Relevant bibliographies by topics / Illustrative narrative

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Illustrative narrative'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Illustrative narrative"

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Russell, Robert L., Paul W. van den Broek, Scott Adams, Karen Rosenberger, and Todd Essig. "Analyzing Narratives in Psychotherapy: A Formal Framework and Empirical Analyses." Journal of Narrative and Life History 3, no. 4 (January 1, 1993): 337–60. http://dx.doi.org/10.1075/jnlh.3.4.02ana.

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Abstract Narration in psychotherapy has become a key area of theoretical and empiri-cal concern. Rationales for this new concern are provided in the context of introducing a three-dimensional model of narrative structure. Numerous measures corresponding to each dimension are operationally defined and used in an illustrative study of 16 pairs of temporally contiguous child-thera-pist stories sampled from Gardner's (1971) Therapeutic Communication with Children. As predicted, the therapist's narratives were more structurally con-nected, more often concerned with protagonists' internal psychological pro-cesses, and more elaborate/complex than the children's narratives. The therapist's narrative measures, however, did not seem adapted to the chil-dren's varying narrative competence, indicated by the absence of significant covariation with the children's narrative measures or with their age. These and additional analyses illustrate how to assess narrative processes in psycho-therapy and suggest future research on and training in the use of narratives in psychotherapy. (Psychology)
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Emerson, Darcie, and Doug Magnuson. "Child Protection Intervention in Domestic Violence: An Illustrative Case Narrative." Child & Youth Services 34, no. 3 (July 2013): 236–49. http://dx.doi.org/10.1080/0145935x.2013.825546.

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Pantaleo, Sylvia. "Mutinous Fiction: Narrative and Illustrative Metalepsis in Three Postmodern Picturebooks." Children's Literature in Education 41, no. 1 (January 5, 2010): 12–27. http://dx.doi.org/10.1007/s10583-009-9096-x.

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Fraser, Heather, and Christiana MacDougall. "Doing narrative feminist research: Intersections and challenges." Qualitative Social Work 16, no. 2 (September 19, 2016): 240–54. http://dx.doi.org/10.1177/1473325016658114.

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This article contributes to social work methodological discussions by examining narrative feminist research in action. Our discussion considers our conceptualization and use of narrative feminist research, which is appreciative of intersectionality. We draw illustrative examples from four projects: (1) In the Name of Love, Women’s Narratives of Love, and Abuse (1998–2008), (2) Helping Alliances with Drug Treatment Clients (2010–2016), (3) In Good Company, Women, Companion Animals, and Social Work (2013–2014), and (4) Distress in Childbirth: A Social Work Perspective (in process). We also consider challenges associated with using narrative feminist research data as evidence. For all of the challenges currently facing narrative feminist researchers, we maintain that the methodology offers social workers many benefits and expansive, praxis-oriented possibilities.
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Zeller, Sara. "Centering the Periphery: Reassessing Swiss Graphic Design Through the Prism of Regional Characteristics." Design Issues 37, no. 1 (January 2021): 64–75. http://dx.doi.org/10.1162/desi_a_00625.

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In the literature, the history of Swiss graphic design is regularly told as a linear development from illustrative tendencies to Modernist abstraction. Recent research has shown that these narratives were constructed and disseminated by a group of Modernist graphic designers through journals and their own publications. By the mid-1950s, the Modernists themselves began dividing designers of the time into two camps: the individual or illustrative versus the abstract or Modern. This dichotomy, which established itself quickly, continues to shape the narrative of Swiss graphic design to this day. However, this article argues that the reality of graphic design practice in Switzerland in the 1950s was more diverse than previously assumed. Outside an exclusive circle of practitioners, illustration and abstraction were understood more as design methods than as attitudes. Taking this as its starting point, this article looks beyond this dichotomy by drawing on unpublished sources of the time and, thereby, challenges the traditional understanding of Swiss graphic design.
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Drennan, Lex. "FEMA’s fall and redemption—applied narrative analysis." Disaster Prevention and Management: An International Journal 27, no. 4 (August 6, 2018): 393–406. http://dx.doi.org/10.1108/dpm-07-2017-0163.

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Purpose The purpose of this paper is to recover the narratives constructed by the disaster management policy network in Washington, DC, about the management of Hurricanes Katrina and Sandy. Recovering and analysing these narratives provides an opportunity to understand the stories constructed about these events and consider the implications of this framing for post-event learning and adaptation of government policy. Design/methodology/approach This research was conducted through an extended ethnographic study in Washington, DC, that incorporated field observation, qualitative interviews and desktop research. Findings The meta-narratives recovered through this research point to a collective tendency to fit the experiences of Hurricane Katrina and Sandy into a neatly constructed redemption arc. This narrative framing poses significant risk to policy learning and highlights the importance of exploring counter-narratives as part of the policy analysis process. Research limitations/implications The narratives in this paper reflect the stories and beliefs of the participants interviewed. As such, it is inherently subjective and should not be generalised. Nonetheless, it is illustrative of how narrative framing can obscure important learnings from disasters. Originality/value The paper represents a valuable addition to the field of disaster management policy analysis. It extends the tools of narrative analysis and administrative ethnography into the disaster management policy domain and demonstrates how these techniques can be used to analyse complex historical events.
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Lothe, Jakob. "The Author's Ethical Responsibility and the Ethics of Reading." CounterText 4, no. 1 (April 2018): 57–77. http://dx.doi.org/10.3366/count.2018.0116.

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Inspired by Ranjan Ghosh and J. Hillis Miller's intervention in Reading Literature across Continents, this essay discusses the narrative ethics of two narratives: Olga Horak's first-person narrative from the Holocaust and W. G. Sebald's novel Austerlitz (2001). While Sebald is an internationally acclaimed author, Horak is a Holocaust survivor whose story, orally transmitted to the author of the essay in Sydney in 2013, is presented as written text in Time's Witnesses: Women's Voices from the Holocaust (2017). Even though these narratives are very different, the essay argues that both are possessed of a strong ethical dimension that not only highlights the authors' sense of ethical responsibility, but also that of the reader. This article argues that, first, even in narratives as different as these two, the author's sense of ethical responsibility is closely linked to the reader's ethical obligation; second, as an integral part of the reader's interest in and engagement with the narrative text, this kind of obligation is generated and shaped by the narrative as textual structure; and, third, two of the most important constituent elements of this kind of form – that is, elements of narrative form possessed of a distinctly ethical dimension – are narrator(s) and characters, and the interplay of both with the author on the one hand and the reader on the other. In order to support the argument, the essay discusses a selection of illustrative examples from both narratives.
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Glasbey, JC, F. Arshad, LM Almond, B. Vydianath, A. Desai, D. Gourevitch, and SJ Ford. "Gastrointestinal manifestations of extramedullary plasmacytoma: a narrative review and illustrative case reports." Annals of The Royal College of Surgeons of England 100, no. 5 (May 2018): 371–76. http://dx.doi.org/10.1308/rcsann.2018.0015.

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Introduction Solitary extramedullary plasmacytoma are rare, solid-mass tumours which appear immunophenotypically similar to multiple myeloma. The diagnosis and management of gastrointestinal plasmacytoma is complex and requires multidisciplinary input. This study presents a narrative review of intra-abdominal extramedullary plasmacytoma, illustrated with two case studies. Methods The PubMed database was searched without date restrictions for reports of intra-abdominal extramedullary plasmacytoma to synthesise a narrative review. Electronic records were reviewed at a high-volume, quaternary soft-tissue sarcoma centre to identify patients with histopathologically confirmed extramedullary plasmacytoma affecting the gastrointestinal tract. Results Gastrointestinal extramedullary plasmacytomas can present with mass effect or organ-specific dysfunction. Techniques for tissue diagnosis of extramedullary plasmacytoma vary dependent on location, with a formal diagnosis often being made from a resected specimen. Management can include surgery, radiotherapy, systemic chemotherapy or a combination. No high-quality evidence base exists to guide treatment. Two case studies of operated gastrointestinal extramedullary plasmacytoma are presented at different phases of disease progression, with a resultant impact on survival. Conclusion Intra-abdominal extramedullary plasmacytoma is a rare and heterogeneous condition that lacks consensus guidelines for diagnosis and management. Collaboration between international specialist centres will create better quality evidence for treatment of this cohort.
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Pantaleo, Sylvia J. "“Everything Comes from Seeing Things”: Narrative and Illustrative Play in Black and White." Children's Literature in Education 38, no. 1 (October 21, 2006): 45–58. http://dx.doi.org/10.1007/s10583-006-9029-x.

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Campisi, Lisa, Patrick F. K. Yong, Bogumila Kasternow, and Mohammed Yousuf Karim. "Illustrative Case Series and Narrative Review of Therapeutic Failure of Immunotherapy for Allergic Rhinitis." Allergy & Rhinology 11 (January 2020): 215265672094382. http://dx.doi.org/10.1177/2152656720943822.

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This is a series of 4 cases (3 therapeutic failure and 1 early relapse) in adult patients treated with allergen immunotherapy (AIT) for allergic rhinitis (AR) in our immunotherapy clinic, which treats 110 new patients per year. AIT includes both subcutaneous and sublingual routes. The current national/international AIT recommendations and the literature have been searched to identify guidance for the optimal management of therapeutic failure of AIT in AR. There is scant information available to support clinicians when treatment failure and/or intolerable side effects occur. The importance is highlighted for developing the guidance and evidence base for the benefit of this patient subgroup. The potential strategies that clinicians have proposed are discussed in this article, though it is acknowledged that these are mostly not evidence-based.
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Dissertations / Theses on the topic "Illustrative narrative"

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Bandeira, Toni Juliano. "Relatos, memórias e narrativas na construção do imaginário do povo Kaingang: as estampas de Joaquim José de Miranda na conquista dos Campos de Guarapuava." Universidade Estadual do Oeste do Parana, 2016. http://tede.unioeste.br:8080/tede/handle/tede/948.

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Made available in DSpace on 2017-07-10T16:21:15Z (GMT). No. of bitstreams: 1 toni_ bandeira.pdf: 7332691 bytes, checksum: 750c16a0ca17ed3f8de238eaaf0a2cfb (MD5) Previous issue date: 2016-09-02
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ABSTRACT: In this research we analyze the representation of the native tribe Kaingang presented in a series of 39 illustrations produced by Joaquin José de Miranda about the tenth expedition destined to brave the so called sertões of the area of Tibagi in the Paraná State. This expedition was commanded by Alfonso Botelho in the year of 1771. The native tribe of the Kaingang is the third in number os population in Brazil, with 37,470 individuals. (IBGE, 2010). The integrants of this group live in the three States of the South and also in the west part of the Sate of São Paulo. They speak the Kaingang language which is connected to the linguistic Jê family, from the principal root of Macro-jê. In 1771, Botelho established contact with the Kaingang from the fields of Guarapuava and two weeks later the natives ge to organize an ambush in which they killed seven from Botelhos‟s soldiers. So he had no choice but leaving the area. In this sense, we reflect about the ways of the natives‟ resistance in front of the invasion of their territory and in the same way we reflect also about the idea of the demographic emptiness by which the idea of the existence of groups of natives in the territory of the nowadays State of Paraná is just denied and there is just the reproduction of de discourse that this land was uninhabited until the Portuguese-Brazilian or immigrants from others countries could come and cultivate them. Concerning this thematic, the theoretical studies done by Mota (1994) and Ribeiro (2002) are fundamental. Once we face Miranda‟s illustrations a dialogue with the works by Belluzzo and Piccoli (2003), Amoroso (2003) and Sevcenko (2003) is established, as well as Alfonso Botelho‟s very own report about the happenings of the expedition (SAMPAIO E SOUZA, 1956) which is crucial to the understanding of Miranda‟s drawings. Among the fundamental studies about the Kaingang‟s culture, history and language we highlight those done by Ambrosetti (1895), Baldus, (1937), Borba (1908), D‟Angelis (2002), Lima (1842), Mota (2009) and Veiga (2006). By the analisis os the illustrations we can say that Miranda‟s imagetic narrativeis a material of great value to the history of the Kaingang people once through it it is possible to reflect about the chocks between the colonizers and the Kaingang people in the fields of Gaurapuava. These illustrations also show up the inconsistence of the thesis of a geographical emptiness as well as they reveal the resistance movement of the Kaingang against the invasion of their territory.
RESUMO: Nesta pesquisa, analisamos a representação imagética do povo Kaingang no conjunto de trinta e sete estampas produzidas por Joaquim José de Miranda sobre a décima das expedições destinadas a desbravar os chamados sertões do Tibagi, no Estado do Paraná, expedição esta comandada por Afonso Botelho, no ano de 1771. O povo indígena Kaingang é o terceiro em número de população no Brasil, com 37.470 indivíduos. (IBGE, 2010). Seus integrantes vivem nos três estados da região Sul do país e também no oeste de São Paulo, são falantes da língua Kaingang, a qual se filia à família linguística Jê, do tronco Macro-Jê. Em 1771, Botelho entrou em contato com os Kaingang dos Campos de Guarapuava, duas semanas depois os indígenas prepararam uma emboscada e lograram matar sete soldados de Botelho, o qual não teve outra opção a não ser retirar-se da região. Nesse sentido, refletimos sobre as formas de resistência indígena ante a invasão de seu território, bem como sobre a ideia do vazio demográfico , na qual a existência de grupos indígenas no atual estado do Paraná simplesmente é negada, reproduzindo-se o discurso de que essas terras eram desabitadas, até que os luso-brasileiros ou imigrantes de outros países viessem cultivá-las. Em relação a essa temática, são fundamentais como base teórica os estudos de Mota (1994) e Ribeiro (2002). Ao abordarmos as estampas de Miranda, dialogamos com os trabalhos de Belluzzo e Piccoli (2003), Amoroso (2003) e Sevcenko (2003), além do relatório do próprio Afonso Botelho sobre os acontecimentos da expedição (SAMPAIO E SOUZA, 1956), o qual é crucial para a compreensão dos desenhos de Miranda. Dos estudos fundamentais para a cultura, história e língua Kaingang destacamos os de Ambrosetti (1895), Baldus, (1937), Borba (1908), D‟Angelis (2002), Lima (1842), Mota (2009) e Veiga (2006). Por meio da análise das estampas, podemos dizer que a narrativa imagética de Miranda é um material de grande valor para a história do povo Kaingang, por meio do qual é possível refletir sobre o embate entre os colonizadores e os indígenas nos Campos de Guarapuava, notando-se a inconsistência da tese do vazio demográfico , bem como a resistência Kaingang à invasão de seu território.
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Bandeirab, Toni Juliano. "Relatos, memórias e narrativas na construção do imaginário do povo Kaingang: as estampas de Joaquim José de Miranda na conquista dos Campos de Guarapuava." Universidade Estadual do Oeste do Parana, 2016. http://tede.unioeste.br:8080/tede/handle/tede/2446.

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Made available in DSpace on 2017-07-10T18:56:00Z (GMT). No. of bitstreams: 1 toni_ bandeira.pdf: 7332691 bytes, checksum: 750c16a0ca17ed3f8de238eaaf0a2cfb (MD5) Previous issue date: 2016-06-02
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
ABSTRACT: In this research we analyze the representation of the native tribe Kaingang presented in a series of 39 illustrations produced by Joaquin José de Miranda about the tenth expedition destined to brave the so called sertões of the area of Tibagi in the Paraná State. This expedition was commanded by Alfonso Botelho in the year of 1771. The native tribe of the Kaingang is the third in number os population in Brazil, with 37,470 individuals. (IBGE, 2010). The integrants of this group live in the three States of the South and also in the west part of the Sate of São Paulo. They speak the Kaingang language which is connected to the linguistic Jê family, from the principal root of Macro-jê. In 1771, Botelho established contact with the Kaingang from the fields of Guarapuava and two weeks later the natives ge to organize an ambush in which they killed seven from Botelhos‟s soldiers. So he had no choice but leaving the area. In this sense, we reflect about the ways of the natives‟ resistance in front of the invasion of their territory and in the same way we reflect also about the idea of the demographic emptiness by which the idea of the existence of groups of natives in the territory of the nowadays State of Paraná is just denied and there is just the reproduction of de discourse that this land was uninhabited until the Portuguese-Brazilian or immigrants from others countries could come and cultivate them. Concerning this thematic, the theoretical studies done by Mota (1994) and Ribeiro (2002) are fundamental. Once we face Miranda‟s illustrations a dialogue with the works by Belluzzo and Piccoli (2003), Amoroso (2003) and Sevcenko (2003) is established, as well as Alfonso Botelho‟s very own report about the happenings of the expedition (SAMPAIO E SOUZA, 1956) which is crucial to the understanding of Miranda‟s drawings. Among the fundamental studies about the Kaingang‟s culture, history and language we highlight those done by Ambrosetti (1895), Baldus, (1937), Borba (1908), D‟Angelis (2002), Lima (1842), Mota (2009) and Veiga (2006). By the analisis os the illustrations we can say that Miranda‟s imagetic narrativeis a material of great value to the history of the Kaingang people once through it it is possible to reflect about the chocks between the colonizers and the Kaingang people in the fields of Gaurapuava. These illustrations also show up the inconsistence of the thesis of a geographical emptiness as well as they reveal the resistance movement of the Kaingang against the invasion of their territory.
RESUMO: Nesta pesquisa, analisamos a representação imagética do povo Kaingang no conjunto de trinta e sete estampas produzidas por Joaquim José de Miranda sobre a décima das expedições destinadas a desbravar os chamados sertões do Tibagi, no Estado do Paraná, expedição esta comandada por Afonso Botelho, no ano de 1771. O povo indígena Kaingang é o terceiro em número de população no Brasil, com 37.470 indivíduos. (IBGE, 2010). Seus integrantes vivem nos três estados da região Sul do país e também no oeste de São Paulo, são falantes da língua Kaingang, a qual se filia à família linguística Jê, do tronco Macro-Jê. Em 1771, Botelho entrou em contato com os Kaingang dos Campos de Guarapuava, duas semanas depois os indígenas prepararam uma emboscada e lograram matar sete soldados de Botelho, o qual não teve outra opção a não ser retirar-se da região. Nesse sentido, refletimos sobre as formas de resistência indígena ante a invasão de seu território, bem como sobre a ideia do vazio demográfico , na qual a existência de grupos indígenas no atual estado do Paraná simplesmente é negada, reproduzindo-se o discurso de que essas terras eram desabitadas, até que os luso-brasileiros ou imigrantes de outros países viessem cultivá-las. Em relação a essa temática, são fundamentais como base teórica os estudos de Mota (1994) e Ribeiro (2002). Ao abordarmos as estampas de Miranda, dialogamos com os trabalhos de Belluzzo e Piccoli (2003), Amoroso (2003) e Sevcenko (2003), além do relatório do próprio Afonso Botelho sobre os acontecimentos da expedição (SAMPAIO E SOUZA, 1956), o qual é crucial para a compreensão dos desenhos de Miranda. Dos estudos fundamentais para a cultura, história e língua Kaingang destacamos os de Ambrosetti (1895), Baldus, (1937), Borba (1908), D‟Angelis (2002), Lima (1842), Mota (2009) e Veiga (2006). Por meio da análise das estampas, podemos dizer que a narrativa imagética de Miranda é um material de grande valor para a história do povo Kaingang, por meio do qual é possível refletir sobre o embate entre os colonizadores e os indígenas nos Campos de Guarapuava, notando-se a inconsistência da tese do vazio demográfico , bem como a resistência Kaingang à invasão de seu território
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Malmsborg, Thomas. "Att lita till läsaren : Om impressionistiskt berättande i Stig Claessons författarskap med utgångspunkt i romanen Brev till en hembygdsgård." Thesis, Stockholms universitet, Avdelningen för litteraturvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-110230.

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The objective of this paper – Trusting the reader: On impressionistic narrating in Stig Claesson's writings with the novel Brev till en hembygdsgård as starting point – is to examine narrative techniques used by the Swedish author Stig Claesson, specifically some which fall within the broad field known as literary impressionism: e.g. omission, repetition, juxtaposition, episodic narration and how access to the narrator’s as well as individual characters' consciousness is handled. The method used for the study will be that of illustrative comparison. The analysis will seek its theoretical grounds in the works by Gerard Genette and Jonathan Culler. In the major parts of the study, narrative techniques used by Claesson in the novel Brev till en hembygdsgård (1974), is examined with the help of Robert Paul Lamb and James Nagel, and their studies concerning the crafts of Ernest Hemingway and Stephen Crane. In addition, other novels by Claesson are used in order to find, illustrate and then compare his craftsmanship with techniques already studied and described by scholars and critics. The main result from the analysis is that a need to trust the reader follows from Claesson’s choice of narrative techniques; by having the narrating instance mainly represent perception – without allowing the narrator, or the characters of the narrative, to interpret what’s rendered – the reader is left to experience sensation on her own. To assist the reader, Claesson binds together his episodic narration with a frequent use of juxtaposition, in which colors, objects and scenes already used, are re-used – hence having one scene charge the next, and so on, with previously evoked emotions. Furthermore, Claesson frequently uses omission in conjunction with repetition as a narrative technique; often when the narrator returns to an already used scene, she is excluding some of the information given to the reader earlier in exchange for some previously omitted information or for elements belonging to other scenes. The study finds that a consequence of Claesson’s combination of the above mentioned techniques, is that his texts calls for a reader to take an active part in creating meaning both from the text and from their own experience. Finally, the study suggests that Claesson, like any craftsman, recognized that once the work is done and delivered, it is up to the recipient to use it according to their own ability, imagination and discretion.
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Simonsson, Kim, and Elin Kraaijenbrink. ""En bild säger mer än tusen ord" : Hur tre olika skönlitterärt uppbyggda läroböcker utformat bildstöd för årskurs 1." Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96754.

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Den här kvalitativa studien syftar till att undersöka hur bildstöd är utformat i tre skönlitterärt uppbyggda läroböcker på ingångsnivå riktade mot årskurs 1 i svenska för att stödja elevers läsinlärning. Studien tar avstamp i Richard E. Mayers (2014) teori om multimodal inlärning: Cognitive Theory of Multimedia Learning. Teorin bygger på idén att människor lär bättre och djupare från text och bild än från enbart text. Läroböckerna analyseras utifrån Lundh och Limbergs (2012) kategorier när det gäller bildstöd: dekorativ, illustrativ, narrativ och förklarande. I läroböckerna analyseras även förhållandet mellan text och bild samt vilka tidigare kunskaper eleverna behöver för att förstå bildstödet. Resultatet visar att alla de tre läroböckerna använder sig av bildstöd i berättelsen. Det bildstöd som används mest i läroböckerna är narrativt, samtidigt som dekorativt bildstöd saknas helt. Förhållandet mellan bild och text ser genomgående olika ut i läroböckerna men visar sig ha stor betydelse speciellt för elevernas läsförståelse. Precis som med allt annat i vardagen behöver eleverna ha tidigare kunskaper för att kunna “läsa” och förstå bilderna i läroböckerna. Av studiens resultat kan slutsatsen dras att läroböckerna använder sig av bilder avsiktligen för att stödja läsningen, att bilderna ger bäst stöd om de berättar samma sak som texten gör samt att eleverna måste kunna ”läsa” och förstå bilderna för att få full läsförståelse.
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Ator, Robin A. "Boudica : an illustrated narrative." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3823.

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I study painting and composition for its own sake, and in this program I am pursuing it from a narrative or pictorial stance, much as did earlier artists, and doing so in contemporary terms. Distinguished examples of illustrators could include such artists as Raphael, Michelangelo, Rembrandt and Rubens, and modern practitioners such as Wyeth and Baskin. The illustrator needs not only control of his means, but also other qualities in addition to those of a studio painter. He needs an imagination that will allow portrayal of scenes and viewpoints that can't be arranged in a studio. The artist's memory and invention are primary requisites for illustrations involving distant times and places.
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Mestre, Célia Patrícia Teixeira. "Relatório da prática de ensino supervisionada em ensino de artes visuais no 3º ciclo e ensino secundário realizado nas escolas: ES3 Diogo de Gouveia e agrupamento EBI Mário Beirão, ambas em Beja: a narrativa visual e a representação interpretativa: o contributo das novas tendências da ilustração para o pensamento crítico nos adolescentes." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/14884.

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Propor ao aluno formas de valorização do pensamento crítico em relação a si e ao que o rodeia foi um dos referenciais para a Prática de Ensino Supervisionada descrita neste documento. Ao longo deste relato de experiência pedagógica, a tónica manteve-se nas competências relativas à capacidade do aluno para definir planos de trabalho com vista à solução dos enunciados propostos. Os alunos foram motivados para o desenvolvimento de competências que lhes permitiram delinear previamente objectivos a atingir, desenvolver mecanismos de autonomia na resolução de problemas, equacionar soluções e avaliar processos e resultados. Para as práticas pedagógicas aqui descritas propôs-se preparar o aluno para a criação de metodologias de trabalho - individual e de grupo – fomentando a sua autonomia e segurança para que as possa reproduzir e aplicar noutras aprendizagens e desempenhos; ABSTRACT:Propose ways of valuing the student's critical thinking about themselves and what surrounds them was one of the benchmarks for the Supervised Teaching Practice described in this document. Throughout this report of teaching experience, the focus remained on the skills and the ability to define work plans that seek for solutions for assigned tasks. Students were encouraged to develop skills that allowed them to draw objectives in advance, to develop mechanisms of autonomy in solving problems, to consider solutions and evaluate processes and outcomes. The pedagogical practices described herein were meant to prepare the students for the establishment of working methods - individual and group - encouraging their independence and self-assurance so they apply them in other learning and accomplishments.
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Halse, Joanne. "Framing the text : an investigation of collage in postmodern narrative illustration." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/50609.

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Thesis (MA)--Stellenbosch University, 2006.
ENGLISH ABSTRACT: Collage, as a verbal and visual medium, epitomises the heterogeneity, indeterminacy and fragmentation of the postmodern moment. In this thesis I argue that visual collage - in the context of book illustration - presents an ideal form with which to illustrate the state of contemporary (postmodern) narrative. Postmodernism, as a term or concept, evades any form of absolute or definitive account. Hence, in my discussion of the postmodern condition I move towards an understanding of this complex theoretical and cultural phenomenon. Postmodern cultural artifacts reflect the state of a modernised, Western-orientated, globalised consciousness, which resists arborescent structures in past and contemporary texts. In both postmodern narratives and in literary fictional narratives the condition of artifice is amplified. Thus, this thesis explores various characteristics evident in postmodern fiction in order to understand and demonstrate the changes manifest in contemporary narratives in general. Many of the stylistic and figurative devices employed in the postmodern novel foreground the excessive appropriation and self-reflexive textualism of contemporary texts - these literary devices often reflect particular collage-like tendencies or characteristics. Contemporary literary theory, in addition, provides many useful terms and concepts with which to describe visual texts and, for the purposes of this discussion, narrative illustration. This thesis is centred primarily on an analysis of the practical component completed as part of the Master of Arts degree in Fine Arts. The discussion of the practical work is embedded in the wider fields of book art - particularly the postmodern artist's book (livre detourne) - and in contentious debates around the role of visual narrative illustration. In both the thesis and the illustrated book objects, I challenge the secondary and supplementary position traditionally held by illustration in the context of the book. I argue for a form of visual narrative that is not required to function as a mere translation of the primary verbal text. Instead - working within the context of the artist's book and through the utilisation of collage as a visual (and verbal) medium - I demonstrate that illustration may complement, supplement or subvert the written text. Furthermore, I show that illustration may assume the role of the primary text in the context of the codex. Finally, this study creates a space for a creative and participatory reader who, through the intertextual processes made evident in the book objects, becomes an active 'reader-writer' of the visual and verbal narratives under discussion.
AFRIKAANSE OPSOMMING: Collage, as beide 'n verbale en visuele medium, verpersoonlik die onbesliste, gefragmenteerde, heterogene moment van postmodemisme. In hierdie tesis voer ek aan dat visuele collage, binne die konteks van boekillustrasie, 'n ideale vorm van uitbeelding hied om die toestand van kontemporere (postmodeme) narratief te illustreer. Postmodemisme, as 'n term of konsep, ontwyk enige volslae of beslissende betekenis. Gevolglik poog ek in my bespreking van die postmodeme toestand om nader aan 'n begrip van hierdie komplekse teoretiese en kulturele , fenoneem te beweeg. Postmodeme kulturele artefakte reflekteer die toestand van 'n gemodemiseerde, Westers-georienteerde, geglobaliseerde bewustheid wat liniere strukture in tekste uit die verlede en die hede weerstaan. In beide postmodeme narratiewe en fiktiewe literere narratiewe word die gesteldheid van kunsskepping toegelig. Dus ondersoek hierdie tesis verskeie opvallende eienskappe van postmodeme fiksie ten einde die veranderinge wat in die algemeen in kontemporere narratiewe manifesteer te verstaan en te demonstreer. Vele van die stilistiese en figuratiewe tegnieke van die postmodemistiese roman plaas die oormatige toe-eining en selfrefleksiewe tekstualisme van konteporere tekste op die voorgrond; die literere gebruikswyses reflekteer dikwels bepaalde collage-agtige tendense of eienskappe. Hierbenewens, bied kontemporere literereteorie vele nuttige terme en konsepte waarmee visuele tekste sowel as, vir die doe] van hierdie ondersoek, visuele narratiewe, beskryf kan word. Hierdie tesis is hoofsaaklik gevestig op 'n analise van die praktiese werk wat dee) van die Magister Artuim-graad in Beeldende Kunste uitmaak. Die bespreking van die praktiese werk is veranker in die wyer terreine van boekkuns - spesifiek die postmodeme kunstenaarsboek (livre detourne) - en in kontensieuse debatte oor die rol van visuelenarratief-illustrasie. In beide die tesis en die gelllustreerde boekobjekte bevraagteken ek die tradisionele siening dat illustrasie binne boekkontekse 'n sekondere of aanvullende posisie inneem. Ek argumenteer ten gunste van 'n vorm van visuele narratief waarvan daar nie bloot verwagword om as 'n beskrywing van die primere verbale teks te funksioneer nie. In plaas daarvan, deur binne die konteks van die kunstenaarsboek te werk en deur collage as 'n visuele (en verbale) medium te benut, demonstreer ek dat illustrasie die geskrewe teks kan aanvul, daartoe kan toevoeg of dit kan ondergrawe. Verder toon ek dat illustrasie die rol van die primere teks in die konteks van die kodeks kan inneem. Laastens skep hierdie studie die geleentheid vir 'n kreatiewe en bydraende leser - vanwee 'n intertekstuele proses wat in die boekobjekte aan die Jig kom - om as 'n aktiewe 'leser-skrywer' van die visuele en verbale tekste onder bespreking op te tree.
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8

Chaney, Michael A. "Picturing slavery hybridity, illustration, and spectacle in the antebellum slave narrative /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3162968.

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Thesis (Ph.D.)--Indiana University, Dept. of English, 2005.
Title from PDF t.p. (viewed Dec. 2, 2008). Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0590. Chair: Eva Cherniavsky.
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DeJonckheere, Melissa J. "Illustrating the Contextual Nature of Stress and Resilience among Adolescents in Three Low-Income Communities." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459439221.

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Mitchell, Holly. "I Didn't Grieve Wrong: Using the Graphic Novel For Personal Healing and Public Awareness." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1217.

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This paper discusses how the author created a comic as a way to explore their personal suffering and the suffering of those around them throughout schooling. It defines the inspirations, both personal and technical for how the comic was produced and how it will expand to a graphic novel after college.
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Books on the topic "Illustrative narrative"

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Wright, William, b. 1825 or 6., ed. Recollections of western Texas: Descriptive and narrative, including an Indian campaign, 1852-55, interspersed with illustrative anecdotes. Lubbock: Texas Tech University Press, 2001.

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Mark, Sinclair, ed. Pictures and words: New comic art and narrative illustration. New Haven, CT: Yale University Press, 2005.

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ʻAbduʼl-Bahá. A traveller's narrative written to illustrate the episode of the Báb. Los Angeles: Kalimát Press, 2004.

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Sprichwortbild und Sprichwortschwank: Zum illustrativen und narrativen Potential von Metaphern in der deutschsprachigen Literatur um 1500. Berlin: De Gruyter, 2003.

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Gianni, Brunoro, and Palazzo Bagatti-Valsecchi (Milan Italy), eds. Dino Battaglia: Narratore, illustratore, disegnatore : Milano, Palazzo Bagatti Valsecchi ... 1o-31 marzo 1997. Milano: Hazard edizioni, 1997.

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The art of skiing, 1856-1936: Timeless, enchanting illustrations and narrative of skiing's formative years : magazine covers and illustrations, picture postcards, advertising illustrations. Tiburon, Calif: Wood River Pub., 1989.

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Hubert, Renée Riese. Surrealism and the book. Berkeley: University of California Press, 1988.

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Hubert, Renée Riese. Surrealism and the book. Berkeley: University of California Press, 1988.

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Nodelman, Perry. Words about pictures: The narrative art of children's picture books. Athens, Ga: University of Georgia Press, 1990.

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Words about pictures: The narrative art of children's picture books. Athens: University of Georgia Press, 1988.

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Book chapters on the topic "Illustrative narrative"

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Jarzebski, Sebastian. "Illustration: Politische Narrative des Bundestagswahlkampfes 2013." In Erzählte Politik, 139–215. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-31013-4_5.

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Harvey, Kate. "From Illustration to Film: Visual Narratives and Target Audiences." In J. R. R. Tolkien, 156–72. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-26401-5_11.

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Lamerichs, Joyce, and Manna Alma. "Drawing on narrative accounts of dementia in education and care." In Illness Narratives in Practice: Potentials and Challenges of Using Narratives in Health-related Contexts, edited by Alexander Kiss and Claudia Steiner, 188–200. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780198806660.003.0016.

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This chapter shows how a selection of narrative videotaped accounts of people with dementia and their informal carers are used to develop course material on dementia care for students in Dutch secondary Vocational Education and Training (VET). It provides illustrative segments of two pilot lessons on dementia care to show how the narrative clips stimulate students’ empathic response, invite reflection on their own practices as professional carers, and demonstrate the strength of metaphoric language available in the clips as a cue for follow-up discussions. Although further research is needed, working with narrative video clips in which people with dementia and their informal carers recount what it means to live with dementia seems a promising educational tool. It proved particularly well-suited to provide opportunities to learn from people who experience mild/moderate dementia, and what it means to live with this condition.
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"Creating a Narrative." In Reportage Illustration, 112–27. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781474208475.ch-006.

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Gaines, M. C. "Narrative Illustration:." In Comic Art in Museums, 88–97. University Press of Mississippi, 2020. http://dx.doi.org/10.2307/j.ctv128fpwk.12.

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"Narrative." In The Visual Dictionary of Illustration, 156. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2009. http://dx.doi.org/10.5040/9781474293754.0144.

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Francisco, López-Bermúdez. "Part VII Assessments, Ch.36 Creating and Applying Human Rights Indicators." In The Oxford Handbook of International Human Rights Law. Oxford University Press, 2013. http://dx.doi.org/10.1093/law/9780199640133.003.0037.

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This article focuses on the history of the creation and application of human rights indicators within the United Nations. It describes the economic, statistical, social, and development regimes created influential actors which have significantly influenced the narrative of human rights indicators and describes the works of human rights bodies concerned with economic, social and cultural rights (ESC rights). It also discusses the Office of the High Commissioner of Human Rights� (OHCHR) development of the so-called illustrative indicators and some theoretical and practical proposals for the application of human rights indicators.
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"Narrative Strategies." In Basics Illustration 02: Sequential Images, 12–55. AVA Publishing SA Bloomsbury Publishing Plc, 2007. http://dx.doi.org/10.5040/9781350096455.0005.

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"Narrativity in Armenian Manuscript Illustration." In Byzantine Narrative, 284–91. BRILL, 2017. http://dx.doi.org/10.1163/9789004344877_022.

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Wigard, Justin. "“Evil Witch! I’m Not Scared!”." In The Artistry of Neil Gaiman, 93–113. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821645.003.0006.

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In this chapter, Justin Wigard bridges a gap in research on Coraline by focusing on the visual semiotics of the narrative across its adaptations, specifically by examining the intertextual connections between McKean's surreal and monochromatic illustrations in Gaiman's novel, David Russell's comic book adaptation grounded both in realism and a muted pastel color palette, and Henry Selick's garishly, brightly colored film adaptation. The dominant discourse surrounding the canonical children's text has keyed in to the novella's psychoanalytic underpinnings, Gothic conventions, and postfeminist ideology while largely leaving out discussion of the visual aspectsofGaiman's novella, namely McKean's illustrations. When examined intertextually, the illustrative styles used to depict the Other Mother give insight into what monstrous traits are emphasized through medium-specific visualization techniques, ultimately revealing the fears that the Other Mother embodies through visual semiotics.
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Conference papers on the topic "Illustrative narrative"

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Caetano, João Manuel, and Rosa Maria Oliveira. "Illustration and childhood imagination: narrative paths through the image in books for children." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-21.

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Hu, Yan. "Research on the Narrative Value of Illustration in Packaging Design of Time-Honored Brands." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.114.

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Oliveira, Ana Patrícia, and Maria Conceição Lopes. "Co-creation of Scratch narratives illustrated and animated by children from 4 to 6 years old." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-66.

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Araujo, Hanna. "Narrativas Visuales y Niñez: Procesos de creación de ilustradores brasileños en la literatura infantil." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-34.

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McCarthy, Sean, Audrey Barnes, Keith S. Holland, Erica Lewis, Patrice Ludwig, and Nick Swayne. "Making It: Institutionalizing Collaborative Innovation in Public Higher Education." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8247.

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This descriptive case study provides a broad overview of JMU X-Labs, an academic maker space (in other words, a teaching lab with fabrication and digital production technologies) that hosts team-taught, project-driven multidisciplinary courses. The JMU X-Labs serves the students and faculty of James Madison University[MSR-m1] , a mid-sized, public, and undergraduate-focused university in the United States. The narrative proceeds from two different but overlapping points of view: how courses at JMU X-Labs are designed and taught; and how administration of JMU X-Labs supports them. The authors refer to specific courses, pedagogical methods, and problem-solving strategies to illustrate the narrative, and they argue throughout that pedagogy and administration are indelibly intertwined in how the organization operates. Gesturing to the broad applicability and transferability of the JMU X-Labs model, the authors mark some of areas of further research that would benefit a more robust understanding of how the organization operates and grows. Finally, the authors speculate how the dynamics of this young and growing organization may answer some core and difficult questions pertaining to innovation in higher education.[MSR-m1]James Madison University (JMU) Clearlyl referenced in abstract and opening paragraph below to explain institutional context as per reviewer request.
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Marcos, David, José Martínez, Fco Javier Delgado, and Javier Finat. "EXPLOTACIONES MINERAS EN PATRIMONIO INDUSTRIAL: UN CASO DE USO DE DOCUMENTACIÓN Y SIMULACIÓN." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3565.

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Mining operations are an essential part of Industrial Heritage. They provide an important reference in order to understand changing past realities, relationships between groups and reconfiguration in the communication between regions whose consequences still remain reference. These realities and relationships have led to the current socio- economic and political framework, which is projected into the future. The documentation of physical vestiges and machinery, now obsolete, is a metaphor that serves to illustrate and understand the past from our present perspective. Threedimensional models from the fusion of different techniques and physical structures contextualization allow to simulatethe mechanisms to promote sustainable tourism as paradigms of a modernity that only serves the immediate appearances. Our approach for documentation and simulation of mechanisms for the extraction and the treatment of mineral is provided as graphical support to understand a reality that goes beyond the “ThematicPark” approach. Moreover, the visualization provides a metaphor for the destruction of natural, physical and human resources of entire areas doomed to depopulation and disappearance. This also opens the door to broader developments that can use multimedia resources to support an all-embracing narrative experience.
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