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.

The effectiveness of using 'Reading To Learn, Learning To Write' pedagogy in teaching Chinese to non-Chinese speaking students in Hong Kong

Abstract: Congress Theme: Systemic Functional Linguistics and Language Education: Contemplating novel applications of well-established and evolving lines of enquiry to language education theory and practice

The Physics of Spinoza’s Ethics

Abstract: Since my title might appear to announce a somewhat narrow theme, I want to begin by locating the inquiry to be undertaken here within a broader setting. The supreme problem for the interpreters of Spinoza, in my judgment, is set by the first word in the title of his most noted work: Ethica ordine geometrico demonstrata.1 Why did Spinoza give his work this title? Hampshire's remark,2 that the title "Ethics" is "just and essential" must have struck most readers as itself just; but whence does the title derive its justice? Surely, so all must feel, it is not simply an instance of synecdoche, masking an irreducible heterogeneity of content. If, then, the work has some sort of unity, both in its content and its unfolding development, what is responsible for this unity? What draws together into a manifest whole the seeming diversity of themes to which the book is addressed?3 To employ a Kantian distinction, the question of fact seems sufficiently and finally answered by Spinoza's own decision to give his work this name, but the quaestio juris still remains: what are the conditions of possibility that make this decision adequately conceivable? Spinoza himself provides a valuable initial clue in a clause in his letter to Blyenbergh of June 3, 1665: "Ethics, which, as everyone knows,

The Data Box

Abstract: After a glance at the relatively accidental, historical grouping of features in the Wundt-Pavlov and Galton-Spearman research traditions, we have embraced in the last chapter a new and more comprehensive view of the taxonomy of possible research designs. Therein we have recognized three “panels”—or separate areas of decision that contribute to the total planning of an investigation—namely, hypothesis theme (theory), experimental design, and analysis method, each with a set of four or more definable parameters.

Como escrever um artigo de revisão de literatura

Abstract: This article aims to assist you in preparing your Literature Review Article. It was done exclusively to contribute in a practical way to the Literature Review Article which is both one of the types of Course Work and one of the most common types of academic publication. In the suggestion of this article, soon after the definition of the theme, the student should start with the literature survey, in which he will select scientific articles, read them, select relevant excerpts contained in it to compose his theoretical reference to only develop problem, hypothesis, objective, justification, methodology etc. Precisely because it believes to be the easiest and most practical way to prepare a Literature Review Article.

The Literary Views of Gottfried von Strassburg

Abstract: LTERARY CRITICISM of any sort is unusual in medieval writing. When works are cited or discussed, it is usually to help a student to formalize his own endeavors, and the authors used for the purpose are those beyond criticism, that is, the classical writers who have long been canonized. Any mention of contemporary authors is rare and when it occurs at all it is usually inspired by either affection or rancor and does not constitute literary criticism in any real sense of the term. Style or even poetic method is never discussed. There were, of course, numerous "Arts of Poetry" in Latin and in some of the vernaculars but these are works written with the express purpose of providing rules of poetic composition. They are prescriptive, not critical. In view of this absence of even the most rudimentary literary criticism in the work of contemporaries, it is surprising to find embedded in a courtly romance an apparent digression which seems at first sight to be a review of the present state of the poetic art, complete with all the touchiness and prejudice which one associates with artists talking about their rivals' work. The passage has actually been called "Gottfried's literary criticism" and it is, of course, best known for its caustic references to a writer who is almost certainly Wolfram von Eschenbach. But does the passage in fact constitute literary criticism? Gottfried was not the kind of artist who dropped his theme to make asides, particularly asides of 456 lines. Nor, when the passage is inspected closely, is there much literary criticism in it. Very few authors are mentioned, and, as I hope to show, they are mentioned in a specific order with a very definite purpose in mind. The whole passage is an organic part of the romance, a carefully integrated discussion of the means of telling Tristan's story within the story itself.' There is no need to spend very long in discussing the reasons for the substitution of a literary excursus for a description of a formal ceremony of knighting. Gottfried says that the subject has been treated ad nauseam (although there are no such descriptions in the works of Hartmann and Wolfram), but that is not his real reason for avoiding the subject. Tristan is, for Gottfried, a literary figure or, as I have shown elsewhere, an artist.2 It would have been perfectly suitable to show his father Riwalin going through the ceremonies of investiture but to do so for Tristan would have been an offense against his nature. Here is the very point on which Gottfried and Wolfram disagreed most violently, for Parzival is the literary representation of a true knight, while Tristan is a literary figure, an artist who assumes the form of a knight because the chivalric romance was the principal literary genre of the day. If Tristan is to be made a knight, he must be made a literary knight, and it will be necessary to endow him not with the sword and spurs of the fighting man but with the qualities needed in a romance and furthermore in a romance of a very special kind. Here we must observe very closely. We are told that thirty other young men are to be knighted with Tristan, and their clothes-that is, their vestments, their new acquisitions or, allegorically, th qualities they take on when they become k ights-are these: