Academic literature on the topic 'Narrative albums'
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Journal articles on the topic "Narrative albums"
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Castelnuovo Biraben, Natalia. "Visualizing Development. A visual narrative in photo albums." Revista de Antropologia Visual 2, no. 29 (2021): 1–15. http://dx.doi.org/10.47725/rav.029.06.
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Development Projects and programs have frequently appeal to images and in particular to photography in diverse textual registers and virtual spaces: technical reports, illustrating NGOs websites, passbooks and report cover, brochures for donors, among other things. If in some of this registers images appear subsidized to a main text, in other they occupy a prominent place in development narrations. It was this aspect precisely that called my attention to examine a photographic corpus arranged in albums that register the implementation process of a development program intended for indigenous people in northern Argentina: to find out in its pages a development visual narrative. The photo albums under analysis were produced during the implementation of “Componente de Attention a la Población Indígena” between 1999 and 2005. The photographic images appear with all their creative potential and load with an interpretation about the development world. They invite us to reflect upon the marginal place of photography in the development field.
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Everaert-Desmedt, Nicole. "Les albums illustrés pour enfants et la structuration narrative." Spirale. Revue de recherches en éducation 9, no. 1 (1993): 135–59. http://dx.doi.org/10.3406/spira.1993.1771.
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Jovanovic, Jelena. "The appearance of concept albums in Yugoslav popular music: Kamen na kamen - long play records." Muzikologija, no. 17 (2014): 167–94. http://dx.doi.org/10.2298/muz1417167j.
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It is commonly understood that a concept album is ?a studio album where all musical or lyrical ideas contribute to a single overall theme or unified story? (Shuker 2002: 5). In this paper this term will be used to denote an album containing extra-musical themes and not simply collections of compositions defined only by genre or theme. In order for an album to belong to this category, it must have taken a thematic unity realized by the common content (thematically) of its compositions and common musical means. Although the beginnings of such creative trends can be traced from 1940, the 1960s and 1970s brought the most influential releases of this kind, especially The Beatles? album Sgt. Pepper?s Lonely Hearts Club Band (1967), which has had a great impact on many authors. As far as is known, the topic of concept albums in Yugoslavia has not yet been elaborated, so this article seems to be the first dedicated to this subject. It seems that in Yugoslavia there had been albums with elements of concept released before the appearance of the Kamen na kamen group album in 1973, entitled LP-60993 (Zagreb: Jugoton). The author of the album was Nikola Borota Radovan. After that, a double LP by the same ensemble and songwriter appeared in 1975 entitled OOUR/AVNOJ (RTV Ljubljana), with even more clearly expressed characteristics of concept. The aim of this article is to show that the thematic and conceptual elements of these editions are firmly connected to those of the concept album. These LPs were formed within the following thematic and contextual frames: 1) Borota`s general inclination towards folklore tradition(s) as a permanent source of inspiration, 2) models among the greatest popular music works that influenced his writing projects, primarily The Beatles? concept albums, and 3) social, economic and political circumstances in Yugoslavia at the time when these albums appeared. Even if it is not strictly a concept album in the full sense, the album LP- 60993 might be regarded as the first album with elements of concept published by a Yugoslav author, according to all the criteria and analyzed results. The elements that show a clear connection to the concept are as follows: leading subject(s)/idea(s) that demand(s) the order of compositions, organization of musical elements and motives on macro- and micro-levels (to produce formal and thematic unity), elements of narrative and musical/sound symbols, including elements of musique concr?te.
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LAMBERT, PHILIP. "Brian Wilson’s Pet Sounds." Twentieth-Century Music 5, no. 1 (2008): 109–33. http://dx.doi.org/10.1017/s1478572208000625.
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AbstractPet Sounds, the landmark Beach Boys album of 1966, has received wide acclaim as one of rock’s first ‘concept albums’. It also represents a milestone in the artistic evolution of the group’s primary creative force, Brian Wilson. A thorough examination of the texts and music of the songs of Pet Sounds reveals a unified art work projecting a coherent textual narrative. Songs are associated and interrelated via recurrent motives and harmonic patterns, expressing extremely personal themes of romance and heartbreak. The musical ideas are mostly culminations of Brian Wilson’s earlier work – they are the ‘pet sounds’ that he had been raising and nurturing since the early 1960s – but they appear here in an unprecedented artistic context. Despite Wilson’s continued, if sporadic, productivity in the decades that followed, including the ill-fated Smile project, Pet Sounds stands as his crowning artistic achievement, an album with vast appeal and broad influence.
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Abed-Rawas, Nisrine. "La restructuration du polar chez Dodier : Lecture sémio-narrative et pragmatique." Hawliyat 13 (November 4, 2018): 41–66. http://dx.doi.org/10.31377/haw.v13i0.208.
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Cet article comporte une étude des albums numéros 3, 11 et 14 de la série policière de bande dessinée intitulée Jérôme K. Jérôme Bloche (Dodier, Le Tendre, Mackyo) essentiellement fondée sur une référence « palimpsestueuse » problématique au polar américain littéraire (essentiellement les romans de Raymond Chandler) et filmique (les films "noirs" interprétés par Humphrey Bogart) des années 40 et 50, étude qui porte sur l'intrigue et sa mise en image ainsi que sur le personnage principal dans une double perspective: sémio-narrative d'une part, icono-plastique et proprement bédétique d'autre part.
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Fontana, Maria Vittoria. "A New Interpretation of Some Drawings from the Hazine (Istanbul) and Diez (Berlin) Albums Illustrating the Tortoise and the Heron (or Crane)." Annali Sezione Orientale 79, no. 1-2 (2019): 157–79. http://dx.doi.org/10.1163/24685631-12340075.
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Abstract Nine ink drawings on as many pages—seven preserved at the Topkapı Sarayı Library in Istanbul (from H. 2152, 2153, and 2160) and two at the Staatsbibliothek in Berlin (from the Diez Albums), respectively—illustrate a tortoise apparently fighting with one or two herons (or cranes). Instead, a narrative context is suggested herein, dating back to the Indian oral literature, which derives from the Chinese one, and later encountering the Pañcatantra and the Islamic versions narrating the tale of the tortoise and the two geese, thus in some cases producing an iconographic-narrative synthesis of the two traditions. If the hypothesis is correct and the drawings actually do depict such a scene, the fact that the images follow a version of the tale that was little known in the Islamic world but probably more widespread in the Eastern world could contribute to the attribution of the drawings, as the bird species depicted—typical of central and southern Asia—would seem to confirm.
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Stimeling, Travis D. "‘Phases and stages, circles and cycles’: Willie Nelson and the concept album." Popular Music 30, no. 3 (2011): 389–408. http://dx.doi.org/10.1017/s0261143011000213.
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AbstractWhile many rock artists explored the compositional possibilities of the concept album in the 1960s and 1970s, Nashville's country music community largely ignored the format. But a few artists working on the fringes of country music – and who, notably, aligned themselves with the countercultural images and attitudes of the time – did begin to experiment with the format in the first years of the 1970s. Chief among them was country songwriter and recording artist Willie Nelson who, by the dawn of the 1970s, was on the verge of breaking away from Music Row to seek more lucrative opportunities in Texas. This article explores the role that Nelson's experimentation with the concept album played in his efforts to adopt a countercultural image, develop a younger audience and challenge the hegemony of the country music industry. Moreover, close examination of Nelson's compositional approach to three albums – Yesterday's Wine (1971), Phases and Stages (1974) and Red Headed Stranger (1975) – reveals that Nelson consciously blended the singles-based approach to songwriting that predominated in 1960s and 1970s Nashville and the extended narrative and musical forms of contemporaneous rock music to create musical products that suited the needs of country radio and rock fans alike.
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Parc, Jimmyn, and Shin Dong Kim. "The Digital Transformation of the Korean Music Industry and the Global Emergence of K-Pop." Sustainability 12, no. 18 (2020): 7790. http://dx.doi.org/10.3390/su12187790.
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There are a number of voices who blame digitization for having a number of negative effects on the music industry including a decline in album sales, copyright infringement, unfair royalty payments, and competition with foreign multinationals. Yet, the global emergence of Korean pop music or K-pop suggests a different narrative, particularly given that its growth was largely unexpected among industry experts. Understanding the key to its international breakthrough can thus produce meaningful lessons for the music industries of other countries for their own further take-off. This constitutes the focus for this paper. Digitization has influenced various sectors of the Korean music industry such as business, society, and consumers. It has also transformed the management focus of the industry from analog to digital, from offline to online, from albums to songs, from specialization to integration, from domestic providers to international suppliers, from audio sound to visual images, from possessing to accessing, and from limited integration to synergistic network. This signifies that embracing technology advancement can enhance the competitiveness of cultural industries.
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Speakman, Blair. "Witness... the authentic Katy Perry." Australasian Journal of Popular Culture 8, no. 2 (2019): 197–209. http://dx.doi.org/10.1386/ajpc_00005_1.
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While Katy Perry is a pop-superstar, known for her sexually explicit lyrics and catchy dance-pop songs, the release of her fourth studio album, Witness (2017), saw the singer attempt to distance herself from her ‘Katy Perry’ persona. According to Baudrillard, people feel so lost in an artificial world of simulacra that people cling nostalgically to reality, truth, and reason. Baudrillard’s claim that people cling to notions of reality and authenticity can be seen with Perry, who used Witness as a storytelling vehicle to ‘introduce’ the ‘real’ person behind the celebrity persona, Katheryn Hudson. By constructing the tale that Hudson is the singer’s true self, the perceived liberation of Perry from the shackles of her celebrity persona frames Witness as an era distinct from previous albums. This article will critically examine the construction of this story throughout the Witness era, discussing how the singer’s desire to be witnessed ultimately reiterates Meyers’ claim that celebrities can never be known. Although Perry attempts to reveal her authentic identity to fans by manufacturing a clear division between her celebrity persona, and the person behind the persona, this narrative raises issues around authenticity and reality, as the singer has arguably become lost in the hyperreal.
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Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
Dissertations / Theses on the topic "Narrative albums"
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Justo, Joana Sanches [UNESP]. "Olhares que contam histórias: a fotografia como memórias e narrativas da família." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/97632.
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justo_js_me_assis.pdf: 947980 bytes, checksum: af3ae29a49f1b79a29e058b00a778b94 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Fotografias estão constantemente ao nosso redor: nos jornais, revistas, outdoors, galerias de arte, nos envolvendo também de forma mais íntima através dos álbuns de família. Colecionar imagens de momentos importantes tais como nascimentos, casamentos, aniversários e viagens é costume de quase toda família, mas por que registrar e guardar estas lembranças? A fim de explorar detalhadamente a relação dos membros da família com seus acervos fotográficos, rastreando os sentidos dos álbuns, realizamos uma investigação tendo como participantes duas famílias: Aragão e Silva. Cada família possuía três voluntários que foram entrevistados individualmente, tendo como foco as narrativas instigadas por fotografias previamente selecionadas de momentos importantes para a família. A conduta básica do entrevistador pautou-se por intervenções mínimas, deixando os entrevistados discorrerem sobre as imagens. Como principais resultados observamos que, apesar das diferenças quanto ao relacionamento com o álbum da família, as fotos guardadas permitem a revisitação de experiências, a re-significação de acontecimentos e a criação de narrativas. No contato com interlocutores possibilita-se a produção de sentido de forma que o sujeito se reconhece como parte de uma história construída coletivamente. Dessa forma, o álbum de família é um importante acervo documental iconográfico e patrimônio do grupo familiar. Funciona não somente como arquivo de registros da memória, mas, sobretudo, como imagens disparadoras de afetos, sentimentos e recordações instigadores de narrativas capazes de ampliar a compreensão do passado e do presente.<br>Photographs are constantly around us in newspapers, magazines, advertizing bill boards, art galleries and specially through the family albums. Collecting pictures of special occasions like births, weddings, birthdays, and trips are a custom of almost any family. Why register and file these souveniers? In order to explore in detail the relation of the family with their photo album and trace the significance of the photo album for the family, a recent study between two families, Aragão and Silva was carried out. This study involved six volunteers, three in each family who were interviewed individually on their personal memories of each pre-selected picture shown of their own family pictures. The behavior of the interviewer was based on minimum interventions, leaving the participants free to discourse about the images. As a result it was observed that regardless of the differences in relationship of the photo album, the pictures allowed the participants to revisit experiences, re-signify events and create vivid memory narratives. The significance of recollective memory is made through contact with others and one recognizes himself as part of a history constructed collectively. In this way, the family album is an important iconographic documented legacy for the family and therefore, not only a file of registered souveniers but over all as images of affection, feelings and memories that instigate narratives capable of extending/amplifying the past and the present.
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Sanches-Justo, Joana. "Olhares que contam histórias : a fotografia como memórias e narrativas da família /." Assis : [s.n.], 2008. http://hdl.handle.net/11449/97632.
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Orientador: Elizabeth da Silva Gelli<br>Banca: Maria Lúcia de Oliveira<br>Banca: Isaac Antonio Camargo<br>Resumo: Fotografias estão constantemente ao nosso redor: nos jornais, revistas, outdoors, galerias de arte, nos envolvendo também de forma mais íntima através dos álbuns de família. Colecionar imagens de momentos importantes tais como nascimentos, casamentos, aniversários e viagens é costume de quase toda família, mas por que registrar e guardar estas lembranças? A fim de explorar detalhadamente a relação dos membros da família com seus acervos fotográficos, rastreando os sentidos dos álbuns, realizamos uma investigação tendo como participantes duas famílias: Aragão e Silva. Cada família possuía três voluntários que foram entrevistados individualmente, tendo como foco as narrativas instigadas por fotografias previamente selecionadas de momentos importantes para a família. A conduta básica do entrevistador pautou-se por intervenções mínimas, deixando os entrevistados discorrerem sobre as imagens. Como principais resultados observamos que, apesar das diferenças quanto ao relacionamento com o álbum da família, as fotos guardadas permitem a revisitação de experiências, a re-significação de acontecimentos e a criação de narrativas. No contato com interlocutores possibilita-se a produção de sentido de forma que o sujeito se reconhece como parte de uma história construída coletivamente. Dessa forma, o álbum de família é um importante acervo documental iconográfico e patrimônio do grupo familiar. Funciona não somente como arquivo de registros da memória, mas, sobretudo, como imagens disparadoras de afetos, sentimentos e recordações instigadores de narrativas capazes de ampliar a compreensão do passado e do presente.<br>Abstract: Photographs are constantly around us in newspapers, magazines, advertizing bill boards, art galleries and specially through the family albums. Collecting pictures of special occasions like births, weddings, birthdays, and trips are a custom of almost any family. Why register and file these souveniers? In order to explore in detail the relation of the family with their photo album and trace the significance of the photo album for the family, a recent study between two families, Aragão and Silva was carried out. This study involved six volunteers, three in each family who were interviewed individually on their personal memories of each pre-selected picture shown of their own family pictures. The behavior of the interviewer was based on minimum interventions, leaving the participants free to discourse about the images. As a result it was observed that regardless of the differences in relationship of the photo album, the pictures allowed the participants to revisit experiences, re-signify events and create vivid memory narratives. The significance of recollective memory is made through contact with others and one recognizes himself as part of a history constructed collectively. In this way, the family album is an important iconographic documented legacy for the family and therefore, not only a file of registered souveniers but over all as images of affection, feelings and memories that instigate narratives capable of extending/amplifying the past and the present.<br>Mestre
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Pare, Joelle. "Bagage excédentaire suivi de, Album narratif, album conceptuel." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27899.
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Comme les poèmes forment des recueils, les chansons se rassemblent en albums, desquels se dégage parfois une unité. Dans les albums conceptuels se tissent des liens thématiques entre les chansons. La première partie de ma thèse en création littéraire, Bagage excédentaire, renferme une vingtaine de textes de chanson qui constituent un album conceptuel narratif qui raconte un deuil et un voyage.
La deuxième partie, Album narratif, album conceptuel, met en relief les notions théoriques liées aux aspects narratifs et thématiques de l'album conceptuel. Les temps, les thèmes, les lieux et les personnages du récit sont étudiés, de même que la structure de la diégèse et l'ordre des chansons dans deux albums, Le voyage de Paul Piché et Deflaboxe de Daniel Bélanger. J'y effectue également un retour sur Bagage excédentaire.
En somme, ma thèse offre une vue d'ensemble des caractéristiques littéraires des textes qui composent les albums conceptuels.
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Jackson, Stephanie. "Music Cover Design in the Digital Age." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin156327401366013.
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Visa, Barbosa Mariona. "Evolució sociològica i narrativa de l'àlbum fotogràfic familiar. Anàlisi pragmàtica de l'àlbum familiar analògic i digital des dels anys seixanta fins a la primera dècada del segle XXI." Doctoral thesis, Universitat de Lleida, 2012. http://hdl.handle.net/10803/81080.
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Aquesta Tesi Doctoral té com a objectiu principal l’estudi dels canvis
sociològics i narratius dels àlbums de fotografia, partint dels anys seixanta del
segle passat fins a arribar a la primera dècada del segle XXI. L’anàlisi es fa
des d’una perspectiva pragmàtica, combinant la metodologia semiòticonarrativa,
sociològica, compositiva, tecnològica i discursiva.
De l’anàlisi multidisciplinar dels àlbums de fotografia se’n poden
extreure moltes dades significatives, ja que aquests ens parlen del tipus de
societat de cada moment. Veurem com els àlbums s’estructuren seguint
pautes socials que les families reprodueixen i com la classificació i
organització de les fotografies ens mostra la consideració que tenim de la
nostra vida com un relat que pot ser explicat en imatges. A la vegada,
l'evolució plasmada en els àlbums digitals respecte als analògics és un reflex
de l'evolució que ha patit la societat, tant a nivell de canvis en els rols
familiars com en els valors que es transmeten.
La primera part de la tesi fa un repàs sociohistòric a l’ús de la fotografia
(i anteriorment, la pintura) per a il·lustrar la vida quotidiana, fent especial
èmfasi a les dècades estudiades, que s’engloben dins dels períodes de la
Primera Modernitat, la Tardomodernitat i la Hipermodernitat.
La segona part inclou l’estudi de casos, on s’extreuen les conclusions
de la recollida de dades fetes segons els criteris metodològics exposa<br>Esta Tesis Doctoral tiene como objetivo principal el estudio de los
cambios sociológicos y narrativos de los álbumes de fotografía, partiendo de
los años sesenta del siglo pasado hasta llegar a la primera década del siglo
XXI. El análisis se hace desde una perspectiva pragmática, combinando la
metodología semiótico-narrativa, sociológica, compositiva, tecnológica y
discursiva.
Del análisis multidisciplinar de los álbumes de fotografía se pueden
extraer muchos datos significativos, ya que estos nos hablan del tipo de
sociedad de cada momento. Veremos como los álbumes se estructuran
siguiendo pautas sociales que las familias reproducen y como la clasificación
y organización de las fotografías nos muestra la consideración que tenemos
de nuestra vida como un relato que puede ser explicado en imágenes. A su
vez, la evolución plasmada en los álbumes digitales con respecto a los
analógicos es un reflejo de la evolución que ha sufrido la sociedad, tanto a
nivel de cambios en los roles familiares como en los valores que se
transmiten.
La primera parte de la tesis hace un repaso sociohistórico al uso de la
fotografía (y anteriormente, la pintura) para ilustrar la vida cotidiana, haciendo
especial énfasis en las décadas estudiadas, que se engloban dentro de los
períodos de la primera modernidad, la tardomodernitat y la hipermodernidad.
La segunda parte incluye el estudio de casos, donde se extraen las
conclusiones de la recogida de datos hechas según los criterios
metodológicos expuestos.<br>This Doctoral Thesis has a main aim the study of the narrative and
sociological changes in photographic family albums, starting from the sixties
of the last century until the first decade of the XXI century.
The analysis is done from a pragmatic perspective, combining the
semiotic-narrative, sociological, compositive, technological and discursive
methodology.
From this multidisciplinar analysis of photographic family albums, a lot of
meaningful data can be drawn, because they tell us about the type of society
we are living in. We will see how the albums are structured according to social
patterns that every family reproduces and how the classification and
organization of the snapshots shows the way in we consider our life as a story
that can be told in pictures. At the same time, the tecnichal evolution from
analogic to digital albums reflects the evolution of society, both in terms of
changes in family roles and in the values that are transmitted.
The first part of the thesis presents an overview of socio-historical use
of photography (and previously, painting) to illustrate everyday life,
emphasizing the decades studied, which embrace the period of the First
Modernity, Postmodernity and Hipermodernity.
The second part includes the study of albums, where the collection of
data conclusions made by the methodological criteria are presented.
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Tidy, Samantha Ellen, and samtidy@iprimus com au. "In Heaven, as it is on Earth: Representations of literary heavens in contemporary literature, with a focus on Alice Sebold's The Lovely Bones." RMIT University. Creative Media, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090721.145607.
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This exegesis examines the landscape of heaven depicted in the contemporary novel, The Lovely Bones by Alice Sebold. I examine the various characteristics of the heaven (or 'afterlife') depicted in Sebold's novel, with the aim of ascertaining the narrative effects of using this device. Using Ingrid Daemmrich's analysis of the paradisiacal motif in literature as a framework (Daemmrich, I 1997, Studies on Themes and Motifs in Literature: Enigmatic Bliss, The Paradise Motif in Literature, Peter Lang, New York), I reveal characteristics in The Lovely Bones that are both consistent with and challenge traditional literary representations of heaven and which therefore demonstrate that the text utilises the established literary motif of heaven for symbolism and meaning, but in a contemporary context. I explore the growing trend of contemporary literary heavens by reviewing two other literary heavens that are relevant to this scholarship. I examine where as writers and readers, we ascertain our concept of heaven (in society's religious foundations and from prior literature), and for the relevance of the key text, I briefly discuss the author's likely cultural influences. Having established the novel's lack of alignment with a religious version of heaven, I then examine the nature of and the narrative effect of, the personalised heaven depicted in the novel, The Lovely Bones. In doing so, I explore one of the new portraits of heaven in literature, an example which represents a growing trend away from portraying a classic edenic heaven shared by all humanity (and traditional to literary representations of heaven), toward a contemporary, personalised heaven that seeks to meet the wants and desires of the individual in our modern society. With reference to literature's ability to reflect back to us, our society's beliefs and values, I examine what this new portrait of heaven reveals about society. Access to the project examined in conjunction with this exegesis has been restricted due to copyright.
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Martin, Timothy Michael. "Codes of Interaction." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/849.
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The ideas within this thesis are meant to clarify my explorations, research and painting practice during my studies at Virginia Commonwealth University. I expand on my general statements about being fascinated by advancing technologies and concerned about the after effects of these advancements. The writing explores my curiosity about the internal, skeletal structure of things and how they operate. I explain how the paintings are idiosyncratic hybrids that evoke animation, imaginary scientific propositions, blueprints, maps, and advancing technologies. The work combines these interests with my observations of day-to-day experiences. Isolated events provide found compositions which I then manipulate: a seemingly mundane bike ride gets mapped into a well–ordered schematic of social interaction.
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Marques, Paula Cristina de Sousa. "Álbuns narrativos e aprendizagens no pré-escolar. Um estudo de caso." Doctoral thesis, 2015. http://hdl.handle.net/1822/38910.
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Tese de Doutoramento em Estudos da Criança (área de especialização em Literatura para a Infância).<br>A diáspora emergente da globalização tem lançado novos desafios às sociedades civis e
políticas internacionais. Portugal não é uma exceção. Deste modo, dos contextos formais e
informais de educação, são esperadas respostas educativas que considerem esta confluência
de culturas. Sem se menosprezar a identidade cultural nacional, urge assim a necessidade de
se adotar uma pedagogia intercultural que assegure uma sociedade de bem-estar, democrática
e participativa. Tais desideratos devem manifestar-se desde o pré-escolar. Neste âmbito, a
literatura para a infância é um dos mais importantes instrumentos de formação no auxílio ao
aproveitamento das potencialidades naturais das crianças – uma fonte de conhecimentos e
reflexões sobre o mundo. Pegando nestes pressupostos, através de episódios concretos que
relatam acontecimentos muito expressivos, significativos e reveladores que foram recolhidos
durante o processo de trabalho de campo, e através da sua cuidada análise, o estudo de caso
que se segue demonstra o importante papel educativo que os álbuns narrativos, aliados à
leitura dialógica e atividades decorrentes, assumiram no trabalho quotidiano que foi
desenvolvido com 23 crianças. É, assim, um estudo que, através de um contexto específico
(sala de pré-escolar) e de uma etnografia que se desenvolveu ao longo de oito meses, dá a
conhecer os episódios mais representativos que foram observados e registados,
demonstrando-se como foi promovida e implementada uma educação intercultural,
espelhando-se a capacidade que estas crianças revelaram ter em aprender a ler o mundo de um
modo sofisticado, crítico e abrangente, mas também de que forma essa situação favoreceu a
construção coletiva do significado de textos (de literatura para a infância) que foram trabalhos
em cooperação com a educadora de sala, ao longo dos meses acima referidos. Naturalmente
que inerente a todo este processo esteve o desenvolvimento da aquisição de competências
literárias. Neste âmbito, a aquisição de tais competências assume o pilar central da pesquisa
que foi desenvolvida. Assim, e através dos álbuns narrativos que foram trabalhados em grupo,
o estudo de caso que se segue relata e explica como estas crianças desenvolveram a
capacidade reflexiva, torando-se leitores competentes. Para o efeito, o processo inferencial e o
desenvolvimento gradual da capacidade que demonstraram ter em inferir, assumiram
particular relevância e interesse de pesquisa. Em suma, este estudo de caso vem reforçar que a
capacidade de o leitor rececionar o texto literário não é inata em exclusivo, mas edificada pela
leitura. Isto é, pelos atos de comunicação literária que se vão construindo desde a infância.<br>The emerging diaspora of globalization has launched new challenges to civil and international
political societies. Portugal is no exception. This way, in formal and informal contexts of
education, educational responses are expected to consider this confluence of cultures. Without
underestimating the national cultural identity, it appears a need to adopt an intercultural
pedagogy to ensure a society of wellness, democratic and participation. Such desires are
necessary to be manifested from the preschool. In this context, literature for children is one of
the most important training tools to aid in the exploitation of the natural potential of children -
a source of knowledge and reflections on the world. Taking these assumptions, through
concrete episodes that report significant expressive events, and revealing that they were
collected during the field work, and through its careful analysis, the case study that follows
demonstrates the important educational role that the narrative albums together with the
dialogic reading and other activities assumed in the daily work that was developed with 23
children. It is, this way, a study that, through a specific context (a pre-school room) and an
ethnography that has developed over eight months, shows knowledge of the most
representative episodes that were observed and recorded, demonstrating how it was promoted
and implemented an intercultural education, mirroring the capacity revealed that these
children have in learning to read the world in a sophisticated, critical and comprehensive way,
but also how this situation has encouraged the collective construction of the meaning of texts
(of literature for children) which were works in cooperation with the teacher of the room
along the months that were mentioned before. Naturally inherent in this process was the
development of the acquisition of literary skills. In this context, the acquisition of such skills
assumes the central pillar of the research that has been developed. This way, through the
narrative albums that were worked in groups, the case study that follows describes and
explains how these children to develop reflective capacity to become competent readers. For
this purpose, the inferential process and the gradual development of the ability to infer that it
was demonstrated, assumed particular relevance and interest for research. In short, this case
study reinforces that the ability of the reader to receive the literary text is not innate in
uniqueness, but built for reading. That is, the acts of literary communication that are built
since childhood.
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Turgeon, Elaine. "Développement et mise à l'essai d'un outil pour analyser des albums jeunesse afin d'élaborer un répertoire d'oeuvres québécoises propices au travail interprétatif." Thèse, 2013. http://hdl.handle.net/1866/9728.
Full textAbstract:
La présente recherche porte sur la lecture littéraire dans un contexte d’enseignement primaire et concerne plus précisément les albums jeunesse qui favorisent le développement des habiletés interprétatives. Il s’agit d’une recherche-développement qui comporte trois objectifs. Le premier objectif consiste à développer un outil pour analyser les procédés narratifs des albums jeunesse et y cerner les éléments propices au travail interprétatif. Le second objectif vise à mettre à l’essai l’outil d’analyse afin d’en mesurer la validité et la fidélité, alors que le dernier objectif consiste à élaborer, à l’aide de l’outil développé, un répertoire d’albums jeunesse québécois susceptibles de favoriser le développement des habiletés interprétatives des élèves du primaire. La méthodologie mise en œuvre afin d’atteindre les trois objectifs a d’abord permis d’analyser les besoins, c’est-à-dire, les finalités et les utilisateurs de l’outil d’analyse, puis d’en concevoir et d’en élaborer une première version, de la mettre à l’essai afin d’en évaluer la validité auprès d’experts, avant d’en produire une deuxième version, d’en évaluer la fidélité à l’aide de codeurs et finalement, d’en produire une troisième puis une quatrième version afin d’élaborer un répertoire d’albums jeunesse québécois propices au travail interprétatif. Bien que la mise à l’essai ne permette pas de conclure de façon tout à fait satisfaisante à propos de l’objectivité des indicateurs de l’outil développé, l’analyse des commentaires des experts permet d’affirmer que les indicateurs de l’outil d’analyse présentent un très haut degré de pertinence, ce qui donne à penser que l’outil développé de même que le répertoire de quinze albums jeunesse québécois susceptibles de favoriser le développement des habiletés interprétatives des élèves du primaire élaboré, dans le cadre de cette recherche, peuvent s’avérer de premiers outils utiles et pertinents pour le milieu scolaire.<br>This research paper examines literary reading in the context of primary education and focuses specifically on picturebooks that foster the development of interpretive skills. It gives an account of research and development in which we pursued three objectives. The first objective was to develop a tool to analyse the narrative processes of picturebooks and identify elements conducive to interpretive work; the second aimed to test the analysis tool in order to measure its reliability and validity; and the final objective was to use the tool we developed to put together a collection of Quebec children’s books that favour the development of interpretive skills in primary students. To achieve these three objectives, we adopted a methodology that enabled us to first analyse the needs, namely the users and purposes of the analysis tool, and then to design and develop an initial version. This version was tested with experts to determine its validity. A second version was then produced and its reliability was evaluated using encoders. Lastly, a third and forth version was produced to assemble a collection of Quebec picturebooks conducive to interpretive work. Although our test did not allow us to draw an altogether satisfactory conclusion about the objectivity of the indicators of our analysis tool, an analysis of comments by the experts confirms that the indicators of our analysis tool are highly relevant, which suggests that the tool we developed and the collection of 15 Quebec picturebooks that favour the development of interpretive skills in primary students we assembled may be important and useful tools within a school environment.
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Lai, Yu-Han, and 賴妤涵. "The Research on the Music Creation of Narrative Structure - A Case Study of the Single Album Production of Journey." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6db8ue.
Full textAbstract:
碩士<br>國立雲林科技大學<br>數位媒體設計系<br>107<br>Music creation is often based on factors such as the creator's own musical literacy and creative needs, and even seeks natural or imitating natural sounds to form a tune. In this study, the narrative structure is used to interpret the text. According to the Kansei Engineering theory, the Expert Interview and the Questionnaire Survey, the vocabulary data of the demand for releasing pressure is sought. This text material creates story content, works with articles to conceive music combinations (range, melody, and paragraphs) and produces modules that release pressure.
This creation is a mix of piano and nature sounds. The narrative content in the creation is the result of the questionnaire on the subject, and it is also the consumer orientation of the sensible engineering to correspond to the pattern of music creation. From the music single of this creation, it is verified that the break is different from the creator's self-interpretation, and the objective narrative structure data is used to construct a new form of music creation process by transforming the article into a piece of music.
Books on the topic "Narrative albums"
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Fisher, Lina Marie. Iconography and narrative in the 'St Albans' Apocalypses. University Microfilms International, 1985.
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May, Marianne Zadikow. The Terezín album of Mariánka Zadikow. The University of Chicago Press, 2007.
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Brokaw, Tom. An album of memories: Personal histories from the greatest generation. Random House, 2001.
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An album of memories: Personal histories from the greatest generation. Random House Large Print, 2001.
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Brokaw, Tom. An album of memories: Personal histories from The greatest generation. Random House, Inc., 2001.
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An album of memories: Personal histories from the greatest generation. Random House, 2001.
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Home front Baltimore: An album of stories from World War II. Johns Hopkins University Press, 2011.
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Streusand, Lissa. The album: Shadows of memory : stories from the memory project. Holocaust Museum Houston Educational Center and Memorial, 2006.
Find full textBook chapters on the topic "Narrative albums"
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Ward, David. "Family Albums and Conspiracy Theories." In Contemporary Italian Narrative and 1970s Terrorism. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46648-4_3.
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Braae, Nick. "Was It All Worth It? Queen in the 1980s." In Rock and Rhapsodies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0010.
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Queen’s albums in the 1980s were received with mixed reactions by critics, and such reactions present a clear historiographical narrative: a downturn with Hot Space, followed by a return to mediocre hard rock from The Works onwards. This chapter considers how the themes of these receptions relate to musical details. It is argued that the disparaging of Hot Space rests on Queen altering the instrumental structures of their songs compared with their idiolect of the previous decade. By comparison, the later albums return to this sound-world, but with repetitive harmonic and rhythmic formulae, such that there is a lack of variety in the newer hard rock songs. The chapter closes with a reading of the 1989 track ‘Was It All Worth It?’ which aims to emulate a ‘classic’ Queen song from the 1970s, but appears jumbled and structurally incoherent, an apt metaphor for the band in the 1980s.
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Teukolsky, Rachel. "Conclusion." In Picture World. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859734.003.0008.
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The book’s conclusion examines the early cinema of the 1890s, to look at the ways it invoked and transformed earlier Victorian visual traditions. The earliest films were shown at fairgrounds and public entertainment venues, and thus differ from the more parlor-oriented objects studied in the book. Yet early film also extended Victorian pictorial traditions. Comic strips anticipated sequential visual storytelling, which was expanded in narrative stereoviews. All of the images examined in Picture World became subjects for the earliest films, from magic portrait albums coming alive to “phantom rides” alongside picturesque landscapes. The eye-tricking pleasures of early cinema extended the phantasmagoric worlds of earlier mass visual phenomena.
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Tucker, Terrence T. "Direct from a Never Scared Bicentennial Nigger." In Furiously Funny. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813054360.003.0007.
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This chapter examines the work of Richard Pryor and his comic successors, who build on his work while taking it in dynamic and unprecedented directions. In particular, this chapter focuses its attention on comedy albums that combine the live stand-up of the comics with recorded bits that reinforce critiques in other forms. So, Pryor’s Bicentennial Nigger uses skits to help reject the romanticized narrative of the United States at the bicentennial. One of the most immediate successors to Pryor was Whoopi Goldberg, whose Direct from Broadway pulls from the template that Moms Mabley constructed by directly confronting the oppression that sits at the intersection of race and gender. However, Goldberg expands on Pryor’s work not through the inclusion of a female voice but by transforming the exploration of black life into a female-centric critique of white, Western, supremacist, patriarchal hegemony. This chapter argues that Chris Rock most effectively realizes Pryor’s legacy of comic rage. Rock’s work, from Bring the Pain (1996) to Never Scared (2004), engages directly with the historical moment of post–civil rights America and is most clearly represented in Rock’s infusion of hip-hop into the structure and style of mainstream stand-up comedy.
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Page, Max. "The City’s End Past and Present Narratives of New York’s Destruction." In The Resilient City. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195175844.003.0008.
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There were two phrases spoken over and over again on September 11, 2001, and in the weeks and months following: “It was unimaginable” and, in an apparent contradiction, “It was just like a movie.” The sight of the twin towers falling was, in fact, both: utterly incomprehensible for New Yorkers and Americans of today and, at the same time, wholly recognizable to our well-trained popular-culture imaginations. If the first phrase was an accurate accounting of our daily experience, the second was an accurate statement of what we see when we turn on the television or go to a movie. Americans have been imagining New York’s destruction for two centuries. America’s writers and image makers have visualized New York’s annihilation in a stunning range of ways. Imagining New York’s destruction has not been the purview only of artists and novelists, but also a common narrative, inscribed in the daily world of newspapers and television shows, computer programs, and music albums. The images are pervasive and disturbing, but largely unstudied. Looking back, into New York’s history, we need to understand how and why American culture has so readily and so creatively narrated the city’s end, before 9/11 and after. Cultural forms express and reproduce social experience. It might not be surprising, then, that a leitmotif of American popular culture of the last 200 years has been the imagining of New York’s destruction. The United States is a deeply religious nation; students of American history need constantly to be reminded that the United States remains the most religious of Western industrialized nations. The country has exhibited a strong apocalyptic strain that has not been hard to translate into popular culture. But these visions of the city’s destruction stem in part from the real, lived experience of New Yorkers—their lives and the life of the city have been powerfully and permanently shaped by very real destruction and rebuilding. The specific fantasies and premonitions of New York’s destruction have followed the fears of the city’s people. Some of those fears were built on real experiences—a series of natural disasters, as well as what I have called the city’s relentless creative destruction—that have led New Yorkers to believe that, despite the dominance of their city in the nineteenth and twentieth centuries, the mighty city is fragile.
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Hanna, Erika. "Beaches and Sunlight." In Snapshot Stories. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823032.003.0002.
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Chapter 1 explores the practices and semiotics of photograph albums. Across the twentieth century, making photograph albums moved from an elite to a popular form, and was especially popular among single young people. Familial and personal histories were curated through selecting photographs, arranging them on the page, and fixing their meaning through captioning. In order to unpack these themes in detail, the chapter focuses on photograph albums depicting three ‘ordinary’ Irish lives. These photograph collections can provide us with a host of information about Ireland in the early years of the twentieth century: about how people used a visual language to narrate their lives; received, assimilated, or resisted social and political discourses; and revealed or concealed family secrets. Each of the subjects made particular choices about the stories they told in their albums, drawing on photographic modes drawn from Kodak convention and the visual rhetoric of Ireland.
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Kilinç, Uğur. "Vitalizing Ancient Cultures Mythological Storytelling in Metal Music." In Advances in Public Policy and Administration. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7661-7.ch042.
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This chapter is focused on the relationship between ancient narratives “music” and “mythology.” Technological developments and changes in social structure caused the occurrence of different music genres over time. “Metal music” is one of these genres. In the present day, it is possible to observe that there is a tendency to mythology in sub-genres of metal music. This tendency is observed in lyrics, album artworks, videos, and gig performances of some bands. In this chapter, metal music is examined based on its root, content, and technical features, primarily. Afterwards, mythology, content of mythology, and cultural and social functions of mythology are discussed. In the praxis of this study, the cover of the album Twilight of the Thunder God (2008) of the Swedish metal band Amon Amarth is analyzed by semiological analysis.
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Aasgaard, Reidar. "CHAPTER 1 “Señor (Tales of Yankee Power)”: A Window into Bob Dylan’s Existential and Religious World." In A God of Time and Space. Cappelen Damm Akademisk/NOASP, 2019. http://dx.doi.org/10.23865/noasp.74.ch1.
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“Señor (Tales of Yankee Power)” is a central song on Street-Legal, the album Bob Dylan released in 1978, a short time before his Christian conversion experience and the so-called Christian album trilogy of 1979–1981. Within the setting of a journey through a half-real, half-mythical landscape, the song describes an encounter between an I-figure, the singer, and his travel companion, a mysterious, silent “señor”, with the singer going through a process of growing frustration leading to a state of existential despair. The article gives a close, narrative reading of the lyrics and analyzes the song within the contexts of the album, of the development of Dylan’s religious language, of his performances of the song from 1978 to 2011, and of his own comments on it. The main conclusion is that “Señor” can be read in different ways, but that religion, and Christianity in particular, plays an important and integral part in the various readings. The song reflects Dylan’s artistic and personal situation at the time, also by foreshadowing his conversion experience, but at the same time belongs within a long trajectory of Dylan songs from the 1960s until today which deal with fundamental human themes related to history, society, social relations, religion, and life in general.
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Michie, Helena, and Robyn Warhol. "Reading for romance: the marriage plot." In Love Among the Archives. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474406635.003.0002.
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So far we have structured the story of this project around an originary narrative and, indeed, a moment of origin– our encounter with George Scharf’s album of menus and invitations that served as our introduction to him (see Fig. 1.1). Certainly that origin shaped our initial sense of George as a guest, a diner out. If we had not always had before us the glowing after-image of the menus, the gilded names of country houses and the calling cards of the rich and famous, we would perhaps have read the diaries differently: we might have read George not only or primarily as a guest but also as a host. Although, as we describe in the introduction, we found traces of Scharf as a host in the album and in the nightmare of hospitality we construed from those traces, the album resolutely and snobbishly tied him to country estates and their social rituals. The diaries, however, show Scharf as an almost obsessive giver of dinners, small and large, and as the centre of what one guest called ‘The Ashley Place Circle’, a group of male friends defined by the address of the lodgings Scharf rented for the last two and a half decades of his life.
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"III. A Peculiar Narrative Photo-album: Miss Peregrine’s Home For Peculiar Children." In Images of Traumatic Memories. V&R unipress, 2020. http://dx.doi.org/10.14220/9783737011631.93.
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