Contemporary Narrative: Textual Production, Multimodality by Fiona J. Doloughan

By Fiona J. Doloughan

Modern Narrative introduces key matters and developments in modern narrative reports. Taking a case research procedure, it strains key narrative advancements within the context of a number theoretical techniques, together with multimodality, multilingualism and transliteracy. It bargains scholars of latest narrative an outline of ways within which twenty-first century narratives are developed and the level to which their building will depend on a number social, cultural, linguistic and technological components in addition to on person creativity and expressivity. The e-book brings jointly insights from narratology, semiotics, linguistics and translation experiences and applies them to the problems raised through modern literary and cultural texts, really when it comes to techniques of edition, translation and transformation throughout modes and media. Highlighting the foremost positive factors of up to date narrative from a serious and analytic viewpoint, it additionally explores the shut relationships among examining and writing and the severe and artistic dimensions of textual content to bare the creativity at paintings in quite a number cutting edge modern narratives.

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Perceptions of time and the ways in which situations and circumstances change with time can be represented in numerous ways within a narrative and indeed techniques for representing a character’s changing interaction with the world around him/her and his/her experience of time are many and various. As Herman (2002, p. 215) points out, while ‘rigidly bracketing the telling from the told [. ] could [. ] vitiate the phenomenology of reading’, distinguishing story time and discourse time or the events of the story and the manner of their narration can be useful in pointing to the ways in which particular effects are achieved.

46–51). Rather than being present in photographs, meanings are made relative to the context in which they appear and the manner in which they are presented. Barthes recognizes, however, 34 Contemporary Narrative the distinctive contribution made by the photograph to the kind of consciousness developed by and in humans. The type of consciousness the photograph involves is indeed truly unprecedented, since it establishes not a consciousness of the being-there of the thing (which any copy could provoke) but an awareness of its having-beenthere.

However, it does not follow that all cultures value the same types of knowledge nor that they put equal store on the same modes of knowledge transmission. In Western society, scientific modes of thought and knowledge transmission have tended to be privileged at the expense of narrative modes, which are often viewed as more anecdotal, subjective and impressionistic, and less analytic and rigorous than more empiric, fact-based and data-driven modes of enquiry. However, as poststructuralist thinkers have pointed out, science itself is subject to a culture of narrativity and to the use of rhetorical tropes (cf.

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