narration

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From the opening, the narrational voice of Last of the Just assumes that any Jewish historiography must be revised through a post-Holocaust retrospective.
While Metz finds success in the formal strategy for Storytelling and Melinda and Melinda, Hsu is unimpressed with Crash, arguing that the method only appears to provide narrational omniscience.
As early as 1953, Burroughs's prose attempted to subsume and to challenge alternate narrative forms, and his fiction thus makes for an ideal starting point in any attempt to view contemporary fiction through the lens of visual narrational strategies that contemporary novelists simultaneously both resist and imitate.
When Ford took what was by his testimony an episode from life (xx) and found in it both the elements of his own personal loss and a manifestation of the impending tragedy of Western war, he knew that the key to the fiction he was about to create lay in the narrational perspective that was the genius of his novel.
While noting such details, Greenstein calls attention to many narrational and spatial anomalies; these were deliberately introduced, he claims, for the sake of its "argument.
As the work developed, these contemplations were increasingly elaborated through narrational forms indebted to the artist's concern not only with television and other popular narrative genres (the photo-roman, the historical theme park) but with Irish storytelling traditions.
Hence our enjoyment of horror arises from its exploitation and satisfaction of our curiosity about monsters and the narrational process of their discovery, monsters being peculiarly suited to elicit our interest because of their status as categorical violations.
But more relevant to this argument than a possibly Platonic derivation is Gerard Genette's principle that "every event told in a story is on a diegetic level immediately superior to the level on which the narrational act producing that story is situated.
Mounting the positive example of Defoe's homodiegetic narration against Fielding's authorial narrator, Bender claimed that only "first-person narration limits power to regulate the implications of stories in any container of narrational authority" (Bender, Imagining, 121).
Curiously, however, Culler's argument drifts here from denying narrational divinity to denying narrational personhood.
Classical Hollywood Cinema: Narrational Principles and Procedures," in Philip Rosen, ed, Narrative, Apparatus, Ideology.