Learned by Reading
In the ICWSM 2009 Weblog Corpus:
Of course the first forty minutes do lead into the rest of the movie, but it seems odd, the narrative is chronologically linear but just does not fit into the conventional model of a movie screenplay.
(Parse)
(S1 (S (PP (IN Of)
(NP (NN course)))
(NP (DT the) (JJ first) (CD forty) (NNS minutes))
(VP (AUX do)
(VP (VB lead)
(PP (IN into)
(NP (NP (DT the) (NN rest))
(PP (IN of)
(NP (DT the) (NN movie))))
(, ,) (CC but)
(S (NP (PRP it))
(VP (VBZ seems)
(ADJP (JJ odd))))
(, ,)
(S (NP (DT the) (NN narrative))
(VP (AUX is)
(ADJP (RB chronologically) (JJ linear))))
(CC but)
(S (ADVP (RB just))
(VP (AUX does) (RB not)
(VP (VB fit)
(PP (IN into)
(NP (NP (DT the) (JJ conventional) (NN model))
(PP (IN of)
(NP (DT a) (NN movie) (NN screenplay)))))
(. .)))
In Wikipedia:
“Typical of Arriaga’s works, this film is told in a non – linear narrative, where events are revealed out of sequence.
(Parse)
(S1 (S ('' '')
(S (ADJP (JJ Typical)
(PP (IN of)
(NP (NP (NNP Arriaga) (POS 's)) (NNS works)))))
(, ,)
(NP (DT this) (NN film))
(VP (AUX is)
(VP (VBN told)
(PP (IN in)
(NP (NP (DT a) (NN non)) (: -)
(NP (JJ linear) (NN narrative)) (, ,)
(SBAR (WHADVP (WRB where))
(S (NP (NNS events))
(VP (AUX are)
(VP (VBN revealed)
(PP (IN out)
(PP (IN of)
(NP (NN sequence)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Last year’s institute brought teams of brilliant and enthusiastic documentarians together with a squad of knowledgeable mentors under the nurturing guidance of BAVC’s staff to explore the intersections of linear narrative and designed interactivity – I expect this year to be just as productive and energizing.
(Parse)
(S1 (S (S (NP (NP (JJ Last) (NN year) (POS 's)) (NN institute))
(VP (VBD brought)
(NP (NP (NNS teams))
(PP (IN of)
(NP (ADJP (JJ brilliant) (CC and) (JJ enthusiastic)) (NNS documentarians))))
(PRT (RP together))
(PP (IN with)
(NP (NP (DT a) (NN squad))
(PP (IN of)
(NP (JJ knowledgeable) (NNS mentors)))))
(PP (IN under)
(NP (NP (DT the) (JJ nurturing) (NN guidance))
(PP (IN of)
(NP (NP (NNP BAVC) (POS 's)) (NN staff)
(S (VP (TO to)
(VP (VB explore)
(NP (NP (DT the) (NNS intersections))
(PP (IN of)
(NP (NP (JJ linear) (NN narrative)) (CC and)
(NP (VBN designed) (NN interactivity)))))
(: --)
(S (NP (PRP I))
(VP (VBP expect)
(S (NP (DT this) (NN year))
(VP (TO to)
(VP (AUX be)
(ADJP (ADVP (RB just) (RB as)) (JJ productive) (CC and) (JJ energizing))))
(. .)))
In Wikipedia:
Klapisch makes use of digital and split – screen effects in the film, as well as non – linear narrative.
(Parse)
(S1 (S (NP (NNP Klapisch))
(VP (VBZ makes)
(NP (NP (NP (NN use))
(PP (IN of)
(NP (NN digital) (CC and) (NN split))))
(: -)
(NP (NP (NN screen) (NNS effects))
(PP (IN in)
(NP (NP (DT the) (NN film)) (, ,) (CONJP (RB as) (RB well) (IN as))
(NP (NN non)))))
(: -)
(NP (JJ linear) (NN narrative))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
And executive editor Jim Brady adds: “This section is a source for readers to find the best of the Web’s political stories all in one place.” 4 – Hypermedia News Unlike the linear narrative of a print news story, a Web article can be read in different ways by different people thanks to the presence of links.
(Parse)
(S1 (S (CC And)
(S (NP (NN executive) (NN editor) (NNP Jim) (NNP Brady))
(VP (VBZ adds)))
(: :) ('' ') ('' ')
(S (NP (DT This) (NN section))
(VP (AUX is)
(NP (DT a) (NN source)
(SBAR (IN for)
(S (NP (NNS readers))
(VP (TO to)
(VP (VB find)
(NP (NP (DT the) (JJS best))
(PP (IN of)
(NP (NP (NP (DT the) (NNP Web) (POS 's)) (JJ political) (NNS stories))
(PP (DT all) (IN in)
(NP (CD one) (NN place)))))
(. .) ('' ')))
(: ')
(S (NP (CD 4) (: -) (NN Hypermedia) (NN News))
(PP (IN Unlike)
(NP (NP (DT the) (JJ linear) (NN narrative))
(PP (IN of)
(NP (NP (DT a) (NN print) (NN news) (NN story)) (, ,)
(NP (DT a) (NNP Web) (NN article)))
(VP (MD can)
(VP (AUX be)
(VP (VBN read)
(PP (IN in)
(NP (JJ different) (NNS ways)))
(PP (IN by)
(NP (JJ different) (NNS people)))
(NP (NP (NNS thanks))
(PP (TO to)
(NP (NP (DT the) (NN presence))
(PP (IN of)
(NP (NNS links))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
The narrative is linear, but time, both in the story and the setting itself is fluid and somewhat fractal and chaotic in turns.
(Parse)
(S1 (S (S (NP (DT The) (NN narrative))
(VP (AUX is)
(ADJP (JJ linear))))
(, ,) (CC but)
(S (NP (NP (NN time)) (, ,)
(NP (NP (DT both))
(PP (IN in)
(NP (DT the) (NN story))))
(CC and)
(NP (NP (DT the) (NN setting))
(NP (PRP itself))))
(VP (AUX is)
(ADJP (ADJP (JJ fluid)) (CC and)
(ADJP (RB somewhat) (JJ fractal) (CC and) (JJ chaotic)))
(PP (IN in)
(NP (NNS turns)))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
The general assumption was that the content is guided by principles of linear narrative, or in other words that it should be read from the beginning to the end and from top to bottom.
(Parse)
(S1 (S (NP (DT The) (JJ general) (NN assumption))
(VP (AUX was)
(SBAR (IN that)
(S (NP (DT the) (NN content))
(VP (AUX is)
(VP (VBN guided)
(PP (PP (IN by)
(NP (NP (NNS principles))
(PP (IN of)
(NP (JJ linear) (NN narrative)))))
(, ,) (CC or)
(PP (IN in)
(NP (JJ other) (NNS words))))
(SBAR (IN that)
(S (NP (PRP it))
(VP (MD should)
(VP (AUX be)
(VP (VBN read)
(PP (PP (IN from)
(NP (DT the) (NN beginning)))
(PP (TO to)
(NP (DT the) (NN end)))
(CC and)
(PP (IN from)
(ADJP (JJ top) (TO to) (JJ bottom)))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Even his apparently formless literary architecture was religiously motivated: “Miller detested linear narrative, and sought, like Proust and Joyce, to replace linear with spiral.
(Parse)
(S1 (S (FRAG (S (NP (RB Even) (PRP$ his)
(ADJP (RB apparently) (JJ formless)) (JJ literary) (NN architecture))
(VP (AUX was)
(ADJP (RB religiously) (JJ motivated))))
(: :) ('' ')) ('' ')
(NP (NNP Miller))
(VP (VP (VBD detested)
(NP (JJ linear) (NN narrative)))
(, ,) (CC and)
(VP (VBD sought) (PRN (, ,)
(PP (IN like)
(NP (NNP Proust) (CC and) (NNP Joyce)))
(, ,))
(S (VP (TO to)
(VP (VB replace)
(ADJP (JJ linear))
(PP (IN with)
(NP (NN spiral)))))
(. .)))
In Wikipedia:
Several spoken or sound – effect segues were placed between the album tracks to create a linear narrative.
(Parse)
(S1 (S (NP (JJ Several)
(ADJP (VBN spoken) (CC or) (JJ sound) (: -)) (NN effect) (NNS segues))
(VP (AUX were)
(VP (VBN placed)
(PP (IN between)
(NP (DT the) (NN album) (NNS tracks)))
(S (VP (TO to)
(VP (VB create)
(NP (DT a) (JJ linear) (NN narrative))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Francis Ford Coppola’s The Godfather and The Godfather Part II, for all of their sterling reputations as movies, have had a rough and uneasy life on the home screen – at one point re – edited by Coppola so that their narrative was linear, the movies have never wholly satisfied home viewers, especially given their theatrical reputations.
(Parse)
(S1 (S (S (S (NP (NNP Francis) (NNP Ford) (NNP Coppola))
(VP (AUX 's)
(NP (DT The) (NNP Godfather) (CC and) (NNP The) (NNP Godfather) (NNP Part) (NNP II))))
(, ,)
(PP (IN for)
(NP (NP (DT all))
(PP (IN of)
(NP (NP (PRP$ their) (NN sterling) (NNS reputations))
(PP (IN as)
(NP (NNS movies))))
(, ,)
(VP (AUX have)
(VP (AUX had)
(NP (DT a)
(ADJP (JJ rough) (CC and) (JJ uneasy)) (NN life))
(PP (IN on)
(NP (NP (DT the) (NN home) (NN screen)) (PRN (: --)
(PP (IN at)
(NP (NP (CD one) (NN point))
(NP (NNP re))))
(: -))
(VP (VBN edited)
(PP (IN by)
(NP (NNP Coppola)))
(SBAR (RB so) (IN that)
(S (NP (PRP$ their) (NN narrative))
(VP (AUX was)
(ADJP (JJ linear)))))
(, ,)
(NP (DT the) (NNS movies))
(VP (AUX have) (ADVP (RB never) (RB wholly))
(VP (VBN satisfied)
(NP (NN home) (NNS viewers)) (, ,)
(S (ADVP (RB especially))
(VP (VBN given)
(NP (PRP$ their) (JJ theatrical) (NNS reputations)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Keys to RPGing with 4 – 7 year – olds & bull; The story – Focus on a clear linear narrative & bull; The characters – Great to have miniatures, or pictures of characters & bull; The Rules – Keep them simple, don’t worry about them too much.
(Parse)
(S1 (S (S (NP (NP (NP (NNS Keys))
(PP (TO to)
(S (VP (VP (VBG RPGing)
(PP (IN with)
(NP (NP (CD 4)) (: --)
(NP (CD 7) (NN year)) (: -)
(NP (NNS olds) (CC &) (NN bull)) (: ;)
(NP (DT The) (NN story)) (: -)
(NP (NP (NN Focus))
(PP (IN on)
(NP (DT a) (JJ clear) (JJ linear) (NN narrative) (CC &) (NN bull))))
(: ;)
(NP (DT The) (NNS characters)) (: --)))
(S (NP (NNP Great))
(VP (TO to)
(VP (AUX have)
(NP (NNS miniatures)))
(, ,) (CC or)
(NP (NNS pictures))
(PP (IN of)
(NP (NNS characters) (CC &) (NN bull))))
(: ;)
(NP (DT The) (NNPS Rules)) (: --))
(VP (VB Keep)
(NP (NP (PRP them))
(ADJP (JJ simple)))))
(, ,)
(VP (AUX do) (RB n't)
(VP (VB worry)
(PP (IN about)
(NP (PRP them)))
(ADVP (RB too) (RB much))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
But it may not appeal for someone looking for a linear, straightforward narrative.
(Parse)
(S1 (S (CC But)
(NP (PRP it))
(VP (MD may) (RB not)
(VP (VB appeal)
(PP (IN for)
(NP (NP (NN someone))
(VP (VBG looking)
(PP (IN for)
(NP (DT a) (JJ linear) (, ,) (JJ straightforward) (NN narrative)))))
(. .)))
In Wikipedia:
Although the narrative is linear, footage from various periods in Auders life will be used throughout the film.
(Parse)
(S1 (S (SBAR (IN Although)
(S (NP (DT the) (NN narrative))
(VP (AUX is)
(ADJP (JJ linear)))))
(, ,)
(NP (NP (NN footage))
(PP (IN from)
(NP (NP (JJ various) (NNS periods))
(PP (IN in)
(NP (NNP Auders) (NN life)))
(VP (MD will)
(VP (AUX be)
(VP (VBN used)
(PP (IN throughout)
(NP (DT the) (NN film)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
It’s kind of good to not think about the info streams as if they were linear, let alone might constitute any kind of linear narrative.
(Parse)
(S1 (S (NP (PRP It))
(VP (AUX 's) (ADVP (NN kind) (IN of))
(ADJP (JJ good))
(S (VP (TO to) (RB not)
(VP (VB think)
(PP (IN about)
(NP (DT the) (NNS info) (NNS streams)))
(SBAR (IN as)
(S (S (SBAR (IN if)
(S (NP (PRP they))
(VP (AUX were)
(ADJP (JJ linear)))))
(, ,)
(VP (VB let) (ADVP (RB alone))))
(VP (MD might)
(VP (VB constitute)
(NP (NP (DT any) (NN kind))
(PP (IN of)
(NP (JJ linear) (NN narrative)))
(. .)))
In Wikipedia:
The narrative is mostly linear; the story describes events in sequence from a beginning point in time, the year 1963 when the characters are introduced, to the end of the story some 20 years later.
(Parse)
(S1 (S (S (NP (DT The) (NN narrative))
(VP (AUX is)
(ADJP (RB mostly) (JJ linear))))
(: ;)
(S (NP (DT the) (NN story))
(VP (VBZ describes)
(NP (NP (NNS events))
(PP (IN in)
(NP (NN sequence))))
(PP (PP (IN from)
(NP (NP (NP (DT a) (NN beginning) (NN point))
(PP (IN in)
(NP (NN time))))
(, ,)
(NP (NP (NP (DT the) (NN year))
(NP (CD 1963)))
(SBAR (WHADVP (WRB when))
(S (NP (DT the) (NNS characters))
(VP (AUX are)
(VP (VBN introduced)))
(, ,)))
(PP (TO to)
(NP (NP (DT the) (NN end))
(PP (IN of)
(NP (NP (DT the) (NN story)) (ADVP (NP (QP (DT some) (CD 20)) (NNS years)) (RBR later)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Suffice to say that after more than 100 strips, I needed to start really digging deep into the concept of an MMORPG world as viewed from a linear narrative, so this forward jump in time allows me to try a couple of new tricks (including the epistolary narration) and explore some really funky computer game themes.
(Parse)
(S1 (S (VP (VB Suffice)
(S (VP (TO to)
(VP (VB say)
(SBAR (IN that)
(S (PP (IN after)
(NP (QP (JJR more) (IN than) (CD 100)) (NNS strips)))
(, ,)
(NP (PRP I))
(VP (VBD needed)
(S (VP (TO to)
(VP (VB start)
(ADJP (RB really) (NN digging) (JJ deep))
(PP (IN into)
(NP (NP (DT the) (NN concept))
(PP (IN of)
(NP (DT an) (NNP MMORPG) (NN world)))))
(SBAR (IN as)
(S (S (VP (VBN viewed)
(PP (IN from)
(NP (DT a) (JJ linear) (NN narrative)))))
(, ,) (RB so)
(NP (NP (DT this) (JJ forward) (NN jump))
(PP (IN in)
(NP (NN time))))
(VP (VBZ allows)
(S (NP (PRP me))
(VP (TO to)
(VP (VP (VB try)
(NP (DT a) (NN couple))
(PP (IN of)
(NP (NP (JJ new) (NNS tricks)) (PRN (-LRB- -LRB-)
(PP (VBG including)
(NP (DT the) (JJ epistolary) (NN narration)))
(-RRB- -RRB-)))))
(CC and)
(VP (VB explore)
(NP (DT some)
(ADJP (RB really) (JJ funky)) (NN computer) (NN game) (NNS themes))))
(. .)))
In Wikipedia:
The first four novels form a coherent, more or less linear narrative, from with the initial migration of Siberian peoples into what is now Canada and Alaska (People of the Wolf) through the florescence of the Mississippian semi – urban mound – building culture, considered the “high – water mark” of North American pre – Columbian civilization, around 1000 AD.
(Parse)
(S1 (S (NP (DT The) (JJ first) (CD four) (NNS novels))
(VP (VBP form)
(NP (DT a) (JJ coherent) (, ,)
(ADJP (JJR more) (CC or) (JJR less)) (JJ linear) (NN narrative)) (, ,)
(PP (IN from)
(PP (IN with)
(NP (NP (NP (DT the) (JJ initial) (NN migration))
(PP (IN of)
(NP (NP (NNP Siberian) (NNS peoples))
(PP (IN into)
(SBAR (WHNP (WP what))
(S (VP (AUX is) (ADVP (RB now))
(NP (NP (NNP Canada) (CC and) (NNP Alaska)) (PRN (-LRB- -LRB-)
(NP (NP (NNPS People))
(PP (IN of)
(NP (DT the) (NNP Wolf))))
(-RRB- -RRB-))
(PP (IN through)
(NP (NP (NP (DT the) (NN florescence))
(PP (IN of)
(NP (DT the) (NNP Mississippian) (NN semi))))
(: -)
(NP (JJ urban) (NN mound)) (: -)
(NP (NN building) (NN culture))))
(, ,)
(VP (VBN considered)
(NP (DT the)))))
('' '')
(ADJP (JJ high)))))
(: -)
(NP (NP (NN water) (NN mark)) ('' '')
(PP (IN of)
(NP (NNP North) (NNP American) (NN pre))))
(: -)
(NP (NNP Columbian) (NN civilization)))))
(, ,)
(PP (IN around)
(NP (CD 1000) (NN AD))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
While many of the songs are presented in a traditional 12 – bar blues format, the lyrics find Dylan finally abandoning conventional linear narrative in favor of poetic abstraction, surreal imagery, and biting sarcasm. # 9 PURPLE RAIN, by Prince.
(Parse)
(S1 (FRAG (SBAR (IN While)
(S (S (NP (NP (JJ many))
(PP (IN of)
(NP (DT the) (NNS songs))))
(VP (AUX are)
(VP (VBN presented)
(PP (IN in)
(NP (NP (DT a) (JJ traditional) (CD 12)) (: -)
(NP (NN bar) (NNS blues) (NN format))))
(, ,)
(NP (DT the) (NNS lyrics))
(VP (VBP find)
(S (NP (NNP Dylan)) (ADVP (RB finally))
(VP (VBG abandoning)
(NP (JJ conventional) (JJ linear) (NN narrative))
(PP (IN in)
(NP (NP (NN favor))
(PP (IN of)
(NP (NP (JJ poetic) (NN abstraction)) (, ,)
(NP (JJ surreal) (NN imagery)) (, ,) (CC and)
(NP (VBG biting) (NN sarcasm)))))
(. .)
(NP (ADJP (# #) (CD 9)) (JJ PURPLE) (NN RAIN)) (, ,)
(PP (IN by)
(NP (NNP Prince)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
What is the critical purchase of the timeline in “Babel’ ’ when we contrast it with Steinbeck’s linear narrative of secular creation? babel – michael – wood – lrb
(Parse)
(S1 (SBAR (WHNP (WP What))
(S (VP (AUX is)
(NP (NP (DT the) (JJ critical) (NN purchase))
(PP (IN of)
(NP (NP (DT the) (NN timeline))
(PP (IN in)
(NP (NP ('' ') (: ')
(NP (NP (NNP Babel) (POS ')) ('' ')
(SBAR (WHADVP (WRB when))
(S (NP (PRP we))
(VP (VB contrast)
(NP (PRP it))
(PP (IN with)
(NP (NP (NP (NNP Steinbeck) (POS 's)) (JJ linear) (NN narrative))
(PP (IN of)
(NP (JJ secular) (NN creation))))
(. ?) (NN babel)))
(: -)
(NP (NNP michael)) (: -)
(NP (NN wood)) (: -)) (NN lrb))))))))))
And 162 more sentences.