Showing papers on "Narratology published in 2017"

Can narrative medicine education contribute to the delivery of compassionate care? A review of the literature

Abstract: Narrative Medicine has emerged as a discipline from within the medical humanities1 and takes inspiration from philosophy, literature, poetry, art and social sciences theories. In particular, it is underpinned by philosophical approaches such as phenomenology, postmodernism and narratology, proposing that clinicians must attend to the lived experience of their patients and apply the science to the person.2 Meanwhile, the link between medicine and literature is evident in the growing volume of texts written about professionals', or lay people's experiences of illness and disease.3–8 In exploring this link further, Charon9 has contributed greatly to consolidate the theory of Narrative Medicine. She defines it as ‘medicine practiced with the narrative competencies to recognise, absorb, interpret and be moved by the stories of illness’.9 She suggests that, in exploring texts and reading them closely, one finds the tools of language such as metaphor, plot, character and temporality. She suggests that learning such skills enables clinicians to recognise that same language when it appears in clinical interaction practice. This ‘narrative competence’ can be fostered through education initiatives that particularly explore literature, creative and reflective writing, storytelling and poetry.9 As Lewis2 explains, the question is about what kind of healthcare we want to deliver. Those who practise Narrative Medicine suggest that the adoption of this approach may help marry the art and science, thus improving quality in delivering a more person-centred type of care.2 ,10 With its emphasis on the patient experience, Narrative Medicine complements the current dominance of productivity, efficiency and evidence-based care. Similarly, Narrative Medicine contributes to attempts to go beyond the positivist dominance in healthcare that threatens quality of care, as science alone cannot help us to understand the unpredictability and frailty of people.11–13 To secure support for Narrative Medicine education, there …

Theorising narrative in business history

Abstract: This article, and the special issue that it introduces, encourages business historians to reflect on the narrative nature of the work they produce. The articles provides an overview of how and why narratives came to occupy such a prominent status during the linguistic and narrative ‘turns’ of the 1970s. It then compares the different conceptualisations of narrative analysis that have emerged in historical research and in management and organisational studies. Finally, this introduction points out various ways in which business history can become enriched if its practitioners become more aware of the communicative, rhetorical and argumentative character of their work.

Criminal Narrative Experience: Relating Emotions to Offence Narrative Roles During Crime Commission:

Abstract: A neglected area of research within criminality has been that of the experience of the offence for the offender. The present study investigates the emotions and narrative roles that are experienced by an offender while committing a broad range of crimes and proposes a model of criminal narrative experience (CNE). Hypotheses were derived from the circumplex of emotions, Frye, narrative theory, and its link with investigative psychology. The analysis was based on 120 cases. Convicted for a variety of crimes, incarcerated criminals were interviewed and the data were subjected to smallest space analysis (SSA). Four themes of CNE were identified: Elated Hero, Calm Professional, Distressed Revenger, and Depressed Victim in line with the recent theoretical framework posited for narrative offence roles. The theoretical implications for understanding crime on the basis of the CNE as well as practical implications are discussed.

Fictionality, Narrative Modes, and Vicarious Storytelling

Abstract: One of the key issues in the interplay between artistic and everyday narrative practices is the question whether some modes of telling are specific or exclusive to one or the other Whereas in contemporary narrative studies it is a commonplace to understand everyday oral narratives as a prototype of all narrative forms, the traffic from artistic, fictional narratives toward everyday storytelling has received much less attention However, socionarratology, for example, reminds us of the cultural and conventional basis for all human interaction and narrative sense-making In 1999, David Herman postulated this integrated, narrative-analytical approach which he termed socionarratology, a conceptual model that "situates stories in a constellation of linguistic, cognitive, and contextual factors" (Herman 219) Matti Hyvarinen ("Expectations and Experientiality"), drawing on the idea of socionarratology, points out how the expected in the form of generic models and cultural scripts shapes both literary and everyday narratives Yet, he has also concluded that there might, after all, be significant differences in literary and everyday narratives especially when it comes to mind reading or mind attribution (Hyvarinen, "Mind Reading" 238) Jarmila Mildorf ("Thought Presentation") showed how storytellers may circumvent the problems surrounding mind attribution in everyday storytelling by resorting to other, more indirect means of thought presentation, such as constructed dialogue Fictionality, understood--among other things--as specific ways to represent minds in narratives also outside of fiction, clearly needs to be further studied The signposts of fictionality are usually understood to include paratextual signals, the synchronic relation between story and discourse, the dissociation of the author and the narrator, and the representation of thought and consciousness (Cohn, "Signposts" 800; Grishakova 65) To offer a rough outline, one could say that fictionality studies today emphasize either paratextuality (eg, Walsh, The Rhetoric), authors and their communicative intentions (eg, Nielsen and Phelan), or narrative modes of consciousness representation; our approach falls into the last category (Hatavara and Mildorf) Since the last category is the only one to do with narrative discourse modes per se, that is what our article concentrates on in the effort to study the traffic from the fictional to the everyday in narrative means of mind representation We understand fictionality as a conglomeration of narrative discourse modes characteristic of generic fiction but not confined to it This partly follows and extends the tradition of discourse-narratological studies on fictionality Even though this tradition searched for "fiction-specific" narrative modes (Cohn, Distinction 2; "Signposts" 779), it is worth noticing that the possibility of expanding fictional modes beyond fiction was recognized from an early stage on Dorrit Cohn pointed out almost thirty years ago that narratology was unaware "of the places where its findings are specific to the fictional domain and need to be modified before they can apply to neighboring narrative precincts" (Cohn, "Signposts" 800) Using a life story interview as our test case we identify signposts of fictionality, analyze how they function in a nonfictional environment and try to point out issues requiring further theoretical modification In order to account for cognitive and contextual as well as linguistic factors of stories, and to do justice to the nature of life story interviews both as personal testimony and as a semiotic object, we introduce the term cross-fictionality to characterize a narrative where the frame of reference is nonfictional but the narrative modes include those that are conventionally regarded as fictional Therefore, cross-fictionality denotes narrative features that are characteristic of fiction but are also able to cross to other narrative environments …

War Stories and Occupying Soldiers: A Narrative Approach to Understanding Police Culture and Community Conflict

Abstract: Narrative theory and methods are gradually finding a place in the study of crime and its control However vibrant narrative criminology has been to this point, narrative scholars have somewhat ignored policing, both in terms of the language and grammar of individual officers and the cultural life of the institution itself In this article, we elaborate the importance of storytelling in the (re)production of contemporary police culture and the broader police power While storytelling as cultural production is, of course, not the sole purview of police, they are uniquely positioned to shape the broad social, cultural and political imaginaries of crime and the realities of crime control and community interactions Therefore, in paying close attention to the narratives of police and the cultural work accomplished through storytelling, we gain insight into the production and maintenance of police authority and culture

Narrative and embodiment – a scalar approach

Abstract: Recent work on the relation between narrative and selfhood has emphasized embodiment as an indispensable foundation for selfhood. This has occasioned an interesting debate on the relation between embodiment and narrative. In this paper, I attempt to mediate the range of conflicting intuitions within the debate by proposing a scalar approach to narrative and an accompanying concept of a split-self (Waldenfels 2000). Drawing on theoretical developments from contemporary narratology, I argue that we need to move away from a binary understanding of narrative as something an entity (the self) strictly is or is not; rather, we need to see narrative as an attribute admitting of degrees. I suggest that the relation between narrative and embodiment should be seen along these lines, proposing three levels of the narrativity of embodied experiencing: 1) the unnarratable, 2) the narratable and 3) the narrative. Finally, I discuss the implications this framework has for the general question of the narrative constitution of selfhood.

Transmedial Narratology Revisited: On the Intersubjective Construction of Storyworlds and the Problem of Representational Correspondence in Films, Comics, and Video Games

Abstract: Located within the more encompassing project of a genuinely transmedial narratology, this article's focus is twofold: on the one hand, it aims to further our understanding of strategies of narrative representation and processes of narrative comprehension across media by developing a transmedial conceptualization of storyworlds as intersubjective communicative constructs; on the other hand, it will zoom in on transmedial as well as medium-specific forms of representational correspondence ( sensu Currie), examining the question to what extent spectators of films, readers of comics, and players of video games may choose to apply variations of the principle of charity ( sensu Walton) in cases where default assumptions about the relation between a narrative representation and the storyworld(s) it represents become problematic or even collapse entirely.

The form of the story: Measuring formal aspects of narrative activity in psychotherapy†

Abstract: Objective: We ask which are the clinically relevant qualities of narratives in psychotherapy and how they can be measured. Method: On the background of psychoanalytic assumptions and narrative theory, we propose to measure formal narrative processes which stay close to the linguistic surface, because these escape conscious control. Results: We propose five aspects of narratives to be especially sensitive to distortions and therefore prone to change in successful therapies: (1) The actual chronological, stepwise narrating of events, (2) the intentional structuring of events, or emplotment, (3) the immediate evaluation, (4) the reflected interpretation of events, and finally (5) the consistency and completeness of the narrative. For each aspect we discuss ways to measure them. Finally the aspects are illustrated with excerpts from a series of diagnostic interviews. Discussion: Implications for the analysis of the co-narrative role of the therapist are suggested.

As above, so below: narrative salience and side effects of national innovation systems

Abstract: This article furthers previous attempts at integrating narratology in policy analysis. Embracing an open-ended definition of narrative, it stresses the importance of maintaining distinct narrative levels and, more generally, of taking into account the pragmatic dimension of narration as an activity, including the often-implicit role and focalization of the policy analyst. Developing a conceptual analogy between storytelling and the exercise of power, it argues for a critical use of practical imagination in ‘cold’ situations of ‘narrative salience’, characterized by the absence of controversy or uncertainty, an uneven distribution of the power of scenarization. These propositions for a ‘revisited’ approach to policy narratives, equidistant from the positivist and post-positivist dichotomy, are tested on the case of ‘narrative salience’ where a particular storyline, national innovation systems, is so dominant that there appears to be no ‘counter-story’.

Affects in Configuration: A New Approach to Narrative Worldmaking

Abstract: In this essay, I propose a new model and methodology for investigating the productive, layered ways in which affects operate in and through narrative texts in the communicative loops of reading and writing. I delineate this model by way of a dialogue between different concepts of worlding, world-building, and worldmaking circulating in narrative and affect theory, which provide connecting points between the two fields as well as diverging (Deleuzian, neuroscientific, phenomenological) approaches to affect. In developing these connecting points, the proposed syncretic model addresses the shortcomings of current uses of affect, including the foreclosure of textuality and subjectivity in Deleuzian conceptualizations and the narrow emotion concepts and generalizing tendencies of neuroscientific approaches. In reconceptualizing narrative worldmaking as a multidimensional, ‘multivectoral’ assemblage of heterogeneous elements, I detail how the rhetorical processes of narration and reading engage affects, bodily memories, and associations in layered transactions between characters, narrators, implied and actual readers and authors. Probing the model’s productivity through a reading of Junot Diaz’s The Brief Wondrous Life of Oscar Wao , I spell out three sets of implications for narrative theory: I consider fictionality’s affective engagement in the world, the workings of distributed, nonsovereign agency in the loop of literary communication, and the potentials of reconfigurative reading as a methodology of ‘following’ affective complexity.

The Role of Desired Future Selves in the Creation of New Experience: The Case of Greek Unemployed Young Adults

Abstract: RECONSTRUCTING PAST AND FUTURE TO CREATE NEW EXPERIENCE The reconstruction of past and future is a central topic of research in both psychological and historical science. Psychological research on time perspective indicates that while imagining the future and remembering the past are common processes people engage in, some people are more disposed to orient toward the future than others (Boniwell and Zimbardo; Vowinckel et al). Imagining the future is similar to remembering the past in the sense that both processes involve an interpretation from the point of view of the present. Life review, that is, a structured form of reminiscence, is based on the principle that the meaning of past actions and events as well as the self can be rewritten. This notion of "rewriting the self" (Freeman) is based on an analogy between life and story. In the narrative approach we adopt here, the self is defined as an evolving story (McAdams), which is multivoiced (Hermans and Kempen), and validated in social interaction (Gergen). In telling, writing, and sharing stories about themselves and their life world people constitute who they are and are not; what they desire, seek, and imagine; going beyond the present; and integrating cultural memory and historical consciousness (Brockmeier 79). More particularly, life review draws on strategies to revise the self in such a way that more acceptance and integration of negative life events and more authorship of the life story is achieved (Westerhof and Bohlmeijer). Narrative futuring, for example, a guided process of writing from the future to the present (i.e., letters from the future) can be viewed as the future-oriented counterpart of life review (Sools et al., "Mapping Letters from the Future"). An important function of incidentally occurring future imagination in everyday life, but even more so of its structured extension narrative futuring, is to guide present thought and action (Sools and Mooren). Narrative futuring offers a way to reconstruct the self in light of desired ends in a process that involves the articulation of values and goals, and the means to achieve them. Hence, looking forward and looking back both depart from the present, but serve different functions. While the construction of the past and the future share "present-centeredness," according to theoretical historian Koselleck "these are not symmetrical complementary concepts [...] Experience and expectation, rather, are of different orders" (260). While the past makes up a "space of experience," the future should be more accurately conceptualized as a "horizon of expectation," which "directs itself to the not-yet, to the nonexperienced, to that which is to be revealed" (259). The assumption that the future cannot be experienced in the same way as the past has been dominating narrative theory and argumentation about the construction of past and future. The argument includes, "There is a crucial formal difference between images and stories recollected and those projected. Those recollected are capable of high definition, a large measure of completeness. An image of the future is vague and sketchy, a story incomplete and thin" (Crites 164-65). Narrative futuring, however, presents an alternative in which the future can become, at least partially, an experience (Sools et al., "Mapping Letters from the Future", Tromp, and Mooren). This future-made present is achieved by constructing a future self as if realized, with a vivid portrayal of the future self "as an experiencing subject" (Crites 167). By bringing future and present into a single imaginative and experiential plane, the potential of the "penetration of the horizon of expectation" necessary for the creation of new experience (Koselleck 260) comes closer into view. After all, a future that is fully founded upon past experience will result in the recurrence of that experience in the present. The unexpected, filled with an element of surprise, may create new experience. …

Restructuring structural narrative analysis using Campbell’s monomyth to understand participant narratives

Abstract: In this paper, we describe a method for performing structural narrative analysis that draws on narratology and literary studies, moving structural narrative analysis from a focus on examining linguistic parts of narratives to understanding thematic structures that make up the whole narrative. We explore the possibility of constructing participant narratives using Campbell’s monomyth as a coding and structuralizing scheme. The method we describe is the response to the question, “How might we find a reliable way to construct ‘smooth’ stories (with attention to the structures of stories) so that we might compare trajectories of student experiences?” To answer this question, we use narrative interviews from a larger study to show how this method can make sense of interviews and construct accessible and useful participant narratives. We close by providing an example narrative constructed using the monomyth coding scheme and discussing benefits and difficulties associated with this method.

Towards a narrative typology of urban planning narratives for, in and of planning in Jätkäsaari, Helsinki

Abstract: Urban planning and theory have witnessed an increasing interest in narratives. There remain, however, diverging notions of what is meant with narratives, and of their function and use. This article provides a taxonomy of narratives in the context of planning, illustrated by the redevelopment of Jatkasaari, Helsinki. Three distinct types of narrative can be identified in the context of urban planning: narratives for, in and of planning. This paper argues that a narrative typology of urban planning that draws on concepts from narrative theory could bring new insights into the discursive urban practices that have appearing during past decades.

The Refugee and Forced Migration Bildungsroman: Coming of Age and Coming into Form through Fictions of Home and Exile (Narrative Studies)

Abstract: Author(s): Budny, Alexandra Christian | Advisor(s): Mascuch, Michael | Abstract: After a record-breaking swell in global displacement marking recent years up to 2016-2017, questions surrounding refugees and forced migration, displacement and exile, home and host, have reached new levels of popularity and timeliness. For all the high-stakes discussion, though, there remains a problem, in the tendency of the predominant discourse to eclipse and essentialize, staticize and passivize the Refugee and Forced Migration subject. It is a predilection reproduced in the dynamically growing corresponding surge of interest in Refugee and Forced Migration Studies as well, its own multi- and inter-disciplinary field: one which has been answered by a call from the literary-aesthetic domain. As championed by the Oxford Journal in the Study of Multi-Ethnic Literature of the United States (MELUS), the advancement of a new sub-field with Literary Refugee and Forced Migration Studies offers an exciting opportunity to, as asked in its 2016 Special Issue, seek narratives reimagining those subjects of Refugee and Forced Migration experience “as active participants that use rhetorical and aesthetic means to inform, push against, and redefine the mechanisms that construct them as subjects.” In other words, in delineating Refugee and Forced Migration Literature as its own genre, replete with formal as well as thematic elements, as a critical intervention adding nuance, complexity and multi-directional agency; a chance to render visible what it called a “discrete field from which to develop new theoretical paradigms and methods of inquiry.” My dissertation takes this project further still by advancing what I argue is an especially productive and revelatory sub-genre in the coining of the Refugee and Forced Migration Bildungsroman. The utilization of the Bildungsroman as a literary coming-of-age form offers unique capacities for the narrating character-protagonist as Refugee and Forced Migration subject here, providing a non-traditional kind of lesson in the coming together of education (bildung) with the novel (roman). In a progressive critical reading of narratological techniques employed across three such literary works, I build the Refugee and Forced Migration Bildungsroman as a sub-genre which allows the release(1), expression(2), and connection(3) for the subject of those pieces rendered inside(1-i), outside(2-ii), and in-between(3-iii) by the experience. It is through the narrating character-protagonists building themselves into-being through these stages of discourse, that the broken and fragmentary become pieces of a mosaic, material for the story being told and the subject being built. In so doing, this study determines what the text, as-text, does for both narrator and narratee, its openings and possibilities, insights and intricacies. In bringing the possibilities of the literary-fictional form to its utmost, this Bildungsroman allows for, indeed constructs and demands, an embrace of a different kind of engagement, in feeling, thinking and valuing what traditional forms and dominant systems would fail to include, cannot encompass, or would not recognize (as is critiqued within). The Refugee and Forced Migration Bildungsroman as literary sub-genre, and its unique mosaic-experiential aesthetic therein, becomes one answer to the problem: reading narrative as a precondition to making possible more complex and inclusive modes of discourse.

A narrative based model of differentiating rioters

Abstract: The present study applied a narrative analysis upon rioter accounts of their motivations during the August 2011 England riots. To the authors’ knowledge, this piece of research was the first to utilise narrative theory to explore the phenomenon of rioting. Narrative accounts of 20 rioters were compiled from media, online, and published sources. Content analysis of the cases produced a set of 47 variables relating to offenders’ motivations given when describing their criminality. Data were subjected to Smallest Space Analysis (SSA), a non-metric multidimensional scaling procedure, and results revealed four distinct themes: the Professional Rioter; the Revenger Rioter; the Victim Rioter; and the Adventurer Rioter, in line with previous research conducted on differing crime types (Canter, Kaouri and Ioannou 2003; Youngs and Canter 2011b). The four narrative themes are consistent with motivations identified in previous theories.

The Philosophy of Afrocentricity

Abstract: Afrocentricity refers to the intellectual work of a group of African philosophers, historians, and sociologists during the late twentieth century with varying degrees of attachment to the central idea that the key crisis in the African world is the profoundly disturbing decentering of African people from a subject position within their own narrative. In Afrocentricity, the opening consciousness is assumed to be an awareness of the off-centeredness of Africans as a result of Arab and European and military, cultural, and social intrusions that have dislocated African people. In this chapter, Asante argues that this consciousness is characterized by an appreciation of “the Afrocentric posture,” or a sense of “Afrocentric narratology” in the face of loss-ness and lost-ness leading to disorientation. Some Afrocentrists have regarded Western philosophies as contrary and often antagonistic to the proper understanding of African narratives; they are mainly distant and simply concerned with non-African realities.

Translating Central American life writing for the Anglophone market : a socio-narrative study of women's agency and political radicalism in the original and translated works of Claribel Alegría, Gioconda Belli and Rigoberta Menchú

Abstract: At a time when scholars have rekindled the old debate about what is world literature and how can one study it (Casanova, 2004; Moretti, 2000, 2003; Damrosch, 2003, 2009), this thesis analyses the canonisation of Central American Revolutionary women�€™s writing as it moves toward the �€˜centre�€™ and becomes part of the world literary canon Drawing on a core-periphery systemic model, this thesis examines how translation for the Anglophone market involves the marginalisation at various levels of the narratives of political radicalism and the erotic that feature in the life writing works of Gioconda Belli, Claribel Alegria and Rigoberta Menchu The dataset chosen for this study consists of the Spanish originals and English translations of La mujer habitada (1988) and El pais bajo mi piel (2001) by Belli; No me agarran viva (1983) and Luisa en el pais de la realidad (1987) by Alegria, in collaboration with her husband Darwin J Flakoll; and Me llamo Rigoberta Menchu (1983) and Rigoberta: La nieta de los mayas (1998) by Menchu To develop this core-periphery systemic model, I have drawn on the work of scholars in the field of the sociology of translation such as Pascale Casanova (2004), Johan Heilbron (1999, 2010) and Gisele Sapiro (2008) In the context of the study, peripheralisation has been reconceptualised to assist in locating the texts included in the dataset within a hierarchical power structure (external level of peripheralisation); and identifying the shifts that arise during the translation and circulation of the ontological and public narratives underpinning such texts (internal level of peripheralisation) The study of the internal level of peripheralisation will draw on narrative theory, as elaborated by Margaret Somers and Gloria Gibson (1994), Somers (1997) and Mona Baker (2006) The choice of narrative theory employed in the thesis aims to foreground the impact that translation and the publishing field have on the selection and consecration of a literary genre; facilitate the comparison between the texts and paratexts of the originals and their English translations, and disclose the mechanisms through which the agency of the woman/author is neutralised, and the narratives of sexuality, body, political radicalism and feminine subjectivity are constructed in the original and reinterpreted through translation This comparative (para)textual analysis questions the nature of the process by which peripheral texts have accessed the Western canon In light of the findings, the thesis advocates the need to redefine the concept of canonisation in order to acknowledge a possible conflict between the new assumed centrality of the consecrated/translated text and the layers of peripheralisation that might still be constraining the original narratives Secondly, these findings draw attention to a gap in world literatures scholarship By assuming the autonomy of literature as an artistic form, world literature scholars might be in danger of obscuring the potential for manipulation inherent in translation practice, particularly in spaces favouring domesticating approaches to translation Thirdly, this work aims to serve as a reminder to scholars and activists not to overlook the impact of literary translation on the circulation of theories and narratives, particularly in the case of highly canonical texts such as that of Rigoberta Menchu (1984)

Narrative Change in Professional Wrestling: Audience Address and Creative Authority in the Era of Smart Fans

Abstract: This dissertation project provides a methodological contribution to the field of critical rhetoric by positioning narrative theory as a powerful yet underutilized tool for examining the power dynamic between producer and consumer in a participatory media context. Drawing on theories of author and audience from rhetorical narratology, this study shows how producers of media texts provide rhetorical cues to audiences that allow them to reassert their power in the form of creative authority vis-à-vis consumers. The genre of professional wrestling serves as an ideal text for examining such power dynamics, as WWE has adapted to changing fan participatory behaviors throughout its sixty-year history. Focusing on pivotal moments in which WWE altered its narrative address to its audience in order to reassert its control over the production process, this study demonstrates the utility of narrative theory for understanding how creative authority shows power at work in media texts. Further, this study situates rhetorical narratology in conversation with theories of rhetorical persona, scholarship on subcultures, and the discursive construction of the “people.” In so doing, I show how a nuanced understanding of author and audience augments critical rhetorical scholarship’s focus on power. Finally, by applying narrative theory as a method for both close textual analysis of single texts as well as a tool for piecing together a critical text from narrative fragments, I also address questions of the role of the text in rhetorical criticism and the role of authorship in an era when audiences exert influence on media texts as they are produced. INDEX WORDS: Narrative theory, Critical rhetoric, Creative authority, Professional wrestling, Author, Audience, Participatory fan culture NARRATIVE CHANGE IN PROFESSIONAL WRESTLING: AUDIENCE ADDRESS AND CREATIVE AUTHORITY IN THE ERA OF SMART FANS

Narrative in advertising: persuading the nigerian audience within the schemata of storyline

Abstract: The study, as an attempt, considered narrative as a good resource of advertising in the Nigerian environment In other words, advertisers perceive narrative as a strategy that can stimulate consumers to patronize advertised goods and services Four adverts of FBN®, MTN®, Orijin® and FIRS® have been chosen to propagate the course appeared on the frameworks Beside the application of the Labovian schema on narrative, the Halliday’s transitivity system plays an analytical role by assigning semiotic slots to the textual devices The study reveals that advertising copies a similar pattern of narrative in the society Apart from the texts serving as relays to the images, the construction of the message is in the resolution sequential string This provides an opportunity for advertisers to present to the public the gains and benefits of taking decision parallel to the messages of the adverts Advertisers capitalize of the efforts of past leaders, the challenges of the present and the future of the children to sensitize the audience The study concludes that narrative should be encouraged in advertising not only as a persuasive approach but also as a means of promoting Nigerian social heritage and treasures

Designing intentional impossible spaces in virtual reality narratives: A case study

Abstract: Natural movement and locomotion in Virtual Environments (VE) is constrained by the user's immediate physical space. To overcome this obstacle, researchers have established the use of impossible spaces. This work illustrates how impossible spaces can be utilized to enhance the aesthetics of, and presence within, an interactive narrative. This is done by creating impossible spaces with a narrative intent. First, locomotion and impossible spaces in VR are surveyed; second, the benefits of using intentional impossible spaces from a narrative design perspective is presented; third, a VR narrative called Ares is put forth as a prototype; and fourth, a user study is explored. Impossible spaces with a narrative intent intertwines narratology with the world's aesthetics to enhance dramatic agency.

Finding a Way: Techniques to Avoid Schema Tension in Narrative Design

Abstract: Game designers and game writers do not have the same understandings, processes, or approaches, and this impedes good practice. This is not due to the two modes being so different or incompatible however, as has been claimed now and in earlier narratology and ludology debates. Instead, this article argues that incompatibilities are due more to the schemas of creation: the mental models we are taught and create with, that thwart more integrated practices. We learn to create and think about games in one way, and narrative in another. This siloing is due to a predictable differentiation rhetoric that occurs at the emergence of a new medium: games are not stories, games are not films, VR is not film, X is understood by not being Y. This arbitrariness of difference facilitates a schism in the creator's mind, where elements, roles and industries become irreconcilable. Indeed, whole swathes of wisdom are put to the side in an effort to be recognised as different. When narrative is used in games, then, developers rely on external design grammars, where models from other artforms are imported and shoehorned. There have been attempts to reduce such siloing, but integration cannot happen merely through recognising common elements or traits within a game object. Instead, this article argues that a common understanding can be found through the common factor of the audience or player. To illustrate this point, two successful audience/player-centered approaches from filmmaking and education are outlined, along with a tweaking of the successful MDA framework, providing structures for creatives to avoid the problem of design schema tension and create better projects.

Transmedial Narratology: Theoretical Foundations and Some Applications (Fiction, Single Pictures, Instrumental Music)

Abstract: Drawing on research by, among others, Monika Fludernik, Marie-Laure Ryan, and previous publications by the author, the present article outlines the foundations of a transmedial narratology that draws on intermediality theory, frame theory, and prototype semantics. These foundations permit the simultaneous conceptualization of narrative as a semiotic macro-mode and as a cognitive frame which enables recipients to classify given artifacts (texts, performances, etc.) as more or less narrative in accordance with the extent to which "narremes" as features of prototypical narratives can be recognized. This approach is illustrated with examples taken from three media: literary fiction, the visual arts, and instrumental music. The comparison of the different narrative potentials of these media leads to some general reflections on both the recipient's and the artifact's share in narrativization (the artifact and the medium it belongs to can be strongly narrative, more or less narrativity-inducing, or non-narrative), moreover on constitutive elements of a media-conscious narratology, and a typology of medial realization of narrativity based on transmission modes. In conclusion, benefits and problems of transmedial narratology are adumbrated.

Narrative analysis and translation

Abstract: This chapter offers a detailed overview of socio-narrative theory and some of its applications in translation and interpreting studies, beginning with an account of the theory’s basic assumptions. It then explores some of the main differences between the concept of narrative, as defined and applied in this approach, and the concept of discourse, as understood and applied in Critical Discourse Analysis, and explains the theoretical and research implications of these differences. This is followed by an explanation and detailed exemplification of two sets of conceptual tools elaborated in socio-narrative theory. The first is a fluid typology of different types of narrative that has been revisited and adapted in a number of studies. The second is an interdependent set of dimensions that define narrativity and are deployed in any attempt to make sense of experience by embedding it within a narrative world. The typology proposed in Baker (2006) consists of four categories: personal, public, conceptual and meta narratives. The chapter draws on existing studies to exemplify the meaning of each category and demonstrate the dynamic interplay between them. The set of dimensions discussed and exemplified consists of temporality (covering both time and space), relationality, selective appropriation, causal emplotment, particularity, genericness, normativeness/canonicity and breach, and narrative accrual. The typology and the set of dimensions are both exemplified with reference to a diverse set of material, including poetry, theatre translation, political advocacy programmes of translation, author branding, and subtitling. The chapter ends by acknowledging the difficulty of applying this version of narrative theory in the context of existing research traditions in translation studies, and proposes a number of avenues and genres that lend themselves readily to narrative analysis and that may be explored in future research.

Sea narratives as minor literature: reading Herman Melville and Joseph Conrad with Deleuze and Guattari

Abstract: Sea Narratives as Minor Literature is a comparative study of Herman Melville’s and Joseph Conrad’s sea-themed writing, using the wider critical-theoretical framework of Gilles Deleuze and Felix Guattari, centered around the concept of minor literature. Underutilized in maritime literary studies, this platform is highly suitable for studying the paradigm of nineteenth- and early twentieth-century Anglo-American sea narratives, including Melville and Conrad: first, the collective and political facets of minor literature provide an apparatus for reading the dominant elements in this genre – the experience of sea labor and the world of the ship. Second, the element of deterritorialization of language in minor literature highlights the technical language of seamanship (sea argot) in literature as an element of linguistic deterritorialization by default. Finally, with its focus on detecting subversive practices within majoritarian configurations, it enables the tracing of both emancipatory and power-complicit strategies in sea-themed literary works. The Deleuze-Guattari framework brings together Melville and Conrad not only as sea authors, but as occupying an eccentric position regarding the English language itself. I chart diachronic overlaps and departures in terms of how they articulate maritime subjectification with various forms of territory, mainly the space of the ship and the space of the sea, but also capitalism and nation. As a result, some existing Deleuze-Guattari readings of Melville as a minoritarian author are revised, while avenues of minoritarian thought are detected in Conrad. Tailoring the Deleuze–Guattari terminology, I introduce the concept of the ship-assemblage, articulated as a machinic assemblage and assemblage of enunciation, as a new tool for examining literary shipboard geographies in Melville, Conrad, and beyond. Examining both authors’ employment of sea argot against the concept of minor literature, I identify it as a sub-linguistic system which grafts itself onto literary discourse, able to function in a range of positions from majoritarian to minoritarian. Finally, sea literature in general, and sea narratives of this period in particular, evince resistance to categorization in terms of literary periods, genres and national literary history, fact and fiction, and the analytical apparatus of narratology. I therefore propose a new understanding of the specific textuality and narrativity of sea-themed prose as subscribing to what we commonly recognize as literature, but also transcending it. My research lies at the intersection of literary studies, critical theory, transatlantic studies, and cultural and material history of maritime practices.