narrative progression
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2022 ◽  
Vol 2 ◽  
Author(s):  
Lingwei Tong ◽  
Robert W. Lindeman ◽  
Holger Regenbrecht

Content creators have been trying to produce engaging and enjoyable Cinematic Virtual Reality (CVR) experiences using immersive media such as 360-degree videos. However, a complete and flexible framework, like the filmmaking grammar toolbox for film directors, is missing for creators working on CVR, especially those working on CVR storytelling with viewer interactions. Researchers and creators widely acknowledge that a viewer-centered story design and a viewer’s intention to interact are two intrinsic characteristics of CVR storytelling. In this paper, we stand on that common ground and propose Adaptive Playback Control (APC) as a set of guidelines to assist content creators in making design decisions about the story structure and viewer interaction implementation during production. Instead of looking at everything CVR covers, we set constraints to focus only at cultural heritage oriented content using a guided-tour style. We further choose two vital elements for interactive CVR: the narrative progression (director vs. viewer control) and visibility of viewer interaction (implicit vs. explicit) as the main topics at this stage. We conducted a user study to evaluate four variants by combining these two elements, and measured the levels of engagement, enjoyment, usability, and memory performance. One of our findings is that there were no differences in the objective results. Combining objective data with observations of the participants’ behavior we provide guidelines as a starting point for the application of the APC framework. Creators need to choose if the viewer will have control over narrative progression and the visibility of interaction based on whether the purpose of a piece is to invoke emotional resonance or promote efficient transfer of knowledge. Also, creators need to consider the viewer’s natural tendency to explore and provide extra incentives to invoke exploratory behaviors in viewers when adding interactive elements. We recommend more viewer control for projects aiming at viewer’s participation and agency, but more director control for projects focusing on education and training. Explicit (vs. implicit) control will also yield higher levels of engagement and enjoyment if the viewer’s uncertainty of interaction consequences can be relieved.


2021 ◽  
pp. 255-276
Author(s):  
Daniel Altshuler

This chapter argues that key to an analysis of narrative progression are aspectual constraints imposed by coherence relations. This argument is based on a discourse like “A cat bit into a mouse while it was wiggling its tail. It was dead”. The fact that it’s infelicitous is remarkable given that the following is fine: “A mouse was dead. A cat bit into it while it was wiggling its tail”. The chapter explains these data in two steps. First, it proposes definitions for the coherence relations, RESULT and EXPLANATION, in which the former, but not the latter, rules out stative arguments. Second, it provides axioms in a default logic which predict the conditions under which these and competing coherence relations are typically inferred. It provides independent evidence for the proposed analysis from discourses involving exclamatives, temporal indexicals, and deverbals. It also considers discourses that challenge the analysis involving perspectival expressions.


POETICA ◽  
2020 ◽  
Vol 51 (3-4) ◽  
pp. 276-311
Author(s):  
Florian Kragl

Abstract The article deals with the closure of the, mostly Middle High German, courtly romance, taking as primary example Heinrich von Veldeke’s Eneide. ‘Courtly closure’ is defined as a slow and tenacious fading of narrative progression, by means of gradually transforming this progression into a virtually static state, namely, the description of an enduring courtly feast. It is argued that this way of bringing a romance or a novel to its end – unusual in the course of European literary history – is motivated by several factors. Amongst these, special attention is paid to media history (episodic narration, recital) and to cultural poetics (didactic qualities of the courtly romance).


Author(s):  
Daniele Baglioni

Buzzati’s brief tale Il critico d’arte (1956), whose main character impatiently writes and rewrites his review of a painting exhibition, each time in a more obscure and nonsensical language, has generally been interpreted as a mere parody of the pretentious style of art critics. As a result, its narrative frame, characterised by a rhetorical crescendo known in Buzzati’s terms as progressione, has often been neglected. Nevertheless, the three drafts of the critic’s review scattered in the tale can itself be considered as part of the narrative progression. As a matter of fact, the three versions build an expressive climax, reproducing, on a microtextual level, the wider rhetorical crescendo of the tale.


Prose Poetry ◽  
2020 ◽  
pp. 128-150
Author(s):  
Paul Hetherington ◽  
Cassandra Atherton

This chapter addresses prose poetry's distortion of space and time, exploring the effects created by prose poetry's simultaneously condensed and onrushing language. This is unlike lineated poetry because although lineated lyric poems, in particular, often create a sense of considerable compression and intensity, the relative abundance of white space in such works creates a countervailing sense that there is room to think and breathe. Prose poetry is also unlike prose fiction, in which the emphasis on narrative progression gives priority to a sense of directed forward movement through TimeSpace — an emphasis that is very different from the effects created by most prose poems. While a prose poem may create an impression of forward momentum as the grammar and sequencing of the prose poem's tightly packed sentences carry the reader forward, its poetic tropes simultaneously complicate or problematize any sense of one-way progression. As a result, prose poems usually yield for the reader a complex textual engagement in which ideas and motifs frequently fold back on themselves, or present unresolved issues for consideration.


Author(s):  
Beatrix Busse

The second chapter discusses Semino and Short’s (2004) model of discourse presentation and adapts it for the study of 19th-century narrative fiction; the chapter presents a state-of-the-art overview of relevant research on discourse presentation in narrative fiction, including Sinclair’s concept of “trusting the text,” and Toolan’s (2009, 2016) concept of narrative progression. The chapter outlines first the main objectives of the study as comprising a quantitative and qualitative analysis of the types of speech, writing, and thought presentation in a corpus of 19th-century English narrative fiction, their distribution and functions; second, the development of a new methodology for investigating discourse presentation in historical data in order to enable diachronic comparison; third, the development of a tool for the automatic coding of discourse presentation on the basis of characteristic lexico-grammatical patterns; and finally, a qualitative investigation of the interplay between narration and modes of discourse presentation and their narratological function.


Author(s):  
Beatrix Busse

The present study investigates speech, writing, and thought presentation in a corpus of 19th-century narrative fiction including, for instance, the novels Frankenstein, Jane Eyre, Wuthering Heights, Oliver Twist, and many others. All narratives typically contain a reference to or a quotation of someone’s speech, thoughts, or writing. These reports further a narrative, make it more interesting, natural, and vivid, ask the reader to engage with it, and, from a historical point of view, also reflect cultural understandings of the modes of discourse presentation. To a large extent, the way a reader perceives a story depends upon the ways discourse is presented, and among these, speech, writing, and thought, which reflect a character’s disposition and state of mind. Being at the intersection of linguistic and literary stylistics, this study develops a new corpus-stylistic approach for systematically analyzing the different narrative strategies of historical discourse presentation in key pieces of 19th-century narrative fiction, thus identifying diachronic patterns as well as unique authorial styles, and places them within their cultural-historical context. It shows that the presentation of characters’ minds reflects an ideological as well as an epistemological concern about what cannot be reported, portrayed, or narrated and that discourse presentation fulfills the narratological functions of prospection and encapsulation, marks narrative progression, and shapes readers’ expectations as to suspense or surprise.


Author(s):  
Beatrix Busse

The seventh chapter focuses on the functional interplay between passages of narration that interplay with the different modes of discourse presentation. It shows how this interplay is linguistically realized in 19th-century fiction and which functional potential it has for narrative progression and characterization. The discussion focuses on (a) the lexico-grammatical variety of reporting verbs that accompany direct and indirect forms of speech, writing, and thought presentation; (b) paralinguistic narration describing mime, gesture, and body movement as well as moments of silence; and (c) foregrounded occurrences of passages of visual narration and discourse presentation. With particular grammatical, syntactic, and pragmatic patterns priming narrative stretches, readers are able to identify them and use them as anchor points for the processing of the narrative in general. Via recourse to quantitative methodology such as the identification of keywords, the chapter further presents some conclusions about particular 19th-century strategies of world creation.


Author(s):  
Beatrix Busse

The final chapter summarizes the results from the study and presents directions for future research. The study has illustrated that speech, writing, and thought presentation in 19th-century narrative fiction works in a variety of modes and plays a crucial role in establishing, reflecting, and construing a social mind in action. This construal affects both intra- and intertextual dimensions, including readers and their processing as well as theoretical concerns of interpretation and methodological issues of analysis. The study has done pioneer work in the way it uses the analysis of keywords and repetitive patterns as basis for a tool that automatically annotates speech, writing, and thought presentation in digitized corpora. It has furthermore shown how repetitive patterns on all levels of discourse contribute to characterization and function as a means of narrative progression.


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