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Narrative frame

That the violent history of racial slavery is described as a weight bearing down upon the author is indicative. Personal experience, spirit, authenticity, a humanity beyond race operate at the core of existence all are sharply contrasted to the historical externality of race. As is the case across the literature of multiracialism, race is demoted to the level of framing narrative in relation to some more immediate and essential individual story. Depicted as a glancing blow across the deep origins of this intimate connection, racial difference neither defines the relationship nor even substantially [changes] it. ... [Pg.166]

We believe the large scale nature of the labor process in megaengineering projects creates a broader politics of metabolism. It is through this politics that the project itself, by its aesthetic, social and ecological impact, becomes a kind of political subject that needs to frame narratives of belonging. We also believe that a... [Pg.363]

Framing Chemical Risks in Sweden and Poland Journalists Narratives and Media Texts... [Pg.45]

Keywords Chemicals Framing Journalists Narratives News media... [Pg.45]

The purpose of this chapter is to present and discuss results from a study on how chemicals are framed in the contemporary press in Sweden and Poland. These two EU countries in the Baltic Sea Region have different capacities for managing the risks involved in the past and present use of chemicals. We study the content and form of media texts as well as the journalists own narratives about their work. We regard the combination of these empirical materials as an advantage in the study of media framing. [Pg.47]

The journalists own narratives have been an equally important source for better understanding the process of media framing (cf. Larsson 1998). So-called production studies still have a marginal position, as compared to the more dominant traditions of... [Pg.52]

This study on how chemicals are framed in the contemporary press in Sweden and Poland reveals great similarities as well as specific differences in the media texts and journalists narratives. By and large the results indicate that the types of frames that are used by journalists in these two countries have a lot in common, even if the content of the texts and the specific contexts differ substantially. [Pg.65]

Chapter 2 is the first chapter in which individual biographies of women chemists appear. We have endeavoured to place each biography in the most relevant narrative. In some cases, this is in the chapter of the institution from which the woman graduated in others, where she undertook research or became employed in others, in the context of her speciality or time frame. Where possible, we have cross-referenced the biographical accounts to linking locations in other chapters. [Pg.5]

Fables require a powerful moral at their center without it they can seem preachy. If you are going to use the fable to frame your story, consider whether the idea can carry its moral freight. Keeping this requisite in mind may help you freshen up the other narrative properties so that you avoid... [Pg.117]

Narration occurs more frequently in the short film than in the longer dramatic form. The most obvious reason is the best one there is too little time available to the writer to allow the action to develop on its own. Whether to frame the story or to establish the point of view toward the narrative events, writers of short films often will resort to a narrator. [Pg.146]

The narrative is framed by a modern sequence. At the film s opening, the main character dies of a heart attack. The story unfolds as his granddaughter reads his letters. The film closes with his funeral. The granddaughter empties onto his casket a red bandana filled with Spanish earth gathered from the earlier funeral of his Spanish lover, and so he goes to rest with fragments from his past buried with him. [Pg.178]

Here too there is a clue to the nature of experimental narrative. It follows a nonlinear pattern as opposed to a linear time or character-arc frame. The usual elements that shape a story—a goal-directed main character, a plot— and a traditional genre all tend to be subverted in the experimental narrative. We are left with the powerful stylistic elements of the experience. [Pg.206]


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See also in sourсe #XX -- [ Pg.49 ]




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