Journal articles: '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).

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Knutson, Sara Ann. "When Objects Misbehave." Fabula 61, no. 3-4 (November 25, 2020): 257–77. http://dx.doi.org/10.1515/fabula-2020-0014.

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AbstractThis article explores new possibilities for the interpretation of myths. It asks how people in the past configured their world and its complex interactions, to which their orally-constructed stories bear witness. It is assumed here that myths contain structures of belief, cognition, and world-making beyond their immediate subject matter. This article focuses specifically on the preservation of material objects in myths throughout their transmission from changing oral narratives to written form. We should not assume that objects in oral traditions simply color the narratives; rather, these representations of materials can provide clues into the mentalities of past peoples and how they understood the complex interaction between humans and materials. As a case study, I examine the Old Norse myths, stories containing materials that reinforced Scandinavian oral traditions and gave the stories traction, memory, and influence. In doing so, this article hopes to help bridge materiality studies, narrative studies, and folklore in a way that does not privilege one particular source type over another. The myths reveal ancient Scandinavian conceptions of what constituted an “object,” which are not necessarily the same as our own twenty-first century expectations. The Scandinavian myths present a world not divided between active Subject, passive Object as the Cartesian model would enforce centuries later, but rather one that recognized distinctive object agencies beyond the realm of human intention.

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Echeverri, Daniel. "Sincerely Yours: Orchestrating Tangible Interactive Narrative Experiences." Cubic Journal, no. 3 (November 2020): 202–7. http://dx.doi.org/10.31182/cubic.2020.3.032.

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This paper briefly reflects on two aspects of narrative: the use of multimodal analysis to understand the relationships between the senses and the narrative, as well as digital and physical content, and the implications brought from this analytical perspective on the design of interactive narratives. The latter, in particular, concerns narratives that involve tangible interaction and physical manipulation of objects. The creative process of Letters to José, a physical-digital hybrid nonfiction narrative, exemplifies this reflection. In this narrative, the person interacting with the story takes upon multiple roles, among them performatively enacting the story and unfolding the narrative through different mechanics of play.

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Jolles, Marjorie. "Between Embodied Subjects and Objects: Narrative Somaesthetics." Hypatia 27, no. 2 (2012): 301–18. http://dx.doi.org/10.1111/j.1527-2001.2011.01262.x.

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Michel Foucault's ethics of embodiment, focusing upon care of the self, has motivated feminist scholars to pursue promising models of embodied resistance to disciplinary normalization. Cressida Heyes, in particular, has advocated that these projects adopt practices of “somaesthetics,” following a program of body consciousness developed by Richard Shusterman. In exploring Shusterman's somaesthetics proposal, I find that it does not account for the subjective challenges of resisting normalization. Based on narrative theories of subjectivity, the role narrative plays in normalization, and a commitment to developing concrete, feminist practices of embodied ethics, I develop a model of “narrative somaesthetics” based on an updated consciousness‐raising model that emphasizes group heterogeneity and narrative conflict that deals with these challenges. Through an analysis of interviews with self‐identified femme lesbians and a “female to femme” transition support group featured in the documentary film, FtF: Female to Femme, I argue that narrative somaesthetics enables the analytical, genealogical work required to identify and weaken normalization's constraints on embodied feminist ethics.

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Launspach, Sonja. "“That really was a good method for beginners”." Narrative Inquiry 23, no. 2 (December 31, 2013): 262–82. http://dx.doi.org/10.1075/ni.23.2.03lau.

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Using conversational data from an ethnographic study of a quilting guild, this article examines the way narratives are used to situate quilted objects and techniques by indexing particular alignment frames for the viewer recipient. As a community of practice, the quilting guild provides an excellent interactional context to explore how narratives are used to construct and reinforce community practices. Working within the framework of conversation analysis, the study found that quilters utilized narratives argumentatively to support specific characterizations of quilted objects and quilting techniques. In the data, situating narratives initiate an interactional sequence consisting of two parts: the narrative and an expansion and integration sequence. Quilters make use of different syntactic and story elements in order to signal the appropriate alignment frames. Further, the expansion and integration segments provide space for the women to negotiate and integrate individual and group meanings for the quilting practices presented in the narrative.

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Fitzpatrick, Noel. "The question of Fiction – nonexistent objects, a possible world response from Paul Ricoeur." Kairos. Journal of Philosophy & Science 17, no. 1 (December 1, 2016): 137–53. http://dx.doi.org/10.1515/kjps-2016-0020.

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Abstract The question of fiction is omnipresent within the work of Paul Ricoeur throughout his prolific career. However, Ricoeur raises the questions of fiction in relation to other issues such the symbol, metaphor and narrative. This article sets out to foreground a traditional problem of fiction and logic, which is termed the existence of non-existent objects, in relation to the Paul Ricoeur’s work on narrative. Ricoeur’s understanding of fiction takes place within his overall philosophical anthropology where the fictions and histories make up the very nature of identity both personal and collective. The existence of non-existent objects demonstrates a dichotomy between fiction and history, non-existent objects can exist as fictional objects. The very possibility of the existence of fictional objects entails ontological status considerations. What ontological status do fictional objects have? Ricoeur develops a concept of narrative configuration which is akin to the Kantian productive imagination and configuration frames the question historical narrative and fictional narrative. It is demonstrated that the ontological status of fictional objects can be best understood in a model of possible worlds.

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Jang, Il-gu. "Narrative Processing of the Cultural Objects in Honbul." JOURNAL OF MODERN LITERARY THEORY 66 (September 30, 2016): 239–64. http://dx.doi.org/10.22273/smlt.66.10.

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Slattery, Dennis Patrick, and Peter Brooks. "Body Work: Objects of Desire in Modern Narrative." South Central Review 11, no. 3 (1994): 80. http://dx.doi.org/10.2307/3190257.

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Chimenti, Dimitri. "Unidentified narrative objects: notes for a rhetorical typology." Journal of Romance Studies 10, no. 1 (March 2010): 37–49. http://dx.doi.org/10.3828/jrs.10.1.37.

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Blanc, Dina, and Peter Brooks. "Body Work: Objects of Desire in Modern Narrative." SubStance 23, no. 2 (1994): 111. http://dx.doi.org/10.2307/3685072.

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Jansson, Siv, and Peter Brooks. "Body Work: Objects of Desire in Modern Narrative." Yearbook of English Studies 26 (1996): 308. http://dx.doi.org/10.2307/3508699.

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Mullins, Matthew. "Objects & Outliers: Narrative Community in Don DeLillo'sUnderworld." Critique: Studies in Contemporary Fiction 51, no. 3 (April 30, 2010): 276–92. http://dx.doi.org/10.1080/00111610903380196.

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Angele, Marian, and Peter Brooks. "Body Work: Objects of Desire in Modern Narrative." World Literature Today 68, no. 1 (1994): 226. http://dx.doi.org/10.2307/40150108.

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Dillon, Patrick, and Tony Howe. "Design as Narrative: Objects, Stories and Negotiated Meaning." International Journal of Art Design Education 22, no. 3 (October 2003): 289–96. http://dx.doi.org/10.1111/1468-5949.00366.

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Inglesby, Elizabeth C. ""Expressive Objects": Elizabeth Bowen's Narrative Materializes." MFS Modern Fiction Studies 53, no. 2 (2007): 306–33. http://dx.doi.org/10.1353/mfs.2007.0041.

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Kiely, Robert. "Body work: Objects of desire in modern narrative." History of European Ideas 18, no. 6 (November 1994): 1044–46. http://dx.doi.org/10.1016/0191-6599(94)90414-6.

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Heersmink, Richard. "The narrative self, distributed memory, and evocative objects." Philosophical Studies 175, no. 8 (May 24, 2017): 1829–49. http://dx.doi.org/10.1007/s11098-017-0935-0.

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Meghini, Carlo, Valentina Bartalesi, Daniele Metilli, and Filippo Benedetti. "Introducing narratives in Europeana: A case study." International Journal of Applied Mathematics and Computer Science 29, no. 1 (March 1, 2019): 7–16. http://dx.doi.org/10.2478/amcs-2019-0001.

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Abstract We present a preliminary study to introduce narratives as a first-class functionality in digital libraries. The general idea is to enrich those libraries with semantic networks of events providing a meaningful contextualisation of the digital libraries’ objects. More specific motivations are presented through a set of use cases by different actors who would benefit from using narratives for different purposes. Then, we consider a specific digital library, Europeana, the largest European digital library in the cultural heritage domain. We discuss how the Europeana Data Model could be extended for representing narratives, and we introduce an ontology for narratives. We also present a semi-automatic tool, which, on the basis of the ontology, supports the creation and visualisation of narratives, and we show how the tool has been employed to create a narrative of the life of the painter Gustav Klimt as a case study. In particular, we focus our attention on the functionality of the tool that allows extracting and proposing to the user specific digital objects for each event of the narrative.

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Stagg Peterson, Shelley, Soon Young Jang, and Christina Tjandra. "Young children as playwrights and their participation in classroom peer culture of sociodramatic play." Journal of Early Childhood Research 18, no. 3 (December 11, 2019): 227–42. http://dx.doi.org/10.1177/1476718x19888721.

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In this study, analysis of video recordings of 5-year-old children’s use of language and nonverbal modes of communication (e.g. gaze, action, gesture, and proximity) is used to examine how children contribute to sociodramatic play narratives and participate in the classroom peer culture. In their dramatic play at a restaurant play center and at a grocery store dramatic play center, eight focus children took up narrative playwright roles, where they contributed to the narrative of the dramatic play, mainly by expressing their own needs and by making connections or providing information to their peers. Children took up intervening playwright roles, in which they changed the direction of the narrative, changed or suggested a change of role, or assigned a new role to an object, most frequently by expressing desires or by providing new information. Dramatic play provided an authentic context for the children to try out various social strategies and to observe how others responded to their efforts, in order to position themselves in desirable ways within the classroom social network. Children took up powerful roles through frequency of participation and through directing others’ actions and maintaining the use of desired objects when continuing the play narrative by taking up narrative playwright roles. In addition, they used humor and made imaginative suggestions for roles and plots when taking up intervening playwright roles where they introduced new characters, roles for objects, and plots. Our research provides examples of peers teaching each other in dramatic play through the responses they give to each other and through modeling social approaches that allow them to fulfill desired social purposes and take up powerful social roles in the peer network.

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Gordon, Ross, Joseph Ciorciari, and Tom van Laer. "Using EEG to examine the role of attention, working memory, emotion, and imagination in narrative transportation." European Journal of Marketing 52, no. 1/2 (February 12, 2018): 92–117. http://dx.doi.org/10.1108/ejm-12-2016-0881.

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Purpose This paper aims to present a study using encephalography (EEG) to investigate consumer responses to narrative videos in energy efficiency social marketing. The purpose is to assess the role of attention, working memory, emotion and imagination in narrative transportation, and how these stages of narrative transportation are ordered temporally. Design/methodology/approach Consumers took part in an EEG experiment during which they were shown four different narrative videos to identify brain response during specific video segments. Findings The study found that during the opening segment of the videos, attention, working memory and emotion were high before attenuating with some introspection at the end of this segment. During the story segment of the videos attention, working memory and emotion were also high, with attention decreasing later on but working memory, emotion and imagination being evident. Consumer responses to each of the four videos differed. Practical implications The study suggests that narratives can be a useful approach in energy efficiency social marketing. Specifically, marketers should attempt to gain focused attention and invoke emotional responses, working memory and imagination to help consumers become narratively transported. The fit between story object and story-receiver should also be considered when creating consumer narratives. Social implications Policymakers and organisations that wish to promote pro-social behaviours such as using energy efficiently or eating healthily should consider using narratives. Originality/value This research contributes to theory by identifying brain response relating to attention, working memory, emotion and imagination during specific stages of narrative transportation. The study considers the role of attention, emotion, working memory and imagination during reception of stories with different objects, and how these may relate to consumers’ narrative transportation.

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Minde, Julie. "Exploring the Nature of Narrative Analysis in Maps: the Case Study of the Georgia-South Ossetia Conflict." Narrative and Conflict: Explorations in Theory and Practice 2, no. 1 (April 26, 2015): 19. http://dx.doi.org/10.13021/g85p4k.

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The use of narrative analyses has been used to further our understanding of conflict. While maps have been recognized as objects of power and identity, study of them as narratives has until recently been under-developed. This paper will present exploratory narrative study of maps and mapping associated with a conflict case study; Georgia and South Ossetia in the Caucasus. Texts and stories embedded into Western cartographical maps will be examined using structuralist, functionalist and post-structuralist analyses.

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Kinder, Marsha. "Hot Spots, Avatars, and Narrative Fields Forever: Buññuel's Legacy for New Digital Media and Interactive Database Narrative." Film Quarterly 55, no. 4 (2002): 2–15. http://dx.doi.org/10.1525/fq.2002.55.4.2.

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This essay explores Buññuel's legacy for interactive database narratives and their discreet pleasures. Using Buññuel's 1933 conceptual" as an interface design for an interactive installation and for adapting his experimentation to cyberspace, the essay analyzes three strategies: 1) Buññuel's reliance on incongruous objects("hot spots") rather than montage as the primary means of navigating from one scene or level to another; 2)his use of puppet-like avatars who don't conform to psychology or narrative logic but are engaging nevertheless; 3) his creation of a narrative field where story possibilities are limitless, repetition and randomness rampant, and search engines motored by desire.

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Argueta, Arno J. "“Só um buraco perdido no oco do mundo,” The Affective Subjects of the Wasteland in Narradores de Javé (2003)." Brasiliana: Journal for Brazilian Studies 6, no. 2 (October 13, 2018): 142–60. http://dx.doi.org/10.25160/bjbs.v6i2.26244.

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Although 1990s Brazilian cinema revisits the sertão to find Brazilian identity, by the 2000’s some films begin challenging that narrative. As the state and its narratives move to the city, the sertão begins to be represented as a wasteland. This paper examines one such film, Narradores de Javé (The Storytellers; Caffé, 2003). Previously studied for its use of narration to countering the discourses of modernity, I propose that the film also constructs the wasteland as a social space by enacting affectivity to build a sense of communal narrative. First, I engage with Zygmunt Bauman’s Wasted Lives (2004) to explore how the state denies its inhabitants citizenship as subjectification. Second, in response to this disavowal, the villagers mobilize what Kathleen Stewart calls Ordinary Affects (2007) to subjectify by creating a social space through the communal sharing of stories that wasted objects allow them to recall.

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Speidel, Klaus. "What narrative is." Frontiers of Narrative Studies 4, s1 (November 22, 2018): s76—s104. http://dx.doi.org/10.1515/fns-2018-0033.

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AbstractUnacknowledged by its practitioners, narratology has often been revisionary rather than descriptive when categorizing narratives. This is because definitions, expert judgment and personal intuition, traditionally the main tools for categorization, are vulnerable to media blindness and to being theory loaded. I argue that to avoid revisionary accounts of ordinary everyday practices such as narrative or gameplay of which non-experts have a firm understanding, expert categorizations have to be tested against folk intuitions as they become apparent in ordinary language. Pictorial narrative in single pictures is introduced as a specific case of categorization dispute and an experiment laid out in which non-experts assess if different pictures tell stories. As the chosen pictures correspond to different criteria of narrative to varying degrees, the experiment also serves as an implicit test of these criteria. Its results confirm monochrony compatibilism, the position that single monochronic pictures can autonomously convey stories. While the pictures rated high in narrativity correspond to traditional criteria of narrative, I argue that the way in which these criteria are usually interpreted by narratologists is problematic because they exclude these pictures from the realm of narratives. It is argued that the way marginal phenomena are categorized is essential for a sound understanding of even the most paradigmatic objects of a domain because categorizations influence definitions and definitions ultimately guide interpretations.

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Caro, María C., and Diana A. Parra. "Fostering Narrative Post-writing through Authentic Designed Learning Objects." Journal of Language Teaching and Research 9, no. 6 (November 1, 2018): 1209. http://dx.doi.org/10.17507/jltr.0906.10.

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One of the challenges language teachers face is how to engage learners to empower their writing skills. Teacher’s feedback is a key feature when developing writing, but it seems not to be effective when learners remain having the same difficulties. It is imperative to examine pedagogical actions for motivating and tackling learners post writing difficulties. This action research study states a new alternative in which students autonomously learn and experience strategies to become better writers. The analysis focused on the influence that the process writing approach, focalized on the monitoring strategy of the post-writing stages, and the implementation of authentic designed learning objects (LOs) had on young adult learners’ short narrative compositions. Outcomes indicate that students improved their writing since the tasks responded to their cognitive and affective profiles. Findings also suggested that the PRWRITE LOs clearly guided learners in the developmental process of writing. Students perceived those technological tools as interesting, applicable and motivating for their learning. This pedagogical experience promotes the design of innovative tools based on learners’ needs and goals, which motivate and engage them in an improving process.

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Borisenkova, Anna. "Narrative Foundations of Knowing: Towards a New Perspective in the Sociology of Knowledge." Sociological Research Online 14, no. 5 (November 2009): 206–12. http://dx.doi.org/10.5153/sro.2011.

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There has been a tendency in social science to apply narrative inquiry ways of thinking and working to sociological research. Narratives are present either in theoretical schemes or in methodology. The purpose of this paper is to demonstrate the contribution made by narrative to social epistemology. Firstly, this is done through the explication of an explanatory potential of the concept of narrative and its ability to transform the analysis of fundamental sociological objects, such as human experience, actions, and communication. Secondly, the paper highlights three points involved in a narrative basis to scientific knowledge: discipline's biography as a narrative; narrative as a representation of social phenomena; and narrative as a kind of logic, embedded in the process of sociological explanation. Through a consideration of Charles Tilly's, Paul Ricoeur's, and Max Weber's arguments the problem of applying narrative inquiry to the investigation of large-scale phenomena is set. Apart from some insights, interpretative explanations, and illustrations, the paper provides critical arguments concerning the limitations of the narrative inquiry with respect to social epistemology.

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Hatton, Nikolina. "A Tale of Two Pianos: Actants, Sociability, and Form in Jane Austen’s Emma." Open Cultural Studies 3, no. 1 (February 1, 2019): 135–47. http://dx.doi.org/10.1515/culture-2019-0012.

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Abstract This essay examines the materiality of the two pianofortes in Jane Austen’s Emma (1815). Rather than focusing on the piano’s symbolic function—its cultural capital, for instance—this essay highlights how the physical qualities of the piano as an object enable specific plot and aesthetic effects within the novel. The instrument’s conspicuousness—the continuous human attention that it demands—allows these two instruments to become objects of sustained discourse within the plot. However, in addition to affording certain narrative effects, the piano also functions as a site of interpretive ambiguity, as the object continues to call attention to itself even after its narrative fecundity has been allegedly resolved. By examining the novel’s engagement with these pianos, this essay argues for a more open understanding of narrative agency—one that acknowledges the narrative generating and genre-undermining power of things.

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Trompenaars, Thijs. "Empathy for the inanimate." Linguistics in the Netherlands 35 (December 3, 2018): 125–38. http://dx.doi.org/10.1075/avt.00009.tro.

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Abstract Narrative fiction may invite us to share the perspective of characters which are very much unlike ourselves. Inanimate objects featuring as protagonists or narrators are an extreme example of this. The way readers experience these characters was examined by means of a narrative immersion study. Participants (N = 200) judged narratives containing animate or inanimate characters in predominantly Agent or Experiencer roles. Narratives with inanimate characters were judged to be less emotionally engaging. This effect was influenced by the dominant thematic role associated with the character: inanimate Agents led to more defamiliarization compared to their animate counterparts than inanimate Experiencers. I argue for an integrated account of thematic roles and animacy in literary experience and linguistics in general.

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Wang, Yong, and Carl W. Roberts. "Actantial analysis." Narrative Inquiry 15, no. 1 (September 28, 2005): 51–74. http://dx.doi.org/10.1075/ni.15.1.04wan.

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This paper introduces a formal procedure for analyzing narratives that was developed by the French/Lithuanian structuralist, A. J. Greimas. The focus is on demonstrating the utility of Greimas's ideas for analyzing one aspect of personal narratives: identity-construction. Reconstructing the basic actantial structure from self-narratives is shown to provide cues to power differentials among actants as perceived by the narrator. Distinguishing narrated events along conflict versus communication axes helps the analyst determine whether an experiential or a discursive domain is of primacy for the narrator. Moreover, investigation of communicative outcomes can be used to validate (or invalidate) findings on power relations. Analyses of narrative plots may afford insights into how people engage objects with cultural valuations within the various social contexts recounted in narrative data. Finally, Greimas's theory of modalities can be used to differentiate among these plots within narrative trajectories. This approach to narrative analysis differs from more traditional “denarrativization” and “renarrativization” approaches in that it affords the researcher a language (or discursive structure) according to which the narrator's, not the analyst's, understandings of character relations and reality conditions become the subject matter of one's research.

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Antonov, Dmitriy I. "“NARRATIVE GEOMETRY”. ON THE METHOD FOR SUMMING ANGLES IN RUSSIAN ICONOGRAPHY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2021): 76–96. http://dx.doi.org/10.28995/2686-7249-2021-4-76-96.

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The article deals with the techniques of the moveable spectator position and summing up angles in Russian iconography. Those visual techniques, described by a number of researchers, pertain to the ‘basic grammar’ of post-iconoclastic Byzantine and medieval Russian art. Firstly, the sliding spectator position and the summation of the angles made it possible to show the depicted object simultaneously from several points of view – the icon-painter represented the visual figure in several mutually exclusive (with a fixed observer position) angles. The technique was used in Russian iconography primarily to demonstrate significant objects. Thus, in the space of the composition the creator of the image conveyed all the necessary information about the depicted object, saturating the picture with various semantic nuances and creating ‘micro-stories’. Less often the same technique could also be used to demonstrate peripheral objects. Secondly, the summation technique solved another task, demonstrating the dynamics of the character’s movement. In that case, it is not the painter who ‘moves’ (mentally examining the object from different positions), rather the hero of the visual story. Fixing different moments of time, the icon-painter transforms the depicted figure so that the character’s body freezes in an unnatural position. The position of the body conveys information about the direction of the movements of the hero depicted. The paper considers both typical and specific examples of the use of those techniques in medieval Russian art.

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Harré, Rom. "Material Objects in Social Worlds." Theory, Culture & Society 19, no. 5-6 (December 2002): 23–33. http://dx.doi.org/10.1177/026327640201900502.

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This article strongly argues the priority of symbolic, especially discursive, action over the material order in the genesis of social things. What turns a piece of stuff into a social object is its embedment in a narrative construction. The attribution of an active or a passive role to things in relation to persons is thus essentially story-relative: nothing happens or exists in the social world unless it is framed by human performative activity. Drawing on Gibson's notion of `affordance', Harré affirms that material things may be disposed towards many different usages, and may acquire multiple identities according to different narrative constructions, even though the range of their possible `existences' is constrained by certain material features. Objects acquire their full significance only if one takes account of their double role in both the `practical' order, which includes social arrangements for maintaining life, and the `expressive' order, which creates hierarchies of honour and status, and which enjoys priority over the former. Reasoning from a microsociological constructionist perspective, Harré restates his view that there is nothing else to social life but symbolic exchanges and joint management of meaning, including the meaning of things; the illusion that some thing is real is merely an effect of certain interpretational grammars which remain stable across the generations or even the centuries.

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Ranta, Michael. "(Re-)Creating Order: Narrativity and Implied World Views in Pictures." Tekstualia 4, no. 43 (April 1, 2015): 57–78. http://dx.doi.org/10.5604/01.3001.0013.4245.

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The philosophical debate on the nature of narrative has been mainly concerned with literary narratives, whereas forms of non-literary and especially pictorial narrativity have been rather neglected. Within traditional art history, however, the narrative potential of the visual arts has usually been taken for granted, though rarely by attempting to elucidate any deeper cognitive, semiotic, and philosophical aspects involved. Now, generally speaking, narratives contribute to the human endeavour to reduce the unpredictability of worldly changes, and human existence in particular, attempting to establish order in our experiences of transitoriness and existential vulnerability. The paper discusses some possible criteria of narrativity with regard to their applicability to pictorial objects. It demonstrates thatpictorial works may express or imply high- -level narrative structures or, put in another way, wider world views or schemata, and that our comprehension of and need for these schemata can be explained by taking recent research within cognitive psychology, schema theory, and narratology into account.

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Sherman, Daniel J. "Objects of Memory: History and Narrative in French War Museums." French Historical Studies 19, no. 1 (1995): 49. http://dx.doi.org/10.2307/286899.

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Bassi, Karen. "Things of the Past: Objects and Time in Greek Narrative." Arethusa 38, no. 1 (2005): 1–32. http://dx.doi.org/10.1353/are.2005.0002.

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Djenar, Dwi Noverini. "That’s how it is there." Narrative in ‘societies of intimates’ 26, no. 2 (December 31, 2016): 402–29. http://dx.doi.org/10.1075/ni.26.2.09dje.

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Recent sociolinguistic research on narrative has underlined the understanding of place as being both spatially defined and socially constituted through shared experience as well as contestation. Drawing on studies on the philosophy of place and the ‘small stories’ perspective, this study approaches place as an abstract concept in which spatial environment, people, objects, and activity come together as a unified, complex structure. Two Indonesian narratives are examined to illustrate the connectedness between the different elements that make up that structure. Ambiguous uses of temporal phrases and person references suggest that these elements (e.g., people and objects) are often undifferentiated. It is argued that the narratives are not simply stories about place but are stories enabled by place, that is, by presence in a spatial environment, encounter with people and objects, and engagement in shared activities through time, and which highlight self-identity as being deeply embedded in the identities of others.

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Gray, Noella J., Rebecca L. Gruby, and Lisa M. Campbell. "Boundary Objects and Global Consensus: Scalar Narratives of Marine Conservation in the Convention on Biological Diversity." Global Environmental Politics 14, no. 3 (August 2014): 64–83. http://dx.doi.org/10.1162/glep_a_00239.

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The Convention on Biological Diversity (CBD) continues to promote marine protected areas (MPAs) as a preferred tool for marine biodiversity conservation, in spite of concerns over their effectiveness and equity. However, explanations for this consensus on the utility of MPAs focus primarily on their measurability and ignore the ways in which they are conceptualized through ongoing governance processes. Drawing on the results of collaborative event ethnography at the Tenth Conference of the Parties to the CBD, this paper adopts the concepts of boundary objects and scalar narratives to analyze the ways in which consensus on MPAs is produced, in spite of conflicting understandings of MPA forms and functions. Both a local narrative of participatory MPAs and a global narrative of science driven high seas conservation articulate a regional scale as ideal for MPA governance, although with different priorities. Ultimately, consensus at the CBD is enabled only by accommodating competing visions of MPAs.

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Welch, Edward. "Objects of Dispute." French Politics, Culture & Society 36, no. 2 (June 1, 2018): 103–25. http://dx.doi.org/10.3167/fpcs.2018.360205.

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During the presidency of Charles de Gaulle (1958–1969), state-led spatial planning transformed the Paris region. The aim of the Schéma directeur d’aménagement et d’urbanisme de la région de Paris (1965) was to improve urban life through modernization; but its scale and ambition meant that it came to represent the hubris of state power. This article examines the role of discourse and narrative in state planning. It explores the role of planning discourses in the production of space, as well as stories told about planning by the planners and those who live with their actions. It investigates perceptions of power in post-war France, placing the Gaullist view of the state as a force for good in the context of contemporary critiques of state power. Addressing the relationship between power, resistance, and critique, it sees the environments produced by spatial planning as complex objects of dispute, enmeshed in conflicting hopes and visions of the future.

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Rácz, Krisztina. "Fortress under Siege: Narratives of Ethnic Conflict and Discrimination among Hungarian Youth in Vojvodina." Issues in Ethnology and Anthropology 13, no. 1 (February 24, 2018): 135. http://dx.doi.org/10.21301/eap.v13i1.7.

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This paper analyzes narratives of ethnic conflict among Hungarian and Serbian youth in Vojvodina. These experiences are narrated by Hungarian young people from Mali Iđoš in the Central Bačka region in the interviews with the author of the paper, and the excerpts of the transcripts are analyzed according to the Labovian socio-linguistic scheme. It argues that narrative structure varies according to the interlocutor’s gender; however, all narratives demonstrate similarity in terms of positioning the protagonists of such events as committing subjects and suffering objects. In addition, the narratives are highly script-like, which suggests a lack of diversity in the available discursive frames for narrating the experience of conflicts perceived as ethnically motivated. The most common script, which the interlocutors of this research use as well, constructs and justifies ethnic groups as simultaneously in confrontation with and isolated from each other, linguistically, culturally and geographically, and articulates interethnic experiences as a threat.

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Allard, Silas W. "Reimagining Asylum: Religious Narratives and the Moral Obligation to the Asylum Seeker." Refuge: Canada's Journal on Refugees 29, no. 1 (October 18, 2013): 121–29. http://dx.doi.org/10.25071/1920-7336.37521.

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The narrative that grounds the asylum policy of the United States portrays asylum seekers as passive objects of external forces. This narrative emerges from the complex interplay of exceptionality and victimization that characterizes the legal status and popular perception of the refugee. It is then read back onto the asylum seeker through a supereroga- tory asylum policy that is unable to recognize the moral demand made by the asylum seeker. The project this essay is drawn from seeks to challenge the policy of asylum as charity by interrogating alternative narratives grounded in the Hebrew Bible story of the Exodus and the Qu’ranic story of the Hijra. In these narratives, flight from oppression is portrayed as an act of moral agency, and the asylum seeker’s capacity as Other to make a moral demand on the Self emerges. Thus, I argue that an asylum policy informed by these alternative narratives needs must question its supererogatory assumptions.

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Culy, Christopher. "Null objects in English recipes." Language Variation and Change 8, no. 1 (March 1996): 91–124. http://dx.doi.org/10.1017/s0954394500001083.

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ABSTRACTRecipes exhibit a phenomenon that does not exist in other varieties that are commonaly studied (e.g., narrative, sentences in isolation, conversational discourse, etc.)—namely, zero anaphors as direct objects, as inBeat[ø]until stiff. The two goals of this article are to examine this phenomenon in both contemporary recipes and across time and to explore its consequences for linguistic theroy. It is found that stylistic, semantic, and discourse factors are the most important in the phenomenon, with syntax and morphology playing relatively minor roles. Furthermore, these zero anaphors pattern like overt pronouns and have in fact replaced overt pronouns over time. A preliminary model of register variation and its consequences for the synactic analysis of recipes are also presented.

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Tamura, Eileen H. "Narrative History and Theory." History of Education Quarterly 51, no. 2 (May 2011): 150–57. http://dx.doi.org/10.1111/j.1748-5959.2011.00327.x.

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I am a narrative historian. By narrative, I mean the telling of a story to explain and analyze events and human agency in order to increase understanding. As a narrative historian, I have not made extensive use of theory in my analysis of past events. In fact, in the past I consistently rejected theory, considering it more of a hindrance than a help.The historian Geoffrey Roberts stated, “History is frequently labelled an idiographical discipline as opposed to a nomothetic one, that is, a discipline whose knowledge objects are particular, individual, and specific rather than classes of phenomena which are abstracted and subsumed in generalisations about trends, patterns and causal determinations.” In this vein, it was my view—as Peter Burke noted—that history examines particulars and “attend to concrete detail,” while theory attends to “general rules and screen[s] out the exceptions.”

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Journal articles on the topic 'Narrative objects'

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