Opportunities and challenges in the analysis of the Multilingual Assessment Instrument for Narratives (MAIN)

The development of the Multilingual Assessment Instrument for Narratives (MAIN) has no doubt contributed to prompting a renewed interest in children’s narratives. This carefully controlled test of narrative abilities elicits a rich set of measures spanning multiple linguistic domains and their interaction, including lexis, morphosyntax, discourse-pragmatics, as well as various aspects of narrative structure, communicative competence, and language use (such as code-switching). It is particularly well suited to the study of discourse cohesion, referential adequacy and informativeness, and of course to the study of narrative structure and richness, and the acquisition of a more formal or literary register. In this commentary article, I reflect on the five empirical papers included in the special issue. I focus on methodological challenges for the analysis of narratives and identify outstanding questions.

FORMS OF OPPOSITIONS IN THE NARRATIVE STRUCTURE OF “ANNE OF GREEN GABLES” BY L.M. MONTGOMERY

The paper aims to explore different forms of oppositions in the narrative structure of Lucy Maud Montgomery’s critically acclaimed novel “Anne of Green Gables”, which was first published in 1908. Because L. M. Montgomery’s works have not been sufficiently explored in the realm of narratology, the following paper seeks to begin covering this gap by analysing key oppositions in “Anne of Green Gables” while also taking into consideration their significance in terms of a broader cultural and historical context, as well as accounting for the changes introduced by L.M. Montgomery to the genre of the novel (specifically, Bildungsroman). Having analysed the original text of the novel, we have determined that the key oppositions in “Anne of Green Gables” (commonplace/romantic worldview, religion/godlessness, love/friendship, woman/man (girl/boy), childhood/adulthood, orphancy/family, loneliness/belonging, mercy/indifference, etc) play an important role in defining the conflict dynamic between characters. By opposing stylistic elements, thematic and plot formulae, the author is able to provide an in-depth perspective of her heroine’s experiences, as well as exploring various viewpoints (Anne Shirley, Marilla and Matthew Cuthbert, Rachel Lynde, etc) when it comes to the same events. L.M. Montgomery has also updated the genre of Bildungsroman by reimagining the conventional topics of “female” literature (raising girls to be future wives and mothers, their love afflictions and desire to get married) and replacing them with new and relevant issues (the influence of literature and culture on one’s personality, the role of friendship in a young person’s life, using creativity as a means to reinterpret one’s surroundings and overcome inner conflict, etc).

The Commuting Behavior Evolution in Suburban Express Line after Operation: Based on Multi-Source Space-Time Big Data

Virtual Reality news (VR news) provides news reports relying on virtual reality technology, creating a strong sense of immersion and presence. It is a new format of news and a new application for immersive media. Previous researches studies on VR news mainly focus on the range of topics and the media effect, and point out the advantages and disadvantages of them. However, the content of VR news is usually neglected. This research aims to conduct a content analysis on the VR news from CCTV.com by applying the framing theory. The coding scheme is designed based on Zang Guoren’s three-level structures theory, analyzing 220 pieces of news in total. According to the objective data obtained through the analysis, the conclusion is drawn on significant features about VR news, including theme, source, tendency, narrative structure, multimodal presentation, and framework. This research has theoretical significance for it applies the framework theory to analyze the VR news, and also provides inspiration for the production of VR news and the media industry.

O conto português no século XXI: apontamentos sobre Teatro Vertical de Manuel Alberto Vieira / The Portuguese short-story in the 21st century: notes on Manuel Alberto Vieira’s Teatro Vertical

Resumo: A ficção portuguesa no século XXI parece inclinar-se maioritariamente para as distintas formas que autoriza o romance na pós-modernidade. Por razões de vária ordem, que vão desde a nossa tradição literária à criação de um mercado editorial que fomenta este género, os escritores surgidos após a passagem do milénio e publicados nas grandes casas editoriais portuguesas têm recorrido pouco ao conto. Em contrapartida, o trabalho realizado por editoras independentes tem trazido a lume outros possíveis caminhos para a ficção portuguesa que não desaguam no universo de tendências dominantes do mercado cada vez mais global (carácter mais universal da intriga, inclinação para mobilidade constante das personagens e dos espaços, alusões de natureza livresca, recusa a referências locais ou regionais, etc.). Neste sentido, este trabalho tem como objetivo analisar o contributo de Teatro Vertical, livro de contos de Manuel Alberto Vieira, que em sentido quase oposto às tendências dominantes, permite repensar a potencialidade do conto como género na atualidade, ao mesmo tempo que reconfigura um dos elementos mais problematizados da nossa sociedade: a família. Após uma breve contextualização da subalternização do género na nossa tradição literária, procura analisar-se a estrutura narrativa destes contos – partindo das reflexões de Ricardo Piglia sobre as formas breves –, assim como estudar o modo em que um dos temas dominantes, a família, é evidenciado nas suas complexas mutações através das estruturas mais simples, próprias do conto.Palavras-chave: Manuel Alberto Vieira; conto; narrativa; família; crueldade. Abstract: Portuguese fiction in the 21st century seems to lean mostly towards the different forms that authorize the novel in postmodernity. For various reasons, ranging from our literary tradition to the creation of an editorial market that fosters this genre, writers who emerged after the passing of the millennium and published in the major Portuguese publishing houses have made little use of the short-story. On the other hand, the work carried out by independent publishers has brought to light other paths for Portuguese fiction that do not lead to the universe of dominant trends in the increasingly global market (a more universal character of intrigue, inclination towards constant mobility of characters and spaces, allusions of a bookish nature, refusal of local or regional references, etc.). In this sense, this work intends to analyze the contribution of Teatro Vertical, a short story book by Manuel Alberto Vieira, which, in an almost opposite sense to the dominant trends, allows us to rethink the potential of the literary short-story as a genre today, while reconfiguring one of the elements most problematized in our society: the family. To this end, this work, after a brief contextualization of the subordination of gender in our literary tradition, seeks to analyze the narrative structure of these short-stories - based on Ricardo Piglia’s reflections on short forms - as well as studying the way in which one of the dominant themes, the family, is evidenced in its complex mutations through the simplest structures, typical of the short-story.Keywords: Manuel Alberto Vieira; short story; narrative; family; cruelty.

Personagens, espaço e níveis narrativos em Os Memoráveis de Lídia Jorge / Characters, space and narrative levels in Os Memoráveis by Lídia Jorge

Resumo: Dentro do universo ficcional do romance Os Memoráveis de Lídia Jorge, as personagens estabelecem ligações dinâmicas entre elas de acordo com o jogo ficcional implicado nas intrigas, as quais se configuram diferentes níveis narrativos. Este estudo tem como objetivo analisar as relações das personagens entre si, o jogo de perspetivas utilizado e a complexidade da estrutura narrativa onde se inserem. Investigar-se-á o modo como as personagens perseguem os seus propósitos, a composição dos níveis narrativos relacionada com o agenciamento das intrigas (de acordo com a investigação de Raphael Baroni) e, ainda, a importância da ambientação, do cenário e dos enquadramentos para a constituição da representatividade simbólica das figuras históricas representadas no romance. Palavras-chave: personagem, espaço, ficção, narrativa, Lídia Jorge.Abstract: Within the fictional universe of the novel Os Memoráveis, by Lídia Jorge, characters establish dynamic connections between them according to the fictional games involved in the plots, which configure different narrative levels. This study aims to analyze the relationships of the characters with each other, the interplay of perspectives employed and the complexity of narrative structure where they are inserted. It will be investigated the way characters try to achieve their purposes, the composition related with agency of narrative levels (according to the research presented by Raphael Baroni) and also the importance of ambience and setting for the drawing up of symbolic representativeness of the fictionalized historical figures of the novel.Keywords: character, space, fiction, narrativa, Lídia Jorge.

ANALISIS STRUKTUR NARATIF TIGA BABAK FILM STORY OF KALE

<p><strong>Abstrak </strong></p><p>Alur cerita yang dikemas dalam sebuah tontonan film tentunya menjadi modal utama keberhasilan film tersebut dalam menarik perhatian penonton. Dari berbagai genre yang ada, tidak banyak film drama Indonesia yang menggunakan alur mundur dalam penyajian ceritanya. Tujuan penelitian ini adalah untuk mengetahui tahapan dramatik tiga babak film Story of Kale dan alur yang digunakan dalam mengemas cerita film <em>spin off</em> garapan sutradara Angga Dwimas Sasongko. Metode penelitian yang digunakan adalah deskripsi kualitatif untuk melihat secara mendalam struktur naratif dan unsur dramatis yang digunakan mulai dari tahap awal, tahap tengah dan tahap akhir. Analisis data pada objek penelitian ini menggunakan teknik analisis struktur naratif tiga babak menurut Syd Field. Hasil analisis penelitian ini menemukan bahwa alur mundur yang disajikan dalam film Story of Kale tidak menggunakan kaidah struktur naratif tiga babak. Penggunaan struktur tiga babak terlihat dalam urutan kronologis cerita film Story of Kale tahap awal, munculnya persoalan dan konflik. Penelitian ini menyimpulkan bahwa penggunaan plot <em>flashback</em> dan teknik editing yang simultan dapat mengubah keseluruhan bentuk cerita naratif.</p><p><em><br /></em></p><p><em><strong>Abstract</strong><br /></em></p><p><em>This study discusses the narrative structure of the three-act film Story Of Kale by looking at the dramatic elements in the story presented. The purpose of this study was to determine the dramatic stages of the three-act film Story of Kale and the plots used in packaging the story of the spin-off film directed by Angga Dwimas Sasongko. The research method used is a qualitative description to see in depth the narrative structure and dramatic elements used starting from the early, middle and final stages. Analysis of the data on the object of this research uses the three-act narrative structure analysis technique according to Syd Field. The results of the analysis of this study found that the backward plot presented in the film Story of Kale does not use the rules of the three-act narrative structure. The use of a three-act structure is seen in the chronological order of the story of the early Story of Kale film, the emergence of problems and conflicts. This study concludes that the simultaneous use of flashback plots and editing techniques can change the overall form of the narrative story.</em></p>

Two Mulan Films - Same Source, but Different Story: Comparisons on Camera Shot and Colour Styles

“Lady General Hua Mulan” and Disney “Mulan” are created from the same source “Ballad of Mulan”, which is the oldest known version of Mulan’s story. Nevertheless, these two works differ in many ways, such as the characters, Mulan's personality, narrative structure, theme, etc. These differences also affect the mise-en-scène of the work, resulting in a different use of camera techniques and colours. In the process of developing the narrative structure, the director uses various camera techniques and colours to effectively convey specific messages and emotions to the audience. This work examines what the artist intends to present to the audience while changing the distance, angle, or the relationship between the camera and the object, which are the basic elements of the objective point-of-view shot. Regarding the study of colour, this study focuses on the influence of the differences in the narrative structure of the two films on the choice of colour. Also, this study explains how the director uses colour to effectively convey the main message of the narrative.