scholarly journals Narratiiv ja topos Heino Elleri “Sümfoonilises legendis”

Mäetagused ◽  
2021 ◽  
Vol 81 ◽  
pp. 91-120
Author(s):  
Karl Joosep Pihel ◽  
Keyword(s):  
Narrative Analysis ◽  
Instrumental Music ◽  
Narrative Structure ◽  
Main Theme ◽  
Musical Narrative ◽  
Symphonic Poems ◽  
Musical Characteristics ◽  
Musical Discourse ◽  
Primary Order ◽  
Abrupt Shifts

This article focuses on the narrative analysis of late-romantic instrumental music. Having adopted the structuralist-semiotic conception of musical narrative as proposed by Byron Almén (2008) as the transvaluation of an opposing hierarchy, and the concept of the musical topic as musical elements with specific stylistic-cultural associations, I analyse the expressive form of Heino Eller’s early symphonic poem “Symphonic Legend” (1923). Narrative logic was found to permeate the musical work despite its collage or suite-like form, as the composer introduces characteristic musical actors that re-appear in different musical contexts. These actors are largely distinguished by musical topics, the conventional stylistic associations related with their musical characteristics as Eller’s piece presents a wide synthesis of styles – from musical impressionism and expressionism to lyrical or chromatic late-romantic; and various topics, such as fantastic, ombra, apassionata, pianto, heroic, and pastoral. Further, I propose a layered narrative structure for the “Symphonic Legend”, as the jarring and abrupt changes in musical material, affect and topic between different movements of the piece suggest shifts in the level of musical discourse and a framed narrative, as proposed by Hatten (1994). The primary order-imposing hierarchy is identified as the pastoral-impressionist topic that acts as the introduction and coda to the entire piece while the transgressive hierarchy is carried by antagonistic musical material associated with fantastical and dysphoric topics (whole-tone scale, chromaticism, fanfare-like brass and ombra) and with the main theme-actor of the piece (a theme strongly resembling the main theme of the first part of Rimsky-Korsakov’s “Scheherezade”). While the pastoral beginning and end of the piece (1st and 11th sections) suggest a narrative trajectory of a romance or “the victory of the order-imposing hierarchy over the transgression”, the abrupt shifts that occur between those sections and the middle-sections of the piece suggest that these take place at a different level of discourse, placing the narrative weight in sections 2–10, where the primary conflict seems to be between the antagonistic material and the theme-actor. In the middle sections Eller seems to problematize the typical narrative trajectory of dysphoric to euphoric in 19th-century symphonic poems, as the theme-actor’s heroic apotheosis in the 9th section is undermined by its reprise in section 10 and ultimate inability to be united with the order-imposing hierarchy in the coda, suggesting an ironic narrative. This reading is hopefully the first of many narrative analyses of Eller’s and other Estonian composers’ unique late-romantic and early modern symphonic poems.

scholarly journals NEGOSIASI HETERONORMATIVITAS PADA PERFORMATIVITAS TRANSGENDER DALAM FILM LOVELY MAN

2019 ◽  
Vol 19 (1) ◽  
Author(s):  
Nadya Afdholy
Keyword(s):  
Data Collection ◽  
Narrative Analysis ◽  
Qualitative Method ◽  
Narrative Structure ◽  
Judith Butler ◽  
Structure Theory ◽  
Literature Study ◽  
Using Data ◽  
The Stability ◽  
Tzvetan Todorov

This study aims to reveal heteronormativity in the Lovely Man movie by director Teddy Soeriaatmadja by using narrative structure theory from Tzvetan Todorov and the concept initiated by Judith Butler. Heteronormative values that appear in the film directed by Teddy Soeriaatmadja are seen through dialogue between characters in each scene that are divided into three; (1) equilibrium/plenitude, (2) disruption, disequilibrium/disrupting force, and (3) opposing force. This research uses qualitative method by using approach of narrative analysis of model Tzvetan Todorov. The data used for this research is the film of Lovely Man by director Teddy Soeriaatmadja itself. This study uses data collection techniques with observation and literature study, as well as using data collection techniques with data reduction, interpretation, and conclusions. The results of this study indicate that there is a concept of heteronormative values reflected through heterosexuals who are considered to damage the stability of transvestite life, so that heterosexuals are considered as 'the other' heteronormative. Keywords: Film, Lovely Man, Heteronormativity, Other.

Global Texts, Narrativity and the Construction of Local and Global Meanings in Television News

1994 ◽  
Vol 4 (1-2) ◽  
pp. 9-24 ◽  
Author(s):  
Michael Gurevitch ◽  
Anandam P. Kavoori
Keyword(s):  
United States ◽  
Middle East ◽  
Narrative Analysis ◽  
Mass Communication ◽  
Television News ◽  
Narrative Structure ◽  
The United States ◽  
Ongoing Study ◽  
Global Television ◽  
Media Globalization

Abstract This article discusses the relevance of narrative analysis to the study of media globalization by presenting results of an ongoing study of television news in the United States, Europe, and the Middle East. It discusses issues of local and global meanings by focusing on a number of elements of narrative structure (time, valence, story/discourse, themes, drama, genre, and myths) and argues that each element presents ways to track particularistic and universalistic meanings in television news. A concluding section emphasizes the importance of narrative analysis to the study of globalization with a discussion of live global television events. (Journalism and Mass Communication)

scholarly journals INNOVATIVE VIOLIN METHOD OF TEACHING AS A MECHANISM FOR FORMING THE MEANING FORMATION OF MUSICAL NARRATIVE OF VIOLIN INSTRUMENTAL MUSIC OF THE ERA ON ROMANTICISM (ON THE EXAMPLE OF 5-TH CAPRICE OF PAGANINI’S FROM THE CYCLE “24 CAPRICES FOR SOLO VIOLIN”)

2020 ◽  
Author(s):  
Liudmila Pashkovska ◽  
Keyword(s):  
Instrumental Music ◽  
Sound Production ◽  
New Technology ◽  
Musical Narrative ◽  
Semantic Organization ◽  
Psychological Tools ◽  
Existential Approach ◽  
Cultural Dialogue ◽  
Cycle 24 ◽  
Solo Violin

This article is devoted to the innovative violin method of teaching which reveals different angles of the paradigm processes of the formation of the text of violin instrumental music of the era on Romanticism and the semantic organization of the musical narrative in the development of the intertextual dialogue "one's own-another's" on the material of the 5th Caprice for Paganini's violin-solo. The problem of dialogue in art in a broad sense is now one of the most popular both in modern domestic musicology and in culture in general. This exploration constitutes a fragmented but very important section from the structural elements of which the research innovative violin methodology is formed and consist, which rapidly increases motility, qualitatively alters of sound production, accurately, clear articulation, uses new technology that instantly allows you get rid of tension in the muscles during the performances of musical pieces, regardless of the speed of the pace of the instrumental pieces being performed, allows instant concentration and helps to overcome the stage excitement of the performer, using a combination of carefully selected instrumental and psychological tools (attitude and practices). The technique pushed the author to highlight the main directions and principles of interaction of textual reincarnations. The stated problem significantly expands the spectral directions in the study of the semantic organization of narratives in research exploration. The study of the texts of instrumental pieces in intertextual interactions allows to get into the processes of text creation and to investigate their influence on the realization of the final idea of the composer and performer. The process of forming the text of instrumental music as the end result and the end point of full-fledged research is an open scientific problem. The peculiarity of this study is the intersection of musicological, cultural and psychological views on the stated issues. We’re guided in its work by various multifunctional methodologies of several scientific areas: from purely musical to culturological (using synergistic, hermeneutic, gnoseological and aesthetic approaches) and psychological (relying on the knowledge of the psychology of creativity using various setting and practices, existential approach). The use of research innovative violin technique makes this study unique and different from previous explorations. The approach to studying the text of any volume and complexity will be the key to a better understanding of the cultural dialogue of postmodern times, when the performer face to face enters into an imaginary dialogue of artists in the study of cultural processes, to better understand themselves, to clarify cultural, psychological and musicological paradigms of reading an artistic text. The study of the semantic mechanisms of the instrumental text will provide an opportunity to delve into the processes of textual dialogue and will reveal the features of the artistic possibilities of the theme of Caprice 5, which acts as an intertextual model for any instrumental pieces, regardless of the time of their creation. Culture reveals its meanings through the stylistics of texts, which is why it is so important to master different ways of thinking. And cultural stereoscopicity will allow us to consider the problem of intertext mechanisms polyphonically and dynamically, from the study of cultural codes and communications to the revival of cultural space in the polyphony of existence.

scholarly journals Lingual Aspects of Mystical Narration in V. Shevchuk’s Novel “The Beginning of Horror”

2020 ◽  
pp. 109-125
Author(s):  
Florij Batsevych
Keyword(s):  
Narrative Analysis ◽  
Narrative Structure ◽  
Point Of View ◽  
The Novel ◽  
Unreliable Narrator ◽  
Narrative Structures ◽  
Christian View ◽  
Flow Of Time ◽  
The Individual

In recent decades, the researchers of artistic stories have paid their attention to the narrative analysis of a set of weird texts of mystical and absurd content, works of “black humour”, fantastic (khymerna) prose created by a non-anthropic narrator or by an author in a changed state of consciousness. These texts serve the field of actualizing atypical and non-usual narrative structures, the sphere of meaningful changes within the bounds of narrative categories and, which is important, of forming special communicative senses of aesthetic nature. The basic problems of the linguistic analysis of “unnatural” stories are identifying the types of changes in the narration constituents, reasons of these changes and narrative categories (first of all, events, participants, objects, chronotope characteristics, points of view, moduses, modalities, etc.). The article analyses one of the texts of mystical content aiming at the revealing of some specificities of the structure and functioning of the so-called “unnatural artistic narrations”. The object of the research is V. Shevchuk’s novel “The Beginning of Horror”. The subject of the analysis is lingual means of the narrative structure formation, the author’s objectification of the mystical artistic sense and lingual “signals” of a reader’s perception of these senses. The most important semantic means of creating mystical atmosphere of the story are predicates that ascribe the names of their referents atypical dynamic and static features connected with the Christian view of the infernal world. It helps to form narrative events that root in weird situations, which cannot take place in reality. Non-dispositional nature of these situations correlates with the reference to the mystery that goes far beyond the bounds of a usual perceptive and psycho-mental background. Among the pragmatic means of creating mystical atmosphere of the main hero’s story as well as of the novel in general, we specify the individual inimitative perception of the flow of time and modality of “real unreality” formed by the role of an unreliable narrator and a vague point of view of the described event with its perceptive, ideological and time planes of objectification. Due to the increasing interest to various expressions of the esoteric, the increase of the number of artistic works of such content and growth of their popularity, we consider it topical to proceed in further investigations of lingual-narrative aspects of “unnatural” stories, in particular, the ones with the modus of mystical in them.

scholarly journals Territorial Cohesion as a Policy Narrative: From Economic Competitiveness to ‘Smart’ Growth and Beyond

2020 ◽  
Vol 8 (4) ◽  
pp. 208-217 ◽  
Author(s):  
Panagiotis Artelaris ◽  
George Mavrommatis
Keyword(s):  
Narrative Analysis ◽  
Social Inclusion ◽  
Smart Growth ◽  
Narrative Structure ◽  
Economic Effects ◽  
Technological Changes ◽  
Economic Competitiveness ◽  
Territorial Cohesion ◽  
Programming Period ◽  
Similar Vein

During the last two decades, a lot of ink has been spent in favour of narrative analysis of policy. According to such approaches, policy processes are influenced by narratives that are spread around specific ‘issues’ and lead to their solutions. Following a similar vein, this article examines territorial cohesion as a policy narrative and how it can be perceived as a narrative constituted by a diverse narrative structure. Territorial cohesion is a dynamic narrative that changes through time. As time goes by and different politico-economic philosophies get more influential, technological changes also bring along different priorities, broader EU narratives change, and territorial cohesion adapts to such changes. Accordingly, within the post-2014 framework (2014–2020), territorial cohesion’s (spatialised) social inclusion perspective was subdued to the economic competitiveness sub-narrative in a globalised world. For the new programming period (2021–2027), the European Cohesion Policy will continue to be increasingly linked to the place-based narrative and most of its funding will be directed towards a ‘smarter’ and ‘greener’ Europe within a global space of flows and fast technological changes. The aim of a ‘smarter’ Europe based on digital transformation and smart growth is a new version of the economic competitiveness sub-narrative, while a ‘greener’ Europe is the new policy meta-imperative (“European Green Deal”). However, it must be considered how the Coronavirus crisis and the measures to fight its economic effects play out on these policy narratives.

scholarly journals Narrative as a term in narratology and music theory

2018 ◽  
Vol 44 (2) ◽  
pp. 567-579
Author(s):  
Smiljana Narančić Kovač ◽  
Iva Kovač
Keyword(s):  
General Theory ◽  
Music Theory ◽  
Musical Narrative ◽  
Musical Discourse ◽  
Story And Discourse

The paper compares the term narrative as it is used by narratologists, and as it is used by music scholars, to establish whether these two disciplines use the term in the same way, or as two homonyms. Narratological studies in medium-specific models of narratives apply the term to different kinds of discourses, i.e. different media. Music theoreticians and musicologists consider its application in music scholarship with a theory of the musical narrative in view. This analysis shows that in the general theory of the narrative the concept includes both story and discourse, based on the referentiality of the discourse, which necessarily evokes a storyworld. Narratologists generally find music to be incapable of producing a narrative in this sense. Musicologists and theoreticians of music generally acknowledge the limitations of the referentiality of musical discourse, yet they often discover specific, usually abstract, narrative meanings there. Therefore, despite common starting points and principles, the two disciplines use the term narrative to denote two different concepts, which results in two homonymous terms.

Narrative inspiration in Liszt’s symphonic poems: The cases of Hunnenschlacht and Tasso, Lamento e Trionfo

2013 ◽  
Vol 54 (4) ◽  
pp. 367-378
Author(s):  
Sandra Fallon-Ludwig
Keyword(s):  
Musical Structure ◽  
Musical Narrative ◽  
Symphonic Poems ◽  
Narrative Progression

Although Franz Liszt’s symphonic poems were inspired by works of literature, poetry, and painting, the resulting works are not mere replicas of the inspirational source. Rather, Liszt concentrates on themes of importance gleaned from the sources and uses these ideas to create a musical narrative. In this paper, I explore two distinct musical narratives in Liszt’s symphonic poems: the “conflict and resolution” narrative evident in Hunnenschlacht and the “suffering and redemption” narrative of Tasso, Lamento e Trionfo. Through these examples, I demonstrate that musical narrative is an organizing force in and of itself within Liszt’s symphonic poems; a narrative progression towards apotheosis propels the music forward and suggests Liszt’s programmatic inspiration in each work. Although some seek to fit the musical structure of Liszt’s symphonic poems into a preexisting model, this paper proposes that the program is their integral part, and that only through a combination of programmatic and formal analyses can one gain a deeper understanding of these works as a whole.

Connecting L1 and L2 acquisition: From the perspective of macro and micro narrative structure

2019 ◽  
Vol 35 (2) ◽  
pp. 143-164
Author(s):  
Masahiko Minami
Keyword(s):  
Narrative Analysis ◽  
Local Level ◽  
Personal Narratives ◽  
Narrative Structure ◽  
Narrative Discourse ◽  
Organizational Strategies ◽  
L2 Acquisition ◽  
Related Quality ◽  
L1 And L2

Abstract The studies presented in this paper connect the story-related quality and the language-related quality of narrative discourse. The term “coherence” refers to whether or not a text makes sense at a global level, whereas “cohesion” describes the linguistic relationships among clauses in a narrative, such as how the surface linguistic elements of a text are linked to one another at a local level. Using a content-based narrative analysis, a trilogy – a set of three independent but interrelated studies – introduced in this paper quantitatively analyze oral personal narratives through three lenses. As examples of devices for cohesion, the paper qualitatively examines the use of two linguistic devices, tense (past and non-past) and voice (active and passive), and tries to show how narrators deploy organizational strategies in the use of these linguistic forms. The paper (1) examines varied topics in different narrative contexts (genre, topic, oral or written), (2) reveals how both coherence and cohesion serve as the twin engines of narrative, and (3) emphasizes the significance of paying attention not only to the narrative content/structure but also to the appropriate use of linguistic devices so that we can fully grasp language-specific ways of expressing affective elements in narrative.

Revisiting the black Jesus

2005 ◽  
Vol 15 (1) ◽  
pp. 161-195 ◽  
Author(s):  
Mary B. McVee
Keyword(s):  
Teacher Education ◽  
African American ◽  
Narrative Analysis ◽  
African American Students ◽  
Narrative Structure ◽  
White Teacher ◽  
American Students ◽  
Discourse Patterns ◽  
American Teacher

This article proposes that close examination of story retellings, both oral and written, can reveal a narrator's attempts to re-emplot a story in various ways. The retellings presented occurred in the context of a teacher education course where, across the semester, Ellie a white teacher, retold the same story six times. The retellings provided a unique opportunity to add to previous research on retold stories by examining differences and similarities in the six narratives that surfaced issues of culture and race related to teaching. The article also contributes methods of narrative analysis used to analyze and compare narrative structure and evaluations across the retellings. Discourse patterns revealed changes in narrative emplotment and evaluation and in the narrator's positioning of herself, a Euro-American teacher, and others, primarily African American students.

scholarly journals The Discursive Turn in Policy Analysis and the Validation of Policy Stories

2012 ◽  
Vol 41 (2) ◽  
pp. 271-289 ◽  
Author(s):  
LINDSAY PRIOR ◽  
DAVID HUGHES ◽  
STEPHEN PECKHAM
Keyword(s):  
Health Care ◽  
Health Policy ◽  
Network Analysis ◽  
Northern Ireland ◽  
Narrative Analysis ◽  
Reliability And Validity ◽  
Narrative Structure ◽  
Relative Importance ◽  
Policy Documents ◽  
Key Characteristics

AbstractThis paper is concerned with the language of policy documents in the field of health care, and how ‘readings’ of such documents might be validated in the context of a narrative analysis. The substantive focus is on a comparative study of UK health policy documents (N = 20) as produced by the various assemblies, governments and executives of England, Scotland, Wales and Northern Ireland during the period 2000–09. Following the identification of some key characteristics of narrative structure the authors indicate how text-mining strategies allied with features of semantic and network analysis can be used to unravel the basic elements of policy stories and to facilitate the presentation of data in such a way that readers can verify the strengths (and weaknesses) of any given analysis – with regard to claims concerning, say, the presence, absence or relative importance of key ideas and concepts. Readers can also ‘see’ how the different components of any one story might fit together, and to get a sense of what has been excluded from the narrative as well as what has been included, and thereby assess the reliability and validity of interpretations that have been placed upon the data.

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