..."Narratives are stories- purposeful stories retelling the historical events of the past that are intended to give meaning and direction for a given people in the present (Fee & Stuart, 90)."As the book states, narratives are stories of things that have happened in the past that give meaning. A good majority of the Bible is written in narrative form. Even some of the New Testament is written as a narrative. "All narratives have three basic parts: characters, plot, and plot resolution. That is, most narratives presuppose some kind of conflict or tension that needs resolving (Fee & Stuart, 90). Some of the common mistakes readers make when engaging a Biblical narrative is believing that every narrative speaks directly to their personal, individual life. Also, many people do not take the text for what it is. They look at it as an allegory. Another mistake is being selective with the text. "It involves picking and choosing specific words and phrases to concentrate on while ignoring the others and ignoring the overall sweep of the narrative being studied (Fee & Stuart, 103). People also personalize the narratives too much. They suppose all parts of the narrative apply to them. It's a "self centered" reading of the Bible (Fee &Stuart, 104). Finally, false appropriation is another common mistake readers make in engaging in narratives. "This is another form of decontextualizing. It is to read into a biblical narrative suggestions or ideas that come from contemporary culture that...
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...ARTICLE IN PRESS Social Science & Medicine 58 (2004) 1647–1657 Understanding breast cancer stories via Frank’s narrative types Roanne Thomas-MacLean* Dalhousie University Family, Medicine Teaching Unit, Dr. Everett Chalmers Hospital, P.O. Box 9000, Priestman St. Fredericton, NB Canada E3B 5N5 Abstract While breast cancer narratives have become prevalent in Western culture, few researchers have explored the structure of such narratives, relying instead on some form of thematic analysis based upon content. Although such analyses are valuable, Arthur Frank (The Wounded Storyteller, The University of Chicago Press, Chicago, 1995) provides researchers with an additional means of studying stories of illness, through the examination of their structures. In this article, the author applies Frank’s work to a phenomenological study of embodiment after breast cancer. Frank’s three narrative types are used to enhance understanding of the ways in which stories are culturally constructed, using data collected through one focus group discussion and two in-depth interviews with each of 12 women who had experienced breast cancer. The author then conveys the significance of this form of analysis for future research. r 2003 Elsevier Ltd. All rights reserved. Keywords: Breast cancer; Qualitative and narrative Introduction Frank (1995) writes that those who are ill ‘‘need to become storytellers in order to recover the voices that illness and its treatment often take away’’...
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...The Gender Politics of Narrative Modes I want to challenge two linked assumptions that most historians and critics of the English novel share. The first is that the burgeoning of capitalism and the ascension of the middle classes were mainly responsible for the development of the novel. The second is that realism represents the novel's dominant tradition. [note 1] I want to propose instead that, as surely as it marked a response to developing class relations, the novel came into being as a response to the sex-gender system that emerged in England in the seventeenth and eighteenth centuries. [note 2] My thesis is that from its inception, the novel has been structured not by one but by two mutually defining traditions: the fantastic and the realistic. [note 3] The constitutive coexistence of these two impulses within a single, evolving form is in no sense accidental: their dynamic interaction was precisely the means by which the novel, from the eighteenth century on, sought to manage the strains and contradictions that the sex-gender system imposed on individual subjectivities. For this reason, to recover the centrality of sex and gender as the novel's defining concern is also to recover the dynamism of its bimodal complexity. Conversely, to explore the interplay of realist and fantastic narratives within the novelistic tradition is to explore the indeterminacy of subjectivities engaged in the task of imposing and rebelling against the constraining order of gender difference. ...
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...The current issue and full text archive of this journal is available at www.emeraldinsight.com/1352-2752.htm YouTube: an opportunity for consumer narrative analysis? Stefano Pace ` Universita Bocconi, Milano, Italy Abstract Purpose – The aim of the paper is to discuss a possible extension of narrative analysis to a new medium of expression of consumer behaviour, specifically YouTube. Design/methodology/approach – Marketing and consumer behaviour studies often apply narrative analysis to understand consumption. The consumer is a source of introspective narratives that are studied by scholars. However, consumption has a narrative nature in itself and consumers are also storytellers. YouTube is a new context in which subjects tell stories to an audience through self-made videos and re-edited TV programs. After defining the pros and cons of different approaches to the study of YouTube, narrative analysis is presented as a possible means of understanding YouTube. Findings – Some preliminary evidence is presented by discussing several YouTube videos. These indicate that YouTube content can be better understood as stories, rather than example of other approaches, such as visual analysis, media studies, videography, and others. Research limitations/implications – From the analysis conducted, preliminary managerial implications can be drawn. It seems unlikely that normal TV broadcasters will be substituted by YouTube videos. For the most part, YouTube content draws its sense and shared...
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...“The Bible” in part as… The Bible is not a series of… propositions and imperatives; it is not simply a collection of “sayings from chairman God,” as though he looked down on us from heaven and said: “hey you down there, learn these truths. Number 1, there is no God but One, and I am he. Number 2, I am the Creator of all things, including humankind” – and so on, all the way through proposition number 7,777 and imperative number 7777. 5. Know the kinds of “communication” mentioned that God uses to convey his Word. Narrative history, genealogies, chronicles, laws of all kinds, poetry of all kinds, proverbs, prophetic oracles, riddles, drama, biographical sketches, parables, letters, sermons, and apocalypses. 6. “To interpret properly the “then and there” of the biblical texts, you must…” not only know some general rules that apply to all the words of the Bible, but you also need to learn the special rules that apply to each of these literary forms (genres). 7. Know and be able to discuss the two types of ‘context’ mentioned in the reading. Why are these items important? Historical Context: Differs from book to book and has to do with several things: the time and culture of the author and his readers, that is the geographical, topographical, and political factors that are relevant to the authors setting;...
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...the elements of narrative form and sound. The sound used by Ethan and Joel Coen in this film is very unique. There is no music score present during the whole one hundred and twenty-two minutes. Most of the time, a music score is used as a cue that something was going to happen on screen such as a dramatic score when the protagonist is being threatened or a gloomy score when a character is going through tough times. The visual cues in No Country for Old Men are so strong that a music score is not necessary to give hints that something is about to happen. When Anton Chigurh is killing someone he always uses his captive bolt pistol. As Anton gently reaches down and calmly twists the valve and pressurized gas seeps out you know that Anton is going to claim another life. This is where a music score would go to give a clue that a dramatic moment was going to happen, but because of the lack of music the visuals are stronger. Also, because there is no music a viewer must keep their eyes glued to the screen and are more immersed in the story. The lack of music creates much more suspense and contributes to the slow pace of the film. Music score increases the drama of a scene but because there is no score the conflicts in the film seemed much more realistic and relatable. The second element in the film that contributes to theme is the narrative form. In No Country for Old Men is narrative form. The narrative form in this film is unorthodox compared to the traditional form because the characters...
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...Kares The art of storytelling invites readers into another world. Examining the literary conventions African American authors use allows readers to compare and contrast literary works. Harriet A. Jacobs’s Incidents in the Life of a Slave Girl, Terry McMillan’s The End and Maya Angelou’s Willie are significant literary pieces to discuss. It is important to consider factors such as historical, socio-political and cultural climate because these factors contribute and influence an author’s point of view as well as each author’s unique voice and message depending on the time period. Harriet A. Jacobs’s Incidents in the Life of a Slave Girl, is a slave narrative. The literary conventions of the slave narrative define the work. Slave narratives echo biblical stories that often reflect persecuted groups attempting to escape to freedom. Jacobs’s piece details her struggle to escape her master from sexual abuse. Vivanco (2003), “The process from sin to rebirth in spiritual autobiographies is paralleled by the process from slavery to freedom in slave narratives. Slaves experience a change from chattel, enduring suffering, to man or woman living in the Promised Land, the North,” (para. 5). Further distinction of the slave narrative is how authors shape the story, often chronologically. Slave narratives illustrate an author’s personal experience though many share common themes of extreme violence/abuse and racial prejudice. Slave narratives are essentially autobiography, which offer an author’s...
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...break up the film into three slogans: characters as emblems, form as game, and read as anti-Hollywood. Do The Right Thing uses a mixture of these three slogans through character, narrative structure, and theme to open our eyes to racism and violence and let us decide what really is doing the right thing. Although this film was distributed by a major Hollywood studio, it still keeps within the styles and techniques of independent cinema. Beginning with the characters in Do The Right Thing, each character is interesting and contributes to the narrative structure of the film. When discussing characters as...
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...The Christian Story and Our Stories: Narrative Pedagogy in Congregation Life In the feature article " The Christian Story and Our Stories: Narrative Pedagogy in Congregation Life" the author, Benjamin D. Espinoza, explains the educational strategy of narrative pedagogy, its characteristics and creative ways to apply it effectively in religious and secular ambits in our life. First, narrative pedagogy is an approach to teaching that involve our life stories through creative ways and another life stories (in the Christian ambit biblical stories) to form and renovate our life from the past through the present to the future. The purpose of explain the theological truths through stories is to develop a clearer understanding of the ideas, avoiding...
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...discourse” (FID) will be “Free indirect thought” (FIT); “Direct discourse” (DD) will Be “Direct thought” (DT) and “Free direct discourse”(FDD) will be “Free Direct thought” (FDT). ITC, FIT, DT and FDT correspond with Leech and Short’s distinctions (in definition and symbol, except for ITC which correspond with their IT). I will give examples of DTS, TS and ITS: DTS: The bare report of a thought, without any specification of how the thinker felt or the language the thinker used to think. E.g., ‘He wondered about her love for him’ TS: Summary which represents thought in that it names in greater detail the thought act: E.g., ‘He wondered if she had another lover or if she was capable of love’ IT: Indirect thought which gives the illusion of perceiving aspects of the style of the thought act. E.g., ’He thought she had another bloody lover, he’d kill ‘em if ‘e ever saw ‘em.’ As is...
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...A major change that has occurred in the development of film is the linearity of narrative. The history of film spans over one hundred years ago, with classical narrative emerging in Hollywood around the nineteen thirties. The classical narrative period had a strong emphasis on linearity and coherence, where characters where goal centred and consistent in personality and action. In the nineteen sixties a change began to emerge in Hollywood, with Breathless (Jean-Luc Godard, 1960) breaking the editing rules, and narrative coherence, with the introduction of jump cuts. This film among others greatly contributed to the outburst of non-linear narratives, a narrative technique wherein events are portrayed out of chronological order. In the twenty-first century a range of independent films with a variety of non-linear narratives have been getting mainstream release. Within this essay I will briefly explain the different types of narratives and the reasons for their popularity. The directorial intent for many non-linear narratives can be to evoke mood, maintain suspense, indicate the malleability of memory, signify dream, and above all to provide visual pleasure. The involvement that a spectator can feel from a non-linear narrative can offer both a sense of pleasure and relation. The fact that it is up to the viewer to keep up, put things together, and make sense of the narrative provides a sense of satisfaction, and can become the reason they are watching the film. Removing the chronological...
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...What factors affect reading? | | | | | | * A non-encouraging reading home environment * A non-encouraging reading classroom environment * Vision problems * Lack of interest in the book * Hearing - Speech impedement, Hard of Hearing, or deafness * Lack of background knowledge * Lack of strong vocabulary base * Gender * Intelligence with the ability to 1) learn, 2) problem solve, or 3) see relationships in reading * Language differences/Dialect/Cultural difference | | In Preventing Reading Difficulties in Young Children, Snow, Burns, & Griffin (1998) presented a synthesis of research on the conditions that contribute to successful reading. The authors identified the following factors as predictors of success and failure in reading: Physical and Clinical Factors | Predictors of School Entry | Acquired Knowledge of Literacy | Family-based Risk Factors | Neighborhood, Community, and School-based Factors | Cognitive deficienciesHearing problemsEarly language impairmentAttention deficit/hyperactivity disordersVision problems | Acquired proficiency in languageVerbal memoryLexical and syntactic skillsOverall languagePhonological awarenessOral Vocabulary | Reading readinessLetter identificationConcepts of printPhonemic awareness | Family history of reading difficultiesHome literacy environmentOpportunities for verbal interactionHome language other than EnglishUse of a nonstandard dialect of English in the homeSocioeconomic status | Environmental...
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...and differences in using the 1st person narrative approach in ‘The Lammas Hireling’ and ‘The Deliverer’. In your answer you should consider the following: • The poets’ development of themes • The poets’ use of language and imagery • The use of other poetic techniques. Both Duhig and Doshi explore the use of a first person narrative in ‘The Lammas Hireling’, and ‘The Deliverer’. This exploration of the narrative technique has allowed both poets to develop ongoing personal themes, each accompanying a sense of sadness and moral injustice. In ‘The Deliverer’, the poet takes advantage of the first person point of view, as it serves to develop ongoing themes of infanticide in Indian Society. This technique of first person is ultimately very largely effective, as its direct approach generally heightens the emotion the reader experiences for the sensitive topic, as there is in fact no hiding or concealing the bitter truth, especially when it is written out in the direct form of a narrative passage. However, the way in which Doshi presents these views through the first person Narrative, is quite unconventional. Through the use of making the ‘Deliverer’s’ daughter the voice, the audience is able to view the tragic events from the eyes of someone who has personally been a witness. This in itself draws similarities with the way in which Duhig presents his narrator’s own personal story of life on a rural farm. He uses the first person narrative to tell the ambiguous story of how as a...
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...Film Form and Analysis Cinematography Cinematography describes the process by which a film strip is exposed to light to create an image. It encompasses many factors: the camera’s distance from the action, camera angle and direction, type of lens, camera movement, and lighting, among others. The art of cinematography also includes mise-en-scène—the arrangement of objects and movements in the frame. Shot Types The amount of visual information included in the image depends on the distance of the camera from the action and on the focal length of the camera lens. Throughout the history of cinema, filmmakers have favored certain combinations of camera distance and focal length, or shot types. * Extreme long shot: Captures a scene in its entirety; used for establishing location in exterior shots. Used frequently in epic genres such as westerns and war films, it reduces human beings to mere dots on the screen. * Long shot: Accommodates at least the entire bodies of figures (if that is all the shot includes, it is called a full shot). Captures movement, background, and broad gestures and expressions. * Medium shot: Contains a figure from the waist or knees up. It is a functional shot, favored in classical Hollywood editing, often used for scenes with dialogue. * Close-up: Includes very little if any background, concentrating on an object or, if an extreme close-up, a fragment of an object, such as the human face. Close-ups often accord great significance and symbolic...
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... ECH113 Early Childhood Play and Inquiry Assignment 5: Learning Potential Scenario Analysis Play is linked to the intellectual development of children (Degotardi, 2014a). It provides an active construction of understanding in a variety of areas, nurturing creative, academic and social dispositions from its beginnings in the life of a child (Myck-Wayne, 2010, pp. 3). Play exists in many forms, and is assessed by a number of measures. The play scenario between four-year-olds Sophie, Isaac and Matthew will be examined in light of their narrative development and social play. An understanding of the importance of narrative development and the complexity of social play in early childhood will unmask the centrality of play in nurturing children’s cognitive and emotional development. It will also provide an insight into the potential methods for adult support and enhancement in play to maximize its benefits in early childhood. Narrative development in early childhood play is a result of creative thought and expression. Narrative development is rooted in symbolic thought, which refers to representational thinking (Degotardi, 2014a). Symbolic thought is a construct of abstraction, whereby something is transformed in the child’s mind into something else, creating meaning beyond its original context (Van Hoorn, Nourot, Scales, & Alward, 2013, pp. 213). Sophie and Isaac’s symbolic play begins by utilizing the given materials beyond their obvious capabilities...
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