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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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12 Sep 2013TL;DR: Turning toward Rome as discussed by the authors, the challenge of Troy, the narrator's song, the Aeneid 12 Conclusion, and a personal affair: memories of Dido 4. Imperatives of memory: foundation and fury.
Abstract: Introduction 1. Turning toward Rome 2. The challenge of Troy 3. A personal affair: memories of Dido 4. The narrator's song 5. Imperatives of memory: foundation and fury in Aeneid 12 Conclusion.
16 citations
12 Nov 2007
TL;DR: In this paper, the authors compare the features of the Liu du ji jing and those of other jatakas with Indian non-Buddhist narrative literature, and find that they share a great deal of common ground.
Abstract: This dissertation explores one of the Chinese jataka collections, the Liu du ji jing (A Scripture on the Collection of the Six Perfections) from literary, artistic, and gender perspectives. When I compare the features of the Liu du ji jing and those of other jatakas with Indian non-Buddhist narrative literature, I discover that they share a great deal of common ground?the linguistic, cultural, and stylistic milieu that nurtured them during their period of active development until they matured in relative isolation as distinct genres. Through centuries of constant development and reformulation, the jataka became a genre in its own right, although its distinctive traits as a genre changed over time in response to the changing contexts of Buddhist teachings, resulting in works as different as the Pali Jataka, Cariyapitaka, Jatakamala, and the Liu du ji jing. In addition to their literary presentation, the jatakas and the stories in the Liu du ji jing were also propagated in visual art at Indian stupas, but there they served a devotional rather than a didactical function. Given the sequence in which individual jataka scenes are arranged and the inaccessible location of these scenes within the stupas, it is unlikely that this artwork was intended to be read or understood by the viewer. Finally, I analyze and discuss the social and religious status of women as they are represented in the jatakas and what this tells us about the various Buddhist attitudes toward them. Here, the contrast between the way women are portrayed in the Liu du ji jing and the Pali Jatakas is significant. Unlike in any of the Pali jatakas, in three stories of the Liu du ji jing, "Buddha" was a woman (in a past life) four times. We will find that the Liu du ji jing is among the few Buddhist scriptures with a positive attitude toward women, and thus, in the eyes of its authors at least, there were a few good women.
16 citations
21 Nov 2009
TL;DR: This paper presents an extension of previous efforts to generate a story with surprise endings maintaining the reader's suspense by adopting the notion of disparity of knowledge between the reader and the characters in the story.
Abstract: Surprise and suspense can be effectively combined to increase story interest, complementing each other. In particular, stories with surprise endings can make a strong impression on the readers. In this paper we present an extension of our previous efforts to generate a story with surprise endings maintaining the reader's suspense by adopting the notion of disparity of knowledge between the reader and the characters in the story.
16 citations
09 Aug 2004
TL;DR: Taking scholarly hypertext as a domain, this paper articulates the theoretical basis for cinematic hypertext, presents the elements of a prototype visual language to express a sub-set of CCR, provides experimental evidence of its significance, and finally envisages the realisation of a cinematichypertext environment.
Abstract: This paper proposes the paradigm of 'Cinematic' Hypertext (CH), in which discourse form is represented following principles that underpin the expression of narrative patterns in cinema. Primarily tackling hypertext discourse coherence in the non-linear medium, CH is conceived as a way of thinking the hypertext medium that is consistent with its characteristics. CH envisages the consistent and concurrent use of the medium's formal features, grounded in structuring principles, in order to allow the emergence of a local language. Relational primitives based on Cognitive Coherence Relations are proposed as a structuring principle to define hypertext links, while the use the medium's graphic features is proposed to render these relational primitives as patterns that will take shape during navigation. Taking scholarly hypertext as a domain, this paper articulates the theoretical basis for cinematic hypertext, presents the elements of a prototype visual language to express a sub-set of CCR, provides experimental evidence of its significance, and finally envisages the realisation of a cinematic hypertext environment.
16 citations
16 citations