Related Papers
2009, Birmingham, Annual Conference of the International Society for the Study of Narrative, University of Birmingham
Gyöngyvér Horváth
Literary Narrative as an Infinite Resource in English Language Studies
Marija Liudvika Drazdauskiene
Abstract. The problem of this paper is many-sided and exists for culturally sensitive language learners and teachers. It may be identified as difficulties arising from a rather narrow treatment of culture, including its very concept, and respective deficiencies in EFL. These problems can be possibly resolved through a flexible use of narrative in language teaching, while treating culture as a mode of life of a geographically and ethnically identifiable community whose heritage is encoded in its language. As literature enhances the expressiveness of the linguistic code in view of the artistic principles employed, imaginative literature as a resource is virtually inexhaustible. Discussions of a story and character may be extended to a more professional consideration of the structure of the work - the conflict, its other components, the literary technique, language and style. Questions of culture specifically may tackle the scenery, behaviours and other identifiable features, but, most importantly, can exploit the language for routine senses of the words, for their more suggestive meaning and for the most delicate points of usage, all of which can be accompanied by word stories. These are the questions which constitute the cultural potential of language and from which the learners can profit the most. There is also the instigated problem of the precarious status of the humanities at present, the resolution of which depends on the point of view taken. The conclusions are based on classroom research and on research into uses of English, especially on a study of literature as a use of language.
The Cambridge Introduction to Narrative
The Cambridge Introduction to Narrative
2008 •
Porter Abbott
What is narrative? How does it work and how does it shape our lives and the texts we read? H. Porter Abbott emphasizes that narrative is found not just in literature, film, and theater, but everywhere in the ordinary course of people's lives. This widely used introduction, now thoroughly revised, is informed throughout by recent developments in the field and includes two new chapters. With its lucid exposition of concepts and suggestions for further reading, this book is not only an excellent introduction for courses focused on narrative but also an invaluable resource for students and scholars across a wide range of fields, including literature and drama, film and media, society and politics, journalism, autobiography, history, and still others throughout the arts, humanities, and social sciences.
OXFORD RESEARCH ENCYCLOPAEDIA OF LITERATURE
NARRATIVE THEORY full text temporarily available
2017 •
Didier COSTE
The narrative mode of world-representation and world-building is omnipresent and far exceeds the domain of literature. Since literature is not necessarily narrative and narrative not necessarily literary, the study of narrative in a literary context must confront narrative and literature in a dual way: How does the presence of narrative affect literature? And how does literariness affect narrative? The basic terminology needs to be clarified by comparing English with the vocabulary of other natural languages. No consensus has been reached, even in the West, on the nature of narrative discourse. The entire history of poetics shows that, before the middle of the 20th century, little attention was paid to the narrative components of literary texts qua narrative—that is, insofar as the same narrative elements could equally be found in non-aestheticized uses of verbal and non-verbal languages. Aristotelian poetics, based on the mimesis of human action, keeps its grip on narrative theory. The post-Aristotelian triad separated more sharply the lyric from the epic and dramatic genres, but modern narrative theories, mostly based on the study of folk tales and the novel, have still failed to unify the field of literary narrative, or have done it artificially, dissolving narrative discourse into the undifferentiated experience of human life in linear time. The Western " rise of the novel, " in Ian Watt's sense, and its worldwide expansion, turned the question of fiction, not that of narrativity, into the main focus of narrative studies. Later, the emergence of formalism and semiotics and the " linguistic turn " of the social sciences pushed the narrative analysis of literary texts in the opposite direction, with all of its efforts bearing on minimal, supposedly deeper units and simple concatenations. The permanent, unresolved conflict between an analytical and constructivist view grounded in individual events and a holistic view concerned with story-worlds and storytelling leaves mostly unattended such fundamental questions as how narrative is used by literature and literature by narrative for their own ends.
History and Narrative: An Overview. Narrative Works 5, 1 (2015), 174-96.
Philippe Carrard
Coming to Te rms: The Rhetoric of Narrative in Fiction and Film Essays on the Language of Literature (edited with Samuel Levin) A Theory of Meter STORY AND DISCOURSE Narrative Structure in Fiction and Film
Yang Z
griffith.edu.au
Narrative Fiction
Martin Travers
Review of Gregory Currie's 'Narratives and Narrators'
Francesco Paolo Gentile
A history of English literature
2002 •
Lenka Pivková
Telling Stories in Contemporary English. A Workbook in English Language and Cultural Studies
Serena Guarracino
This workbook has been conceived while I was teaching a course on “English Language” for the 2nd year students of a degree course called “Lingue, culture e istituzioni del Mediterraneo”. Its purpose is to offer students the critical instruments to accept the challenge that learning ‘english’ entails today – not ‘just’ learning a language, but dealing with the whole, multifaceted heap of phenomena that go under the name of ‘english’ today, including those aspects informed by colonial and postcolonial dynamics. This work includes a number of texts from different media — writing, but also music and film. It must be considered as an attempt to create a common space of thinking in a language such as english that constantly challenges our attempts at grasping and framing it into either linguistic, literary or cultural syllabuses. This language, as a house that we inhabit (whether as ‘foreign’ or ‘native’ speakers) is haunted by the spectres of all the stories that are told in this language, and that shape its present form in the very moment when we are trying to teach it. To invite students in this haunted house also means to give them the keys to its closed rooms and dark alleys, to the shantytowns and skyscrapers where english is spoken today.
