Fictionality as a Rhetorical Resource for Dual Narrative Progression

Style ◽  
2019 ◽  
Vol 53 (4) ◽  
pp. 495-502
Author(s):  
Dan Shen
Keyword(s):  
Narrative Progression

scholarly journals Reaching for the Tree of Life: The Role of Eating, Drinking, Fasting, and Symbolic Foodstuffs in 4 Ezra

2014 ◽  
Vol 45 (3) ◽  
pp. 366-387 ◽  
Author(s):  
Peter-Ben Smit
Keyword(s):  
Tree Of Life ◽  
Narrative Progression

This paper considers the role of foodstuffs and their (non-)consumption in 4 Ezra. While foodstuffs figure prominently in 4 Ezra, no prior research has been conducted on food and 4 Ezra. The paper argues that both the narrative progression of the work and significant parts of 4 Ezra are expressed through foodstuffs.

scholarly journals No explanation for the historical present: temporal sequencing and discourse

2018 ◽  
Vol 60 ◽  
pp. 73-90
Author(s):  
Pranav Anand ◽  
Maziar Toosarvandani
Keyword(s):  
Reference Time ◽  
Discourse Coherence ◽  
Coherence Relations ◽  
Temporal Sequencing ◽  
Salient Event ◽  
Narrative Progression

Discourses in the historical (or narrative) use of the simple present in English prohibitbackshifting, though they allow forward sequencing. Unlike both reference time theories anddiscourse coherence theories of these temporal inferences, we propose that backshifting hasa different source from narrative progression. In particular, we argue that backshifting arisesthrough anaphora to a salient event in the preceding discourse.Keywords: tense, discourse coherence, coherence relations, perspective.

scholarly journals Inter- and intrasentential anaphora: the case of the Ancient Greek participle

2015 ◽  
pp. 373
Author(s):  
Corien Bary ◽  
Dag Haug
Keyword(s):  
Formal Model ◽  
Temporal Behavior ◽  
Ancient Greek ◽  
Glue Semantics ◽  
Narrative Progression

This paper offers a formal model of the temporal behavior of Ancient Greek participles in their functions as elaborations, frames and independent rhemes. We model how they differ from each other and from main clauses, focusing in particular on the phenomenon of narrative progression. The theory integrates LFG and CDRT, using Glue semantics.

Abschlussschwäche? Die closure des höfischen Romans zwischen Mediengeschichte und Kulturpoetik

POETICA ◽  
2020 ◽  
Vol 51 (3-4) ◽  
pp. 276-311
Author(s):  
Florian Kragl
Keyword(s):  
Literary History ◽  
Media History ◽  
Middle High German ◽  
Static State ◽  
Courtly Romance ◽  
Cultural Poetics ◽  
Narrative Progression

Abstract The article deals with the closure of the, mostly Middle High German, courtly romance, taking as primary example Heinrich von Veldeke’s Eneide. ‘Courtly closure’ is defined as a slow and tenacious fading of narrative progression, by means of gradually transforming this progression into a virtually static state, namely, the description of an enduring courtly feast. It is argued that this way of bringing a romance or a novel to its end – unusual in the course of European literary history – is motivated by several factors. Amongst these, special attention is paid to media history (episodic narration, recital) and to cultural poetics (didactic qualities of the courtly romance).

VEGETABLE MONSTERS: MAN-EATING TREES IN FIN-DE-SIÈCLE FICTION

2013 ◽  
Vol 41 (2) ◽  
pp. 311-327 ◽  
Author(s):  
Cheryl Blake Price
Keyword(s):  
Nineteenth Century ◽  
Charles Dickens ◽  
Charlotte Bronte ◽  
Warning Signs ◽  
Thomas Carlyle ◽  
Fin De Siecle ◽  
Human Beings ◽  
Victorian Period ◽  
Fin De Siècle ◽  
Narrative Progression

Gothic stories and fictionalized travel accounts featuring dangerous exotic plants appeared throughout the nineteenth century and were especially prevalent at the fin de siècle. As the century progressed and the public's fascination with these narratives grew, fictional plants underwent a narrative evolution. By the end of the Victorian period, deadly plants had been transformed from passive poisoners into active carnivores. Stories about man-eating trees, among the most popular of the deadly plant tales, reflect this narrative progression. The trope of the man-eating tree developed out of late eighteenth- and early nineteenth-century accounts of a much less dangerous plant: the Javanese upas. Tales about the upas described the tree as having a poisonous atmosphere which killed every living thing within a several mile radius. The existence of this plant was first reported by a Dutch surgeon named Foersch in a 1783 article published in the London Magazine, and the story was recounted several times throughout the century (“The Valley of Poison” 46). A typical account of the popular tale would highlight the exotic location and the mysterious power of the tree: Somewhere in the far recesses of Java there is, according to Foersch, a dreadful tree, the poisonous secretions of which are so virulent, that they not only kill by contact, but poison the air for several miles around, so that the greater number of those who approach the vegetable monster are killed. Nothing whatever, he tells us, can grow within several miles of the upas tree, except some little trees of the same species. For a distance of about fifteen miles round the spot, the ground is covered with the skeletons of birds, beasts, and human beings. (“The Upas Tree of Fact and Fiction” 12) Even though more credible adventurers revealed the inaccuracies of Foersch's report and thoroughly discredited the fantastic powers attributed to the upas, the story nonetheless took hold of the Victorian imagination. As a result of Foersch's widely-circulated narrative, the word “upas” was rapidly incorporated into the English lexicon; writers such as Erasmus Darwin, Thomas Carlyle, Charlotte Brontë, and Charles Dickens use the upas as a metaphor for a person, object, or idea that has a poisonous, destructive atmosphere. The upas was even a subject for nineteenth-century art, as evidenced by Francis Danby's 1820 gothic painting of a solitary upas tree in the midst of a desolate rocky landscape. Although the myth of the upas focuses on the tree's lethal powers, it is important to note that the upas is, relatively speaking, a very passive “vegetable monster.” The plant is potentially dangerous, but stationary; extremely isolated, it is only harmful to those who rashly ignore the warning signs and wander within the area of its poisonous influence. Even in these exaggerated accounts, the upas is a non-carnivorous monster that grows in a remote, uninhabited area of Java.

The Role of Narrative in Educational Games and Simulations

2011 ◽  
pp. 1417-1433
Author(s):  
Jim Bizzocchi
Keyword(s):  
Educational Games ◽  
Learning Experience ◽  
Interactive Environments ◽  
Games And Simulations ◽  
Relationship Of ◽  
Narrative Progression ◽  
The Relationship ◽  
Learning Projects ◽  
Analytical Utility

This chapter examines the relationship of story, interaction, and learning through a close view of the role of narrative in two SAGE for Learning projects: Contagion and COMPS. The combination of narrative with an interactive multi-mediated environment can enhance the learning experience. In interactive environments, the standard narrative arc has limited analytical utility; in its place, we use a framework of more focused and particular narrative components, with the following components: storyworld, character, emotion, narrativized interface, micro-narrative and narrative progression. This framework is used to analyze Contagion and COMPS, revealing the underlying narrative dynamics that drive the design, and support the learning experiences that they make possible.

The Discourse Presentation Model So Far

2020 ◽  
pp. 21-54
Author(s):  
Beatrix Busse
Keyword(s):  
Qualitative Analysis ◽  
19Th Century ◽  
Historical Data ◽  
State Of The Art ◽  
Narrative Fiction ◽  
Qualitative Investigation ◽  
Relevant Research ◽  
Automatic Coding ◽  
Narrative Progression

The second chapter discusses Semino and Short’s (2004) model of discourse presentation and adapts it for the study of 19th-century narrative fiction; the chapter presents a state-of-the-art overview of relevant research on discourse presentation in narrative fiction, including Sinclair’s concept of “trusting the text,” and Toolan’s (2009, 2016) concept of narrative progression. The chapter outlines first the main objectives of the study as comprising a quantitative and qualitative analysis of the types of speech, writing, and thought presentation in a corpus of 19th-century English narrative fiction, their distribution and functions; second, the development of a new methodology for investigating discourse presentation in historical data in order to enable diachronic comparison; third, the development of a tool for the automatic coding of discourse presentation on the basis of characteristic lexico-grammatical patterns; and finally, a qualitative investigation of the interplay between narration and modes of discourse presentation and their narratological function.

Extreme Cinema

2016 ◽  
Author(s):  
Aaron Kerner ◽  
Jonathan Knapp
Keyword(s):  
Visual Stimulus ◽  
Affective Response ◽  
Transnational Cinema ◽  
Cognition And Emotion ◽  
The Spectator ◽  
Narrative Progression ◽  
Narrative Conventions ◽  
Physical Sensation

Extreme Cinema surveys post-millennial trends in transnational cinema—particularly in its highly stylized treatment of explicit sex and violence. In many cases these cinematic embellishments skirt narrative motivation or even impede narrative progression, favoring instead the possibility to elicit an affective response in the spectator: physical sensation separate from cognition and emotion. As a result, in many instances extreme cinema is not governed according to narrative conventions (narrative arcs driven by character motivation), and instead emphasizes spectacles. If not episodic in structure, then, extreme cinema might host abrupt ruptures in the diegetic narrative—experiments in form and/or composition (editing, extreme close-ups, visual disorientation, sounds that straddle the boundary between non-diegetic and diegetic registers), the exhibition of intense violence and pain, acute intimacy with bodies in the throes of sex. In more episodic films, like the musical, or pornography, extreme cinema frequently showcases set cinematic numbers that flood sensory channels with auditory and/or visual stimulus. Extreme cinema wields the potential to manipulate the viewing body (as demonstrated by “reaction” videos posted on hosting sites such as YouTube). Crucially, the affects and emotions prompted by these films can vary wildly: abjection, disgust, arousal, laughter. Films considered include those of the American torture porn genre, as well as films that other scholars and marketers have classified as “New French Extremity” and “Asia Extreme.” While content is assuredly a concern, what Extreme Cinema explores, above all, is the importance of cinematic form.

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