Narrative Structure

2017 ◽  
pp. 39-56
Author(s):  
Giulia Miller
Keyword(s):  
False Memory ◽  
Narrative Structure ◽  
Total Recall ◽  
Final Scene ◽  
The Moment ◽  
Real Truth

This chapter is concerned with the narrative structure of Ari Folman's Waltz with Bashir. It reflects on the differences between Waltz with Bashir's story and plot, as defined by David Bordwell and Kristin Thompson in their seminal text Film Art: An Introduction and looks at how information is revealed to the audience. It also looks at the ten animated interview scenes ordered around in Waltz with Bashir, which allegedly took place in 2006 and are carried out as part of an investigation to help the film's narrator-protagonist to overcome his amnesia about his role during the First Lebanon War. The chapter analyzes Waltz with Bashir's final scene that uses live news footage of the Sabra and Shatila camps and appears to mark the moment when the protagonist is hit by the full emotional force of his memories. It talks about the juxtaposition of live footage with total recall that suggests that Waltz with Bashir moves from unreliable or 'false' memory to 'real' truth.

Materialist Criticism and Cordelia's Quasi-Resurrection in King Lear

2007 ◽  
Vol 11 (3-4) ◽  
pp. 436-453 ◽  
Author(s):  
Sean Benson
Keyword(s):  
King Lear ◽  
Final Scene ◽  
Tangible Rewards ◽  
The Dead ◽  
First Folio ◽  
The Moment ◽  
Religious Understanding

AbstractThis essay examines King Lear's belief that the dead Cordelia revives or resuscitates near the very end of the play. This quasi-resurrection, which occurs only in the First Folio (1623), has divided critics into those who regard the moment as mere delusion and others who see it as adumbrating a moment of blessed release. Following a survey of these "redemptionist" versus the predominant nihilist-oriented readings of the play, I examine the influential materialist interpretations offered by Stephen Greenblatt and Jonathan Dollimore. Both insist that Cordelia's quasi-resurrection, since it never reaches fruition, frustrates a religious understanding of the play. (Materialist criticism only counts tangible rewards as meaningful.) The play, however, is more consistent with Hans-Georg Gadamer's view that tragedy overwhelms us with its suffering rather than promotes this-worldly justice. Cordelia's quasi-resurrection gestures towards a possible otherworldly redemption even as it reminds audiences of the Resurrection that, in Lear's pagan world, cannot be replicated. Shakespeare's anachronisms thus superimpose the Christian resurrectionary tradition on the pagan setting of the play; his doing so places the hope and despair of the final scene—the contrast between their transcendent aspirations and the mundane reality of their unresurrected corpses—in the delicate equipoise of his art.

Suicide as Literary Fact in the 1920s

Slavic Review ◽  
1991 ◽  
Vol 50 (4) ◽  
pp. 827-835 ◽  
Author(s):  
Anne Nesbet
Keyword(s):  
Narrative Structure ◽  
Search For Meaning ◽  
Meaningful Life ◽  
The Moment

In the search for meaning which its conclusion provokes, a life, inevitably, is scrutinized for patterns, symbols, and general themes; it is read, in short, as a text. Suicide becomes a bloody signature on the bottom of a ragged page, the final and incontrovertible assertion of authorial control over one’s own life. At the same time, however, the suicide relinquishes all future control over everything, including future interpretations of his or her life-as-text. As a Pyrrhic means of giving the planned, narrative structure of a text to life, suicide functions as an uncanny fulcrum between “meaningful” life and “meaningless” death; hence its fascination. The supreme instance of human will triumphing over cruel nature’s whims is also the moment of greatest surrender to death’s lack of meaning. Witnesses and analysts rush in to provide interpretation and theory.

scholarly journals La stiva e l’abisso di Michele Mari. Romanzo fra favola e metanarrazione

2020 ◽  
Vol 17 ◽  
pp. 151-163
Author(s):  
Joanna Janusz
Keyword(s):  
Italian Literature ◽  
Narrative Structure ◽  
The Moment

From the moment of his literary debut in 1989, Michele Mari is considered to be the representative of classic tendencies in contemporary Italian literature. One of the most noticeable characteristics of his writing is the presence of autobiographic elements which appear in all his works with different intensity, but also the archaization of style and language, literary references and metaliterary reflexions. This article aims at showing how the 1992 novel La stiva e l’abisso connects two of those aspects of Mari’s writing: intertextuality and literary references to adventure novel genre, as well as it reflects on the role and value of the literature for the contemporary people. It analyses basic narrative instances, that is the narrator, narrative structure, place and time of events, in order to show how they result in metaliterary reflexion.

scholarly journals Problem solved? Absurdist humour and incongruity-resolution

2019 ◽  
Vol 48 (1) ◽  
pp. 1-21
Author(s):  
Olivier Couder
Keyword(s):  
Narrative Structure ◽  
Schema Theory ◽  
Literary Analysis ◽  
Literary Interpretation ◽  
Traditional Classification ◽  
The Moment ◽  
The Universe

Abstract This article explores the role absurdist humour fulfils in the narrative structure of novels as well as its impact on the process of literary interpretation. Tracing the historical and philosophical roots of absurdist humour, the article emphasises the importance of the concept of incongruity. It then critically evaluates current and influential cognitive and linguistic theories of humour, specifically incongruity-resolution theories and their purported suitability for literary analysis. Drawing on schema-theory, the article examines a passage from Douglas Adams’s The Restaurant at the End of the Universe (1980; henceforth The Restaurant) and illustrates why literary humour cannot be analysed in the same manner as short, often specifically designed, joke texts as is common practice in most humour research. Subsequently, the traditional classification of absurdist humour as a type of humour where resolution cannot be achieved is also challenged as the analysis reveals how absurdist humour is part and parcel of the narrative structure of The Restaurant and how the incongruity is resolved at the moment of literary interpretation.

The Professionalization of the Woman Artist in Anne Brontëë's The Tenant of Wildfell Hall

2003 ◽  
Vol 58 (1) ◽  
pp. 1-41 ◽  
Author(s):  
Antonia Losano
Keyword(s):  
Nineteenth Century ◽  
Narrative Structure ◽  
Gradual Transition ◽  
The Novel ◽  
Early Nineteenth Century ◽  
Women's Role ◽  
The Moment ◽  
Historical Transition ◽  
Nineteenth Century Novels

Critics of Anne Brontëë's The Tenant of Wildfell Hall (1848) have frequently noted the artistic endeavors of the novel's heroine, Helen Graham, yet they have not fully considered the historical and narratological ramifications of Helen's career as a painter. This essay argues that Helen's artworks cannot be considered as mere background to the novel or as simply symbolic reflections of the heroine's (or the author's) emotions. Instead, we must see the scenes of painting in Tenant as indicators of the novel's radical view of women's role as creative producers during a particularly complex moment in art history, one in which early-nineteenth-century female amateurism began its gradual transition from amateur "accomplished" woman to the professional female artist——a historical transition that, as is suggested in readings of various nineteenth-century novels, is in its earliest stages at precisely the moment of the writing and publication of Tenant. At the narrative level, the novel's many scenes of painting provide its readers with detailed, if oblique, guidelines for interpretation; the novel is formally and ideologically impacted by the presence of its painter-heroine. Most particularly, such a reevaluation of the role of painting in the novel resolves a central critical debate over the novel's problematic narrative structure.

Episode structures in literary narratives

2004 ◽  
Vol 33 (2) ◽  
Author(s):  
David S. Miall
Keyword(s):  
Short Story ◽  
Final Section ◽  
Narrative Structure ◽  
Reading Experience ◽  
The Moment ◽  
Definition Of ◽  
Do So

AbstractThis article is concerned with the moment-by-moment unfolding of the text as we might suppose the reader to experience it; in addressing one aspect of this reading experience, I propose a definition of the episode, and of episode structure, in literary narratives. To do so, I draw on insights from Ingarden, Iser, Barthes, Eco, Jim Rosenberg, and Ed Tan, but have found most useful the discussion of narrative structure in a 1922 essay by the Russian Formalist A. A. Reformatsky, which includes an analysis of Maupassant's story “Un Coq Chanta”. Reformatsky's essay is analyzed in detail. In a final section, I review responses to a short story (Kate Chopin's “The Story of an Hour”) and consider the evidence for episodes in readers' responses. To the number of convergent criteria used for characterizing episodes I add the role of the narrative twist occurring at or near the end of an episode, serving to intensify or redirect the issues raised, and itself characterized by a distinct development in readers' feeling. Episodes provide the phases during which issues of concern to readers are managed and developed, and the analysis of the episodes of a story may thus provide a valuable framework for identifying the key developments in the responses of readers.

The High Resolution Scanning Transmission Electron Microscope

1974 ◽  
Vol 32 ◽  
pp. 316-317
Author(s):  
A. V. Crewe
Keyword(s):  
Electron Microscope ◽  
High Resolution ◽  
High Vacuum ◽  
Scanning Transmission Electron Microscope ◽  
Ultra High Vacuum ◽  
Resolving Power ◽  
Imaging Characteristics ◽  
Transmission Electron ◽  
Scanning Transmission ◽  
The Moment

The high resolution STEM is now a fact of life. I think that we have, in the last few years, demonstrated that this instrument is capable of the same resolving power as a CEM but is sufficiently different in its imaging characteristics to offer some real advantages.It seems possible to prove in a quite general way that only a field emission source can give adequate intensity for the highest resolution^ and at the moment this means operating at ultra high vacuum levels. Our experience, however, is that neither the source nor the vacuum are difficult to manage and indeed are simpler than many other systems and substantially trouble-free.

Pinocytotic-Like Forms of Mitochondria From Rat Anterior Pituitary

1968 ◽  
Vol 26 ◽  
pp. 146-147
Author(s):  
Burton B. Silver
Keyword(s):  
Electron Micrographs ◽  
Conformational Changes ◽  
Anterior Pituitary ◽  
Dynamic State ◽  
Surrounding Cell ◽  
The Matrix ◽  
The Moment ◽  
Cell Medium ◽  
Sectioned Tissue ◽  
State Of Activity

Sectioned tissue rarely indicates evidence of what is probably a highly dynamic state of activity in mitochondria which have been reported to undergo a variety of movements such as streaming, divisions and coalescence. Recently, mitochondria from the rat anterior pituitary have been fixed in a variety of configurations which suggest that conformational changes were occurring at the moment of fixation. Pinocytotic-like vacuoles which may be taking in or expelling materials from the surrounding cell medium, appear to be forming in some of the mitochondria. In some cases, pores extend into the matrix of the mitochondria. In other forms, the remains of what seems to be pinched off vacuoles are evident in the mitochondrial interior. Dense materials, resembling secretory droplets, appear at the junction of the pores and the cytoplasm. The droplets are similar to the secretory materials commonly identified in electron micrographs of the anterior pituitary.

Advances in Stem Instrumentation for Biology

1990 ◽  
Vol 48 (1) ◽  
pp. 362-363
Author(s):  
J. S. Wall
Keyword(s):  
Scanning Transmission Electron Microscope ◽  
Carbon Films ◽  
Specimen Preparation ◽  
Material Deposition ◽  
Active User ◽  
Percent Improvement ◽  
Scanning Transmission ◽  
The Moment ◽  
Film Substrate ◽  
High Level

The forte of the Scanning transmission Electron Microscope (STEM) is high resolution imaging with high contrast on thin specimens, as demonstrated by visualization of single heavy atoms. of equal importance for biology is the efficient utilization of all available signals, permitting low dose imaging of unstained single molecules such as DNA.Our work at Brookhaven has concentrated on: 1) design and construction of instruments optimized for a narrow range of biological applications and 2) use of such instruments in a very active user/collaborator program. Therefore our program is highly interactive with a strong emphasis on producing results which are interpretable with a high level of confidence.The major challenge we face at the moment is specimen preparation. The resolution of the STEM is better than 2.5 A, but measurements of resolution vs. dose level off at a resolution of 20 A at a dose of 10 el/A2 on a well-behaved biological specimen such as TMV (tobacco mosaic virus). To track down this problem we are examining all aspects of specimen preparation: purification of biological material, deposition on the thin film substrate, washing, fast freezing and freeze drying. As we attempt to improve our equipment/technique, we use image analysis of TMV internal controls included in all STEM samples as a monitor sensitive enough to detect even a few percent improvement. For delicate specimens, carbon films can be very harsh-leading to disruption of the sample. Therefore we are developing conducting polymer films as alternative substrates, as described elsewhere in these Proceedings. For specimen preparation studies, we have identified (from our user/collaborator program ) a variety of “canary” specimens, each uniquely sensitive to one particular aspect of sample preparation, so we can attempt to separate the variables involved.

Traumatic Brain Injury: A Trauma Surgeon's Perspective

2012 ◽  
Vol 22 (3) ◽  
pp. 82-89
Author(s):  
Oscar D. Guillamondegui
Keyword(s):  
Traumatic Brain Injury ◽  
Brain Injury ◽  
Multidisciplinary Approach ◽  
Trauma Team ◽  
The United States ◽  
Long Term Outcomes ◽  
Term Care ◽  
Injured Brain ◽  
The Moment

Traumatic brain injury (TBI) is a serious epidemic in the United States. It affects patients of all ages, race, and socioeconomic status (SES). The current care of these patients typically manifests after sequelae have been identified after discharge from the hospital, long after the inciting event. The purpose of this article is to introduce the concept of identification and management of the TBI patient from the moment of injury through long-term care as a multidisciplinary approach. By promoting an awareness of the issues that develop around the acutely injured brain and linking them to long-term outcomes, the trauma team can initiate care early to alter the effect on the patient, family, and community. Hopefully, by describing the care afforded at a trauma center and by a multidisciplinary team, we can bring a better understanding to the armamentarium of methods utilized to treat the difficult population of TBI patients.

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