Aphasia is a linguistic impairment which affects communication and may have an impact on a person?s narrative ability. The purpose of the present study was to analyse the narrative ability in aphasia by narrative interviews with people with aphasia and their partners. The interviews were scrutinised for strategies used in joint Narration involving couples where one of the spouses has aphasia. The definition of strategies was methods to cope with communicative difficulties often due to aphasia.

The purpose of this essay has been to do a study on Narration as a strategy in history education. By taking a starting point in the perspective that Shulman calls ?wisdom of practice? and other studies I interviewed three teachers that were all experts in Narration. This to have an insight in how they looked at the oral Narration and on its role in history education. Is there a common view among the interviewed techers and to what extent are the traits and qualities of story telling described in litterature linked to the teachers? answers?My results show that the oral Narration is not a straight and exclusive teaching strategy; it differs from teacher to teacher.

The intention with this essay is to investigate how the Narration of the South Korean film Sympathy for Mr. Vengeance (Park Chan-wook, 2002) relates to the Hollywood pictures of today. An important change which David Bordwell pays attention to is an intensifying of former stylistic paradigms in what he denominates as intensified continuity. That said, Bordwell and Kristin Thompson are in agreement on that the new films still are predominantly classical. The neoformalistic standpoint which Thompson and Bordwell use appears however to contain some problematic implications.

This essay investigates how the author Oline Stig creates identities for her main characters in three short stories; Midsommar, Polly Maggoo and Den längsta dagen from the collection Den andra himlen (2007).My investigation is based on concepts chosen from psychology and narratology: First, Jonas Stier?s definition of human identity. In his definition he focuses on a person?s social context. He also considers identity formation as an ongoing, ever- changing process.

This essay concerns the fantastic and its position in Narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a Narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay investigates how the author Oline Stig creates identities for her main characters in three short stories; Midsommar, Polly Maggoo and Den längsta dagen from the collection Den andra himlen (2007).My investigation is based on concepts chosen from psychology and narratology: First, Jonas Stier?s definition of human identity. In his definition he focuses on a person?s social context. He also considers identity formation as an ongoing, ever- changing process.

The objective of this study was to investigate how power relationships between journalists and politicians were shown in the fictional BBC tv-series ?The Hour?. We wanted to investigate how these power structures is narrated by the producers of the series and what impact the Narration could have to the audiance of the 21th century.We choose to analyse a total of 12 scenes from all of the six episodes, which are all set in Britain during the beginning of the Suez Canal crisis in the 1950?s, all seen from a BBC editorial point of view.In our analysis we chose to use two different kind of methods, the first one was a situation analysis and the second one a text analysis. The situation method was useful to get a perception of the relations between the participants .The text analysis we used to analyse what was said in the tv-series and to interpret underlying motives.The fictional form necessitated a personalization of power structures, in the sense that each and every power was represented by a single character; political power was for instance represented by the character of Angus McCain.

This essay concerns the fantastic and its position in Narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a Narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

I denna uppsats undersöks katalogtexter producerade eller reproducerade av Moderna Museet i Stockholm om Pablo Picasso och Marcel Duchamp. Texterna undersöks, med utgångspunkt i museets egna påstående att konstnärerna ofta utmålas som varandras motsatser, ur ett narratologiskt perspektiv. Förekomsten av argumenterande passager, performativa yttranden, textagentens positionering samt värdering av konstnärskapen undersöks och en jämförelse görs mellan katalogerna och de två konstnärskapen. Undersökningen syftar till att ge en ingång till en förståelse för hur katalogtexter genom en aktiv Narration skapar en normerande bild av konstnärskap..

This essay concerns the fantastic and its position in Narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a Narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

The paper discusses and analyzes differences and similarities in depictions of violence in the two narrative media of films and games. The work is based on existing theories on representation, remediation, Narration and immersion ? theories which are further developed and discussed by the author. The movies Man on Fire and Kill Bill, as well as the games Ninja Gaiden and Grand Theft Auto are analyzed and used as examples of how depictions of violence in films and games can or should be studied. Also, the possibilities for development of the theories used in the paper are considered.

This essay concerns the fantastic and its position in Narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a Narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay concerns the fantastic and its position in Narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a Narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay concerns the fantastic and its position in Narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a Narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay concerns the fantastic and its position in Narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a Narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.