The Basic Concept of Narratology and Narrative
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Introduction: Ethics of the Narrative
doi: https://doi.org/10.26262/exna.v1i1.5990 Introduction: Ethics of the Narrative Helena Maragou a, Theodora Tsimpouki b aDeree—The American College of Greece. b The National and Kapodistrian University of Athens, Greece. If a man could write a book on Ethics which really was a book on Ethics, this book would, with an explosion, destroy all the other books in the world. 1 The debate on whether literature does or should possess ethical relevance is both old and new. As far back as in the ancient times, Plato and Aristotle addressed the ways in which aesthetic structure produces affective power, as well as the extent to which the affective power of literature may provide direction, or in fact—as in the case of Plato’s famous critique of poetry—misdirection to an audience’s moral consciousness. In more recent years, in the mid-1980s and early 1990s, the intersections of literature and ethics became the focus of work by Wayne C. Booth,2 who theorized on the moral functioning of rhetorical practices, and Martha C. Nussbaum,3 who addressed literature from the perspective of moral philosophy. In an article published in the 2004 special issue of Poetics Today, which focused on Ethics and Literature, Michael Eskin4 draws attention to moral philosophy’s “turn to literature,” a move that aims to embed moral philosophy’s abstract investigations into the concrete domain of human and social relations opened up by literature. At the same time, however, philosophy’s turn toward literature has coincided with a turn of literary studies toward ethics,5 a fact which some attribute to a reaction against formalism and poststructuralism. -
Exploring Mood Metadata: Relationships with Genre, Artist and Usage Metadata
EXPLORING MOOD METADATA: RELATIONSHIPS WITH GENRE, ARTIST AND USAGE METADATA Xiao Hu J. Stephen Downie International Music Information Retrieval Systems Evaluation Laboratory The Graduate School of Library and Information Science University of Illinois at Urbana-Champaign {xiaohu, jdownie}@uiuc.edu ABSTRACT evidenced by the ongoing discussions to establish a “Audio Mood Classification” (AMC) task at the Music There is a growing interest in developing and then Information Retrieval Evaluation eXchange (MIREX) 1 evaluating Music Information Retrieval (MIR) systems [3], this lack of common understanding is inhibiting that can provide automated access to the mood progress in developing and evaluating mood-related dimension of music. Mood as a music access feature, access mechanisms. In fact, it was the MIREX however, is not well understood in that the terms used to discussions that inspired this study. Thus, this paper is describe it are not standardized and their application can intended to contribute our general understanding of be highly idiosyncratic. To better understand how we music mood issues by formally exploring the might develop methods for comprehensively developing relationships between: 1) mood and genre; 2) mood and and formally evaluating useful automated mood access artist; and, 3) mood and recommended usage (see techniques, we explore the relationships that mood has below). It is also intended to contribute more with genre, artist and usage metadata. Statistical analyses specifically to the MIREX community by providing of term interactions across three metadata collections recommendations on how to proceed in constructing a AllMusicGuide.com epinions.com Last.fm ( , and ) possible method for conducting an “AMC” task. reveal important consistencies within the genre-mood Our primary dataset is derived from metadata found and artist-mood relationships. -
Narrative, Identity and Academic Storytelling Narrations, Identités Et Récits Académiques
ILCEA Revue de l’Institut des langues et cultures d'Europe, Amérique, Afrique, Asie et Australie 31 | 2018 Récits fictionnels et non fictionnels liés à des communautés professionnelles et à des groupes spécialisés Narrative, Identity and Academic Storytelling Narrations, identités et récits académiques Ken Hyland Electronic version URL: http://journals.openedition.org/ilcea/4677 DOI: 10.4000/ilcea.4677 ISSN: 2101-0609 Publisher UGA Éditions/Université Grenoble Alpes Printed version ISBN: 978-2-37747-043-3 ISSN: 1639-6073 Electronic reference Ken Hyland, « Narrative, Identity and Academic Storytelling », ILCEA [Online], 31 | 2018, Online since 06 March 2018, connection on 30 April 2019. URL : http://journals.openedition.org/ilcea/4677 ; DOI : 10.4000/ilcea.4677 This text was automatically generated on 30 April 2019. © ILCEA Narrative, Identity and Academic Storytelling 1 Narrative, Identity and Academic Storytelling Narrations, identités et récits académiques Ken Hyland Introduction 1 Most simply, a narrative is a spoken or written account of connected events: a story. Narratives in the social sciences, particularly those elicited through biographical interviews, have become the preferred method of data collection for researchers interested in identity and the connections between structure and agency (e.g. Block, 2006). The idea is that identity can be explored through the stories we tell about ourselves, tapping into the accounts that individuals select, structure and relate at appropriate moments. The underlying emphasis is on reflexivity and the belief that storytelling is an active process of summation, where we re-present a particular aspect of our lives. Giddens (1991) argues that self and reflexivity are interwoven so that identity is not the possession of particular character traits, but the ability to construct a reflexive narrative of the self. -
Narratology and Other Theories of Fictional Narrative Sylvie Patron
On the Epistemology of Narrative Theory : Narratology and Other Theories of Fictional Narrative Sylvie Patron To cite this version: Sylvie Patron. On the Epistemology of Narrative Theory : Narratology and Other Theories of Fictional Narrative. Matti Hyvärinen, Anu Korhonen et Juri Mykkänen. The Traveling Con- cept of Narrative, COLLeGIUM. Studies across Disciplines in the Humanities and Social Sciences, http://www.helsinki.fi/collegium/e-series/volumes/volume_1/index.htm ; pp. 118-133, 2006. hal- 00698697v2 HAL Id: hal-00698697 https://hal.archives-ouvertes.fr/hal-00698697v2 Submitted on 28 Mar 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. On the Epistemology of Narrative Theory: Narratology and Other Theories of Fictional Narrative Sylvie Patron University of Paris 7-Denis Diderot (Translated by Anne Marsella) Introduction The work of Gérard Genette in the field referred to as “narratology”2 represents one of the most important contributions to narrative theory, considered as a branch of literary theory, in the second half of the twentieth century. I purposely say “one of the most important”, as there are other theoretical contributions, some of which I believe to be equally important though they are not as well known as Genette’s narratology, particularly in France.3 These lesser-known theories are rich in epis- temological reflection. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Narration in Poetry and Drama
Published on the living handbook of narratology (http://www.lhn.uni-hamburg.de) Narration in Poetry and Drama Peter Hühn Roy Sommer Created: 6. December 2012 Revised: 1. November 2013 Roy Sommer 1 Definition Narration as a communicative act in which a chain of happenings is meaningfully structured and transmitted in a particular medium and from a particular point of view underlies not only narrative fiction proper but also poems and plays in that they, too, represent temporally organized sequences and thus relate “stories,” albeit with certain genre-specific differences, necessarily mediating them in the manner of presentation. Lyric poetry in the strict sense (and not only obviously narrative poetry like ballads or verse romances) typically features strings of primarily mental or psychological happenings perceived through the consciousness of single speakers and articulated from their position. Drama enacts strings of happenings with actors in live performance, the presentation of which, though typically devoid of any overt presenting agency, is mediated e.g. through selection, segmentation and arrangement. Thanks to these features characteristic of narrative, lyric poems as well as plays performed on the stage can be profitably analyzed with the transgeneric application of narratological categories, though with poetry the applicability of the notion of story and with drama that of mediation seems to be in question. 2 Explication Transgeneric narratology proceeds from the assumption that narratology’s highly differentiated system of categories can be applied to the analysis of both poems and plays, possibly opening the way to a more precise definition of their respective generic specificity, even though (lyric) poems do not seem to tell stories and stories in dramas do not seem to be mediated (but presented directly). -
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). -
Narrative Lit Imagination
Boston Studies in Philosophy, Religion and Public Life Volume 2 Series Editor Allen Speight Boston University, MA, USA Associate Editors Daniel O. Dahlstrom Boston University, MA, USA M. David Eckel Boston University, MA, USA Editorial Board Andrew Chignell Cornell University, USA Paul Davies University of Sussex, UK Wendy Doniger University of Chicago Divinity School, USA Parimal Patil Harvard University, USA Eleonore Stump St. Louis University Alan Wolfe Boston College, USA Aims and Scope Boston Studies in Philosophy, Religion and Public Life is an interdisci plinary scholarly series which publishes seminal papers on topics of pressing and perennial interest at the intersection of philosophy, religion and public life. The series is especially interested in interdisciplinary work that illuminates questions of value, truth, reality and meaning, as well as topics in the relevant fi elds which have a particular intersection with public life (for example, philosophical and religious perspectives on contemporary issues in ethical and political philosophy). In addition, the series serves as a prominent forum for important academic work emerging within the specifi c sub-discipline of the philosophy of religion. More information about this series at http://www.springer.com/series/8881 Allen Speight Editor Narrative, Philosophy and Life Editor Allen Speight Institute for Philosophy and Religion Boston University Boston , MA , USA ISSN 2352-8206 ISSN 2352-8214 (electronic) ISBN 978-94-017-9348-3 ISBN 978-94-017-9349-0 (eBook) DOI 10.1007/978-94-017-9349-0 Springer Dordrecht Heidelberg New York London Library of Congress Control Number: xxxxxxxxxx © Springer Science+Business Media Dordrecht 2015 This work is subject to copyright. -
Philosophy of Action and Theory of Narrative1
PHILOSOPHY OF ACTION AND THEORY OF NARRATIVE1 TEUN A. VAN DIJK 1. INTRODUCTION 1.1. The aim of this paper is to apply some recent results from the philosophy of action in the theory of narrative. The intuitive idea is that narrative discourse may be conceived of as a form of natural action description, whereas a philosophy or, more specifically, a logic of action attempts to provide formal action descriptions. It is expected that, on the one hand, narrative discourse is an interesting empirical testing ground for the theory of action, and that, on the other hand, formal action description may yield insight into the abstract structures of narratives in natural language. It is the latter aspect of this interdisciplinary inquiry which will be em- phasized in this paper. 1.2. If there is one branch of analytical philosophy which has received particular at- tention in the last ten years it certainly is the philosophy of action. Issued from classical discussions in philosophical psychology (Hobbes, Hume) the present analy- sis of action finds applications in the foundations of the social sciences, 2 in ethics 3 1This paper has issued from a seminar held at the University of Amsterdam in early 1974. Some of the ideas developed in it have been discussed in lectures given at the Ecole Pratique des Hautes Etudes (Paris), Louvain, Bielefeld, Münster, Ann Arbor, CUNY (New York) and Ant- werp, in 1973 and 1974. A shorter version of this paper has been published as Action, Action Description and Narrative in New literary history 6 (1975): 273-294. -
Predicting Listener's Mood Based on Music Genre: an Adapted
Journal of Technology Management and Business (ISSN: 2289-7224) Vol 04, No 01, 2017 PREDICTING LISTENER’S MOOD BASED ON MUSIC GENRE: AN ADAPTED REPRODUCED MODEL OF RUSSELL AND THAYER Worlu Chijioke School of Computing, University Utara Malaysia (UUM) [email protected] Abstract Individual “mood” has presently received growing consideration as a useful technique for organizing and accessing music. Stress which changes person attitude is a major physical and psychological problem of individuals today. Many types of research have been carried out based on this study of mood, particularly in the U.S.A, Canada, Europe, and some part of Asia. However, while these studies are relevant, and help to solve the problem of mood change, still, researchers were not able to look into this important aspect in one of the 25 rapid growth markets in the world-Malaysia. The used music genre as an influence mechanism to predict mood individual and again identifies the classified music genre that predicts personal mood. The study adapts a model of Russell and Thayer to categorize selected attitudes in the study. The study uses quantitative survey method, and questionnaire form was designed and used as an instrument for data collection. Data were collected from 245 respondents from University Utara Malaysia (UUM) students and were analyzed using SPSS version 20. Results were presented in words, bar chart and table form. The study has found that the uses’ of music to predict individual mood is positively related to the aim and problem of the investigation. Result in part A of the study indicates that music can be used to influence particular mood. -
Uncovering and Recovering the Popular Romance Novel A
Uncovering and Recovering the Popular Romance Novel A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Jayashree Kamble IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Timothy Brennan December 2008 © Jayashree Sambhaji Kamble, December 2008 Acknowledgements I thank the members of my dissertation committee, particularly my adviser, Dr. Tim Brennan. Your faith and guidance have been invaluable gifts, your work an inspiration. My thanks also go to other members of the faculty and staff in the English Department at the University of Minnesota, who have helped me negotiate the path to this moment. My graduate career has been supported by fellowships and grants from the University of Minnesota’s Graduate School, the University of Minnesota’s Department of English, the University of Minnesota’s Graduate and Professional Student Assembly, and the Romance Writers of America, and I convey my thanks to all of them. Most of all, I would like to express my gratitude to my long-suffering family and friends, who have been patient, generous, understanding, and supportive. Sunil, Teresa, Kristin, Madhurima, Kris, Katie, Kirsten, Anne, and the many others who have encouraged me— I consider myself very lucky to have your affection. Shukriya. Merci. Dhanyavad. i Dedication This dissertation is dedicated to my parents, Shashikala Kamble and Sambhaji Kamble. ii Abstract Popular romance novels are a twentieth- and twenty-first century literary form defined by a material association with pulp publishing, a conceptual one with courtship narrative, and a brand association with particular author-publisher combinations. -
Enunciative Narratology : a French Speciality Sylvie Patron
Enunciative Narratology : a French Speciality Sylvie Patron To cite this version: Sylvie Patron. Enunciative Narratology : a French Speciality. Greta Olson. Current Trends in Narratology, Berlin, Walter de Gruyter, pp. 267-289, 2011, Narratologia. hal-00698702v1 HAL Id: hal-00698702 https://hal.archives-ouvertes.fr/hal-00698702v1 Submitted on 28 Mar 2013 (v1), last revised 13 May 2013 (v2) HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. SYLVIE PATRON (University of Paris 7-Denis Diderot) Enunciative Narratology: A French Speciality1 Abstract This essay is intended as an introduction to “French enunciative narratology” or the theory thus termed on the basis of a certain number of criteria presented in the introduction: the fact that it is produced by linguists; the fact that it aims to remedy the shortcomings of Genettian narratology in the domain of linguistics; the fact that it refers to the work of enunciative linguistics, applied to the corpus of fictional narratives. The first section of the essay concerns the historical and methodological relations, or lack of relations, between enunciative linguistics and narratology (in Genette’s sense). The second section examines the contributions made by enunciative narratology to narratology or narrative theory.