The focus of this study is on how the identity narrative is constructed and how the narrative effects the reader’s perception of the protagonist’s identity in the autobiographical novels Kärlek i Europa and alla vilda by Birgitta Stenberg. The discourse of autobiographical writing is used to analyse the novels with the perspective that an autobiographical text communicates with it’s readers. By close-reading the pattern of the narrative becomes visible. The analys of the narrative show that the narrator changes positions throughout the novels. In effect, this means that the narrator and the protagonist sometimes occupies the same position in the text, and sometimes not. By mapping the narrator’s positions and by separating the author, narrator and protagonist the narrative structure emerges as complex. The authors position and the referentiality to something ”real” outside the text creates a picture of the protagonist as a part of the awareness of gender discrimination toward female writers. It also raises the issue of the historical discrimination toward LGBTQ persons and ethnic groups. The narrator’s changing position re-structures time and space by inserting different timelines. Through the historical, the traveling and the future timelines the development of the protagonist’s identity emerges. In contrast to the genre bildungsroman the identity narrative becomes visible as a self-reflexive project. The reflexive project allows the narrator to compare the identity of the self through time. This structure also invites the reader to co-create the protagonist identity alongside the narrator.

Made available in DSpace on 2016-04-26T18:10:26Z (GMT). No. of bitstreams: 1 Jefferson Alves de Lima.pdf: 1727684 bytes, checksum: 4d886382f9a41fabb8704c9bf9e253c3 (MD5) Previous issue date: 2010-11-18 / The observation of the presence of elements of narrative fiction in television news represents the central aspect of this study. Recognized for authors as Elizabeth Bird and Robert Dardene, Paul Weaver, François Jost, Robert Stam and Iluska Coutinho, this strange presence of the attributes of fiction in television news is examined here specially as a basis to build the main unit of the program: the reportage. Before the speech space self-assumed by the television news as a reference for society, we observe an established relationship between the program and the ability of narrative fiction for representing and orienting social values. We examine in this study the approximation of the visual plots, which are converted the news in television, with the orientation of behaviors and contours of life in society that the stories sediment throughout centuries . More specifically, we will examine the approximation of television news reportages with the fables, like Indians Pañcatantras or stories of the grecian Esopo. As a theoretical contribution for this observation, we start from authors of reference and deepen the studies on the televisions areas, journalism, TV journalism and narrative. By analysis of national televisions news Jornal Nacional, of the Rede Globo de Televisão, and Jornal da Cultura, of the TV Cultura, we identify the relation of the television news service with the fables / A observação da presença de elementos da narrativa de ficção no gênero telejornal representa o aspecto central deste trabalho. Reconhecida por autores como Elizabeth Bird e Robert Dardene, Paul Weaver, François Jost, Robert Stam e Iluska Coutinho, esta aparentemente estranha presença dos atributos da ficção no noticiário televisivo é examinada, aqui, especialmente, como base de construção da principal unidade do programa: a reportagem. Diante do espaço de fala auto-assumido pelo telejornal como referência para o conjunto da sociedade, observamos uma relação estabelecida entre o programa e a capacidade das narrativas de ficção à representação e orientação de valores sociais. Examinamos neste trabalho, assim, a aproximação dos enredos visuais, aos quais as notícias são convertidas nas reportagens do telejornal, com a orientação de comportamentos e contornos da vida em sociedade que as estórias sedimentam através dos séculos. Mais precisamente, examinaremos a aproximação das reportagens do telejornal com as fábulas, à moda dos Pañcatantras indianos ou das narrações do grego Esopo. Como aporte teórico para esta observação, partimos de autores de referência e o aprofundamento de estudos realizados nas áreas da televisão, jornalismo, telejornalismo e narrativa. Por meio da análise dos telejornais nacionais Jornal Nacional, da Rede Globo de Televisão, e Jornal da Cultura, da emissora paulista TV Cultura, identificamos esta relação que atravessa os campos, a princípio distintos, dos noticiários televisivos e do gênero literário fábula

This thesis takes a fresh, character-based approach to the Íslendingasögur. It is inspired by a narratological study that unites the functional and structural role of characters with their human, individualistic portrayal. My major objective is to demonstrate the important connection between characterisation and structure in the sagas. By drawing attention to characters that I term narrative triggers, I offer a way of reading the sagas that relies both on the narrative conventions of tradition and on the less predictable, personal interactions between the cast of any given saga. In the case of both major and minor figures in the Íslendingasögur a certain type of character is often present to perform necessary motivational functions, allowing the plot to develop. In Part I I emphasise the functional aspect of these characters, before exploring unusual examples that emphasise their individuality in Part II.The motivation of the plot is linked throughout to the figure of the ójafnaðarmaðr. A secondary objective is to provide a clearer understanding of the nature and function of this commonly occurring character type. The ójafnaðarmaðr is frequently alluded to in scholarship,but this thesis provides the first in-depth study of the portrayal of these characters. The quality that informs them (ójafnaðr,‘inequity’, lit. ‘unevenness’) is a threat to one of the core values of saga society and hints at an ‘unbalancing’ of social interactions and of the narrative equilibrium itself. That this unbalance leads to changes in the social structure of the setting is a key factor in driving the plots of the sagas along. For this reason, a detailed examination of the figure of the ójafnaðarmaðr is long overdue: they can be observed to perform a specific narrative function but are always fitted to suit their particular context. Focussing on the structural conventions of character introduction, Part I establishes my methodology and catalogues the examples of characters introduced as ójafnaðarmenn. The scope is limited to those introduced as such because it allows me to establish for the first time the full corpus and conventions of these characters and their introductions. Following developments in our understanding of the oral background to the sagas, my approach to these narratives is built upon the evidence of their shared origins in pre-literate storytelling [...]. The intersection between functionality and individuality in character brings certain aspects of the Íslendingasögur to the fore. Part II of this thesis shows that in combination with the structural markers explored in Part I, the sagas employ the collective perspective of the general public, other characters and ‘irrational’ motivators such as fate to contribute to their techniques of characterisation. Because disruptive qualities speak inherently of a difference in the way an individual sees themselves and in the way the public sees them, or we as an audience are meant to see them, figures termed ójafnaðarmaðr are an ideal focal point for the development of this study.

The current study contemplates the relationship between narrative structure and memory in five contemporary Spanish novels. Since the Spanish Transition to Democracy literary critics have been quick to discuss the resurgence of historical memory in narrative. In particular, there has been an abundance of work that seeks to vindicate those who supported the Second Republic during the Spanish Civil War, but whose voices were silenced upon the republic's fall to Franco's army in 1939. Nevertheless, despite the wide critical recognition of a movement to recuperate Spanish historical memory, critics have largely ignored the role played by narrative structure in the construction of said memory during the 1990's and the first decade of the 21st century. Contemplating what Hayden White calls "the content of the form" at the stylistic level as well as at the level of each novel's macrostructure, this study demonstrates that the narrative techniques utilized by Juan Marsé, Manual Rivas, Dulce Chacón, Javier Cercas and Bernardo Atxaga cast a particularly postmodern light onto the darker mnemonic shadows of the Spanish Civil War and Franco's dictatorship. Through a series of typically postmodern mechanisms, such as the use of multiple narrators, mediated texts and constant dialog between varying levels of fiction and metafiction, these narratives transcend mere historic reflection and nostalgia in order to contemplate the subjective nature of the very mnemonic processes through which they are ostensibly created. The narrative structures of the works discussed in this study emphasize the fact that objective truth cannot be attained by means of present, postmodern remembering, much less when said remembering is linguistically mediated through narration. Thus, rather than seeking in vain to recuperate an unascertainable historical truth, these authors create highly structured, though purely esthetic, fictional representations of history, representations whose narrative forms are a prescription for the epistemic ills of the disillusioned, fragmented and uprooted postmodern implicit reader.

Stories, themes, concepts and references are organized structurally and purposefully in most books. A person reading a book needs to understand themes and concepts within the context. Schank’s Dynamic Memory theory suggested that building on existing memory structures is essential to cognition and learning. Pirolli and Card emphasized the need to provide people with an independent and improved ability to access and understand information in their information seeking activities. Through a review of users’ reading behaviours and of existing e-Book user interfaces, we found that current e-Book browsers provide minimal support for comprehending the content of large and complex books. Readers of an e-Book need user interfaces that present and relate the organizational and narrative structures, and moreover, reveal the thematic structures. This thesis addresses the problem of providing readers with effective scaffolding of multiple structures of an e-Book in the user interface to support reading for comprehension. Recognising a story or topic as the basic unit in a book, we developed novel story segmentation techniques for discovering narrative segments, and adapted story linking techniques for linking narrative threads in semi-structured linear texts of an e-Book. We then designed an e-Book user interface to present the complex structures of the e-Book, as well as to assist the reader to discover these structures. We designed and developed evaluation methodologies to investigate reading and comprehension in e-Books, in order to assess the effectiveness of this user interface. We designed semi-directed reading tasks using a Story-Theme Map, and a set of corresponding measurements for the answers. We conducted user evaluations with book readers. Participants were asked to read stories, to browse and link related stories, and to identify major themes of stories in an e-Book. This thesis reports the experimental design and results in detail. The results confirmed that the e-Book interface helped readers perform reading tasks more effectively. The most important and interesting finding is that the interface proved to be more helpful to novice readers who had little background knowledge of the book. In addition, each component that supported the user interface was evaluated separately in a laboratory setting and, these results too are reported in the thesis.

This Master's thesis focuses on elements and manifestations of propaganda in selected films from the James Bond film series. The first part defines the scope of term "propaganda" from the point of view of communication and media studies. It also describes various authors' perspectives on different types and ways of propagandist persuasive message spread and how it can be revealed using discourse analysis. The thesis reflects especially the pragmatic approach of authors Jowett and O'Donnell and is compared to other cardinal approaches. The theoretical part also puts propaganda into context of time, i. e. the Cold War, and it mentions specific cases of its impact. The thesis deals with James Bond films as such, in particular with their narrative and its mythological and stereotypization constituent. James Bond films are examined, in the practical part, using content analysis. The aim is to detect described pro-eastern propaganda elements, analyse their manifestation and answer the research questions.

In 1973 the famous Swedish children’s author Astrid Lindgren wrote the story about the brothers Lionheart. A story about the love between two brothers, bravery and death. Ever since, there have been a widely discussion whether the story is suitable for the young readers. Although the voices heard in the discussion mostly comes from grown-ups, but what does the children actually think? The aim of this study was to display the children’s interpretations in terms of the metaphors, the semiotics and the sequence of events the film Brothers Lionheart which was screened in the first time 1977. To answer the issues we watched the movie and implemented semi-structured interviews with seven 10-11 year old children. The children in this study gave us both different and interesting interpretations in terms of the metaphors and semiotics which could depend on different experiences in life and backgrounds. This study also shows that the children’s perception of the narrative structure in the movie varies which could mean that their story scheme sometimes is more or less developed in this age.

Made available in DSpace on 2016-04-26T18:13:15Z (GMT). No. of bitstreams: 1 Romilson Marco dos Santos.pdf: 3252190 bytes, checksum: 7ed035e36a1ff0d634388def1182dda0 (MD5) Previous issue date: 2013-08-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of study is primetime soap operas and the transformations that define it, with the objective of establishing a relationship with the individual, the viewer. The study is conducted on the analysis of the soap operas narrative structure, their modifications, and finally, the consequences were established because of them. The beginning of this analysis, is the year 1964. We will therefore work, with a selection of daily soap operas such which have occurred since that date. The research problem focuses on the relationship established between changes in the narrative structure, its own visual soap opera language and the viewers' participation. Therefore we list the following assumptions: 1.Durring the soap operas actors do not interpret any character, but recreate the acts and circumstances occurring in everyday social life simulated by the plots, which allows us to affirm that the soap opera is life itself, and durring some time, the fictional game turns into life real.2. translation society by soap operas reaferms the traditional and conservative perception of Brazilian society. 3. the combination of mediation and its settings, where one comes to the generation of a visual language which constitutes the basis for the projection of social and drawings, as a consequence, to identify the way that society is allowed to see and / or be presented . The methodological basis of this research is based on the survey, selection, justification and comparative analysis of narrative structures and interference of the visability as a frame narrative structure itself. The most important area of this methodological strategy involves the comparison of the configuration processes and their communication trends in order to rescue a possible evolution of the enunciation of the outline of the Brazilian society. The theoretical basis is based on studies of Lucrece Ferrara, Roland Barthes, Mikhail Bakhtin, Charles Sanders Peirce: authors responsible for concepts such as interaction, analysis of narrative structure, author, character and semiosis / O objeto de estudo é a telenovela do horário nobre e as transformações que a definem, tendo em vista a relação que estabelece com o indivíduo que a assiste, o telespectador. O estudo se desenvolve sobre a análise da estrutura narrativa das telenovelas, suas modificações e, por fim, as conseqüências que se estabeleceram a partir delas. Demarcamos, como início desta análise, o ano de 1964.Trabalharemos, portanto, com uma seleção das telenovelas diárias tal qual ocorrem desde aquela data. O problema de pesquisa concentra-se na relação que se estabelece entre as transformações da estrutura narrativa, a linguagem visual própria da telenovela e a participação do telespectador. Para tanto elencamos as seguintes hipóteses: 1.na telenovela, os atores não interpretam nenhum personagem, mas recriam atos e circunstâncias ocorridas no cotidiano social simulado pelas tramas, o que permite afirmar que a telenovela representa a própria vida e, por certo tempo, o jogo ficcional se transforma em vida real.2. a tradução da sociedade pelas telenovelas resgata uma tradicional e conservadora percepção da sociedade brasileira. 3.da combinação entre mediações e suas configurações, chega-se à geração de uma linguagem onde o visual constitui base para a projeção de desenhos sociais e, como conseqüência, para a identificação do modo como aquela sociedade se deixa ver e/ou ser apresentada. A base metodológica da pesquisa se apóia no levantamento, seleção, justificativa e análise comparativa das estruturas narrativas e a interferência da visualidade como moldura da própria estrutura narrativa. O eixo mais importante dessa estratégia metodológica contempla a comparação dos processos de configuração e suas tendências comunicativas, tendo em vista resgatar uma possível evolução daqueles desenhos enunciativos da sociedade brasileira. A base teórica se fundamenta nos estudos de Lucrécia Ferrara, Roland Barthes, Mikhail Bakhtin, Charles Sanders Peirce: autores responsáveis por conceitos como interação, análise da estrutura narrativa, autor , personagem e semiose

Detta kandidatarbete undersöker och skapar en djupare förståelse för olika narrativa strukturer och tekniker som finns i litteratur, film och digitala spel. Detta har gjorts genom att besvara frågan hur man kan applicera narrativa strukturer och tekniker från litteratur och film i ett digitalt spel. För att svara på denna fråga har vi utvecklat en gestaltning som består av ett digitalt spel som använder sig av olika narrativa strukturer och tekniker som är mer vanliga inom litteratur och filmer. Till hjälp för detta har vi använt oss av metodologin MDA-ramverket samt berättelseskrivarmetoderna Snöflingemetoden och The Fantasy Fiction Formula. Undersökningen visar hur en berättelse i ett digitalt spel, med hjälp av ett antal narratologiska begrepp, kan använda sig av narrativa strukturer och tekniker från litteratur och film. Snöflingemetoden visade sig vara användbar, men inte anpassad för denna typ av skrivande. På grund av tidsbrist kunde vi inte använda oss av så många tekniker och strukturer från film som vi ville. / This Bachelor Thesis aims to explore and create a deeper understanding of various narrative structures and techniques found in literature, film and digital games. This has been done by answering the question how one can apply narrative structures and techniques from literature and film in a digital game. To answer this question, we have developed a digital game that uses different narrative structures and techniques that are more common in literature and films. For this, we used the MDA-framework methodology as well as the story writing methods The Snowflake Method and The Fantasy Fiction Formula. This thesis shows how a story in a digital game, using a number of narratological concepts, can make use of narrative structures and techniques from literature and film. The Snowflake Method proved useful, but not adapted for this type of writing. Due to time limitations we were not able to use as many structures and techniques from films as we wanted to.

Abstract This study examined Finnish children’s narrative skills using a picture-based story generation task. 4- to 8-year-old children with typical development (n = 172), 5- to 7-year-old children with specific language impairment (SLI) (n = 19) and 5- to 10-year-old children with autism spectrum disorder (ASD) (n = 16) participated in the study. Linguistic (productivity, syntactic complexity, grammatical accuracy) and pragmatic (referential accuracy, event content, mental state expressions, discourse features, and story comprehension) measures were used so as to gain a comprehensive picture of narrative skills. The choice of measures was based on the narrative abilities of the participants, and not all measures were used with all participants. In typically developing children, a subtle development trend was seen in all the measures used, but significant differences between consecutive age-groups were mostly seen in younger participants. The relationship between narrative productivity measures and event content was found to be important. The number of different word tokens was, in particular, useful in explaining the event content. For children with SLI, the linguistic and pragmatic aspects of narration were demanding. Their stories were short and contained less information than those of their control. Their referential and grammatical accuracy was also poorer than among typically developing children, and they showed difficulties in expressing the mental states of the story characters and in story comprehension. Children with ASD produced narratives with an almost similar linguistic structure to those of their control children. However, children with ASD showed difficulties in the pragmatic aspect of narration, in establishing informative story content and in story comprehension. They also tended to include irrelevant information in their stories, which was not seen to that extent in cases of typical development. This dissertation shows a development in 4- to 8-year-olds’ narratives that seems to occur around the ages of 4 and 5. Narrative difficulties seem to be related to both SLI and ASD, but are more wide-ranging in SLI, whereas in ASD difficulties focus on the pragmatic aspects of narration. / Tiivistelmä Tutkimuksessa selvitettiin, millaiset ovat suomalaislasten kuvasarjakerronnan avulla arvioidut kerrontataidot. Tutkimukseen osallistui 4–8-vuotiaita tyypillisesti kehittyneitä lapsia (n = 172), 5–7-vuotiaita lapsia, joilla on kielellinen erityisvaikeus (SLI) (n = 19) ja 5–10-vuotiaita lapsia, joilla on autismikirjon häiriö (ASD) (n = 16). Tutkimuksessa käytettiin lingvistisiä (produktiivisuus, syntaksin monipuolisuus, kieliopillinen tarkkuus) ja pragmaattisia (viittaussuhteiden tarkkuus, tapahtumasisältö, mielentilailmaukset, diskurssipiirteet, kertomuksen ymmärtäminen) muuttujia, jotta kerrontataidoista saadaan kokonaisvaltainen kuva. Kaikkia muuttujia ei käytetty kaikkien tutkittavien kesken, vaan tutkimusmenetelmien valinta perustui tutkittavien kerronnan piirteisiin. Tyypillisesti kehittyvien lasten kerrontataidot kehittyivät kaikkien käytettyjen muuttujien osalta, mutta peräkkäisissä ikäryhmissä merkitsevä muutos havaittiin vain nuorempien ikäryhmien välillä. Kerronnan produktiivisuuden ja tapahtumasisällön välillä havaittiin yhteys, ja erityisesti eri saneiden määrä oli merkitsevä tapahtumasisällön selittäjä. Kerronnan lingvistinen ja pragmaattinen hallinta oli haastavaa lapsille, joilla on SLI. Heidän kertomuksensa olivat pituudeltaan, tapahtumasisällöltään ja mielentilailmauksiltaan niukempia sekä viittaussuhteiltaan epätarkempia kuin tyypillisesti kehittyvien lasten kertomukset. Lapset, joilla on SLI, tuottivat enemmän kieliopillisia virheitä kuin kontrollilapset, ja myös tarinan ymmärtäminen oli heille haastavaa. Kertomuksen lingvistinen rakenne oli likimain samankaltainen tyypillisesti kehittyneillä lapsilla ja lapsilla, joilla on ASD. Lapset, joilla on ASD, tuottivat tapahtumasisällöltään niukempia kertomuksia kuin kontrollilapset, ja lisäksi heidän tarinansa sisälsivät irrelevanttia tietoa. Kertomuksen ymmärtäminen oli myös vaikeaa lapsille, joilla on ASD. Tutkimus osoittaa, että 4–8-vuotiaiden kerrontataidoissa on kehitystä, mikä vaikuttaa olevan aktiivista erityisesti 4–5 ikävuoden aikana. Kerronnan vaikeudet ovat kielellisessä erityisvaikeudessa laaja-alaisia, kun taas autismikirjossa vaikeudet näkyvät ennemmin kerronnan pragmaattisessa hallinnassa.