Stories of Wisdom to Live By: Developing Wisdom in a Narrative Mode

2012 ◽  
pp. 137-164
Author(s):  
Michel Ferrari ◽  
Nic M. Weststrate ◽  
Anda Petro
Keyword(s):  
Narrative Mode

Charles Williams’s Arthuriad: Mythic Vision and the Possibilities of Belief

2011 ◽  
Vol 1 (1) ◽  
pp. 33-46
Author(s):  
J. G. Bradbury
Keyword(s):  
Religious Faith ◽  
Source Material ◽  
Modern World ◽  
Christian Belief ◽  
Devotional Poetry ◽  
Religious Worldview ◽  
Intellectual Milieu ◽  
Charles Williams ◽  
Narrative Mode ◽  
Intellectual Environment

This essay explores Charles Williams’s use of the Arthurian myth to sustain a religious worldview in the aftermath of sustained attacks on the relevance and veracity of Christian belief in the early twentieth century. The premise to be explored is that key developments in science and philosophy made during the nineteenth and early twentieth centuries resulted in a cultural and intellectual milieu in which assertions of religious faith became increasingly difficult. In literary terms this became evident in, amongst other things, the significant reduction in the production of devotional poetry. By the late 1930s the intellectual environment was such that Charles Williams, a man of profound religious belief who might otherwise have been expected to produce devotional work, turned to a much older mode, that of myth, that had taken on new relevance in the modern world. Williams’s use of this mode allowed him the possibility of expressing a singularly Christian vision to a world in which such vision was in danger of becoming anathema. This essay examines the way in which Williams’s lexis, verse structure, and narrative mode builds on his Arthurian source material to allow for an appreciation of religiously-informed ideas in the modern world.

L’absence chez Michel Butor. L’Emploi du temps et Degrés

2012 ◽  
pp. 66-80
Author(s):  
Michał Mrozowicki
Keyword(s):  
Human Memory ◽  
Point Of View ◽  
Narrative Discourse ◽  
The Novel ◽  
Michel Butor ◽  
Starting Point ◽  
One Year ◽  
The Moment ◽  
Narrative Mode ◽  
The City

Michel Butor, born in 1926, one of the leaders of the French New Novel movement, has written only four novels between 1954 and 1960. The most famous of them is La Modification (Second thoughts), published in 1957. The author of the paper analyzes two other Butor’s novels: L’Emploi du temps (Passing time) – 1956, and Degrés (Degrees) – 1960. The theme of absence is crucial in both of them. In the former, the novel, presented as the diary of Jacques Revel, a young Frenchman spending a year in Bleston (a fictitious English city vaguely similar to Manchester), describes the narrator’s struggle to survive in a double – spatial and temporal – labyrinth. The first of them, formed by Bleston’s streets, squares and parks, is symbolized by the City plan. During his one year sojourn in the city, using its plan, Revel learns patiently how to move in its different districts, and in its strange labyrinth – strange because devoid any centre – that at the end stops annoying him. The other, the temporal one, symbolized by the diary itself, the labyrinth of the human memory, discovered by the narrator rather lately, somewhere in the middle of the year passed in Bleston, becomes, by contrast, more and more dense and complex, which is reflected by an increasinly complex narration used to describe the past. However, at the moment Revel is leaving the city, he is still unable to recall and to describe the events of the 29th of February 1952. This gap, this absence, symbolizes his defeat as the narrator, and, in the same time, the human memory’s limits. In Degrees temporal and spatial structures are also very important. This time round, however, the problems of the narration itself, become predominant. Considered from this point of view, the novel announces Gerard Genette’s work Narrative Discourse and his theoretical discussion of two narratological categories: narrative voice and narrative mode. Having transgressed his narrative competences, Pierre Vernier, the narrator of the first and the second parts of the novel, who, taking as a starting point, a complete account of one hour at school, tries to describe the whole world and various aspects of the human civilization for the benefit of his nephew, Pierre Eller, must fail and disappear, as the narrator, from the third part, which is narrated by another narrator, less audacious and more credible.

scholarly journals Modes of Interaction in Naturally Occurring Medical Encounters With General Practitioners: The “One in a Million” Study

2021 ◽  
pp. 104973232199379
Author(s):  
Olaug S. Lian ◽  
Sarah Nettleton ◽  
Åge Wifstad ◽  
Christopher Dowrick
Keyword(s):  
General Practitioners ◽  
Narrative Analysis ◽  
Mode Competition ◽  
General Applicability ◽  
Naturally Occurring ◽  
Wide Range ◽  
The One ◽  
Narrative Mode ◽  
Modes Of Interaction

In this article, we qualitatively explore the manner and style in which medical encounters between patients and general practitioners (GPs) are mutually conducted, as exhibited in situ in 10 consultations sourced from the One in a Million: Primary Care Consultations Archive in England. Our main objectives are to identify interactional modes, to develop a classification of these modes, and to uncover how modes emerge and shift both within and between consultations. Deploying an interactional perspective and a thematic and narrative analysis of consultation transcripts, we identified five distinctive interactional modes: question and answer (Q&A) mode, lecture mode, probabilistic mode, competition mode, and narrative mode. Most modes are GP-led. Mode shifts within consultations generally map on to the chronology of the medical encounter. Patient-led narrative modes are initiated by patients themselves, which demonstrates agency. Our classification of modes derives from complete naturally occurring consultations, covering a wide range of symptoms, and may have general applicability.

scholarly journals La comunicabilidad de lo ambiguo: una propuesta narratológica para el análisis de la ficción televisiva compleja

2019 ◽  
Vol 28 ◽  
pp. 867
Author(s):  
Antonio Loriguillo-López
Keyword(s):  
Present Article ◽  
Television Studies ◽  
Narrative Strategies ◽  
Stylistic Feature ◽  
English Speaking ◽  
Narrative Mode ◽  
New Phase

El presente artículo propone una metodología de análisis de la narración ambigua en la ficción televisiva contemporánea, rasgo estilístico al alza entre propuestas comerciales. A través de la adaptación y aplicación de la comunicabilidad enunciada por David Bordwell como estrategia nar­rativa en su estudio de los modos de narración cinematográficos a una muestra de series dramáticas de origen anglosajón, se ofrece un primer tratamiento del modo narrativo de lo que desde los estudios televisivos se ha identificado como televisión compleja. Finalmente, se apunta a la cor­respondencia de este modelo con una nueva fase del modelo de narración del audiovisual postclásico.The present article proposes a methodology of analysis of the ambiguous narration in contemporary television fiction, a stylistic feature on the rise among commercial titles. Through the adaptation and applica­tion of the communicativeness formulated by David Bordwell as one of the categories of narrative strategies in his examination of the modes of narration in film to a sample of drama series produced in English-speaking regions, we offer a primary approach to the narrative mode of what has come to be known in the field of Television Studies as complex TV. Lastly, we note the correspondence between this model and a new phase of the audiovisual post-classical narration.

Magic Realism as Rewriting Postcolonial Identity: A Study of Rushdie’s Midnight’s Children

2021 ◽  
Vol 3 (1) ◽  
pp. 74-82
Author(s):  
Khum Prasad Sharma
Keyword(s):  
Methodological Approach ◽  
Colonial History ◽  
Magic Realism ◽  
Postcolonial Identity ◽  
Oppressed Group ◽  
Midnight's Children ◽  
Simultaneous Existence ◽  
Sense Of Reality ◽  
Narrative Mode ◽  
Literary Narrative

Magic realism as a literary narrative mode has been used by different critics and writers in their fictional works. The majority of the magic realist narrative is set in a postcolonial context and written from the perspective of the politically oppressed group. Magic realism, by giving the marginalized and the oppressed a voice, allows them to tell their own story, to reinterpret the established version of history written from the dominant perspective and to create their own version of history. This innovative narrative mode in its opposition of the notion of absolute history emphasizes the possibility of simultaneous existence of many truths at the same time. In this paper, the researcher, in efforts to unfold conditions culturally marginalized, explores the relevance of alternative sense of reality to reinterpret the official version of colonial history in Salman Rushdie’s Midnight’s Children from the perspective of magic realism.  As a methodological approach to respond to the fiction text, magic realism endows reinterpretation and reconsideration of the official colonial history in reaffirmation of identity of the culturally marginalized people with diverse voices.

Greening a Narrative Mode:

2018 ◽  
pp. 43-58
Author(s):  
Ben Holgate
Keyword(s):  
Narrative Mode

The Rhetoric of the Passions

2021 ◽  
pp. 85-117
Author(s):  
Benedict S. Robinson
Keyword(s):  
Early Modern ◽  
Literary Theory ◽  
Paradise Lost ◽  
Francis Bacon ◽  
Affective Experience ◽  
Narrative Mode ◽  
Freedom And Responsibility

In the Advancement of Learning, Francis Bacon complains that there was no adequate science of the passions: in the place where the passions should be discussed—ethics—they were generally handled only in summary or inadequate ways; the most extensive and particularized accounts of the passions belong to poetry and history as they are informed by rhetoric; but neither poetry, history, nor rhetoric turned their observations into the basis of systematic investigations. This chapter describes the rhetoric of the passions, tracing it to works by Aristotle, Cicero, and Quintilian, textbooks like the progymnasmata—basic exercises in rhetoric—and early modern literary theory. The chapter argues that the heart of this rhetoric of the passions lies in an account of narrative as an instrument of the knowledge of the passions in their particularity, producing what Bacon calls “active and ample descriptions and observations.” The chapter uses that rhetoric of the passions as a lens for interpreting the early modern treatises on the passions as well as Montaigne’s essays. Finally, it reads Milton’s Paradise Lost as a serious confrontation with narrative as an instrument of the knowledge of the passions. Milton forges his poetry into an instrument for investigating minute fluctuations of affective experience as they drive conversational exchanges; but he also raises questions about the implications of that narrative mode of understanding for his theological principles of absolute freedom and responsibility.

Beyond Nostalgia

2020 ◽  
pp. 66-92
Author(s):  
Jing Meng
Keyword(s):  
Everyday Life ◽  
Cultural Revolution ◽  
The State ◽  
Self Awareness ◽  
Ordinary People ◽  
Dominant Ideology ◽  
Individual Agency ◽  
Narrative Mode ◽  
Film Making ◽  
The Cultural Revolution

In Chapter 3, 11 Flowers represents personal and fragmented memories of the Cultural Revolution from an 11-year-old boy’s perspective. These memories challenge the monolithic narrative of history and the Maoist rhetoric of revolution. At the same time, this fragmented narrative mode enables individual agency in narrating and constructing history. In addition, through portrayals of everyday life in the Maoist era, the film reveals how the dominant ideology at that time was strategically misinterpreted by ordinary people and was dispersed in everyday life. Socialism, in this context, becomes a mystery, a joke, and a traumatic awakening. In the lm, art possesses enlightening power for the 11-year-old boy, who begins to obtain self-awareness through painting. The film thus conveys the director’s authorial enunciation and his belief in art as a form of liberation, not only for a boy in the Cultural Revolution but also for Wang Xiaoshuai as a film-maker. The shifting trajectory of Wang’s film-making—from independent to art house—alludes to the shifting relations between film-making, the state, and the market. In 11 Flowers, personal memories become the hallmark of Wang’s auteur expression.

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