Critical Paper Titles

Total Page:16

File Type:pdf, Size:1020Kb

Critical Paper Titles CRITICAL PAPER TITLES 2013 Elizabeth Arnold To the Wild: Exploring Female Wilderness Memoirs Andrew Bennett Deprivation and Apprehension in Yannis Ritsos, Linda Gregg, and Jack Gilbert Sidney Brammer Balancing the Explicit with the Poetic: Narrative Description and the Young Female Voice in Female-Authored Fiction Melinda Brown Gone With The Wind and the Great American Novel: Why Readers Give a Damn Libre Cory Love, Land, and Language: An Erotics of Place Kari Fisher Stanislav Fritz Speculative Realism: The Merging of Postmodernism and Magical Realism in the Post-Information Age Nancy Geyer Form & Forum: Essaying for Change Journey Herbeck Using Politics in Literature Tia Hudson A Sacramental and Incarnational Reading of the Poetry of William Stafford Meghan McClure Fancy & Facts in Poetry: An Argument for Scientific Research in Poetry Carrie Mesrobian Sex in Young Adult Literature: Choices and Consequences Deborah Moderow Animals and Memoir: A Clarifying Gaze Nancy Tsapralis Alchemy: Ways of Knowing in Creative Nonfiction Wendy Willis Subversion by Blackberry, Aided by Potato: How Food & Poetry Keep it Real Takayuki Yamamoto Images and Nonlinear Narrative Structure in Ann Beattie’s “Like Glass” and “Janus” 2012 Nancy Boutilier From Metaphor to Meta-Fork: Tine Traveling with the Poetics of Thylias Moss Mandy Clark Dark Writing in Short Fiction: Margaret Atwood, Mary Gaitskill, and Joyce Carol Oates Barb DeGrote Voicing the Unsaid: Using Narrative Therapy Techniques as a Tool for Revision in Fiction and Creative Nonfiction Matt Holloway Doug Peacock and the Natural World: The Relationship of Craft, Philosophy and place in Grizzly Years—In Search of the American Wilderness Ann Hursey Small Change—The Poet in the World: Poems to Handmade Things Karen Irwin Finding the "I" in First Person Narration: A Personal Discovery of Finding Voice through Memory Karl Lehman On Character And Negotiation: An Informal Exploration of the Literary Effects of Postmodernism .Robin Farrar Maass Little Social Commonwealths to Small Virtual Worlds: 200 Years of Reading the Novel of Manners Mishele Maron Literary Container: The Deft Handling of Personal Trauma in Memoir Joel Phillips Me and Bobby McKee: My Awareness of Story Values and their Positive and Negative Charges Judith Pulman The Elegy Unmasked: Four Modern Comic Elegists Struggle with Their Dead, Their Narcissism, and Their Tradition Christine Robbins The Space Between the Stars: Charles Wright and Language of the Unseen Rebeccca Saxton Examples of Myth and Mythic Structure Usage in 21st Century Prose and Poetry Chris Wilson Simpkins Amazon and Grape, Tapajós and Orange, Bishop and Rukeyser Bill Sommer The Creation of a Believable Fictional World: Selected Techniques of Artifice in Peter Carey’s Oscar and Lucinda Cindy Stewart-Rinier The World You Have to Live in is the World You Have Made: Eco- Politics in Frederico Garcia Lorca’s Poet in New York and Linda Gregerson’s Magnetic North Theresa Taylor Changing Masks: The Unsympathetic Protagonist’s Point of View 2011 John Engler In the Structure is the Meaning: Mapping Scene-Recycling in Tim O’Brien Maddaline Enns Songlines, Salmon, and The Singularity of Bones: How Our Attachment To Landscape Poses Us in Place Ben Hale The Claim-Making Animal: The Use and Misuse of Claims in Fiction Lisa Ohlen Harris A Grammar of Timelessness Jennifer Lauck Memoir & Me: An Evolution Linda Martin Naming This World: How Pattiann Rogers Participates in Creation Gerry McFarland The Open Space of The Imagination: The Poetic Moment and the Black Mountain Poets Kristina Moriconi If You Build It: The Common Ground of Architect and Writer Emily Murphy Memories, Moments, Scenes: Fragmented Memoirs on Trauma Patrick O’Callahan Theodore Roethke and the Art of Madness Rebekah Robinson The Writer’s Unmentionables: A Study of Recurring Images and Themes Liz Shine Making Meaningful Fiction Gretchen Stahlman Rider To Writer: Composing a Bicycle Narrative Natalie Tilghman Finding A Voice: First Person Narration in Young Adult Literature and Coming-Of-Age Adult Fiction Justin Wadland Blood And Documentation: Cormac Mccarthy, Hampton Sides, and the Frontiers of History and Truth Juniper White Nouns And Succinct Poems Ezra Whitman Throwing Books Instead of Spears: The Alexie-Treuer Skirmish Over Market Share 2010 Theresa Bakker A Sort of Crusade: Walking through Literary Non-Fiction Rachel Ballard Boats Against the Current: Nostalgia in Three Twentieth Century American Novels Christina Collins Misdirection: The Manipulation of Form and Genre in Evan S. Connell’s Points for a Compass Rose Rick Dakan This Is Not a Book: Transmedia Triumphs and Tropes Kate Carroll deGutes From Telling to Telling: Questions of Truth, Honesty, and Factual Integrity in Nonfiction Kathryn Eberhart The Language of Northernness: An Examination of the Coexistence of Experience and the Primitive Andrea Henchey Magical Letters and Inescapable Rhythms: Poetry, Meaning, & Sound Patterns Kristin Henry The Literature of Absence Cathy James Writing from Voice: Voice as a Narrative Tool in the Works of Thom Jones and Brock Clarke Michael Johnsen The Relativity of Time in Literature and Science Lisa Johnson Animals as Literary Devices Loretta Long Disarming Voices In Ann Pancake’s Strange As This Weather Has Been Julie McElroy-Brown Freedom and Fear: Women Write the Wilderness (Selected Works, 1879 – 2008) Lois Rosen Fierce Bloom: Female Protagonist-Narrators Coming of Age Shannon Smith Toward a Poetry of Compassion Tandy Tillinghast Re-Seeing with Compassionate Eyes: How Grotesque and Surreal Detail Shape Meaning in Fiction Heather Weber Shorelines and Lilypads: The interplay of Past and Present Narratives and Verb Tense in Modern Memoir 2009 Noah Ashenhurst Hearing Voices: Characterization, Temporal Perspective, and Poetry Through Four Narrative Voices in All the King’s Men by Robert Penn Warren Barrie Jean Borich Making it Real: Forays into the Art of Creative Nonfiction Bill Capossere Mapmakers And Guides: Navigating The World Of Popular Science Patricia Craig Jhumpa & Me & the Temple Virgins at Ripple Creek Barbara Finkelstein Agha Shahid Ali, 1949-2001: A Life in Poetry: an Appreciation Casey Fuller I Am Vertical : The Creation Of Self In The Poetry Of Sylvia Plath Eric Gnezda Keeping the Gift in Motion: Connections Between Performer/Audience and Writer/Reader Jaimie Hays (Harter) “Floating Islands”: An Exploration of Cultural Identity and the “Tyranny of the Mean” in Three Food Memoirs Erin Hollowell Eve Back in the Garden: Five Contemporary Women Poets’ Relationships with Nature Lita A. Kurth Time Travel: Temporal Transitions in Selected Twentieth-Century Works of Fiction Julie Johnson Riddle Stepping from the Shadow of the Cowboy Myth: An Exploration of Why Women Raised in the Northern Rocky Mountain Region Bond with the Land, Break from the Land, and Write about the Land Tina Schumann The Here and the Gone: On the Representation of Absence and the Ephemeral in Modern Poetry Judith L. Shadford The Permeable Membrane: An Idiosyncratic Approach to the Elusive Border between Genre and Literature, As Practiced by Writers of Mystery and Detective Fiction Kristy Webster Ordinary Magic: The Roots and Wings of Magical Realism 2008 Amy Andrews The Cartographers: Maps of the Post Quantum Consciousness Drawn by Contemporary Essayists Dorothy Barnett Writing the Remembered: An Exploration of the Necessity of Fiction in Selected Works of Memoir Elea Carey Intimate Knowledge: Adultery’s Effects in Short Fiction Eric Carlin Double Castings (a look at the work of Lola Haskins) Barbara Halpern Politics into Art: An Application of Charles Baxter’s Defamiliarization to Six Political Novels Jill Johnson Flannery O’Connor—With Comedy, Tragedy, and Justice for All April Lawson Life For Art, and Art For Life: Spinster Piano Teachers In The Work of Chopin, Welty, and Sandor Buzz Mauro “A Technique of a Technique”: Expanding the Powers of First-Person Narration Jean McDonough Liminality and Dissent of Consciousness: A Feminist View of Contemporary Women’s Memoir Joanna McNaney The Landscape of Home: Exploring Place in Contemporary Gay and Lesbian Nonfiction Kathi Rivers-Shannon Writing from the Landscape of the Soul Hilary Schaper Gathering Thoughts: How to Structure an Essay Collection Anita Sullivan The Formality Of The Free: An Approach To The Craft Of Poetry Sandra Swinburne The Last Good Obsession: Reading and Writing a Self Cameron Walker The Not-So-Big Novel: How Thinking Like an Architect Can Help a Writer Tarn Wilson The Space Between Contradictions: An Examination of Meaning and Knowledge in Creative Nonfiction 2007 Kelli Russell Agodon Including Laughter: The Use of Humor by Contemporary Women Poets Jay Bates Strange Grace: On the Fiction of John Updike, and the Defamiliarization of Faith Boyd Benson Luck, Music, Receptivity and Madness: The Roles of the Arbitrary and the Image in Modern Poetry Nancy Canyon Swimming Backwards: A Look at Technique in Virginia Woolf Julie Case Voicing Place Jennifer Culkin What Lies Between Kathleen Flenniken Between the Lines: The Letters Of Moore, Stevens, And Bishop Glenda Henderson Margaret Maron’s Deborah Knott: Why Critics and Readers Love Her Kathryn Humes Art Heals: How Humor and a Full Kind of Seeing in Memoir Save Us Adrian Koesters A Tangible Inheritance: The Expression Of The Incarnate in Poetry from Donne To Levertov And Wilbur Margie Lukas Older Women In Contemporary Fiction: Characterization and Archetypes Therese Mancevski Trigger Happy: Composing Poems Generated
Recommended publications
  • Narrative Structure in Literature
    ELA Virtual Learning English II April 27, 2020 English II Lesson: April 27, 2020 Objective/Learning Target: ● I can analyze how an author’s choices in story structure impact the reader. BELL RINGER The night was calm, but a storm -- full of Timing is everything, especially when it rain and budding anger -- began to swell A in the distance. comes to writing and storytelling. But what if your timing is off? John felt excited. Afterall, it was his B sixteenth birthday. Take a look at the story details to the left. Place the lettered sections in order from Mrs. Peabody saw him snake through the lowest point of tension to the highest and yard from her kitchen window. And that’s answer the prompt below in a quick write: what she told police during the missing C ● Why does this order create the most amount person investigation. of tension? Explain. John was grounded, but snuck out the back door. The door’s creak seemed D louder than a siren. BELL RINGER ANSWER KEY (Answers will vary) John felt excited. Afterall, it was his Our story begins with a character, likely our protagonist, named sixteenth birthday. John. We learn it’s his 16th birthday, a milestone for many B teenagers but not a whole lot of tension so it may come first. John was grounded, but snuck out the Looks like John has gotten himself into trouble in the past and the back door. The door’s creak seemed tension rises a bit because he is breaking the rules. D louder than a siren.
    [Show full text]
  • AESTHETIC PERSPECTIVE in POETRY FILM: a STUDY of CHARLES BUKOWSKI’S “BLUEBIRD” POEM and ITS VISUAL FORM ADAPTATION by MICHAT STENZEL Abeer M
    Global Journal of Arts, Humanities and Social Sciences Vol.6, No.9, pp.54-70, September 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) AESTHETIC PERSPECTIVE IN POETRY FILM: A STUDY OF CHARLES BUKOWSKI’S “BLUEBIRD” POEM AND ITS VISUAL FORM ADAPTATION BY MICHAT STENZEL Abeer M. Refky M. Seddeek1, Amira Ehsan (PhD)2 1Associate Professor, Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt 2College of Language and Communication (CLC), Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt ABSTRACT: This paper is divided into two parts; the first aims at investigating how poetry film fuses spoken word poetry with visual images and sound to create meanings, connotations and associations stronger than those produced by each genre on its own. The paper studies the stream of consciousness flow of images and nonlinear narrative style as the main features of that genre in addition to the editing/montage aesthetics and the spatio-temporal continuity. It also highlights William Wees’ notion that in the cinema the union of words and images strengthens the film’s ties to realism and sheds light on the Russian film-director Andrei Tarkovsky who developed the filming strategy poetic logic and made poetry assert the potential of the cinematic image as a form of artistic expression. In the second part the paper explores Charles Bukowski’s poem “Bluebird” (1992) and Michat Stenzel’s short film “Bluebird” (2017) by analyzing the verbal and visual forms to prove whether the filmmaker has succeeded in transferring the poet’s message and feelings or not through various tools and techniques.
    [Show full text]
  • Alexis Wright's Carpentaria and the Swan Book
    Exchanges: The Interdisciplinary Research Journal Climate Fiction and the Crisis of Imagination: Alexis Wright’s Carpentaria and The Swan Book Chiara Xausa Department of Interpreting and Translation, University of Bologna, Italy Correspondence: [email protected] Peer review: This article has been subject to a Abstract double-blind peer review process This article analyses the representation of environmental crisis and climate crisis in Carpentaria (2006) and The Swan Book (2013) by Indigenous Australian writer Alexis Wright. Building upon the groundbreaking work of environmental humanities scholars such as Heise (2008), Clark (2015), Copyright notice: This Trexler (2015) and Ghosh (2016), who have emphasised the main article is issued under the challenges faced by authors of climate fiction, it considers the novels as an terms of the Creative Commons Attribution entry point to address the climate-related crisis of culture – while License, which permits acknowledging the problematic aspects of reading Indigenous texts as use and redistribution of antidotes to the 'great derangement’ – and the danger of a singular the work provided that the original author and Anthropocene narrative that silences the ‘unevenly universal’ (Nixon, 2011) source are credited. responsibilities and vulnerabilities to environmental harm. Exploring You must give themes such as environmental racism, ecological imperialism, and the slow appropriate credit violence of climate change, it suggests that Alexis Wright’s novels are of (author attribution), utmost importance for global conversations about the Anthropocene and provide a link to the license, and indicate if its literary representations, as they bring the unevenness of environmental changes were made. You and climate crisis to visibility.
    [Show full text]
  • Introducing I-Docs to Geography: Exploring Interactive Documentary’S Nonlinear Imaginaries
    1 Introducing i-Docs to Geography: Exploring interactive documentary’s nonlinear imaginaries Abstract This paper introduces interactive documentaries, or i-Docs, to Geography through an analysis of one i-Doc; Gaza Sderot. Interactive Documentary is an increasingly popular documentary form. I-Docs are defined by ‘nonlinear’ spatiotemporal organisation as their interactive capacities enable multiple pathways through documentary footage and materials. It is often argued that this nonlinearity is politicized by i-Docs to enable polyvocality and the destabilisation of dominant narratives. I argue that i-Docs deserve Geographical attention for two key reasons. Firstly, if Geographers have long explored articulations and reformulations of space-time through media then i-Docs offer an insight into contemporary constructions of nonlinear spatiotemporal imaginaries through interactive medium. Secondly, nonlinearity and its politics has also become foundational to Geography’s own approaches to space-time, making pertinent the explorations of nonlinearity and its socio-political implications that engagement with i-Docs enables. In this context, I analyse Gaza Sderot to explore its construction of a nonlinear spatiotemporal imaginary and question the political perspectives that imaginary generates for its subject of the Gaza conflict. In concluding, I also suggest that i-Docs could be a valuable methodological tool for Geographers. Key Words: Interactive Documentary, Nonlinearity, Space-time, Gaza Sderot, Imaginaries, Politics 2 Introduction Interactive documentary is a new form of documentary that is swiftly gaining prominence. I- Docs can take many digital forms but are defined by their ‘nonlinear’ spatiotemporal organisation and interactive capacities. Rather than presenting footage in a predetermined order, i-Docs offer collections of material such as video clips and still images which users can navigate in various ways.
    [Show full text]
  • E Shadows of Imberfewon a Study of Self-Reflexivitv Iman Rushdie's
    e Shadows of ImberfeWonem .* . œ A study of Self-reflexivitv 1n R. K. Npyan9sThe Taslima Nasrin's Lq~a.m. ad Sa Iman Rushdie's Midnipht 's Children Apma V. Zambare Thesis Submitted in partial hilfillment of the requirements for the Degree of Master of Atts (English) Acadia University Fall Convocation 1999 O by Apama Vasant Zambare, 1999 I, Aparna V. Zambare, grant permission to the University Librarian at Acadia University to reproduce, loan, or distrubute copies of my thesis in microform, paper or electronic formats on a non-profit basis. I, however, retain the copyright in my thesis. Signature of Author Date II Chapter I - Introduction ------------ 1 III Chapter II - A Precursor of Self-reflexivity: R. K. Narayan's The aide -------- 19 IV Chapter III - The Imitation of Non-Literary Discourse An Analysis of Taslima Nasrin's Laja ---- 42 V Chapter - N The Chutnification of Narrative Salrnan Rushdie's Midnight S Children ------ 66 VI Chapter - V Conclusion ------------ 93 This thesis aims at examinhg the complex narrative mode of self-reflexivity, ascertainhg how it senes the postcolonial agenda of destabilizing the power of Eurocentric lit- discourse, the discourse that marginalized Literary traditions of subject peoples. Denved fiom mcient literary traditions, self-reflexive narrative asserts the cul- identity of colonized societies. In particular, this thesis focuses on three self- reflexive novels fiom the indian subcontinent: R. K. Narayan's The Guide, Taslima Nasrin's LuJa, and Salman Rushdie's Midnight 's Children. The self-reflexive techniques employed in each of these narratives Vary a great deal. Narayan's nte Guide is modeled on various ancient patterns of storytelling and on mythic haditions.
    [Show full text]
  • Magic Realism
    Magic Realism Magic Realism is a literary movement associated MOVEMENT ORIGIN with a style of writing or technique that incorpo- rates magical or supernatural events into realistic c. 1940 narrative without questioning the improbability of these events. This fusion of fact and fantasy is meant to question the nature of reality as well as call attention to the act of creation. By making lived experience appear extraordinary, magical realist writers contribute to a re-envisioning of Latin-American culture as vibrant and complex. The movement originated in the fictional writing of Spanish American writers in the mid-twentieth century and is generally claimed to have begun in the 1940s with the publication of two important novels: Men of Maize by Guatemalan writer Miguel Angel Asturias and The Kingdom of This World by Cuban writer Alejo Carpentier. What is most striking about both of these novels is their ability to infuse their narratives with an atmos- phere steeped in the indigenous folklore, cultural beliefs, geography, and history of a particular geographic and political landscape. However, at the same time that their settings are historically correct, the events that occur may appear improb- able, even unimaginable. Characters change into animals, and slaves are aided by the dead; time reverses and moves backward, and other events occur simultaneously. Thus, magic realist works present the reader with a perception of the world where nothing is taken for granted and where anything can happen. 437 Magic Realism The fantastical qualities of this style of writ- ing were heavily influenced by the surrealist movement in Europe of the 1920s and literary avant-gardism as well as by the exotic natural surroundings, native and exiled cultures, and tumultuous political histories of Latin America.
    [Show full text]
  • The Handmaid's Tale
    Ashley Raker April 26, 2010 Professor Sha/ Professor Rubenstein Honors Capstone/ Literature Thesis Legacy, Identity and Time: Exploring Generational Feminism in Margaret Atwood’s The Handmaid’s Tale In this paper, I will explore how the form and character development of Margaret Atwood’s The Handmaid’s Tale can be used to examine the implications of the generational legacy of feminism on the future progress of women. By using Atwood’s novel as a way to explore the pitfalls of generational feminism and the opportunities provided by bringing new ideas to feminism through spontaneous generation, the reader can see how these new ideas are integral to reshaping society’s understanding of the role of feminism in society. In “Generational Difficulties; or The Fear of a Barren History,” Judith Roof defines the paradigms of generational legacy and spontaneous generation as metaphors for progress in order to better understand the history of consciousness-based feminism. 1 It can be difficult to completely separate these two opposing paradigms because they share the word “generation,” but it is important to remember that each paradigm uses the meaning of generation in different ways. Generation can be used to refer to a body of living beings born and living contemporaneously, but it can also be a form of “to generate” or the act of creating something new. According to Roof’s ideas, any feminist movement begins with a “spontaneous” generation in which a generation bases its actions on the oppressive conditions it faces or the need to redefine women’s history. After this initial “spontaneous” generation, the legacy of feminism demands that younger generations of feminists pay a social debt to their foremothers as they continue to work for female equality by pursuing the same goals and by using the same social methods.
    [Show full text]
  • The Unregulated Narrative Cinema and It’S Significance in Modern Society
    Gergel 1 Pennsylvania State University The Unregulated Narrative Cinema And it’s Significance in Modern Society Katie Gergel Comm 150H, Section 001: Cinema Art Prof. Hagopian 1 May 2017 Gergel 2 Most of the time when audience members go to see a film, they know exactly what they’re getting themselves into. The recipe for any typical movie is usually the same: a lead character who has a defined goal and who faces various trials and tribulations until the goal is finally – and inevitably – achieved. The events play out over the course of two hours or so, and while some movies have us laughing until our stomachs hurt and others have us on the edge of our seats, most of the time we can expect to leave the theater satisfied with an ending that neatly wraps up the predictable plot. However, while typical movie goers are often accustomed to films with a conventional narrative, “unregulated” storytelling is perhaps an even more important form because of its authenticity in representing the real- world lack of structured event progression and closure, its ability to create a more immersive experience, and its emphasis on lasting themes rather than goal-oriented action. Unregulated films do not follow the “classical” narrative style of displaying events with clarity, showing the motivation of characters and the cause and effect that leads to a resolution. Instead, events are portrayed in different ways, such as out of chronological order or within a dream sequence, giving the films a unique style. Movies obviously are not real life, but realistic films do try to emulate and dramatize events that are seen in the real world.
    [Show full text]
  • Choose a Narrative Structure
    Presentations need structure to hold a message and engage an audience Quinten Edward Williams Quinten Edward Williams [email protected] Narrative structure Linear and nonlinear narrative Aristotle’s Beginning, Middle, End Gustav Freytag’s Pyramid Freytag’s Pyramid and the Three Act Plot Christopher Brooker’s Meta Plot Visualizing narrative structure. (2018). Kensy Cooperrider. Retrieved 10 February 2019, from http://kensycooperrider.com/blog/visualizing-narrative-structure Narrative, Story, Plot, Narrative Structure Story = A series of events. The content. Conflicts. Characters. Settings. Plot = How the story is put together. It is a structure. How the series of events are set-up and resolved. Narrative = Story + Plot. It is a specific manifestation of a story. How audience receives the information. Narrative Structure = A structural framework that underlies the presentation of the narrative Poynzt, S. (2002). Visual storytelling and narrative structure. Vancouver, BC : Pacific Cinémathèque. Narrative Structure Categories Interactive Linear Nonlinear Narrative Plot follows Events are portrayed The user makes chronological order. are not in the original choices which affects Story is presented in chronological order. the plot direction. the order that events The plot does not Story elements are occurred. follow direct interactive. Immersed causality. in the story. https://www.interactivenarratives.org Mascolini, J. (2017) The Post Nonlinear Narrative Structure: Introduction. Medium. Retrieved 11 February 2019, from https://medium.com/@jacopomsn/the-post-nonlinear-narrative-structure-introduction-52f6dfe37377 Riedl, M., & Bulitko, V. (2012). Interactive Narrative: An Intelligent Systems Approach. AI Magazine, 34(1), 67. doi:10.1609/aimag.v34i1.2449 Aristotle: Beginning, Middle, End Plot with Unity of action “Tragedy is an imitation of an action that is complete, and whole, and of a certain magnitude.
    [Show full text]
  • A Heuristic Approach for Narrative- Driven Games
    nr ik v H e d a ap a l sk M a EFFECTS OF INTERACTIVITY ON NARRATIVE-DRIVEN GAMES: A Heuristic Approach For Narrative- Driven Games Master Degree Project in Informatics One year Level 22,5 ECTS Spring term 2021 Sara Nil Acarsoy Supervisor: Mikael Johannesson Examiner: Per Backlund 1 Abstract In narrative-driven games, the story is an essential part of the gameplay, and understanding the story is of great importance. Given that what separates this genre from other storytelling media is interactivity, this thesis focuses on the elements in narrative-driven video games that effects the players' perception of narrative through interactivity. Using players' likes and dislikes from their previous experiences in narrative-driven games, this thesis aims to develop a heuristic approach for interactive narrative elements that offer the narrative through players' input to the game's system and create an effective gameplay experience that delivers the story to the players. Keywords: Video game narrative, storytelling, interactivity, narrative-driven games, storygames 2 Table of Contents 1. Introduction .................................................................................................................1 1.1 Purpose .............................................................................................................3 1.1.1 Previous Research ......................................................................................5 1.2 Overview and Structure ...................................................................................9
    [Show full text]
  • Trauma and Narrative in the Uninvited
    ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 20, No. 3, 2020, pp. 79-83 www.cscanada.net DOI:10.3968/11705 www.cscanada.org Trauma and Narrative in The Uninvited LUO Xiaoxia[a],* [a]School of Foreign Languages, Shangqiu Normal University, Shangqiu, Trauma is defined as “an experience in which an Henan, China. individual is directly involved in or witnesses an event * Corresponding author. which evokes feelings of a loss of safety, helplessness, Received 7 April 2020; accepted 4 June 2020 intense fear, horror, and a threat of annihilation” (Herman Published online 26 June 2020 2001:1). In the treatment of trauma victims, one of the concerns is the function of narrative in the recovery Abstract of trauma victims. To heal trauma, the victims must Due to the incomprehensibility of trauma and its understand what really happened in the past, thus narrating consequent devastating results on trauma victims, there the trauma becomes essential for the trauma victims. But are debates on the possibility of narrating trauma. But for the trauma victims, trauma seems unrepresentable by fiction, what cannot be represented by conventional because a traumatic event such as the Holocaust is “an historical, cultural and autobiographical narrative can event that stretched the powers of the moral imagination be represented. This article approaches the film The beyond the potential for understanding, witnessing, Uninvited from the prospective of trauma and narrative and judging” (Ball, 2000, p.10). The same argument is studies. Taking the film, The Uninvited as a literary text, put forward by Cathy Caruth in her book Unclaimed this article examines how the film mirrors the mind Experience: Trauma, Narrative, and History, and Caruth of trauma victims and how the trauma narrative was explains “For the survivor of trauma, the truth of the event presented by literary devices such as internal focalization, may reside not only in its brutal facts, but also in the way intertextuality, ghost, flashbacks, etc.
    [Show full text]
  • 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.
    [Show full text]