Products related to Narrative:
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Financialization and Strategy : Narrative and Numbers
Considering the recent impact of the capital market on corporate strategy, this text analyzes, through argument and supportive case studies, how pressures from the capital bull market of the 1990s and bear market of the early 2000s, have reshaped management action and calculation in large, publicly quoted US and UK corporations.Beginning with the dissatisfaction with classical strategy and its limited engagement with the processes of financialization, the book moves on to cover three detailed company case studies (General Electric, Ford and GlaxoSmithKline) which use long run financial data and analysis of company and industry narratives to illustrate and explore key themes.The book emphasizes the importance of company and industry narrative, while also analyzing long term financial results, and helps to explain the limits of management action and the burden of expectations placed on corporate governance. Presenting financial and market information on trajectory in an accessible way, this book provides a distinctive, critical social science account of management in large UK and US corporations, and it is a valuable resource for students, scholars and researchers of business, management, political economy and non-mainstream economics. short listed for the 2007 IPEG Book Prize
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Narrative
Human beings have constantly told stories, presented events and placed the world into narrative form.This activity suggests a very basic way of looking at the world, yet, this book argues, even the most seemingly simple of stories is embedded in a complex network of relations.Paul Cobley traces these relations, considering the ways in which humans have employed narrative over the centuries to ‘re-present’ time, space and identity. This second, revised and fully updated edition of the successful guidebook to narrative covers a range of narrative forms and their historical development from early oral and literate forms through to contemporary digital media, encompassing Hellenic and Hebraic foundations, the rise of the novel, realist representations, narratives of imperialism, modernism, cinema, postmodernism and new technologies.A final chapter reviews the way that narrative theory in the last decade has re-orientated definitions of narrative. Written in a clear, engaging style and featuring an extensive glossary of terms, this is the essential introduction to the history and theory of narrative.
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Narrative Ontology
This book is a critical inquiry into three ideas that have been at the heart of philosophical reflection since time immemorial: freedom, God and immortality.Their inherent connection has disappeared from our thought.We barely pay attention to the latter two ideas, and the notion of freedom is used so loosely today that it has become vacuous.Axel Hutter’s book seeks to remind philosophy of its distinct task: only in understanding itself as human self-knowledge that articulates itself in these three ideas will philosophy do justice to its own concept. In developing this line of argument, Hutter finds an ally in Thomas Mann, whose novel Joseph and His Brothers has more to say about freedom, God and immortality than most contemporary philosophy does.Through his reading of Mann’s novel, Hutter explores these three ideas in a distinctive way.He brings out the intimate connection between philosophical self-knowledge and narrative form: Mann’s novel gives expression to the depth of human self-understanding and, thus, demands a genuinely philosophical interpretation.In turn, philosophical concepts are freed from abstractness by resonating with the novel’s motifs and its rich language. Narrative Ontology is both a highly original work of philosophy and a vigorous defence of humanism.It brings together philosophy and literature in a creative way, it will be of great interest to students and scholars in philosophy, literature and the humanities in general.
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Narrative Sociology
Narrative Sociology defines classics, identifies exemplars of narrative analysis, and delineates a field in the making.
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What is meant by the term narrative strategy?
Narrative strategy refers to the deliberate choices made by a writer or storyteller to shape the structure, style, and content of a narrative. This can include decisions about point of view, pacing, character development, and the use of literary devices such as foreshadowing or flashback. Narrative strategy is used to engage the audience, convey themes or messages, and create a specific emotional impact. It is a crucial element in crafting a compelling and effective story.
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What is the difference between narrative form and narrative perspective?
Narrative form refers to the structure and style in which a story is presented, including elements such as plot, setting, and character development. Narrative perspective, on the other hand, refers to the point of view from which the story is told. This can include first person, second person, or third person perspectives, and can also involve the use of unreliable or omniscient narrators. In essence, narrative form encompasses the overall structure and organization of the story, while narrative perspective focuses on the specific viewpoint from which the story is being told.
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What are narrative threads?
Narrative threads are the different storylines or plot elements that run through a piece of writing or a work of art. These threads help to weave together the overall narrative and create a cohesive and engaging story for the audience. By following these threads, readers or viewers can track the development of characters, conflicts, and themes throughout the work. Narrative threads can intersect, diverge, or come together to create a complex and multi-layered storytelling experience.
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How can one recognize whether the narrative strategy is personal, authorial, or neutral?
One can recognize the narrative strategy by examining the perspective from which the story is being told. In a personal narrative, the narrator is usually a character in the story and uses first-person pronouns like "I" or "we." An authorial narrative is when the narrator is not a character in the story but still has a distinct voice and perspective. A neutral narrative is when the narrator is objective and does not express personal opinions or emotions. By analyzing the narrator's presence, point of view, and tone, one can determine whether the narrative strategy is personal, authorial, or neutral.
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Mother’s Milk and Male Fantasy in Nineteenth-Century French Narrative
Should all mothers breast-feed their children? This question remains controversial in the twenty-first century.In an interview with the newspaper Liberation in 2010, feminist philosopher Elisabeth Badinter claimed that the pressure to breast-feed signified “a reduction of woman to the status of an animal species, as though we were all female chimpanzees.”The debate over maternal nursing held even more urgency before pasteurization provided a safe alternative in the early 1900s.While scholars of literary criticism and art history have described the abundance of breast-feeding imagery following the publication of Rousseau’s Emile in 1762, little has been written on its manifestations in the nineteenth century.Despite an ongoing propaganda campaign to encourage mothers to nurse, reflected in such diverse sources as medical theses, paintings, and fictional cautionary tales, French mothers continued to entrust their infants to wet nurses more often and for longer than was the norm in other European countries throughout the nineteenth century and well into the twentieth. This book examines representations of breast-feeding in French literature and culture from 1800 to 1900 and their apparent dissonance with the socio-historical realities of French mothers.
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Traversing the Fantasy : The Dialectic of Desire/Fantasy and the Ethics of Narrative Cinema
Traversing the Fantasy: The Dialectic of Desire/Fantasy proposes a new and comprehensive model of spectatorship at the heart of which it draws an analogy between the ethics of Lacanian psychoanalysis and the ethics of narrative film.It demonstrates how spectators engage with narrative film, undergoing unconscious processes that generate a shift in the adherence to fantasies that impede assuming responsibility for one's fate and well being.The authors discuss the affinities that the ontology and aesthetics of narrative film share with subjective, unconscious processes, offering new insights into the popular appeal of narrative film, through three film corpora, analyzed at length: body-character-breach films; dreaming-character films; and gender-crossing films.With a range of case studies from the old (Rebecca, Vertigo, Some Like it Hot) to the new (Being John Malkovich, A Fantastic Woman), Sandra Meiri and Odeya Kohen Raz build on psychoanalytic ideas about the cinema and take them in a completely new direction that promises to be the basis for further developments in the field.
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Introducing Narrative Psychology
* What is narrative psychology?* How is the experience of 'self' linked to language, narratives and other people?* What is the role of time, morality, power and control in the construction of identity?This introductory textbook presents a coherent overview of the theory, methodology and potential application of narrative psychological approaches.It compares narrative psychology with other social constructionist approaches and argues that the experience of self only takes on meaning through specific linguistic, historical and social structures.The author shows how the choice of one narrative over another - for example arising out of dominant narrative structures of power and control - can have serious social and psychological implications for the construction of images of self, responsibility, blame and morality.Theoretical approaches are introduced and an overview of methods is provided, encouraging individuals to apply these theories to their own autobiographies.Such theories are further illustrated with case-study material drawing on physical illness (HIV infection) and childhood sexual abuse.Each of these issues is examined in a way which demonstrates how different contemporary narratives and discourses are used to construct meaning and a sense of coherent identity in the face of traumatic events which break down temporal coherence and order.Taken as a whole, this book represents essential reading for students and researchers interested in narrative psychology.
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Narrative in Performance
A far-reaching and engaging overview of the role of narrative in dance and theatre performance, bringing together chapters written by an international range of scholars and subsequently creating a critical dialogue for approaching this fundamental topic within performance studies.Drawing on historical and contemporary examples of a variety of different performance genres, the book will provide a method for exploring the context of a particular form or artist and enhance students’ ability to critically reflect on performance.
Price: 28.99 £ | Shipping*: 0.00 £
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How can one recognize whether the narrative strategy is personal, omniscient, or neutral?
One can recognize the narrative strategy by paying attention to the perspective from which the story is being told. In a personal narrative, the narrator is a character in the story and uses first-person pronouns like "I" or "we." An omniscient narrative provides insight into the thoughts and feelings of multiple characters and is often told from a third-person perspective. A neutral narrative maintains a detached viewpoint, presenting the story without delving into the characters' inner thoughts or emotions. By analyzing the narrative voice and perspective, one can determine whether the narrative strategy is personal, omniscient, or neutral.
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What is the difference between a frame narrative and an embedded narrative?
A frame narrative is a story within a story where an overarching narrative serves as a frame for one or more smaller stories. The frame narrative provides context and structure for the embedded narratives. On the other hand, an embedded narrative is a smaller story that is contained within a larger narrative. It is usually used to provide additional depth or background information to the main story.
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What is the narrative style and narrative perspective in "Holes" by Louis Sachar?
The narrative style in "Holes" by Louis Sachar is straightforward and engaging, with a focus on the present events and the characters' experiences. The story is told in a linear fashion, with a clear cause-and-effect structure that keeps the reader engaged. The narrative perspective is third person omniscient, allowing the reader to gain insight into the thoughts and feelings of multiple characters, which adds depth to the storytelling. This perspective also allows the reader to see how the different characters' stories intertwine and impact each other.
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What narrative perspective is this?
This is a first-person narrative perspective, as the narrator is telling the story from their own point of view using "I" and "me." This allows the reader to experience the events and emotions of the story through the narrator's personal lens, providing a more intimate and subjective understanding of the events.
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