................................46 Narrative Frames..............................................................................................................................................................................................49 Conclusions.............................................................................................................................................................................................................51 CASE FRAMES...................................................................................................................................................................................................................52 Case Frame Analysis — The Basics .........................................................................................................................................53 Semantic Functions ..........................................................................................................................................................................54 Syntactic Functions ..........................................................................................................................................................................55 Lexical Realization.............................................................................................................................................................................55
9 citations
TL;DR: For example, Amsterdam and Bruner as mentioned in this paper argue that it is possible to "experience fresh ways of looking at [the works that lawyers do] as the ceaseless works-in-progress of a culture that, while binding its members in a common canon, leaves them free to some extent to visualize and even realize possible worlds beyond the canon" (p. 5).
Abstract: Anthony Amsterdam and Jerome Bruner set out, in Minding the Law, to "make the already familiar strange again" (p. 1). This phrase captures one central goal of interdisciplinary inquiry: to allow those steeped in a field to step outside its closed, often self-referential world and view it from another vantage point. For legal scholars, studying a field that styles itself as autonomous, and that is rife with "canonical ways of proceeding" (p. 1), the turn to other disciplines has not been easy. The rewards of crossing disciplinary boundaries are palpable: the infusion of information, the jolt to our complacency, the enlarged frame of reference. Yet for the study of law, grounded in practice as well as theory, in real world consequences as well as the love of knowledge, it is worth asking: What exactly should we seek from the interdisciplinary endeavor? Is it a way to see the legal world afresh, or more than that: a source of principles for remaking it? Amsterdam and Bruner share a conviction, which grew in part from a highly rewarding seminar they have co-taught over the past decade, that it is possible to "[e]xperience fresh ways of looking at ... [the works that lawyers do] as the ceaseless works-in-progress of a culture that, while binding its members in a common canon, leaves them free to some extent to visualize and even realize possible worlds beyond the canon" (p. 5). They found that the students' most vivid insights into the workings of
9 citations