The main purpose of this paper has been to use narratological theory for uncovering the narrative structure in Freud‟s cases, such as anachronisms and focalizing. My aim was to investigate the narrative and through these viewpoints discover what impact Freud‟s writing‟s had on the look of hysterical women. I choose one of the earliest cases,"Fräulein Elisabeth von R." which is published in Studien über Hysterie (I‟ve used the text translated to Swedish and published in Tidiga skrifter och historik. Freud, Sigmund, 1997). I‟ve consulted both Iréne Matthis and Jurgen Reeder to get a broader perspective on the psychoanalytic theory. Another author whom been invaluable is Karin Johannisson, her essays on the aesthetics that characterize hysteria has been very useful. By using the narratological theories of Mieke Bal and Gérard Genette I‟ve been able to uncover the structure of my narrative. The main concepts have been "text", "story" and "fabula" which symbolize three layers of the narrative, for the investigation of these three aspects I‟ve looked closer into anachronisms, retroversions and anticipations (internal and external), focalizor, narrator, actors and agents. The conclusion I‟ve reached is that Freud, by separating himself into the –less knowing and the –analyst and use this –less knowing version of himself as an assistant in the hunt of the answer to hysteria, he writes off Elisabeth as a character. He excludes her from her own anamnesis and fills the hole with himself and uses it as a part of his theory. Left again is the woman, without having been really listened to.

This essay investigates the narration in Charlotte Brontë’s Jane Eyre by applying narratologist Great Olson’s model of unreliable narration to Jane, the novel’s narrator. Further, the novel discusses how Jane’s reliability affects the portrayal of the character Bertha Mason. The essay argues that the narrator’s characterization of Bertha Mason is deliberately misleading.

The video game is, as we know, one of the most popular and quickly growing mediums in the United States and the world in whole. Because of its success, the video game industry has been able to use their resources to advance technology of many kinds. Two very important technologies which have been advanced by the game industry are artificial intelligence and graphic design. With advances in the videogame industry constantly increasing the realism of gaming, those who game are finding themselves rapidly transported into new worlds. The Combination of the elements of narrative transportation, character identification, a videogames ability to enable mediated experience create a situation in which players may be able to rapidly learn very complex concepts. This project begins with a classification of videogame moral systems, both on a theoretical and logistic level. Given this understanding of how videogames themselves define moral involvement, the project then seeks to answer how the players understand their own moral involvement in the game by directly involving player/participants in the conversation. The data produced strongly suggests that videogames have great potential to teach even the most complex concepts of right and wrong to players.

In recent years, philosophy of history has somewhat outgrown the two fields of interests often prescribed to that branch of philosophy: historiosophy and historics. Ordinarily, this outgrowth is inspired by efforts to reflect new forms of historiography (such as microhistory or history of daily life). However, such a move is also employed in attempting to explain non-professional, pre-theoretical or even pre-thematic relation to historical past. A daily historical consciousness – a notion that has became possible only in the latest philosophy of history – is investigated here as a phenomenon of tradition. As is the case with all concepts, sense of the concept of tradition is flexible, given its history, development and future tendencies. In view of the usage of the word “tradition” in contemporary practical and theoretical contexts, it is clear that this concept enjoys few open means of further development. It can be radicalized, i.e., made into a fetish or almost into a slogan; on the contrary, it can be demonized. It can also be seen as the name of a phenomenon experienced in all lives, irrespective of the time and culture in which they are lived. Of course, levels and intensities of these experiences are different. In all senses, the term tradition denotes a human way to understand a social dimension of time, and to act in that time. From the philosophical point of view, tradition is an aspect of the intersubjectivity of consciousness, and as such possesses its own... [to full text] / Disertacijoje analizuojama tradicija kaip istorijos filosofijos problema. Disertacijos tikslas – ištirti tradicijos dinamiką kaip savitą laiko patirtį, parodant tradicijos sąvokos vietą ir jos produktyvumą šiuolaikinėje istorijos filosofijoje. Teorinis disertacijos pagrindas – fenomenologijos ir naratologijos sankirta, kuri pastaruosius kelis dešimtmečius formuojasi kaip atskira kultūros reiškinių apmąstymo metodika. Tradicijos tema istorijos filosofijoje plėtojama lygiagrečiai su doktrinomis, analizuojančiomis daugiasluoksnio, skirtingų tankių ir ritmų istorinio laiko patirtis. Fenomenologijoje ši tema atsiranda kaip intersubjektyvios laiko patirties apmąstymų tęsinys, naratologijoje – kaip pasakojimo situacijos ir dinamiškos pasakojimo struktūros analizės tąsa. Taigi naratyvo teorija, kaip ir fenomenologinė intersubjektyvumo teorija, įgalina tirti daugumą klausimų, susijusių su tradicijos fenomenu: istorinio laiko patirčių modusus, kolektyvinės atminties, naratyvinės tapatybės formavimosi klausimus. Pirmojoje bei antrojoje disertacijos dalyse parodoma tradicijos sąvokos raida istorijos filosofijos kontekste bei paaiškinamos prielaidos tradicijos kaip filosofinės problemos atsiradimui naratologijoje bei fenomenologijoje. Trečiojoje dalyje, remiantis abiejų krypčių teiginiais bei konceptais, ištiriami svarbiausi tradicijos kaip istorinio laiko patirties struktūriniai aspektai. Paskutinėje disertacijos dalyje analizuojamos tradicijos temos plėtojimo praktiniuose ir teoriniuose... [toliau žr. visą tekstą]

Disertacijoje analizuojama tradicija kaip istorijos filosofijos problema. Disertacijos tikslas – ištirti tradicijos dinamiką kaip savitą laiko patirtį, parodant tradicijos sąvokos vietą ir jos produktyvumą šiuolaikinėje istorijos filosofijoje. Teorinis disertacijos pagrindas – fenomenologijos ir naratologijos sankirta, kuri pastaruosius kelis dešimtmečius formuojasi kaip atskira kultūros reiškinių apmąstymo metodika. Tradicijos tema istorijos filosofijoje plėtojama lygiagrečiai su doktrinomis, analizuojančiomis daugiasluoksnio, skirtingų tankių ir ritmų istorinio laiko patirtis. Fenomenologijoje ši tema atsiranda kaip intersubjektyvios laiko patirties apmąstymų tęsinys, naratologijoje – kaip pasakojimo situacijos ir dinamiškos pasakojimo struktūros analizės tąsa. Taigi naratyvo teorija, kaip ir fenomenologinė intersubjektyvumo teorija, įgalina tirti daugumą klausimų, susijusių su tradicijos fenomenu: istorinio laiko patirčių modusus, kolektyvinės atminties, naratyvinės tapatybės formavimosi klausimus. Pirmojoje bei antrojoje disertacijos dalyse parodoma tradicijos sąvokos raida istorijos filosofijos kontekste bei paaiškinamos prielaidos tradicijos kaip filosofinės problemos atsiradimui naratologijoje bei fenomenologijoje. Trečiojoje dalyje, remiantis abiejų krypčių teiginiais bei konceptais, ištiriami svarbiausi tradicijos kaip istorinio laiko patirties struktūriniai aspektai. Paskutinėje disertacijos dalyje analizuojamos tradicijos temos plėtojimo praktiniuose ir teoriniuose... [toliau žr. visą tekstą] / In recent years, philosophy of history has somewhat outgrown the two fields of interests often prescribed to that branch of philosophy: historiosophy and historics. Ordinarily, this outgrowth is inspired by efforts to reflect new forms of historiography (such as microhistory or history of daily life). However, such a move is also employed in attempting to explain non-professional, pre-theoretical or even pre-thematic relation to historical past. A daily historical consciousness – a notion that has became possible only in the latest philosophy of history – is investigated here as a phenomenon of tradition. As is the case with all concepts, sense of the concept of tradition is flexible, given its history, development and future tendencies. In view of the usage of the word “tradition” in contemporary practical and theoretical contexts, it is clear that this concept enjoys few open means of further development. It can be radicalized, i.e., made into a fetish or almost into a slogan; on the contrary, it can be demonized. It can also be seen as the name of a phenomenon experienced in all lives, irrespective of the time and culture in which they are lived. Of course, levels and intensities of these experiences are different. In all senses, the term tradition denotes a human way to understand a social dimension of time, and to act in that time. From the philosophical point of view, tradition is an aspect of the intersubjectivity of consciousness, and as such possesses its own... [to full text]

Vytauto Martinkaus romane „Žemaičio garlėkys“ atskleistos pasakojimo ypatybes: naracijos laikas (trukmė, tvarka, dažnis), naratorių tipai (ekstradiegetinis, intradiegetinis) ir pasakojimo funkcijos (naratyvinė, valdymo, komunikacinė, liudijimo, ideologinė) naudojantis Gerard Genette naratologija. / The following characteristics of the narrative and the narrator are revealed in the novel „Žemaičio garlėkys“ through narratology: type of narrator (ekstradiegetic, intradiegetic), the time in the novel is classified by duration, frequency, and order; the functions in the narrative are as follows: narrative, operating, communicative, ideological functions and the function of witness.

The purpose of this essay is to do a narratological analysis of Utvandrarna by Vilhelm Moberg to see how the form affects the theme of freedom and liberation. I used narratology as the method of analysis and my questions for the text regards the significance of the narrator, the use of focalization, the powers, helpers and opponents, the locations and spaces, and how these aspects affect the theme. In my analysis of the novel I found that the narration took place in three levels. This gave the story different perspectives of the theme; an outer perspective, a semi-distant perspective and a more personal perspective. The focalization of the main characters creates sympathies, and the focalization of non-main characters gives the reader an outer perspective on the characters. This could both enhance the perception of oppression in Sweden and make clear that the characters move out of their comfort zone in order to travel to the new country. There are not many helpers in the novel, the main characters are often left to help themselves. The opponents found in the book were mostly characters in Sweden who kept the main characters from their freedom. Negative powers are the social structure and religious oppression, positive powers are determination that help the characters go through with their journey. The locations and the perception of space often enhances the feeling of being shut in which is contrasted to the longing for freedom. One of the main characters opposes the journey and does not see freedom at the other side of the Atlantic Ocean. This, together with the miserable conditions on the ship, problematizes the theme of liberation. The ocean can stand for opportunity and freedom, but once the main characters are on the ship the ocean becomes a threat and the ship holds them prisoners. Since it is not clear whether the main characters reach freedom in America or not, the focus in this novel is on the process of liberation. In my analysis I could see that the theme of freedom was visible in different ways in the different aspects of the narrative.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Naujajame romane modernių bruožų yra daug: laiko ir erdvės moduliacijos, personažo „mirtis“, prasmės atsisakymas ir t.t. Tačiau vienu svarbiausių tampa pasakojimo lygmuo ir pasakotojo funkcijos. Todėl pagrindiniu šio magistro darbo uždaviniu tapo: atskleisti pasakotojo pozicijų kaitą romane, kodėl tokios pasakojimo moduliacijos yra taikomos, kaip veikti jos priverčia patį pasakotoją ir skaitytoją, kokie yra santykiai tarp pasakotojo ir personažų. Kūrinys, kurį šiame magistro darbe analizuojame, yra A. Robbe-Grillet Labirinte. Šis romanas yra pasirinktas, nes jis – geriausias Naujojo romano pavyzdys. Šiame romane darbo autorius stengiasi atskleisti: kuo pasakotojas naujajame romane yra modernus, kaip jo modernumas yra kuriamas, kokie yra jo santykiai su personažais, daiktiškąja aplinka ir skaitytoju. Atsakyti į šiuos klausimus yra pasitelkiama naratologinė bei semiotinė teksto analizė. Tyrime šios dvi strategijos padeda atskleisti, kodėl pasakotojas tampa pačia svarbiausia, siužetą lemiančia pasakojimo figūra ir kodėl pasakotojas, skirtingai nuo tradicinio romano visažinio pasakotojo, naujajame romane tik bando tapti naratoriumi, tačiau patiria nesėkmę. / There are a lot of modern traits in New Novel: the modulation of time and space, the death oj subject, refusal of the meaning etc. Besides that, the main trait of New Novel is the level of narration and the functions of narrator. That is why the main object of this magister work is: to show the modulation of narrator‘s positions, to show why these modulations are used, to show how these modulations make act the narrator and his addressee. The main novel, we analyz in this magister work is A. Robbe-Grillet In the Labyrinth. This novel was choosed because it is the best example of the New Novel. In this novel the author trys to explain: how modern is the narrator in the novel, how this modernism of the narrator is creating, what is the type of communication between the narrator, the subjects (the subjects are human and the items) and the addressee of the novel. The methods of narratology and semiotc is the way to answer to these questions. These two strategies help to show, why the narrator becomes the main figure in the novel, who determines the plot of the novel and why the narrator, on the contrary to he traditional type of narrator who knows-all, just tries to be like him, but he didn‘t succeed. In the Labyrinth the narrator doesn‘t know anything.

This thesis examines narrative uncertainty in the twentieth century novel as it relates to madness, adultery, and the convention of the unreliable narrator. The unreliable narratives of Ford Madox Ford’s The Good Soldier and Marguerite Duras’ Le Ravissement de Lol V. Stein expose their characters’ investment in illusions, the doubling of the narrators’ and readers’ desires to interpret, the transfer of madness through narrative, and the possibility that a void of meaning underlies the text.