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DE DRAAGBARE WIKIPEDIA VAN HET SCHRIJVEN VERHAAL BRON: WIKIPEDIA SAMENGESTELD DOOR PETER KAPTEIN 1 Gebruik, verspreiding en verantwoording: Dit boek mag zonder kosten of restricties: Naar eigen inzicht en via alle mogelijke middelen gekopieerd en verspreid worden naar iedereen die daar belangstelling in heeft Gebruikt worden als materiaal voor workshops en lessen Uitgeprint worden op papier Dit boek (en het materiaal in dit boek) is gratis door mij (de samensteller) ter beschikking gesteld voor jou (de lezer en gebruiker) en niet bestemd voor verkoop door derden. Licentie: Creative Commons Naamsvermelding / Gelijk Delen. De meeste bronnen van de gebruikte tekst zijn artikelen van Wikipedia, met uitzondering van de inleiding, het hoofdstuk Redigeren en Keuze van vertelstem. Deze informatie kon niet op Wikipedia gevonden worden en is van eigen hand. Engels In een aantal gevallen is de Nederlandse tekst te kort of non-specifiek en heb ik gekozen voor de Engelse variant. Mag dat zomaar met Wikipedia artikelen? Ja. WikiPedia gebruikt de Creative Commons Naamsvermelding / Gelijk Delen. Dit houdt in dat het is toegestaan om: Het werk te delen Het werk te bewerken Onder de volgende voorwaarden: Naamsvermelding (in dit geval: Wikipedia) Gelijk Delen (verspreid onder dezelfde licentie als Wikipedia) Link naar de licentie: http://creativecommons.org/licenses/by-sa/3.0/deed.nl Versie: Mei 2014, Peter Kaptein 2 INHOUDSOPGAVE INLEIDING 12 KRITIEK EN VERHAALANALYSE 16 Literaire stromingen 17 Romantiek 19 Classicisme 21 Realisme 24 Naturalisme 25 Vitalisme 30 Poëtisch realisme 32 Socialistisch realisme 34 Symbolisme 36 Magisch realisme 39 Modernisme 41 Dadaïsme 45 Postmodernisme 46 Surrealisme 51 Kaalslagliteratuur 55 Narratologie 57 Basis 58 Narratologie 59 Kritiek 61 Definities 62 Aanpak 64 Recensie 69 Reader-response theory 73 REDIGEREN 76 Kernvragen bij het redigeren 82 3 Eerste ronde 87 Aanpak 88 Doelstellingen 90 Structuur 91 Samenhang 93 Communicatie 95 De 5 W’s 97 Tweede ronde 99 Aanpak 100 Ritme, flow en dynamiek 102 Karakters 110 Wereldbouw 118 Research 122 Plotgaten 124 Overbelichting en onderbelichting 128 Dood materiaal 129 Derde ronde 130 Ritme en flow 131 Taal en stijlfouten 132 Grammatica 134 VERHAALSTRUCTUUR 135 Algemene modellen 138 Driehoek van Petersen 139 Communicatiemodel 141 Verhaalspecifieke structuren 143 Dramatic structure 144 Acte-structuur 146 Freytag's analysis 151 Vonnergut’s shape of stories 154 Kishōtenketsu 157 Joseph Campbells’s Monomyth 159 The 17 Stages of the Monomyth 164 AIDA-model 181 Elevatorpitch 186 4 VERHAALOPBOUW 188 Basis 189 Verhaal 190 Verteltechniek 192 Elementen van de verhaaltheorie 193 Eenheidsconventie 194 Personages 195 Verloop 198 Ruimte 200 Tijd 203 Begin en einde van een verhaal 206 Motieven en themas 211 Motto 215 Elementen van de verteltheorie 216 Narratieve vertelinstantie 217 Focalisatie 220 Tekstvorm 221 Vertelperspectief 224 Gedachten, gesprekken, gezichtspunten 227 Stijl en stijldifferentiatie 228 Spanning 229 Genres 231 Toepasbaarheid en kritiek 233 Actie en motivatie 234 Dramatisch doel 235 Motivatie 236 MacGuffin 243 Structuur 245 Intrige / plot 246 Plotgat 248 Subplot 250 Spanning 252 Conflict 253 Climax 258 5 Cliffhanger 259 Keerpunt / peripeteia 262 Moment van wending / plotpoint 264 Plot twists en ‘twist endings’ 266 Catharsis / release 275 Informatie en informatievoorziening 276 Setting 277 Expositie / backstory 278 Foreshadowing / guessing ahead 281 Flashforward 283 Flashback 284 Red herring 286 Plant and pay off 288 Publiek en overdracht 290 Subtekst 291 Suspension of disbelief 303 Show, don't tell 304 (Doorbreken van) de vierde wand 306 Samenhang en logica 308 Oorzakelijkheid 309 Continuïteit 312 Deus ex machina 314 LITERAIRE TECHNIEKEN 316 Keuze van vertelstem 317 Terughoudend 318 Levendig 321 Onaangenaam 324 Onsamenhangend 328 Negatief 330 Lief 332 Weergave van persoonstekst 333 Directe rede 334 Indirecte rede 335 6 Vrije indirecte rede 337 Keuze van vertelperspectief / narrative mode 338 Narrative point of view 340 First-person view 341 Second-person view 344 Third-person view 346 Alternating person view 348 Third-person voices 350 First en second person voices 354 Vertelvorm 355 Monoloog 356 Dialoog 357 Lineaire verhaal 358 Nonlinear narrative 359 Reverse chronology 362 Cut-up 366 Raamvertelling 367 Mise en abyme 369 Antinovel 371 Metafictie 372 Verteltijd 373 Verleden tijd 374 Tegenwoordige tijd 375 Toekomende tijd 377 Imperfectief aspect 378 Onvoltooid verleden tijd 379 Onvoltooid tegenwoordige tijd 380 Voltooid tegenwoordige tijd 382 Voltooid verleden tijd 383 Voltooid toekomende tijd 384 Vertelstijl 385 Tirade (retorica) 386 Stream of consciousness 387 THEMATIEK 389 7 Vanuit het karakter 390 Liefde 391 Lust 399 Haat 400 Trouw/loyaliteit 402 Uitsluiting 404 Verleding 414 Vergeving 417 Vervulling 425 Verraad 426 Verveling 429 Verslaving 431 Verval 440 Wraak 441 Maatschappelijk 445 Oorlog 446 Vrede 454 Rebellie 460 Maatschappelijk verval 463 Ideale wereld / utopie 477 Het ergste dat kan gebeuren / dystopie 479 Goed en kwaad 482 VERHAAL EN VERTELVORMEN 495 Begrippen 496 Tekstsoort 497 Basisvormen 499 Proza 500 Epiek 502 Lyriek 503 Resultaatvormen 504 Pamflet 505 Essay 507 Scenario 509 Handpalmverhaal / Flash fiction 510 8 Kort verhaal 512 Novelle (proza) 513 Roman (literatuur) 514 Striproman 517 Klassiek Europese verhaalvormen 521 Drama (genre) 522 Melodrama 524 Tragedie 526 Komedie 528 Satire 530 Tragikomedie 532 Fantastische verhaalvormen 533 Legende 534 Mythe 536 Saga 539 Sprookje 542 Verschillen 558 Aarne-Thompson-index 560 Overige verhaalvormen 562 Reisverhaal 563 Avonturenroman 574 Familieroman 575 Schelmenroman 576 Situation comedy / sitcom 578 Egodocument 579 Anekdote 580 Broodjeaapverhaal / urban legends 582 Hoax 587 Rapport / verslag 592 Niet-Europese theatervormen 596 Peking opera 597 Cantonese opera 614 Noh 623 Kyōgen 635 Jo-ha-kyū 640 Indonesisch 642 9 Theatre of India 652 Masala film 660 GENRES 662 Fantastiek 663 Fantasy (genre) 664 Subgenres van de fantasy 665 Fantasythema's 677 De Fantasywereld 688 Toekomstroman 691 Sciencefiction 694 Subgenres van SF 696 Cyberpunk 698 Gothic novel 700 Horror 709 Weird fiction 712 Urban fantasy 714 Spanning 719 Mystery 720 Detectiveverhaal 721 Thriller (genre) 725 Hard-boiled 729 Film noir 731 Neo noir 742 Politieke thriller 749 Spionageroman 751 Psychologische thriller 752 Paranoiathriller 754 Techno-thriller 756 Erotische thriller 757 Oorlog 758 Oorlogsroman 759 Invasieliteratuur 760 Avontuur 764 Wildwestroman 765 10 Literair 766 Sleutelroman 767 Psychologische roman 769 Bewustzijnsroman 771 Bildungsroman 772 Entwicklungsroman 773 Erziehungsroman 774 Künstlerroman 775 Non-fictie en satire 776 Biografie 777 Autobiografie 778 Egodocumenten 780 Autobiografische fictie 781 Memoires 782 Docudrama 785 Documentaire 786 Mockumentary 788 Parodie 790 Streekroman 795 Jeugdliteratuur 798 Afwijkende vormen 805 Briefroman 806 Dubbelroman 809 Historische roman 810 Esoterische roman 812 Frankische roman 813 11 INLEIDING Een warme maaltijd bestaat uit een voorgerecht, het hoofdgerecht en een nagerecht. Het hoofdgerecht bestaat uit groenten, aardappelen en vlees of vis. Woensdag is gehaktdag. In Nederland. In de meeste traditionele gezinnen. In 1985. Het dogma Over schrijven bestaan veel aannames, die soms worden doorgevoerd tot een dogma. Een dogma is echter geen ‘waarheid’, maar bestaat vaak uit historische aannames en keuzes die we op een gegeven moment als onwrikbare waarheden gaan zien. De regels van het schrijven Een verhaal kan een afgerond geheel vormen. Een verhaal kan een begin, midden en einde hebben. Een verhaal kan een lineair en begrijpelijk verloop hebben. Het hoeft echter niet. In het stuk Literaire stromingen onder Kritiek en verhaalanalyse zal je voldoende andere opties vinden om je verhaal vorm te geven. In Verhaalstructuur en Verhaalopbouw vind je de instrumenten, structuren en theorieen die anderen gebruiken. 12 Jouw eigen identiteit en je eigen stem In mijn optiek draait het bij het schrijven om het laten horen en het verder ontwikkelen van je eigen stem. Die eigen stem kan van alles zijn: van een perfecte imitatie van die van anderen tot een geheel eigen en onverwacht en zelfs ‘lelijk’ geluid dat veel mensen in eerste instantie mogelijk zal afschrikken. Wat volgens mij voorop staat is dat jij doet wat het beste past bij je eigen opvattingen, je eigen gevoel en je persoonlijke overtuigingen met betrekking tot het schrijven en het vertellen van jouw verhalen. Je publiek Vervolgens is daar je publiek. Voor wie schrijf je? Waarom? Wat begrijpt en verwacht dat publiek? (Van jou en volgens jou?) Kun je daar aan voldoen? Wil je daar aan voldoen? Hoe ga je daar aan voldoen? Dit publiek bepaalt voor een belanrijk deel je keuzes van structuur, stijl, onderwerpen en de concrete vormgeving van je verhaal. AIDA-S helpt om dat publiek centraal te stellen. Je verhaal Wordt het een thriller, een literair werk, lineair, fragmentarisch of non-lineair? Een mix van stijlen? Heeft het een afgerond einde? Geen einde? Een open einde? Ga je helemaal postmodern of volg je de klassieke lijnen zoals die ooit door Aristoteles zijn opgeschreven? 13 De keuze Er zijn zoveel stromingen en vertelvormen dat ‘goed’ en ‘fout’ nauwelijks bestaat. ‘Leesbaar’ en ‘genietbaar’ komen dichter bij een geldig waardeoordeel over de mogelijke kwaliteit van een verhaal, maar ook dat is beperkt. “Maar is het goed?” Een fragmentarisch verhaal vanuit een onbetrouwbare hoofdpersoon die geen besef heeft van plaats en tijd is waarschijnlijk onleesbaar
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  • A Visualization Quality Evaluation Method for Multiple Sequence Alignments

    A Visualization Quality Evaluation Method for Multiple Sequence Alignments

    2011 5th International Conference on Bioinformatics and Biomedical Engineering (iCBBE 2011) Wuhan, China 10 - 12 May 2011 Pages 1 - 867 IEEE Catalog Number: CFP1129C-PRT ISBN: 978-1-4244-5088-6 1/7 TABLE OF CONTENTS ALGORITHMS, MODELS, SOFTWARE AND TOOLS IN BIOINFORMATICS: A Visualization Quality Evaluation Method for Multiple Sequence Alignments ............................................................1 Hongbin Lee, Bo Wang, Xiaoming Wu, Yonggang Liu, Wei Gao, Huili Li, Xu Wang, Feng He A New Promoter Recognition Method Based On Features Optimal Selection.................................................................5 Lan Tao, Huakui Chen, Yanmeng Xu, Zexuan Zhu A Center Closeness Algorithm For The Analyses Of Gene Expression Data ...................................................................9 Huakun Wang, Lixin Feng, Zhou Ying, Zhang Xu, Zhenzhen Wang A Novel Method For Lysine Acetylation Sites Prediction ................................................................................................ 11 Yongchun Gao, Wei Chen Weighted Maximum Margin Criterion Method: Application To Proteomic Peptide Profile ....................................... 15 Xiao Li Yang, Qiong He, Si Ya Yang, Li Liu Ectopic Expression Of Tim-3 Induces Tumor-Specific Antitumor Immunity................................................................ 19 Osama A. O. Elhag, Xiaojing Hu, Weiying Zhang, Li Xiong, Yongze Yuan, Lingfeng Deng, Deli Liu, Yingle Liu, Hui Geng Small-World Network Properties Of Protein Complexes: Node Centrality And Community Structure