AbstractNarrative has a big impact on movies, tv-shows, books and art. But does Narrative always matter? This paper is about Narratives and its importance on the webpage called YouTube. Thru our research we wanted to find an answer to the question: if Narrative storytelling is a part of making a video on YouTube successful. We used ten videos from YouTube that was popular in June 2011.

Japanese horror film has since the late 1990: ies been extremely successful. The success could probably, at least partly, be due to the Japanese Narrative style (which in my own opinion is quite suitable and effective in horror films). In what way does the Japanese Narrative tradition work in matter of expression? My results point towards a Narrative discrepancy between J-horror and American horror film, possibly due to the Japanese Narrative tradition ? a Narrative tradition under the influence of various forms of ancient Japanese theatre and general Japanese culture..

Narrative history has a long tradition in history teaching. But during the decades after the second world war, the attitude to storytelling has been seen with doubt and skepticism. There are many indications in Swedish society and media that the Narrative story today stand strong. But is Narrative history useful in everyday teaching? This essay is a study of Narrative history in a Swedish and Scandinavian perspective the latest thirty years.

This study is based on Narratives from two victims of violence. A raped old woman has turned to be the core of this Narrative of Narrative. She is both a narrator and the head person in her Narrative. Her Narrative turned out to be a dialogue between two genres namely her trauma story and her life story. By experience violence has been associated with masculinity and powr, which is discussed in some detail.

This article evaluates the Narrative and it´s didactic role in historiographic textbooks for schools. The primary study is a comparing qualitative analysis of the Narrative in the different textbooks. The result leads to a pedagogical discussion based on Kieran Egans theories about cognitive tools, and how they shape our comprehension. The theoretical background defining and discussing Narrative as a concept is partly based on a semiotic view, part linguistic. The main conclusion of the work is how the Narrative seems to be a product of discourse in the ways the textbooks differ at the most from each other; Broken down, how the role of the writer and the reader and their conception of the world take part I a significant comprehension of the stories told in history textbooks..

The non-linear film - a film telling a story using a reversed or scrambled chronology - has existed since the late 20?s, but just recently gained huge influence and popularity due to films such as Quentin Tarantinos cult-declared Pulp Fiction. In this essay I will analyze this form of Narrative, and more specifically; how it?s used in my example film Memento. In my examination, I have seen the original version of the film, and then a re-cut version where the story is ?turned over? to form a ?normal?, linear Narrative.

The Afghan war post 9/11 has become the source of multiple case studies. Recent studies suggest that variations in domestic support for deployment of troops in Afghanistan can be explained by means of the strategic Narratives provided by the policymakers of the contributing state; a strong consistent Narrative increases public support. Scholars recognize a Swedish catch-all Narrative, which suggests weakens the Narrative, thus raising the uncertainty among the public. This thesis investigates the projection of Swedish strategic Narrative through elite Swedish newspapers. The content analysis reveals an inconsistency between the policymaker?s formation of the strategic Narrative and the Narrative projected by individual newspapers.

This essay is about the use of Narrative in video games, and the discussion surrounding it. For years ludologists (game researchers) and narratologists (narrativity researchers) have been arguing about how to analyze narrativity in games. While ludologists have chosen to see games as a product by itself, and therefore something to be analyzed separately, narratologists instead see games as a Narrative medium alongside film, theater and books. This essay starts by taking a look at the arguments from both sides, and then introduces three questions regarding Narrative in games, and how this phenomenon has changed over the past 13 years. To answer these questions, five case studies are carried out, analyzing games with the help of a new framework built on Narrative theory.

This essay explores the novel Charlie by Margareta Suber (1932) through lesbian Narrative theory. The result is a revealing on how the lesbian main character can be established as a lesbian subject against the male and heterosexual Narrative; how she escapes a simple male positioning in the Narrative, how she subverts categorisation, how she parttakes in female bonding, and how she disturbs heteronormativity..

The subject of this dissertation is the autobiographical novel Arnold by the Swedish writer Emilia Fogelklou (1878-1972). By combining Gérard Genette?s narratology and Andrew Gibson?s Narrative ethics this study seeks to examine through what means the relationship is being told and with what ethical consequences different strategies are used to tell one?s experiences from life. The Narrative analysis focuses on how the narrator is engaged in the Narrative, how the bond between narrator and characters can be described, what is known to whom and how, and what is beyond the Narrative?s limits.

This essay is a Narrative analyze of the computer game Halo. The purpose of the essay is to see what function the Narrative elements have in a computer game of the action genre. The analyze is done with a neo-formalistic approach according to the theory of David Bordwell and Kristin Thompson. The choice of game was based on it's positive reviews mentioning the story. The essay tries to give a picture of research in the field and researchers views on Narratives and computer games.

Detta kandidatarbete undersöker problemet med konvergeringen av narrativ och interaktion och varför en konvergering mellan dessa hämmar deltagarens inlevelse i ett spel. Utifrån spelet Traverser redovisas i detta kandidatarbete processen och resultatet av hur ett interaktivt narrativ kan väcka inlevelse hos deltagaren genom att låta berättandet ske subtilt och icke-linjärt, där spelaren uppmanas till att vilja utforska Narrativet på egen hand i form av en miljö i Traverser. This bachelor?s thesis discusses the problem of converging Narrative and interaction and why the convergence between the two tends to arrest the participants immersion within a game. Through an interactive Narrative by letting the narration take place subtly and nonlinearly, this bachelor?s thesis reports the process and result of how an interactive Narrative could provoke immersion within the game Traverser, where the actor is urged to explore the Narrative independently in the shape of an environment..

In our attempts to understand the world, wildlife films play a significant role. Wildlife films help us to see new places and learn about animals in remote locations, that we otherwise wouldn?t be able to do. Yet wildlife films have throughout history been criticized, mainly for the ambivalent relationship between science and storytelling. While the films give us a scientific impression and say something about the ?reality?, they clearly have the intension to amuse, capture and entertain their audience.

Detta kandidatarbete undersöker problemet med konvergeringen av narrativ och interaktion och varför en konvergering mellan dessa hämmar deltagarens inlevelse i ett spel. Utifrån spelet Traverser redovisas i detta kandidatarbete processen och resultatet av hur ett interaktivt narrativ kan väcka inlevelse hos deltagaren genom att låta berättandet ske subtilt och icke-linjärt, där spelaren uppmanas till att vilja utforska Narrativet på egen hand i form av en miljö i Traverser. This bachelor?s thesis discusses the problem of converging Narrative and interaction and why the convergence between the two tends to arrest the participants immersion within a game. Through an interactive Narrative by letting the narration take place subtly and nonlinearly, this bachelor?s thesis reports the process and result of how an interactive Narrative could provoke immersion within the game Traverser, where the actor is urged to explore the Narrative independently in the shape of an environment.

This thesis concerns the feminist consciousness-raising novel of the 1970s. The aim of the thesis is to examine Narrative strategies which, according to the consciousness-raising practice, are adapted to enlighten the political aspects of the personal. The focus is both on strategies that address the protagonist and on those that address the reader. I also examine in which way the use of these strategies is dependent upon ideas of class and gender.I find that the Narrative situation, in this case the relationship between the protagonist and the narrator, is central to the use of the consciousness-raising Narrative strategies. In Anna-Lisa Bäckmans Fia i folkhemmet och Fia med manifestet, the protagonist Fia is positioned as an oppressed working-class woman, which results in a Narrative situation that gives the protagonist a limited space of action and that gives the narrator the power to interpret the experiences of the protagonist.