DOCSLIB.ORG

Screenplay Summarization Using Latent Narrative Structure

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Screenplay Summarization Using Latent Narrative Structure Edinburgh Research Explorer Screenplay Summarization Using Latent Narrative Structure Citation for published version: Papalampidi, P, Keller, F, Frermann, L & Lapata, M 2020, Screenplay Summarization Using Latent Narrative Structure. in Proceedings of the 58th Annual Meeting of the Association for Computational Linguistics. Association for Computational Linguistics, Online, pp. 1920-1933, 2020 Annual Conference of the Association for Computational Linguistics, Virtual conference, United States, 5/07/20. <https://www.aclweb.org/anthology/2020.acl-main.174> Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Proceedings of the 58th Annual Meeting of the Association for Computational Linguistics General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Screenplay Summarization Using Latent Narrative Structure Pinelopi Papalampidi1 Frank Keller1 Lea Frermann2 Mirella Lapata1 1Institute for Language, Cognition and Computation School of Informatics, University of Edinburgh 2School of Computing and Information Systems University of Melbourne [email protected], [email protected], [email protected], [email protected] Victim: Mike Kimble, found in a Body Farm. Died 6 Abstract Setup hours ago, unknown cause of death. CSI discover cow tissue in Mike's body. Opportunity Most general-purpose extractive summariza- Cross-contamination is suggested. Probable cause of death: Mike's house has been set on tion models are trained on news articles, which New fire. CSI finds blood: Mike was murdered, fire was Situation are short and present all important information a cover up. First suspects: Mike's fiance, Jane upfront. As a result, such models are biased by and her ex-husband, Russ. CSI finds photos in Mike's house of Jane's Change of position and often perform a smart selection daughter, Jodie, posing naked. Plans Mike is now a suspect of abusing Jodie. Russ of sentences from the beginning of the doc- Progress allows CSI to examine his gun. ument. When summarizing long narratives, CSI discovers that the bullet that killed Mike Point of was made of frozen beef that melt inside him. which have complex structure and present in- no Return formation piecemeal, simple position heuris- They also find beef in Russ' gun. Russ confesses that he knew that Mike was Complications tics are not sufficient. In this paper, we pro- abusing Jody, so he confronted and killed him. pose to explicitly incorporate the underlying Russ is given bail, since no jury would convict Major a protective father. Setback structure of narratives into general unsuper- CSI discovers that the naked photos were taken The final push vised and supervised extractive summarization on a boat, which belongs to Russ. CSI discovers that it was Russ who was models. We formalize narrative structure in abusing his daughter based on fluids found in Climax terms of key narrative events (turning points) his sleeping bag and later killed Mike who tried to help Jodie. and treat it as latent in order to summarize Russ receives a mandatory life sentence. Aftermath screenplays (i.e., extract an optimal sequence of scenes). Experimental results on the CSI Figure 1: Example of narrative structure for episode corpus of TV screenplays, which we augment “Burden of Proof” from TV series Crime Scene Inves- with scene-level summarization labels, show tigation (CSI); turning points are highlighted in color. that latent turning points correlate with im- portant aspects of a CSI episode and improve summarization performance over general ex- ements of a story in the beginning and support- tractive algorithms, leading to more complete ing material and secondary details afterwards. The and diverse summaries. rigid structure of news articles is expedient since important passages can be identified in predictable 1 Introduction locations (e.g., by performing a “smart selection” Automatic summarization has enjoyed renewed of sentences from the beginning of the document) interest in recent years thanks to the popular- and the structure itself can be explicitly taken into ity of modern neural network-based approaches account in model design (e.g., by encoding the rel- (Cheng and Lapata, 2016; Nallapati et al., 2016, ative and absolute position of each sentence). 2017; Zheng and Lapata, 2019) and the avail- In this paper we are interested in summarizing ability of large-scale datasets containing hundreds longer narratives, i.e., screenplays, whose form of thousands of document–summary pairs (Sand- and structure is far removed from newspaper ar- haus, 2008; Hermann et al., 2015; Grusky et al., ticles. Screenplays are typically between 110 and 2018; Narayan et al., 2018; Fabbri et al., 2019; Liu 120 pages long (20k words), their content is bro- and Lapata, 2019). Most efforts to date have con- ken down into scenes, which contain mostly dia- centrated on the summarization of news articles logue (lines the actors speak) as well as descrip- which tend to be relatively short and formulaic tions explaining what the camera sees. Moreover, following an “inverted pyramid” structure which screenplays are characterized by an underlying places the most essential, novel and interesting el- narrative structure, a sequence of events by which 1920 Proceedings of the 58th Annual Meeting of the Association for Computational Linguistics, pages 1920–1933 July 5 - 10, 2020. c 2020 Association for Computational Linguistics Screenplay Latent Narrative Structure ermann et al., 2018) which revolves around a team TP1: Introduction of forensic investigators solving criminal cases. TP2: Goal definition Such programs have a complex but well-defined structure: they open with a crime, the crime scene TP3: Commitment is examined, the victim is identified, suspects are TP4: Setback introduced, forensic clues are gathered, suspects TP5: Ending are investigated, and finally the case is solved. In this work, we adapt general-purpose extrac- tive summarization algorithms (Nallapati et al., Summary scenes 2017; Zheng and Lapata, 2019) to identify infor- Video summary relevant mative scenes in screenplays and instill in them to TP2 knowledge about narrative film structure (Hauge, 2017; Cutting, 2016; Freytag, 1896). Specifically, we adopt a scheme commonly used by screen- irrelevant writers as a practical guide for producing success- ful screenplays. According to this scheme, well- relevant structured stories consist of six basic stages which to TP5 are defined by five turning points (TPs), i.e., events which change the direction of the narrative, and Figure 2: We first identify scenes that act as turning determine the story’s progression and basic the- points (i.e., key events that segment the story into sec- matic units. In Figure1, TPs are highlighted for tions). We next create a summary by selecting informa- a CSI episode. Although the link between turning tive scenes, i.e.,semantically related to turning points. points and summarization has not been previously made, earlier work has emphasized the importance a story is defined (Cutting, 2016), and by the of narrative structure for summarizing books (Mi- story’s characters and their roles (Propp, 1968). halcea and Ceylan, 2007) and social media content Contrary to news articles, the gist of the story in a (Kim and Monroy-Hernandez´ , 2015). More re- screenplay is not disclosed at the start, information cently, Papalampidi et al.(2019) have shown how is often revealed piecemeal; characters evolve and to identify turning points in feature-length screen- their actions might seem more or less important plays by projecting synopsis-level annotations. over the course of the narrative. From a modeling Crucially, our method does not involve man- perspective, obtaining training data is particularly ually annotating turning points in CSI episodes. problematic: even if one could assemble screen- Instead, we approximate narrative structure au- plays and corresponding summaries (e.g., by min- tomatically by pretraining on the annotations of ing IMDb or Wikipedia), the size of such a corpus the TRIPOD dataset of Papalampidi et al.(2019) would be at best in the range of a few hundred and employing a variant of their model. We find examples not hundreds of thousands. Also note that narrative structure representations learned on that genre differences might render transfer learn- their dataset (which was created for feature-length ing (Pan and Yang, 2010) difficult, e.g., a model films), transfer well across cinematic genres and trained on movie screenplays might not generalize computational tasks. We propose a framework for to sitcoms or soap operas. end-to-end training in which narrative structure is Given the above challenges, we introduce a treated as a latent variable for summarization. We number of assumptions to make the task feasible. extend the CSI dataset (Frermann et al., 2018) with Firstly, our
Load more

Recommended publications
  • The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic«
    DOI 10.1515/jlt-2013-0006 JLT 2013; 7(1–2): 135–153 Ted Nannicelli The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic« Abstract: Are screenplays – or at least some screenplays – works of literature? Until relatively recently, very few theorists had addressed this question. Thanks to recent work by scholars such as Ian W. Macdonald, Steven Maras, and Steven Price, theorizing the nature of the screenplay is back on the agenda after years of neglect (albeit with a few important exceptions) by film studies and literary studies (Macdonald 2004; Maras 2009; Price 2010). What has emerged from this work, however, is a general acceptance that the screenplay is ontologically peculiar and, as a result, a divergence of opinion about whether or not it is the kind of thing that can be literature. Specifically, recent discussion about the nature of the screenplay has tended to emphasize its putative lack of ontological autonomy from the film, its supposed inherent incompleteness, or both (Carroll 2008, 68–69; Maras 2009, 48; Price 2010, 38–42). Moreover, these sorts of claims about the screenplay’s ontology – its essential nature – are often hitched to broader arguments. According to one such argument, a screenplay’s supposed ontological tie to the production of a film is said to vitiate the possibility of it being a work of literature in its own right (Carroll 2008, 68–69; Maras 2009, 48). According to another, the screenplay’s tenuous literary status is putatively explained by the idea that it is perpetually unfinished, akin to a Barthesian »writerly text« (Price 2010, 41).
    [Show full text]
  • THE ROLE of TIME in NON-LINEAR FICTION NARRATIVES by Tatevik Kyurkchyan Presented to the Department of English & Communicati
    THE ROLE OF TIME IN NON-LINEAR FICTION NARRATIVES by Tatevik Kyurkchyan Presented to the Department of English & Communications in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts American University of Armenia Yerevan, Armenia 20/05/19 1 Table of Contents Abstract………………………………………………………………………………………3 Introduction…………………………………………………………………………….…….4 Literature Review……………………………………………………………...……….…… 5 Research Questions and Methodology ….………………………………………………….12 The Seed and the Soil linear version……..…………………………………………………13 The Seed and the Soil non-linear version…………………………………………………. 30 Research Findings and Analysis …………………………………..………………….…… 48 Limitations and Avenues for Future Research………………………….…………..…….. 56 Bibliography…………………………………………………………………………..…… 58 2 Abstract This paper analyzes the structure of non-linear narratives in fiction literature in comparison with linear variants. It considers the concept of time and how it is represented and altered through writing in fiction literature. Additionally, the role of time and non-linearity is discussed from the perspective of the emotional effects it induces rather than linear, chronological narratives. With the use of qualitative research, international literature, and an original creative writing segment, this theory is analyzed. 3 Introduction Stories, in their most basic interpretation, are created by isolating a sequence of events and presenting them to an audience. How a story is written noticeably impacts the way it will be received by readers since it considers characters, setting, tone, time, and several other aspects to make it whole. While every detail allows a story to raise various interpretations or perceptions, the importance of time is often overlooked compared to other aforementioned qualities which are deemed more important. From this perspective, time is mostly considered a means through which the story is told, but rather, this paper will analyze how the disruption of time in a story is capable of altering how the story is perceived and emphasizing certain aspects.
    [Show full text]
  • Examining Television Narrative Structure
    Butler University Digital Commons @ Butler University Scholarship and Professional Work - Communication College of Communication 2002 Re(de)fining Narrative Events: Examining Television Narrative Structure M. J. Porter D. L. Larson Allison Harthcock Butler University, [email protected] K. B. Nellis Follow this and additional works at: https://digitalcommons.butler.edu/ccom_papers Part of the Communication Commons Recommended Citation Porter, M.J., Larson, D.L., Harthcock, A., & Nellis, K.B. (2002). Re(de)fining narrative events: Examining television narrative structure, Journal of Popular Film and Television, 30, 23-30. Available from: digitalcommons.butler.edu/ccom_papers/9/ This Article is brought to you for free and open access by the College of Communication at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - Communication by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Re(de)fining Narrative Events: Examining Television Narrative Structure. This is an electronic version of an article published in Porter, M.J., Larson, D.L., Harthcock, A., & Nellis, K.B. (2002). Re(de)fining narrative events: Examining television narrative structure, Journal of Popular Film and Television, 30, 23-30. The print edition of Journal of Popular Film and Television is available online at: http://www.tandf.co.uk/journals/VJPF Television's narratives serve as our society's major storyteller, reflecting our values and defining our assumptions about the nature of reality (Fiske and Hartley 85). On a daily basis, television viewers are presented with stories of heroes and villains caught in the recurring turmoil of interrelationships or in the extraordinary circumstances of epic situations.
    [Show full text]
  • A Rose for Emily”1
    English Language & Literature Teaching, Vol. 17, No. 4 Winter 2011 Narrator as Collective ‘We’: The Narrative Structure of “A Rose for Emily”1 Ji-won Kim (Sejong University) Kim, Ji-won. (2011). Narrator as collective ‘we’: The narrative structure of “A Rose for Emily.” English Language & Literature Teaching, 17(4), 141-156. This study purposes to explore the narrative of fictional events complicated by a specific narrator, taking notice of his/her role as an internal focalizer as well as an external participant. In William Faulkner's "A Rose for Emily," the story of an eccentric spinster, Emily Grierson, is focalized and narrated by a townsperson, apparently an individual, but one who always speaks as 'we.' This tale-teller, as a first-hand witness of the events in the story, details the strange circumstances of Emily’s life and her odd relationships with her father, her lover, the community, and even the horrible secret hidden to the climactic moment at the end. The narrative 'we' has surely watched Emily for many years with a considerable interest but also with a respectful distance. Being left unidentified on purpose, this narrative agent, in spite of his/her vagueness, definitely knows more than others do and acts undoubtedly as a pivotal role in this tale of grotesque love. Seamlessly juxtaposing the present and the past, the collective ‘we’ suggests an important subject that the distinction between the past and the present is blurred out for Emily, for whom the indiscernibleness of time flow proves to be her hamartia. The focalizer-narrator describes Miss Emily in the same manner as he/she describes the South whose old ways have passed on by time.
    [Show full text]
  • Teaching Narrative Structure: Coherence, Cohesion, and Captivation
    Teaching Narrative Structure: Coherence, Cohesion, and Captivation Teresa A. Ukrainetz ,,N...... ,.1rivP Structure Analyses ............................................................................ 197 Degree of Independence ................................................................................ 197 Story Grammar Analysis .............. :................................................................ 202 Cohesion of the Tale ................................................................................ _..... 208 Story Art ........................................................................................... :........... 212 Books and Notations for II,U~goving Narrative Structure ............................... 218 Narrative Structure through Children's Literature ............... ;........................ 218 Pictography: A Narrative Representation Tool ............................................. 223 --·-- Moving Young Children into Independent Storytelling ................................. 230 Teaching Story Grammar ................................................................................. 231 Story Grammar Cues ...................................., ............................................... 232 A Story Grammar Lesson ...................................................................._ ......... 232 Teaching One Kind of Cohesion ................................................ :.................... 235 Making Stories Artful .......................................................................................237
    [Show full text]
  • Introduction Screenwriting Off the Page
    Introduction Screenwriting off the Page The product of the dream factory is not one of the same nature as are the material objects turned out on most assembly lines. For them, uniformity is essential; for the motion picture, originality is important. The conflict between the two qualities is a major problem in Hollywood. hortense powdermaker1 A screenplay writer, screenwriter for short, or scriptwriter or scenarist is a writer who practices the craft of screenwriting, writing screenplays on which mass media such as films, television programs, comics or video games are based. Wikipedia In the documentary Dreams on Spec (2007), filmmaker Daniel J. Snyder tests studio executive Jack Warner’s famous line: “Writers are just sch- mucks with Underwoods.” Snyder seeks to explain, for example, why a writer would take the time to craft an original “spec” script without a mon- etary advance and with only the dimmest of possibilities that it will be bought by a studio or producer. Extending anthropologist Hortense Powdermaker’s 1950s framing of Hollywood in the era of Jack Warner and other classic Hollywood moguls as a “dream factory,” Dreams on Spec pro- files the creative and economic nightmares experienced by contemporary screenwriters hoping to clock in on Hollywood’s assembly line of creative uniformity. There is something to learn about the craft and profession of screenwrit- ing from all the characters in this documentary. One of the interviewees, Dennis Palumbo (My Favorite Year, 1982), addresses the downside of the struggling screenwriter’s life with a healthy dose of pragmatism: “A writ- er’s life and a writer’s struggle can be really hard on relationships, very hard for your mate to understand.
    [Show full text]
  • The Role of Narrative Structure in the Transfer of Ideas: the Case Study
    THE ROLE OF NARRATIVE STRUCTURE IN THE TRANSFER OF IDEAS THE CASE STUDY AND MANAGEMENT THEORY ANN HARLEMAN STEWART The case study report-which I will call simply the case study-constitutes a special form of scientific and technical writing. It is widely used but not well understood. Intuitively we know that a case study communicates information and that it is a kind of story. But how does it communicate? And what kind of a story is it? Discourse analysis offers a methodology that reveals the linguistic and textual strategies employed by the case study and allows us to formulate explicitly the conception of it that we hold intuitively. This essay exam- ines the case study as discourse-as the text involved in an act of com- munication that takes place within a particular speech community. I have chosen to examine the case study as it is used in teaching management theory. Illustrative texts come from casebooks in the field, selected in con- sultation with Boston University School of Management faculty, which show a representative range of subject matter, pedagogical principles, and style. A discourse analytical approach, by its very nature, demands particu- larization: unless the context is fully specified, it is impossible to view a text as discourse. Hence the analysis here focuses on one particular kind of case study used in one particular kind of activity. It is offered as a model for a discourse analytical approach to the case study in other areas. I will 120 121 The Role of Narrative Structure in the Transfer of Ideas look first at the functions of the management case study within its com- municative context; then I will consider its form - its structure as a nar- rative text - and the ways in which that form serves its functions.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Weather Ex Machina
    UNIVERSITY OF CALIFORNIA Los Angeles Weather ex Machina: Climatic Determinism and the Fiction of Causality in the Twentieth-Century Novel A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Sydney Miller 2018 © Copyright by Sydney Miller 2018 ABSTRACT OF THE DISSERTATION Weather ex Machina: Climatic Determinism and the Fiction of Causality in the Twentieth-Century Novel by Sydney Miller Doctor of Philosophy in English University of California, Los Angeles, 2018 Professor Michael A. North, Chair Weather ex Machina charts a pattern of the weather as a plot device in the twentieth-century novel, where its interventions have been overlooked and understudied. According to the prevailing critical narrative of the topic, the ubiquitous and overwrought weather that characterizes the notoriously dark and stormy novels of the nineteenth century all but disappears in those of the twentieth, its determinative force in fiction diminishing with the advancement of a science that secularized the skies. This dissertation pushes against that narrative, arguing that is precisely because modern meteorology seemingly stripped the weather – so long assumed to be divinely sourced – of its mythological associations that the trope becomes available for co-opting as the makeshift deus ex machina of the modern novel: the believable contrivance that, in functioning deterministically while appearing aleatory, replaces the providentialism of the nineteenth-century novel and resolves the crisis of causality in the twentieth-century plot. For E.M. Forster, whose works are marked by an anxiety about formlessness and a belabored adherence to causal chains, the weather becomes a divine scapegoat, its inculpation imposing a predictable but passably accidental order onto his plots.
    [Show full text]
  • Film Studies (FILM) 1
    Film Studies (FILM) 1 FILM-115 World Cinema 3 Units FILM STUDIES (FILM) 54 hours lecture; 54 hours total This course will survey the historical, social, and artistic development FILM-100 Survey and Appreciation of Film 3 Units of cinema around the globe, introducing a range of international films, 54 hours lecture; 54 hours total movements, and traditions. This course is an introduction to the history and elements of filmmaking Transfers to both UC/CSU such as narrative, mise-en-scene, cinematography, acting, editing, and FILM-117 Director's Cinema 3 Units sound as well as approaches to film criticism. 54 hours lecture; 54 hours total Transfers to both UC/CSU This course examines the historical and artistic career of a seminal FILM-101 Introduction to Film Production 3 Units director in cinema history. Possible subjects include Martin Scorsese, 36 hours lecture; 54 hours lab; 90 hours total Alfred Hitchcock, Francis Ford Coppola, and Woody Allen. This course is designed to introduce you to the creative process Transfers to CSU only of filmmaking. We will study all aspects of production from the FILM-120 Horror Film 3 Units conceptualization of ideas and scripting, to the basic production 54 hours lecture; 54 hours total equipment and their functions, and finally the production and post- This course offers an in-depth examination of the popular horror film production processes. Assignments will emphasize visualization, through an analysis of its historical evolution, major theories, aesthetics shooting style, and production organization. Presentation of ideas in and conventions, and the impact of its role as a reflection of culture both the written word and visual media are integral to the production society.
    [Show full text]
  • Introduction 1 Mimesis and Film Languages
    Notes Introduction 1. The English translation is that provided in the subtitles to the UK Region 2 DVD release of the film. 2. The rewarding of Christoph Waltz for his polyglot performance as Hans Landa at the 2010 Academy Awards recalls other Oscar- winning multilin- gual performances such as those by Robert de Niro in The Godfather Part II (Coppola, 1974) and Meryl Streep in Sophie’s Choice (Pakula, 1982). 3. T h is u nder st a nd i ng of f i l m go es bac k to t he era of si lent f i l m, to D.W. Gr i f f it h’s famous affirmation of film as the universal language. For a useful account of the semiotic understanding of film as language, see Monaco (2000: 152–227). 4. I speak here of film and not of television for the sake of convenience only. This is not to undervalue the relevance of these questions to television, and indeed vice versa. The large volume of studies in existence on the audiovisual translation of television texts attests to the applicability of these issues to television too. From a mimetic standpoint, television addresses many of the same issues of language representation. Although the bulk of the exempli- fication in this study will be drawn from the cinema, reference will also be made where applicable to television usage. 1 Mimesis and Film Languages 1. There are, of course, examples of ‘intralingual’ translation where films are post-synchronised with more easily comprehensible accents (e.g. Mad Max for the American market).
    [Show full text]
  • Scriptwriting Theories & Practice
    Storyboarding and Scriptwriting • AD210 • Spring 2011 • Gregory V. Eckler Storyboarding and Scriptwriting Scriptwriting Theories & Practice Theories on Scriptwriting Fundamentally, the screenplay is a unique literary form. It is like a musical score, in that it is intended to be interpreted on the basis of other artists’ performance, rather than serving as a “finished product” for the enjoyment of its audience. For this reason, a screenplay is written using technical jargon and tight, spare prose when describing stage directions. Unlike a novel or short story, a screenplay focuses on describing the literal, visual aspects of the story, rather than on the internal thoughts of its characters. In screenwriting, the aim is to evoke those thoughts and emotions through subtext, action, and symbolism. There are several main screenwriting theories which help writers approach the screenplay by systematizing the structure, goals and techniques of writing a script. The most common kinds of theories are structural. Screenwriter William Goldman is widely quoted as saying “Screenplays are structure”. Three act structure Most screenplays have a three act structure, following an organization that dates back to Aristotle’s Poetics. The three acts are setup (of the location and characters), confrontation (with an obstacle), and resolution (culminating in a climax and a dénouement). In a two-hour film, the first and third acts both typically last around 30 minutes, with the middle act lasting roughly an hour. In Writing Drama, French writer and director Yves Lavandier shows a slightly different approach. As most theorists, he maintains that every human action, whether fictitious or real, contains three logical parts: before the action, during the action, and after the action.
    [Show full text]
  • What Fictive Narrative Philosophy Can Tell Us: Stories, Cases, and Thought Experiments†
    Revista del Instituto de Filosofía, Universidad de Valparaíso, Año 1, N° 2. Diciembre 2013. Pags. 61 – 81 What Fictive Narrative Philosophy Can Tell Us: Stories, Cases, and Thought Experiments† Michael Boylan Resumen Este ensayo discutirá algunos de los modos en que la narrativa trabaja para promover la filosofía, llamada filosofía narrativa de ficción. La estrategia es discutir las maneras en que trabaja el discurso directo e indirecto y mostrar por qué el discurso indirecto llena un vacío importante que el discurso directo no puede satisfacer. En el curso de este examen, serán analizados diferentes filósofos de la narrativa ficcional como Platon, Kierkegaard, Nietzsche, Sartre, Murdoch, Johnson, y Camus. Ellos utilizan el discurso indirecto para hacer plausible a los lectores la visión que están presentando. El artículo muestra algunas restricciones a este proceso. PALABRAS CLAVE: Platón, ficción, filosofía narrativa de ficción, experimentos men- tales, casos de ética. Abstract This essay will discuss some of the ways that narrative works to promote philosophy, called fictive narrative philosophy. The strategy is to discuss the ways that direct and indirect discourse work and to show why indirect discourse fills an important void that direct discourse cannot fulfill. In the course of this examination several famous narra- tive-based philosophers are examined such as Plato, Kierkegaard, Nietzsche, Sartre, Murdoch, Johnson, and Camus. These practitioners used the indirect method to make plausible to readers the vision that they were presenting. This article also offers some constraints in this process. KEY WORDS: Plato, fiction, fictive narrative philosophy, thought experiments, ethical cases. Most everyone would agree that narrative literature can create a display that is amenable to interpretation via various critical theories (among which are philosophical).
    [Show full text]