Narrative Mode Research Articles

The TV series "Symphonic Novel" in the Aspect of its Narrative Specificity

The article is devoted to the problem of the formation of narrative qualities in the South Korean television series "Symphonic Novel" (Russian version) as in the journalistic product of media communication. Based on a comprehensive analysis, the author comes to the conclusion that in the TV series "Symphonic Novel", the narrative modality is formed in the TV series together with lyricism as a system of principles and views that are displayed in the plot. Narrative becomes an important distinguishing characteristic of the TV series "Symphonic Novel", which allows it to become a unique and effective tool for influencing foreign (Russian-speaking) audiences in order to form a stable positive perception of South Korean culture and the South Korean state as a whole. The relevance of studying a television series as a way of forming a country image does not decrease due to its specific role in the formation of certain ideological attitudes that enhance its socio-cultural significance. The issue of the narrative of the TV series is also relevant due to its particular popularity among a wide audience. So, in the interaction of the audience with the content of the TV series "Symphonic Novel", media communication, due to its features — publicity and mediation — receives specific parameters for the image of the author. Narrative discourse, complicated by the narrative instance, begins to obey the laws of the media text, the classical concepts of "plot", "image of the author", etc. they can be interpreted differently — through a communicative model. The narrative in the media space is determined by the psychological and social characteristics of the addressee — interests and needs, social status, emotional state (now) and personal qualities (always). The final product is also influenced by his ideas about the communicative situation, about himself as a subject of speech, about the direct recipient and random participants of communication, expectations of a perlocative effect (although the latter often lies outside the linguistic reality).

Sensing/Scrolling/Scanning Comics: media materialities, narrative modalities, and perceptual affordances

This article aims to examine the theoretical question of sensory and narrative regimes put into operation by the experience of webcomics. Starting from a critique of the precept according to which changes in supports cause a necessary change in reading regimes, a more adequate status to the notion of modality is recovered here—in its application to the narrative structures and perceptual dynamics of the comic book experience. Identifying a hypothetical community between printed or digital materialities of comics, this article concludes that their narrative and sensory modalities are not reduced to such media profiles, but to something that modal versions of narratology designate as “modality” (in Genette)—or that aspects of visual psychology define by the idea of perceptual “affordances” (in Gibson).

A Study of Spatial Aesthetics in the Film The Sun Also Rises

The Sun Also Rises was released in 2007, directed by Jiang Wen, Zhou Yun, Chen Chong and other powerful actors. The film is not only wonderful content, but also twists and turns of the plot. The story runs from the 1950s to the 1970s and tells the story of the love dispute between Li Bukong and his crazy mother and his wife, as well as the fate of various characters such as Nanyang overseas Chinese teacher Liang and Nurse Lin. Director Jiang Wen broke the fixed narrative mode of the film and split the story together again, so that the space and time of the film have a wonderful visual perception impact. This paper will the film The Sun Also Rises the space aesthetics as the research object, the space aesthetics presented in the film, based on the film depends on the spatial image construction and shooting skills, in order to analyze and study the space aesthetics and the film of the value and significance.

Stimulating the Readers through Self-portraits in Biographies, Auto-biographies and Memoirs: Study of Hooks and Dillard’s Narratives

Biography and Auto-biography make an exposition of closely resembled memories, experiences, identities, embodiment, and agency-based ideas, views, and feelings of an individual. The idealistic explorations of life and lively experiences through narratives stimulate the shrinking nature of an individual with the self-help or the other narratives portrayed in Bell Hooks’s “Talking Back” and “Straightening Our Hair.” Annie Dillard in “The Fixed” narrates human-insects relationship subjects composing the self and stimulating the author’s/narrator’s views to reflect on their past memories to concretize views, ideas and feelings in the practical ground of the real world. Events/incidents exposed in Hooks and Dillard’s narratives based on life, either own or others are examined in this article. Life writers collect information from agencies and self-help writings/materials that also might be in the shadow of identity marker and so it is questioned on the authenticity of life narratives and an autobiographical truth that is to be tested through theoretical applications. Identifying the narrative modes of self-inquiry in different forms of ‘I’ as autobiographical and biographical testimonies in the memoirs is the research objective of this article that helps to find out the gaps and reduce the confusion of readers. Thus, this article tries to study the causes and consequences of stimulating the readers through self-portrait inquisitions in biographies, auto-biographies, and memoirs to which Sidonie Smith and Julia Watson’s ideas are applicable.

The Precarious Balance of Refugees: Rupture and Connectivity in Mohsin Hamid’s Exit West (2017) and Helon Habila’s

Contemporary novels about refugees often question the appropriateness of traditional narrative forms to relate stories of forced migration which involve a fragmentation of the self and of one’s sense of reality. Writers opt instead for forms which are as disjointed as the experience of refugees themselves. This paper explores the precarious balance between a poetics of rupture and an aesthetics of connectivity in two novels about refugees: Exit West (2017) by Mohsin Hamid and Travelers (2019) by Helon Habila. It first examines the strategies developed by both authors to destabilize form in order to reflect the refugees’ shattering ordeals during and after their forced displacements. The multiplicity of stories as well as the shifts in focalization and narrative modes testify to the impossibility of inscribing refugees’ experiences within a single coherent and homogeneous pattern. However, Hamid and Habila also draw from the potentialities of the novelistic genre to devise formal ways of connecting apparently disparate story lines and thereby suggest possibilities for cross-cultural solidarity between refugees who share a common condition of vulnerability.

Students making sense of statistics through storytelling: a theoretical perspective based on Bruner’s narrative mode of thought

Students making sense of statistics through storytelling: a theoretical perspective based on Bruner’s narrative mode of thought

Japanese no datta and no de atta in written discourse

Abstract The present study examines no datta and no de atta, which are the past-tense forms of no da and no de aru in written Japanese. The analysis demonstrates that the choice between the present-tense no da/no de aru and the past-tense no datta/no de atta does not affect the temporal interpretation when they follow past-tense morphemes. However, a close examination has also revealed that the past-tense no datta/no de atta cannot follow a past-tense morpheme when the ongoing mode of discourse is non-narrative, while no da/no de aru and no datta/no de atta are both available options when the discourse is in the mode of narrative. The present study also suggests that when no datta/no de atta is used in narrative, it indicates that the stated information is less impactful, less dramatic, and more temporally distant, compared to the cases where no da/no de aru is used.

A Brief Discussion on the Female Narrative Strategy in The Online Drama "Feng Qi Luoyang"

Compared with the neglected, distorted or marginalized presentation of female images in traditional film and television dramas, the online drama "Feng Qi Luoyang" not only shows the importance of the role of female images, but also expresses the female voice and female discourse. It is well explained, which changes the narrative mode of the weak and helpless image of women under the dominance of male narrative. Based on the theory of narratology, this paper explores the female perspective and "female focus" in the online drama from the aspects of narrative situation and narrative field, and studies the unique narrative voice of women in "Feng Qi Luoyang".

Victorian Skin: Surface, Self, History

Victorian Skin: Surface, Self, History

For Future Reference: A Twenty-First-Century Reading of Peter Weiss’s Poetics of Parataxis and Scenes of Walking

This article analyzes how paratactic and multisensory narrative strategies in Peter Weiss’s novel Die Ästhetik des Widerstands (1975–81) contribute to the novel’s project of an aesthetics of resistance for future reference. The narrative mode of the novel emphasizes situated and embodied future acts of reading that generate new historical linkages and orientations across temporal, geographic, and medial gaps. Weiss’s novel mediates twentieth-century history of antifascist resistance with a perspective attuned to multiple possibilities inherent in historical instances. Furthermore, by sensitizing its recipients to differentiated ways of engaging with textual gaps, the novel presents itself as a medium of historical orientation toward futures not articulated in the text itself. The novel’s implied future readers share the novel’s concern with emancipation of the oppressed, but the protocols of reading suggested in the novel also imply that these future readers may interrupt overly rigid historical narratives that may prevent emancipation in specific contexts. The novel remains relevant because of both its historical material and its sophisticated form, which explores aesthetic mediation of experience and relational narrative strategies without losing the sense of historical materiality and without subsuming experience within a concept of a self-enclosed subject.

Experimental evidence of the impact of framing of actors and victims in conservation narratives.

Media narratives play a crucial role in framing marine conservation dilemmas by depicting human actors, such as fish consumers or the fishing industry, as responsible for negative effects of their actions on species and ecosystems. However, there is little evidence documenting how such narratives affect preferences for reducing bycatch. Behavioral science research shows that people can act less prosocially when more actors are responsible for a collective outcome (responsibility diffusion effect) and when more victims need to be helped (compassion fade effect); thus, the media's framing of actors and victims may have a significant effect on preferences. We conducted the first test of responsibility diffusion and compassion fade in a marine context in an online experiment (1548 participants in the United Kingdom). In 9 media narratives, we varied the type of actors responsible for fisheries bycatch (e.g., consumers and industry) and victims (e.g., a single species, multiple species, and ecosystems) in media narratives and determined the effects of the narratives on participants' support for bycatch policies and intentions to alter fish consumption. When responsibility for negative effects was attributed to consumers and industry, the probability of participants reporting support for fisheries policies (e.g., bycatch enforcement or consumer taxes) was ∼30% higher (odds ratio=1.32) than when only consumers were attributed responsibility. These effects were primarily driven by female participants. Narratives had no effect on personal intentions to consume fish. Varying the type of victim had no effect on policy support and intentions. Our results suggest that neither responsibility diffusion nor compassion fade automatically follows from increasing the types of actors and victims in media narratives and that effects can depend on the type of outcome and population subgroup.

A POSTCOLONIAL FEMINIST READING OF J. M. COETZEE’S WAITING FOR THE BARBARIANS (2000)

Literary texts and kinds of research have reframed postcolonial experiences to capture several issues in society. On that note, Coetzee’s Waiting for the Barbarians has chalked many successes in gaining the attention of literary scholars to subject the text to interpretation using varied literary approaches, except postcolonial feminism. The postcolonial aspect of the feminist issues in the text is fundamental. The thrust of this paper is to analyse Coetzee’s Waiting for the Barbarians using the postcolonial feminist theory. Guided by three objectives, the study uses the qualitative content analysis method to interpret the text. From the analysis, the study reported that, while objectification and ‘othering’ are characteristic of the representation of females in the text, violence against them is constructed through fear and torture and resisted mainly through silence. Also, the mode of narration influences the presentation of the narrative to readers. Finally, the study offers implications for further research using other literary theories or approaches.

SILENCE AS THE RHETORIC OF RESISTANCE IN HEISNAM KANHAILAL’S THEATRE PRACTICE

The theatre practice of Heisnam Kanhailal and his cocreator of performance, Heisnam Sabitri is less of words, speeches and dialogues than found in conventional proscenium theatre. Both Kanhailal and Sabitri believe that theatre has a language of its own and that language is not necessarily a language of verbal communication. In their theatre, action is expressed more through body movements, physical gestures and sounds than through spoken words as they believe that non-verbal silent communication of a theatrical action or feeling is more powerful than the spoken ones. This unusual mode of theatrical narrative has helped Kanhailal to form a rhetoric of resistance against various forms of socio-political injustice that Manipur has historically gone through. The articulation of theatrical communication in his plays occurs happens more through silence, gestures, and sounds than through conventional verbal communications. He was creating in Manipur what his contemporary Pinter was creating in England, much at the same time, much in the same line, much with the same motif although with much difference in their context and artistic execution.

Nadine Gordimer’s July’s People: An imagined Postapartheid South Africa

Through aspects of style in July’s People, Nadine Gordimer provides a dystopian critique of the fallacious ideas and the oppressive patterns inherent in the apartheid regime and unfolds a utopian vision of post-apartheid South Africa. Wrapped in a futuristic narrative mode, the events in the novel examine the lying and dying days of apartheid and its harsh realities and imagine the life of whites in the postapartheid era. The analysis demonstrates that using irony, symbols, and allegory, the author rebukes power differentials, and primitive conditions born from racial hierarchy but also unveils the hypocrisy of white liberals, foregrounded in the representation of the black liberation movement. In doing so, the discussion elaborates on power dynamics and the forging of new identities and roles, with the Smales accommodated by their black servant, July. As a finale, the study argues that Gordimer hints at the future of whites after the demise of apartheid, and draws the contours of the anticipated society, with possible avenues for fairer interpersonal relations, a redefinition of power structures, and a redistribution of economic opportunities. This is, for the writer, an ineluctable road to the building of a new nation, symbolized by the Smales’ children’s immersion into village life, the only gleam of hope for a post-revolutionary rebirth.

Narrative Mode and Theological Claim in Johannine Literature: Essays in Honor of Gail R. O'Day ed. by Lynn R. Huber, Susan E. Hylen, and William M. Wright IV

Narrative Mode and Theological Claim in Johannine Literature: Essays in Honor of Gail R. O'Day ed. by Lynn R. Huber, Susan E. Hylen, and William M. Wright IV

Laughing with Young Ben: Vivian Grey, Flim-Flams!, and the Perplexities of Satirical Writing

From his unpublished juvenilia to The Young Duke (1831), Benjamin Disraeli tested his literary potential mainly through writing in the satirical, comic, or even farcical mode. One way or another, all his fictional works from 1826 to 1830 were meant to make people laugh, or at least smile, and appreciate the young author’s wit and humorous talent for irony and comic exaggeration. He sidelined this practice in the 1830s, when he mainly experimented with other narrative genres and modes of representation, eventually parading in Venetia (1837) a new sobriety of tone such as suited an aspiring Tory politician in the year of Victoria’s accession. Working within this developmental framework, my article sets out to investigate the young Disraeli’s penchant for laughter in connection with the fun-loving vein running in the family. It focuses on Vivian Grey, Part I, and relates it to Flim-Flams!, or, the Life and Errors of My Uncle and the Amours of My Aunt (1805), a quirky satirical ‘romance’ Isaac D’Israeli completed round about the time his eldest son was born. In highlighting the contextual similarities and carnivalesque qualities of the two works, the article offers an eccentric approach to the Romantic/early-Victorian generational changeover.

Perspectives on the Pandemic: Contemporary Personal Essays as a Space of Resistance

It may be argued that writing about contemporaneity risks being a mere description of what Braudel would term ‘episodic time’—the short-term perspective of newspapers and chronicles. However, when political and social events spread into literature, there is a nuanced language of presence (Barthes). By not being bound to a specific mode of narration, the essay’s brevity and incisiveness seems particularly suitable to decipher the contemporary. This paper presents a comparative reading of personal essays published between April and July 2020 by Olive Senior, Deborah Levy, and Zadie Smith, and it argues that there are two main ways of resisting: the choice of writing in itself, and the choice of topics and issues. The immediate response of writers in the form of essays published in book form, in online magazines, or special sections of the websites of publishing houses is a clear example of how literature—and indeed the literary mind—can be a space for thinking about the present and putting things into perspective. By overcoming the possible limitations represented by the thematization of the pandemic, the writers open towards what may appear as a different, but still very close, temporality: that of physical and discourse-based violence on female bodies, on black bodies, and on the Earth. This paper will then come to the conclusion that writing is an act of resistance and that literature has the power to narrate the real “interpret[ing] the world […] one word at a time” (Senior, “Cross Words”).

The Evolution of Management Thought: reflections on narrative structure

PurposeThis paper aims to problematize the dominant narrative forms of disciplinary histories of management thought. Specifically, the authors explore the narrative mode of emplotment used in Wren’s (and later Wren and Bedeian’s) 50-year encyclical on the history of management thought, namely, The Evolution of Management Thought (EMT).Design/methodology/approachThe authors propose that management histories operate as powerful narratives that shape our understanding of management thought and, consequently, our disciplinary futures. This paper explores the textual narrative of EMT. Additional data are drawn from other scholars’ observations of this text. This paper is positioned in the debates of management history.FindingsWhile acknowledging the wealth of historical facts in EMT, the authors argue that the umbrella narrative orders events of the past in such a manner that the historical knowledge follows a form of Darwinian evolutionism. Thus, the narrative leads to problematic representations suffering from progressivism, presentism and universalism.Research limitations/implicationsDisciplinary scholars in management and organization studies need to carefully reflect on how we construct our representations of the past and histories. This will allow us to better craft transparent and reflexive histories.Originality/valueTo the best of the authors’ knowledge, this paper is the first to propose a remedy, albeit a partial remedy, which we believe is needed to avoid adverse epistemological consequences associated with the use of problematic narratives in management and organizational histories.

Implications for Music Education from a Philosophical Hermeneutic Perspective on Understanding

This article discusses the significance of theoretical analysis in narrative music education research. When we hear stories, we don't only hear about individuals' experiences. Cultural narratives are also socially and historically entrenched. In narrative studies, enlarged and in-depth comprehension requires examining how a person's life relates to phenomena such as time, culture, society, and gender. It is essential to problematize the text on multiple levels of abstraction to disclose unconscious biases, concealed conventions, and ideologies. Including hermeneutics in narrative work is one way to enhance it. Hermeneutics provides interpretations of key life events based on dialogue. Considering narrative as a mode of knowledge, narrative and hermeneutics refer to the same fundamental aspects of our individual and social existence: historicity and interaction, or dialogue, between experiences.

Animation Narrative on Stress Relief and Psychological Cognitive Development in Adolescents.

As the atmosphere of domestic animation is getting stronger and stronger in recent years, its proportion in the process of public aesthetics, entertainment, and consumption is increasing; thus, the relationship between the audience and works has become an important academic focus. The theatrical animation in the animation industry has become the category that needs to be focused on and changed in the development process of domestic animation because of its characteristics of receiving attention from all-age audiences. Because of the diversified audience levels faced by theatrical animation, it is particularly difficult to coordinate the needs of each audience level, coupled with the long-term influence of Japanese and American animation; the trend of pop culture led by network culture; the inheritance, excavation, and reconstruction of national culture; and other cultural environment and creative thinking intertwined, making the construction of the independence of domestic animation appear more and more difficult. The purpose of this paper is to analyze the theoretical study of the healing elements of Natsume Yojimbo and to analyze the creation of Chinese traditional ink and wash in the creation of our own works. It is concluded that the thematic choices are based on two categories: emotions and dreams, which focus on personal life experience and universal concern for human life. The character construction is divided into three aspects: self-resistance and self-reflection, self-vision and self-actualization, and traumatic experience and self-rescue to explain the complexity and diversity of the characters' growth connotation. The narrative perspective constitutes the perspective from which the issues are viewed. The omniscient perspective allows for the coexistence of complex character relationships and a clear storyline, while the limited perspective reveals certain emotional tendencies. The narrative mode presents the moral of the text with cause-and-effect narrative, embellished group narrative, and dreamlike polyphony narrative. Finally, the article discusses the realistic dilemma of the growth narrative of domestic online animation and tries to put forward feasible development suggestions in response to the problems at this stage.