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Journal articles on the topic 'Narrative art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

FITZPATRICK, Paul. "Narrative Art and Narrative Criticism." Louvain Studies 33, no. 3 (December 31, 2008): 255–72. http://dx.doi.org/10.2143/ls.33.3.2045800.

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2

Skalin, Lars-Åke. "The art of narrative – narrative as art: Sameness or difference?" Frontiers of Narrative Studies 5, no. 1 (July 2, 2019): 35–56. http://dx.doi.org/10.1515/fns-2019-0004.

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AbstractThis paper is a critique of narratology’s generality thesis and especially focused on a corollary of that thesis, the “sameness premise”. It says that all objects designated by the noun “narrative”, whether actual, possible, or fictional, are defined by some basic intrinsic properties. This goes for ordinary informative telling of events as well as for literary art, such as novels and short stories. The latter assumption is rejected by me and theorists taking up a “difference premise” instead. Literary art should not be included within a general category of narrative. It would be more

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3

Shaheen, Osamah Hussein. "Prospects of Narrative Rhetoric." International Journal of Early Childhood Special Education 14, no. 1 (March 17, 2022): 857–63. http://dx.doi.org/10.9756/int-jecse/v14i1.221100.

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This study elucidates the relationship of the new rhetoric with the narrative achievement, which involves a rhetorical act that is different from its poetic counterpart, because it contains new types of text formulation that refer to the unspoken in the fabric of the narration, where its content proves its formation in a new process outside the ordinary, and this new compositional awareness can convince and enjoy in Now the same, and on this basis, the study came to transcend the constant and accomplish the shift between rhetorical art and narration art, to analyze the creative discourse, and

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Saidi, Acep Iwan. "Narrative Patterns in Indonesian Fine Art." Britain International of Linguistics Arts and Education (BIoLAE) Journal 3, no. 1 (March 26, 2021): 77–87. http://dx.doi.org/10.33258/biolae.v3i1.411.

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This paper aims to describe the structure and pattern of narratives in art, which in this case Indonesian fine art is used as a case study. This topic is important considering that the assumption that works of fine art have narrative characteristics has become common knowledge, but the structure and narrative patterns within the genre of work of fine art that can be used as a reference have not yet been formulated. By using a structural semiotic approach, studies in this paper have found that narrative patterns in fine art are a combination of denotative visual sign units presented as works on

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5

Duan, Lian. "Narrative identity of the possible author: a tertiary narrativization of Chinese realist art of the 1950s–1990s." Chinese Semiotic Studies 18, no. 4 (November 1, 2022): 515–62. http://dx.doi.org/10.1515/css-2022-2079.

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Abstract From a narratological perspective, this essay reinterprets the development of Chinese realist art under Western influence in the second half of the twentieth century and explores the narrative issue of the possible author that is transformed from the integral reader. As a crucial response to Western influence, realist art in China developed from imitating to appropriating Western art and continued from taking inspiration from Western art to participating in the international arena of conceptual art with certain renovations. In this essay, the narratological notion of “possible author”

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6

Carroll, Noël. "Art, Practice, and Narrative." Monist 71, no. 2 (1988): 140–56. http://dx.doi.org/10.5840/monist198871212.

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7

Oatley, Keith, and Maja Djikic. "Psychology of Narrative Art." Review of General Psychology 22, no. 2 (June 2018): 161–68. http://dx.doi.org/10.1037/gpr0000113.

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Artistic narrative has been recognized in fictional genres such as poetry, plays, novels, short stories, and films. It occurs also in nonfictional genres such as essays and biographies. We review evidence on the empirical exploration of effects of narrative, principally fiction, on how it enables people to become more empathetic, on how foregrounded phrases encourage readers to recognize the significance of events as if for the first time in ways that tend to elicit emotion, and on how literary works can help people to change their own personalities. We then suggest 3 principles that character

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8

Grainger, Teresa. "Art, Narrative and Childhood." Literacy (formerly Reading) 38, no. 1 (April 2004): 66–67. http://dx.doi.org/10.1111/j.0034-0472.2004.03801011_2.x.

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9

McGregor, Rafe. "Introduction: Aesthetic Education through Narrative Art." Journal of Aesthetic Education 57, no. 3 (October 1, 2023): 1–11. http://dx.doi.org/10.5406/15437809.57.3.01.

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Abstract The purpose of this introduction is to set out the scope and content of this special issue of the Journal of Aesthetic Education, which takes Aesthetic Education through Narrative Art as its subject. I begin by delineating the “aesthetic” itself and then identifying the denotation of “aesthetic education” with which the issue's authors are concerned. This is followed by a characterization of “narrative art” that belies my preference for representation rather than art and draws attention to the multiple modes of representation that constitute complex narratives. I next turn to the titl

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10

Esquivel, Patricia. "Art Narratives and Globalization." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, no. 2 (2011): 135–44. http://dx.doi.org/10.28937/1000106178.

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Arthur Danto proklamierte das »Ende der Kunst«, d. h. das Ende der auf ein Narrativ und auf eine unidirektionale Grundlage basierenden Kunstgeschichte. In der zeitgenössischen Kunstwelt und besonders in der Historiographie hingegen findet man durchaus ein Telos. Dieses Telos ist die Globalisierung. Es gibt heute ein sich ausbreitendes unidirektionales Narrativ, dessen Regel als »Netzwerklegitimation« erklärt werden kann. Ein Netzwerk, dessen Ausmaß (mehr Regionen der Welt), Sättigung (mehr Objekte) und Historizität (umfassendere Entwicklungsketten) zunehmen. Das Netzwerk hat auch einen Mittelp

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11

Rodríguez Gómez, Sergio. "An agential-narrative approach on art semiosis." Technoetic Arts 17, no. 3 (October 1, 2019): 281–95. http://dx.doi.org/10.1386/tear_00021_1.

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Abstract In this article, a semiotic approach is proposed to explain how human agents use and give meaning to art in complex contexts. Inspired by the psycho-historical approach on art appreciation, which attempts to embrace psychological and cognitive aspects of art sense-making, as well as the art-historical context dependence of artworks, an extended theory is suggested: an agent's art use and interpretation can be described using three general categories of meaning grounding: phylogenetic recurrence, ontogenetic recurrence and collective recurrence. These categories explain how a certain m

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12

Feng, Ma. "The Narrative Art of Contemplator: An Analysis on Milan Kundera’s Works." Lingua Cultura 3, no. 1 (May 30, 2009): 85. http://dx.doi.org/10.21512/lc.v3i1.335.

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Article presented a narrative theoretical analysis on Milan Kundera’s works. Its emphasis point lied on the unity of the theory and the practical explanation to the text. Kundera’s works joined the unique ponder art and the narrative artistic together, which had led to the work a possible implication that would be much richer. Based on a macroscopic angle, this article used the relative theory, including theories on classic and latter classic narrates study. Then, based on the microscopic angle, this article mainly utilized the narrative theory about “the intervention” as well as the acceptabl

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13

Vice, Samantha. "Literature and the Narrative Self." Philosophy 78, no. 1 (January 2003): 93–108. http://dx.doi.org/10.1017/s0031819103000068.

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Claims that the self and experience in general are narrative in structure are increasingly common, but it is not always clear what such claims come down to. In this paper, I argue that if the view is to be distinctive, the element of narrativity must be taken as literally as possible. If we do so, and explore the consequences of thinking about our selves and our lives in this manner, we shall see that the narrative view fundamentally confusues art and life. We learn from art itself that our selves and lives transcend narratives and that thinking in a narrative manner ignores the rich complexit

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14

Poliakova, Anastasiia, and Kateryna Lut. "NARRATIVE IN VIDEO GAMES’ VERBAL MODE." Scientific Journal of Polonia University 59, no. 4 (November 15, 2023): 87–92. http://dx.doi.org/10.23856/5912.

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As a distinctive form of art, video games feature a narrative element in a similar way that literature, theatre, and cinema do; however, there are certain characteristics that make video game narrative different from its counterparts in other art forms. Through the video games’ brief history (as compared to other art forms), the narrative went from being almost absent and neglected to playing an integral role in the product. The goal of this paper is to research the narrative element present in the verbal mode of video games. Hence, the study focuses on the history and evolution of video games

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15

Hafeli, Mary. "Angels, Wings, and Hester Prynne: The Place of Content in Teaching Adolescent Artists." LEARNing Landscapes 2, no. 1 (February 1, 2008): 87–113. http://dx.doi.org/10.36510/learnland.v2i1.277.

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This case study uses adolescents’ accounts of studio practice to trace the diverse themes, sources, and contexts that inspire aesthetic and narrative meaning in their artworks. Beyond self expression and formal and technical concerns, the study illustrates how eight young artists work to address cultural and aesthetic themes that borrow, build on, and ultimately reinvent conventional narratives and art forms. Narrative formation, and its relevance for learning and teaching art, is investigated as distinct but related practices in multiple worlds of art, cultures, and education.

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16

Stepanova, Lyudmila, and Yu Yan. "Narrative-discursive approach in the aspect of Art Pedagogy." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 110–16. http://dx.doi.org/10.24195/2617-6688-2019-3-16.

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The article covers the results of theoretical and methodological research of the phenomenon “narrative discourse”, clarifies its essence through the prism of the basic provisions of narratology and artistic pedagogy. The introduction highlights the relevance of the problem, the purpose and objectives of this stage. The research was carried out on the material of scientific elaborations that highlight the phenomenology of the narrative discourse and the narrative-discursive approach. In order to realize the purpose and to solve the set tasks in the course of exploration, we used a complex of me

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17

Wang, Qiong. "A Brief Analysis on the Narrative Art of Pulp Fiction." Art and Society 2, no. 1 (February 2023): 42–44. http://dx.doi.org/10.56397/as.2023.02.06.

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Pulp Fiction by Quentin Tarantino was made in 1994. With its novel and unique method and structure of narration, the film won many international awards including the Academy Award, the Golden Globe Award and the Golden Palm. The film adopted a seemingly messy but orderly form of expression, showing black violence, vulgar, marginal and other narrative elements, as well as subverting the traditional narrative perspective and space, creating a brand new visual experience for the audience. Today, China’s movie market is very prosperous, China has become the second largest movie market after the Un

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18

Ewing, Bonnie, and Marie Hayden-Miles. "Narrative Pedagogy and Art Interpretation." Journal of Nursing Education 50, no. 4 (January 31, 2011): 211–15. http://dx.doi.org/10.3928/01484834-20110131-01.

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19

Gordon, R. P., and S. Bar-Efrat. "Narrative Art in the Bible." Vetus Testamentum 41, no. 3 (July 1991): 371. http://dx.doi.org/10.2307/1519087.

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20

Conolly, O. "Narrative Art and Moral Knowledge." British Journal of Aesthetics 41, no. 2 (April 1, 2001): 109–24. http://dx.doi.org/10.1093/bjaesthetics/41.2.109.

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21

Novitz, David. "Art, Narrative, and Human Nature." Philosophy and Literature 13, no. 1 (1989): 57–74. http://dx.doi.org/10.1353/phl.1989.0056.

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22

Rice-DeFosse, Mary. "Reconsidering Flora Tristan's Narrative Art." Women in French Studies 3, no. 1 (1995): 45–54. http://dx.doi.org/10.1353/wfs.1995.0001.

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23

Thompson, Chris. "Hot Spots: Interactive Narrative Art." PAJ: A Journal of Performance and Art 26, no. 1 (January 2004): 94–99. http://dx.doi.org/10.1162/152028104772624982.

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24

Veshnev, Vasily P., and Dmitry G. Tkach. "Principles and methods of creating subject compositions of modern street art." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 357–71. http://dx.doi.org/10.37816/2073-9567-2021-62-357-371.

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The paper traces the evolution of compositional solutions and figurative content of narrative street art from its inception to the present and identifies the most common constituent elements of narrative street art compositions. They include: narrative photo images, narrative digital art, narrative unique and printed author's graphics, narrative scenes and elements from the works of classical, national art and mass culture. The author considers the relationship between the evolution of technical means in the arsenal of street art artists and creative techniques and methods performed in figurat

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25

El-Nasr, Magy Seif. "Interaction, narrative, and drama." Interaction Studies 8, no. 2 (June 19, 2007): 209–40. http://dx.doi.org/10.1075/is.8.2.03eln.

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Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due

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Kokanović, Renata, and Meredith Stone. "Listening to what cannot be said: Broken narratives and the lived body." Arts and Humanities in Higher Education 17, no. 1 (September 27, 2017): 20–31. http://dx.doi.org/10.1177/1474022217732871.

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The core of this special issue of Arts and Humanities in Higher Education emerged from the Broken Narratives and the Lived Body conference held in 2016. The ‘Broken Narrative’ essays included in this issue open up a critical space for understanding and theorising illness narratives that defy a conventional cognitive ordering of the self as a bounded spatial and temporal entity. Here, we discuss how narratives might be ‘broken’ by discourse, trauma, ‘ill’ lived bodies and experiences that exceed linguistic representation. We trouble distinctions between coherent and incoherent narratives, atten

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27

Li, Qizhan. "A Study on the Embodiment of New Sensation Literature in Film Art." International Journal of Education and Humanities 5, no. 2 (October 25, 2022): 69–71. http://dx.doi.org/10.54097/ijeh.v5i2.2107.

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The novels of the New Sensation, which rose in the late 1920s and early 1930s, have brought fresh feelings to the new literature with their new, strange and strange characteristics. The discussion of the narrative art of the New Sensation plays a great role in correctly understanding the artistic value, style and characteristics of the New Sensation novels. The narrative development of the Suzhou Creek by Lou Ye is not only a structural reference and innovation, but also a practical behavior of the change of creative ideas. The new feeling of Suzhou Creek is characterized by the equal transfor

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Slobodian, Elvira Yu. "THE FUNCTION OF EKPHRASIS AND METAEKPHRASIS IN PODCASTS ABOUT PLASTIC ARTS." Articult, no. 3 (September 30, 2023): 51–61. http://dx.doi.org/10.28995/2227-6165-2023-3-51-61.

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The article for the first time distinguishes between the functions of ekphrasis, narrative ekphrasis and metaekphrasis in Russian podcasts about plastic arts on the example of eight episodes dedicated to painters and architects. Episodes of podcasts “Art for Guys”, “Talk About Art”, “About History and Art. Project YaAndArt”, “Walls have ears”, “Art and Facts” have become the empirical material of the research. By reviewing the content of episodes, it is proved that polyfunctionality is inherent in both ekphrasis, including its narrative version, and metaekphrasis. In particular, the examples g

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Smyczyńska, Katarzyna. "A door to the unknown: crossing boundaries through picturebook art." Problemy Wczesnej Edukacji 34, no. 3 (September 30, 2016): 69–83. http://dx.doi.org/10.5604/01.3001.0009.4844.

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This paper engages with the question of the ethical implications of, and artistic imagination in picturebooks. The analysis relies on two visual narratives confronting the theme of cultural difference. The juxtaposition of the two books that share the themes of visiting and hosting, of confronting otherness, and of cultural prejudice indicates differences in their narrative and artistic potential. The analysis of formal strategies in Jemmy Button by Jennifer Uman and Valerio Vidali and in Eric by Shaun Tan serves to point out the role of artistic imagination and narrative wisdom in creating vi

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Quadrio, Daniele. "La scena finzionale della storia. "Maus" di Art Spiegelman." Lingue e culture dei media 7, no. 1-2 (January 30, 2024): 124–32. http://dx.doi.org/10.54103/2532-1803/22396.

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Nel 1981 esce Maus, di Art Spiegelman: un graphic novel che presenta, sul piano del rapporto tra linguaggio e immagine, una modalità innovativa e una connotazione autobiografica. La struttura narrativa si compone di diversi livelli, alternando le voci dei narratori. La drammatica vicenda vissuta dal padre di Art a Auschwitz viene rievocata attraverso un racconto i cui personaggi assumono le sembianze di animali. Le modalità narrative corrispondono a livelli temporali distinti, e danno luogo all’inclusione della realtà testimoniale all’interno di un universo finzionale. Parole e immagini costru

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Perry, Rachel E. "Not by Words Alone: Early Holocaust Graphic Narratives as a “Minor Art”." IMAGES 16, no. 1 (December 6, 2023): 131–57. http://dx.doi.org/10.1163/18718000-12340175.

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Abstract Immediately after the Holocaust, scores of Jewish survivors created graphic narratives, in word and image, about their individual and collective wartime experiences under Nazi oppression. This essay will make a case for these early postwar works as a “minor art.” “Minor” captures the material characteristics of this low-capital, low-circulation printed matter: slight in weight, small in size, modest in price, and ephemeral in quality. It also describes their “poor” images that pull, in form and structure, from popular culture (comics, cartoons, illustrated books) on the margins of mod

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32

Shen, Zijun, Mingting Zhao, and Kamran Zaib. "Unearthing the art of storytelling: A closer look at Sir Arther Canon Doyle’s B24." International Journal of English Language and Literature Studies 13, no. 2 (March 8, 2024): 173–87. http://dx.doi.org/10.55493/5019.v13i2.5005.

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Narratives play a crucial role in our understanding of the world, identity formation, empathy building and imparting moral lessons. The purpose of the study is to evaluate how Doyle uses Labov's model focusing on the narrative's elements. The intricacy of the story is revealed by the qualitative methodology which highlights Doyle's skill for writing captivating stories with vivid settings and multifaceted characters such as lady Mannering and even minor characters like the innkeeper. This study analyzes the structural and linguistic elements in Doyle’s “B24” using Labov’s sociolinguistic model

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33

Craig, Jennifer. "Narrative art inquiry and anorexia nervosa." Nursing Standard 18, no. 46 (July 28, 2004): 33–37. http://dx.doi.org/10.7748/ns2004.07.18.46.33.c3656.

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34

Kuplen. "Therapeutic Self-knowledge in Narrative Art." Journal of Aesthetic Education 55, no. 1 (2021): 56. http://dx.doi.org/10.5406/jaesteduc.55.1.0056.

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35

Castriota, David, and Mark D. Stansbury-O'Donnell. "Pictoral Narrative in Ancient Greek Art." American Journal of Archaeology 105, no. 2 (April 2001): 354. http://dx.doi.org/10.2307/507297.

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36

Faryad, Waqas. "Narrative Art in Rasheed Amjad's Fictions." Makhz 2, no. III (September 30, 2021): 286–92. http://dx.doi.org/10.47205/makhz.2021(2-iii)22.

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37

Mitchell, Kristina E., Amanda Martin-Hamon, and Maura Coleman-Murray. "Instructional Resources: Narrative Devices in Art." Art Education 52, no. 5 (September 1999): 25. http://dx.doi.org/10.2307/3193813.

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38

George, Michael. "Mathematics Teaching as a Narrative Art." Mathematics Teacher 108, no. 4 (November 2014): 266–71. http://dx.doi.org/10.5951/mathteacher.108.4.0266.

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Williams, Rachel, and Janette Y. Taylor. "Narrative Art and Incarcerated Abused Women." Art Education 57, no. 2 (March 2004): 47–54. http://dx.doi.org/10.1080/00043125.2004.11653543.

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40

Thomas, Carol G. "GREEK GEOMETRIC NARRATIVE ART AND ORALITY." Art History 12, no. 3 (September 1989): 257–67. http://dx.doi.org/10.1111/j.1467-8365.1989.tb00358.x.

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Webb, Ruth, and Peter Holliday. "Narrative and Event in Ancient Art." Art Bulletin 78, no. 1 (March 1996): 162. http://dx.doi.org/10.2307/3046162.

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42

Matz, David. "Negotiation and the Art of Narrative." Negotiation Journal 31, no. 3 (July 2015): 285–90. http://dx.doi.org/10.1111/nejo.12095.

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Livholts, Mona. "Narrative writing as art based practice." Research in Arts and Education 2018, no. 3 (December 1, 2018): 10–29. http://dx.doi.org/10.54916/rae.118857.

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Jo, Jae Hong. ""The Study of connection between art and narrative - until the disappearance of narrative in Modernism art -"." Journal of Basic Design & Art 20, no. 4 (August 31, 2019): 527–42. http://dx.doi.org/10.47294/ksbda.20.4.38.

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Mills, BA, Emily J., Lauren S. Seifert, PhD, and Clare Murray Adams, MFA. "Arts-based reminiscence through visual art and narrative analysis: An intergenerational exploration." American Journal of Recreation Therapy 13, no. 3 (February 12, 2017): 34. http://dx.doi.org/10.5055/ajrt.2014.0077.

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Objective: To celebrate memory through intergenerational reminiscence that led to the creation of Keepsake Boxes and to the cultivation of lively narratives about them. In Western cultures, adults more than 65 years of age are often subjected to negative and condescending attitudes. Yet they are one of our greatest resources—possessing life experience and wisdom. The current research study sought to oppose ageism and affirm the value of aging adults through reminiscence, expressive art, visual analysis, and narrative analysis. In an intergenerational collaboration, a multimethod and trans-disc

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Rosenthal, Nicolas G. "Rewriting the Narrative." California History 96, no. 4 (2019): 54–77. http://dx.doi.org/10.1525/ch.2019.96.4.54.

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A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that A

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Je, Sukhee, and Sunnam Choi. "An Ontological narrative Inquiry on Art Therapist’ Art Diary Experience." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 17 (September 15, 2022): 319–40. http://dx.doi.org/10.22251/jlcci.2022.22.17.319.

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Objectives The purpose of this study is to understand what art therapists experience in the process of painting diary and what meaning those experiences have in the life of an art therapist. Methods The inquiry method was an autobiographical inquiry, and among the qualitative research methods, the method of narrative inquiry was used. The research procedure was conducted from January 2021 to April 2022, and the analysis contents of the art therapist's analysis process and the researcher's flower drawings and diary writing were used as artifacts. Results As a result of the investiga

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Molnár, Gábor Tamás. "Art of Annotation." Central European Cultures 2, no. 2 (March 8, 2023): 52–73. http://dx.doi.org/10.47075/cec.2022-2.04.

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This paper aims to interpret the process of self-documentation in Péter Esterházy’s A Novel of Production (1979), an important Hungarian novel which utilizes extensive endnotes to link a parodic narrative to a body of fictionalized autobiographical commentary. Drawing on theories of play and self-reflexivity as well as critical studies on the history of annotation in nonfiction and fiction, the article presents the structure of Esterházy’s novel and elucidates some textual connections between seemingly disconnected parts. The interpretation focuses on a storyline involving the attempted signin

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Moloney, Francis J. "Book Review: Narrative Art and Act in the Fourth Gospel." Pacifica: Australasian Theological Studies 11, no. 3 (October 1998): 333–35. http://dx.doi.org/10.1177/1030570x9801100311.

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Spivey, Nigel. "Art and Archaeology." Greece and Rome 61, no. 2 (September 12, 2014): 287–90. http://dx.doi.org/10.1017/s0017383514000138.

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Whatever Luca Giuliani writes is usually worth reading. Image and Myth, a translation and revision of his Bild und Mythos (Munich, 2003), is no exception. This monograph engages with a topic germane to the origins and development of classical archaeology – the relation of art to text. Giuliani begins, rather ponderously, with an exposition of G. E. Lessing's 1766 essay Laokoon, ‘on the limits of painting and poetry’. Lessing, a dramatist, predictably considered poetry the more effective medium for conveying a story. A picture, in his eyes, encapsulates the vision of a moment – likewise a statu

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