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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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5 citations
26 Nov 2018
5 citations
TL;DR: In this paper, the authors examine the repetition structure in cinematic narratives, specifically, in heist, adventure, and military operation films, and relate these interplays themselves to the structure's functions at the level of plot, meaning, and rhetoric.
Abstract: Thestructureofrepetition,asMeirSternberg(1978)definesit,consistsinthe repeatedpresentationofafabulaiceventalongthetextcontinuum.Ithasthreetypesof component members: (1) forecast (e.g., command, scenario); (2) enactment (represent- ing the forecast's objective realization, as communicated by an authorized narrator); and (3)report (about an enactment, a forecast, or another report, all delivered by some character). This research examines the repetition structure in cinematic narrative: specifically, in heist, adventure, and military operation films. Throughout, the argu- mentproceedswithspecialreferencetothesegenres,aswellastothecinema'smedium, practice, and conventions in general, often citing literary parallels or precedents for comparison.It examines thedifferent elements that serveto (re)compose therepetition structure for certain ends; the types of member brought together within the structure; their size, number, forms of transmission, order of appearance, representational pro- portion, and possible interrelations (overlap, partial overlap, contradiction, expansion or summary of a previous member). Above all, the analysis relates these interplays themselves to the structure's functions at the level of plot, meaning, and rhetoric, notably including their generic variations, as exemplified by the three focal genres.
5 citations
DOI•
01 Sep 2009
TL;DR: The analysis of the results showed that the design alter egos liberated the majority of the students from the fear of straightforwardly exposing themselves, supported and enhanced their introspection, stimulated their creativity and helped to establish an informal and constructive atmosphere throughout the design sessions.
Abstract: The paper presents a novel approach to collaborative design of educational software with students, one that asks the participants for the formation and use of fictional characters -- design alter egos -- as a means towards eliciting requirements and design ideas. In order to evaluate the suggested approach, we conducted 12 collaborative design sessions with the participation of 54 undergraduate university students (aged 19 to 24) for eliciting requirements for the design of an ideal course website. The analysis of the results showed that the design alter egos liberated the majority of the students from the fear of straightforwardly exposing themselves, supported and enhanced their introspection, stimulated their creativity and helped to establish an informal and constructive atmosphere throughout the design sessions. We suggest the use of design alter egos as an engaging and effective supportive technique for co-designing educational software with students.
5 citations
Cites background or methods from "Story and Discourse: Narrative Stru..."
...This commitment to the user is manifested through a tendency to replace existing task-oriented design approaches with user-oriented ones, a distinction similar to that between plot-centered or apsychological, and character-centered or psychological narratives [ 6 ]....
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...The whole set of attributes aimed at the creation of a round character [ 6 , 18], allowed students to illuminate the details of their fictional character’s personality and clarified the value system that governed its decisions, preferences and behavior:...
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06 Jun 2011
TL;DR: An algorithm is presented that generates narratives of different presentation orders for a story by taking its plan representation and the desired amount of non-linearity as input to hypothesize that a narrative deviated from its chronological order and presented without affecting the ease of comprehension might lead to cognitive engagement.
Abstract: The order in which the events of a story are presented plays an important role in story-telling. In this paper, we present an algorithm that generates narratives of different presentation orders for a story by taking its plan representation and the desired amount of non-linearity as input. We use the principles of event-indexing model, a cognitive model of narrative comprehension, to generate narratives without affecting the ease of comprehension. We hypothesize that a narrative deviated from its chronological order and presented without affecting the ease of comprehension might lead to cognitive engagement. Empirical evaluation of the system was conducted to test this hypothesis along with the amount of non-linearity that could be introduced in a story without affecting the ease of comprehension.
5 citations