Resolution narrative

This narrative echoes the themes addressed in our recent review on the properties of uncommon solvent anions. We do not pretend to be comprehensive or inclusive, as the literature on electron solvation is vast and rapidly expanding. This increase is cnrrently driven by ultrafast laser spectroscopy studies of electron injection and relaxation dynamics (see Chap. 2), and by gas phase studies of anion clusters by photoelectron and IR spectroscopy. Despite the great importance of the solvated/ hydrated electron for radiation chemistry (as this species is a common reducing agent in radiolysis of liquids and solids), pulse radiolysis studies of solvated electrons are becoming less frequent perhaps due to the insufficient time resolution of the method (picoseconds) as compared to state-of-the-art laser studies (time resolution to 5 fs ). The welcome exceptions are the recent spectroscopic and kinetic studies of hydrated electrons in supercriticaF and supercooled water. As the theoretical models for high-temperature hydrated electrons and the reaction mechanisms for these species are still rmder debate, we will exclude such extreme conditions from this review. 

Jokes or anecdotes can readily be the source of a short film, since they have a character, a narrative, and a climax. The writer need only add another character or two and provide a resolution, so that the audience will not be left in... 

Main character and goal Antagonist Catalytic event Resolution Dramatic arc Narrative style Narrative shape Tone... 

The key to experimental narrative is the desire to avoid conventional narrative. Conventional narrative is essentially a character-driven or plot-driven story with a beginning, middle, and end. In conventional narrative, the main character may or may not achieve his or her goal, but the drive to achieve the goal carries us through the story to a resolution. A nonlinear story may eschew a single main character, or a plot, or a resolution, or all of the above. In the experimental narrative, the energy of the story comes from the style the writer-director chooses to use to compensate the audience for the loss of linear direction through the story. Many experimental narratives have no plot some have no defined character. Consequently, the conventional dramatic tools—conflict, polarities—are less at play. In experimental narrative, form or style is as important as, and often more important than, content. Thus, a nonlinear form is more able to capture the essence of experimental narrative than is the usual set of dramatic tools deployed in more conventional or linear narrative. 

Unconventional stories are the first source for experimental narrative. Generally, the stories tend to be exploratory—stories of identity, stories of alienation, meditations on a time or place. Vincent Ward s film The Navigator looks at a medieval period Clara Law s Autumn Moon looks at Hong Kong— a place where change and tradition meet and, in the 1990s, conflict. Because experimental narrative sidesteps plot, stories of character dominate. Because the genre favors open-ended or nonlinear stories, the preference is for tone, to make up for the absence of resolution. 

Narrative In an analytical report, a descriptive documentation of any problems encountered in processing the samples, along with corrective action taken and problem resolution. 

A story is the narrative, or telling, of an event or series of events, crafted in a way to interest the audience members, whether they are readers, listeners, or viewers. At its most basic, a story has a beginning, middle, and end. It has compelling characters (or questions), rising tension, and conflict that reaches some sort of resolution. It engages the audience on an emotional and intellectual level, motivating viewers to want to know what happens next. 

Three-act dramatic structure is a staple of the Hollywood system, but as noted elsewhere, it was first articulated by Aristotle. It describes the basic way that many humans tell and anticipate stories a setup, complications, resolution. "I think that s just the way we as humans are neurologically and culturally structured," says writer Susan Kim (see Chapter 21), noting, for example, that the mind constructs narratives even as we sleep. "I think there is something inherent in the dramatic form that s really powerful. And I think that s why, as storytellers, as people who want to make documentary or write plays, it behooves us to understand the potential of that structure."... 

The story of St Helena is a narrative which to the early modem mind was always shadowed by lewder and more disgraceftil versions of itself, and just as Love s Labour s Lost trembles on the edge of a resolution to which it will not ultimately coimnit, so too this other play in which Shakespeare imaginatively visits the South of France also reveals its own opposite lying dark and implicit... 

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