Composite artistry in the Book of Numbers : a study in biblical narrative conventions

The present thesis discusses the coherence or lack of coherence in the book of Numbers, with special regard to its narrative features. The fragmented nature of Numbers is a well-known problem in research on the book, affecting how we approach and interpret it, but to date there has not been any thorough investigation of the narrative features of the work and how they might contribute to the coherence or the lack of coherence in the book. The discussion is pursued in light of narrative theory, and especially in connection to three parameters that are typically understood to be invoked in the interpretation of narratives: 1) a narrative paradigm, or ‘story,’ meaning events related to each other temporally, causally, and thematically, in a plot with a beginning, middle, and end; 2) discourse, being the expression plane of a narrative, or the devices that an author has at hand in constructing a narrative; 3) the situation or languagegame of the narrative, prototypical examples being factual reports, which seeks to depict a state of affairs, and storytelling narratives, driven by a demand for tellability. In view of these parameters the present thesis argues that it is reasonable to form four groups to describe the narrative material of Numbers: genuine narratives (e.g. Num 12), independent narrative sequences (e.g. Num 5:1-4), instrumental scenes and situations (e.g. Num 27:1-5), and narrative fragments (e.g. Num 18:1). These groups are mixed throughout with non-narrative materials. Seen together, however, the narrative features of these groups can be understood to create an attenuated narrative sequence from beginning to end in Numbers, where one thing happens after another. This sequence, termed the ‘larger story’ of Numbers, concerns the wandering of Israel from Sinai to Moab. Furthermore, the larger story has a fragmented plot. The end-point is fixed on the promised land, Israel prepares for the wandering towards it (Num 1-10), rebels against wandering and the promise and is sent back into the wilderness (Num 13-14), returns again after forty years (Num 21ff.), and prepares for conquering the land (Num 22-36). Finally, themes of the promised land, generational succession, and obedience-disobedience, operate in this larger story. Purity is also a significant theme in the book, albeit not connected to plot in the larger story. All in all, sequence, plot, and theme in the larger story of Numbers can be understood to bring some coherence to the book. However, neither aspect entirely subsumes the whole book, and the four groups of narrative materials can also be understood to underscore the incoherence of the work in differentiating its variegated narrative contents. Numbers should therefore be described as an anthology of different materials that are loosely connected through its narrative features in the larger story, with the aim of informing Israelite identity by depicting a certain period in the early history of the people.

The Chatter of the Visible : Montage and Narrative in Weimar Germany /

'The Chatter of the Visible' examines the paradoxical narrative features of the photo montage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity.

Le moment venu ou l’eveil dês editoriaux. Mutations de la littérature des années quatre-vingt vues par les revues littéraires

Les années quatre-vingt signalent un point de bascule dans et une mutation majeure dans les caractéristiques narratives de la littérature française. D’une certaine façon, elles entament la contemporanéité littéraire telle que nous la connaissons du point de vue critique. Nous insisterons sur le rôle des revues et des éditoriaux dans ce processus. Ils manifestent quelques hésitations de la critique par rapport à la littérature naissante.

Le moment venu ou l’eveil dês editoriaux. Mutations de la littérature frainçaise des années quatre-vingt vues par les revues littéraires

Les années quatre-vingt signalent un point de bascule dans et une mutation majeure dans les caractéristiques narratives de la littérature française. D’une certaine façon, elles entament la contemporanéité littéraire telle que nous la connaissons du point de vue critique. Nous insisterons sur le rôle des revues et des éditoriaux dans ce processus. Ils manifestent quelques hésitations de la critique par rapport à la littérature naissante.

Three-year-olds' attachment play narratives and their associations with internalizing problems

Representational strategies of emotion regulation during play are believed to protect children against behaviour problems. Yet, before the age of 4, it appears that children rely more on their attachment figure than on representational strategies to assuage distress. The study was aimed at testing whether 3-year-olds' narrative features during the Attachment Story Completion Task (ASCT) could predict concurrent internalizing problems assessed by the mothers' and fathers' ratings of the child, using the Child Behaviour Checklist Regression analyses including gender, IQ, socio-economic status and ASCT dimensions revealed that representations of supportive caregiving predicted mother-reported internalizing problems (negative association), whereas positive resolution and attachment strategies (security, deactivation, hyperactivation, disorganization) did not. Results were interpreted with reference to Bowlby's hypotheses regarding the aetiology of depression and anxiety disorders. (PsycINFO Database Record (c) 2007 APA, all rights reserved)

‘Anything can happen in the next half-hour’: Gerry Anderson’s transnational science fiction

Gerry Anderson’s 1960s puppet series have hybrid identities in relation to their medial, geographical, and production histories. This chapter ranges over his science fiction series from Supercar (1961) to Joe 90 (1968), arguing that Anderson’s television science fiction in that period crossed many kinds of boundary and border. Anderson’s television series were a compromise between his desire to make films for adults versus an available market for children’s television puppet programs, and aimed to appeal to a cross-generational family audience. They were made on film, using novel effects, for a UK television production culture that still relied largely on live and videotaped production. While commissioned by British ITV companies, the programs had notable success in the USA, achieving national networked screening as well as syndication, and they were designed to be transatlantic products. The transnational hero teams and security organisations featured in the series supported this internationalism, and simultaneously negotiated between the cultural meanings of Britishness and Americanness. By discussing their means of production, the aesthetic and narrative features of the programs, their institutional contexts, and their international distribution, this chapter argues that Anderson’s series suggest ways of rethinking the boundaries of British science fiction television in the 1960s.

The Vida of Queen Fredegund in Tote Listoire de France: vernacular translation and genre in thirteenth-century French and Occitan literature

This article examines the role that translation may have played in the development of medieval vernacular literature. It analyses an extract of an early 13th-c. translation into a hybrid French-Occitan vernacular of an 8th-c. historical text, the 'Liber Historiae Francorum'. The translation coincides with the adoption of narrative prose both in Old French and in Occitan literature, which reflects a growing interest in historical writings. The second half of the article compares the anecdote with the narrative structures and content of one of the troubadour 'vidas' and 'razos' - biographical texts in prose that emerged in the same period and regions as this translation. The article concludes by suggesting that the new vernacular genre shares narrative features with the early medieval Latin text that are preserved in its translation.

The circulation of romances from England in late-medieval Ireland

The fifteenth century saw a striking upturn in the number of texts from foreign vernaculars that were translated into Irish. Indeed, one might go so far as to speak in terms of a ‘translation trend’ in Ireland during the mid to late fifteenth century. A notable feature of this trend is that a particularly high number of these Irish translations are of romances; contextual and textual evidence suggests that the original exemplars for many of these translated texts appear to have come from England, though not all of them were necessarily in English. Irish translations of eight romances have survived to the present day: Guy of Warwick; Bevis of Hampton; La Queste de Saint Graal; Fierabras; Caxton’s Recuyell of the Histories of Troie; William of Palerne; the Seven Sages of Rome; and Octavian. This paper addresses two aspects of these texts of particular relevance to romance scholars who do not work within the sphere of Celtic studies. Firstly, it argues that certain aspects of the dissemination and reception of romance in Ireland are quite distinctive. Manuscript and textual evidence suggests that the religious orders, particularly the Franciscans, seem to have played a role in the importation and translation of these narratives. Secondly, examination of the Irish versions of romance tends to bear out an observation made by Flower many years ago, but not pursued by subsequent scholars: ‘texts of an unusual kind were current in Ireland, and it may be that interesting discoveries are to be made here’. Certain narrative features of several of these Irish translations diverge from all the surviving versions of the relevant romance in other languages and may witness to a variant exemplar that has since been lost from its own linguistic corpus.

Imagens e narrativas midiáticas: análise dos vídeos do Youtube

Pós-graduação em Educação - FFC

"Sounds Funny? – Humor Effects of Phonological and Prosodic Figures of Speech"

Whereas semantic, logical, and narrative features of verbal humor are well-researched, phonological and prosodic dimensions of verbal funniness are hardly explored. In a 2 × 2 design we varied rhyme and meter in humorous couplets. Rhyme and meter enhanced funniness ratings and supported faster processing. Rhyming couplets also elicited more intense and more positive affective responses, increased subjective comprehensibility and more accurate memory. The humor effect is attributed to special rhyme and meter features distinctive of humoristic poetry in several languages. Verses that employ these formal features make an artful use of typical poetic vices of amateurish poems written for birthday parties or other occasions. Their metrical patterning sounds “mechanical” rather than genuinely “poetic”; they also disregard rules for “good” rhymes. The processing of such verses is discussed in terms of a metacognitive integration of their poetically deviant features into an overall effect of processing ease. The study highlights the importance of nonsemantic rhetorical features in language processing.

La herencia de una guerra perdida : La memoria multidireccional en Los rojos de ultramar de Jordi Soler

Los rojos de Ultramar (2004) del mexicano Jordi Soler es una novela que sondea la memoria de la guerra civil española y la dictadura franquista, indagando en sus consecuencias a nivel individual y colectivo a partir de la experiencia de los exiliados. El narrador de la novela, trasunto del propio autor, es nieto de un republicano exiliado que se propone investigar a fondo la accidentada biografía de su abuelo. La obra comparte muchos rasgos formales y temáticos con varias novelas de la memoria recientes de autores españoles, tales como Soldados de Salamina de Javier Cercas y Mala gente que camina de Benjamín Prado, en las que la investigación histórica de un narrador-personaje funciona como motor narrativo. Sin embargo, la obra aporta al debate español en torno a la memoria histórica una novedosa visión desde fuera de las fronteras nacionales. Por medio de la voz del narrador, portador de dos culturas (la mexicana y la catalana) y dos lenguas (el castellano y el catalán), la novela de Soler proporciona una perspectiva transnacional y multicultural, que se aproxima a lo que Michael Rothberg ha denominado memoria multidireccional. El objetivo de este artículo es, por un lado, identificar y discutir las características narrativas que Los rojos de ultramar comparte con las novelas-investigación de autores españoles y, por otro lado, profundizar en la aportación particular de esta obra, que reivindica la hibridez cultural y utiliza la memoria de una comunidad cultural específica (la de los republicanos exiliados) de modo ejemplar para crear solidaridad entre diferentes grupos culturales.

La herencia de una guerra perdida : La memoria multidireccional en Los rojos de ultramar de Jordi Soler

Los rojos de Ultramar (2004) del mexicano Jordi Soler es una novela que sondea la memoria de la guerra civil española y la dictadura franquista, indagando en sus consecuencias a nivel individual y colectivo a partir de la experiencia de los exiliados. El narrador de la novela, trasunto del propio autor, es nieto de un republicano exiliado que se propone investigar a fondo la accidentada biografía de su abuelo. La obra comparte muchos rasgos formales y temáticos con varias novelas de la memoria recientes de autores españoles, tales como Soldados de Salamina de Javier Cercas y Mala gente que camina de Benjamín Prado, en las que la investigación histórica de un narrador-personaje funciona como motor narrativo. Sin embargo, la obra aporta al debate español en torno a la memoria histórica una novedosa visión desde fuera de las fronteras nacionales. Por medio de la voz del narrador, portador de dos culturas (la mexicana y la catalana) y dos lenguas (el castellano y el catalán), la novela de Soler proporciona una perspectiva transnacional y multicultural, que se aproxima a lo que Michael Rothberg ha denominado memoria multidireccional. El objetivo de este artículo es, por un lado, identificar y discutir las características narrativas que Los rojos de ultramar comparte con las novelas-investigación de autores españoles y, por otro lado, profundizar en la aportación particular de esta obra, que reivindica la hibridez cultural y utiliza la memoria de una comunidad cultural específica (la de los republicanos exiliados) de modo ejemplar para crear solidaridad entre diferentes grupos culturales.

La herencia de una guerra perdida : La memoria multidireccional en Los rojos de ultramar de Jordi Soler

Los rojos de Ultramar (2004) del mexicano Jordi Soler es una novela que sondea la memoria de la guerra civil española y la dictadura franquista, indagando en sus consecuencias a nivel individual y colectivo a partir de la experiencia de los exiliados. El narrador de la novela, trasunto del propio autor, es nieto de un republicano exiliado que se propone investigar a fondo la accidentada biografía de su abuelo. La obra comparte muchos rasgos formales y temáticos con varias novelas de la memoria recientes de autores españoles, tales como Soldados de Salamina de Javier Cercas y Mala gente que camina de Benjamín Prado, en las que la investigación histórica de un narrador-personaje funciona como motor narrativo. Sin embargo, la obra aporta al debate español en torno a la memoria histórica una novedosa visión desde fuera de las fronteras nacionales. Por medio de la voz del narrador, portador de dos culturas (la mexicana y la catalana) y dos lenguas (el castellano y el catalán), la novela de Soler proporciona una perspectiva transnacional y multicultural, que se aproxima a lo que Michael Rothberg ha denominado memoria multidireccional. El objetivo de este artículo es, por un lado, identificar y discutir las características narrativas que Los rojos de ultramar comparte con las novelas-investigación de autores españoles y, por otro lado, profundizar en la aportación particular de esta obra, que reivindica la hibridez cultural y utiliza la memoria de una comunidad cultural específica (la de los republicanos exiliados) de modo ejemplar para crear solidaridad entre diferentes grupos culturales.

La herencia de una guerra perdida : La memoria multidireccional en Los rojos de ultramar de Jordi Soler

Los rojos de Ultramar (2004) del mexicano Jordi Soler es una novela que sondea la memoria de la guerra civil española y la dictadura franquista, indagando en sus consecuencias a nivel individual y colectivo a partir de la experiencia de los exiliados. El narrador de la novela, trasunto del propio autor, es nieto de un republicano exiliado que se propone investigar a fondo la accidentada biografía de su abuelo. La obra comparte muchos rasgos formales y temáticos con varias novelas de la memoria recientes de autores españoles, tales como Soldados de Salamina de Javier Cercas y Mala gente que camina de Benjamín Prado, en las que la investigación histórica de un narrador-personaje funciona como motor narrativo. Sin embargo, la obra aporta al debate español en torno a la memoria histórica una novedosa visión desde fuera de las fronteras nacionales. Por medio de la voz del narrador, portador de dos culturas (la mexicana y la catalana) y dos lenguas (el castellano y el catalán), la novela de Soler proporciona una perspectiva transnacional y multicultural, que se aproxima a lo que Michael Rothberg ha denominado memoria multidireccional. El objetivo de este artículo es, por un lado, identificar y discutir las características narrativas que Los rojos de ultramar comparte con las novelas-investigación de autores españoles y, por otro lado, profundizar en la aportación particular de esta obra, que reivindica la hibridez cultural y utiliza la memoria de una comunidad cultural específica (la de los republicanos exiliados) de modo ejemplar para crear solidaridad entre diferentes grupos culturales.

A PAIXÃO DE CRISTO SEGUNDO SÃO MATEUS: ESTRATÉGIAS NARRATIVAS

A literatura é um tipo de conhecimento que faz uso da palavra com a finalidade de projetar realidades possíveis. Para tanto, a mimese literária tem na experiência vivencial a verossimilhança que torna possível a apreensão da obra literária como fenômeno interpretativo. Nesse processo de composição, o gênero literário converte-se no conjunto de convenções que o autor se vale para fazer-se inteligível a seu público. As narrativas bíblicas e, em especial, o Evangelho Segundo São Mateus, possuem elementos que permitem sua leitura como obras literárias próprias da Antiguidade, cujas estratégias narrativas se mostram construtoras de representação verossímil da realidade. Para tanto, o narrador do Evangelho Segundo São Mateus utilizou-se daquelas convenções que se conformavam ao horizonte de expectativas de seu público e que articulam experiências advindas da literatura greco-romana e da literatura judaica. No caso da Paixão de Cristo Segundo São Mateus, o narrador empreende um conjunto de estratégias narrativas que favorecem sua condução da leitura da narrativa de acordo com sua perspectiva. Nesse processo, vale-se de uma estrutura que combina a biografia greco-romana àquela já consagrada na literatura bíblica. Dessa forma, a Paixão de Cristo nos é apresentada como parte final da história, numa perspectiva paradigmática e, ao mesmo tempo, como realização das Escrituras, que figuram e profetizam a respeito de Jesus e a natureza redimensionadora e universalizadora da salvação.