Academic literature on the topic 'Narrative objects'
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Journal articles on the topic "Narrative objects"
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Gańko, Anna. "Rzeczy opowiedziane. Przyczynek do antropologii rzeczy Rzeczy opowiedziane. Przyczynek do antropologii rzeczy." Etnografia. Praktyki, Teorie, Doświadczenia, no. 5 (December 30, 2019): 195–208. http://dx.doi.org/10.26881/etno.2019.5.09.
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The article explores the concept of narrative objects – possible to perceive only through narratives, even though they are characterized by material features like shape, scent, texture, or weight . The analysis is based on fragments of oral biographical narratives collected during fieldwork in selected villages in Lower Silesia region, in the vicinity of Legnica . In the article, two roles of objects present in narratives are recognized: where the object is a part of the narrative (something expressed in words and reduced to lan- guage) and when it appears to be a factor that goes beyond the narrative – the reason for retelling memory . Such narrative objects reveal their two–fold nature: they are experi- enced as well as constructed . Hence, they are beyond the dualistic division between what is given (data) and what is formed . Grounded in non–linguistic experience, they are are simultaneously its linguistic expression . Although they are part of language, they do not fall within the logocentric frame .
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Humphries, Clare, and Aaron C. T. Smith. "Talking objects: Towards a post-social research framework for exploring object narratives." Organization 21, no. 4 (June 8, 2014): 477–94. http://dx.doi.org/10.1177/1350508414527253.
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In this article, we examine how to give objects a voice in organizational narrative. We track our encounter with a 914 Xerox copier, a redundant technological object that was scripted into a desired historical narrative within a corporate exhibit. Despite the 914’s apparent mnemonic and institutional efficacy, we questioned whether it might constitute more than a narrative repository. Might material objects in organizations also participate in narrative production? In this article, we advocate a post-social approach to narrative methodology that recognizes objects—such as the 914—as non-human actors in organizational sense-making. After reviewing post-sociality’s central premises, we propose three domains through which an object narrative can be elicited: object materiality, object practices and object biography. First, we suggest that object materiality can highlight the significant, networks of forces, materials and people—and therefore episodes and actors—that engage with and through objects. Second, we argue that people and objects are enmeshed in sequenced, workplace activities, and therefore through object practice humans define what stories objects can tell while objects reciprocally influence the latitude of human performance. Third, we propose that object biography provides a strategy to map the connections and transitions that occur over the life-course of an object, which can, in turn, unravel a changing web of organizational relations. Our aim is to provide methodological guidance to narrative researchers seeking to augment their organizational analyses by scrutinizing human–object enmeshment.
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Notargiacomo Mustaro, Pollyana, and Ismar Frango Silveira. "Learning Object Educational Narrative Approach (LOENA): Using Narratives for Dynamic Sequencing of Learning Objects." Issues in Informing Science and Information Technology 4 (2007): 561–71. http://dx.doi.org/10.28945/972.
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Jeffrey, Stuart, Steve Love, and Matthieu Poyade. "The Digital Laocoön: Replication, Narrative and Authenticity." Museum and Society 19, no. 2 (July 30, 2021): 166–83. http://dx.doi.org/10.29311/mas.v19i2.3583.
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This paper examines what qualities and affordances of a digital object allow it to emerge as a new cultural object in its own right. Due to the relationship between authenticity and replication, this is particularly important for digital objects derived from real world objects, such as digital ‘replicas’. Such objects are not an inauthentic or surrogate form of an ‘authentic’ object, but a new object with a complex relationship to the original and its own uses and affordances. The Digital Laocoön Immersive (VR exhibit), part of an AHRC funded project, was a response to the tragic fires at the Mackintosh Building of the Glasgow School of Art in 2014 and 2018. In this project a digital replica of a plaster cast of Laocoön, with a long history of use within the school, was chosen as the centre piece for the proposed immersive. As a consequence of both the immersive’s design methodology and the lessons learnt in its production, the Laocoön proved to be an ideal subject through which to critically assess the question of the status of the replica. This paper will explore not only how the material infrastructure, form and content of digital representations have an impact on its broader set relationships, but how the concept of an extended object, its production processes, and the way that these are explicitly acknowledged (or not), operate on its relationship to the original.
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Kahl, Christian. "Tourism attractions: from objects to narrative." Anatolia 31, no. 4 (March 5, 2020): 678–82. http://dx.doi.org/10.1080/13032917.2020.1738646.
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Lombardo, Vincenzo, and Rossana Damiano. "Semantic annotation of narrative media objects." Multimedia Tools and Applications 59, no. 2 (May 26, 2011): 407–39. http://dx.doi.org/10.1007/s11042-011-0813-2.
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Yi, Huiyuhl. "Building narrative identity: Episodic value and its identity-forming structure within personal and social contexts." Human Affairs 30, no. 2 (April 28, 2020): 281–92. http://dx.doi.org/10.1515/humaff-2020-0025.
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AbstractIn this essay, I develop the concept of episodic value, which describes a form of value connected to a particular object or individual expressed and delivered through a narrative. Narrative can bestow special kinds of value on objects, as exemplified by auction articles or museum collections. To clarify the nature of episodic value, I show how the notion of episodic value fundamentally differs from the traditional axiological picture. I extend my discussion of episodic value to argue that the notion of episodic value readily incorporates the role of narratives into the construction of identity in personal and social contexts. My main contentions are twofold. First, events or experiences from our personal narratives are episodically valuable insofar as they contribute to shaping our narrative identities. Second, when engaged in a collective action, we write a joint narrative with other participants that confers special meanings on the actions of each participant.
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Roose, Kerstin. ",Letztes Bett‘ und ,schwarzer Kasten‘. : Der Sarg als Objekt zwischen Ausstellen und Verbergen in Texten des Realismus." Zeitschrift für Germanistik 31, no. 3 (January 1, 2021): 439–51. http://dx.doi.org/10.3726/92170_439.
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Abstract Särge sind ambivalente Objekte, die genauso zur Peripherie des menschlichen Lebens wie zur Peripherie der Dingwelt gehören. Ihre realweltlichen Funktionen des Ausstellens und Verbergens korrespondieren in der Literatur des Realismus auffällig mit ihrer narrativen Ausgestaltung. In Folge zweier Koordinaten realistischen Erzählens – dem Dinginteresse einerseits, dem Verklärungsanspruch andererseits – bewegt sich der Sarg als Erzählobjekt in einem Spannungsfeld zwischen exponierend-verklärenden und verbergend-marginalisierenden Darstellungsverfahren.Coffins are ambivalent objects that belong to the periphery of human life as well as to the periphery of the world of things. In the literature of realism, their real-world functions of exhibiting and hiding correspond conspicuously with their narrative design. Two coordinates of realistic narration – the interest in things on the one hand, the claim to transfiguration on the other hand – cause the narrative object to be pulled between opposing poles of presentation: The coffin might be exposed and transfigured as well as concealed and marginalized.
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Flint, Christopher. "Speaking Objects: The Circulation of Stories in Eighteenth-Century Prose Fiction." PMLA/Publications of the Modern Language Association of America 113, no. 2 (March 1998): 212–26. http://dx.doi.org/10.2307/463361.
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An enormously popular narrative device, speaking objects were used frequently in eighteenth-century British fiction to express authorial concerns about the circulation of books in the public sphere. Relating the speaking object to the author's status in a print culture, works featuring such narrators characteristically align authorship, commodification, and national acculturation. The objects celebrate their capacity to exploit both private and public systems of circulation, such as libraries, banks, booksellers' shops, highways, and taverns. Linking storytelling to commodities and capital, they convey an implicit theory of culture in which literary dissemination, economic exchange, and public use appear homologous. But as object narratives dramatize, such circulation estranges modern authors from their work. Far from mediating between private and public experience or synthesizing national and cosmopolitan values, these narratives record the indiscriminate consumption that characterizes the public sphere in a print culture.
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Kurki, Tuulikki. "Materialized Trauma Narratives of Border Crossings." Folklore: Electronic Journal of Folklore 83 (August 2021): 81–104. http://dx.doi.org/10.7592/fejf2021.83.kurki.
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The purpose of this article is to discuss the applicability of the concept of materialized narrative in the analysis of border and mobility related experiences. In this article, the concept and its analytical potential are discussed in three examples that address difficult, even traumatic experiences related to various kinds of border crossings in Finnish and Estonian contexts. The concept of materialized narrative allows the conceptualization of border and mobility related traumas in supplementary and alternative ways. The materialized narrative is defined as a form of narrative and non-narrative knowledge that is linked with objects that people carry with them across various borders and their difficult experiences. The aim of the concept is to bring together the narrative and non-narrative knowledge of traumatic experiences that is embodied in a material object. The research thesis of the article is to examine how a materialized narrative can function as a trauma narrative. The article argues that materialized narratives can function as instruments for processing traumatic experiences related to border crossings, similarly to autobiographical trauma narratives that are regarded to be among the most central narrative forms analyzed in multidisciplinary trauma research. The research material includes interviews and artwork accomplished in the project “A Lost Mitten and Other Stories: Experiences of Borders, Mobilities, and New Neighbor Relations” (funded by the Kone Foundation).
Dissertations / Theses on the topic "Narrative objects"
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Astfalck, Jivan. "Narrative structures in body-related craft objects." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/7411/.
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In a largely under-theorised subject area as the crafts, this practice-based research contributes to the knowledge and understanding of the body related crafts object at PhD level. It conceptualises the narrative methodology necessary to make the creative work and theoretically examines its intention. Because the theoretical work on narrative structures has been largely done outside the crafts/art context, the research adopts and adapts existing procedures and concepts from hermeneutic philosophy and literary theory to expand on the understanding of the body related crafts object in this new context. The research project investigates narrative structures in body related crafts objects to further the understanding of these objects and to make a contribution to the theory of studio crafts practice. The dialogical and dynamic relationship between the surveying of relevant literature and the creative development of the practical work enabled the development of the narrative context of the work itself and the advancement of a studio methodology that emphasizes reflexivity and is conscious of its own need for understanding. Drawing on historical and autobiographical material, fiction and fairy tales, a series of body-related crafts objects have been produced that tell hybrid, fantastical stories. These objects are enigmatic, yet suggestive of the wounds of history and of the trauma and healing processes that are part of our relationships with others. The work is understood as a mnemonic device created to evoke the complexities and webs of relationships, which exist between the various levels of interpretative investments that would otherwise be un-containable. The exploration of the notion of metaphor within a semantic context is here adapted to facilitate new understanding of the metaphorical qualities found in creative and narrative craft objects. Metaphoricity can be regarded as a way of cross-mapping the conceptual system of one area of experience and terminology with another, suggesting a coherent system created for understanding knowledge in terms of critical reflection, and being conducive to new creative articulation and representation. In the work theory emerges as a dynamic encounter, a continuous re-figuration within a tradition of commentary and interpretation. Researched ideas, practical work and developing studio methodology have been explored further and tested in exhibitions, written publications, conference contributions, teaching projects and artists residencies. A large body of practical work has been generated over the period of the research. Some of the objects are pieces of jewellery, using precious metals and other more idiosyncratic materials. Other objects, even though still wearable, extend the boundaries of the traditional piece of jewellery towards what has become a fine art practice, which uses a multi-media approach together with traditional handcraft goldsmithing skills. Assemblage, installation, video and relational interactive projects have been developed to investigate narrative structures invested in those objects.
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Park, Ilhyung. "Objects in Samuel Beckett's prose works : possessions, inventories, gifts." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341071.
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Virvidaki, Aikaterini. "Testing coherence in narrative film." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:f8be5619-95b9-4810-a46b-2712707f80aa.
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This thesis aims to explore how narrative films that are marked by crucial obscurities and explanatory gaps in their development manage to become coherent. More specifically, the thesis is interested in examining how these obscurities and explanatory gaps can be understood as meaningful aspects of the films' organisation. Since the function of coherence in film has rarely been examined directly, the thesis first attempts to illuminate it by drawing on the work of two aestheticians who have examined it more systematically. Thus, the first part of the thesis discusses the work of Victor F. Perkins and George Wilson, while attempting to explore aspects of the work of these two aestheticians through the analysis of specific films. The writings of Perkins and Wilson provide a good starting point for the thesis because they raise crucial questions regarding the ways through which narrative films manage to deal with significant tensions in their organisation and intelligibility. The main body of the thesis (the second part of the thesis) then examines four narrative films, each of which is marked by a significant aspect of apparent incoherence. In each case, the thesis attempts to show that this aspect of apparent incoherence - rather than merely obstructing the film's intelligibility - essentially contributes to the creation of the film's idiosyncratic internal logic. In order to understand how this becomes possible, the thesis pays close attention to the ways in which the various components of each examined film relate to each other, observing and analysing the aesthetic strategies which enable each examined film ultimately to come together.
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Chaloupka, Evan M. "“That Damn Looney”: Illuminating Benjy and his Narrative with Objects and Autism." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1334687361.
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Yallop, Jacqueline. "Narrative objects : decorative art in the museum and the novel, 1850-1880." Thesis, University of Sheffield, 2006. http://etheses.whiterose.ac.uk/14892/.
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In the face of financial disaster, Dr Lydgate attempts to share his concerns with his wife, Rosamund, in George Eliot's Middlemarch (1871). Rosamund's refusal to engage with the crisis, or to sympathise with her husband's despair, is repeatedly presented by Eliot as a preoccupation with inanimate, decorative objects: Rosamund 'turned her neck and looked at a vase on the mantelpiece'. 1 The mid nineteenth-century novel increasingly explores what it means to own, collect and display objects, and how personal and public lives can be constructed and defined by 'things'. Recent critical discussion has examined the significance of the Great Exhibition in London in 1851, and the subsequent international exhibitions, as a catalyst for, and an expression of, new ways of producing and consuming objects. 2 These dazzling exhibitions, in conjunction with the foundation of the South Kensington Museum (1857), began to formulate principles of design and models of taste for the public. Increasingly influential, however, was the development of the smaller, regional museum collections of decorative objects which began to emerge in the second half of the nineteenth century. Most of these shared with their national counterparts an intention to educate the public; almost all retained the intimacy and distinct authoring of their roots with local collectors. This thesis draws together common impulses from real and fictional evidence to suggest ways in which people's relationships to their objects were becoming increasingly sophisticated and intimate. It explores the growing role of local municipal museums in presenting manufactured and decorative pieces, in reinforcing moral and social messages around collecting and display, and in popularising decorative 'things' in the home and beyond, while also examining the growing fictional fascination with, and the increasing visibility of, objects in the novel.
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Turner, Sophie. "Cyrano de Bergerac : battling with narrative burlesque." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a589190d-3abd-48f2-82d3-95b0b6ce0663.
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This thesis considers the burlesque literary forms in the work of the seventeenth-century writer, Cyrano de Bergerac. It challenges current scholarship by looking beyond libertinism to consider the importance of Cyrano's comic writing practices. While it does not deny the philosophical and scientific focus of Cyrano's oeuvre, it suggests that the burlesque is a defining characteristic. By taking into account the literary context in which Cyrano was writing – notably the querelle des Lettres and the rise of the histoire comique – as well as looking at other comic writers that could have influenced Cyrano, and through close textual readings, this thesis reveals that burlesque forms are often used in excess in Cyrano's work – forms compete against forms – producing destructive effects; burlesque forms can, in effect, be self-defeating. This project then asks whether it is possible to consider Cyrano a comic writer at all. It does demonstrate, however, that, in ridiculing everyone and everything, Cyrano too makes a mockery of the very idea of a dissimulative text. In questioning the literary gesture that Cyrano makes through his battling burlesque forms, this thesis suggests that libertinism can appear to be one of many playful masks the author assumes in his work. Is Cyrano a burlesque libertine? If so, this thesis raises the wider question of whether there are other imposters within the ranks.
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Clo, Magdeleine. "Les objets dans le roman grec." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENL024.
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La lecture de cinq romans grecs conservés, les histoires d'amour et d'aventures qui forment un corpus romanesque homogène (Leucippé et Clitophon d'Achille Tatius, Chéréas et Callirhoé de Chariton, Les Éthiopiques d'Héliodore, Daphnis et Chloé de Longus et Les Éphésiaques de Xénophon d'Éphèse), ne laisse pas présager de l'abondance des objets matériels que l'on peut y trouver. Nous répertorions exactement 710 termes qui désignent 426 objets différents, apparaissant à 4752 reprises dans l'ensemble des œuvres. Nous pouvons organiser ces objets et occurrences dans onze catégories fonctionnelles, qui sont plus ou moins représentées dans les romans : les biens et avoirs, les ustensiles, les armes, le mobilier, les vêtements, les accessoires, les soins corporels, les objets de la scène, les supports de l'écrit, les objets décoratifs et la vaisselle. Cette organisation permet de mieux appréhender l'ensemble des objets du corpus pour révéler l'utilisation littéraire que peuvent en faire les auteurs. En effet, l'objet accompagne avant tout le personnage au cours des péripéties : il est son attribut, l'élément qui permet de l'identifier sans doute possible dans le récit. L'objet donne des informations au lecteur sur l'histoire de ce personnage : témoin des événements qui ont marqué sa vie, il devient alors emblématique de l'individu. Cette relation est resserrée dans le cas des objets de reconnaissance dont font mention les romans de notre corpus. L'objet est signifiant lorsqu'il accompagne les protagonistes et ces derniers peuvent les utiliser pour indiquer leurs intentions ou essayer de les dissimuler. Les personnages tirent profit de l'objet pour le mettre en scène. L'objet leur est un adjuvant essentiel au cours des intrigues. L'objet fait pleinement partie du décor romanesque car il est un élément matériel qui peut être un repère spatial pour les personnages des romans comme pour le lecteur. L'objet, attaché à un lieu, donne également des indications symboliques aux personnages, les aiguillant dans leur voyage dans l'espace méditerranéen. Par conséquent, ces objets peuvent aussi être des obstacles à cette progression. L'objet est un opposant aux personnages, ce qui nourrit les intrigues romanesques. Parmi tous ces objets marqués par l'ambiguïté, le pharmakon se distingue par sa double fonction, déjà présente dans le mot grec, d'adjuvant et d'opposant. Les objets ne sont pas de simples éléments de décor, ils participent pleinement à l'action, au même titre que les personnages. L'objet, lorsqu'il est mentionné, n'est donc jamais anodin. Il peut également être emblématique de la relation entretenue par deux individus : l'objet est le support des relations, et devient symbolique de celles-ci. Effectivement, dans l'objet se cristallisent les sentiments des protagonistes, et l'objet permet leur union, métaphorique, à distance. De nombreux types d'objets participent de cette mise en relation des personnages : les coupes lors des banquets, les lettres échangées, les cadeaux offerts. L'objet est le signe de la relation elle-même. L'objet peut aussi être décoratif et orne dès lors le récit, lorsque les auteurs le mettent en avant dans de longues descriptions, notamment dans de longues ekphraseis qui enrichissent les textes. L'objet n'apparaît parfois pas pour les personnages des romans, néanmoins, il est bien utilisé par les auteurs, notamment pour concrétiser des expressions abstraites : de nombreuses comparaisons et métaphores mentionnent des objets, ce qui « matérialise » le texte. D'ailleurs, c'est dans les discours des personnages que l'objet occupe une place symbolique. Le symbole confère au texte une dimension interprétative qui enrichit encore la lecture des intrigues romanesques. Le discours symbolique éclaire le système des représentations.Ainsi l'objet, support du discours, est capital pour les œuvres romanesques car il permet au texte littéraire de se déployer dans toutes ses dimensionsThe five ideal Greek novels, nearly complete (Achilles Tatius' Leucippe and Clitophon, Chariton's Callirhoe, Heliodorus' Aethiopics, Longus' Daphnis and Chloe and Xenophon of Ephesus' An Ephesian Tale) constitute a genre that can fruitfully be studied as a unit. In these novels, the abundance of concrete objects is staggering. 426 distinct objects are described with 710 various lexemes and this group of words occurs 4752 times throughout the corpus under consideration. To organize and better understand the function of these objects and the language used to describe them, they can be meaningfully placed into eleven functional categories: property and assets, utensils, weapons, furniture, clothing, accessories, objects related to personal care, stage props, writing tools, decorative objects, and finally dishes. This organization allows the reader to have a better view of all the objects and enlightens each author's literary uses of them. Indeed, objects accompany characters throughout these narratives, can function as an attribute, that is the object that identifies them without any doubt. An object provides the reader with pertinent information about a character's personal history, since the object witnesses the events that have marked his or her life. The object becomes emblematic of the individuals. In the case of objects of recognition throughout corpus, the relationship between the identity of a character and his or her objects is even tighter. The object is significant when accompanying the protagonists, who can also use them to indicate their intentions or in turn try to hide them. The characters benefit from the object when used to manipulate a narrative situation. They often play the role of an essential tool without which the narrative could not progress. The object is an integral part of the scenery in that it is a material thing that embodies a spatial reference for characters as well as readers. This aspect of an object can work on both an intra- and extra-textual level providing characters within a novel or the work's readers with fundamental information. Imbued with spatial significance, an object can provide an impediment to a character's journey or, even more strongly, pose as an opponent that complicates a given plot's forward movement. Among the objects marked by this ambiguity of helping or hindering narrative, the pharmakon plays a distinguished role serving either as a poison or medicine. Accordingly, objects cannot be thought of as merely decorative elements in the novel, rather they must be thought of as things intimately involved in the action itself. The object, when mentioned, is never insignificant. Alongside its function as an agent, an object can also serve as a symbol for a relationship between individual characters. Indeed, the feelings of the protagonists crystallize themselves in the object, and the object allows for their metaphorical union, even when separated by distance. Many types of objects put the characters into a relationship: banqueters' cups, letters, and gifts all have these sorts of functions. In these instances, an object becomes a sign of a relationship itself. The object can also be a decorative ornament in the scenery but also of the text itself, when authors feature them in long descriptions, for instance in long ekphraseis that enrich the text. Objects, however, are not always a visible aspect of the scenery, but can serve as metaphors or illustrations for abstract concepts. Not only do the novelists use objects in this way to explicate an idea for the reader, but characters do so as well in their speeches. The symbol gives the text a dimension of significance that enriches more and more the reading of the romantic plots. The symbolic system highlights the cultural representations. In a word, the object is far from secondary or subsidiary, but is fundamental to these fictions, since it allows the novel to develop and flourish in all of its dimensions
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Laird, Andrew. "Modes of reporting speech in Latin fictional narrative." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:cf04560a-fda0-4f0b-a53f-2e11c64b7a96.
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The thesis reviews the techniques employed by Latin authors up to the second century A.D. to report the spoken words and articulated thoughts of their characters. The study is principally devoted to continuous narratives of a fictitious kind: epic, 'epyllia' and prose fiction, although some consideration has been given to narratives in other genres for comparative purposes. Several means are at the disposal of a narrator for presenting the discourse of his or her characters. What is supposed to have been said or thought may be conveyed by quotation in direct speech, some form of indirect or free indirect discourse, or by the simple mention that a speech act has occurred. The Introduction sets out the terminology used in this enquiry and surveys the modes of reporting speech in Latin. Some attention is given to the views of ancient literary critics and theorists on speech presentation. The first chapter on martial epic examines the reporting of speech in Virgil and Lucan in particular. The second chapter on poetry reviews epyllion and Ovidian narrative, and compares the practices of authors working in different genres. Divergences in style between authors working in the same genre are also considered: the techniques of four poets who report speech in scenes involving the dictation and delivery of messages are compared. The final chapter treats the prose fiction of Petronius and Apuleius. For all the texts taken into account, it will be shown that concentration on speech presentation can broaden our insight into some fundamental features of Latin narrative.
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Chrysanthou, Chrysanthos Stelios. "Narrative, interpretation, and moral judgement in Plutarch's 'Lives'." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:d7647c1c-22c9-4c4e-95e2-c93209592990.
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In the Parallel Lives Plutarch does not absolve his readers of the need for moral reflection by offering any sort of hard and fact rules for their moral judgement. Rather, he uses strategies for eliciting from readers an active engagement with the act of judging. This study, building upon and verifying further recent research on the challenging and exploratory, rather than affirmative, moral impact that the Lives are designed to have on their readers, offers the first systematic analysis of the representation of 'experimental' moralism of Plutarch's Parallel Lives. It seeks to describe and analyse the range of narrative techniques that Plutarch employs to draw his readers into the process of moral evaluation and expose them to the complexities and difficulties involved in making moral judgements. Through illustrating Plutarch's narrative techniques, it also sheds significant light on Plutarch's sensibility to the artistic qualities of historical narrative as well as to the challenges and dangers inherent in recounting, reading, and evaluating history. Chapter 1 considers the interrogatory nature of the moralism of the Lives and their narrative sophistication, which the insights of recent literary theories can help us to unfold and analyse. Chapter 2 is concerned with Plutarch's projection of himself and his readers, and, more specifically, with the devices that Plutarch exploits to build his authority with his readers, establish their complicity, and draw them into engaging all the more actively with the subjects of his Lives. Chapter 3 examines how Plutarch's delving into the minds of the in-text characters generates in readers empathy that keeps them alert up to the end of the Life to the complex and provisional character of a clear-cut moralising judgement. Chapter 4 reflects especially upon Plutarch's tendency to refrain from offering an overall moral conclusion in the closing chapters of the biographies. It examines several closural devices (such as anecdotes, the aftermath of cities, literary allusions, and generalised moral statements) that are effective in drawing readers to review in retrospect moral themes and questions which matter to the book as a whole, and (in the case of the endings of the second Lives) help a neat transition to the final comparative epilogue (Synkrisis) - whenever this follows. Chapter 5 explores how the Synkriseis expose readers to the particular challenges involved in deciding an overarching concluding judgement. It also closely examines the books that (as they now stand) do not have a Synkrisis and makes the case that no 'terminal irregularity' can justify and explain any deliberate omission of their comparative epilogues. Finally, Chapter 6 focuses on Plutarch's essay On the malice of Herodotus and explores how far Plutarch's techniques in the Lives escape and how far they are vulnerable to the criticisms that Plutarch makes of Herodotus. This analysis brings together the main strands of the earlier chapters so as to illuminate further Plutarch's narrative strategies; it also discusses the possibility that Plutarch exploits the rhetorical agonistic framework of the essay in order to elicit a similar sort of attentive and acute reader response to historical narrative, as in the Lives, and to arouse awareness of the precarious act of exercising moral judgement.
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Hammond, Carolyn. "Narrative explanation and the Roman military character." Thesis, University of Oxford, 1993. http://ora.ox.ac.uk/objects/uuid:0180e0a8-8a99-48a8-8964-47fb704b07d5.
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An examination of the Bellum Gallicum and Bellum Civile of Caesar, and books 21-30 of Livy, with particular reference to battle narratives; this thesis analyses the characterisation of commanders and their soldiers, and the use of soldiers as a moral focus, as part of the creation of causative patterns and explanations within narrative. I: sets out preconceptions and problems in the depiction of soldiers and leaders, and defines the terminology and scope of the argument: it also explains the analytical method of the thesis using Sallust, BC 57-61 as an example. II: On Caesar, BG. Begins with the drawbacks of the 'propagandist' approach: explores topoi of military action and character thematically (markers of bravery/cowardice, portrayal of Romans/enemies, the role of centurions, Caesar/subordinates/enemy leaders). III: On Caesar BC. Examines Caesar's modes of historical explanation in portraying civil war, through discussion of selected sections of the BC (also using comparative material from Cicero's Philippics): the start of the war; the fall of Corfinium; the Ilerda campaign; Curio in Africa; the battle of Pharsalus. Includes a consideration of Caesar's treatment of Labienus. IV (i): Traces narrative explanation on a large scale in Livy 21-3, and sections of 24-5, examining its relation to themes of Roman justification and destiny: observes and comments on parallels with Caesar in the depiction of soldiers and leaders. IV (ii): Continues with analysis of selected episodes, where particular tensions towards the end of the second Punic war condition and complicate narrative explanation: includes a view of the characterisation of Hannibal and Scipio. V A brief summary of the conclusions of the argument, and of its possible consequences and implications in a wider historiographical context.
Books on the topic "Narrative objects"
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Brooks, Peter. Body work: Objects of desire in modern narrative. Cambridge, Mass: Harvard University Press, 1993.
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Medieval narrative and modern narratology: Subjects and objects of desire. New York: New York University Press, 1989.
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Haouet, Mohamed Kameleddine. Les objets dans l'œuvre narrative d'Albert Camus. Tunis: Faculté des sciences humaines et sociales, Tunis, 1994.
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Post-object fandom: Television, identity and self-narrative. New York: Bloomsbury Academic, An imprint of Bloomsbury Publishing, Inc., 2015.
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Dallos, Rudi. Attachment narrative therapy: Integrating systemic, narrative, and attachment approaches. Maidenhead, Berkshire, England: Open University Press, 2006.
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Mono, kao, han monogatari: Modanizumu saikō = Objects, faces and anti-narratives : rethinking modernism. Tōkyō: Tōkyō-to Bunka Shinkōkai, 1995.
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M, Pearce Susan, ed. Narrating objects, collecting stories: Essays in honour of professor Susan M. Pearce. Milton Park, Abingdon: Routledge, 2012.
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Exercise of conscience: A WW II objector remembers. Buffalo, N.Y: Prometheus Books, 1990.
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Madar, Heather, ed. Prints as Agents of Global Exchange. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462987906.
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The significance of the media and communications revolution occasioned by printmaking was profound. Less a part of the standard narrative of printmaking’s significance is recognition of the frequency with which the widespread dissemination of printed works also occurred beyond the borders of Europe and consideration of the impact of this broader movement of printed objects. Within a decade of the invention of the printing press, European prints began to move globally. Over the course of the fifteenth to the eighteenth centuries, numerous prints produced in Europe traveled to areas as varied as Turkey, India, Persia, Ethiopia, China, Japan and the Americas, where they were taken by missionaries, artists, travelers, merchants and diplomats. This collection of essays explores the transmission of knowledge, both written and visual, between Europe and the rest of the world by means of prints in the early modern period.
Book chapters on the topic "Narrative objects"
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Silva, Rafael, and Daniel Brandão. "Narrative Objects in Virtual Reality." In Springer Series in Design and Innovation, 117–39. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49647-0_8.
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Herrick, James A. "Contemporary Rhetoric II: Narrative, Display, and Objects." In The History and Theory of Rhetoric, 230–57. 7th edition. | New York, NY : Routledge, 2021. |Includes bibliographical references and index.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000198-10.
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Lieto, Antonio, and Rossana Damiano. "Building Narrative Connections among Media Objects in Cultural Heritage Repositories." In Interactive Storytelling, 257–60. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-02756-2_33.
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Göbel, Stefan, Viktor Wendel, Christopher Ritter, and Ralf Steinmetz. "Personalized, Adaptive Digital Educational Games Using Narrative Game-Based Learning Objects." In Entertainment for Education. Digital Techniques and Systems, 438–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-14533-9_45.
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Cataldi, Mario, Rossana Damiano, Vincenzo Lombardo, Antonio Pizzo, and Dario Sergi. "Integrating Commonsense Knowledge into the Semantic Annotation of Narrative Media Objects." In AI*IA 2011: Artificial Intelligence Around Man and Beyond, 312–23. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23954-0_29.
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Cilento, Fabrizio. "Unidentified Narrative Objects: The Anti-Mafia and No-Global Films as Transmedia Adaptations." In An Investigative Cinema, 179–232. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92681-0_6.
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Pasalic, Ademir, Nikolaj Hollænder Andersen, Christopher Schinkel Carlsen, Emil Åberg Karlsson, Markus Berthold, and Thomas Bjørner. "How to Increase Boys’ Engagement in Reading Mandatory Poems in the Gymnasium: Homer’s “The Odyssey” as Transmedia Storytelling with the Cyclopeia Narrative as a Computer Game." In Smart Objects and Technologies for Social Good, 216–25. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76111-4_22.
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Nally, Claire. "Neo-Victorian Experimental Narrative: Writing the Absent Objects of History in Affinity and In the Red Kitchen." In Women Writers and Experimental Narratives, 151–70. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-49651-7_9.
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Scholz, Susanne. "Gendered Objects: Sexualizing the Female Body." In Body Narratives, 57–77. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230287686_4.
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"Unidentified Narrative Objects:." In Anti-Book, 272–300. University of Minnesota Press, 2016. http://dx.doi.org/10.5749/j.ctt1j7x9vm.10.
Full textConference papers on the topic "Narrative objects"
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Mustaro, Pollyana, and Ismar Silveira. "Learning Object Educational Narrative Approach (LOENA): Using Narratives for Dynamic Sequencing of Learning Objects." In InSITE 2007: Informing Science + IT Education Conference. Informing Science Institute, 2007. http://dx.doi.org/10.28945/3139.
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Learning objects-based architectures often allows the creation of coarse-granular learning resources by aggregating learning objects retrieved mainly from well-structured public repositories. Nonetheless, the learning resource building process is not exactly trivial, since proper selecting and sequencing strategies must be applied in order to make it useful for learning purposes, as well as to make it fit in pedagogical goals previously established. This paper shows LOENA (Learning Object Educational Narrative Approach), an architecture built over a theoretical basis that uses narrative-driven hypertext patterns to properly structure the sequencing of learning objects, providing a ready-to-use, pluggable way to implement learning paths in some teaching-learning context.
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Geun, OH Weon, and KO Jong-Gook. "Visual Narrative Technology of Paintings Based on Image Objects." In 2019 International Conference on Information and Communication Technology Convergence (ICTC). IEEE, 2019. http://dx.doi.org/10.1109/ictc46691.2019.8939893.
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OH, Weon Geun, and Jong-Gook KO. "Guidelines for Evaluation of Visual Narrative Technology Based on Image Objects." In 2020 International Conference on Information and Communication Technology Convergence (ICTC). IEEE, 2020. http://dx.doi.org/10.1109/ictc49870.2020.9289398.
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Trocchianesi, Raffaella, Daniele Duranti, and Davide Spallazzo. "Tangible interaction in museums and temporary exhibitions: embedding and embodying the intangible values of cultural heritage." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3322.
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Moving from a design perspective, the paper explores the potential of tangible interaction in giving shape to intangible contents in museums and temporary exhibitions. Going beyond tangibility intended in the strict sense of touching assets (Dudley 2010), we use here a wider interpretation of tangibility that considers touch in the sense of embodied experience. In this way we consider as tangible all those experiences that foster a strong involvement of the body. Tangible interaction is interpreted as a practice able to multiply the levels of the narrative, to make the visit experience memorable and to give physicality to intangible values. This approach sees the use of tangible interaction as a way to transfer practices and rituals linked to the contents and representative of the intangible values embedded in the assets. Therefore we can identify “gesture-through” and “object-through” interactions able to enhance the visitor experience and the understanding of cultural heritage. The rituals of gestures is linked to the concept of museum proxemics (author 2013) that involves both sensuousness and movements in space. If proxemics is the discipline which deals with investigating the relationship between individuals and space, and the significance of gestures and distances among people, then museum proxemics relates to the forms of behaviour which govern the relationship between individuals and museum space, between the visitor and the items on display and among visitors. In the paper we outline existing practices by analysing some case studies representative of the potential of tangible interaction in the cultural heritage field and classified according to the categories in the following: - Smart replicas: visitors interact with a technology-enhanced replica of the artworks to feel sensorial aspects and activate further levels of narrative; - Symbolic objects: visitors interact with objects, icons or elements imbued with symbolic meaning as a vehicle to reach the intangible value of the cultural asset; - Touchable screens: visitors interact with a surface mediating their relationship with contents and allowing for a personalised path within them; - Perfoming gestures: visitors perform meaningful gestures in order to trigger specific effects able to stage the narrative of intangible contents. In conclusion we highlight three actions in the cultural experience driven by tangible interaction and matter of design: (i) interacting with a sensitive object able to trigger intangible values; (ii) revealing contents difficult to transmit; (iii) multiplying the levels of knowledge and narrative.DOI: http://dx.doi.org/10.4995/IFDP.2016.3322
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Mironenko, M. "Verification module for 3D reconstructions of historical and cultural heritage objects in virtual and augmented reality. The problem of combining 2D and 3D materials." In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1834.978-5-317-06529-4/366-370.
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The issues of preparation and selection of historical sources for their integration into the verification module are considered. Examples of using the module for different types of sources are presented. The features of the development of a virtual interface for such tasks are described using the example of pictorial historical sources of the 19th century. The issues of integration of narrative sources into virtual space were also touched upon.
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Lloyd, Clare, Annika Herb, Michael Kilmister, and Catharine Coleborne. "Partnerships and Pedagogy: Transforming the BA Online." In Seventh International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/head21.2021.13001.
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There has been much written recently round the “digital revolution” of universities (Nascimento Cunha et al., 2020). Indeed, in 2020 the COVID-19 pandemic demonstrated the need for universities to adapt and adopt new technological tools for teaching and learning, as both the global world we live in changed, and as students adapted to the continually evolving digital landscape. The BA Online is a new interdisciplinary online presence for the humanities and social sciences, and includes a focus on constructive alignment, innovative learning objects, and social learning. The semester-long courses were built as a supported social learning experience that is purposefully constructed with a narrative. This article reveals how the BA Online project was realised through the use of partnerships, particularly that of the university learning designers who worked very closely with both the online learning platform FutureLearn and academic staff in curriculum design and course transformation.
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August, Christopher. "Looking for Ishi: Insurgent Movements through the Yahi Landscape." In 2003 Informing Science + IT Education Conference. Informing Science Institute, 2003. http://dx.doi.org/10.28945/2718.
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In 1911 a Yahi man wandered out of the Northern California landscape and into the twentieth century. He was immediately collected and installed at the just opened Anthropology Museum by Alfred Kroeber at the University of California's Parnassus Heights campus. Dedication invitations came from the U.C. Regents led by Phoebe Apperson Hearst. Maintaining the discretion of his indigenous culture this man would not divulge his name. Kroeber named him Ishi, the Yahi word for man. These assembled facts introduce narrative streams that continue to unfold around us. To examine these contingent individuals, events and institutions collectively labeled Ishi myth is to examine our own position, our horizon. Looking for Ishi is a series of interventions and appropriations of Ishi myth involving video installation, looping DVD, encrypted motion images, web work, streaming video, print objects, written and spoken word, and documentation of the author's own insurgent movements through the Yahi landscape. [The following is a summary of an art, writing, and media project in progress.]
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Borsotti, Marco. "From the invisible from the everyday, the unmentionable towards narrative strategies to explain, understand, remember. New Perspectives on Cultural Preservation." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3211.
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This proposal takes into consideration three categories of unusual narrative, connected to human life - the invisible, the everyday and the unmentionable - often placed in the outer fringe of our attention or completely ignored. The invisible: that which inhabits our world and often influences our lives, even though escaping our awareness because active in dimensions that we cannot see or do not know to guess. The everyday: what accompanies us in every moment of our lives and that produces in us a habit that makes it obvious (and then again, but otherwise invisible). The unmentionable: what happened at some time and somewhere, and the memory of which, for convenience, hypocrisy or convenience, has been removed or put on the edge of our life (and therefore to the visible limits), These categories have been chosen because of paradigmatic of new experiences on Cultural Preservation. The comprehension of the fundamental value of intangible cultural heritage, which came less than ten years ago to be part of the definition of "museum" written by ICOM (International Council of Museums), indeed, has opened new perspectives in the field of curating and of exhibition design, often destabilizing and unexpectedly coincident. Therefore we needs updated languages, more interactive and interdisciplinary towards the construction of a real design of the intangible cultures, able to reflect (and make reflect) on at first sight marginal phenomena, preserving their value of social and historical testimony and making it comprehensible to an audience as broad as possible. The new methods of staging these tales turn the apparent immateriality of knowledge of their socio-cultural values into occasion of development solutions, in form of exhibition design products and related services. We will examine as case studies, among others: for the invisible - l’Amterdam Micropia Musem (ART+COM studios), the World Water Museum (Keti Haliori), the Water Museum (P-06 atelier); for the everyday - the Museum of Broken Relationships (Vištica and Grubišić), the Museum of Obsolete Objects (Jung von Matt), The Museum of Everyday Life (Tidens Samling) for the unmentionable - the Museo Laboratorio della Mente (Studio Azzurro), the Memoria y Tolerancia Museum (Arditti+RDT).DOI: http://dx.doi.org/10.4995/IFDP.2016.3211
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Papathanasiou-Zuhrt, Dorothea. "Historytelling: Designing Validated Heritage Narratives for Non-captive Audiences. Evidence from EU Funded Projects in the Programming Period 2014-2020." In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/02.
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Much too often a temporospatial gap arises between monuments and non-captive audiences at places of cultural significance. It emerges as the missing link between the tangible and the intangible form of cultural heritage. While material substance or architecture of a monument are perceived by the eye, values and inherent meanings remain inaccessible. This particular condition is further modified for the better or worse by the skills of the audience, which has different origins, mentalities and cultural backgrounds that hinder or enhance the perception and appreciation of cultural heritage. Following the philosophy of hermeneutics, this paper suggests that the temporo-spatial gap between monuments and audiences is principally of cognitive nature: to understand and embrace heritage values and effectively bridge the gap, we need to connect the tangible form of the object to its intangible dimensions, symbols, meanings and values. As much of the supply side offers remain codified in the language of experts, while the public, especially the youth, is looking for compelling stories and multisensory experiences, we need to look for a new narrative discourse. This paper examines evidence from 260 heritage narratives produced through EU funded projects in the Programming Period 2014-2020, in an attempt to evaluate the knowledge acquisition pattern developed and the role of AV technology plays in the development of a validated heritage narrative.
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Aliel, Luzilei, Rafael Fajiolli, and Ricardo Thomasi. "Tecnofagia: A Multimodal Rite." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10454.
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This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the "cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product." The Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and phonemes; instrumental tones; soundscapes; historical, political and cultural contexts. In this sense, Tecnofagia tries to go beyond techniques and technologies of interactive performance, as it provokes glances for a Brazilian art-technological miscegenation. That is, it seeks emergent characteristics of the encounters between media, art, spaces, culture, temporalities, objects, people and technologies, at the moment of performance.
Reports on the topic "Narrative objects"
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.
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The main recommendations of the panel report can be summarised under five key headings: Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age. Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v Landscapes and regions: Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change? Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial. Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth. Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs. Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully. Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people. The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world