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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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TL;DR: The authors examine the role of language in A Clockwork Orange (1962) and how Stanley Kubrick uses filmic techniques to reflect upon this in his 1971 adaptation, and how these relate to adaptation concerns.
Abstract: Sf frequently suggests a self-conscious and sophisticated interrogation of language systems. This has provided cinematic adapters of sf novels with unique challenges. In this article I will first position the role of linguistics in sf in relation to the genre's broader practices and theory, and how these relate to adaptation concerns. I will then examine the role of language in Anthony Burgess's A Clockwork Orange (1962) and how Stanley Kubrick uses filmic techniques to reflect upon this in his 1971 adaptation.
6 citations
TL;DR: The authors examines narrative speed in early Chinese historical works and compares accounts of the same historical events in Shiji, Zuozhuan (Zuo) and Zuo's Zuo, with a focus on Shiji (Records of the Historian).
Abstract: This article examines narrative speed in early Chinese historical works. With a focus on Shiji (Records of the Historian), it compares accounts of the same historical events in Shiji, Zuozhuan (Zuo...
6 citations
Cites background from "Story and Discourse: Narrative Stru..."
...See Chatman 1980. reason why theOdes andDocuments have reappeared is that most of themwere stored by private families, whereas the historical records were stored only by the House of Zhou, and therefore were all destroyed....
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TL;DR: In this article, a sketch of the conceptual development of the translator's voice is presented to clarify the conceptual confusion of the translational voice, and a distinction between illocutionary intention and perlocutionary effect in speech act theory is introduced.
Abstract: This paper presents an effort to clarify the conceptual confusion of the translator’s voice. Drawing on the theoretical integration of narratology/narrative theories and translation studies, it begins with a sketch of the conceptual development of the translator’s voice. Then, it proceeds to introduce the distinction between illocutionary intention and perlocutionary effect in speech act theory to rethink the vulnerabilities of conceptualization and identification of the translator’s voice. The major finding of the paper is that the significance of the translator’s voice has long been interpreted in a one-sided way. Tracing the translator’s voice is not only a way of perceiving the translator’s subjectivity, but also a perspective from which the implication of the interrelations between the translator’s use of language and the translator’s subject position for the target-reader may be better observed and understood.
6 citations
TL;DR: Back story is critical for authorial storytelling as discussed by the authors, and it has been argued that the lack of background knowledge can affect the quality of a story's narration. But it is difficult to follow this advice when a story has no beginning or end, as it is known that "a certain nebulous darkness gradually seems to envelope the characters and the incidents".
Abstract: If Aristotle advised the poet to "put the actual scenes as far as possible before his [the reader's] eyes" (Poetics 1455a), our modern injunction is "show, don't tell." While authorial telling in the novel has largely fallen out of favor, one tool remains indispensable: back story. Percy Lubbock, as fierce a critic of authorial interventions as any, notes why: "There comes a juncture at which, for some reason, it is necessary for us to know more than we could have made out by simply looking and listening. . . . [Y]ou cannot rightly understand this incident or this talk, the author implies, unless you know what I now proceed to tell you" (65). That back story is critical should not be surprising when it addresses the main questions of Quintilian's inverino: quis? quid? ubi? quibus auxiliis? cur? quomodo? quando? (Del Lungo 142-43). Werth observes that "background information . . . constructs the text world" (119). For Herman, it seems evident that "the storyteller is likely to tailor his or her narrative in accordance with the amount of background knowledge he or she assumes me to have" ("Stories" 164). And for Genette, an in medias res opening followed by an "explicative turning back" has become a formal topos (Figures 79); indeed, he defines narrative as "a transition from an earlier state to a later and resultant state" (Narrative Discourse Revisited 19), which makes it critical to ground the earlier state. To tell a story, the King of Hearts tells Alice, one must "[bjegin at the beginning" (Carroll 106) but if "[a] story has no beginning or end" (Greene 1), if "one may as well begin" anywhere (Forster, Howards End 19), then this advice is harder to follow. In a chapter of The Duke's Children entitled "In Medias Res," Trollope notes that beginning amidst the action gives "the cart before the horse," with the result that "a certain nebulous darkness gradually seems to envelope the characters and the incidents" and so these blanks must be filled in through back story (70).
6 citations
TL;DR: In the Australian Archaeological Association's 2004 annual conference on "Learning Archaeology" as mentioned in this paper, the authors defined learning as "formalised teaching in the class or field, but included learning through practice, learning for ourselves, and learning and teaching through communicating our results and knowledge to others".
Abstract: [Extract] This volume is based on papers and posters presented at the 2004 Australian Archaeological Association Annual Conference held at the University of New England,
Armidale, plus some additional contributions. In a session
called 'Learning Archaeology' organised by Wendy Beck,
Martin Gibbs and one of us (SC) contributors were asked to
address the following questions: How do we learn archaeology? What can we learn from archaeology? What are some links between learning, teaching, research and professional practice? Learning was defined not only as
formalised teaching in the class or field, but included learning through practice, learning for ourselves, and
learning and teaching through communicating our results
and knowledge to others.
Papers which addressed the conference theme of 'Networks and Narratives' were especially welcome, however, any presentation relevant to the topic was encouraged. The only provisos were that papers must move beyond the purely anecdotal and descriptive, place teaching and learning into some broader theoretical framework and include analysis and discussion of some data or evidence to support their conclusions. Presenters were also asked to address issues of broad concern or interest to Australian archaeology.
6 citations