| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "NARRATIVE": |
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Narration in Chaucer's "Troilus and Criseyde", 2004.
Shows how the narrative structure emphasizes Boethian philosophy in this work by Geoffrey Chaucer.
5,634 words (approx. 22.5 pages), 10 sources, MLA, $ 136.95
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Abstract
This paper asserts that "Troilus and Criseyde" by Geoffrey Chaucer is a treatise on Boethian philosophy more than an epic romance. The narrator is treated as a character whose purpose is to emphasize the deterioration of the poetic structure by displacing the audience, even as the hero simultaneously contends with his own emotional conflict and ultimate demise.
From the Paper
"Because Pandarus is created in Chaucer's own image (Waswo 10), he serves a pivotal role as a vehicle for Chaucerian irony in the narration scheme itself. Pandarus embodies the pacing of the narration and the emotion of the narrator himself. Both Pandarus and the narrator claim that their actions are fueled by compassion for the lovers, yet they both exhibit bizarre personal gratification in the services they perform. Some critics have even observed how the narrator ?participates with delight in Pandarus' machinations to bring the lovers together. In Books II and III, as Pandarus dashes from place to place arranging the lovers' meetings, the narration itself speeds up? (Waswo 10)."
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Virginia Woolf and Narration, 1992.
An examination of the author's works in relation to the role of the narrator.
1,800 words (approx. 7.2 pages), 7 sources, $ 63.95
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From the Paper
"This study will examine criticisms which Virginia Woolf's works make of the traditional narrator. The study will also examine the remedies offered by Woolf's work to the shortcomings of that traditional approach.
Clearly, Woolf's works do straightforwardly challenge the expectations of traditional narration in fiction. Picking any of her works, we find that we have entered a special world where we simply do not have our feet planted solidly on the ground of traditional narration, and we are forced to alter our own consciousness in order to tune into what is going on in the novel, in its form, and in the narration.
The implication of the "pattern of soliloquies" in Woolf's The Waves is that the traditional approach to narration is inadequate in expressing what the author wants to say, inadequate in..."
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Narration of Langston Hughes, 2002.
An analysis of some of Langston Hughes' poems.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
This is a 4-page paper on the narrative tones used in Langston Hughes poems and their transition depicted by analyzing three of his poems. 4 pgs.
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The Narration of Racism, 2002.
A look at the Western mass media and sensationalized representations of Middle Eastern "terrorism".
2,400 words (approx. 9.6 pages), 12 sources, $ 89.95
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Abstract
This paper will explore representations of Middle Eastern "terrorism" in the Western mass media. It will be argued that while these stereotyped representations clearly serve the political interests of major Western powers, they cannot be considered simply as ideological constructs. Rather, these representations will be shown to be a complex interaction of self-serving political interests among the Western elite and the need of mass media institutions for maximized dramatic news content at the minimum possible cost.
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Four Narrative Forms of Fiction, 2004.
A comparative analysis of the narratives of "The Grapes of Wrath" by John Steinbeck, "Old Man and the Sea" by Ernest Hemingway, "All the King's Men" by Robert Penn Warren, and "Absalom, Absalom!" by William Faulkner.
1,673 words (approx. 6.7 pages), 4 sources, MLA, $ 54.95
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Abstract
The purpose of this paper is to introduce, discuss, and analyze four different types of narration in four novels. Specifically, it compares and contrasts the four different methods of narration in each of these novels. It looks at how each of these classic novels uses a different form of narration to set the stage for the characters and to move the plot along. Each form of narration adds to the impact of the novel, and altering the narration would certainly alter the way the novels affect the reader. It shows how these novels are excellent examples of the differing forms of narration and how important they are to the overall art of fiction.
From the Paper
""Absalom, Absalom!" uses a stream of consciousness type of narration that includes the shifts in points of view and setting that can be unsettling to the reader. This is the author's intention, for he hopes to show that these same items shift consistently in everyone's life as they search for meaning and truth. Sentences are so long and convoluted that they sometimes lose the reader, and yet they set the scene quite effectively. While this novel is difficult to read, many of the narrative passages are extremely poetic and emotional. For example, Rosa once says, "my presence was to him only the absence of black morass and snarled vine and creeper to that man who had struggled through a swamp with nothing to guide or drive him -- no hope, no light: only some incorrigibility of undefeat ..." (Faulkner 137)."
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Narrative Therapy: A Case Study, 2008.
A discussion of narrative therapy and its application as a treatment strategy for anorexia.
1,774 words (approx. 7.1 pages), 7 sources, APA, $ 57.95
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Abstract
The paper discusses narrative therapy, which is considered a post-modern therapy and mental health treatment that seeks to gain the cooperation and insight of the patient himself. The paper applies narrative therapy to an anorexic patient to illustrate how this therapy can be utilized in the patient's recovery.
Outline:
Narrative Therapy Overview
Characteristics
Narrative Perspectives
Narrative Concerns
Narrative Therapy in the Future
Narrative Therapy in Application
From the Paper
"Narrative therapy can be considered a post-modern therapy and mental health treatment that seeks to gain the cooperation and insight of the patient him or herself. It consists of the integration of individuals' expressions of their unique experiences in life, an account of the individuals' interpretive processes about those experiences, and in relating these unique experience sets to both the culture background of the individual and the treatment plan (Bull, Dettinger, Detwiler, Petersen & Propst, 2005, paras.1-12). It is the counselor's or therapist's duty to reconcile these experiences and, most importantly, the individual's interpretive perception of them, with the particular mental affectation that is manifesting itself."
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Classic Slavery Narratives, 2004.
This paper compares two classic slavery narratives: Olaudah Equiano's ?Interesting Narrative? and Harriet Jacob's ?Incidents in the Life of a Slave Girl?.
1,490 words (approx. 6.0 pages), 3 sources, MLA, $ 49.95
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Abstract
This paper explains that one of the literary vehicles used by the anti-slavery movement was the narrative, written by slaves and former slaves, who described the brutality and inhumanity involved in the institution of slavery. However, it is clear from a reading Equiano's ?Interesting Narrative? and Jacob's ?Incidents in the Life of a Slave Girl? that these perspectives differed according to a slave?s gender and position. The author points out that, unlike his female counterpart, Harriet Jacobs, Equiano was in a much better position to prosecute any advantages that came his way by virtue of being a male with skills in a day and age where such attributes were recognized and valued, even in slaves. The paper concludes that both of these slave narratives speak to the brutal hardships and dehumanization that occurred, but Equiano?s is from the perspective of one who willingly participated in the ?peculiar institution?, while Jacob?s is from the perspective of an unwilling participant.
Table of Contents
Introduction
Review and Discussion
Background and Overview
Olaudah Equiano?s The Interesting Narrative?
Harriet Jacob?s ?Incidents in the Life of a Slave Girl?
Summary and Conclusion
From the Paper
"Time and again, Jacobs points to individuals? incidents in which her white owners took special pains to ensure that the blacks were acutely aware of their lowly status, and the whole slavery mentality only served to bring out the worst in everyone involved. For instance, in Chapter 8 of Jacobs? "Incidents of a Slave Girl", the author writes, ?Some poor creatures have been so brutalized by the lash that they will sneak out of the way to give their masters free access to their wives and daughters. Do you think this proves the black man to belong to an inferior order of beings? What would you be, if you had been born and brought up a slave, with generations of slaves for ancestors?.? In Chapter 4, Jacobs describes the mentality of the day when she writes of the escape and capture of Benjamin."
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Continuous Narrative Art, 2007.
This paper discusses the art technique called continuous narrative in which the same figure appears more than once in a single scene.
3,580 words (approx. 14.3 pages), 7 sources, MLA, $ 100.95
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Abstract
This paper explains that the Roman aesthetic approach, known as continuous narrative, makes use of a number of images of the same figure within a work, linking different aspects of a story together and evoking meaning while setting events distant in time in the same frame. The author points out that these works are reproduced in a variety of media, including on vases and cups, on huge towers, on walls as friezes or frescoes and on panels to be placed on the wall. The paper relates that an examination of some of the panels found at Pompeii shows some of the ways in which images were linked together to form a narrative, although this narrative would often be less then crystal clear because of the possibility of different interpretations.
Table of Contents:
Introduction
Continuous Narrative Art
Continuous Narrative at Pompeii
Conclusion
From the Paper
"Under and slightly to the right of the tree and column, Polyphemus sits on top of an outcropping formed by a steep pile of rocks, on which four white, wooly sheep graze. In the right foreground, at the base of the outcropping, a tall column carries a small statue. The statue is depicted in three-quarters view to the left, facing towards Polyphemus. Although the figure appears to wear a cloak and some sort of headdress, the statue's large, erect phallus allows for a secure identification of the figure as Priapus."
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Narrator?s Role in "Two Kinds", 2005.
In this paper, a critical analysis is done on the narrator in the short story "Two Kinds" by Amy Tan.
1,460 words (approx. 5.8 pages), 1 source, MLA, $ 48.95
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Abstract
This paper analyzes the dynamic narrator in "Two Kinds." The narrator in the story undergoes two significant changes throughout a series of events: She first aspires to become a prodigy, then determines to spite her mother and finally resolves her inner tension that initially surfaces due to the expectations of her mother. In this paper specific quotes are analyzed in order to prove that the narrator underwent a transformation.
From the Paper
"In Tan's "Two Kinds" a mother's blind faith that her daughter can be a genius leads the young girl to face several internal struggles. The narrator, the young daughter, initially feels as though she could one day become a prodigy as her mother suspects. However, the narrator's mother constantly pushes too hard and forces endless tests upon her daughter, which causes great tension in the mother-daughter relationship. After many acts of resentment and spite towards her mother's ambitions, the narrator finally releases all of her emotion and leads her mother to lose any trace of hope. Unfortunately, the narrator understands her mother as well as her lost potential when reconciliation is already out of reach, although she does capture inner peace after realizing her mother truly wished only success for her daughter. The narrator in the story undergoes two significant changes throughout a series of events: she first aspires to become a prodigy, then determines to spite her mother, and finally resolves her inner tension that initially surfaces due to the expectations of her mother."
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Post Modern Narrative Films, 2008.
Looks at the post modern narrative film using David Fincher's "Fight Club" (1999) Park Chan-wook "Oldboy" (2003) as examples.
1,115 words (approx. 4.5 pages), 0 sources, $ 38.95
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Abstract
This paper explains that D. W. Griffith's techniques in "The Birth of a Nation", in which the narrative aspects are emphasized over the spectacle elements, are still evident in post modern films. The paper then looks at the movies "Fight Club" and "Oldboy" as examples if narrative films that employ a strong and interesting narrative in combination with a visual storyline and action, which supports the plot. The paper also relates that narrative over spectacle films are difficult to make because it is easier to lose the viewer to either the spectacle or narrative element. The author concludes that these two films are successful because they bring together the techniques of directorial skill, an interesting storyline, and fine acting ability.
Table of Contents:
Introduction
Case Studies
Conclusion
From the Paper
"The director cuts to inside the room where Dae-su is held prisoner, and the mise-en-scene is the hotel look, desk, bed, bath and toilet. This is where Dae-su's narrative picks up, as he is held captive for a total of 13 years. During this time, the scenes are limited to the room where Dae-su is held; his life revolves around the props in the room, and the food that is slid under the door.
"Television becomes the largest part of Dae-su's life, and on television he learns that his wife has been murdered and he is suspected as the murder".
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The Slave Narrative is Born, 2006.
Introduces, discusses and analyzes Olaudah Equiano's classic slave narrative.
1,724 words (approx. 6.9 pages), 1 source, MLA, $ 55.95
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Abstract
This paper examines and analyzes the slave narrative, "The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African" by Olaudah Equiano. The paper explains that Equiano's narrative was special because of the language Equiano employs, the descriptions of his experiences as a slave that it includes and the message it conveys about examining our own lives and what we are meant to accomplish with our lives.
From the Paper
"Author Equiano's experiences were varied and unusual. His goal to share them with his readers caused him to pen his narrative, hoping to urge others to follow the same spiritual path he chose. As a young boy, he served on board an English fighting ship for his master. He fought in the French & Indian War alongside this man. He viewed slaves mistreated in the West Indies, and was cheated out of the freedom he worked for by a dishonest owner. With experience and his wits, he developed into a businessperson, traveled the world including the North Pole, helped resettle slaves to their native Africa, toured and spoke out loudly against slavery, and wrote a narrative describing his many experiences that brought the horrors of slavery home to many. In the end, publishers (including himself) published twenty-two editions of his book, and it remained popular literary material even after his death in 1797. All of these experiences added to the treasure trove of experience that created a compelling and admired narrative."
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Conversion and Narrative in "Robinson Crusoe", 2006.
An examination of the conversion and narrative in Daniel Defoe's "Robinson Crusoe".
3,249 words (approx. 13.0 pages), 17 sources, MLA, $ 93.95
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Abstract
In this paper the author looks at the biographical typology of the conversion narrative, the structurally and thematically fixed point of the conversion, the consistent intrusion of a double perspective and the allegories of spiritual progress that appear in Daniel Defoe's "Robinson Crusoe". He analyzes these points to show that they all provide the narrative with moments of coherence and meaning. The author looks at "Robinson Crusoe" not as a spiritual autobiography, or even properly a conversion narrative; but as a tangential account of Crusoe's life which intrudes only along the margins of the narrative, with flashes of coherence and pattern that serve to set off the general experience of the narrator. He looks at this as an experience which tends toward wandering, indirectness and confusion. In conclusion, the author states that the beginning of the novel "Robinson Crusoe" is actually the end of the novel where the course of human life is only touched by completeness and in doing so Defoe is cleverly telling the reader about the confusion of human experience.
From the Paper
"The genius of Defoe's novel partly lies in the association of these two antithetical narrative structures into a single narrative. Defoe had his eye on the Puritan conversion narrative but also on the earlier long fiction of the seventeenth century, the romance. The conversion narrative, in particular the spiritual autobiography, often appears to lend the narrative pattern and coherence. The adventure or romance narrative offers Defoe not only a structure for the piling on of wonders and variety, but undercuts the coherence and meaning inherent in the conversion narrative, and ultimately the patterning of history or biography in any sense. Spiritual autobiography fails to supply an organizing principle for Crusoe's life, despite the narrator's attempts, because Crusoe's underlying "malaise", his integral restlessness, 2 constantly thrusts his life out of the enclosures imposed by the conversion event."
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Dual Narrators in Joseph Conrad's "Heart of Darkness", 2002.
A detailed discussion of Conrad's use of two first person narrators with respect to the major themes of "Heart of Darkness"
2,920 words (approx. 11.7 pages), 0 sources, $ 86.95
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Abstract
This paper outlines and discusses how the use of an anonymous frame narrator and the primary narrator Marlowe encourage the reader to see the major concerns of the novella. These include the hypocritical nature of western imperialism on the late 19th century, the transitory nature of western civilization and the nature of evil.
From the Paper
"In Joseph Conrad?s impressionistic novella "Heart of Darkness" the unusual use of dual narrators is very important in positioning the reader to understand the themes of the novella. Three of the main themes that are constantly referred to in Heart of Darkness are the hypocritical nature of western imperialism, the transitory nature of western civilization and the nature of evil. The dual narrator system has a primary narrator, Marlow, who is telling the story to three people, all somehow involved in the business of imperialism, on-board a yawl called the Nellie. It also has a frame narrator, an anonymous person with some connection to imperialism who is relating the events that occurred on the Nellie to the reader. Both of these narrators are used by Conrad to position the reader to see the novella?s themes. Marlow is used fairly directly and his biased point of view and definite moral sense of right and wrong are used to directly position the reader?s perspective on the three major themes mentioned earlier. The frame narrator specifically positions the reader in terms of the three themes mentioned earlier. He is also used indirectly by Conrad to position the reader in terms of the themes of the novella, he gives the reader a short background of Marlow and his stories and also encourages the reader to believe that Marlow is a very perceptive and trustworthy character, therefore, his story, and so the ideas that surround it, are important and worth thinking about."
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Slave Narratives, 2005.
A comparative study of slavery by examining several narratives.
1,350 words (approx. 5.4 pages), 2 sources, $ 53.95
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Abstract
This paper examines why studying nineteenth and twentieth-century slave narratives is important. Doing so offers an opportunity to examine slavery and its aftermath from the perspective of those who were victimized by this inhuman institution. The paper shows that because of their compelling insights into the impact of slavery and racial prejudice on African Americans, the nineteenth-century narratives of Frederick Douglas and Harriet Jacobs are particularly worthy of study, as are the twentieth-century narratives of Benjamin Johnson, Lucretia Alexander, and Elijah Green.
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The Narrative Frame of Nabokov's "Lolita", 2007.
This paper considers Vladimir Nabokov's novel "Lolita" as a framed narrative.
1,303 words (approx. 5.2 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper examines the use of the literary device, framed narrative, in Nabokov's "Lolita." First, the paper defines the term framed narrative. It then suggests that this device was used in "Lolita" because of the novel's controversial content. Finally, the author suggests that Nabokov may have used framed narrative to protect himself, and possibly his position as a tenured professor.
From the Paper
"As for Nabokov's note at the end, called "On a Book Entitled Lolita" (pp. 313-319), Lolita's true author ("Foreword" included), Vladimir Nabokov, comes clean immediately, in the first line of this "afterward" note to the reader, about his "impersonation of suave John Ray" (Nabokov, Lolita, p. 313). Nabokov then tells us in detail about both the genesis of, and the creative processes that went into his writing of Lolita, assuring us along the way that (1) the original idea for Lolita was a very old one, and has in fact seen several metamorphoses, on two continents, before finally emerging into the public eye, as the book it is today; (2) his urge to write it was solely a literary one (and he has in fact been writing novels, in not one language but two, since 1924), and once the idea finally emerged into the raw form of a novel, he had no creative choice but (like an itch that simply must be scratched) to finish it; (3) that he had initially been reticent to sign his own name to the book; (4) that he is in fact a stably married man, with hobbies, interests, and a routine kind of life ("Every summer my wife and I go butterfly hunting" (p. 314)), and that this particular work, his own artistic creation Lolita, is a work of art, not pornography (". . . in pornographic novels, action has to be limited to the copulation of cliches", p. 315)"
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