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.
Citations
More filters
TL;DR: This paper explored the interconnections between Australia's most significant sporting event, the Sydney 2000 Olympic Games, and Australia's Indigenous culture and heritage, and examined representations of heritage and identity at the Sydney Games and how these images were played out in wider discussions about the future of the Australian nation state.
Abstract: This paper explores the interconnections between Australia’s most significant sporting event, the Sydney 2000 Olympic Games, and Australia’s Indigenous culture and heritage. At this historic moment for the nation, Aboriginal Australian athlete Cathy Freeman came to embody Australia’s possible future and represented a vital legacy of the event. The paper examines representations of heritage and identity at the of the Sydney Games and how these images were played out in wider discussions about the future of the Australian nation state. The choice of Cathy Freeman was widely considered the ‘right’ choice and served to emphasise the highly considerable indigenous themes throughout the Opening Ceremony. The emphasis on indigenous culture continued during the Games and into the Closing Ceremony in a way that was partly orchestrated and partly developed a life of its own due to the actions of particular individuals. The Sydney Opening Ceremony was a significant moment for all Australians and pointed the way for ...
23 citations
Cites background from "Story and Discourse: Narrative Stru..."
...Essentially ‘a narrative is a communication’ (Chatman 1978, p. 28) and particularly ‘a structured sequence of events in time’ (Thwaites et al. 1994, p. 118)....
[...]
Dissertation•
17 Feb 2011
TL;DR: The authors place emphasis on the doppelganger's enactment of repetition itself through an examination at the figure through the prism of the problem of genre, in terms of how it has come to be discursively constituted as a genre itself and its embodiment of the very logic of genre in its play on the positions of identity and difference.
Abstract: At roughly the same historical conjuncture when it began to be articulated as a concept marking a return of the repressed within the psychoanalytic theories of Sigmund Freud and Otto Rank, the doppelganger motif became the subject of a veritable explosion of literary attention in 1920s Japan. Several authors – including Akutagawa Ryûnosuke, Edogawa Rampo, Tanizaki Jun’ichirô, and others – repeatedly deployed the doppelganger motif in their fictions against the backdrop of rapid urbanization, imperial expansion, and the restructuring of all aspects of everyday life by a burgeoning commodity culture. Interestingly, as if enacting the very compulsion to repeat embodied by the doppelganger on a historical register as well, a repetition of this proliferation of doppelganger images is apparent in the contemporary conjuncture, in the works of authors like Abe Kôbô, Murakami Haruki, or Shimada Masahiko, as well as in the films of Tsukamoto Shinya or Kurosawa Kiyoshi. To date, much of the previous scholarship on the figure of the doppelganger tends to be preoccupied with the attempt to locate its origins, whether in mythic or psychical terms. In contrast to this concern with fixing the figure to an imagined essence, in my dissertation, I instead place emphasis on the doppelganger’s enactment of repetition itself through an examination at the figure through the prism of the problem of genre, in terms of how it has come to be discursively constituted as a genre itself, as well as its embodiment of the very logic of genre in its play on the positions of identity and difference. By historicizing its formation as a genre, it becomes possible to productively situate not only the
23 citations
Dissertation•
31 Mar 2016
TL;DR: This thesis develops this conception further by providing a theoretical framework for conceiving designing and design objects as a mode of and media for philosophical inquiry as well as serving as tools for understanding and mediation between the general and abstract and the concrete and particular.
Abstract: For many, design is the production of useful artefacts. Designing can however also provide a basis for exploration, speculation or critique. This thesis develops this conception further by providing a theoretical framework for conceiving designing and design objects as a mode of and media for philosophical inquiry. Design is regarded as a material philosophy that explores and reflects philosophical issues by situating them in the concrete and particular reality of human life rather than in a generalised and abstract realm.
Design objects are equipment and media that can be understood in terms of their contextual references and consequences as well as the way in which they mediate human action, thinking and existence, and thus in terms of the worlds that they open up. As media for reflection they allow one to gain an experiential understanding of these contexts and worlds. Design thus relates to philosophy in terms of ethics and concepts; that is, in terms of exploring possibilities of existence and new forms of thinking. Since design objects can cre-ate new experiences and interactions they can lead to new values and concepts. These objects can be used to reflect on philosopical issues and to thus see the world from a new perspective.
These new perspectives may be brought about through three approaches: First, through fictions that render possible worlds experienceable or show the existing world in a new way. Second, through models that serve as tools for understanding and mediation between the general and abstract and the concrete and particular. Third, through situations, simulations and re-enactments that facilitate a direct and bodily experience of a new per-spective. These approaches can make abstract ideas experienceable, as they materialise these issues in concrete situations and thereby allow one to judge them in a real world context, including possible consequences. The activity of designing is accordingly considered an exploration of philosophical questions that uses design objects both as media for conducting an inquiry and communicating its outcome.
23 citations
Dissertation•
01 Dec 2017
TL;DR: This article explored the strategic value of authentic narrative in branded entertainment and found that authentic narrative gives form to narrative that is original, communicates the brand identity and purpose, and aligns with the target audience's value system in a meaningful way, with the potential to achieve customer-brand resonance.
Abstract: This study explored the strategic value of authentic narrative in branded entertainment. Authentic narrative gives form to narrative that is original, communicates the brand’s identity and purpose, and aligns with the target audience’s value system in a meaningful way, with the potential to achieve customer-brand resonance – therefore, its strategic value. The discipline of branded entertainment is imbedded in alternative brand contact planning. The term branded entertainment seemingly holds varied meanings among industry professionals and academics. This is of concern as the discipline is growing in importance as a means to disrupt conventional brand communication practice and to break through commercial clutter. One can compare this problem to an industry that for argument’s sake does not understand or agree on the fundamental principles of advertising or public relations, resulting in ineffective communication efforts. In many instances, branded entertainment is employed with an overt sales orientation as opposed to a brand orientation that engages an authentic brand identity-based narrative. The brand communication effort thus comes across as insincere, in particular where Millennials are concerned. This generation responds to brand communication that they can make a genuine emotional connection with and they expect of brands to provide entertaining content in their brand communication Stellenbosch University https://scholar.sun.ac.za
23 citations
Cites background from "Story and Discourse: Narrative Stru..."
...Authentic narrative is therefore credible and trustworthy (Visconti, 2010: 234; Gilmore & Pine, 2007; Gremler et al., 2001; Chatman, 1978)....
[...]
TL;DR: The narration of historical details is an art It can be learned by studying narrative theories which lead to a better understanding of the narrative process Not every physics teacher is born an expert in storytelling The analysis of the whole process of story production and its reception by an audience is a precious tool even in the hand of an inexperienced storyteller Science teachers can profit from an education in this direction as mentioned in this paper.
Abstract: The narration of historical details is an art It can be learned by studying narrative theories which lead to a better understanding of the narrative process Not every physics teacher is born an expert in storytelling The analysis of the whole process of story production and its reception by an audience is a precious tool, even in the hand of an inexperienced storyteller Science teachers can profit from an education in this direction
23 citations