This paper suggests that a reconceptualization of the structuralist framework of story anddiscourse, the foundational concept of narrative theory, is needed in order to account for postmodernist texts. It reframes story and discourse as an “intra-textual” approach, wherein individual narrative strata are understood as equal and interrelated voices within a text, thus refusing to privilege any one aspect over another. In other words, I work to build a method of narrative analysis that interrogates form as it manifests across various levels of narrative, uncovering the patterns, connections, fissures and inconsistencies that emerge within and between the various levels in order to produce meaning. The paper then employs this method through a reading of Samuel Beckett’s postwar Trilogy that argues against traditional critical interpretations of the text, thus presenting a new possibility for historicizing Beckett at the midcentury mark.

At the heart of present literacy, and narrative, learning paradigms are the "literate behaviours" usually associated with aspects of learning to encode and decode print. These paradigms have been criticized for placing written and verbal language in a privileged position. Furthermore, whilst an increasing number of theorists and educators are asking for the inclusion of multimodal approaches to learning narrative, current curricula, and the research that informs it, continue to be founded on "verbocentric" approaches and linear forms of narrative expression. Through the development and evaluation of a curricular approach to narrative learning for 7-8 year-olds based on the visual arts, this study aims to ascertain whether there is a need for broader conceptions of narrative as well as for complementary modes of narrative composition than those currently being used in primary schools. Documentation in the form of the children‘s painted narratives and transcripts of the children's oral accounts of their narratives was the major component of data collection. Individual and small group interviews and participant observation were supplementary sources to assist in the interpretation of the narrative paintings the children composed. The children‘s narratives were analysed using a narratological semiotic model, which divides narrative into 'discourse' and 'story' and distinguishes between the 'content' and 'form' of each of these elements.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-04-18T13:09:46Z No. of bitstreams: 1 ENI SANTOS CARVALHO.pdf: 969626 bytes, checksum: bb13f968f892b50e4be787239b0f4a08 (MD5) / Made available in DSpace on 2018-04-18T13:09:46Z (GMT). No. of bitstreams: 1 ENI SANTOS CARVALHO.pdf: 969626 bytes, checksum: bb13f968f892b50e4be787239b0f4a08 (MD5) Previous issue date: 2018-02-22 / The focus on this research was promote analytics and theories studies in short narratives, highlighted the instances of the narrative discourse meaning production, establish the relations of Lacraus’ short narratives textual construction, by Miguel Jorge, separating the frames and montage process and other arts approaching. The study emphasis was the textual architecture that promotes text and reader interaction, text effect and reception, as a contemporaneity conjunction: genre hybridization and verify the tension actions in narrative linear and non-linear discourse in focus. In way to accomplish the general and specifics objectives of this research, some Miguel Jorge’s narrative texts was used in a way to analyze the theory and analytic fundamentals. From Miguel Jorge’s works, it was observed the construction process adopted by the author on the character’s constructions as a way to capture and silence them. Between a variety of theory authors used in this study, Alfredo Bosi, Aguinaldo J. Gonçalves, Boris A. Uspênski, Eleazar M. Meletínski, Gerard Genette, Robert Humphrey, Roland Barthes and Tzvetan Todorov had an effective influence on the critical thinking. / O objetivo desta pesquisa é desenvolver estudos teóricos e análise de narrativas curtas, destacando as instâncias produtoras de significação do discurso narrativo, observando o constructo textual de contos da obra Lacraus, de Miguel Jorge, perpassado por linguagens de outras artes, destacando o processo de emolduragem e montagem. A ênfase de nosso estudo incidirá sobre a arquitetura textual em que se institui a interação entre texto e leitor, efeitos de sentido, numa conjunção de ingredientes da contemporaneidade: hibridização de gêneros; ações tensivas entre linearidade/não linearidade no discurso em questão. Para que cumpríssemos os objetivos gerais e específicos deste estudo, selecionamos textos narrativos do escritor goiano Miguel Jorge e, por meio deles, aplicamos os conceitos acima destacados. Da obra de Miguel Jorge são extraídos os procedimentos construtivos adotados pelo autor na constituição das personagens inscritas em situações que, ora as aprisionam, ora as silenciam. Dentre os vários teóricos utilizados neste trabalho, destacamos os que tiveram uma influência efetiva em nosso pensamento crítico: Alfredo Bosi, Aguinaldo J. Gonçalves, Boris A. Uspênski, Eleazar M. Meletínski, Gerard Genette, Robert Humphrey, Roland Barthes, Tzvetan Todorov.

The characterization of the Markan disciples has been and continues to be the object of much scholarly reflection and speculation. For many, the Markan author's presentation of Jesus' disciples holds a key, if not the key, to unlocking the purpose and function of the gospel as a whole. Commentators differ as to whether the Markan disciples ultimately serve a pedagogical or polemical function, yet they are generally agreed that the disciples in Mark come off rather badly, especially when compared to their literary counterparts in Matthew, Luke, and John. This narrative-critical study considers the characterization of the Markan disciples within the Sea Crossing movement (Mark 4:1-8:30). While commentators have, on the whole, interpreted the disciples' negative characterization in this movement in terms of lack of faith and/or incomprehension, neither of these, nor a combination of the two, fully accounts for the severity of language leveled against the disciples by the narrator (6:52) and Jesus (8:17-18). Taking as its starting point an argument by Jeffrey B. Gibson (1986) that the harshness of Jesus' rebuke in Mark 8:14-21 is occasioned not by the disciples' lack of faith or incomprehension but by their active resistance to his Gentile mission, this investigation uncovers additional examples of the disciples' resistance to Gentile mission, offering a better account of their negative portrayal within the Sea Crossing movement and helping explain many of their other failures. In short, this study argues that in Mark 4:1-8:26, the disciples are characterized as resistant to Jesus' Gentile mission and to their participation in that mission, the chief consequence being that they are rendered incapable of recognizing Jesus' vocational identity as Israel's Messiah (Thesis A). This leads to a secondary thesis, namely, that in Mark 8:27-30, Peter's recognition of Jesus' messianic identity indicates that the disciples have finally come to accept Jesus' Gentile mission and their participation in it (Thesis B). Chapter One: Introduction: offers a selective review of scholarly treatments of the Markan disciples, which shows that few scholars attribute resistance, let alone purposeful resistance, to the disciples. Chapter Two: The Rhetoric of Repetition: introduces the methodological tools, concepts, and perspectives employed in the study. It includes a section on narrative criticism, which focuses upon the story-as-discoursed and the implied author and reader, and a section on Construction Grammar, a branch of cognitive linguistics founded by Charles Fillmore and further developed by Paul Danove, which focuses upon semantic and narrative frames and case frame analysis. Chapter Three: The Sea Crossing Movement, Mark 4:1-8:30: addresses the question of Markan structure and argues that Mark 4:1-8:30 comprises a single, unified, narrative movement, whose action and plot is oriented to the Sea of Galilee and whose most distinctive feature is the network of sea crossings that transport Jesus and his disciples back and forth between Jewish and Gentile geopolitical spaces. Following William Freedman, Chapter Four: The Literary Motif: introduces two criteria (frequency and avoidability) for determining objectively what constitutes a literary motif and provides the methodological basis and starting point for the analyses performed in chapters five and six. Chapter Five: The Sea Crossing Motif: establishes and then carries out a lengthy narrative analysis of the Sea Crossing motif, which is oriented around Mark's use of ‎θάλασσα (thalassa) and πλοῖον (ploion), and Chapter Six: The Loaves Motif: does the same for The Loaves motif, oriented around Mark's use of ἄρτος (artos). Finally, Chapter Seven: The Narrative Logic of the Disciples (In)comprehension: draws together all narrative, linguistic, and exegetical insights of the previous chapters and offers a single coherent reading of the Sea Crossing movement that establishes Theses A and B.