曾翠薇. / "2003年12月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻 (leaves 71-74). / 附中英文摘要. / "2003 nian 12 yue". / Zeng Cuiwei. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 71-74). / Fu Zhong Ying wen zhai yao. / Chapter 第一章- --- 緒論 / Chapter 第一節： --- 何謂敘事 --- p.1-2 / Chapter 第二節： --- 敘事與人生的實踐 --- p.2-7 / Chapter 第二章- --- 西方敘事性繪畫的釋義及演變 / Chapter 第一節： --- 敘事性繪畫的定義 --- p.7-8 / Chapter 第二節： --- 二十世紀現代藝術的敘事性繪畫 / Chapter 2.1 --- 現代藝術的文化背景 --- p.8-9 / Chapter 2.2 --- 敘事性繪畫在現代藝術中的發展狀況 / Chapter 2.2.1 --- 表現主義繪畫的個體表述 --- p.10-12 / Chapter 2.2.2 --- 超現實主義繪畫的敘事手法 --- p.12-14 / Chapter 第三節： --- 當代敘事性繪畫的面貌 / Chapter 3.1 --- 當代藝術的敘事方式 --- p.14-16 / Chapter 3.2 --- 二十世紀末的敘事性繪畫 --- p.16-17 / Chapter 3.3 --- “新表現´ح和“超前衛´ح --- p.17-21 / Chapter 3.4 --- “新意象´ح與“塗鴉´ح --- p.21-23 / Chapter 第三章- --- 「新繪畫」與當代藝術的關係及其時代意義 / Chapter 第一節： --- 二十世紀下旬藝術的發展形勢 --- p.23-26 / Chapter 第二節： --- 「新繪畫」的作品特徵與後現代文化之關係 / Chapter 2.1 --- 隱喻和象徵 --- p.26-27 / Chapter 2.2 --- 神話與寓言 --- p.27-30 / Chapter 2.3 --- 原始和本能 --- p.31-32 / Chapter 2.4 --- 反諷與拼貼 --- p.32-34 / Chapter 第三節： --- 繪畫的復興的時代訊息 / Chapter 3.1 --- 反省精神 --- p.34 / Chapter 3.2 --- 形象的回歸 --- p.34-35 / Chapter 3.3 --- 敘事性和文學性重新被肯定 --- p.35 / Chapter 第四章- --- 探討繪畫中「真實」意涵的演變 / Chapter 第一節： --- 繪畫中「真實」意涵的演變 / Chapter 1.1 --- 再現的真實 --- p.36-40 / Chapter 1.2 --- 真實與表現性 --- p.40 / Chapter 1.3 --- 個體內在的真實 --- p.40-41 / Chapter 1.4 --- 原始、本能與真實 --- p.42 / Chapter 1.5 --- 後現代中的真實 --- p.43-46 / Chapter 第二節： --- 在敘事性繪畫中追逐「真實」的意涵 --- p.46-49 / Chapter 第五章- --- 結論 --- p.49-53

Within painting, there are numerous possibilities for the ways in which a narrative can be compositionally presented in order to communicate a particular emotion or story. Traditional devices including gesture, facial expression, interaction of figures and symbolism establish foundations within the composition to facilitate a narrative response and formulate questions as to the how, what and why. This formal language may also be considered in addition to other concepts surrounding the term narrative itself. The notion of narrative as something which is fluid also encompasses issues of time, movement, and continuity; idea??s which seemingly contradict the static temperament of painting. How painters have been able to successfully construct elements of narrative in their work, while also capturing a sense of movement or a passage of time is the starting point at which the following research takes shape. When embarking on this project, I realised that there was no definitive text on this subject which specifically analysed the form and composition of pictorial narratives as sole entities. Theoretical discussions surrounding a painting??s formal arrangement have mostly been produced in relation to how they either illustrated or have been adapted from a written source. This paper is intended to examine the structure of narrative paintings from a stand alone visual perspective, and not how they are comparative to a literary source. Over the course of this investigation, I subsequently found that the methodologies of continuous narrative paintings from the Renaissance echoed certain theoretical concerns within contemporary cinematic narratives. While painting and film maintain a relationship to some degree because they are both visual media, (in reference to colour, tone and symbolism), the most interesting parallel is the depiction of time. This correlation between painting and film, where elements of the narrative are compositionally presented in a non-linear way, has had the most important influence over the production of my work for the exhibition, ??Hidden Fractures; A Narrative in Time??. Certain structures within film, such as event ??order?? and sequencing resonate correspondingly to the stylistic approach sustained within recent work. This ??jig-saw?? method, presents individual paintings (or canvases) akin to pieces of a story which have been sliced up, and placed back together out of their ??chronological?? order. These chosen snippets may represent a scene or emotion, and uphold their own position or viewpoint in relation to another image or painting. These unmatched sequences of images, similar to the unmatched sequences in film, can disrupt the perception and flow of space, and sense of narrative order. When sequences are viewed out of order, the perception of events within the narrative change. The viewer strives to construct the meaning of the work dependent upon each image??s relationship to another, in turn forming the underlying narrative. Through such ??story comprehension??, the viewer endeavours to create ??logical connections among data in order to match general categories of schema??. (Brangian 15)

Within painting, there are numerous possibilities for the ways in which a narrative can be compositionally presented in order to communicate a particular emotion or story. Traditional devices including gesture, facial expression, interaction of figures and symbolism establish foundations within the composition to facilitate a narrative response and formulate questions as to the how, what and why. This formal language may also be considered in addition to other concepts surrounding the term narrative itself. The notion of narrative as something which is fluid also encompasses issues of time, movement, and continuity; idea??s which seemingly contradict the static temperament of painting. How painters have been able to successfully construct elements of narrative in their work, while also capturing a sense of movement or a passage of time is the starting point at which the following research takes shape. When embarking on this project, I realised that there was no definitive text on this subject which specifically analysed the form and composition of pictorial narratives as sole entities. Theoretical discussions surrounding a painting??s formal arrangement have mostly been produced in relation to how they either illustrated or have been adapted from a written source. This paper is intended to examine the structure of narrative paintings from a stand alone visual perspective, and not how they are comparative to a literary source. Over the course of this investigation, I subsequently found that the methodologies of continuous narrative paintings from the Renaissance echoed certain theoretical concerns within contemporary cinematic narratives. While painting and film maintain a relationship to some degree because they are both visual media, (in reference to colour, tone and symbolism), the most interesting parallel is the depiction of time. This correlation between painting and film, where elements of the narrative are compositionally presented in a non-linear way, has had the most important influence over the production of my work for the exhibition, ??Hidden Fractures; A Narrative in Time??. Certain structures within film, such as event ??order?? and sequencing resonate correspondingly to the stylistic approach sustained within recent work. This ??jig-saw?? method, presents individual paintings (or canvases) akin to pieces of a story which have been sliced up, and placed back together out of their ??chronological?? order. These chosen snippets may represent a scene or emotion, and uphold their own position or viewpoint in relation to another image or painting. These unmatched sequences of images, similar to the unmatched sequences in film, can disrupt the perception and flow of space, and sense of narrative order. When sequences are viewed out of order, the perception of events within the narrative change. The viewer strives to construct the meaning of the work dependent upon each image??s relationship to another, in turn forming the underlying narrative. Through such ??story comprehension??, the viewer endeavours to create ??logical connections among data in order to match general categories of schema??. (Brangian 15)

Thesis--Tübingen. / Vita. Includes indexes. Includes bibliographical references (p. 180-195).

Thesis (M.F.A.)--Georgia State University, 2008. / Joseph Peragine, committee chair; Teresa Bramlette-Reeves, Cheryl Goldsleger, committee members. Title from file title page. Electronic text (25 p. : col. ill.) : digital, PDF file. Description based on contents viewed Aug. 14, 2008. Includes bibliographical references (p. 16).

Thesis--Tübingen. / Vita. Includes indexes. Includes bibliographical references (p. 180-195).

Thesis (Ph. D.)--University of California at Berkeley, 1988. / Includes bibliographical references (leaves 428-445).

A study was conducted of Introductory Art students to find if the six traits of writing as written by Spandel/Stiggins (1997) would have influence over a narrative painting when combined with the six traits of painting. Inconclusive findings were reported. Data difference between the treated and untreated class was less than one point. More research needs to be conducted to study transfer of knowledge from verbal to visual as well as from one curriculum to another with both curriculums teaching same material.

Thesis (Ph. D.)--Columbia University, 1962. / Appendix in Japanese characters. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 292-303).

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.