George Pérez and the Classical Narrative Style

2020 ◽  
Vol 4 (3) ◽  
pp. 288-308
Author(s):  
Marc Singer
Keyword(s):  
Narrative Style

Narrative Style in Ozu's Silent Films

1986 ◽  
Vol 40 (2) ◽  
pp. 28-35
Author(s):  
Kathe Geist
Keyword(s):  
Silent Films ◽  
Narrative Style

Journey to the Advisor Within: Exploring Challenge, Transformation and Evolution in Advisor Stories

Relay Journal ◽  
2019 ◽  
pp. 319-322
Author(s):  
Gamze Güven-Yalçın ◽  
Stephanie Lea Howard ◽  
Hatice Karaaslan
Keyword(s):  
Language Learning ◽  
Reflective Practice ◽  
Message Board ◽  
Initial Experiment ◽  
Narrative Style ◽  
The Third ◽  
Visual Message ◽  
Knowledge And Practice ◽  
The Individual ◽  
Academic Year

In the Reflective Practice column of the third issue of the Relay Journal, Yamamoto (2019) remarked on the importance of creating a platform for advisors to voice their views, feelings, and experiences, and suggested a need for more reflective narratives to be posted from different social, historical, and cultural contexts in order to provide an intimate view inside advising sessions, thereby offering a better understanding of said advising practices. The aim was to create a forum where advisors could learn from each other, and ultimately, everyone could mutually benefit from the experiences shared. To further this innovative research into Advising in Language Learning (ALL), the initial experiment by language advsiors at Kanda has been replicated in a different setting with four learning advisors from Ankara Yıldırım Beyazıt University, Turkey. The design used by the advisors at Kanda, a narrative style adopted while telling the stories, has been expanded to include a visual message board to which 20 learning advisors have contributed with their short reflective captions on their advisor selves. Additionally, the theme used by the advisors at Kanda, “the most memorable advising experience of this academic year” has been altered in our case to avoid repetition and to allow reflection on different aspects of the advising experiences. Thus, our narratives and the visual message board will examine two different themes: (1) How has advising affected you? (2) How do you define yourself as an advisor? Four narratives have elaborated on the first theme of the influence of advising knowledge and practice on the individual advisors, and the visual message board includes 20 images with reflective captions on the second theme of defining advisor identities.

Language and Vision in the Epinician Poets

2017 ◽  
Author(s):  
David Fearn
Keyword(s):  
Material Culture ◽  
The Other ◽  
Visual Narrative ◽  
Short Treatment ◽  
Narrative Style ◽  
Cultural Terms ◽  
Language And Vision

This chapter explores the ways in which the other two contemporary epinician poets, Simonides and Bacchylides, use aesthetics and material culture as a way of drawing attention to their own individual and distinctive poetic voices and poetic agendas. Their affinities with and differences from Pindar are explored on the strength of the available evidence. Simonides’ Danae fragment receives detailed coverage, interpreted in visual-cultural terms in relation to Simonides’ ongoing fame as the original commentator on the relation between art and text. Discussion then turns to Bacchylides, and the predominance of a visual narrative style in his work. The argument covers not only epinician material but also an interesting but understudied fragmentary dithyramb. The focus then returns to Pindar with a short treatment of the themes of vision and visual and material culture in Nemean 10.

Hypertextuality and the Economic Novel in Zimbabwe

Matatu ◽  
2017 ◽  
Vol 49 (2) ◽  
pp. 400-415
Author(s):  
Maurice Taonezvi Vambe
Keyword(s):  
Point Of View ◽  
Hard Copy ◽  
The Novel ◽  
Ordinary People ◽  
African Countries ◽  
Narrative Style ◽  
Great Ease ◽  
New Type ◽  
Novelistic Form ◽  
Source Of Information

Abstract Recent surges and advances in the popular use of electronic technology such as Internet, email, iPad, iPhone, and touch-screens in Africa have opened up great communicative possibilities among ordinary people whose voices were previously marginalized in traditional elitist media. People far apart geographically and living in different times can communicate rapidly and with great ease. This technological revolution has challenged and broken down boundaries of dependence on television, newspapers, and novels, the traditional forms of communication. It is now possible to upload a novel onto an iPad and read it as one moves from place to place. The burden of carrying hard copies is relieved but not eradicated; in most African countries, including Zimbabwe (the centre of focus in the present article), the creative work of art or hard copy of a novel is still relied upon as source of information. There are creative, experimental innovations in the novel form in Zimbabwe which to some extent can justify one’s speaking of a hypertextual novel. This new type of novel incorporates multiple narratives, and sometimes deliberately uses genres such as the email form as a constitutive narrative style that confirms as well as destabilizes previous assumptions of single coherent stories told from one point of view. Using the concepts of hypertextuality, intertextuality, and Bakhtin’s notions of carnivalesque and heteroglossia in speech and written utterances, this article reconsiders the implications of the presence of ideologies of hypertextuality in one novel from Zimbabwe, Nyaradzo Mtizira’s The Chimurenga Protocol (2008). The article argues that the multiplicity of narratives constitutes the hypertextual dimension of the novelistic form.

The Narrative Style of Marshall Ward, Jack-Tale-Teller

1990 ◽  
pp. 147-163
Author(s):  
Charlotte Paige Gutierrez
Keyword(s):  
Narrative Style

scholarly journals José Zorrilla y los mitos fundacionales del romanticismo hispánico: sentido y estructura de la azucena silvestre: leyenda religiosa del siglo IX (1845)=José Zorrilla and the foundational myths of the Spanish Romanticism: sense and structure of la azucena silvestre: leyenda religiosa del siglo IX (1845)

2019 ◽  
pp. 23
Author(s):  
Claudia Lora Márquez
Keyword(s):  
Nineteenth Century ◽  
Narrative Style ◽  
Jose Zorrilla

<p align="left"><strong>Resumen</strong></p><p>José Zorrilla publica en 1845 <em>La azucena silvestre: leyenda religiosa del siglo IX. </em>Utilizando la leyenda como cauce narrativo, el poeta vallisoletano actualiza el mito fundacional del monasterio catalán de Montserrat acomodándolo a los principios ideológicos del pensamiento reaccionario español decimonónico: tradición, nación y religión.</p><p align="left"><strong> </strong><strong>Abstract</strong></p><p>José Zorrilla publishes in 1845 <em>La azucena silvestre: leyenda religiosa del siglo IX. </em>Using the legend as narrative style, the poet from Valladolid brings up to date the foundational myth of the Catalonian monastery of Montserrat streghtening the most important ideological principles of nineteenth-century Spain’s reactionary ideology: tradition, nation and religion.  </p>

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