Narrative discourse : an essay in method
TL;DR: Cutler as mentioned in this paper presents a Translator's Preface Preface and Preface for English-to-Arabic Translating Translators (TSPT) with a preface by Jonathan Cutler.
Abstract: Foreword by Jonathan Cutler Translator's Preface PrefaceIntroduction 1. Order 2. Duration 3. Frequency 4. Mood 5. VoiceAfterword Bibliography Index
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Dissertation•
01 Jan 2012
TL;DR: The self in the mirror of the Scriptures as mentioned in this paper explores the issues of identity from a religious perspective, concluding that it can only be understood as polyvalent and that selfhood is intimately tied with encounter with the Other, and the ethical dimension is explored in a mediation between Aristotelian teleological ethics and Kantian deontological morality.
Abstract: In 'Oneself as another' Paul Ricoeur considers the nature of selfhood concluding that it can only be understood as polyvalent. He uses narrative identity to show that because selves both “act and suffer” human identity is intimately tied with encounter with the Other. The ethical dimension is explored in a mediation between Aristotelian teleological ethics and Kantian deontological morality, resulting in phronēsis or practical wisdom. The book ends with a number of aporias, including the problem of identifying the internal voice, heard in the conscience – the voice of attestation. In a related paper, which provided the impetus for this thesis - “The self in the mirror of the Scriptures” - Ricoeur considers the issues of identity from a religious perspective.
The thesis critically reviews the development of Ricoeur’s thought, moving from philosophy through hermeneutics to ethics, and its implications for theology, moving from questions of the will, to biblical hermeneutics and Christian ethics. It questions the concept of narrative identity and is particularly concerned with the place of the incompetent narrator in community. It concludes that we must take seriously Ricoeur’s insistence that biblical faith adds nothing to the consideration of what is good or obligatory, but belongs to an economy of the gift in which love is tied to the naming of God. However, to consider what this might mean in pastoral and ethical terms for those who understand themselves as summoned selves, and seek to find their image in the mirror of scripture, the thesis concludes with extended exercise in biblical hermeneutics, drawing on Ricoeur’s consideration of genre as a poetic mode. The thesis suggests that the comic parables help us to hope for more than we experience in our frailty, while the tragic parables illuminate our incapacity and enable us to forgive others their failure.
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01 Mar 2007-International Journal of Human-computer Studies \/ International Journal of Man-machine Studies
TL;DR: An interactive narrative-driven game architecture, in which a user generates novel narratives from existing content by placing ''domino'' like tiles that act as ''glue'' between scenes and each tile choice dictates certain properties of the next scene to be shown within a game.
Abstract: This paper presents a model, called Scene-Driver, for the re-use of film and television material. We begin by exploring general issues surrounding the ways in which content can be sub-divided into meaningful units for re-use and how criteria might then be applied to the selection and ordering of these units. We also identify and discuss the different means by which a user might interact with the content to create novel and engaging experiences. The Scene-Driver model has been instantiated using content from an animated children's television series called Tiny Planets, which is aimed at children of 5-7-year old. This type of material, being story-based itself, lends itself particularly well to the application of narrative constraints to scene reordering, to provide coherence to the experience of interacting with the content. We propose an interactive narrative-driven game architecture, in which a user generates novel narratives from existing content by placing ''domino'' like tiles. These tiles act as ''glue'' between scenes and each tile choice dictates certain properties of the next scene to be shown within a game. There are three different game-types, based on three different ways in which tiles can be matched to scenes. We introduce algorithms for generating legal tile-sets for each of these three game-types, which can be extended to include narrative constraints. This ensures that all novel orderings adhere to a minimum narrative plan, which has been identified based on analysis of the Tiny Planets series and on narrative theories. We also suggest ways in which basic narratives can be enhanced by the inclusion of directorial techniques and by the use of more complex plot structures. In our evaluation studies with children in the target age-range, our game compared favourably with other games that the children enjoyed playing.
19 citations
Dissertation•
01 Jan 2009TL;DR: In this paper, a humanistic and interpretive framework called the AI hermeneutic network is proposed for building systems that utilize such intentionality as an expressive resource, and the fruits of these insights are illustrated by a stream of consciousness literature inspired interactive narrative project Memory, Reverie Machine.
Abstract: Human interaction with technical artifacts is often mediated by treating them as if they are alive. We exclaim "my car doesn't want to start," or "my computer loves to crash." Of increasing cultural importance are software systems designed explicitly to perform tasks and/or exhibit complex behaviors usually deemed as intentional human phenomena, including creating, improvising, and learning. Compared to the instrumental programs (e.g., Adobe Photoshop), these intentional systems (e.g., George Lewis' musical system Voyager) seem to produce output that is "about" certain things in the world rather than the mere execution of algorithmic rules. This dissertation investigates such phenomena with two central research questions: (1) How is system intentionality formed? and (2) What are the design implications for building systems that utilize such intentionality as an expressive resource.
In the discourse of artificial intelligence (AI) practice, system intentionality is typically seen as a technical and ontological property of a computer program, emerging from its underlying algorithms and knowledge engineering. Distilling from the areas of hermeneutics, actor-network theory, cognitive semantics theory, and philosophy of mind, this dissertation proposes a humanistic and interpretive framework called the AI hermeneutic network. It accentuates that system intentionality is narrated and interpreted by its human creators and users in their socio-cultural settings. Special attention is paid to system authors' discursive strategies, a constitutive component of AI, embedded in their source code and technical literature. The utility of the framework is demonstrated by a close analytical reading of a full-scale AI system, Copycat.
The theoretical discovery leads to new design strategies, namely scale of intentionality and agency play. They provide insights for using system intentionality and agency as expressive resources that can be used to convey meanings and express ideas. The fruits of these insights are illustrated by a stream of consciousness literature inspired interactive narrative project Memory, Reverie Machine, co-developed using Harrell's GRIOT system. It portrays a protagonist whose intentionality and agency vary dynamically in service of narrative needs.
19 citations
Dissertation•
01 Jan 2015
TL;DR: In this paper, the authors propose a 3.3-approximation algorithm for the 3.1-GHz bandit-16.3 GHz frequency bandit model, and
Abstract: 3
19 citations
DOI•
01 Jan 2013
TL;DR: Clark et al. as discussed by the authors argue that the readerly experience of identification with characters remains implicitly desirable, risking what Wayne Booth described as an immature experience, while also showing limits a means for Eliot's failures.
Abstract: Centers of Consciousness: Protagonism and the Nineteenth-Century British Novel Anna Elizabeth Clark Since Aristotle, we have categorized characters in terms of relative quantity and proportion. From Henry James’s “center of consciousness,” to E. M. Forster’s theory of “round” and “flat,” to Deirdre Lynch’s “pragmatics of character,” to Alex Woloch’s influential “one and many,” scaled distinctions between “major” and “minor” characters have remained unchallenged since the Poetics. Yet, such classifications don’t speak to the ways characters generate interest and consequence disproportionate to their textual presence. My dissertation counters scaled definitions of character by proposing a form of characterization called protagonism. Here, limited amounts of text yield the kind of capacious subjectivity we normally associate with copious amounts of dialogue or exposition, as formal narrative features such as point of view and interpolation produce richly compact portraits, often of otherwise ancillary figures. Protagonism may lack the “exhaustive presentation” that Ian Watt claims is inherent to the novel, but it is nonetheless rich in the personality and specificity we typically associate with protagonists. Indeed, many canonical novels, especially those of literary realism’s highpoint in nineteenth-century Britain, resist the character hierarchy implied by distinctions such as major and minor. In addition to manifest examples such as Collins’s “experiment” with many narrators in The Woman in White (1859), we can count instances in which novels juxtapose quantitatively significant characters in qualitative terms. From Mary Shelley’s Frankenstein (1818), where the title character’s protagonistic potential is undermined by his creature’s arresting autobiography, to George Eliot’s Daniel Deronda (1876), in which readerly affections are split between a Jewish hero, an egoistic heroine, and a narrator’s attempt to relate “everything” to “everything else,” novels that are far from generic outliers fit uneasily into scaled models of characterization, even when their titles and critics imply otherwise. Protagonism is how such novels disrupt the impulse for sustained identification with a single exceptional perspective, directing attention towards characters who might otherwise appear nondescript, inscrutable, or threatening. As my project traces protagonism’s adaptable formal applications, it considers a version of figurative individuality based not in self-differentiation, but in what I refer to as social recognition: in contrast to readings of the nineteenth-century novel as a site in which individual and social agon find expression before an ultimate reconciliation or synthesis, protagonism’s brief, concise, and instantaneous markers of richly individualized perspective foreground the perception of subjectivity over its descriptive representation, flattening out tensions between individuality and its inscription within a social body. Narrative techniques such as focalization, free indirect discourse, and autodiegetic narration all serve to produce the kind of reflexive recognition more commonly associated with sight, evoking a precise subjectivity at first “glance.” This version of literary individuality both reflects and complicates the social purpose that Victorian authors such as Dickens and Eliot claim for the novel. As Eliot suggests in “The Natural History of German Life,” literature should “amplif[y] experience and exten[d] our contact with our fellow-men beyond the bounds of our personal lot,” resisting stock figures and stereotypes to produce a readerly relationship with realist characters that is deliberate, sustained, and self-reflective. This view of the novel’s morally instructive capacity is refracted in recent arguments by scholars such as Martha Nussbaum, who argues that readers’ engagement with the novel’s prolonged form and involved descriptions cultivates their ethical imagination. Yet for both Eliot and latterday critics, the readerly experience of identification with characters remains suspect, if still implicitly desirable, risking what Wayne Booth has described as an “immature” experience of literature divorced from its “aesthetic experience.” Protagonism reveals such dissonances while also showing how characterization itself is a means for the novel to explore individuality’s social obligations. Protagonism models the inclusive social sympathy Eliot seeks; it also demonstrates the limits and failures of such collective ends.
19 citations
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Book•
01 Jan 1954
TL;DR: Deuxieme tirage de cet essai critique de Georges Blin sur Stendhal, publie aux editions Jose Corti en 1954 as mentioned in this paper, et les images, une description a completer, une bibliotheque
Abstract: Deuxieme tirage de cet essai critique de Georges Blin sur Stendhal, publie aux editions Jose Corti en 1954.Deux images, une description a completer, une bibliotheque.
22 citations