Narrative

From the view point of the classical structural semiotics, the "empirical experience" is considered as a pre-semiotic alien to any signification of the world, and it's based from there, by nature, below the threshold of the analyzable. While structuralist semioticism has given "narrative discourse", that is, what conveys the empirical life to "narrate", and while giving it a "textual" effect, this makes it susceptible to be the subject of the analysis of a semiotician, which justifies the great slogan of Greimas "out of the text point of salvation". On the contrary, we have the opinion that these are two processes of meaning production that the one does not necessarily exclude the other. As a result, we have two sets of views on the world that each have a specific design regime. By giving examples of a variety of domains, and more particularly of literature, the purpose of this series is to demonstrate that the "empirical experience", as well as the "discourse of the narration "both relate to the rejection and semiotic analysis.

Considering the paucity of self-studies exploring English as Foreign Language (EFL) teachers' journeys into becoming a creative teacher, in this qualitative action research, a mainstream Iranian teacher-researcher narrates the changes and challenges she observed while planning her creative classroom practices, implementing, and reflecting on them. While she experienced changes like going beyond the textbook, becoming a caring observer, and becoming a moment catcher, she faced constraining challenges like overcoming inner fears, showing (non)-compliance with institutional rules, and coping with situations when things did not turn out as expected. Such an insider view of teacher creativity reiterates that creativity needs to be considered not just as a set of techniques and procedures to be mastered but as an ongoing passion for renovation which should be cultivated over time despite existing constraints.

Most popular models of narratives and narrative analyses have been drawn on native stories, yet EFL learners’ narratives have not received due narrative analysis. The present study then aims at scrutinizing the structure of personal English stories as told by EFL learners. To this aim, three hundred narratives were collected through classroom discussions and interviews. Qualitative analysis methods were utilized to find how narratives were recounted. The results of data analyses indicated that EFL learners’ narratives consisted of 4 parts with the abstract and coda sections absent from them. Besides, there were other differences between the collected narratives and those told by English native speakers.

Purpose: Today, women's participation in economic and business activities, along with the evolution of their employment, has created fundamental changes in their traditional role. The purpose of this research is to examine the women's semantic understanding of their developmental experiences at senior management positions in higher education institutions using a qualitative research methodology in narrative studies. For this purpose, an in-depth interview was used to access narratives. Methodolgoy: The research participants comprise 20 women in senior management posts in Tehran's higher education institutions who were selected through purposive sampling. The findings of the study, using the method of thematic analysis, have identified the factors that promote women's development in senior management positions in three themes: individual, organizational and socio cultural, and five themes of growth and training and family, personal characteristics, attitudes of employees and officials, community attitudes.Findings: The findings of the study, have identified the factors preventing women's development in senior management positions in three main themes of individual, organizational and cultural-social and seven themes of growth and training and education, family, personal characteristics, discrimination, attitudes of employees and officials, community attitudes, cultural stereotypes. Conclusion: Research shows that successful women leaders have unique a self-concept that allows them to overcome traditional gender boundaries.

Despite many studies on the concept of learner autonomy and the relationship between teacher autonomy (TA) and learner autonomy, scant attention has been devoted to TA on its own. To bridge this gap, the present study used narrative accounts to discover language teachers’ autonomy in terms of self-directed professional development (PD), capacity for self-directed PD, and freedom from control over PD. To this end, eight English as a foreign language (EFL) teachers narrated their past stories regarding these three dimensions. The thematic analysis of their narratives showed that their main activities for self-directed PD included peer observation, peer coaching, making use of technology, continuing education, action research, interacting with professionals, and attending workshops. Regarding capacity for their self-directed PD, the teachers claimed they had the capacity and willingness to self-direct their teacher learning. External support, experience, motivational factors, and reading books and articles were instrumental in teachers’ capacity development. Moreover, the findings revealed that although teachers viewed financial problems, conference attendance, lack of time to do PD activities, and rules of the institutes as obstacles to their freedom over PD, they employed strategies to change them into opportunities. The findings suggest implications for teachers and teacher educators to acquaint themselves with different PD strategies and to raise teachers’ awareness about the value of PD, respectively. The findings might bear implications for institute managers as well.

In this study, corpus-based techniques were utilized in order to investigate the quantitative and qualitative features of adjectives across literary and technical texts. The corpus was composed of five literary novels and five engineering academic books in English. Seventy paragraphs were randomly drawn from each corpus and the frequency distribution of adjectives with respect to their position (attributive, predicative) and syntactic functions (descriptive, verbal, numeral, etc.) were tallied and summed. The results revealed that there is a significant difference in the frequency use of adjectives across the two corpora. From a register perspective, the high frequently use of adjectives in technical texts in comparison to literary texts (67.3% and 32.7%, respectively) may be due to the fact that almost all technical texts employ “expository” linguistic features which have a generally “informational purpose”, while most novels employ “narrative’’ linguistic features which have a direct functional association with the communicative purpose of telling a story of events which have occurred in the past. From a genre perspective, academic texts in engineering tend to be highly informational, non-narrative, and characterized by an impersonal style, whereas novels generally share the same primary communicative purpose of narrating a story whose purpose is to entertain.

Repetition in fiction is a very common device that many authors employ to bring forth motifs and themes into their works or as a means of creating emphasis. Therefore, it is quite expectable to observe many works with repeated sentences, phrases, and even words in various periods, which either are repetitions of a character’s own words or the repetitions of a character’s utterances by another character in the narrative in a small scale and the repetition of the whole work in larger scale. Through the use of Genettian repeating frequency type (nN/1S), authors are able to stress particular events, provide themes and motifs, and make use of prior narration, simultaneously. By means of scrutiny of repetitions in Mary Shelly’s Frankenstein; or, The Modern Prometheus, George Eliot’s The Mill on the Floss, and Charles Dickens’ Hard Times as three canonical works of British literature through Genettian nN/1S frequency type, this study could elaborate on the crucial emphatic role this frequency type plays in emergence of specific effects in these narratives.

It is not possible to get the desired thought of the text without considering the discourses of social actors. Using sociological-semantic categories, Van Leeuwen's discourse-oriented theory (2008) can explore the hidden layers of language in oral and written texts by stressing the importance of social actors of discourse. Hence, this theory can reveal the underlying relationships of each discourse. Due to the mysterious and discourse-oriented structures of the Holy Qur’an, one can find that the hidden ideology behind them is approximately the same. Therefore, discourse analysis can find a special status in Qur’anic studies. This study has examined the discourse system of the narrative of Prophet Solomon (AS) in Surah An-Naml with descriptive-analytical and statistical approaches using Van Leeuwen’s discourse-oriented model. The findings suggest that the inclusion components (134 cases) have a much higher frequency compared to the exclusion components (38 cases). On one hand, this means that God pays the most attention to the meaning, but on the other hand, in stylistic creativity, He introduces the audience, the names of individuals, groups, places, and times in which social actors play an active role. Besides, the components of reference allocation (98 cases), role allocation (20 cases), and type allocation (16 cases) have the most representation in all types of social actors included in this narrative, respectively.

In Jeff VanderMeer’s Annihilation, the way the Anthropocenic set of circumstances is narrated could not be easily explained away through giving precedence to either materialist or structuralist narratologists. In this sense, neither the materiality of the environment nor the arbitrary categories and models of structuralists such as Greimas could determine the ultimate narratological scheme with which one could make sense out of such set of circumstances. Only through modifying the extant narratological categories and models and exposing their arbitrariness via indicating their incapability to contain the formidable materiality of the environment, one could reach a workable semiotic framework for devising a narrative out of the anthropocenic set of circumstances. Reaching this framework would be the present study’s research objective. As its findings, the study recognizes that such a framework would not give the agency of devising narration to either non-human/environmental or human entities in the anthropocene, and at the same time will be the result of the uneasy, yet workable, coupling of these entities. This framework would also acknowledge the uncontainable nature of the environment in the anthropocene, and turn both human and non-human entities into mere actants that have no particular motivation. The study uses the modified narratological models of Algirdas Greimas and Amitav Gosh proposed by critics like Hanes Bergthaller, Marco Caracciolo and Jean Paul Petitimbert to reach this semiotic framework.  

Modernist literature decidedly experiments with such modes of discourse representation as free indirect discourse (FID) to highlight the subjective nature of reality and reflect the estrangement of the modern subject. Accordingly, an analysis of discourse representation has proved to be integral in exploring Modernist narratives. The discourse representation in movies, however, has received little attention from film narratologists. After an overview of discourse representation in literature and film, the present paper examines Virginia Woolf’s modernist masterpiece Mrs Dalloway (1925) and its cinematic adaptation of the same title by Marleen Gorris (1997) and its interconnectedness to present characters’ subjectivities. The basic claim of this study is that the (free) indirect discourses of the novel are turned into free direct discourse in the movie using the technique of internal sound or flashback. Although there are instances of internal focalisation in this movie, they are so disjointed or short that the dominant discourse remains that of the narrator. Therefore, the findings of the present essay demonstrate that Gorris’ film is not creative enough to bring about effects equal to or beyond those produced by Woolf’s or reproduce the underlying forces of “difference” at play in Woolf’s text.