The purpose of this essay is, from a narratological point of view and also by employing film adaptation theory, to compare the novel The Golden Compass to its film adaptation and examine the narrative elements they have in common and those that are distinct for each medium. The aim is also to critically comment on these elements and to discuss to what extent the changes made affect the story and how it is perceived. The analysis that I have carried out shows that changes have been made regarding the plot order, i.e. sequences have been moved around or even removed in the film adaptation. The portrayal of the characters differs as well; some characters have been condensed while others have been extended to fit into the new frame of narrative. There are also differences in pacing between the original work and the adaptation. However, the changes do not affect the perception of the story and the story works very well in the new narrative structure.

The essay examines the narrative techniques in the novel Delirio (2004) by the Columbian writer Laura Restrepo. Focus is set on the question of narrators. The narrators in this novel have a structuring function, and it is suggested that there is one of them in particular which links the main character's delirium with the context of the 'real world' in the novel. A narratological analysis is carried out based on categories by theorists like Gérard Genette and Yuri Lotman. A description of every narrator's characteristics such as reliability, speech style, knowledge and experience is made, followed by a comparison between them and a reflection about their function in the novel. Finally, among five narrators, two are pointed out as the most important, the one that connects the main characters psychological crisis with reality, and the one which sets the whole story together.

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This study explores the ways in which story is used as a resource for learning and teaching in the primary school classroom. Definitions of story are explored and theoretical perspectives on narrative modes of cognitive processing, metaphor and analogy are discussed. Story is widely used in the primary school classroom in Scotland, particularly in the Early Years (primaries 1-3), and an attempt is made to ascertain how far this is systematised, drawing on the perspectives of teachers and pupils in Scottish primary schools. A combination of quantitative and qualitative methods is used to attain an understanding of the way that story is used and perceived in the classroom. The data that inform the study were collected in five parts – focus group interviews with storytellers and teachers; a local (Angus) teacher survey and student teachers’ observations; surveys undertaken with schoolchildren in a Dundee primary school; interviews with teachers and primary school pupils in Angus, and a national teacher survey. Results from the study show that systematic approaches to story are in use in Scotland, and that in addition to teachers, pupils also demonstrated a good deal of knowledge about the use of story in the classroom. Results from the national survey also indicated systematic approaches to story use. There is some discussion on the articulation of story-based approaches to learning and teaching with the Scottish national curricular guidelines (Curriculum for Excellence), and suggestions are made as to how story might be used in Initial Teacher Education programmes.

This dissertation offers new answers to the ethical questions posed by Homer’s epics by implementing interdisciplinary methods and perspectives. Drawing insights from anthropology, literary criticism, philosophy, and psychology, I construct an ethical model, which evaluates ethical systems not primarily as a means of regulating conduct but as a means of endowing particular actions with exemplary significance. My methodology, which is based on this ethical model, approaches ethics as a complex system that can never be adequately described in its totality but only in reference to specific human problematics. The problematic I investigate is death: how it serves as an opportunity for Homeric heroes to pursue the most significant kind of life they can in light of their mortality. The Homeric hero is obliged to protect his “lot” in life as his birthright and property in the divinely-governed world; he is obliged also to recognize the limits of his lot and respect the lot of other noblemen by rendering them due honor. Not all lots are equal, of course, and certain ethical sensibilities are required to negotiate the social domain properly. The Iliad and Odyssey illustrate what ethical sensibilities come into play as their exemplars struggle against a diverse range of human vicissitudes. Three sensibilities are especially important: (1) a sense of culturally appropriate restraint out of fear of retribution, (2) a sense of culturally appropriate anger upon seeing shameless behavior, (3) a sense of culturally appropriate love/friendship and pity that opens a path for even strangers to be treated as intimates, i.e. to have their needs met. Corresponding to these sensibilities are battle customs and civic customs. A heroic death garners significance from occurring either under the auspices of battle customs or under the auspices of civic customs. The Iliad illustrates good death in war as a “beautiful death,” and the Odyssey illustrates good death in the community as a “gentle death.” Death is the culmination of one’s living actions, and glorious actions are worthy of being remembered by a community in song. Even when a hero no longer can act in the world, he is able, if his actions are preserved in memory, to participate in the life of the community. To be remembered and honored “equally to a god” is the greatest good a mortal can have, insofar as it approximates the immortal existence of the gods. In my conclusion, I also discuss methods of researching the reception of Homeric ethics, especially by Plato.

In 1959, Capote’s nonfiction novel entitled, In Cold Blood was written using artistic methods related to fictional writing.  In consciously writing in this manner, Capote revealed a controversial shift away from a more objectivity based, journalistic truth, prevalent at the time. By using these methods to portray in particular Perry Smith, Capote has provoked doubts surrounding his commitment to “truth” within the book.  Using a narratological analysis of certain significant passages of the book, Capote’s presence and a notable relation he has to Perry is implied and brought to the forefront.  In turn, this essay looks through these passages from the perspective of the genre of autobiography.  From this viewpoint, how the reader is able to uncover Capote’s “intentions” by identifying with and presenting himself through Perry in the narrative, is discussed. This essay concludes with the claim that due to Capote’s use of these artistic methods, the reader is provided with an autobiographical dimension to the narrative.  Consequently, the essay claims that it is because such autobiographical dimensions are described by Linda Anderson (in her book Autobiography) as having an “honest intention which then guarantees the truth of the writing” (3), that Truman Capote’s “true account of a multiple murder and its consequences”, [own emphasis added] should thus be justifiable, and in his way, honestly true.

<p>In 1959, Capote’s nonfiction novel entitled, <em>In Cold Blood</em> was written using artistic methods related to fictional writing.  In consciously writing in this manner, Capote revealed a controversial shift away from a more objectivity based, journalistic truth, prevalent at the time. By using these methods to portray in particular Perry Smith, Capote has provoked doubts surrounding his commitment to “truth” within the book. </p><p>Using a narratological analysis of certain significant passages of the book, Capote’s presence and a notable relation he has to Perry is implied and brought to the forefront.  In turn, this essay looks through these passages from the perspective of the genre of autobiography.  From this viewpoint, how the reader is able to uncover Capote’s “intentions” by identifying with and presenting himself through Perry in the narrative, is discussed.</p><p>This essay concludes with the claim that due to Capote’s use of these artistic methods, the reader is provided with an autobiographical dimension to the narrative.  Consequently, the essay claims that it is because such autobiographical dimensions are described by Linda Anderson (in her book <em>Autobiography) </em>as having an “honest intention which then guarantees the truth of the writing” (3)<em>, </em>that Truman Capote’s “<strong><em>true</em></strong><em> account of a multiple murder and its consequences”, </em>[own emphasis added]<em> </em>should thus be justifiable, and in his way, honestly true.</p>