O objetivo deste trabalho é o de analisar aspectos de construção narrativa no romance A Casa da Cabeça de Cavalo, de Teolinda Gersão, focando principalmente os expedientes de contar e recontar histórias ou os de apresentar as muitas versões possíveis para um mesmo acontecimento, constituindo o que podemos denominar como o jogo das histórias, a estratégia narrativa básica utilizada no romance. Aborda-se, também, o cotejo e o diálogo da obra em foco com determinados aspectos que se revelam em alguns dos romances anteriores de Teolinda e que podem, assim, vir a reforçar a situação de um projeto de escrita que se mostra pertinente e que se intenta associar à produção romanesca geral da autora. / This dissertation aims at analyzing aspects related to the narrative construction within the novel A Casa da Cabeça de Cavalo by Teolinda Gersão with a main focus on the strategies used to either tell and retell stories or to present the several possible versions to describe the same occurrence, which comprise what can be deemed as being the game of the stories: the basic narrative strategy used in the novel. The quotations and the dialogue of the piece studied are also investigated with a focus on aspects that comprise some of the previous novels by Teolinda which can also reinforce the need to establish a relevant writing project that aims at associating the general authors romanesque production.

O objetivo deste trabalho é o de analisar aspectos de construção narrativa no romance A Casa da Cabeça de Cavalo, de Teolinda Gersão, focando principalmente os expedientes de contar e recontar histórias ou os de apresentar as muitas versões possíveis para um mesmo acontecimento, constituindo o que podemos denominar como o jogo das histórias, a estratégia narrativa básica utilizada no romance. Aborda-se, também, o cotejo e o diálogo da obra em foco com determinados aspectos que se revelam em alguns dos romances anteriores de Teolinda e que podem, assim, vir a reforçar a situação de um projeto de escrita que se mostra pertinente e que se intenta associar à produção romanesca geral da autora. / This dissertation aims at analyzing aspects related to the narrative construction within the novel A Casa da Cabeça de Cavalo by Teolinda Gersão with a main focus on the strategies used to either tell and retell stories or to present the several possible versions to describe the same occurrence, which comprise what can be deemed as being the game of the stories: the basic narrative strategy used in the novel. The quotations and the dialogue of the piece studied are also investigated with a focus on aspects that comprise some of the previous novels by Teolinda which can also reinforce the need to establish a relevant writing project that aims at associating the general authors romanesque production.

O presente estudo tem como objeto teórico o autor de telenovela, analisado através de suas estratégias narrativas e políticas dentro de seu campo de atuação, a telenovela. Para a construção do objeto empírico, buscou-se a partir da obra de Walther Negrão, Lauro César Muniz e Silvio de Abreu identificar e analisar os caracteres narrativos da telenovela brasileira com base em manuais de roteiro e teóricos relacionados à dramaturgia, teledramaturgia e literatura. O corpus da pesquisa foi constituído pela sinopse e seis primeiros capítulos de uma obra de cada autor. Houve ainda amparo em entrevistas feitas com os autores ou publicadas em reportagens e livros. Procurou-se ainda discutir a constituição do autor dentro de seu campo de atuação, como conhecedor das técnicas de folhetim/melodrama e ponto de equilíbrio político entre o comercial e o estético na televisão. Sua liderança é garantida pela autoridade na decisão de questões de outras etapas do processo, pela divisão do trabalho com colaboradores e por ser ele, o autor, quem detém em si a essência da trama e por ser o possuidor de um savoir-faire específico que lhe dá legitimidade no meio produtivo e criativo televisivo. Permeando a discussão da autoria em telenovela, pretendeu-se discutir a especificidade do roteiro teledramatúrgico na indústria televisiva nacional. Partindo da origem na literatura, no cinema e no teatro, entende-se a autoria como criação, autoridade, responsabilidade e promoção da narrativa. Conclui-se que as marcas de autoria do autor de telenovela estão presentes na fase inicial de elaboração da narrativa, ou seja, a sinopse, construção de perfis de personagens, escalação de elenco e primeiro capítulo porque são momentos onde o universo dramatúrgico do escritor titular se manifesta com maior autoridade. Também foi verificado que, apesar de cada autor apresentar um estilo próprio de escrita, o gênero telenovela canaliza a criação ao impor técnicas e paradigmas bastante rígidos. / The present study focuses on the author of the telenovela, which was studied based on his narrative and political strategies within his domain: the telenovela. In order to establish our empirical object, through the works of Walther Negrão, Lauro César Muniz and Silvio de Abreu, we sought to identify and analyze the narrative features of Brazilian telenovela based on scriptwriting manuals and theorists who addressed dramaturgy, TV drama and literature. The corpus of our work was composed of the synopsis and the first six chapters of a piece by each author, which were selected accordingly to the criteria explained in the methodologic chapter. The present work is supported by interviews with the authors, published in news reports or books. We sought to address the constitution of an author in his domain as a connoisseur of melodrama/feuilleton techniques and the right balance between political, commercial and esthetics on television. His leadership is assured by his authority in decision-making regarding issues related to other steps of the process, by the division of work with collaborators and because he, the author, is the one who carries the essence of the plot. Permeating the debate on authorship in telenovela, we intended to address the particularity of TV drama scripts in the national television industry. Based on the origin of literature, on cinema and theater, we understand authorship as creation, authority, responsibility and promotion of the narrative. We concluded that the writer\'s authorship is predominant in the firsts stages of the elaboration of the narrative - in other words, the synopsis, the establishment of characters\' profiles, casting and the first chapter - because these are moments in which the main writer\'s dramaturgical universe is invested with more authority. We have also verified that, although each author possesses his own writing style, telenovela is a gender that channels creation by imposing very rigid techniques and paradigms.

A discussão sobre adaptações de obras literárias em realizações cinematográficas já passou do campo moralista da fidelidade ou traição para uma discussão menos valorativa. Isso significou uma focalização no estudo da intertextualidade entre a adaptação cinematográfica e o romance original, tendo como pontos de observação o tipo de seleção feita no processo da realização fílmica, a concretização visual do texto literário, a atualização de determinados temas abordados na obra e o foco narrativo, por exemplo. O que se pretende com este trabalho é a análise da estrutura narrativa do romance O tambor (Die Blechtrommel) de Günter Grass e do filme homônimo dirigido por Volker Schlöndorff, observando a forma como o romancista articula a construção complexa de seu foco narrativo e como o cineasta trabalha essa estrutura em seu filme, o que resulta em diferentes formas de perceber e interpretar tanto o narrador-personagem quanto o universo no qual está inserido. / Debates on the adaptation of literary works to the cinema have already surpassed moral judgments related to fidelity and treason, finding a more objective approach. It implies, for example, the comparison between the movie adaptation and the original work focusing on intertextuality and using, as points for analysis, the selection of literary material made during the filmic realization process, the visual achievement of the literary text, the update of some of the themes brought out by the writer and the narrative focus, among others. This work aims at analyzing the narrative structure of Günter Grass novel The Tin Drum (Die Blechtrommel) and Volker Schlöndorffs homonymous movie by observing the complex articulation of Grass narrative focus and the directors rendering of that structure, which results in different ways of perceiving and interpreting both the narrating character and the universe he is placed in.

Nesta tese, a partir da leitura de estórias escritas por João Dias, José Craveirinha, Luís Bernardo Honwana, Costa Andrade, Antonio Cardoso, Luandino Vieira, Arnaldo Santos e Jofre Rocha nas décadas de 50 e 60 no contexto colonial angolano e moçambicano, analiso as estratégias narrativas utilizadas pelos autores para formalizar a violência das relações de trabalho impostas pelo colonialismo. No estudo dessas narrativas engajadas focalizo e sistematizo as estruturas convergentes que denunciam a exploração do trabalhador e da trabalhadora em Angola e Moçambique. Com efeito, considerando as recorrências estruturais encontradas e sistematizadas no contexto recortado, julgo que enuncio aqui, cônscio dos limites do estudo, a existência de uns contos iguais a muitos, ou seja, de diferentes estórias que valendo-se de estratégias narrativas congruentes formam uma estrutura de denúncia das relações de trabalho. Enunciadas por um(a) narrador(a) empenhado(a), estas estórias de enclausuramento, resistência e libertação articulam um confronto entre as ações das personagens agressoras brancas (patrões e seus agentes) e as dos(as) trabalhadores(as) negros(as). Além disso, é recorrente o uso de uma temporalidade tensiva e a inserção dos(as) trabalhadores(as) em espaços sociais compartimentados. Diante da vida rastejante e dos caminhos fechados, da exploração, da imobilidade e do racismo, as estórias também estruturam um processo de resistência no qual os(as) trabalhadores(as) enfrentam seus agressores e promovem a contra-violência do colonizado. / In this thesis, from the reading of stories written by João Dias, José Craveirinha, Luís Bernardo Honwana, Costa Andrade, Antonio Cardoso, Luandino Vieira, Arnaldo Santos and Jofre Rocha in the 50s and 60s in the Angolan and Mozambican colonial context, I analyze the narrative strategies used by the authors to formalize the violence of labor relations imposed by colonialism. In the study of these engaged narratives I focus and systematize the convergent structures that denounce the exploitation of male and female workers in Angola and Mozambique. In fact, considering the structural recurrences that were found and systematized in the highlighted context, I believe I enunciate here, aware of the limits of the study, the existence of \"a few tales equal to many others\", that is to say, of different stories that making use of congruent narrative strategies form a structure of denunciation of labor relations. These stories of imprisonment, resistance and liberation, stated by a committed narrator, articulate a confrontation between the actions of the white aggressive characters (bosses and their agents) and those of the black workers. Moreover, it is recurrent the use of a tense temporality and an insertion of the workers into compartmentalized social spaces. In the face of \"creeping life\" and \"closed paths,\" of exploitation, immobility and, racism, the stories also structure a process of resistance in which the workers face their aggressors and promote the counter-violence of the colonized.

This document outlines the research, development and production of a creative work and accompanying exegesis in partial fulfilment of the requirements for the Master of Communication Studies (MCS) programme. It includes the first draft of a feature film screenplay and an exegesis that explores the research conducted, the theoretical context of the work, and analyses the screenwriting process undertaken. The Bobby Calf (2008) is the first draft of a feature film screenplay that uses a non-classical and non-linear narrative structure to tell the story of its main characters and advance the plot. A psychological drama set in rural New Zealand, The Bobby Calf (2008) was originally inspired by the Janet Frame short story The Reservoir (1963), a story based on a group of youngsters who venture forth to discover the forbidden reservoir; a place their parents had forbid them from going. Set in the outskirts of a small farming settlement, the story is a dark and gothic depiction of rural life and the harshness of reality faced by those brought up in a lifestyle they did not choose. The story focuses on the journey of ADAM (21); both as a young boy in 1988 (called JOHNNY) and as a young adult in 1997, and his mother CATH; a woman whose dreams and aspirations for her son and indeed her own life are slowly slipping away. The story centres on Adam as he grows more uncomfortable with how his life has ended up, and his discovery that the life he has been destined to fulfil is not the one he has chosen. Accompanying the screenplay is an exegesis that explores the research conducted previously on the history of non-classical/non-linear narrative structures and the rationale behind the success and limitations of this now-popular form of storytelling. These types of narrative structures are not a new phenomenon, and as many authors have attested, the basis of this form of storytelling is rooted in the history of screenwriting and film making, and borrows many techniques from theatre and literature.

Face-to-face communication is multimodal. In unscripted spoken discourse we can observe the interaction of several "semiotic layers", modalities of information such as syntax, discourse structure, gesture, and intonation. <br>We explore the role of gesture and intonation in structuring and aligning information in spoken discourse through a study of the co-occurrence of pitch accents and gestural apices.<br> Metaphorical spatialization through gesture also plays a role in conveying the contextual relationships between the speaker, the government and other external forces in a naturally-occurring political speech setting.

The purpose of this essay is to examine at how to portray characters in the stories and narratives which depicts one of these children's books and if they really have something to ethnicity and its identification to be done. The Research questions is: What are the different identification markers given, to the reading child in the books, which might indicate that the story depicts people of different ethnicities? How are the characters portrayed in the story and which role is assigned to the main character? What story is portrayed and is it relevant to an identifier can occur? The conclusions of the five children's books shows that it is important with identifications markers, to show that there are different ethnicities. For example the analysis revealed the specific features of the illustrations and how the books portrayes someone with a different ethnicity and cultural background as something exotic. In the texts, the analysis showed how it occurred ethnic differences, by explicitly demonstrating differences between the characters. It was found that the characters were produced mostly as good, happy, curious, suspicious and unsympathetic. Common to all the main characters was that they had been placed, in one for them unusual context and that they were trying to assimilate to the new situations. Depictions consisted of realism and fiction. What emerged here was that most of the stories themselves were not carrying identification purposes, most of the stories needed help with the identification markers from the illustrations, so that the reading child could understand the themes it was about. The methods used in the studies are narratology, semiotics and critical discourse analysis. In particular, I looked at the propositions, inferences, icon, index and symbol.

The aim this thesis is to analyse the narrative structure of the novel, The Portrait of A Lady, with the aim of revealing how meaning is made and to show how certain elements are transferred to the film version and the consequent changes in meaning and emphasis. The structural analysis of The Portrait will chiefly rely on Shlomith Rimmon- Kenan&rsquo / s scheme she draws in her book Narrative Fiction. The functional analysis to show the consequent changes in meaning and emphasis, on the other hand, will rely on Roland Barthes&rsquo / s theory of functions he discusses in his article &ldquo / Structural Analysis of Narratives&rdquo / . In order to explore the narrative structure of The Portrait of A Lady, this thesis will examine story, characterization, time and focalization and demonstrate the techniques Henry James uses in narration. In the functional analysis of the novel, on the other hand, the functions of the units discussed in the story and the characterization will be compared to the functions of the same units that are transferred to the adaptation of the novel to reveal how the meaning and emphasis of the novel changes.

本研究旨在分析臺灣英語系大學生在英語故事寫作方面的表現。研究對象為二十位某大學英語系三年級學生，藉由分析這些學生寫作的故事所呈現出的敘事結構，期望能發現學生寫作故事的模式，寫作上的長處與弱點，在寫作方面遇到的困難，以及文化背景是否影響其寫作表現。 研究結果顯示，學生寫作的故事呈現不同的敘事結構，而這些敘事結構反映出他們對於英語故事的基本元素已有初步的了解，但仍需要老師進一步在文體區隔、內容、以及校訂等方面給予指導，以增強其故事寫作技巧。此外，學生的作品中表現了許多文化特徵，這些特徵也同樣可在泰國、越南、不丹等學生的故事作品中發現，因此，本研究或許可作為亞洲文化間具有高度相似性的證明。 / The purpose of this study is to investigate the story-writing performance of college English majors in Taiwan in terms of narrative structure. A total of twenty stories composed by twenty junior English majors of one national university were analyzed based on the conventional English story structure. The collected stories were part of the students’ normal school work rather than specially designed tasks. Through a narrative structure analysis of the collected data, different structural patterns were discovered, including (1) Description, (2) Abbreviated Story, (3) Complete Story, (4) Lengthened Story, and (5) Complex Story. The structural uses not only reflect the learners’ writing styles but also represent their strengths and weaknesses in writing. Overall, the results show that although these students have possessed the basic knowledge of the structural conventions, they still need instruction in terms of content, editing, genre-distinction, or formal devices to enhance their story-writing skills. In addition, cultural characteristics were discovered in the writings. The preferences observed coincide with the characteristics of narrative writings of Bhutanese, Vietnamese, and Thai cultures in many ways. Therefore, the findings of this study may also serve as evidence for the great similarities that existed among Asian cultures.