Literatura académica sobre el tema "Narrative imaginaries"
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Artículos de revistas sobre el tema "Narrative imaginaries"
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Huber, Laila. "Topographies of the Possible". Anthropological Journal of European Cultures 24, n.º 2 (1 de septiembre de 2015): 34–54. http://dx.doi.org/10.3167/ajec.2015.240204.
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This article explores the creation of new structures of participation and counter imaginaries within the city between the poles of arts and politics. On the basis of two case studies, one situated in the non-institutionalised artistic field and one in the non-institutionalised political field, I will explore narratives of a 'topography of the possible' in the city of Salzburg. Aiming to outline collage pieces of a topography of the possible and of counter-narrative in and of the city – the city is looked at in terms of collage, understood as overlapping layers of the three spatial dimensions materiality (physical space), sociability (social space) and the imaginary (symbolic space). These are understood as differing but interrelated spatial dimensions, each one unfolding forms of collective appropriation of a city. The focus lies on the creation of social relations and collective imaginaries on the micro-level of cultural and political self-organised initiatives, looked at under terms of narration and storytelling. My ethnographic project asks for the creative potentiality of a city and for the creative power of social relations and collective imaginaries.
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Soudias, Dimitris. "Spatializing Radical Political Imaginaries". Contention 8, n.º 1 (1 de junio de 2020): 4–27. http://dx.doi.org/10.3167/cont.2020.080103.
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This article seeks to make sense of why participants in square occupations point to the transformative character of their experience. Drawing from narrative research on the 2011 occupation of Syntagma Square in Athens, I argue that the transformative quality of the occupation lies in the spatialized emergence and practice of radical political imaginaries in these encampments, which signify a demarcation from and an alternative to the neoliberalizing of everyday life in Greece. By scrutinizing the spatial demarcation between the “upper” and “lower” parts of the Syntagma Square occupation, one can think more carefully about the conditions of possibility for the emergence of the radical imagination.
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Davis, Mark. "‘You have to come into the world’: Transition, Emotion and Being in Narratives of Life with the Internet". Somatechnics 1, n.º 2 (septiembre de 2011): 253–71. http://dx.doi.org/10.3366/soma.2011.0019.
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This paper explores the relation between internet technologies and social change with reference to the narratives of ordinary internet-users living in Melbourne, Australia. The argument developed here draws attention to the interviewee's imaginaries of being-in-the-world under internet-related change; imaginaries which are, at times, marked by a language of emotional and bodily transition. This framing of life with the internet suggests that its technologies are not merely the means by which people gain access to information, advice, services and social interaction; they appear to mobilise questions of being and at the same time offer themselves as the means for establishing ‘beingness’, to borrow a term from Valerie Walkerdine (2010) . This emphasis on being in accounts of internet-related change also suggests the exercise of narrative subjectification through internet technologies or, in other terms, the internet-related ‘technologisation’ of narrative practices.
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Desclaux, Alice. "Ebola imaginaries and the Senegalese outbreak: anticipated nightmare and remembered victory". Africa 90, n.º 1 (enero de 2020): 148–66. http://dx.doi.org/10.1017/s0001972019000986.
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AbstractAlthough Senegal experienced a single ‘imported’ Ebola case, this epidemiological event was experienced locally as a full outbreak in its first phase. Two imaginaries developed in parallel: the nightmare of an uncontrolled infectious threat bringing social disruption and spreading through Senegal to other continents; and the vision of an efficient mobilization of the national public health system as a model for other West African countries hit by Ebola. Based on field data, the article analyses how these antagonistic imaginaries shaped the national narrative of the epidemic and affected its interpretations on an international level. The health system's capacity to control the epidemic gradually dominated the nightmare fantasy in the national narrative, and has effectively articulated a technical discourse and protective measures rooted in lay perceptions – in particular the physical distancing of risk. Charles Rosenberg's model for analysing the temporality of epidemic narratives, which distinguishes four phases (progressive revelation, agreement on an explanatory model, political and ritual action, and closure), proved to be relevant, provided that two phases were added. These phases – before the beginning and after the end of the epidemiological event – appear significant in terms of the social production of the meaning of epidemics.
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Anderson, Vaughn. "New Worlds Collide: Science Fiction's Novela de la Selva in Gioconda Belli and Santiago Páez". Ecozon@: European Journal of Literature, Culture and Environment 3, n.º 2 (6 de octubre de 2012): 93–105. http://dx.doi.org/10.37536/ecozona.2012.3.2.474.
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The science fiction form adopted by Santiago Páez, in "Uriel" (2006), and Giaconda Belli, in Waslala (1996), owes the rudiments of its literary structure to early colonial narratives of New World encounter. Such science fiction not only contains strong traces of what Mary Louise Pratt has famously called the “rhetoric of discovery,” but also employs tropes directly or indirectly inherited from colonial travel narratives. However, Páez and Belli associate this science fiction form with a legacy of United States neo-imperialism, in which colonial narratives have been invoked and repeated triumphantly in the construction of national imaginaries. In Central and South America, conversely, the novela de la selva—the other clear structural source for Páez and Belli, and a literary form equally indebted to colonial narratives of New World encounter—remains conscious of its enunciation as a postcolonial form critical of its colonial narrative sources. While the novela de la selva, then, shares a literary taproot with sci-fi narratives of futuristic exploration, Páez and Belli utilize the latter to renovate and reactivate the former’s critique of an imperialist legacy by exploiting tensions that arise between these two disparate literary forms whose central tropes so often coincide. I argue that by adapting the ecologically aware New World imaginary peculiar to the novela de la selva, in which positivist ambitions of national expansion are checked by a forest that nevertheless becomes part of a national imaginary, Páez and Belli fundamentally alter the New World imaginary that underwrites high science fiction narratives of exploration and expansion. Resumen "Uriel" (2006), del Ecuatoriano Santiago Páez, y Waslala (1996), de la novelista nicaragüense Giaconda Belli, utilizan una forma específica de la ciencia ficción, la cual debe los elementos básicos de su estructura a las narrativas coloniales del "descubrimiento" del Nuevo Mundo. Este sub-género de la ciencia ficción no sólo demuestra lo que Mary Louise Pratt ha llamado una "rhetoric of discovery," sino que también emplea varios tropos heredados – directamente o indirectamente – de las crónicas coloniales. Sin embargo, en la obra de Páez y Belli, este sub-género se asocia principalmente con una tradición estadounidense de neoimperialismo, donde estas narrativas coloniales se celebran como parte integral de los imaginarios nacionalistas. En contraste, en Centroamérica y América del Sur, la novela de la selva – otra fuente narrativa para la obra de Páez y Belli, e igualmente fundamentada en las narrativas del descubrimiento del Nuevo Mundo – reconoce su propia enunciación como forma poscolonial y se mantiene crítica de sus fuentes coloniales. Así, mientras la novela de la selva comparte una raíz narrativa con este sub-género de la ciencia ficción, Páez y Belli hacen productivas las tensiones que surgen entre estas formas distintas cuyos tropos centrales, con mucha frecuencia, coinciden y entrechocan. En este ensayo argumento que el imaginario del Nuevo Mundo particular a la novela de la selva, marcado por una conciencia ecocrítica, sirve aquí para modificar y criticar los usos narrativos del Nuevo Mundo típicos de las narrativas futurísticas de exploración y expansión inter-galácticas.
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Andersen, Michael Christian. "Everyday Imaginaries, Narratives and Strokes: An Ethnographic Exploration of Narratives among Stroke Patients and their Spouses". Culture Unbound 10, n.º 1 (19 de abril de 2018): 83–101. http://dx.doi.org/10.3384/cu.2000.1525.181083.
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That a stroke is a disruptive event in many people’s lives is no secret. That it also represents challenges to the communal construction of narratives between couples is less explored, and is the subject matter of this paper. With a narrative theoretical approach to ethnographic fieldwork conducted among couples where one partner has had a stroke, this article explores how everyday imaginaries are challenged when narratives are reassessed following a stroke. The paper suggests that sometimes the communal narratives are taken over by the part not directly afflicted by the stroke. Thus, when the non-afflicted spouse is in control of the narratives, they may be utilized as a way to monitor both the relationship as well as the brain of the spouse afflicted by the stroke.
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Acero-Ferrer, Héctor A. "Imagining Borders, Imagining Relationships". Interdisciplinary Journal for Religion and Transformation in Contemporary Society 5, n.º 2 (21 de enero de 2020): 447–68. http://dx.doi.org/10.30965/23642807-00502008.
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Abstract Conceptualizations of human borders will often refer to narratives of encounters, exchanges, and/or interactions that take place in two different but interrelated settings: one internal, between individuals or groups belonging to the space defined by the border; and one external, between such individuals or collectives and everything that is foreign to them. This integrating/distinguishing role of narratives underscores the imaginative process through which borders emerge, expressed with great poignancy in the fluidity and complexity of border-setting practices in late-modern societies. Paul Ricœur’s take on collective imagination and human action can be a tool to unearth some of the key conceptual features of such integration-distinction tension, by pointing to ways in which social imaginaries shape the liquidity and modality of borders in increasingly diverse communities. Ricœur’s analysis of the development of cultural imaginaries through the opposed yet complementary forces of ideology and utopia, and his exploration of the multi-layered character of mutual recognition, come together in an understanding of human persons – and communities – capable of imagining enlarged spaces of recognition. Richard Kearney complements this analysis with an account of narrative imagination that allows one to articulate the narrative origins of concrete human realities and practices, such as borders and border-setting. In this article, I make use of the contributions of Ricœur and Kearney to argue that a clear understanding social imagination is needed in order to account for the cultural matrix set by human borders, as well as to provide answers to the practical questions raised by concrete historical examples of borders and border-setting.
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Murillo, Mayté. "Imaginarios de la violencia en el cine mexicano contemporáneo. El caso de Miss Bala, de Gerardo Naranjo." Catedral Tomada. Revista de crítica literaria latinoamericana 5, n.º 9 (5 de enero de 2018): 185–219. http://dx.doi.org/10.5195/ct/2017.261.
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The article reflect on the construction of the imaginary of violence in the contemporary Mexican cinema, and how the social imaginaries are connected with the filmic imaginaries. Edgar Morin's suggestion about the imaginary is crucial for this reflection, also Merleau-Ponty’s ideas about the Phenomenology of the perception. To support this aim, an analysis exercise of Miss Bala (Gerardo Naranjo, 2011 is proposed, a representative film that approach the issue of violence that was increased since the symbolic "declaration of war" to drug trafficking during Felipe Calderón government. Its aesthetic and narrative forms allow the spectator to glimpse other manifestations of violence, which go beyond visual spectacular violence, to allow us to see more intrinsic and symbolic ways, based on the Žižek approach. The present reflection can provide the reader a panoramic perspective on the role played by the cinema and its filmic imaginaries in the constitution of the social imaginaries, on how one lives, perceives, condemns and assimilates a social reality pronounced by narco violence in Mexican society.
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Palat, Ravi Arvind. "Is India Part of Asia?" Environment and Planning D: Society and Space 20, n.º 6 (diciembre de 2002): 669–91. http://dx.doi.org/10.1068/d260t.
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In casting Asia as Europe's ‘Other’, it is often assumed that European spatial imaginaries are unproblematically assimilated by the peoples of Asia themselves. In this paper I challenge this assumption by charting the changing characterization of India, from being virtually synonymous with Asia for centuries to being virtually excluded from the reigning conceptions of Asia. I provide a thumbnail sketch of the spatial imaginaries of some of the peoples inhabiting the cartographic quadrant labeled ‘Asia‘. Against this background, I examine how these imaginaries were subverted by the incorporation of Asia within the capitalist world system. I then chart the impact of modernization theories on the newly independent states of the region. I argue that as several major centers of capital accumulation emerged in Asia, and capitalism ceased to be a Euro-American narrative, a new conception of Asia emerged in the 1980s. If India's lack of industrial development marginalized it from these imaginaries, it is suggested that the meltdown of the Asian ‘miracles' has once again destabilized hitherto-dominant conceptions of Asia.
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Massó Soler, Perla Dayana. "La catalanidad al norte y al sur de los Pirineos: representaciones sociales y cooperación transfronteriza". Frontera norte 31 (1 de enero de 2019): 1–22. http://dx.doi.org/10.33679/rfn.v1i1.2044.
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This article explores the symbolic construction of the border by actors in cooperation projects in the cross-border Catalan region. Drawing on Jerome Bruner’s narrative approach (with an emphasis on self-stories and micro-narratives) and the theory of social representations, this work provides an insight into the multi-dimensional relationship between borders and identities, and the connections between social representations and practices that illustrate cross-border aspects. Thus, the key focus of this analysis is to determine how current practices in terms of flows, passage, and cooperation in Europe influence imaginaries and the discursive construction of the border.
Tesis sobre el tema "Narrative imaginaries"
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Lipenga, Ken Junior. "Narrative enablement : constructions of disability in contemporary African imaginaries". Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86304.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis examines depictions of disability in selected African films, novels and memoirs. Central to the thesis is the concept of narrative enablement, which is discussed as a property that texts have for enabling the recognition of disability by the reader or viewer. In the thesis, I investigate the ways in which narrative enablement manifests in the texts. The motivation for the study comes from the recognition of several trends in current literary disability studies. Firstly, the study attempts to expand the theoretical base of current literary disability studies, which consists of ideas formed from a narrow epistemic archive. Similarly, the study also recognises that scholarship in the field mostly relies on a limited canon of texts, almost wholly drawn from the Western world. This study therefore allows a glimpse at an under-acknowledged archive of disability representation, which is then used to suggest the possibility of alternative ways of understanding disablement on the African continent and globally. The first chapter is meant as an entry point into some of the complex lives depicted in the thesis. In this chapter, I explore the intersection that the texts draw between disability and masculinity, illustrating the way this intersection evokes questions about how we understand the relationship between the two concepts. In the second chapter, I examine the way socio-political violence on the continent is represented as a cause of both disablement and disenablement. This chapter is an exploration of how disability is enmeshed with other social realities in people’s lives. The term disenablement is employed in order to capture the presentation of disablement amidst various forms of violent oppression. As it is portrayed in the majority of the texts studied in the thesis, disablement is a factor of social attitudes. My third chapter examines how these texts create dis/ability zones, areas where the reader/viewer witnesses the fluidity of socially constructed disablement in particular societies. As it is portrayed in the texts, and discussed in the thesis, this zone is a space where disabled characters encounter the ableist world. It is a space that allows the destabilization of entrenched notions about disability, and consequent recognition of disabled characters. The most explicit manifestation of narrative enablement occurs through creative intervention, which is the focus in the fourth chapter. In this chapter, I examine the role of various forms of creativity as they are enacted by the characters, arguing that they are manifestations of the characters making use of narrative enablement. In the texts, the disabled characters use unique modes of storytelling – not exclusively verbal – to narrate their story, but also to assert their belonging to particular familial, cultural, as well as national worlds.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek uitbeeldings van gestremdheid in geselekteerde films, romans en memoirs uit Afrika. Die konsep van narratiewe bemagtiging – ‘n konsep wat ondersoek word as ‘n kapasiteit van tekste wat die erkenning van gestremdheid bemoontlik vir die leser of kyker – staan sentraal in hierdie studie. In my tesis ondersoek ek die maniere waarop narratiewe bemagtiging in die tekste manifesteer. Die beweegrede vir hierdie studie kom uit die realisering van verskeie strominge in kontemporêre letterkundige gestremdheidstudies. In die eerste plek onderneem hierdie studie die taak om die teoretiese basis van huidige literêre gestremdheidstudies, wat bestaan uit idees wat op hul beurt uit ‘n enge epistemiese argief gevorm is, uit te brei. Op soortgelyke wyse erken die studie dat akademiese navorsing binne hierdie studieveld meestal berus op ‘n relatief klein kanon van tekste, feitlik geheel-en-al uit die Westerse wêreld. Hierdie studie bied dus ‘n kyk op ‘n onder-erkende argief van gestremdheidsvoorstellings, wat op sy beurt gebruik word om die moontlikheid van alternatiewe maniere waarop gestremdheid binne Afrika asook wêreldwyd begryp kan word, aan te toon. Die doel van die eerste hoofstuk is om ‘n intreepunt te skep waardeur sommige van die komplekse ervaringswêrelde wat in die tesis ondersoek word, betree kan word. In hierdie hoofstuk ondersoek ek die oorvleuelings tussen gestremdheid en manlikheid wat deur die tekste uitgebeeld word, om sodoende aan te toon dat hierdie oorvleueling vrae oproep in verband met hoe ons die verhouding tussen hierdie twee konsepte kan verstaan. In my tweede hoofstuk ondersoek ek die manier waarop sosio-politieke geweld op die kontinent uitgebeeld word as ‘n oorsaak van gestremdheid sowel as van ontmagtiging. Hierdie hoofstuk ondersoek die wyses waarop gestremdheid verwikkeld is met ander sosiale werklikhede in mense se lewens. Die term disenablement [hier: ‘ontmagtiging’] word gebruik om die uitbeelding van gestremdheid midde-in verskillende vorme van gewelddadige onderdrukking vas te vang. Soos uitgebeeld in die meeste van die tekste wat in die studie ondersoek word, is gestremdheid ‘n aspek van sosiale houdinge. My derde hoofstuk ondersoek hoe die gekose tekste areas van be/ontmagtiging skep; gebiede waar die leser/kyker die vloeibaarheid van sosiaal-gekonstrueerde ontmagtiging in spesifieke gemeenskappe waarneem. Soos uitgebeeld in die tekste en soos wat die studie die saak bespreek, is hierdie zone ‘n gebied waarbinne gestremde persone die bemagtigde wêreld ervaar. Dit is ‘n area waarbinne die versteuring van vasgelegde konsepte van gestremdheid, en gevolglike erkenning van gestremde persone, kan plaasvind. Die mees eksplisiete ontplooiïng van narratiewe bemagtiging gebeur deur middel van skeppende intervensies, wat die fokus vorm van my vierde hoofstuk. In hierdie hoostuk ondersoek ek die rol wat gespeel word deur verskillende vorme van kreatiwiteit soos beoefen deur die karakters, in die loop van my argument dat hiedie skeppingsvorme voorbeeelde is van hoe narratiewe bemagtiging plaasvind. In die tekste gebruik die gestremde karakters unieke metodes van vertelling – nie uitsluitlik verbaal nie – om hulle verhale te vertel, maar ook om aan te toon dat en hoe hulle aan partikuliere familiale, kulturele en nasionale wêrelde behoort.
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Rojas, Theresa Nevarez. "Manifold Imaginaries: Latino Intermedial Narratives in the Twenty-first Century". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440403026.
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Xavier, Glayci Kelli Reis da Silva. "Efeitos da encenação descritiva e narrativa na verbo-visualidade da Turma da Mônica Jovem". Niterói, 2017. https://app.uff.br/riuff/handle/1/3791.
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Colégio Pedro II, São Cristóvão III, Rio de Janeiro, RJ
O presente trabalho analisa a construção das encenações descritiva e narrativa no mangá Turma da Mônica Jovem, obra de Maurício de Sousa, e os efeitos de sentido decorrentes destas, produzidos por meio da relação verbo-visual. Como diretriz da pesquisa, são empregados, sobretudo, pressupostos da Teoria Semiolinguística de Análise do Discurso, de Patrick Charaudeau, com relação à competência de linguagem, aos modos de organização do discurso – enfatizando os modos descritivo e narrativo – e aos imaginários sociodiscursivos. Além disso, focalizando a relação palavra-imagem, são utilizados alguns preceitos da semiótica peirciana, com o apoio de outros conceitos e aportes teóricos relacionados à relação verbo-visual e às histórias em quadrinhos. Como corpus de análise, são utilizados fragmentos de edições alternadas da revista Turma da Mônica Jovem (entre a edição 1 e a 64) para exemplificar os aspectos elencados, além das edições 41, 48 e 63, para uma análise global e aplicação dos conceitos estudados. Por meio da análise das estratégias discursivas utilizadas no material, é possível concluir que, para adequar a publicação ao novo sujeito destinatário, procurou-se manter o perfil ideológico da Turma da Mônica tradicional, adicionando elementos que programassem um destinatário ideal com o qual o público leitor e consumidor se identificasse. Somando-se a isso, como estratégia de captação, foram utilizadas representações sociais e imaginários sociodiscursivos relativos ao universo adolescente com um papel de espelho identitário, facilitando a adesão do leitor
This paper analyzes the construction of the descriptive and narrative staging in the Monica Teen manga, created by Maurício de Sousa, and the effects of meaning deriving from them, produced by the verb-visual interface. The survey was conducted from the theoreticalmethodological approach of Semiolinguistics Theory, by Patrick Charaudeau, related to the language competence, the discourse organization modes – emphasizing the descriptive and the narrative – and the socio-discursive imaginaries. Furthermore, to focus on the word-image relationship, some precepts of Peirce's semiotics were used, and other concepts and theoretical issues connected to the verb-visual interface, also related to comics. As corpus of analysis, fragments of alternated editions from Monica Teen comic book are used (between editing 1 and 64) to exemplify the listed aspects; in addition, the editions numbers 41, 48 and 63 are used for a global analysis and application of the concepts studied. Throughout the analysis of the discursive strategies used in the material, it can be concluded that, in order to adapt the publication to new subject receiver, they tried to keep the ideological profile of Monica´s Gang, adding elements that could program an ideal receiver with whom the readership and consumers would identify themselves. In addition, as a strategy of captation, social representations and socio-discursive imaginary from the adolescent universe were used, with the role of an identity mirror, facilitating the reader's adherence
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Armand, Fabio. "Paroles des Alpes et de l'Himalaya. Essai de psychologie intuitive sur une anthropologie des ontologies fantastiques dans deux imaginaires narratifs en milieu alpin. Entre Vallée d'Aoste et Népal". Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAL036/document.
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Nos objets de recherche sont des paroles. De l'acte linguistique à la parole narrative, ce travail explore les patrimoines narratifs d'expérience de milieux alpins, depuis les Alpes francophones jusqu'aux territoires himalayens du Népal. Les documents narratifs de la collecte de Charles Joisten et les enquêtes que nous avons conduites dans les Alpes valdôtaines et chez les groupes Bahun-Chhetri et Newar du Népal nous ont emmené sur les traces des ontologies fantastiques qui hantent les imaginaires narratifs de ces populations alpines. A partir de ces documents, nous avons développé une analyse transculturelle d'anthropologie neurocognitive comparée, basée sur une approche qui permet de faire le pont entre le domaine de l'ethnographie de la narration (la folkloristique) et les neurosciences cognitives. Par une prise en compte des liens entre les systèmes neurocognitifs des êtres humains producteurs d'imaginaire et leurs inspirations émanant du milieu culturel, nous sommes parvenu à pouvoir dire quelque chose du sensorium cérébral, de ses sources spécifiques (a priori contre-intuitives), auxquelles puise la création de telles ontologies imaginaires. Nous avons inséré notre travail dans le cadre du modèle transculturel d'anthropologie neuro-cognitive BRAINCUBUS (depuis Cathiard et al., 2011). Ajoutée à notre intention, une modalité autre que l'intuition de psychologie intuitive et la contre-intuition scientifique : une sur-intuition limitée aux expériences contre-intuitives non-délusionnelles.En tant qu'interface entre le folklore du surnaturel et les récentes avancées de la neurophysiologie du sommeil, ce modèle nous a permis de construire notre recherche à partir des ontologies imaginaires repérées par la folkloristique internationale, pour la plupart générées dans l'état dissocié du cerveau qu'est la paralysie du sommeil. A partir de ce quatrième état du cerveau, il est possible de dégager l'origine des différentes phénoménologies donnant naissance à l'anthropodiversité des ontologies surnaturelles. Ces corps dits « fantômes » étant neuralement bien réels, notre objectif visait l'unification de tels corps-fantômes de l'imaginaire narratif humain avec les corps physiques par leurs cartographies corticales. Nous avons focalisé notre attention sur les deux types principaux de corps-fantômes issus des deux composantes fondamentales de la paralysie du sommeil : OBE (Out-of-Body Experience) et AP3S (Alien Presence Sensed from Self Shadowing). En partant de la matrice sémantique de cette paralysie, nous avons différencié les fondements corticaux des deux phénoménologies universelles de l'âme-partie-visiter et du dormeur-visité, celles-ci se produisant, latéralisées respectivement à droite (OBE) et à gauche (AP3S), dans la jonction temporo-pariétale (TPJ).En examinant les déplacements hors-du-corps, nous avons pu mettre en évidence le rôle nodal d'une inquiétude partagée transculturellement. Il s'agit de la précaution de ne pas remuer le corps inanimé du sujet en paralysie, pour que le corps-animé s'y réintroduise. Cette sur-intuition physiologique – mémorisée et transmissible en motif narratif – devient un savoir-faire vital : l'action de retourner sur la bouche une personne en paralysie du sommeil reviendrait à la mettre en danger de mourir par suffocation, car elle ne peut reprendre le contrôle de sa respiration volontaire à cause de la paralysie des muscles intercostaux externes. La paralysie du sommeil, dont la prévalence est plutôt importante, nous a permis d'ancrer les récits dans des expériences neuralement indéniables de corps-fantômes. En intégrant ces données dans une forme neurocompatible, nous avons pu unifier les matrices narratives universelles en partant des corps-fantômes fondamentaux OBE et AP3S, dans un modèle de création neurale pour ces ontologies fantastiques, lesquelles, présentes depuis plus de 50.000 ans au moins, vont continuer à hanter nos imaginaires enrichissant le m/patrimoine narratif de l'HumanitéDedicated to spoken memories, this work explore experience-centered narrative heritage in faraway alpine environments: from French-speaking Alps to the Himalayan Nepal. Starting from the largest French collection of belief narratives by Charles Joisten, we focussed on Valdostan reports, and the same during several consecutive field investigations in Nepal, inside Bahun-Chhetri and Newar groups. Hence we strolled on the trails of fantastic ontologies, the ones that haunt the narrative imaginary of such distant alpine communities. On processing these documents, we developed a cross-cultural analysis in comparative neurocognitive anthropology, elaborating a framework that allowed to bridge field folkloristics and cognitive neuroscience. By taking into account the relationships between the neurocognitive systems of human brains as ontology engines, be they physical or imaginary ontologies, and their inspirations from the cultural environments, we were enabled to tell something about the cerebral sensorium, with its specific sources (a priori counterintuitive), from which the creation of such imaginary ontologies has drawn. For this purpose, we evaluated more explicitly our working hypotheses in the frame of the cross-cultural neurocognitive anthropological model BRAINCUBUS (since 2011 by Cathiard et al.). Notably we had the opportunity to benefit from the last significant improvements concerning psychological modalities of intuition within this framework.As an interface between folklore studies of the supernatural and the latest advances in the neurophysiology of sleep, this model has allowed us to build our research on imaginary ontologies (as landmarked long ago by international folkloristics), by considering that virtually all of which originated in the dissociated brain state called sleep paralysis. Starting from this 4th state of the brain, it was possible to identify the origin of different phenomenologies which spawn the anthropodiversity we meet for supernatural ontologies. Establishing that these so-called “phantom” bodies are clearly neurally real, our purpose was to achieve the unification of main phantom-bodies with physical bodies from their cortical mapping. We focussed mainly on the two main types of phantom-bodies generated by the two fundamental components of sleep paralysis: OBE (Out-of-Body Experience) and AP3S (Alien Sensed Presence from Self Shadowing). In the narrative documents we elicited the semantic matrix of paralysis and we became able to differentiate the cortical sources of the two universal narratives of the “soul leaving the body for visiting” and of “sleeper visited”, both generated in the temporo-parietal junction (TPJ), and lateralized respectively to the right (OBE) and to the left (AP3S).An examination of OBE journeys allowed us to highlight the nodal role played by a cross-culturally shared anxiety. This is an injonctive precaution: do not move the inanimate body of a person in sleep paralysis, to allow the animate body to re-enter. This physiological over-intuition – stored and shared in narrative motifs – became an anti-lethal sapiential care. Actually rolling face down a sleep paralyzed person is at high risk of suffocating to death because s/he can not recover control of voluntary breathing, since external intercostal muscles are paralyzed. This sleep paralysis phenomenology is widespread enough to fuel transmissibility of narratives grounded in neurally undeniable experiences of phantom bodies. When framing these explicanda in a neurocompatible format, we were able to unify narrative matrices, elaborated from universally experienced OBE or AP3S phantom bodies within BRAINCUBUS as a model capable of neural creativity for such fantastic ontologies. Formulated by human wisdom along more than 50,000 years at least, they will continue to haunt our imaginary and enrich the narrative heritage of Humanity
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Gianei, Beatris Cristina Possato. "Arabesco : imaginarios e violencias nas narrativas da dança do oriente". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253776.
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Orientador: Aurea Maria GuimarãesDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Nesta pesquisa, as memórias e as histórias de uma tribo da Dança do Oriente do Brasil são expostas pelo foco da narrativa. Utilizando a estrutura literária de ¿As Mil e Uma Noites¿ permitiu-se que a memória e a história da personagem-narradora se entrecruzasse com outras memórias e histórias, formando um grande arabesco, onde as imagens ambivalentes apresentadas se enlaçam, sem reduzir a memória pessoal e coletiva, os fios orientais plurais e os fios contemporâneos, as tensões e a sensibilidade expressas nos depoimentos. Por meio da transcriação dissolve-se a dicotomia entre sujeito e objeto, penetrando de maneira profunda na temática, descrevendo o imaginário de uma tribo de Dança do Oriente e as modulações de violências ocultas e manifestas. O alento para a transcriação foi composto por depoimentos colhidos por meio de entrevistas e da participação nos principais eventos brasileiros de Dança do Oriente nos anos de 2004 e 2005. Compreendeu-se que a Dança do Oriente no Brasil encontra-se envolta de imaginários sociais, em que elementos sagrados e profanos dinamicamente associam-se, sempre permeados pelas manifestações de violência
Abstract: In this research, memories and stories about a Brazilian Oriental Dance Tribe are told by the narrative focus. The use of the literary structure from ¿One Thousand And One Nights¿ allowed that the memory and the story of the narrator-protagonist was used in other memories and stories creating a great Arabian world, where ambivalent images could be tied to each other, without reducing individual or collective memory, oriental and contemporary lines, sensibility and tension expressed on the reports. By this transcreation, the differences between subject and objects almost disappears, immerging deeply in the thematic, describing the imagination of a Oriental Dance Tribe and the modulations of their occulted and manifested violence. The base for this transcreation was made through reports gained by interviews and participations on the main Brazilian events of Oriental Dance at 2004 and 2005. It was understood that¿s the Brazilian Oriental Dance was alive through the socials imaginations, where holly and profane elements could be associated, always involved by violent manifestations
Mestrado
Ensino, Avaliação e Formação de Professores
Mestre em Educação
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Priewe, Marc. "Writing transit refiguring national imaginaries in chicana/o narratives". Heidelberg Winter, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2872784&prov=M&dok_var=1&dok_ext=htm.
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Gamino, Alvarado Bárbara. "Imaginarios de un grupo de extranjeros mexicanos en Barcelona a partir de narrativas visuales". Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/665705.
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Bajo el paraguas del enfoque construccionista, he buscado tanto comprender los tránsitos que devienen de la provocación del imaginario en una acción social, aunados a la carga simbólica de las representaciones culturales que tenemos asumidas en nuestras historias de vida. Ampliar el conocimiento sobre la construcción de identidad con esta experiencia de movilidad a otra geografía.
Un taller de fotografía fue el enlace con los colaboradores para utilizar la tecnología (cámara fotográfica) como herramienta para mostrar su subjetividad, junto con este ejercicio de narrativa visual y su narrativa escrita, para obtener datos que se complementaran usando los dos métodos.
El primer capítulo es un viaje a través de la comprensión: la imagen dentro de la investigación, la imagen mental, la influencia de la imagen tecnológica como productora de imaginarios colectivos, la imagen como representación cultural, la imagen como lenguaje y herramienta en educación. El capítulo dos se refiere a lo imaginario, una ontología desde la Escuela de Grenoble, partiendo de Gilbert Durand, además de otros autores tales como Wunenburger, Huizinga, Bachelard, Castoriadis, por mencionar los fundamentales en mi trabajo. En la historia de la humanidad se vislumbra cómo se responde respecto a lo imaginario en cada época de la historia y su función en la producción de símbolos culturales, integración social, instituciones imaginarias. Capítulo tres la identidad, es un recorrido por las diversas influencias en la identidad a nivel personal, cultural, el yo y el influjo de los medios tecnológicos, el Yo saturado de Gergen, las diversas representaciones que confluyen en los colectivos, o poblaciones, para configurarla. Desde varias miradas, se buscó entender cómo las experiencias, los contextos, la historia personal, las representaciones culturales, los sueños, el pasado, las imágenes construidas son parte de las capas que constituyen las diversas identidades, así como colocar en el tejido cultural el panorama de las influencias históricas sincréticas a raíz de la colonización, su influencia en el carácter cultural, la Revolución mexicana, la actualidad de la identidad o mexicanidad, construyéndose a
raíz de los legados prehispánicos, la hibridación cultural, los imaginarios de la llamada raza cósmica, para dar lugar a la sociedad actual.
La segunda parte corresponde a la metodología, a la aplicación de los métodos narrativa visual y narrativa textual, a partir de pequeñas historias o small stories, un trabajo de campo realizado en una asociación donde, desde mi mirada fotográfica, capté los imaginarios colectivos de las representaciones culturales de coetáneos y, a partir de mi narrativa, expuse la información de la lectura desde mi mirada de investigadora, para obtener los datos que complementaran las lecturas que tendría del análisis de datos de mis colaboradores. Impartí un taller de fotografía en la asociación, donde obtuve la cooperación de algunos participantes del taller, que me otorgaron su tiempo y su confianza para compartirme experiencias escritas y visuales de su proceso personal de movilidad de su Estado en México hacia la ciudad de Barcelona.
La tercera parte, el Análisis de Datos, fue el cruce de métodos de análisis para crear conocimiento sobre los procesos imaginarios que mueven a una persona a transitar a otro país. El método de análisis holístico de contenido de Lieblich para entender a través del texto lo que entre líneas podría aportarme. El método de análisis de narrativas visuales para comprender el contexto y los elementos simbólicos usados e implícitos en el lenguaje fotográfico, un panorama desde su subjetividad, motivación, sentimientos, situaciones culturales, y nuevas experiencias combinadas con su identidad mexicana, narrada desde sus nuevas experiencia de vida en otra cultura.Under the umbrella of the constructionist approach, I have sought to understand the transits that come from the provocation of the imaginary in a social action, that we have assumed in our life stories. A photography workshop was the liaison for collaborators to use technology (camera) as a tool to show their subjectivity, coupled this visual narrative exercise, and their written narrative, in orden to obtain data that will be complemented using the two methods. The first chapter is a journey through understanding: the image within research, the mental image, the influence of the technological image as a producer of collective imaginaries, the image as cultural representation, the image as a language and a tool in education. The second chapter refers to the imaginary, an ontology Gilbert Durand, Wunenburger, Huizinga, Bachelard, Castoriadis, the production of cultural symbols. social integration, and imaginary institutions. The chapter three corresponds to identity, a journey through the diverse influences on personal, cultural identity, the self and the influence of technological means. The actuality of identity or “Mexicanness”, built as a result of pre-Hispanic legacies, cultural hybridization, the imaginaries to give place to today's society. The second part corresponds to the methodology, the use of methods such as, visual narrative and textual narrative, from small stories to carry out a field work in an association in Barcelona, and to obtain the data that complements the readings of the analysis of my collaborators’ data. The third part of data analysis was the crossing of methods of analysis Lieblich's holistic content analysis method, was applied to understand through the text what between lines could provide information of their imaginary and the hybrid construction of their identity. The method of analysis of visual narratives was used to understand the context, its imaginary construction, and the symbolic elements used for this photographic language, showing its panorama from its subjectivity motivations, feelings, cultural situations, to their new experiences combined with his Mexican identity, altogether narrated through his contributions and their new experience of life in a different culture.
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Wilkoszynski, Artur do Canto. "Imagens da arquitetura: narrativas do imaginário urbano em Porto Alegre". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/8163.
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A arquitetura, através das imagens produzidas por sua materialidade, pode representar diversos valores de uma sociedade. Nas cidades contemporâneas, as produções arquitetônicas de caráter acadêmico ou comercial mostram-se importantes narrativas de uma dualidade de valores coletivos que se manifesta no espaço das cidades, operando uma acentuada alteração de suas paisagens, desqualificando-as de forma constante e gradual. Para a compreensão dessas transformações urbanas recentemente ocorridas, e a fim de vislumbrar o futuro das cidades através dos indícios apontados pela produção contemporânea de arquitetura, mostra-se importante identificar os valores, aspirações e necessidades envolvidos nos processo de suas distintas e duais concepções. Tais elementos, de ordem imaterial e subjetiva, são essenciais para a formação de imagens mentais e visuais e, por isso, influenciam contínua e decisivamente a produção de arquitetura, e conseqüentemente das cidades. Assim, o referencial teórico e metodológico proposto pelo imaginário social torna-se extremamente pertinente para a investigação da presente conjuntura. Tendo em vista uma análise objetiva e pontual dessas transformações urbanas recentes evidenciadas pela materialidade das construções, adota-se como objeto de estudo a produção arquitetônica do século XXI, representativa dos segmentos acadêmico e comercial da cidade de Porto Alegre. A partir da realidade local é possível compreender como o imaginário social exerce influência nas configurações arquitetônicas e suas imagens e, conseqüentemente, também no espaço das cidades contemporâneas.The architecture, through the images produced by its materiality, can represent diverse values of a society. In the contemporary cities, the architectural productions of an academic or commercial character reveal themselves as important narratives of a collective values duality, which discloses itself in the space of cities, operating an accented alteration of its landscapes, disqualifying them in a constant and gradual form. For the understanding of these recently occurred urban transformations, and in order to glimpse the future of the cities through the indications pointed by the contemporary architecture production, it is important to identify the values, aspirations and necessities involved in the process of its distinct and dual conceptions. Such elements, of an immaterial and subjective order, are essential for the mental and visual images formation, therefore, they influence continuously and decisively the architecture production, and consequently also of the cities. Thus, the theoretical and methodological referencial proposed by the social imaginary becomes extremely pertinent for the inquiry of the present conjuncture. In view of an objective and prompt analysis of these recent urban transformations, evidenced by the constructions materiality, the architectural production of the twentieth-first century, representative of the academic and commercial segments of the city of Porto Alegre is adopted as study object. From the local reality it is possible to understand how the social imaginary exerts influence in the architectural configurations and its images and, consequently, also in the space of the contemporary cities.
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Roca, Yucra Carla Pierina. "Análisis de la influencia del hedonismo en centennials mediante la construcción de personajes retratado por la serie sex education". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653157.
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El hedonismo y los Centennials son dos palabras que convergen para crear una actualidad en la que se ha banalizado el sexo y se han creado diversas nuevas formas de comunicación que se basa en características fijas de los adolescentes de hoy.
Este trabajo pretende dar a entender la manifestación del hedonismo en la construcción de los personajes Centennial, retratado por la serie Sex Education, y justificada en las bases del imaginario social de sus personajes y la evolución de los mismos. En este sentido los objetivos específicos apuntan, en primer lugar, a la identificación de los personajes centennials y su relación con el hedonismo; en segundo lugar, la identificación de la construcción del personaje con respecto a su identidad y su contexto. La investigación aporta diferentes perspectivas sobre la presencia del hedonismo en la nueva generación y los efectos que genera en sus relaciones sociales y su mundo imaginario. Se analizan 5 de 8 capítulos de la primera temporada de la serie Sex Education, escogidos según los criterios estudiados como la utilización de estereotipos para la construcción de personajes y la evolución de personajes según proceso evolutivo y relación con un problema sexual.Hedonism and Centennials are two words that converge to create an actuality in which sex has been trivialized and diverse new forms of communication have been created based on fixed characteristics of today's adolescents. This work aims to show the manifestation of hedonism in the construction of the Centennial characters, portrayed by the Sex Education series, and justified on the basis of the social imaginary of characters and their evolution. In this sense, the specific objectives are, firstly, the identification of the centennial characters and their relationship with hedonism; secondly, the identification of the character's construction with respect to its identity and context. The research provides different perspectives on the presence of hedonism in the new generation and the effects it generates in their social relations and their imaginary world. Five out of eight chapters of the first season of the Sex education series are analysed, chosen according to the criteria studied, such as the use of stereotypes for the construction of characters and the evolution of characters according to the evolutionary process and their relationship with a sexual problem.
Trabajo de investigación
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Moreira, Raimundo Nonato Pereira. "A Nossa Vendeia : o imaginario social da Revolução Francesa na construção da narrativa de Os Sertões". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280400.
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Orientador: Italo Arnaldo TroncaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O presente trabalho objetiva discutir os influxos do imaginário social da Revolução Francesa no processo de construção da narrativa da Guerra de Canudos (1896-1897), em Os Sertões (1902), de Euclides da Cunha (1866-1909). A partir desse escopo, problematizam-se algumas das relações que vinculam as narrativas históricas e os relatos imaginários no corpo da obra citada, destacando a força das imagens relacionadas à Revolução de 1789 na tessitura do enredo euclidiano. Esta Tese apresenta cinco momentos principais. No primeiro capítulo, a partir de um esboço biográfico, abordam-se aspectos considerados relevantes acerca da vida e da obra de Euclides da Cunha. No segundo, discute-se a presença da Revolução Francesa no conjunto da obra euclidiana, argumentando-se que esse processo se constituiu no conjunto de acontecimentos históricos mais relevante no quadro das referências teóricas do escritor, posto que, para o autor, o paradigma francês apresentava-se como um padrão explicativo dos processos ocorridos na sociedade brasileira nas últimas duas décadas do século XIX. No terceiro capítulo, aborda-se a construção da narrativa euclidiana da Guerra de Canudos, mediante uma hipótese de trabalho que postula a existência de três momentos privilegiados desse processo: o primeiro, antes do contato de Euclides com o conflito sertanejo; o segundo, durante a presença do correspondente de O Estado de São Paulo na Bahia; e o terceiro, após o desfecho do conflito, materializado nas páginas de Os Sertões. No último capítulo, discute-se a ontologia discursiva de Os Sertões, problematizando-se as relações entre as categorias de historicidade, ficcionalidade e literariedade na composição narrativa euclidiana, destacando-se, ainda, as contribuições decisivas de uma versão histórico-literária da Revolução Francesa, o romance Quatrevingt-treize [Noventa e Três, 1874], de Victor Hugo (1802-1885), para o consórcio da ciência e da arte intentado por Euclides. Nas Considerações Finais, tomando-se como referência as discussões historiográficas contemporâneas acerca da narrativa, reitera-se que a análise da construção do enredo da obra euclidiana evidenciou um processo complexo, no qual o escritor se valeu tanto de relatos históricos quanto de narrações imaginárias, para comunicar aos futuros historiadores o seu juízo sobre a Guerra de Canudos
Abstract: This thesis at discussing the floods of the social imaginary of the French Revolution in the process of constructing the narrative of Canudos War (1896-1897), in ¿Os Sertões¿ (Rebellion in the Backlands, 1902), by Euclides da Cunha. (1866-1909). From this perspective, some of the relations that link the historical narratives and fictional accounts that are established in the body of the above mentioned work, highlighting the strength of the images related to the 1789 Revolution in the bulk of the Euclidian plot. This thesis presents five main stages. In the first chapter, relevant aspects of the life and work of Euclides da Cunha are dealt with from a biographical outline. In the second chapter, the presence of the French Revolution is discussed in the body of then Euclidian work and it is argued that this process was held in the most relevant set of historical events in the theoretical references of the author; since, for him, the French paradigm was presented as an explanatory pattern of the processes undergone in the Brazilian society in the past two decades in the 19th century. In the third chapter, the construction of the Euclidian narrative of Canudos War is touched on through the hypothesis that postulates the existence of three privileged moments within this process: the first one happens before Euclides contacts the backland conflict. The second one occurs while the correspondent from ¿O Estado de São Paulo¿ newspaper is in Bahia; and the third one after the end of the conflict which is materialized in the pages of ¿Os Sertões¿. In the last chapter, it is discussed the philosophical part concerning the human beings, bringing up the relations among categories of historicity, fiction, and literacy in the construction of the Euclidian narrative, bringing attention to the ultimate contributions of a historical-literary version of the French Revolution, the novel ¿Quatrevingt-treize¿ (Ninety-three, 1874), by Victor Hugo (1802-1885) to the group of science and art created by Euclides. In the final considerations, taking as references the contemporary historiographic discussions about the narrative, it is said that the analysis of the construction of the plot of Euclides work posed a complex process in which the author profited from historical accounts, as well as, imaginary narratives to communicate to future historians his judgments about Canudos War
Doutorado
Politica, Memoria e Cidade
Doutor em História
Libros sobre el tema "Narrative imaginaries"
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Nielsen, Marie. City imaginaries: Personal narratives in Birmingham. Birmingham: University of Birmingham, 2000.
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Priewe, Marc. Writing transit: Refiguring national imaginaries in Chicana/o narratives. Heidelberg: Winter, 2007.
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Canadell, Roger, Josep-Anton Fernàndez y Iribarren Teresa. Narratives of Violence. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-460-8.
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This book is an invitation to read a selection of narratives of violence with the purpose of fostering global imaginaries based on respect, recognition, and empathy, especially towards those who are most vulnerable. It offers critical readings of nine works of various genres, originally written in different languages, by Caterina Albert (Catalonia), Mrīrīda n’ait ‘Atiq (Morocco), Eva Koch (Denmark), Pius Alibek (Iraq-Catalonia), Janina Hescheles (Poland), Leila Abdelrazaq (Palestine), María Galindo and Sonia Sánchez (Argentina), Arundhati Roy (India), and Juan Pablo Villalobos (Mexico).
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Goicochea, Adriana L. La Patagonia contada: Otro imaginario en la narrativa de mujeres. Buenos Aires: Editorial Biblos, 2013.
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El discurso dialógico de La era imaginaria de René Vázquez Díaz. Madrid, España: Editorial Betania, 1991.
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Árabes de cuentos y novelas: El inmigrante árabe en el imaginario narrativo latinoamericano. [Madrid]: Huerga y Fierro Editores, 2011.
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Adriana, Quiñones y Bravo Nelci, eds. El imaginario clásico en la narrativa de Manuel Mujica Láinez: Bomarzo, Los cisnes, El escarabajo. Argentina]: Vela al Viento Ediciones Patagónicas, 2008.
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Pioffet, Marie-Christine. Geographiae imaginariae: Dresser le cadastre des mondes inconnus dans la fiction narrative de l'ancien régime / textes rassemblés, édités et présentés par Marie-Christine Pioffet ; avec la collaboration d'Isabelle Lachance. Quebec City: Presses de l'Université Laval, 2011.
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Saunders, Jennifer B. Imagining Religious Communities. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190941222.001.0001.
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Based on ethnographic research with a transnational Hindu family and its social networks, this book examines the ways that middle-class Hindu communities are engaged actively in creating and maintaining their communities. Imagination as a social practice has been a crucial component of defining a transnational life in the moments between actual contact across borders, and the narratives community members tell are key components of communicating these social imaginaries. Narrative performances shape participants’ social realities in multiple ways: they define identities, they create connections between community members living on opposite sides of national borders, and they help create new homes amid increasing mobility. The narratives are religious and include both epic narratives, such as excerpts from the Rāmāyaṇ, and personal narratives with dharmic implications. The book argues that this Hindu community’s religious narrative performances significantly contribute to shaping their transnational lives. The analysis combines scholarly understandings of the ways that performances shape the contexts in which they are told, indigenous comprehension of the power that reciting certain narratives can have on those who hear them, and the theory that social imaginaries define new social realities through expressing the aspirations of communities.
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Beckert, Jens y Richard Bronk, eds. Uncertain Futures. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198820802.001.0001.
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Uncertain Futures considers how economic actors visualize the future and decide how to act in conditions of radical uncertainty. It starts from the premise that since dynamic capitalist economies are characterized by relentless innovation and novelty, they exhibit an indeterminacy that cannot be reduced to measurable risk. The organizing question then becomes how economic actors form expectations and make decisions despite the uncertainty they face. The current microfoundations of standard economics cannot handle genuinely uncertain futures. Instead, uncertainty requires an entirely new model of economic reasoning. This edited volume helps lay foundations for this new model by showing how economic actors in practice form expectations in conditions of uncertainty. It draws on groundbreaking research in economic sociology, economics, anthropology, and psychology to present theoretically grounded empirical case studies that demonstrate the role of imaginaries, narratives, and calculative technologies—and their various combinations—in enabling economic actors to form expectations and cope with uncertain futures. The book examines risk management techniques, finance models, and discounted cash-flow models as well as methods of envisaging the future that overtly combine calculation with narrative structure and imaginaries. These include central bank forward guidance, economic forecasts, business plans, visions of technological futures, and new era stories. Considerable attention is given to how these fictional expectations influence actors’ behaviour, coordinate action, and provide the confidence to act, and how they become instruments of power in markets and societies. The market impact of shared calculative devices, social narratives, and contingent imaginaries underlines the rationale for a new form of narrative economics.
Capítulos de libros sobre el tema "Narrative imaginaries"
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Brown, J. Andrew. "Ripped Stitches: Mass Media and Televisual Imaginaries in Rafael Courtoisie’s Narrative". En Cyborgs in Latin America, 77–111. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230109773_4.
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Llanos, Bernardita. "Family Imaginaries and Postmemory in Chilean Narrative: Andrea Jeftanovic’s Escenario de guerra and Lina Meruane’s Cercada". En Transnational Borderlands in Women’s Global Networks, 99–118. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119475_5.
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Remmington, Janet. "‘Through Dustless Tracks’ for African Rights: Narrative Currents and Political Imaginaries of Solomon Plaatje’s 1914 Sea Voyage". En Sea Narratives: Cultural Responses to the Sea, 1600–Present, 81–110. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-58116-7_4.
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Stano, Simona. "Dreams and Narratives: From Psychoanalysis to Contemporary Imaginaries". En Readings in Numanities, 19–28. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66914-4_2.
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Alpes, Maybritt Jill. "Unravelling the legal consciousness of deportation policies through women’s bushfalling narratives in Anglophone Cameroon 1". En Trajectories and Imaginaries in Migration, 77–91. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Studies in migration and diaspora: Routledge, 2018. http://dx.doi.org/10.4324/9781351119665-5.
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Durante, Tommaso. "Approaching Peace Visually: Global Imaginaries and Narratives of Everyday Peacebuilding". En The Palgrave Handbook of Global Approaches to Peace, 663–83. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78905-7_32.
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Kemp, Hugh P. "The Imaginarium of Narrative in Christian Curriculum Design: A Case Study from Saint Kentigern College, Auckland". En Innovating Christian Education Research, 287–301. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-8856-3_17.
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Asthana, Sanjay. "Television, Narrative Identity, and Social Imaginaries". En Channeling Cultures, 56–80. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780198092056.003.0003.
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"Day and Night: Topography and Renewal in Thoreau’s Walden and Douglass’s Narrative". En Contesting Environmental Imaginaries, 11–27. Brill | Rodopi, 2017. http://dx.doi.org/10.1163/9789004335080_003.
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Ruprecht, Lucia. "Floral Pathochoreographies". En Gestural Imaginaries, 193–220. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659370.003.0010.
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This chapter juxtaposes Kreutzberg’s Drei irre Gestalten (Three Mad Figures) with Alfred Döblin’s expressionist short story “Die Ermordung einer Butterblume” (“The Murder of a Buttercup”) and Jo Mihaly’s solo Blume im Hinterhof (Flower in the Backyard). It argues that Mihaly’s embodiment of the flower is the culmination of hybrid human/plant blurrings that also occur in Döblin and Kreutzberg. All of this chapter’s examples engage with performances of the symptom in the shape of “floral pathochoreographies”: an attack of insanity brought on by the loss of a flower, in Kreutzberg’s danced triptych; the destruction of a buttercup that provides a narrative around which a paranoid psyche indulges its obsessions, in Döblin; and a wilting and dying urban flower, remarkably incorporated in a dense mimic dance by Mihaly. The chapter also includes a brief excursus on Mihaly’s Vision eines Krieges (Vision of War).
Actas de conferencias sobre el tema "Narrative imaginaries"
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Leforestier, Claire. "Fontaines narratives de Jean GIono". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3039.
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La qualité matricielle de l'eau pour la psyché est un lieu commun qui ne présente d'intérêt que si la généralité cède devant l'examen de réalisations singulières. Avec une simple scène d'enfants, Jean Giono révèle, dans « Jeux ou la naumachie », que le lit d'eau vive fait celui de la fiction. Du contact avec l'eau naissent en même temps la créature et le créateur. Fontaine, ruisseau, fleuve, mer... les diverses eaux de son œuvre sont corrélées à des êtres ou à des métamorphoses, leur présence amorce un cours d'événements, l'élément donne lieu à l'écoulement ou à la dérive : la narration même. Il importe de rechercher les traits distinctifs de ces eaux, non par souci d'inventaire, mais pour dégager certaines propriétés fondamentales. Si la plus significative est bien celle de la poïèse, propriété génétique, la plus éclatante est la qualité magique de l'eau de mer... La dimension tellurique de l'œuvre a été largement explorée. L'eau a beau y être moins « décrite » que l'air et la lumière, autres éléments vitaux majeurs dont le conteur s'emploie à restituer le fascinant pouvoir d'animation, ses aspects (multiples) et ses fonctions (cruciales) méritent que l'on s'y penche. Pour connaître les prestiges des eaux, il faut d'abord rencontrer les initiés: Pétrus, le fontainier de « L'Eau vive », Antonio, l'homme-fleuve du Chant du monde, l'aiguadier de Noé... autant de « caractères » de la vie aquatique dont l'écrivain marque la valeur et les pouvoirs. Il faut en outre s'intéresser aux correspondances favorites du poète-romancier : l'eau, relativement peu comparée (en huile, en métal ou en écailles) sert en revanche fréquemment de comparant, vivifiant nombre d'éléments naturels, tant il est vrai que, chez Giono, la crue de la fiction tend à faire acquérir à toute représentation la dimension du grand large.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3039
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Bahíllo Sphonix-Rust, Emma. "Espaces de l’eau : lieux féminins dans la littérature médiévale française". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3073.
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Élément féminin par excellence, l’eau apparaît fréquemment dans la littérature médiévale. Omniprésente dans le cycle arthurien, elle se fait plus rare dans d’autres récits comme les cycles épiques. Comme bien des éléments, l’eau intègre la mentalité médievale à travers des valeurs multiples, souvent opposées. Ainsi, l’eau douce est souvent liée à la féerie celtique, tandis que dans le paysage épique on retrouve une eau particulièrement destructrice. À partir d’un corpus hétéroclite de textes, nous étudions différents éléments aquatiques de nature différente comme l’eau chrétienne, la mer Méditerranée ou encore la fontaine. Nous voudrions montrer quelles sont leurs fonctions –narrative, symbolique ou poétique– au cœur des textes. Nous nous demanderons également comment cet élément est associé à la femme, et notamment quelle est sa valeur féminine dans l’univers médiéval.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3073
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Monleón Domínguez, Ana. "Traversées migratoires: Des étoiles (2013) de Dyana Gaye". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3179.
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Dyane Gaye (1975) apporte à l’espace du cinéma franco-sénégalais une nouvelle perspective. Tout en prenant appui sur la référence dakaroise, elle accorde un regard plus ample sur les situations de migration où l’élément aquatique et la traversée (au sens physique et symbolique) sont très présents.Des étoiles est son premier long métrage qui a reçu des mentions et des opinions très favorables de la part de la critique. Dans le film, nous pouvons suivre le parcours de trois personnages, de trois destins qui déplacent le spectateur de Dakar à Turin et finalement à New York. Les paysages et les espaces que traversent les personnages sont une toile de fond qui les fixe dans un réel, sans pour cela les restreindre, car il s’agira bien plus de les appréhender dans la transformation qu’ils éprouvent lors de leur déplacement. Dyane Gaye fait preuve à nouveau dans ce premier film d’une efficace maîtrise narrative souple et sobre à la fois. On y retrouvera également, comme dans ses courts métrages antérieurs et notamment Deweneti (2006), un point de vue où se mêlent empathie et tendresse.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3179
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Lozano Sampedro, María Teresa. "La palabra del agua en la narrativa de George Sand: "Ce que dit le ruisseau"". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3033.
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El imaginario del agua en la narrativa sandiana reviste una gran riqueza. El puente, el vado, las aguas tenebrosas, la tormenta, las nubes, son motivos recurrentes que revisten un amplio simbolismo en novelas tan conocidas como La Petite Fadette, La Mare au Diable o François le Champi. Sin pretender abarcar esta diversidad, el propósito de nuestro estudio se centrará en el análisis de un relato muy breve titulado Ce que dit le ruisseau (1863). No muy estudiado por la crítica, este relato presenta claramente una idea esencial de George Sand: la necesidad de escuchar la voz de la naturaleza, tema que constituye el leitmotiv de su última obra, los trece Contes d'une grand'mère (publicados en volumen en 1873 y 1876). En Ce que dit le ruisseau, el lector asiste a un juego de ecos sobre el cual reposan la traducción e interpretación de la palabra poética. La dicotomía entre lo real y lo imaginario se presenta a través de dos voces discordantes: la de un poeta y la de un científico naturalista, a las que se unen la voz del agua y la de una ninfa. El viaje interiorizado y el sueño iniciático se insertan en la realidad en este relato metafórico, como metafóricos son los Contes d'une grand'mère. Y también, como en ellos, el viaje y el sueño son inseparables de la primacía de la oralidad. A través del imaginario acuático, el relato constituye un exponente de la constante transformación y la eterna renovación de todo lo existente. En definitiva, Ce que dit le ruisseau es la expresión de una idea esencial de Sand: la incesante actividad de la Naturaleza, «reina de las hadas» que se opone al vacío de la nada.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3033
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Pich Ponce, Eva. "Entre Eros et Thanatos : l’imaginaire de l’eau dans L’île de la Merci, d’Élise Turcotte". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2910.
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Élise Turcotte est une écrivaine québécoise contemporaine, qui a reçu de nombreux prix littéraires (Prix Émile-Nelligan ; Prix Louis-Hémon ; Prix du Gouverneur Général ; entre autres). Dans le roman L’île de la merci (1997), Turcotte décrit la vie d’une famille marquée par le manque de communication et par la mort d’un de ses membres. Notre communication vise à présenter l’importance qu’acquiert l’eau dans ce roman. Nous observerons comment, à travers l’imaginaire de l’eau, la narration pousse le lecteur à une réflexion sur la vie et la mort, et sur la relation entre eros et thanatos. Nous analyserons aussi le symbolisme de l’île et comment la description de l’espace permet de mettre en relief les tensions entre les différents personnages.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2910
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Sánchez Hernández, Ángeles. "Les associations thématiques du motif de l’eau dans un roman québécois : ‘HKPQ’ de Michèle Plomer". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2519.
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Dans notre communication nous nous proposons d’analyser le motif de l’eau comme symbole de médiation culturelle dans le roman francophone. Le texte choisi, c’est le roman de l’écrivaine canadienne Michèle Plomer : HKPQ (2009), récompensé par le prix littéraire ‘France-Québec’ en 2010. Les images aquatiques véhiculent avec naturel des échanges entre deux pays (le Canada et la Chine) agençant des passerelles du passé à l’avenir dans la vie de la narratrice. L’eau apparaît chargée d’une signification double. Elle évolue de la noirceur qui accompagne la noyade du fiancé dans le fleuve Saint-Laurent à Montréal dans l’incipit du livre au rayonnement éblouissant de Poissonne, accompagnatrice dans le processus de guérison émotionnelle tout au long de son séjour professionnel chinois. Ce poisson femelle qu’elle observe quotidiennement dans le bocal contribue à montrer la voie libératrice de cette femme et s’instaure en guide éveilleur d’une nouvelle perception existentielle.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2519
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De Almeida, Eneida y Myrna De Arruda Nascimento. "Narrativas errantes entre espacios reales e imaginarios: obras, imágenes y los lugares de los discursos". En IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9375.
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Si el museo, al separar la obra de arte del mundo ‘profano’ inauguraba una nueva relación con el público, consagrando su condición autónoma, las recientes diversificaciones de las formas de reproducción – digitales o analógicas –, amplían infinitamente la posibilidad de confronto entre museos reales e imaginarios, como indica Malraux (1994), estimulando prácticas culturales en permanente elaboración y circulación. Este trabajo explora la discusión provocada por la profusión de imágenes en el ambiente cultural contemporáneo, aproximando visiones polisémicas formuladas en narrativas provenientes de distintos lugares de discurso: el relato del escritor que lee imágenes e cuenta lo que ve se entrelaza con la comprensión de los críticos de arte y con el discurso del artista que usa la palabra y la escritura como instrumentos de reflexión y de dirección del propio proceso creativo. Alberto Manguel (2000) establece un paralelo entre imágenes y palabras como medio de reconocimiento de la experiencia del mundo denominado “real”. George Kluber (2002) sobrepone el dominio de las cosas hechas por el hombre al de la historia del arte, investigando la producción artística en Europa occidental por medio de las relaciones establecidas entre “objetos primos” y réplicas, o sea, un complejo encadenamiento desarrollado en el transcurso del tiempo, entre entidades originales y sus derivaciones, réplicas, transposiciones. Luigi Pareyson (2002) contrapone tal noción, substituyendo la idea de origen y derivación de la imagen por la concepción de un proceso endógeno resultante de motes y estímulos impulsados por el propio quehacer artístico, movido por la dinámica de alternancia entre consciencia y espontaneidad, entre sistema e libertad. La producción contemporánea de Esther Ferrer, al lidiar con la regla y el acaso, transitando por diferentes lenguajes, reaproximando arte y vida, memoria e invención, permite un análisis empírico en el cual las diferentes comprensiones aquí referenciadas pueden ser discutidas y confrontadas.
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Pujante González, Domingo. "Rites et rythmes de l'eau dans Mossane de Safi Faye". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3107.
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L’histoire de Mossane (1996) de la réalisatrice sénégalaise Safi Faye (1943-) se déroule en pays Sérère, à Mbissel, entre mer et savane, où les traditions et les rites religieux marquent le rythme de la vie du village. Le film s’ouvre et se termine par le même mouvement de la caméra autour de la belle Mossane dans l’eau. En effet, l’eau est un composant primordial de la narration filmique mais elle possède une valeur symbolique ambivalente, toujours en transition entre la vie et la mort. L’élément aquatique est montré comme un bien précieux dans cette région africaine, pouvant, toutefois, être prémonitoire d’une fin funeste. Le film est donc ponctué d’images où l’eau est très présente : dans la beauté des paysages de cette branche de mer à proximité du village, dans les rituels des bains des femmes ou dans le puits au milieu des terres arides où d’autres femmes vont la chercher pour l’apporter au hameau. Nous analyserons cette riche présence de l’eau marquant non seulement la mémoire collective et les rythmes de la communauté dans des espaces naturels mais également les rituels intimes où les femmes nues s’ouvrent aux désirs et à la sexualité.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3107
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Corbí-Sáez, María Isabel. "Le symbolisme de la mer dans Les Plages d’Agnès Varda au miroir de la littérature". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3069.
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La cinécriture d’Agnès Varda a transgressé bien des barrières et ouvert de nouveaux chemins dans le septième art. Les plages (2008) – qui suppose son « adieu » définitif à la « caméra voyageuse » – constitue bien un exemple de récit d’art et d’essai, complexe, créé comme une espèce de collage, à effet de kaleidoscope, où la réalisatrice offre un jeu narratif filmique prolixe qui séduit et attrape le lecteur spectateur complice. Ce film s’avère d’un intérêt spécial car si, effectivement, il fait le bilan de toute une vie dédiée au cinéma et aux arts, s’il constitue en toute évidence une célébration du septième art et un hommage à de nombreux amis cinéastes, il illustre jusqu’à quel point le cinéma ne peut être conçu sans les interinfluences entre les arts. Ainsi, au premier abord Les plages constitue le voyage rétrospectif d’une vie, une rêverie « autobiographique » d’une cinéaste constamment au devant d’une avant-garde. Pourtant ce film est beaucoup plus. Le lecteur spectateur se laisse surtout emporter par une aventure textuelle qui n’entend pas de frontières entre les arts. Si, effectivement, notre communication s’aprête à aborder le caractère réflexif du film de Varda, elle vise également à analyser la dimension symbolique de cette « mer » en évaluant les enjeux des « vagues » textuelles qui entrelacent le récit, et dont l’une d’entre elles n’est pas fortuite : celle du Cimetière marin de Paul Valéry. DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3069
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González Hernández, Ana Teresa. "La femme au colt 45: un parcours dans imaginaire aquatique de Marie Redonnet". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3111.
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Sous l’apparence d’une écriture dépouillée et d’une narration dénudée, Marie Redonnet, écrivaine contemporaine, nous présente un univers fictionnel peuplé de personnages –féminins pour la plupart- démunis et solitaires, soumis aux grandes tensions sociales, ancrés dans un cadre spatio-temporel flou, et fréquemment plongés dans un état d’abandon existentiel, de stagnation, auquel vient contribuer la présence d’une composante clé de l’imaginaire redonnetien: l’élément aquatique. Chez Redonnet, les différentes variantes de l’eau: océans, mers, fleuves, lacs, cascades, marécages, etc, deviennent de véritables métaphores récurrentes, voire obsédantes, riches de signification. Prenant comme point de départ de notre parcours la trilogie: Splendid Hôtel, Forever Valley et Rose Mélie Rose, publiée entre 1986 et 1987, nous nous proposons d’analyser, dans un premier temps, le rôle et la signification de la présence récurrente de la thématique de l’eau dans cette trilogie. Nous dresserons, ensuite, le tableau des différentes manifestations de l’eau et des divers aspects de la symbolique aquatique dans son dernier roman: La femme au colt 45, paru en 2016. Dans ce roman, utilisant une langue épurée et minimaliste, proche du langage dramaturgique, Marie Redonnet nous pose la problématique de la précarité des réfugiés, et des sans-papiers, de la méchanceté humaine, des difficultés pour recommencer une nouvelle vie ailleurs, de « l’autre côté du fleuve », à travers l’expérience vitale de Lora Sander, une comédienne qui fuit la dictature de son pays. L’étude dans ce dernier roman de la présence de l’eau, sous toutes ses manifestations, ainsi que la signification des différents élements qui lui sont associés, nous permettra de nous interroger sur l’évolution du traitement de l’imaginaire aquatique dans la création littéraire de M. Redonnet.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3111