Types Of Narratives Research Articles

Questions of identity and global visibility: French funding in Latin American and Maghrebi cinema

This article examines the relationship between French film funding and the regional cinemas of the Southern Cone of Latin America (Cono Sur) and the Maghreb. Since the 1980s, France has steadily increased its support of filmmakers in francophone regions, expanding its funding of organizations and financial aids like Fonds Sud (now Aide aux cinémas du monde) and Fonds Image de la Francophonie in order to promote francophone filmmaking throughout the world. In the cases of the Southern Cone (Argentina, Chile, and Uruguay) and the Maghreb (Algeria, Morocco, and Tunisia), the opportunities provided by French funding and the interest in co-producing global cinema coincides with a rise in local productions within these regions. A French co-production status also promotes the global visibility of other national cinemas. Yet the discourse surrounding the types of narratives shown in French co-productions and the ways in which filmmakers are limited by funding stipulations highlights an ongoing issue that filmmakers from the Southern Cone and the Maghreb face when accepting France’s financial support. The combination of France’s global financing of films and the expanding interest in Southern Cone and North African cinema establishes a complex relationship around French funding institutions, francophone regions (as well as their relationships to the term “francophone”), and identity within an increasingly globalized film space. By examining the history and current state of these regions’ cinemas, as well as their relationships to France, this article analyzes the positive and negative effects of France’s history in financially shaping the national (and regional) cinemas of southern Latin America and the Maghreb, the current landscape of Southern Cone and North African filmmaking, and the possibilities for change in transnational filmmaking in the future.

Stylistic peculiarities of Edgar Poe’s and Howard Phillips Lovecraft’s gothic novellas

The article deals with the comparative analysis of stylistic features of selected short stories (novellas) by the American writers Edgar Poe and Howard Phillips Lovecraft. Using a set of methods (theoretical analysis, holistic text analysis, stylistic analysis), relying on the creative manifestos of the two authors, as well as on the results of stylistic analysis of the corpus of short stories, the authors of the article trace the continuity and distinctive features in the work of the two writers. The obtained results allow to state the presence of similar features in the short stories of Edgar Poe and Howard Lovecraft, such as gothic chronotope, mystical and fantastic elements, common type of narrator, characterised by a borderline state, and deliberate fear-mongering. At the same time, however, the texts of both authors demonstrate specific features. Poe’s Gothic novellas are characterised by increased psychologism, which manifests itself in the prevalence of such stylistic devices as repetition, gradation, aposiopeisis, rhetorical question and exclamation, which eloquently testify to the “inner horrorˮ of the characters. The high allusiveness of Poe’s short stories testifies to the close connection of the described events with reality. The prevailing stylistic devices of Lovecraft’s novellas (epithets, personifications) testify to the author’s attempt to breathe life into inanimate objects, to extract them from non-existence, and to make the reader experience a “cosmicˮ horror of the unknown and external. The author’s complicated syntax combined with irrational enumerative rows suggests that Lovecraft’s work might be influenced by modernist aesthetics.

Declining to be church? Rediscovering God’s time and action through paying careful attention to a numerically declining church

ABSTRACT Church decline is typically seen as a problem to be solved. Many denominations have developed strategies of renewal to address the problem of numerical decline. By paying attention to a particular church in numerical decline through a theological action research project, this paper asks whether there might be different narratives to be uncovered, and particular gifts that declining churches might offer; gifts such as quietness, presence, and welcome. While recognising some of the descriptive value of the typical narrative of decline, taking the example of the life-cycle of a church model, this study shows its diagnosis to be misplaced. It challenges the model’s assumptions around aging, time and hope, and by developing the conversation with the work of Andrew Root, Rowan Williams and John Swinton it shows how a declining church actually offers a different perspective on aging, time and on God’s action in the world. The paper concludes by suggesting that a church in numerical decline is not just a problem to be solved, but an invitation to pay attention to God in the present.

Spatial Imagination in Sacred Narratives of Mountain Communities in Western Yunnan, China

Various sacred narratives have different emphases on the shaping of natural space. Creation myths reveal the basic structure of natural space. Sacred narratives of mountain gods focus on how and why mountain forests are the source of life and stability for nearly all the species in the area. The myth of the hunting god and the legend of the Flower Festival have a remarkable endemicity. The consciousness of the community of life, which is fundamentally constructed in creation myths, reveals visible and sensible pictures in these two types of narratives. The literary imagination of these sacred narratives focuses on establishing and breaking through spatial boundaries. In the intertwining of an imaginative narrative and a realistic existence, the sacredness of natural spaces is established and can be experienced. Mountaineers imbue their practices with gracefulness and nobleness in the dimensions of emotion and morality through storytelling in order to shape the morphological characteristics and the life essence of natural spaces. The shaping of beautiful places and sublime realms in these narratives is a vivid expression of cosmology.

“We’ve Had to Relearn All of Our Family Dynamics”: Communicated Narrative Sense-Making of Bereavement Following Terminal Illness in U.S. Families

ABSTRACT A family member’s death from terminal illness can impact the entire family in profound ways. Surviving family members must make sense of their bereavement, though few are offered spaces to tell their stories in ways that might help them do so. The purpose of this study was to explore the content (meanings, values, and beliefs) and types of family bereavement narratives crafted by individuals living in the United States upon an immediate family member’s death due to terminal illness. Grounded in Communicated Narrative Sense-Making theory, we conducted 25 semi-structured interviews and engaged in both reflexive and narrative thematic analyses. Our findings include seven primary themes (illuminating identity, honoring dignity, sharing (dis)connection, reconfiguring relationships, transforming expectations, evolving beliefs, looking out) organized into three types of stories (Past, Present, Future). We discuss these findings and conclude by identifying key theoretical and practical implications.

Sitting on the Watcher’s Stage: Networks of Kinship and Sovereignty Among the Corn Rows

Abstract: In the decades following the Civil War, hundreds of Cherokees living East of the Mississippi River were compelled to emigrate west. Post-war poverty, loss of land, and political struggles threatened the survival of Eastern Cherokee communities. Having received an invitation from the Cherokee Nation to be accepted as tribal citizens, many turned away from their eastern homelands after avoiding Removal and outlasting decades of pressures to emigrate. Though the Trail of Tears of 1838–39 is generally understood as the history of Cherokee Removal, this study draws from scholarship on the Long Removal Era to problematize the typical narrative. This postwar emigration phenomenon was a definitive challenge which shaped the newfound Eastern Band of Cherokee Indians. Contrary to typical characterizations, their survival in the east was not a foregone conclusion, instead facing its gravest challenges in the Civil War era. A power vacuum resulted in divisive factionalism, with rival councils from Qualla and Cheoah competing for legitimacy. The emigration of leading Cheoah politicians signaled their defeat, galvanizing and consolidating the Eastern Band. This article offers a social history of this emigration process, investigating the phenomenon through memoirs and oral histories, tribal council minutes, and petitions and correspondence to Washington. Following the paper trail of emigrants, the study incorporates federal records alongside archival records from North Carolina, Oklahoma, and Arkansas. Interrogating the overlap of the Long Removal era and Long Civil War era, the study offers a new history of the Eastern Band in its harrowing formative years.

9·11과 3·11, 혹은 문학의 그라운드 제로(ground zero)에서

In this article, the term “disaster literature” is narrowly defined: works submitted in response to actual historical disasters. Disaster literature will reflect the factual aspects of real disasters, and of particular importance will be the patterns of human behavior in times of disaster, rather than the disaster itself. This can be divided into social solidarity and social conflict. Disaster literature is a dual response to this. It joins or creates social solidarity and intervenes in social conflict to dismantle its basis. The first type can be called ‘healing narratives’. It verbalizes the suffering of the victims, gives it a figure and allows it to exist in the public sphere. The role of the healing narrative is to mediate social solidarity. The second type of narrative can be called ‘counter-narrative’. When a particular perception/narrative of disaster takes the place of the dominant narrative and triggers social conflict, disaster literature as a counter-narrative participates in the social narrative struggle by offering a different way of thinking about disaster (alternative disaster perception). This paper examines works that fulfil their roles as healing narratives and counter-narratives by taking the September 11 attacks and the Tōhoku earthquake and tsunami as symbolic cases of social and natural disasters in the 21st century. In doing so, we will test the effectiveness of the concepts presented in this paper and lay the groundwork for the development of a theory of disaster literature.

웹소설 <조선여우스캔들>에 나타난 고전서사의 수용 양상과 그 의미

​This study examined the acceptance of classical narratives in the web novel 〈Chosun Fox Scandal〉, which was serialized on Naver Web Novel, and examined the meaning of the acceptance of multiple classical narratives in the web novel 〈Chosun Fox Scandal〉.
 The web novel 〈Joseon Fox Scandal〉 is unique in that it arranges multiple classical narrative works in an omnibus format through the setting that the divine beast that fox inspector Siho goes to retrieve is actually an animal that appears in classical narratives. The 19 types of classical narratives, including old novels and folk tales, included in the work are centered on stories about Siho’s performance a royal inspector, accounting for more than 48% of the total volume.
 The story of Siho’s performance as a royal inspector consists of a repetition of the structure of ‘the end of one divine beast problem = the end of one classic episode’. So readers can enjoy the classic narrative while reading the story dealing with the divine beast problem.
 Among the 19 types of classical narratives accepted in the work, 1 is a classic narrative that is almost the same depending on the degree of variation, 4 are those in which the common narrative for each classical epic is maintained and only the characters that appear are replaced with characters from the work. In addition, there is one that accepts motifs from classical narratives and one that uses classical narratives as a component of the spatial background. There are 12 stories created by the author by accepting part of the common narrative for each classical narrative. The changes utilized a variety of methods, from taking the work almost as is to taking parts of the work and then having the author add content that did net exist. In terms of content, characters who commit evil deeds and their punishment were emphasized in 14 of the 18 episodes, excluding the one that adopted a classical narrative as its spatial background.
 The acceptance of the classic narrative of the web novel 〈Joseon Fox Scandal〉 first created a ‘cider’ narrative of the web novel by emphasizing punishment in an old story familiar to readers. At this time, since the problems inherent in evil deeds are repeated in the present, the emphasis on punishment in the story can provide vicarious satisfaction to the readers. Second, using classical narratives, it shows the appearance of a divine beast who is frustrated while complying with fate, and a human being who actively pioneers destiny. Therefore, along with the ending, presents the appearance of a character who has achieved a transition from a divine beast to a human being, it contributed to emphasizing the importance of human will in creating one’s own life and destiny in a finite life.

Mathematical Symbols in Academic Writing: The Case of Incorporating Mathematical Ideals in Academic Writing for Education Researchers

Mathematical symbols, such as those embodying quantum concepts, are indispensable for conveying complex ideas and relationships in academic writing. However, some education researchers and students keep a distance from anything mathematical: algebraic equations, geometrical reasoning, or statistical symbols. How to lower the access threshold for this type of mathematical narrative and reveal the meanings of a range of quantum conceptions to modern educators thus becomes a real problem. Using the pendulum motion equation as a reference point, I argue in this article for the advantages of academic English or French writing genres that fuse a range of mathematical symbols of quantum concepts and conceptual change. Such writings help demonstrate how incorporating the idea of probability (a) refines the debate among conceptual, verbal, and mathematical academic writing; (b) allows new conceptions that draw on the insights from quantum cognition-supported theories; (c) helps explain students’ understanding of mathematical symbols; and (d) offers a new taxonomy for categorizing academic writings.

The Effectiveness of Transcranial Direct Current Stimulation for the Treatment of Various Mental Disorders: A Narrative Review

Context: Transcranial electrical stimulation (tES) is a non-invasive method to stimulate the brain, which has recently been used to treat psychiatric and neurological disorders. Transcranial direct current stimulation (tDCS) is one of the most widely used tES protocols. This study aimed to review the effectiveness of tDCS for the treatment of various mental disorders. Evidence Acquisition: The present study is a narrative review type, for which more than 55 articles and scientific reports were downloaded using MeSH terms related to the subject of the study by reliable and international databases. Considering the inclusion and exclusion criteria, 25 studies were selected, and the results of those studies were recorded. Results: Transcranial direct current stimulation significantly affected the treatment of various mental disorders, including depressive disorder, obsessive-compulsive disorder, autism spectrum disorder, attention deficit hyperactivity disorder, and anxiety disorders. In addition, this treatment method improved the symptoms of each of the aforementioned mental disorders. Conclusions: Based on the findings, the use of tDCS can be effective in improving mental disorders. However, it seems necessary to conduct more studies to achieve reassuring findings due to limited results in some areas.

PERSPEKTIF MAHASISWI STIQ RAKHA AMUNTAI TERHADAP PENGHAPUSAN SKRIPSI SEBAGAI TUGAS AKHIR

Thesis is a term used in Indonesia to illustrate a scientific paper in the form of a written presentation of undergraduate research results that discusses a problem or phenomenon in a particular field of science using applicable principles. The new policy issued by the Minister of Education to eliminate theses has significant implications in the world of education. Deleting a thesis can be considered a controversial step and has a wide impact, both on students, educational institutions and society in general. So in this journal the researcher aims to find out the perspective of students at the Rakha Amuntai College of Al-Qur'an Sciences (STIQ) regarding the elimination of their thesis as their final assignment. This research uses a qualitative method with a narrative research type. According to STIQ student Rakha Amuntai, according to the results of research on the deletion of theses as a final assignment, the government's policy regarding the deletion of theses is because many students think that theses are only burdensome and create unreadable piles in the library.

'Staying cool, calm and positive': A dialogical narrative analysis of emotional reactions in narratives about operable lung cancer.

Patients with lung cancer suffer from physical, psychosocial and particularly emotional challenges. Twenty-five percent of patients with lung cancer are offered surgery as a potential cure. Nevertheless, 40% of surgically treated patients will experience recurrence. Paradoxically, research shows a dominant narrative of operable lung cancer patients 'being lucky', which silences other narratives about suffering, worries and emotional challenges. To explore narratives about operable lung cancer, particularly emotional reactions to illness and suffering in these narratives. A qualitative design was applied. Six women and four men diagnosed with operable lung cancer were included from one university hospital in Denmark and interviewed 1 month after surgery using active interviews. The interviews were subject to dialogical narrative analysis. The theoretical foundation is social constructivism, with socio-narratological inspiration. A typology of three emotional narratives emerged: 'staying cool', 'staying calm' and 'staying positive'. All three types of narrative are characterised by managing emotional reactions. Staying cool is characterised by not showing emotional reactions; staying calm narratives acknowledge emotional reactions, but that they need to be managed so that they do not burden relatives; and the last, staying positive, is characterised by managing emotional reactions in a positive direction. Together this typology of three emotional narratives revealed that operable lung cancer patients are under normative pressure from these socially preferred narratives of ideal emotional reactions to lung cancer. A typology of three emotional narratives were identified and can be called 'feeling rules' that guide patients after lung cancer surgery to manage their emotions. Consequently, if patients do not live up to these three emotional narratives of staying cool, calm and positive, they may be socially isolated and restricted from access to support.

The narrative structure of Yu. P. Kazakov's short story "Arcturus the Hound Dog"

The article presents a narrative analysis of Yu.P. Kazakov's short story "Arcturus the Hound Dog", which refers to the animalistic prose of the writer. The main purpose of the analysis is to consider the organization of the narrative in prose, since the narrative features of the work allow us to characterize the writer's idiosyncrasy in detail. Research objectives: to identify the features of the narrative; to get acquainted with the works devoted to the research topic; to turn to the historical and cultural context; identify the types of narrators; correlate the perspective and narrative plan with them. The relevance of the work is due to the fact that more and more studies are interested in narrative structures, as they allow us to determine the nature of the work and the poetics of Kazakov's stories. Despite the fact that many works are devoted to the early story "Arcturus the Hound Dog", not all of them differ in precise terminology and logical conclusions. So, we will attempt to challenge one of the points of view on the analyzed work. The study of the issue was based on a structural and semantic analysis. Formal, biographical and psychological methods were also used in the study. In the course of the work, the features of the narrative of the story were discovered. We came to the following conclusions: 1. The narrative is based on the principle of opposition of perspectives: an "internal - external" point of view (Innenperspektive - Außenperspektive) 2. The writer introduces three types of narrator into the canvas of the text: exegetic (omniscient, taking an indirect part in the action of the story), diegetic (active, directly appearing in the plot as a character) and lyrical (reflective, feeling, which manifests itself more on a spiritual level). The discovery of the latter in the canvas of the text determines the novelty of the study of the literary heritage of Yu. P. Kazakov. 3. Thus, the lyrical type of the narrator determines the poetics of Kazakov's lyrical prose, discovers difficult-to-grasp subtexts in the narrative and introduces a special rhythm into the analyzed story.

La guerre aux yeux d’un enfant. « Allah n’est pas obligé » d’Ahmadou Kourouma

This article is devoted to a child’s narration in Allah n’est pas obligé [Allah is not obliged] by Ahmadou Kourouma. Considered transgressive, it is rarely used as a narrative strategy in literature, not least because it is quite risky: a child's story imitated by an adult can easily appear artificial and simplistic. Drawing on critical works devoted to this type of narration, this article explores how it functions to tell the story of war and what aims it has. It demonstrates that Kourouma invests a child’s narration with very strong expressive potential to draw the world's attention to the brutal exploitation of children in armed conflicts.

Students' historicisation of the environmental crisis: A narrative of industrialisation, ignorance and greed

As the field of history education begins to acknowledge the need to respond to the challenges of the Anthropocene, questions arise concerning students' ability to use history to make sense of pressing environmental issues. To address this, 67 Swedish upper secondary school students were asked to historicise issues like global warming and share their ideas concerning the present and the future. Within the framework of Jörn Rüsen's narrative theory, this article analyses how and to what extent these students experienced and interpreted the past and used history to orient themselves in relation to such issues. It also develops on the outcome of this process. While most students historicised the situation, many students made limited use of history. Their typical narrative can be described as a linear story of historical industrialisation driven by the hunger for progression and wealth and facilitated by ignorance. It was told with little detail or reference to evidence and in a way that generally seemed unsupported by historical thinking. Moreover, their typical narrative mostly aligned with the standard science-based Anthropocene narrative, lacking cultural and political perspectives. Although their orientations varied, students focused on technical solutions and lifestyle adjustments rather than civic engagement and politics. Students were worried about the future. However, the narrative of technological and scientific progression and the belief that people in the past lacked awareness and technological alternatives gave students hope. On the other hand, viewing them as informed or inherently selfish contributed to pessimism. Supported by theoretical work, the findings indicate ways school history may support students' ability to deal with Anthropocene issues, helping them to experience and interpret the past and the present in a more nuanced and elaborate way. They also highlight the need for content that aids students' ability to anticipate Anthropocene scenarios and reflect on strategies for engagement.

Migrant arrests and deportations on fictional television during the Trump era (2017–2021): from tokenistic storytelling to narrative activism

ABSTRACT This article is a comparative analysis discussing the representation of migrant deportations, apprehensions, and raids by ICE in contemporary US television and streaming. The depiction of migration issues was a narrative and rhetorical constant in some fictional US television shows during the Donald Trump presidency (2017–2021), dramatizing the struggles of undocumented and newly arrived migrants and their families. These shows, which range from drama to comedy, include, among numerous others, Netflix’s Orange is the New Black and Gentefied, the reboot of Party of Five (produced by Sony Pictures Television for Disney’s cable channel Freeform), Vida (STARZ), and Superstore (NBC). This article argues some of these shows enact a form of narrative activism to denounce or put the spotlight on the plight of millions, while others use these types of narratives in an opportunistic way that falls into the cultural practice of tokenism . In these series, the ethnic origin and life story of the talent in front and behind the camera is key for self-representation and authenticity.

Toward Antarctification? Tourism and place-making in Antarctica

ABSTRACT Antarctic tourism has been growing increasingly and diversifying over the past two decades. In parallel, Antarctic tourism scholarship has particularly focused on tourism development and management. This industry- and policy-focused research has neglected to address how these developments affect place-making processes in Antarctica. This article is grounded in conceptual developments of ‘Arctification’, a phenomenon that appears to have significant impacts on the making of the Arctic as a place (to visit) using specific narratives in tourism. Thus, this study expands these conceptual developments to Antarctic tourism by investigating tourism’s role in place-making in Antarctica through ‘Antarctification’. Four types of narratives emerge from tourism promotion materials constituting the core of Antarctification: Antarctica as a place (1) of exploration, (2) that is wild and empty, (3) of superlatives, and (4) needing environmental stewardship and ambassadorship. The use of these narratives locks Antarctica into particular imaginaries designed to attract visitors. Identifying these dominant narratives is critical, as they may markedly impact conservation agendas, Antarctic wildlife encounters, icescapes, and heritage.

FRAGMENTATION OF REVELATION AND HIDING BEHIND THE WALLS OF THE DISTANT MARGIN IN THE SAUDI FEMINIST AUTOBIOGRAPHY: An Analytical Reading of the Novel Madi, Mufrad, Mudhakkar/ Past, Singular, Masculine1 by the Saudi Writer, Omaima al-Khamis2

If the biography is a narrative type with an unimaginable reference basis, the feminist autobiography is a narrative type with a reference basis, in which the author is a woman who admits and does not imagine, as if it were unnecessary to differentiate it from the masculine autobiography, or because the latter is the dominant and the more productive, or because the human being is a terrestrial being, that has no gender. The author can be a man or a woman. However, the work remains described as a non-specialized autobiography. It is not difficult to differentiate between a male autobiography and a female autobiography, but it would be in favor of the first, the second of which appears to be subordinate to it. The autobiography was defined as a literary genre in ancient Arab literature more than a thousand years ago, and until recently it was a purely male literary genre, if we exclude some narratives of female autobiographies that we received mostly through oral narration. The autobiography in modern Arabic literature is not considered an extension of the ancient Arabic autobiography as much as a tradition of Western models of autobiography. In Saudi culture, the autobiography is still unknown as much as the novel or the story and the play, and to be common it took enough time to emerge from the cycle of contempt, whether as a produced text or a receptive text.

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).

Фигура города в современной прозе («Одинокий город» О. Лэнг и «Теряя наши улицы» А. Спьяццатова)

The article explores the boundaries of such a type of narrative as urban narrativity. Based on this approach, not only is a city an object of observation and description, but it also influences the creation of texts, being both the material for the plot and the narrative structure. The expression ‘figure of city’ is formed based on the well-developed concept of the ‘language’ of space (Antsiferov, Toporov, Certeau) and actualizes the rhetorical use of this language by the narrator to communicate with the readers. In this research paper, two contemporary prose works balancing between fiction and autofiction are in the focus of this ‘figure of city’ approach. In the case of Olivia Laing’s The Lonely City (2016), the image of the city performs the function of a synecdoche, and the expression ‘lonely city’ is read as an unspoken ‘lonely me’, ‘lonely us’. In the case of the novel by Albert Spiazzatov (pseudonym of Eldar Sattarov) Losing Our Streets (2010), the city acts as a conceptual metaphor of the hero’s life and as a language for his self-reflection. The two examples demonstrate that thinking about a city is an understanding not only of a specific urban space but also of modern life itself. The figure of city can act both as an ontological metaphor and as a metalanguage of modern life.