Book•
Story and Discourse: Narrative Structure in Fiction and Film
31 May 1980-
About: The article was published on 1980-05-31 and is currently open access. It has received 1885 citations till now. The article focuses on the topics: Narrative structure & Narrative criticism.
Citations
More filters
Dissertation•
27 May 2014
TL;DR: The work of Punchdrunk as discussed by the authors proposes that immersive theatre (the theatrical form) and immersive experience (the sensation) have a reciprocal relationship and proposes a multivalent model for interactivity and immersion.
Abstract: The phrase immersive theatre has experienced a surge in popularity in recent years, and is often applied loosely. In 2012 (‘theatre roundup: advice for playwrights’) Lyn Gardner noted that ‘immersive is theatre’s new buzzword’ and expressed irritation with its often vague and unspecific application, commenting on ‘marketeers who seem to be applying the term “immersive” to practically anything that isn’t a play by David Hare.’ A specialised vocabulary and set of critical approaches are required. This thesis is about audience immersion in the work of Punchdrunk, a pioneering company working in the form. The thesis proposes that immersive theatre (the theatrical form) and immersive experience (the sensation) have a reciprocal relationship. The thesis begins with an overview of approaches to audience in theatre scholarship and other fields, and establishes a definition of immersive experience that will be applied to case studies in the chapters. The thesis is divided into three sections that consider topics integral to Punchdrunk’s theatre: interactive elements; a fractured and nonlinear approach to narrative; and the creation of scenographically rich environments. The chapters consider the relationship between these topics and immersive experience. The thesis is interested in how immersive experience is created and maintained, and discussed and framed in wider discourse. The first section is about interactivity and immersion. Chapter 1 considers various approaches to interactivity and proposes a multivalent model. Chapter 2 applies this model to a discussion of interactivity and immersive experience in The Drowned Man. Chapter 3 widens the definition of interactivity to consider audience engagement beyond the moment of the theatrical encounter. The second section is about narrative and immersion. Chapter 4 outlines current critical approaches to narrative, and discusses immersion in the interplay of story structure and theatrical structure, using the linear The Crash of the Elysium as a case study. Following on from this, Chapter 5 considers how immersive experience is created and maintained in the context of a Punchdrunk trademark: a nonlinear structure, with scenes in nonchronological order encountered only when a wandering spectator comes across them. Chapter 6 draws on the narrative ‘vs’ ludology debate in the field of gaming; a debate concerned with what a player is actually immersed in – the story or the mechanics of play. The chapter considers immersive experience and story in the Sleep No More project Punchdrunk undertook with MIT Media Lab in 2012, which used gaming mechanics to explore ‘remote and real world interconnected theatrical immersion’. The final section is about environment and immersion. Chapter 7 outlines approaches to environment and draws on methodological approaches from site-specific performance to discuss how immersive experience manifests in the interplay between the original site and the creation of a fictional world in/on that site.
18 citations
01 Jan 2017
TL;DR: Booten et al. as mentioned in this paper examined the phenomenon of quotations, especially those from books, on the social network Tumblr and found that they can be used for self-expression and self-care, functions related to the fact that quoting is a starkly gendered (largely female) practice.
Abstract: Author(s): Booten, Kyle Paul | Advisor(s): Freedman, Sarah W | Abstract: From tweets to GIFs to memes, social media is awash in bite-sized texts that are perfect for quick, instantaneous consumption and viral sharing. Mixed up in the raucous frenzy of social media, however, are excerpts that originate from print media: quotations from novelists, poets, philosophers, and other authors. The book, far from extinct, has nevertheless become "fragmented," circulating in new ways on digital networks.This study examines the phenomenon of quotations—especially those from books—on the social network Tumblr. Its fundamental question is whether the fragmentation of the book represents a threat to traditional forms of attentive, immersive engagement with long-form texts.The study reports on three research phases, each with distinct methods and data. The first phase, relying on qualitative and quantitative discourse analysis, examined the role of books and traditionally print-based discourses within the context of Tumblr. The second employed ethnographic data techniques, questionnaires and interviews, to uncover Tumblr users' purposes for sharing quotes from books as well as the ways that quoting connects to these users' broader experiences of literacy. The third phase used computational linguistics to distinguish between different types of quotations and to illuminate the features that contribute to "quotability."This study finds that quotation can be—though is not always—intertwined with traditional forms of reading and literate attention. Chapter 3 demonstrates that the quoting of books in particular is a fundamental part of the larger practice of quoting on Tumblr; it further illustrates some of the wide variety of quotations that circulate on this network, from misquotations attributed to famous authors to those quotes that are carefully annotated with bibliographic information, scholarly vocabulary, and other signs of deep familiarity with source texts. Chapter 4 reveals that, for those who quote from books on Tumblr, quoting is often not a form of distraction; rather it can deepen their experience of reading and lead them to discover new books. Yet quoting also serves more fundamental purposes of self-expression and self-care, functions that may be related to the fact that quoting is a starkly gendered (largely female) practice. Chapter 5 suggests that, while many quotations are indeed designed to be easily-decontextualized adages, others are specifically tailored to fulfill quoters' desires to express their intimate thoughts and feelings. Some quotes seem to be tailored to be appreciated by those with deep familiarity with the source text, though such quotations are less popular than easily-decontextualized ones. The fragmentation of the book does not fundamentally threaten traditional forms of reading, though the very purposes of reading are increasingly bound up with self-expression and self-care made possible through social media. The conclusion chapter considers the ramifications of these findings for media studies, the history of the book, and educational practice.
18 citations
01 Jan 2008
TL;DR: In this paper, the authors explore the characteristics, organisational culture and current knowledge management practice in a community enterprise (CE) practice in Thailand and reveal that, although community members would not be aware of doing so, Prae Pun managed its knowledge through informal educational activities - learning by doing and observation - and work processes concerned with collaboration and informality.
Abstract: This research seeks to explore the characteristics, organisational culture and current knowledge management (KM) practice in a community enterprise (CE). Prae Pun - a hand weaving CE in the northeast rural area of Thailand - has typical CE characteristics - self-employed and collaborative management, and a home-based production system utilising local resources and knowledge. This research used a qualitative method. Data were collected through narrative inquiry, participant observation and document analysis. The 18 respondents were Prae Pun members, committee members, an advisory committee member and office staff members. The data were analysed through theme analysis. The findings of this research reveal that, although community members would not be aware of doing so, Prae Pun managed its knowledge through informal educational activities - learning by doing and observation - and work processes concerned with collaboration and informality. The current KM practice of Prae Pun entails three processes: basic skill development, competence building and new knowledge creation through creation, capture, sharing, transferring, verification, utilisation and codification. Significantly for this study, KM of Prae Pun focuses on organisational knowledge creation and indigenous knowledge systems. The current KM of Prae Pun also has four other components. Its knowledge resources come from members, other villagers, other hand weaving groups, support organisations and markets. Most of the knowledge is tacit and indigenous. The operation and management systems determine the knowledge processes and provide supportive and incentive systems. The organisational culture and resources, including funding, social capital and appropriate technologies, also provide supportive and incentive systems. The resources are also the tools that facilitate the knowledge processes. The knowledge assets encompass actual assets - products, cloth designs, techniques, and operation and management systems - and competencies including members' skills and abilities, social capital, and shared values, which are not registered as intellectual properties but are in the forms of organisational memories. The traditional KM practice of Prae Pun can be possibly strengthened by integrating modern KM concepts, including knowledge resources from academic and government agencies, appropriate technologies to facilitate knowledge codification and knowledge transfer, extrinsic reward and incentive systems, and facilitators or consultants to enhance members' communities of practice (CoPs). The findings of this study and the KM model contribute to both CE development and further research on KM in a CE context and indigenous KM.
18 citations
TL;DR: The authors explored the use of stories as tools for learning within formal and informal learning environments, focusing on three areas of interest: (a) the story as a tool for learning; (b) the student as subjects engaging with the story; and (c) the context in which the story learning activity takes place.
Abstract: The aim of this qualitative case study was to explore the use of stories as tools for learning within formal and informal learning environments. The design was based on three areas of interest: (a) the story as a tool for learning; (b) the student as subjects engaging with the story; and (c) the context in which the story learning activity takes place. In this study, students were engaged in a themed exhibit about human and animal senses at a public science centre. A story was created to support students’ engagement and interaction with the themed exhibit. The story was specially designed to provide opportunities for designing and conducting inquiry-based investigations in pre- and post-activities at school and at the science centre. Seven classes (20–25 students each) from third to sixth grade participated in the study. Four classes where fourth graders. Grades 3, 5, and 6 were each represented by one class. Data were collected through observations, teacher and student interviews, lesson plans, and assig...
18 citations
Cites background from "Story and Discourse: Narrative Stru..."
...It is our main form of discourse and present in the life of children from a very young age (Avraamidou & Osborne, 2009; Chatman, 1978)....
[...]