Within painting, there are numerous possibilities for the ways in which a narrative can be compositionally presented in order to communicate a particular emotion or story. Traditional devices including gesture, facial expression, interaction of figures and symbolism establish foundations within the composition to facilitate a narrative response and formulate questions as to the how, what and why. This formal language may also be considered in addition to other concepts surrounding the term narrative itself. The notion of narrative as something which is fluid also encompasses issues of time, movement, and continuity; idea??s which seemingly contradict the static temperament of painting. How painters have been able to successfully construct elements of narrative in their work, while also capturing a sense of movement or a passage of time is the starting point at which the following research takes shape. When embarking on this project, I realised that there was no definitive text on this subject which specifically analysed the form and composition of pictorial narratives as sole entities. Theoretical discussions surrounding a painting??s formal arrangement have mostly been produced in relation to how they either illustrated or have been adapted from a written source. This paper is intended to examine the structure of narrative paintings from a stand alone visual perspective, and not how they are comparative to a literary source. Over the course of this investigation, I subsequently found that the methodologies of continuous narrative paintings from the Renaissance echoed certain theoretical concerns within contemporary cinematic narratives. While painting and film maintain a relationship to some degree because they are both visual media, (in reference to colour, tone and symbolism), the most interesting parallel is the depiction of time. This correlation between painting and film, where elements of the narrative are compositionally presented in a non-linear way, has had the most important influence over the production of my work for the exhibition, ??Hidden Fractures; A Narrative in Time??. Certain structures within film, such as event ??order?? and sequencing resonate correspondingly to the stylistic approach sustained within recent work. This ??jig-saw?? method, presents individual paintings (or canvases) akin to pieces of a story which have been sliced up, and placed back together out of their ??chronological?? order. These chosen snippets may represent a scene or emotion, and uphold their own position or viewpoint in relation to another image or painting. These unmatched sequences of images, similar to the unmatched sequences in film, can disrupt the perception and flow of space, and sense of narrative order. When sequences are viewed out of order, the perception of events within the narrative change. The viewer strives to construct the meaning of the work dependent upon each image??s relationship to another, in turn forming the underlying narrative. Through such ??story comprehension??, the viewer endeavours to create ??logical connections among data in order to match general categories of schema??. (Brangian 15)

The following text is devoted specifically to an extrapolation of the literary narrative modes of emplotment as advanced by Hayden White. Utilizing these modes of emplotment as a critical tool for analysis of cultural narrative, a case study is constructed that takes Aristotle`s philosophy of oikonomia as narrative, in both the comedic and the tragic modes, and shows how the normative narrative as offered by Aristotle has, through history, been transformed into the tragic, at least in the United States. This is followed by a brief analysis of how the romantic and comedic modes of emplotment interact with each other, which points to the dangers that might arise. This is primarily a work that begins a much larger project involved in the narrative modes of emplotment and their ethical implications in our lived experiences.

To date, research delving into the narratives of living with dementia during mealtimes is limited. The methodology used is thematic narrative analysis, following the elements of a 3D narrative inquiry space proposed by Clandinin and Connelly (2000). The purpose was to develop stories by reconstructing participants’ experiences to capture insight into how mealtimes change overtime and how adaptations reflect resilience. Two themes and several subthemes were revealed. The first major theme is ‘Developing strategies for positive adaptation’, with four subthemes including reminiscing, incorporating humour, establishing social support, and having hope and optimism. The second major theme is ‘Continuing to learn and adapt’, with three subthemes including focusing on the positive gains and personal growth, balancing past pleasures while adapting to the new normal, and accumulating life experiences. This work serves as a basis for future studies examining into the concept of resilience among families living with dementia in greater depth. / SSHRC

Thesis (M A(Counselling Psychology))--University of Pretoria, 2007. / Includes bibliographical references. Available on the Internet via the World Wide Web.

In December 2012, the brutal gang rape and murder of Jyoti Singh in New Delhi, India sparked international outrage leading to numerous protests. Singh’s story raised many questions regarding sexual violence and rape culture in India. We Are Angry is a digital narrative that responds to sexual assault and misogyny in India through the story of a victim whose tragedy mirrors that of Singh and many others. The purpose of this thesis is to explore the rhetorical potential of digital narratives through the analysis of We Are Angry. Specifically, I used Fisher’s Narrative Paradigm as a lens to determine how the use of hypertext impacts the narrative’s inherent rationality, fidelity, and coherence. This thesis illustrates that digital narratives’ use of hypertext allows the creator to develop a narrative in a way that can expand the reader’s knowledge on prominent international social justice issues. Hypertext further enhances the level of fidelity and coherence for a reader who may not be familiar with the Indian setting. / Master of Arts

No description available.

Although many scholars attempted to define and categorize alternative narratives, a new trend in narrative that has proliferated at the turn of the 21st century, there is no consensus. To understand recent alternative narrative films more comprehensively, another approach using a new perspective may be required. This study used hypertextuality as a new criterion to examine the strategies of alternative narratives, as well as the hypernarrative structure and characteristics in alternative narratives. Using the six types of linkage patterns (linear, hierarchy, hypercube, directed acyclic graph, clumped, and arbitrary links), this study analyzed six recent American fiction films (between 1989 and 2012) that best represent each linkage pattern. Results of the study indicated that alternative narrative films strengthened viewers’ recognition by adopting multiple characters and time, intensified complex plots by combining different plot strategies, and represented the narrative intentions through the linkages of hypernarrative structure. By examining alternative narratives within the framework of hypernarrative, this study contributed to more a comprehensive understanding of alternative narratives. / text

This dissertation will examine the relationship between the narrative styles of the art cinema and those of mainstream contemporary American cinema. In particular: it will focus on a unique style of narration used in the art cinema since the early decades of the 20th century, contending that “multiform narrative”—a concept adopted from the work of Janet Murray—offers a useful framework for analyzing this style. The key structural features of the “multiform narrative” are its multiple narrative strands and multiple ontologies, and it is the latter feature that sets it apart from other narrative styles. It will argue that “multiform narratives” differ from the unified narratives of classical Hollywood cinema in their use of multiple narrative strands. However, they also differ from multi-strand narratives of American independent cinema in their use of multiple realities. The usefulness of the “multiform” as a category will be demonstrated through a consideration of a diverse group of films ranging from The Cabinet of Dr. Caligari (Robert Weine, 1919) to Rashomon (Akira Kurosawa, 1951), as well as through contemporary multiple-ontology films such as Mulholland Drive (David Lynch, 2001), Memento (Christopher Nolan, 2000), and Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004). These contemporary films share many narrative and aesthetic characteristics of the earlier multiform films that have become exemplars of “modernist” and/or “art cinema,” even though they have emerged from very different social and institutional contexts. In this respect, the category of the “multiform” will be shown to offer both a flexibility and specificity that is not provided by earlier concepts. Consequently, it provides a framework for analyzing films from different movements and time periods with similar narrative structures that have yet to be considered together on this basis. As a result, the multiform will be shown to close a research gap in the field of complex narrative in the cinema and to provide a helpful refinement to the evolving taxonomy of narrative forms. In addition, it will be argued that a further distinction can be made within the category of the multiform itself through the identification of a style of multiform film that uses subjective realist narration to create its alternate ontological levels. Subjective realism presents the internal world of a character as if it were as real as other levels of narration and, in the films that will be considered, subjective realist strands are used to represent the dreams, hallucinations, and/or lying flashbacks of key characters within the films. A historical overview of subjective realist multiform cinema from 1919 to the present will be offered, and it will be argued that the innovative and challenging contemporary films which employ this narrative structure are aesthetically and narratively indebted to their precursors in the art cinema, but are also informed by recent technological developments as well as contemporary production and reception contexts. They will be shown to be part of a cycle of films emerging in the mid-1990s that has offered multiplex audiences narrative pleasures of the type formerly reserved for the denizens of art house cinema.

Thesis (Th. M.)--Western Seminary, Portland, OR, 2005. / Abstract. Includes bibliographical references (leaves 123-128).

Texte remanié de: Doct. diss. / Bibliogr. p. 166-182. Index.