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Narrative psychology is not a single or well-defined theory. It refers to a range of approaches to stories in human life and thought. [3] In narrative psychology, a person's life story becomes a form of identity as how they choose to reflect on, integrate and tell the facts and events of their life not only reflects, but also shapes, who they ...
Narrative themes can also depend on the event type. Different event types have varying levels of tension, and researchers posit that tension level is associated with narrative construct scores. For example, a mortality (or life-threatening) event would have a higher tension level than a leisure (i.e. vacation) event.
In contemporary literary studies, a theme is a central topic, subject, or message within a narrative. [1] Themes can be divided into two categories: a work's thematic concept is what readers "think the work is about" and its thematic statement being "what the work says about the subject". [2] Themes are often distinguished from premises.
In literature, psychological fiction (also psychological realism) is a narrative genre that emphasizes interior characterization and motivation to explore the spiritual, emotional, and mental lives of its characters. The mode of narration examines the reasons for the behaviours of the character, which propel the plot and explain the story. [1]
Narrative is a powerful tool in the transfer, or sharing, of knowledge, one that is bound to cognitive issues of memory, constructed memory, and perceived memory. Jerome Bruner discusses this issue in his 1990 book, Acts of Meaning, where he considers the narrative form as a non-neutral rhetorical account that aims at "illocutionary intentions", or the desire to communicate meaning. [10]
If themes are problematic, it is important to rework the theme and during the process, new themes may develop. [1] For example, it is problematic when themes do not appear to 'work' (capture something compelling about the data) or there is a significant amount of overlap between themes. This can result in a weak or unconvincing analysis of the ...
But, fundamental as it is, the richly detailed prime narrative is inconvenient for communication, which requires simpler, more adaptable stories that fit the context. Consequently, the prime narrative must be abridged for communicating with others in the form of simplified story lines, omission of detail, and contextualization.
Narrative rationality and narrative emotion are complementary within a narrative theory. The former considers how effectively the story conveys its meaning, as well as its implications. The latter considers the emotional reactions of the story's observers. [19] Narrative emotion is an emotion felt for the sake of someone, or something, else. [19]