Focusing on two of Basile's tales, "The Padlock" and "The Golden Trunk," alongside the narrative frame
and several other tales, such as "The Myrtle," "The Three Crowns," and "The Old Woman Who Was Skinned," Maggi traces Basile's use of "some of the best-known moments of the Cupid and Psyche myth," such as the female character's arrival in the palace, her lower social status, her "night visitor" (whose identity remains unknown until she lights a candle), the punishment for her transgression, and their eventual marriage (37).
Also, the narrative frame
is filled in with the particularized images of the People's enemies: harmful actions directed against the People also specify the damaging agents.
"Hypnagogia and the Narrative Frame
: Liminal Spaces in Nathaniel Hawthorne's 'The Haunted Mind' and 'The May-Pole of Merry Mount,"' Cassandra Pfeifer, University of Louisiana-Lafayette
National Post columnist Michael den Tandt was the first to label this narrative frame
as "the hero's journey," writing: "A young warrior appears, often of secretly noble parentage.
Chapter two, entitled "The Margins of Utopia," looks at the introductions, dedications, and other details of the narrative frame
. Chapter three, "Utopian Spaces and Places," then turns to the utopian space, both physical and societal, together with an examination of the boundary crossed to reach it.
Cutrofello maintains that these five themes not only roughly correspond to the five successive stages of the play but also "provide a narrative frame
for a history of the development of modern philosophical conceptions of negation from Descartes to the present."
Caligari (1920), in which the studio allegedly imposed a narrative frame
on the film's tale of power gone mad: The teller of such a tale can himself only be mad, because power, after all, is benevolent.
Vaughan engages constructions of femininity and women's voices in her chapter on The Distaff Gospels, a fifteenth century French text that places women's folklore into male-authored narrative frame
. Though the text intentionally makes fun of women and their knowledge, it also makes space for women's voices and views, and thus decenters the maleness of the narrative.
rightly emphasizes the properly prophetic character of this narrative frame
breaking (metasyntax) and calls needed attention to Luke the (centoist) poet.
This intrinsic side of Watts's "method" is attentive to formal elements, such as textual paradoxes, framing narrative techniques, mirroring effects between the narrative frame
and what it frames, and ironic reversals of perspectives.