Even though Instagram has been the subject of numerous studies, none of them have systematically investigated its potential as a narrative medium. This article argues that Instagram’s narrative ...capabilities are comparable to those of literature and film. To support our claims, we analyze a number of prominent female Instagram creators and demonstrate how they employ the platform’s diverse features, functionalities, and interface to create multi-year biographical narratives. Furthermore, we discuss the applicability of theories developed in literary and film studies in analyzing Instagram’s narrative capabilities. By employing Bakhtin’s influential chronotope concept, we examine in depth how these narratives make specific use of space and time. Additionally, we compare time construction in film and Instagram narratives using the cinema studies’ theory of narrative time in movies.
Abstract
According to Aristotle, the present is an indivisible instant, or now. Aristotle holds that present-tense movement claims are sometimes true, but he argues that nothing ‘kineitai’ (moves/is ...moving) in the now. He characterizes movement as something that is ‘incomplete’ while it is occurring. My paper is an attempt to understand this combination of views. I draw a contrast between Aristotle’s position and an alternative view (defended by certain modern philosophers, but also by Plotinus), on which a present-tense movement claim is made true by the existence of something that is wholly present in the now. And I give some reasons for preferring Aristotle’s position.
In John Tzetze's Carmina Iliaca, an epic that recounts the story of the Trojan War from beginning to end, the narrator occasionally intervenes in the events he narrates--a literary device Genette ...calls 'metalepsis.' Since Genette illustrated metalepsis with examples taken from Sterne's Tristam Shandy and Diderot's Jacques le falalisle, this farcical intrusion of the narrator in the story is usually, but incorrectly, associated with European modernism. Often criticized for his "oversized authorial presence," it does not come as a surprise that Tzetzes has left his mark all over the Carmina Iliaca, not only in the form of a running commentary, but also in various apostrophes, transitional passages in which he tells what he will say next, references to the sources he has used, claims to truthfulness, a tirade against unfaithful spouses, and curious autobiographical asides.
This study aimed at identifying the training needs of the teachers of social studies in the basic stage in the schools of Al-Mazar Al-Janoubi District during the academic year 2018-2019. In order to ...achieve the study objectives, the quasi approach was used. The study population consisted of 109 male and female teachers from which a sample of 44 male and female teachers were selected. The researcher developed a test that consisted of 30 items in order to identify the needs of the teachers of social studies of the basic stage in the domains of (planning and setting objectives, implementation, evaluation), where the emergent targeted topics for training and learning were determined as a training need; the study instrument’s validity and reliability were verified. The results revealed that there are training needs in the domains of planning, implementation, and evaluation. Based on the results, the study recommended the necessity of conducting training courses for the three domains of planning, implementation, and evaluation due to their considerable educational importance for both teachers and students.
Héliodore est connu pour sa technique narrative élaborée. Cet effet est dû à l’ekphrasis, une ressource largement employée par les sophistes et recommandée dans les manuels de rhétorique ...(Progymnasmata). Dans le premier bloc de l’œuvre, Héliodore utilise cette ressource, mais pas au hasard. Il y a une image, littéral ou métaphoriquement se répète : le labyrinthe. Notre intention est de démontrer que les répétitions ont un point commun, en plus d’un fort attrait herméneutique. De plus, les labyrinthes sont introduits dans la partie où le récit est habilement écrit in medias res. C’ést précisément dans ce passage que le lecteur, comme dans un labyrinthe, est sinueusement conduit par plusieurs chemins, jusqu’à ce qu’il atteigne la compréhension de la scène d’ouverture, à l’embouchure du Nil. L’analyse des procédures utilisées par Héliodore permet de conclure que la succession de labyrinthes textuels ou imagethiques place le lecteur dans un jeu, dont il ne pourra sortir qu’à la fin du cinquième livre.
