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What Literature Knows: Forays Into Literary Knowledge Production
Contributions to English 2 Contributions to English and American Literary Studies 2 and American Literary Studies 2 Antje Kley / Kai Merten (eds.) Antje Kley / Kai Merten (eds.) Kai Merten (eds.) Merten Kai / What Literature Knows This volume sheds light on the nexus between knowledge and literature. Arranged What Literature Knows historically, contributions address both popular and canonical English and Antje Kley US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to Forays into Literary Knowledge Production material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making. What Literature Knows The Editors Antje Kley is professor of American Literary Studies at FAU Erlangen-Nürnberg, Germany. Her research interests focus on aesthetic forms and cultural functions of narrative, both autobiographical and fictional, in changing media environments between the eighteenth century and the present. Kai Merten is professor of British Literature at the University of Erfurt, Germany. His research focuses on contemporary poetry in English, Romantic culture in Britain as well as on questions of mediality in British literature and Postcolonial Studies. He is also the founder of the Erfurt Network on New Materialism. -
Download Reverse Chronology: How & Why to Write Backwards As
Reverse Chronology: how & why to write backwards by Chazda Albright - GreatStorybook.com - http://greatstorybook.com Reverse Chronology: how & why to write backwards by Chazda Albright - http://greatstorybook.com/reverse-chronology-write-backwards/ This entry is part 5 of 5 in the series PLOT writing PLOT writing How to begin a story to hook readers, editors and agents How to Write Rising Action in Act II How to Write a Great Ending Write an Awesome Inciting Incident: 3 things to do Reverse Chronology: how & why to write backwards Reverse Chronology is literally when a story is told backwards, against the linear grain. This is one of the most rare plot structures, but it’s been around at least since the 1st Century BC. Interesting, yes. But would you want to ever use this plot structure? YES! Playing around with plot structure is an inventive way to make the telling of a story more playful, or more impactful. I’ve been asked recently to give tips on playing with plot structure, so here we go! What you’ll get here: Comparison of a linear plot graph to a reverse chronology story. 3 things that distinguish a reverse chronology. How using a reverse chronology impacts your story and readers. Fantastic example of a reverse chronology storybook, with lesson plans. 3 things a reverse chronology isn’t. Chronology vs. Reverse Chronology You might wonder if reversing the plot order (where the first scene is The End and the last scene is how the whole thing started) alters the general plot – meaning, does the changed sequence of events also flip 1 / 4 Reverse Chronology: how & why to write backwards by Chazda Albright - GreatStorybook.com - http://greatstorybook.com around so that the Rising Action is replaced with Falling Action? No, it doesn’t. -
Short Story Questions
Generic Questions for Analyzing the Short Story By J. Moore by JoAnne Moore www. books4results.com Clip art Publisher 2003 Power Point 2003 © J. Moore 2011 Short Stories Name________________ Title________________________ Author______________________ Select Type of Short Story: *slice of life *well-made Choose Point of View: First-person *story told from “I” viewpoint and narrator is often the main character in the story Third-person *story told from one character’s viewpoint using “he, she, they” Omniscient point of view *narrator is all-knowing and can take the viewpoint of any character Objective point of view *only shows outward actions and speech of characters (no thoughts) Mood *tone of the story (e.g. light-hearted, ominous, empty) _______________________________________________________ Theme: *statement describing truth about life ______________________________________________________ Types of Characters: If the story contains this type of character, name him under corresponding description. Protagonist *main character is______________________________ Protagonist’s motive (wants/needs) ____________________________________ _________________________________________________________ Antagonist *force or character opposing the main character is: __________________________________________ Static Character * remains the same throughout story __________________________________________ Dynamic Character *transforms __________________________________________ Stock Character *stereotype such as an evil stepmother __________________________________________ -
100 Most Popular Nonlinear Narrative Films. Wikipedia Contributors
Focus On: 100 Most Popular Nonlinear Narrative Films. Wikipedia contributors Focus On: 100 Most Popular Nonlinear Narrative Films Focus On: 100 Most Popular American Crime Drama Films Focus On: 100 Most Popular Australian Films Focus On: 100 Most Popular Drama Films Based on Actual Events Focus On: 100 Most Popular American Satirical Films Focus On: 100 Most Popular 1990s Action Films Focus On: 100 Most Popular 2010s Fantasy Films Most Popular TV on RT. 81%. Maniac. Critics Consensus: Focus may have a few too many twists and turns, but it nearly skates by on its glamorous setting and the charm of its stars. 53%. Average Rating: 5.8/10. [For Smith,] Focus isn't a full return to brilliance but a welcome stop, hopefully, on the way there. February 27, 2015 | Full Review⦠Wesley Morris. Non-sequential narrative Disjointed narrative Disrupted narrative. Multi-linear narrative Branching narrative Ergodic narrative NON-LINEAR STORYTELLING LATER WE WILL ALSO COME BACK TO: "in medias res". "into the middle of things" ERGODIC Narrative which can not be experienced in a linear format. The narrative itself evokes the typical video game. Just like a character in a video game, Lola dies once and sees Manni die once before figuring out how to "beat the level." The opening of the film sets the film up as a game, albeit a football game, however the point remains. Just like somebody who must replay a level in a video game and learn from their mistakes, Lola is given several more chances to successfully complete her mission. -
Towards a History and Aesthetics of Reverse Motion a Dissertation
Towards a History and Aesthetics of Reverse Motion A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Andrew M. Tohline August 2015 © 2015 Andrew M. Tohline. All Rights Reversed. 2 This dissertation titled Towards a History and Aesthetics of Reverse Motion by ANDREW M. TOHLINE has been approved for Interdisciplinary Arts and the College of Fine Arts Michael Gillespie Assistant Professor of Interdisciplinary Arts Margaret Kennedy-Dygas Dean, College of Fine Arts 3 ABSTRACT TOHLINE, ANDREW M., Ph.D., August 2015, Interdisciplinary Arts Towards a History and Aesthetics of Reverse Motion Director of Dissertation: Michael Gillespie In 1896, early cinema technology made it possible for the first time to view a simulation of entropy’s reversal – that is, to watch time run backwards. This technique of temporal inversion, now known as reverse motion, straddles both the aesthetic and the scientific aspects of cinema’s identity. Aesthetic, because early filmmakers instantly recognized reverse motion’s potential to transform cinema into a space of the fantastic and the spectacular – the cinematic redefinition of reality. Scientific, because reverse motion allowed a greater understanding of thermodynamics and time’s arrow through its indexical registration of physical processes within sections of duration – the cinematic revelation of reality. Reverse motion’s upending of causality resolutely resists classical narrativity and opens a plethora of possibilities for the cinematic exploration of time and motion. In this project, I explore the use of reverse motion throughout film history, examining the aesthetic and philosophical consequences of introducing time as a plastic material into the arts. -
Nonlinear Narratives in Film, Literature, and Television Jason R
University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2011 Navigating the Fourth Dimension: Nonlinear Narratives in Film, Literature, and Television Jason R. Boulanger University of Rhode Island, [email protected] Creative Commons License This work is licensed under a Creative Commons Attribution 3.0 License. Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the English Language and Literature Commons Recommended Citation Boulanger, Jason R., "Navigating the Fourth Dimension: Nonlinear Narratives in Film, Literature, and Television" (2011). Senior Honors Projects. Paper 241. http://digitalcommons.uri.edu/srhonorsprog/241http://digitalcommons.uri.edu/srhonorsprog/241 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Introduction: Hello everybody. For those of you who don’t know me, my name is Jay Boulanger. I am an English and math major here at URI. Though the topic of my presentation today has to do exclusively with my English studies. The title of my project is “Navigating the Fourth Dimension: Nonlinear Narratives in Film, Literature, and Television.” The titles comes from the fact that time is often considered the fourth dimension and is intrinsic to this very nature of being in the world, and my project is an introspection into this “fourth dimension.” By analyzing nonlinear novels, films, and television programs which deal with topics of time and temporality. -
Magazine Media
SEPTEMBER 2010: THE CREATIVITY ISSUE M M MediaMagazine edia agazine Menglish and media centre issue 33 | septemberM 2010 english english and media centre • Creative people – Lynch, Gondry, Audiard, Hitchcock • Creative production work • Creativity and technology • Call of Duty and The Hurt Locker | issue | 33 issue | september 2010 • Stop-motion animation • Come Dine with Me MM • Creativity and genre MM MM MediaMagazine is published by Welcome to MediaMagazine. Whether you’re new to AS level Film or Media, or the English and Media Centre, a returning for A2, we hope you’ll be able to make maximum use of this year’s issues, non-profit making organisation. delve into our archives, and above all enjoy a really good read – not to mention The Centre publishes a wide range getting involved with us by writing articles, giving us feedback, or of classroom materials and runs courses for teachers. If you’re suggesting topics you’d like us to cover. studying English at A Level, look out This issue is on the theme of Creativity – what is it, who’s got for emagazine, also published by it, which technologies promote it, and how does it impact on your the Centre. own studies? We’ve grouped the articles around variations on the The English and Media Centre creative theme, promoted by you yourselves. So there are pieces 18 Compton Terrace on creative people, film-makers both young and old – David London N1 2UN Lynch, Michel Gondry, Charlie Kaufman, Jacques Audiard – but also Telephone: 020 7359 8080 Alfred Hitchcock, still a true original after all these years. -
University Microfilms, a XEROX Company, Ann Arbor, Michigan
72- 4 ^ 5 CHANNER, Burley Dean, 1937- LYRICAL STRUCTURE IN TWO NOVELS OF WILHELM LEHMANN: PER BILDERSTURMER AND WEINGOTT♦ The Ohio State University, Ph.D., 1971 Language and Literature, modern University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED LYRICAL STRUCTURE IN TV-0 NOVELS OF WILHELM LEHMANN: DER BILDERSTURMEK AND WEINGOTT DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University fly Burley Dean Channer, B.A., A.M. The Oh.;n Stite University 1971 Approved by AdvTsrty/ Department of German PLEASE NOTE: Some Pages have Indistinct print. Filmed as received. UNIVERSITY MICROFILMS To the Family PKEFACE The five novels of Wilhelm Lehmann are not easy for a modern reader to approach. In a time when one tends to expect from serious fiction the treatment of political, social, or psychological quandaries, Lehmann's predominantly esthetic experience of the world has little appeal. But his early prose works are not examples of an ascetic artistry for its own sake which merely play intellectually with symbols in an ethereal world divorced from experience. They embody rather an intense experience of Life, transformed into complex tapestries of images, and they document Lehmann's gradual emergence as a nature lyricist. A recent study of Lehmann's work by Hans Dieter Schafer* has examined the imagery of all his works from the standpoint of its development through prose works to lyric poetry. This study contains significant observations on the relationship of Lehmann's early imagery to the imagery of Jugendstil and literary Expressionism.