This thesis explores the meaning and significance of the form of Ibn Ishaq’s Sirat Rasul Allah. It asks the questions: What are the possible reasons for Ibn Ishaq choosing a narrative form for this biography of Muhammad? What does a narrative format grant the text? Are there historical factors which could have influenced the decision? What other influences affected the text? Finally, what are the implications of Ibn Ishaq’s decision to use a narrative form? Taking into consideration narrative theory, the historical setting, and textual evidence, the thesis argues that Ibn Ishaq chose the format most likely to control the image of Muhammad, thus controlling the conversation of what Islam should be. The implications of this view affect how one understands the usages of the Sira as well as the historicity of the text.

This dissertation offers the term “narrative intimacy” to refer to an implicit relationship between narrator and reader that depends upon disclosure and trust. By examining contemporary American fiction for adolescent women by critically- and commercially-successful authors such as Sarah Dessen, Stephenie Meyer, and Laurie Halse Anderson, I explore the use of narrative intimacy as a means of reflecting and reinforcing larger, often contradictory, cultural expectations regarding adolescent women, interpersonal relationships, and intimacy. Specifically, I investigate the possibility that adolescent women narrators construct understandings of the adolescent woman reader as a friend, partner in desire, or “bibliotherapist,” which in turn allow the narrator to understand the reader as a safe and appropriate location for disclosure. At the same time, the novels I discuss offer frequent warnings against the sort of unfettered disclosure the narrators perform in their relationships with the reader: friendships are marked as potential sites of betrayal and rejection, while romantic relationships are presented as inherently threatening to physical and emotional health. In order to interrogate the construction of narrative intimacy, I rely upon a tradition of narrative and reception theory concerning the roles of narrator and reader. I also turn to other cultural representations of adolescent women and their relationships, from films, television, and magazines to the self-help and nonfiction literature that provides insight into current psychological, sociological, and anthropological understandings of adolescent womanhood. Ultimately, I argue, the prevalence of narrative intimacy in fiction for adolescent women reflects a complex system that encourages adolescent women to seek intimate interpersonal relationships even as it discourages the type and degree of disclosure that is ostensibly required in the development of intimacy. The narrator thus turns to the reader because the “logical gap”—to borrow a term from Peter Lamarque—between fiction and reality allows for a construction of the reader as a recipient of disclosure who cannot respond with the threats of criticism, judgment, or rejection that may be presented by other characters within the text. The reader, in turn, may come to depend upon narrative intimacy as a space through which to vicariously explore her own understanding of intimacy.

The primary goal of this paper is to gain a better understanding of the unreliable narrator as a literary device. Furthermore, I argue that the distance between an author and narrator in realist fiction can be simulated in autobiographical prose. While previous studies have focused mainly on extra- and intertextual incongruities (factual inaccuracies; disparities between two nonfiction texts), the present study attempts to demonstrate that the memoirist can employ unreliable narration intratexually as a rhetorical tool. The paper begins with some examples of how the unreliable narrator is used, interpreted, misused and misinterpreted. The device’s troubled history is examined—Wayne Booth and James Phelan have argued for an encoded strategy on the part of the (implied) author while Tamar Yacobi and Ansgar Nünning have embraced a reader-oriented model—as well as the recent (and in my opinion, inevitable) convergence of the rhetorical and cognitive/constructivist models. Aside from “What is the unreliable narrator,” two questions underlie the present study: 1) Does a fiction writer using homodiegetic narration have an obligation to adhere to formal mimeticism (do we believe it)? 2) Being that unreliable narrators are so prevalent in everyday life, why is the device, in nonfiction, considered almost verboten? Two texts are analyzed for the first question: Fitzgerald’s The Great Gatsby is argued to be a mimetically successful fictive “memoir” penned by a disillusioned, albeit reliable, narrator. Ishiguro’s The Remains of the Day is presented as a synthetically flawless example of unreliable narration, but alas, a mimetic failure. Likewise, two texts are analyzed for the second question: Nick Flynn’s Another Bullshit Night in Suck City is viewed through the lens of overt fiction as a means of depicting uncertainty in autobiography. Similarly, Richard’s Wright’s Black Boy, with its overarching themes of survival and deception, is examined for the narrator’s use of “tall tales.” The critical and commercial success of both books suggests that the unreliable narrator does indeed have a place in autobiography—provided that the device is employed in service of a greater truth.

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Indiana University-Purdue University Indianapolis (IUPUI) / Despite clinical recommendations, only 25.8% of infants in the United States are exclusively breastfed at 6 months of age. Breastfeeding policies and communication campaigns exist to support exclusive breastfeeding, and women who use formula report facing stigma and feeling like a failure. Narratives can be used to discern how individuals make sense of experiences related to health, and narrative theorizing in health communication provides a framework of problematics used to explain how individuals construct stories that reveal the tensions between continuity and disruption and creativity and constraint. Individual experiences are often influenced by master narratives such as “Breast is best,” which are phrases that shape our understanding of the world. Because of the negative impact of using formula on maternal well-being, the purpose of this research was to use a narrative framework to analyze the stories of women who used formula in relation to the master narrative of breast is best. Building off of pilot interviews with 22 mothers, semi-structured interviews were conducted with 20 women who had used formula within the first 6 months after giving birth and had an infant no older than 12 months at the time of the interview. Qualitative analysis revealed that women perceived formula as shameful and costly. Conversely, they viewed breastfeeding as biologically superior, better for bonding, and a way to enact good motherhood. Current messaging about breastfeeding, particularly for women who intend to breastfeed, may have unintended negative effects when women face a disruption to their breastfeeding journey. In addition, women viewed breastfeeding and formula feeding as in relation to and in opposition to one another, reducing the perceived acceptability of behaviors such as combination feeding. Despite constraints in the master narrative regarding acceptable infant feeding practices, women demonstrated creativity in their individual stories and found formula feeding enabled more equitable parenting and preserved mental health. Practical implications include that organizations promoting exclusive breastfeeding in the United States should move away from framing breastfeeding as an all-or-nothing choice and develop tailored and value-neutral messaging recognizing breastfeeding as a complex psychosocial and biological process.

Orientador: Igor Rossoni / Banca: Sílvia Maria Azevedo / Banca: Sérgio Vicente Mota / Resumo: Este trabalho investigativo aborda questões relevantes sobre a consciência discursível em A morte e a morte de Quincas Berro D'Água de Jorge Amado. Observa-se, portanto, o reconhecido valor artístico que o conjunto da obra evidencia, e que através de uma sustentação teórica e pela aplicabilidade prática da mesma pode ficar comprovado o teor retórico ali contido. / Abstract: This present invesgative work approaches relevant matters about the discourssive consciousness on A morte de Quincas Berro D'Água de Jorge Amado. Therefore it is noticed the recognized artistic value that the set of the work shows up and also that included in the work confirmed. / Mestre

<p>Although many communication scholars have explored how parents and children navigate difficult conversations about taboo topics, little to no research exists concerning pornography, specifically from the perspective of the child. To fill this research gap, the following qualitative study utilized a narrative framework and methodology to explore characteristics in parent-child conversations about pornography that illicit positive or negative perceptions from children about those conversations. 18 young adults (18-25 years old) participated in semi-structured interviews in which they shared stories about conversations they had with their parents about pornography. Five major themes surfaced from the thematic analysis of the data: (1) <i>open/closed relationship</i>, (2) <i>discussion-/lecture-based conversation structure</i>, (3) <i>specificity/ambiguity of conversation details</i>, (4) <i>affirmation/denial of curiosity</i>, and (5) <i>appropriate/inappropriate conversation context</i>. The findings have theoretical implications and contextual contributions for family communication scholars in further exploring the topic of pornography as well as practical insights for parents to reflect upon in seeking to strengthen their conversations about pornography with their children.</p>

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.

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