In this study, David Bordwell offers a comprehensive account of how movies use fundamental principles of narrative representation, unique features of the film medium, and diverse story-telling patterns to construct their fictional narratives.
The sciences of narrators and narrations (rijal and dirayah) are among the most fundamental fields of study that a mujtahid must master as part of his expertise of ijtihad. They are very detailed and technical subjects, each with its own rich history of development. In this book, the author expertly presents an introduction to these subjects and discusses their main topics in the form of thirty-four lessons. Each lesson concludes with a series of questions in the form of exercises to test the comprehension of the reader. The first half of this beginner's guide acquaints the reader wtih the key questions of the study of the narrators of hadith, including the reliability of a narrators, the narrations by the companions of the Imams, and an explanation of rijali terms and phrases. This section addresses internal debates over the efficacy of biographical studies and explores whether certian narrators can be considered absolutely reliable from within the Shi'i tradition. The second half delves into the classification and evaluation of hadith, including authenticity, the traditional methodologies of transmitting hadith, and the approaches scholars take in the face of seemingly contradictory evidence regarding the reliability of a narrator or a hadith. All in all, this book is an excellent introduction to the traditional study of traditions, particularly in the Twelver Shi'i heritage. It will leave the serious student well equipped to proceed in scholarly traditional studies of narrators and narrations.
From mainstream blockbusters to art house cinema, narrative and narration are the driving forces that organize a film. Yet attempts to explain these forces are often mired in notoriously complex terminology and dense theory. Warren Buckland provides a clear and accessible introduction that explains how narrative and narration work using straightforward language. Narrative and Narration distills the basic components of cinematic storytelling into a set of core concepts: narrative structure, processes of narration, and narrative agents. The book opens with a discussion of the emergence of narrative and narration in early cinema and proceeds to illustrate key ideas through numerous case studies. Each chapter guides readers through different methods that they can use to analyze cinematic storytelling. Buckland also discusses how departures from traditional modes, such as feminist narratives, art cinema, and unreliable narrators, can complicate and corroborate the book’s understanding of narrative and narration. Examples include mainstream films, both classic and contemporary; art house films of every stripe; and two relatively new styles of cinematic storytelling: the puzzle film and those driven by a narrative logic derived from video games. Narrative and Narration is a concise introduction that provides readers with fundamental tools to understand cinematic storytelling.
In this book, Irmtraud Huber considers a wide range of contemporary novels to explore the variety of possibilities and effects of the use of the present tense, as well as investigating the reasons for its popularity. By illustrating the complexity and sophistication of four different types of contemporary usage, Huber’s discussion goes some way towards refuting those critical voices which consider present-tense narration a passing fad and stylistic affectation. As a tense of narration, the present can serve to tell different stories than the past tense, or can tell them differently. By no means a passing fad, it is an important characteristic of contemporary literature.
Though the phenomenon known as “unreliable narration” or “narrative unreliability” has received a lot of attention during the last two decades, narratological research has mainly focused on its manifestations in narrative fiction, particularly in homodiegetic or first-person narration. Except for film, forms and functions of unreliable narration in other genres, media and disciplines have so far been relatively neglected. The present volume redresses the balance by directing scholarly attention to disciplines and domains that narratology has so far largely ignored. It aims at initiating an interdisciplinary approach to, and debate on, narrative unreliability, exploring unreliable narration in a broad range of literary genres, other media and non-fictional text-types, contexts and disciplines beyond literary studies. Crossing the boundaries between genres, media, and disciplines, the volume acknowledges that the question of whether or not to believe or trust a narrator transcends the field of literature: The issues of (un)reliability and (un)trustworthiness play a crucial role in many areas of human life as well as a wide spectrum of academic fields ranging from law to history, and from psychology to the study of culture.
In recent years, the focus of linguistic research has shifted from sentence to larger units such as text and discourse and accordingly from syntax to semantics and pragmatics. This has led to the development and application of corresponding discourse semantic and pragmatic theories such as, for instance, (S)DRT, Centering Theory, Accessibility Theory, QUD, Generalized Conversational Implicatures, Super Monsters and Gesture Semantics and new empirical approaches in the framework of experimental semantics and pragmatics or corpus linguistic discourse analysis. The contributions to this collected volume build on these developments and investigate the linguistic foundations of narration from various perspectives. The contributions address topics such as speech and thought representation, free indirect speech, information structure, anaphora resolution, co-speech gestures, classifier constructions as well as role shift and constructed action. The volume provides new insights in the linguistic structures underlying narration in written, spoken, and sign languages from an experimental, developmental, historical, typological, and theoretical perspective. The contributions will appeal to theoretical linguists, sign language linguists, typologists, literary scholars, psycholinguists, and philosophers.
Given Ulysses’ perhaps unparalleled attention to the operations of the human mind, it is unsurprising that critics have explored the work’s psychology. Nonetheless, there has been very little research that draws on recent cognitive science to examine thought and emotion in this novel. Hogan sets out to expand our understanding of Ulysses, as well as our theoretical comprehension of narrative—and even our views of human cognition. He revises the main narratological accounts of the novel, clarifying the complex nature of narration and style. He extends his cognitive study to encompass the anti-colonial and gender concerns that are so obviously important to Joyce’s work. Finally, through a combination of broad overviews and detailed textual analyses, Hogan seeks to make this notoriously difficult book more accessible to non-specialists.
Still the top-selling software suite for Mac users, Microsoft Office has been improved and enhanced to take advantage of the latest Mac OS X features. You'll find lots of new features in Office 2008 for Word, Excel, PowerPoint and Entourage, but not a page of printed instructions to guide you through the changes. Office 2008 for Macintosh: The Missing Manual gives you the friendly, thorough introduction you need, whether you're a beginner who can't do more than point and click, or a power user who's ready to tackle a few advanced techniques. To cover Word, Excel, PowerPoint and Entourage, this guide gives you four superb books in one -- a separate section each for program! You can manage your day and create professional-looking documents, spreadsheets, and presentations in no time. Office 2008 has been redesigned so that the windows, toolbars, and icons blend in better with your other Mac applications. But there are still plenty of oddities. That's why this Missing Manual isn't shy about pointing out which features are gems in the rough -- and which are duds. With it, you'll learn how to: Navigate the new user interface with its bigger and more graphic toolbars Use Word, Excel, PowerPoint, and Entourage separately or together Keep track of appointments and manage daily priorities with the My Day feature Create newsletters, flyers, brochures, and more with Word's Publishing Layout View Build financial documents like budgets and invoices with Excel's Ledger Sheets Get quick access to all document templates and graphics with the Elements Gallery Organize all of your Office projects using Entourage's Project Center Scan or import digital camera images directly into any of the programs Customize each program with power-user techniques With Office 2008 for Macintosh: The Missing Manual, you get objective and entertaining instruction to help you tap into all of the features of this powerful suite, so you can get more done in less time.
This is the second volume of a new narratological history of Ancient Greek lietrature, which deals with aspects of time: the order in which events are narrated, the amount of time devoted to the naration, and the number of times they are presented.