Narrative Composition Research Articles

Uma leitura feminista sobre o desejo feminino em Lilian M (1975), de Reichenbach

Abstract Intertwining feminist thought and cinema, this paper search the freshness of women’s desire in Carlos Reichenbach’s film Lilian M (1975), and try to recognize how the filmmaker interacts with the 1970s debates on sexuality and integrates them into the composition of narrative. The film analysis emphasizes the process of interchange between desire, female displeasure and the masquerade, as an auteur critical work, which does not disregard female agency, the domination-exploitation of women, nor the dialogues with voyeurism and the sexual adventures of erotic comedy.

The Effect of Creative Writing Activities on the Story Writing Skill In University Curriculum

This study explores the effectiveness of structured guidance and visual stimuli in enhancing college students' creative writing skills. Following a phased approach grounded in scholarly recommendations, students were guided through narrative text structure, free topic writing, and visual prompt utilization. The introduction of structured narrative elements facilitated comprehension and provided a framework for students to build upon. Additionally, brainstorming sessions and group discussions helped students overcome initial uncertainties and generate ideas. Visual prompts proved invaluable in stimulating creativity and providing a scaffold for story development. By applying Tredinnick's (2006) guidance, students produced well-structured narratives with engaging plots and character development. Overall, this study underscores the importance of incorporating structured guidance and visual aids in creative writing instruction to foster students' confidence and proficiency in narrative composition.

The Effect of Word Decoding and Oral Language Skills on the Written Composition of Short Narratives

Purpose: This study examined the effect of decoding and oral language skills on the written composition of short narratives among first-grade children at the end of the academic year.Methods: A total of 55 first graders participated in the study. To qualify for the study, participants were required to score at or above 80 on a nonverbal intelligence test. All participants were administered assessment of written composition, word decoding, receptive vocabulary, semantic relation vocabulary, and sentence comprehension. Pearson correlation and multiple stepwise regression were conducted.Results: The results showed the written composition of short narratives was significantly correlated with word decoding, receptive vocabulary, semantic relation vocabulary, and sentence comprehension. In the multiple stepwise regression, word decoding and receptive vocabulary predicted a significant amount of variance in the written composition of short narratives.Conclusion: These findings demonstrated that word decoding and vocabulary knowledge have a significant effect on written composition of short narratives in the early stage of writing development. Word decoding and vocabulary should be considered for assessment and intervention for children in the early stage of writing.

Narrative cave art in Indonesia by 51,200 years ago.

Previous dating research indicated that the Indonesian island of Sulawesi is host to some of the oldest known rock art1-3. That work was based on solution uranium-series (U-series) analysis of calcite deposits overlying rock art in the limestone caves of Maros-Pangkep, South Sulawesi1-3. Here we use a novelapplication of this approach-laser-ablation U-series imaging-to re-date some of the earliest cave art in this karst area and to determine the age of stylistically similar motifs at other Maros-Pangkep sites. This method provides enhanced spatial accuracy, resulting in older minimum ages for previously dated art. We show that a hunting scene from Leang Bulu' Sipong 4, which was originally dated using the previous approach to a minimum of 43,900 thousand years ago (ka)3, has a minimum age of50.2 ± 2.2 ka, and so is at least 4,040 years older than thought. Using the imaging approach, we also assign a minimum age of 53.5 ± 2.3 ka to a newly described cave art scene at Leang Karampuang. Painted at least 51,200 years ago, this narrative composition, which depicts human-like figures interacting with a pig, is now the earliest known surviving example of representational art, and visual storytelling, in the world3. Our findings show that figurative portrayals of anthropomorphic figures and animals have a deeper origin in the history of modern human (Homo sapiens) image-making than recognized to date, as does their representation in composed scenes.

저승여행신화의 인정-협상 코드 <차사본풀이>계 서사무가 연구

It is insisted that Chasabonpuri may have been inspired by the story of Kimchi, who served as the Jeju judge in the 17th century, or the story of Heungdeokhyeongam. However, considering that the basic motif of Chasabonpuri, which is the confrontation between this world’s judge and the underworld judge, already existed during the Tang Song Dynasty, and that there was also an oral tradition in which General Gang Gam-chan, not Heungdeokhyeongam, appeared as the solver, the formation of this shamanic myth can be traced back to before Goryeo. To understand Chasabonpuri, one should consider the narrative, and not the Kimchi judge as the motif. It is necessary to pay attention to the long history of an in-depth narrative present in Chasabonpuri, spanning from a hunting society to an agricultural and pastoral society, and from Sumerian to Tamra-Jeju mythology. The in-depth narrative involves a journey to the underworld that originates from the vision of the world of death, and the driving force that makes the protagonist's journey to the underworld possible is the gift-negotiation code. According to this code, Inanna hung herself on a peg as a gift, and consequently, Dumuzi and her sister Geshtinanna negotiated a 6-months-long cycle between this world and the next. Nishan Shaman, who is said to be the ancestor of Manchurian shamans, also enters the underworld to pick up Seorgudai Piyanggu, and using various gifts, he pleads with King Yeomra and his messenger Mongoldai Nakchu to extend Piyanggu's life. In Korean shamanic mythology, which continues from Jimgajegut to Chasabonpuri, a district magistrate in this world negotiates with King Yeomra of the underworld using gifts to save the dead from a short life. Despite detailed differences in cultural conditions and narrative composition, there is a gift-negotiation code deeply integrated in these myths. This gift-negotiation code originated from the ritual gift exchange between humans and animals in early hunting societies. Hunters offered gifts and negotiated with the gods because the animal's owner would not release the game unless gifts are offered. This gift is not a calculated act of exchange but is based on unlimited reciprocity. The gift-negotiation code repeated from the Inanna myth to the Ganglimchasa myth indicates that the rules of a hunting society based on unlimited reciprocity continue in current shaman mythology through narrative transformation.

Семейные архивы жителей Луганщины

The article is based on the materials from the family archives of residents of the Luhansk region, digitized as part of the project “Donbas: Family Photo Archive” during the expeditions of 2018–2019. The material (both amateur photographs and studio shots) predominantly dates back to the 1960–80-s, a time of flourishing amateur pho- tography, but chronologically it covers the entire 20th century, including pre-revolutionary photographs and also pictures from the 1990-s. The narrative composition of the photo archives is characterized; special attention is paid to the representation of family life chronicles and the preservation of memories of various significant events, such as weddings (civil registry office registration, newlyweds visiting memorials, wedding celebration participants dressing up, etc.), the birth of a child, the child’s life (in particular, starting school and graduation events), home celebrations of New Year’s Eve and family members’ birthdays, military service (in particular, taking the oath), participation in May Day and November 7th demonstrations, and finally, funerals. Besides, the archives contain photographs of family members, their friends, and relatives (such photographs were customarily given as mementos, as evidenced by inscriptions on the back): photography, in addition to capturing family scenes, had a communicative function. The author also describes a database created on the Daminion platform by himself, which provides the ability to tag uploaded media files and search by key-words. A list of keywords characterizing the subjects of the Donbas photo archive and the number of photographs tagged accordingly is provided.

Home Movies as Reliquaries of Memory: A Phenomenological Perspective

If film immortalises the ephemeral and presentifies the past, this is especially true of home movies, whose content is not the result of a narrative composition or an invention of fiction, but the product of fragments of reality. These three categories – fiction, documentary, and the home movie – have been analysed by Jean-Pierre Meunier and Vivian Sobchack, with an emphasis on the effect that each film mode can have on the spectator, eliciting a particular emotional and cognitive response. But these authors’ models depend entirely on the spectator’s experience to identify each mode, with the home movie being limited to footage in which we can recognise our own families. Nevertheless, a stranger’s home movie can elicit an act of recognition through an intersubjectivity that arises from the footage. On this basis, this article proposes a reading of the home movie as a reliquary of memory, where content and medium intersect to give rise to the particular experience associated with this film mode.

Analyzing Writing Errors on Narrative Texts Made by Grade Nine Students’ of SMP IT Qurrata A’yun Palu

Students often struggle with grammatical accuracy when writing in English as a second language. This study investigates the types and frequencies of errors made by ninth-grade Indonesian students in their English narrative compositions. The research objectives were to 1) identify common error categories within student-generated narrative texts and 2) determine which error type occurs most frequently. The study utilized a descriptive qualitative approach. Ninth-grade students at SMP IT Qurata’Ayun Palu were assigned a narrative writing task on a designated topic. The collected texts were analyzed using Dulay, Burt, and Krashen's (1982) surface approach error taxonomy. Results indicated a total of 70 errors across the students' work. The most prevalent error type was misformation (50%), followed by omission (36%), addition (13%), and misordering (1%). These findings suggest that difficulties applying correct grammatical forms are a significant obstacle to accurate narrative writing for these students.

중앙아시아 고려인 설화의 수용양상

This study analyzed the narrative composition of the Mungeum-dong(문금동) novel 『Injeongru(인정루)』 which was written by accepting many stories from Joseon(조선), and reviewed the acceptance patterns of Korean folktales in Central Asia. The composition of the folktales accepted in Injeongru is as follows. First, it is a type that forms the framework of the narrative structure of the novel. Second, it is a type that states the narrative structure of the novel by borrowing only a part of the folktales. Third, there is a type that has been accepted to arouse interest. The tales of Koreans in Central Asia accepted in Injeongru are as follows. First, material transformed in a realistic direction that reflects reality. Second, traditional structural material accepted as a frame illustration to arouse interest. Third, it is a material that the artist intentionally transformed and accepted. Only some of the tales of the Koreans in Central Asia accepted in the novel 『Injeongru』 can be found. The stories accepted by the author seems to be materials heard in Wondong(원동). This needs further investigation.

Playful punctuation in primary children’s narrative writing

ABSTRACT Framed within the fields of applied linguistics and language play, the writing of three attainment groups of 9–11-year-old children was used to investigate their use of ludic (playful) punctuation in the composition of an imaginative narrative. The scripts were from a larger repeat-design study of writing development that addressed a range of linguistic features. It became apparent that the scripts contained a range of language play features, including the use of ludic punctuation, and these were then systematically studied. A total of 71 stories were analysed to identify and categorise the playful punctuation that the children used in this writing task. A range of ludic punctuation was found, most notably in the use of quotation marks, exclamation marks and question marks. In contrast, the asterisk, interrobang, underlining, brackets and dash were used infrequently. There were clear differences between the attainment groups in the content and range of these uses. The findings indicate that 10–11 year-old children find that narrative writing offers a range of opportunities for creative and playful uses of punctuation, even though they were not prompted to do this. The findings also suggest that such uses – like language play as a whole – warrant further investigation.

Analisis Kesalahan Berbahasa Bidang Morfologi Pada Teks Karangan Narasi Siswa Kelas V SD Negeri 5 Dersalam

This study aims to examine errors in the morphological aspects found in the narrative texts of fifth-grade students at SD Negeri 5 Dersalam. The methodology employed is qualitative descriptive, focusing on data containing morphological errors or improper sentence usage. The narrative compositions of the fifth-grade students from SD Negeri 5 Dersalam serve as the primary data source. Data collection was conducted through the documentation of student compositions. The data analysis was carried out using the Milles Huberman analysis model. The research findings indicate a variety of language errors in the students' narrative texts, including errors in the use of prepositions, incorrect writing of standard words, and errors in affixation writing .

Рождение категории фантастического в русской эстетической мысли

The article attempts to identify the time when the category “fantastic” appeared in the aesthetic thought of the Pushkin era. Common and fixed in the poetics of this time was another, close in meaning, term “chudesnoe” (“miraculous”). It denoted the “supernatural” (a concept that has become crucial in literary fantastic) but did not fundamentally differ from similar phenomena, such as rare, unexpected, and extraordinary. According to the National Corpus of the Russian Language, the word “fantastic” finds frequent use only after 1830, which chronologically coincides with the period of active perception of foreign romantic prose in Russia, in particular the genre of the fantastic story. In most cases, the new lexeme appears in fiction, keeping “etymological” meaning (related to fantasy, dream, imagination). Many original statements and translations, however, reflect another trend: the “fantastic” in them describes a particular kind of composition or type of narrative, as well as the features of poetics inherent in these works. As such, the word acquires a wide range of meanings and evaluative characteristics, some of which reveal similarities with the semantic content of the concept of “fantastic literature” in contemporary studies. The publication in which a conceptual interpretation of the “fantastic mode of writing” was first proposed in Russian was the translation of Walter Scott’s article “On the Supernatural in Fictitious Composition, and particularly in the works of E.T.W. Hoffmann” (in Russian translation: “O chudesnom v romane” (“About the wonderful in the novel”)) (1829).

W jaki sposób filmowa forma uhistorycznia filmową narrację i ekranowy świat przedstawiony? Analiza zjawiska na wybranych przykładach

The article deals with the issue of aesthetic-formal strategies of historicizing the film narrative and the screen world presented in historical cinema. It shows by means of which strategies – formal means of expression – the film narrative and the world depicted are historicized. In the introduction, a key analytical concept – historicity – is introduced. The category of historicity is shown as heterogeneous, requiring each time a conceptualization relativized to the cultural context of its use. In the article it is conceptualized in various ways, e.g. as: variability/existence in time (a way of understanding time); repetition; past; chronological; linearity; layering; rhythmic; causal; development; progress; shift/turn to the past/references to the past; (futuristic) projection of the past; tradition; memory of the past; (historical) consciousness; scholarly (historiographical); momentousness; obsolescence/ anachronism/ archaicity/ antiquity; style of thought; narrative; discursive; documentary/source; meta-historical; genre. The strategies of historicizing the film narrative and the cinematic world presented are conceived in the text as the numerous ways of equipping the film with various kinds of formal/filmic signs of historicity, allowing to obtain in the act of actualization of the work by the viewer/researcher the impression of the effect of historicity of the narrative and the world presented. They form the film poetics of historicity. In the following sections of the article, signs of historicity in the function of historicizing the cinematic narrative and the depicted world are analyzed on the example of various films. They consist of (1) paratexts; (2) the composition of the film narrative.

A corpus-based approach to corporate communication research

Corporate Social Responsibility (CSR) has become a decisive reputation tool for companies and as such, a key concept in corporate communication as a phenomenon of intercultural and global significance. This has warranted a comprehensive examination of the language of CSR reports reflecting the principles of the corporate culture. Studies exploring the narratives of CSR reporting currently lack insights into the distribution of meaningful priorities evidenced in language use. This study sets out to explore the linguistic environment of the most frequently occurring language tokens to identify recurrent language patterns used to ensure efficient CSR reporting, and to further establish priority directions in CSR narrative composition evidenced in language use. A corpus-based approach and contextual analysis were adopted to examine CSR reports issued by Microsoft over the last seven years and recognised as an example of best practices in the corporate field. The corpus was compiled using the Prime Machine corpus concordancer tool and comprised 99,176 tokens. Following the study results, the study makes a number of inferences regarding the use of pronouns, “Microsoft + a verb denoting positive action”, “more + than,” “more + adjective”, “Corporate” as part of compound terminological units, as well as a set of key tokens encountered within a descriptive linguistic environment with positive connotation. This, in turn, proved helpful in identifying the hierarchy of priorities distribution revealed in the course of material analysis. The results contribute to a systemic appreciation of corporate language policies facilitating efficient stakeholder communication and can be used in further research investigating related matters of scientific interest.

Out of Time: Ekphrasis, Narration, and Temporal Experience in Twelfth-Century Romances of Antiquity

This article considers the affective and conceptual work demanded in sophisticated moments of ekphrasis that abound in twelfth-century Old French romances, with particular attention to Alexandre de Paris's Roman d'Alexandre (1180s) and to two of the trio of romans d'antiquité, composed in French at the court of Henry II in England: the Roman de Thebes (c. 1150) and Benoît de Sainte-Maure's Roman de Troie (1165). Of concern is the description of mechanical artefacts or tents that are depicted with representations of temporal progression, in the light of Virgil, Aeneid 8, and Homer, Iliad 18, available to twelfth-century Latins via Baebius's abbreviated Latin epitome. Narrative time stops for these ekphrastic moments which describe the pictorial representation of time. Henri Bergson's concept of duration (durée) and Boethius's representation of human and divine time in Consolation of Philosophy, 4 are used to think through the productive tension between time as forward movement, as represented through narration, and time as juxtaposed stasis, by which events all happen simultaneously, as represented through pictorial representation. Beyond that, the cosmic implications of these temporal questions bring out the relationship between twelfth-century literary ekphrasis and the medieval reception of the cosmogony of Plato's Timaeus. Particular attention is paid to the marvellous tents of Adrastus in the Thebes and of Alexander the Great in the Alexandre; to the chariot of Amphiaraus in the Thebes with its depiction of Ovidian myth and Macrobian cosmos; and to the astonishing cosmogrammatical automaton in the Troie's Chamber of Beauties. Ekphrases of artefacts representing time and the world clearly resonated with medieval audiences; rather than being superfluous to the action, they appear as fundamental to the composition and performance of historical narrative in French romance.

Narrative composition of Russian public diplomacy: content analysis of the Facebook engagement of Russia’s embassy in Japan

ABSTRACT The article contributes to the discussion of Russia’s public diplomacy efforts to transmit and diffuse certain narratives to foreign audiences online. Utilizing the case of understudied Russia’s public diplomacy strategies concerning Asian countries, the study analyzes what narratives Russia’s embassy projected to the Japanese public from 2013 to 2019. The findings demonstrate that although the embassy gives preference to positive self-description over active advocacy, it constructs Russia’s image through history-dependent narratives. This practice is unlikely to contribute to the understanding of modern Russia, which its political elites are striving for. The study contributes to the overall understanding of the narrative composition that Russia constructs as a part of its public diplomacy efforts. The article also brings together elements of qualitative and quantitative methodology to conduct a content analysis of narratives online, which paves the way for further investigation of social media public diplomacy practices.

Writing by hand or digitally in first grade: Effects on rate of learning to compose text

In a natural experiment we compared development of writing composition skill in five Norwegian first-grade classes in which children (N = 90) learned to compose text by handwriting on paper and in five classes in which children (N = 91) learned by typing on a digital tablet using software that additionally provided read-back via text-to-speech synthesis. Children completed narrative composition probe tasks at five timepoints over eight months, writing in the modality in which they were learning. Students’ narratives were evaluated in terms of a range of text features capturing both transcription accuracy (spelling, spacing, punctuation), and syntactic and compositional sophistication. Statistical analysis was by Bayesian modelling allowing for robust inference in the presence or absence of a modality effect. Children showed improvement in text length, syntactic accuracy and complexity, and narrative sophistication. However, rate of improvement was unaffected by modality. Spelling and spacing, which were directly supported by read-back functionality, improved just in the handwriting condition, with better performance but no improvement in the digital condition. Our findings provide evidence against claims that either learning to write by hand or learning to write digitally (typing supported by text-to-speech) are inherently better for students’ learning of written composition, at least across their first year of writing instruction.

Tracing Loss in Times of Rapid Climate Change: Figures of Absence in Omar El Akkad’s American War

ABSTRACT Omar El Akkad’s American War (2017) presents a dark vision of what the United States might devolve into if climate change, haphazard adaptation, and the political polarisation of the country continue unchecked. Analysing the four overarching facets of trace—visibility, materiality, environment, and human interaction—on the level of the novel’s narrative composition, the article argues that El Akkad offers more than just a cognitively estranged story about the making of a future American terrorist. Foregrounding the complex relationship between its central protagonist’s personal losses and the bitter war she fights in a climate-changed environment, American War deliberately employs what El Akkad has called “weaponized empathy” to allow readers to understand on a visceral level what drives people’s thoughts and actions once they have been robbed of the things and people they care for and embody the traces of what has been lost.

The meaning-making in kindergarten children’s visual narrative compositions

During a 10-week classroom-based study in a school in western Canada, 17 Kindergarten children had multiple opportunities to learn about how elements of visual art, design and layout in picturebook artwork are fundamental to meaning-making when transacting with this format of literature. Student application of learning about the concepts under study was explored when the children viewed and discussed wordless or almost wordless picturebooks, and when they created their own artwork or visual compositions. Findings from the content analysis of the Kindergarten children’s visual narrative compositions and individual interviews revealed their understanding of how colour, point of view, framing, line to show action, line to show emotion and implied line can be used purposefully by sign-makers to represent particular meanings. Furthermore, application of Halliday’s metafunctions conceptual framework to analyze three focus students’ visual narrative compositions revealed how their semiotic work concomitantly realized the ideational, interpersonal and textual metafunctions. Consistent with the tenets of social semiotics and sociocultural theory, the descriptions of the instructional procedures and student activities convey how the practices in the classroom shaped the students’ visual narrative compositions. The findings enrich understanding of how young children’s knowledge of various semiotic resources can enhance their understanding and interpretations of the kinds of communicative functions realized or fulfilled by various meaning-making resources, and can inform the design of their visual compositions.

‘The Voice of Thunder’: The Formulaic Nature of the Gothic Type-Scene

This article rounds off an intensive study of formulaicity in Gothic fiction. After briefly recapping analysis on the compositional levels of formula, formulaic pattern and tableau in the novel The Necromancer (1794), the article concentrates on the next compositional level, the type-scene, understood as an aggregate of tableaux. It shows that the type-scene depicting ghostly apparitions systematically resorts to the same lexical fields and techniques of composition, and that these foreground language over content; the type-scene thus constructed exhibits a multiform structure, and strongly resembles ‘other’ type-scenes respectively depicting a tempest and the Wild Hunt. Detailed analysis leads to seven hypotheses regarding the structure of these type-scenes, the most general of which being that a metonymic principle appears to govern Gothic narrative composition. These hypotheses suggest themselves as stepping-stones towards the construction of a poetics of the Gothic.