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Theme (narrative)

About: Theme (narrative) is a research topic. Over the lifetime, 13050 publications have been published within this topic receiving 159511 citations. The topic is also known as: narrative theme.


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Book
01 Jan 1991
TL;DR: The essays collected here, a festschrift presented to Anna Simoni on her 75th birthday, take as their theme relations between Britain and the Low Countries, from the dawn of printing to the Napoleonic Wars, with a broad range of approaches - literary, bibliographical, cultural, and more as discussed by the authors.
Abstract: The essays collected here, a festschrift presented to Anna Simoni on her 75th birthday, take as their theme relations between Britain and the Low Countries, from the dawn of printing to the Napoleonic Wars, with a broad range of approaches - literary, bibliographical, cultural, and more.

46 citations

Book
01 Jan 1988
TL;DR: In this paper, a study of Arab writers such as Ghada al-Samman, Hanan al-Shaikh, Emily Nasrallah and Etel Adnan is presented.
Abstract: This is a study of Arab writers such as Ghada al-Samman, Hanan al-Shaikh, Emily Nasrallah and Etel Adnan. It presents a constructive literary approach to the ravages of the civil war in the Lebanon. The ways in which women's consciousness is awakened in terms of female liberation is a theme.

46 citations

Journal ArticleDOI
01 Oct 2010-Lingua
TL;DR: This paper makes two main claims about theme–goal ditransitive constructions available in some British English dialects, first, such sentences are derived from ordinary double object constructions, and second, this short object movement also feeds theme passivisation in double object Constructions.

46 citations

Journal ArticleDOI
TL;DR: Metropolis has never had a good reputation and its content, more often than not, has been condemned as simplistic, ill-conceived, or plain reactionary by critics as mentioned in this paper.
Abstract: Fritz Lang's famous and infamous extravaganza Metropolis has never had a good press. While its visual qualities have been praised,' its content, more often than not, has been condemned as simplistic, ill-conceived, or plain reactionary. When the film was first released in the United States in 1927, Randolph Bartlett, the New York Times critic, reproached the director for his "lack of interest in dramatic verity" and for his "ineptitude" in providing plot motivation, thus justifying the heavy re-editing of the film for American audiences.2 In Germany, critic Axel Eggebrecht condemned Metropolis as a mystifying distortion of the "unshakeable dialectic of the class struggle" and as a monumental panegyric to Stresemann's Germany.3 Eggebrecht's critique, focusing as it does on the emphatic reconciliation of capital and labor at the end of the film, has been reiterated untold times by critics on the left. And indeed, if we take class and power relations in a modern technological society to be the only theme of the film, then we have to concur with these critics. We would also have to agree with Siegfried Kracauer's observation concerning the affinity that exists between the film's ideological punch line, "The heart mediates between hand and brain," and the fascist "art" of propaganda which, in Goebbels' words, was geared "to win the heart of a people and to keep it."4 Kracauer pointedly concluded his comments on Metropolis with Lang's own words describing a meeting of the filmmaker with Goebbels that took place shortly after Hitler's rise to power: " 'He (i.e., Goebbels) told me

46 citations

Journal ArticleDOI
TL;DR: In chapter xxv of Il Principe, Machiavelli refers very briefly to men's goals, saying that in the things that lead to the end that everyone has in view, namely glory and riches (cioe glorie e ricchezze), men proceed in different ways as mentioned in this paper.
Abstract: In chapter xxv of Il Principe, Machiavelli refers very briefly to men's goals, saying that ‘in the things that lead to the end that everyone has in view, namely glory and riches (cioe glorie e ricchezze), men proceed in different ways.’ L. Arthur Burd observes that ‘Machiavelli dispatches in this one short sentence a question which was usually discussed at length in the earlier political manuals: what is it, namely, that furnishes the motives of action?’ Glory was one of the most important ideas in Renaissance thought, and Machiavelli's thought can be understood only imperfectly if the part that gloria played in it is not grasped; yet inexplicably this theme has been almost entirely neglected.

46 citations


Performance
Metrics
No. of papers in the topic in previous years
YearPapers
20221
2021347
2020497
2019509
2018449
2017404