Classical Narrative Research Articles

Memory, Land, and Identity: Visions of the Past and the Land in the Jewish Spiritual Renewal in Israel

This study focuses on the creative reconstruction of Jewish history via a spiritual New Age perspective. Using the case of the Jewish Spiritual Renewal (JSR) narrative of the past and the land, this article aims to shed light on some of the cultural transformations which are taking place in contemporary Israeli public discourse, especially the reconfiguration of the association between Jewish history, contemporary spirituality, and the land. The JSR narrative recovers, reinterprets and remolds Jewish history in order to legitimize the claim for a spiritual renewal of the present. By offering new perspectives on the Jewish past and history, the JSR attempts to validate its post-modern and spiritual version of Judaism as an original, uncorrupted form of Jewish thought and practice. The comparison of the JSR narrative with the classical Zionist and Canaanite narrative reveals that the JSR spiritual narrative replaces particularistic and nationalistic values regarding the land with universal and global values concerning nature and the environment, in order to create a universal Jewish spirituality that caters to the identity needs of contemporary non-Orthodox Jewish Israelis.

La conversion chrétienne du récit de voyage antique dans les Vies de moines de Jérôme

This paper intends to show that Jerome, in his three biographies of monks (Lives of Saint Paul, Saint Malchos and Saint Hilarion), written between 376 and 392, “converts” classical travel narratives to hagiography, borrowing topics from ancient genres such as epos, history, geography or novel. But at the same time the author creates a new literary frame for these christian peregrinationes. Indeed, these short novels offer him the opportunity to think about how difficult it is to understand the eremitic xeniteia. Is it possible to be in touch with a holy man whose holiness comes from the fact that he is always fleeing human society, to get nearer to God? The solution proposed by Jerome belongs to literary art: he paradoxically succeeds in making obvious the holy man’s absence, thanks to the rhetorical device of euidentia. The text, which generates mental visions, moves the Christian reader spiritually closer to the holy man, although that figure’s holiness depends on a sort of exclusion of every kind of relationship.

Historiography as a form of political thought

This article seeks to combine two lines of thought that have been little studied: a model history of early modern historiography, and a theory of the impact of historiography on a political society. Under the former heading, it traces the growth of a narrative of European history as a series of sequels to the Roman empire, and a history of historiography as passing from classical narrative to antiquarian study and Enlightened philosophy. Under the latter, it considers the effect on political life of being narrated in a plurality of contexts, and asks whether a modern society can survive if deprived of the capacity for debating its history.

The self-fashioning of French Newtonianism

J. B. Shank has written a major cultural history of Newtonianism in the French Enlightenment—or rather a study of how Newtonianism was constructed to serve the purposes of the ‘‘self-fashioning’’ of various key figures in the French Enlightenment. As straight history of ideas, it can be read as providing a French counterpart to works such as John Gascoigne’s masterful (1989) study of science and religion at Cambridge, or as a more detailed, more culturally and rhetorically sophisticated book-length extension of analyses such as Robert Schofield’s ‘‘taxonomy of eighteenth-century Newtonianisms’’ (Schofield 1978). But Shank is also interested in a different approach, a different form of analysis, which in fact challenges ‘‘the classic narrative produced by the Enlightenment philosophes’’ (21). He uses lots of language that harks back to the heyday of theory in the humanities— the book is ‘‘a critical genealogy of beginnings,’’ a ‘‘postmodern,’’ ‘‘postEnlightenment’’ history of an event—but in fact very little of this really has an impact on the detailed analyses produced over the next four hundred and fifty pages. Brunet’s (1931) book on the introduction of Newton’s theories into France in the early eighteenth century, and Koyre who refers to it approvingly, are targeted by Shank for their uncritical acceptance and reproduction of the philosophes’ narrative of the heroic Newton—a reproduction of ‘‘Enlightenment modernity itself,’’ as well as of the canonical narrative of the Scientific Revolution, which rests on the figure of Newton as its ‘‘climatic, synthetic hero.’’ Indeed, Shank calls his book a ‘‘postmodern and post-Enlightenment history of a crucial moment in the beginning of Enlightenment modernity,’’ which is precisely ‘‘the moment when Newtonian science became linked to it as its genetic code and avatar’’ (15). Shank wants to

Immortal Longings

This article reads Trodden down Strength, by the God of Strength, the 1647 narrative of the demonic obsession and subsequent conversion of Joan Drake (died 1625) as a text which problematises the conventions of the Puritan conversion narrative, gendered subjectivities, and Calvinist theology. The ‘Relater’, who called himself Hart On-Hi, tells contradictory stories, especially centring around narrative and his own role as narrator, family, reading and theatricality. The tensions between competing narratives and the discontinuities in the text are captured through verbal repetition and contradiction, theatrical allusion, and typographical innovation. Whereas the classic conversion narrative has been seen as a story whose happy ending is achieved through self-surrender, this text deals with both narrative and agency more ambiguously, showing self-possession as a necessary condition for self-surrender.

King Kroisos Questions Apollon

The ancient Greek historian Herodotos relates how, on three successive occasions, King Kroisos of Lydia questioned the god Apollon at his oracle at Delphi. Apollon's responses were slyly indirect in that the first described a phenomenon in terms of olfactory perception, the second was ambiguous, and the third depended upon the apprehension of a metaphor. The international folktale known as The King and the Farmer's Son (ATU 921) similarly features a king who asks a series of straightforward questions, and a youth who responds with slyness and often metaphoric indirection. I compare the classical narrative and the folktale, discussing the apparent assimilation of the international tale to ancient Greek traditions about the kingdom of Lydia and the Delphic oracle.

Diffusion and the Constitutionalization of Europe

This article begins with a rather forceful defense of the explanatory role of formal institutions—and, in particular, constitutions—in the study of democratization. Important aspects of constitutions play a significant part in shaping the quality, type, and survival of institutional arrangements in new democracies. With this assumption, the article turns seriously to theories of constitutional design, any of which must grapple with the overwhelming prima facie evidence of constitutional diffusion. It is well known that constitutional ideas travel easily across contexts. However, scholars until now have lacked even basic empirical evidence regarding the patterns of constitutional similarity across time and space. This article introduces exactly this sort of evidence in the context of 19th-century Europe, employing a new data set expressly designed for such a purpose. The analysis uncovers a number of new insights regarding the spread of constitutional ideas in Europe, insights that disturb some of the classic narratives of democratization in these cases.

The Advantages of ‘Demi‐Naturalization’: Mutual Perceptions of Britain and Italy in Hester Lynch Piozzi's Observations and Reflections Made in the Course of a Journey through France, Italy and Germany

AbstractIn 1789 Hester Lynch Piozzi's Observations and Reflections Made in ... France, Italy, and Germany appeared in London. The subjectivity featuring in Piozzi's work offers an innovative and romantic version of the Grand Tour, narrated by a woman with an eye to publication. Sensations work as an emotional filter, through a spontaneous flow of personal reflections on Italy, and Piozzi's privileged position as the wife of an Italian – her ‘demi‐naturalization’– gave her an advantage over other British travellers and the freedom to go beyond the classical narrative of Italy and enjoy the pleasure of the unknown.

Zen and the art of film narrative: towards a transcendental realism in film

<disp-quote> Nations and peoples are largely the stories they feed themselves. If they tell themselves stories that are lies, they will suffer the consequences of those lies. If they tell themselves stories that face their own truths, they will free their histories for future flowerings. <attrib>(Okri 1995: 21)</attrib> </disp-quote> What defines the classic narrative is also at the root of its limitations; an epistemology that ties it to a material and psychological paradigm governed by largely explicable laws of cause and effect. Such notions as character motivation, narrative aims, obstacles, climax and so on have evolved to become as overwhelmingly dominant in cinema as the dogma of reason which subsequently the industrial age solidified. It is from this that the moving-image medium emerged: empirical evidence of motivations, mechanistic notions of causes and effects and scientifically based including the pseudosciences of psychology and sociology that provide justifications for events and actions all serve to reinforce the dominance of the classic narrative's role in the storytelling of the developed world. In this article, I shall call for a different perspective on cinematic narrative form; not with a view to discussing what film generally is, but to make some general suggestions of what it could be, particularly from the perspective of a film-maker trying to transcend the limitations of the classic narrative. The motive is to try and understand how, in practice, one may evolve narrative forms in such a way as to deal with experiences not sufficiently touched by the classic form, as it is currently generally practised in cinema. I shall, in particular, look at the relationship between emotions and feelings and their relationship to narrative structure and bring into this examination some notions and ideas from Zen Buddhism to re-evaluate that relationship. The issues I hope to raise are about paradigms and I shall therefore deliberately base my discussion on general assertions and eclectic contextualization.

Narrative Therapy and Elders with Memory Loss by Elizabeth Young: Narrative Means to Different Ends

Elizabeth Young’s article attempts to illustrate how certain techniques of classic narrative therapy can be applied in very brief short-term work with elderly persons in the early stages of memory loss due to Alzheimer’s Disease or a related disorder. Brief excerpts from three interviews, each with a different client, are used to support the writer’s argument that ‘‘narrative therapy can help people with dementia revise their stories and reclaim their identities.’’ Of particular interest to Young is the potential of narrative therapy to help the client resist the ‘‘cultural imperative’’ that one’s life be perceived in sequential order. In my commentary on her article I will not critique her account but use it as a springboard to reflect briefly on several interrelated matters: (1) the ‘‘genre’’ of therapist’s accounts of a particular type of practice and the problematics of student accounts in particular; (2) the commonalities of and differences between narrative inquiry (my practice) and narrative therapy as narrowly defined; and (3) the potential of collaboration between narrative practitioners and narrative researchers. Accounting for oneself as a therapist or as a commentator is a daunting task. As Leguin says it is not just our struggle with what to say or not to say—how to give another person or audience some sense of our experience and some confidence in what we say—it is also that we refashion, interpret and ‘‘fictionalize’’ our accounts when we tell them to ourselves. If we accept that this is the case then we can acknowledge the high degree of uncertainty about what is indeed factual and inclusive in any account. I am not sure that reported facts matter so much as long as we have some opportunity to ‘‘observe’’ the therapist or the client in action, allowing us to interpret what is going on according to our own interests and preferences, or to agree or disagree with the author’s own interpretation. As Elizabeth Young makes clear in her piece she is writing about her experience in a field work placement while completing her MSW. And although it is not explicitly stated, from her approach I would assume that her paper originated as an assignment for a course, probably one that required her to illustrate a practice method with examples from her field work. Such assignments are common in social work education but I would argue that they may, at times, have a negative impact on learning. That is, the student is reluctant to show uncertainty and doubt as she or he tries to fit the experience of learning a practice into the boxes of method as described in textbooks and canonical texts (in this case, Epston and White’s early works on narrative therapy). Such assignments may also reinforce the dominance of ‘‘the authority’’ and make it more difficult for the learner to critically reflect on his own learning. In spite of the constraints that the context of social work education may have placed on Young, she does a commendable job. Not only does she demonstrate a mastery of the early literature of narrative therapy, she manages to overcome somewhat the strictures of the expectations of ‘‘the instructor’’ by her empathic This is a comment to doi: 10.1007/s10615-008-0146-4.

Flesh for the Author: Filmic Presence in the Documentaries of Eduardo Coutinho

Flesh for the Author:Filmic Presence in the Documentaries of Eduardo Coutinho Cecilia Sayad (bio) Theoretical discussions about the filmed body's corporality or materiality have often addressed the emphasis on physical presence as something that halts narrative progression, even if temporarily. But whereas classical narratives may allow for pauses for the appreciation of, say, the physical attributes of a star, in other modalities the stress on corporality may indicate a more or less significant disdain for plot progression. In his revisionist and elucidating approach to early cinema Tom Gunning identified an impulse to simply present a filmed subject or landscape—the cinema of attractions, he says, was made of "instants, rather than developing situations."1 Gilles Deleuze, in turn, wrote about a cinema of bodies that do not enact unfolding events—in the domain of a "time-image" defined by the coexistence rather than the succession of temporalities,2 the body appears as marked by accumulated experiences.3 Though by no means similar to the idea of attraction, Deleuze's conceptualization of the actor's body as heavy, worn out, and tired is as much about "presence" as the aesthetics of astonishment described by Gunning. In the realm of literary theory, Roland Barthes elaborated on yet another conception of presence as a means to differentiate authorial figuration from authorial representation, discussing the reader's desire for a writer to be found in the text "not in the guise of direct biography (which would exceed the body, give a meaning to life, forge a destiny),"4 but in his or her physicality—thereby merging the writer and her work into one single entity. Barthes replaces the idea of authorship as origin with the concept of authorship as process, whereby the author ceases to be anterior to the text to become either a scriptor, a weaver of preexisting discourses,5 or a voice relevant not as the conveyor of a message, but as a corporeal presence in a "tissue" that is "worked out in a perpetual interweaving."6 Figuration, says Barthes, "is the way in which the [End Page 134] erotic body appears (to whatever degree and in whatever form it may be) in the profile of the text," which in turn can also "reveal itself in the form of a body."7 Underlying Barthes's conception of authorship is a dialectical movement in which the text at once detaches itself from the author and contains the author, who is split into a real self and a textual self construed at each reading. The author is thus at once absent and present; even if the text cannot not narrate or represent interiority, the materiality of language (its sounds and rhythms) evokes the author's concrete body through textual irregularities that suggest her struggle for expression. In cinema studies, the auteur has been sought mostly in the film—even if in the early days of Cahiers du cinéma the search for recurring elements of style was complemented by long interviews in which critics hoped to trace meaning back to a palpable and intending author. It is the concern for the author existing outside of the text that was lost with the ensuing auteur structuralism and the focus on reception studies, at least until the flourishing of autobiographical and first-person films resuscitated the interest in the historical human being(s) at the origin of the filmic utterance. Simply put, the theoretical distinction between the real person and the critically construed author has never completely suppressed the impulse to merge the two. Considerations about meaning and self-expression, which are obviously at the center of this distinction, have led theorists to overlook a possibility granted exclusively to filmmakers—self-inscription by means of the author's photographic image. It is in order to explore the filmic manifestation of what Barthes called figuration that I borrow and adapt the stress on physical presence to the detriment of narrative that is articulated (in different contexts and to different ends) by Gunning and Deleuze. The attention to the effects produced by the author's body in the image shifts the focus from authorship as critical construct to authorship as self-construction, calling for an examination...

A interatividade no jogo eletrônico Shadow of the Colossus

This work analyzes how interactivity is built in the electronic game Shadow of the Colossus and explains how the actancial syncretism is explored towards this goal. Released in 2005 by scei (Sony Computer Entertainment Inc.) to the PlayStation 2 console, the game became famous for involving the player in a lonely environment and for presenting some flaws in the general narrative. An important point that deserves attention is the recurrence of the same narrative program structure, which forms a cascade towards a main narrative program. The interactivity (defined in different ways by diverse authors of several domains) is defined in this analysis as the syncretism between the enunciatee (discourse actant) and the subject (narrative actant). A simulation is created to make the enunciatee/player feel as if he were the protagonist of the game and many elements emphasize this impression throughout the game. Amongst the features explored here, we highlight the break of the classic narrative linearity, the subject enunciative shifting out, the soundtrack, the controller vibration, and the duplicity of interlocutees for the same interlocutor. Because of the actancial syncretism, the enunciator delegates the main action role to two actants: the young warrior Wander and the enunciatee or player. These are some of the points undertook by the semiotic analysis of Shadow of the Colossus, which intends for a deeper investigation into the narrative world of electronic games.

Text Structure and Referential Choice in Narrative

Abstract: This article addresses the issue of referential choice in Latin, more in particular the anaphoric use of the demonstrative pronoun ille (‘that’, ‘that one’). Ille is usually considered as a relatively ‘heavy’ anaphoric device, which is typically used in environments of participant interference and topic discontinuity, i.e. in cases of problematic accessibility. On the basis of a corpus of Classical Latin narrative texts, it will be argued that this is too simplistic a view, and that in order to explain a considerable number of ‘deviant’ instances of ille, it is necessary to take not only the linear structure of the text into account, but also the global, hierarchical discourse structure. In this context the article will focus especially on the type of structure that is imposed on a text by the alternation of so-called discourse modes. More in general, it shows how ille’s specific deictic value of ‘remoteness’ can be traced in all of its anaphoric uses.

CARTA AOS LOUCOS: UMA NARRATIVA ÉPICA MODERNA

Carta aos loucos, Carlos Nejar’s romance, is an allegoric narrative in which theauthor, inspired on the tradition of Homero’ s classical narrative, and makinguse of the parodist resource creates a new epic, based not on the relating of thealready happened, but on the questioning, revealing a post-modern criticalconscience. The esayist tries to elevate the ways by which the narrator daresnew literary paradigms, recreating the classical mithology towards the binomialTime versus Word and to show how, enriched by the dinamic convenience onprose and poetry, the romance is an apology to “Verb”, a thesis shared by thecontemporaneous fictionists.

Somatic Syntax: Replotting the Developmental Narrative in Carson McCullers’s The Member of the Wedding

wish tomorrow instead of Friday ... Sunday will come, said Berenice. doubt it, said Frankie. --Carson McCullers, The Member of the Wedding What defines a nonnarratable element is its incapacity to generate a story. Properly or intrinsically, it has no narrative future. (1) --D. A. Miller, Problems of Closure in the Traditional Novel The first sentence of Carson McCullers's 1946 novel reads, happened that green and crazy when Frankie years old (3). While seemingly transparent, the terms and years old encode particular cultural assumptions. Summer is a distinct period preceded by spring and succeeded by fall; twelve has, since the turn of the twentieth century, been known as an adolescent age. (2) Adolescence, in turn, is understood as a distinct psychological, somatic, and social period preceded by childhood and succeeded by adulthood. The omniscient narrator's statement that Frankie was twelve, then, immediately positions her in the reader's mind as a liminal figure, inevitably facing a battery of changes. None of these understandings appear to be problematic at first glance. Indeed, summer follows spring, leads to adulthood, and is a of change seem to be unimpeachable facts. But we might actually take the novel's opening as an occasion to recognize the codified character of normative temporality, and to scrutinize normativity itself. For one thing, in juxtaposing a with a developmental stage, this first sentence reminds us of the highly metaphoric, and not purely scientific, character of developmentalism. It illustrates both developmentalism's constructedness, and our poverty of terms unique to the actual processes of bodily change. Indeed, the broad, imprecise metaphors of seasonality have long been used to articulate adolescence. (3) In 1959, for example, psychologist Norman Kiell declared this stage an awful springtime of beauty and a season of shames (13). I claim that Member's thematic and formal engagements with temporality open the notion of up for critical examination. The novel shows human development to be, first and foremost, a classical narrative paradigm--a forward-looking schema with strict criteria for progress and closure, and one that is exceedingly difficult to interrogate, precisely because of its natural appearance. (4) More specifically, McCullers's novel indicates that adolescence is a reified moment in a story constructed to serve such ideals as whiteness, heterosexuality, reproductivity, and progress. Adolescence is a conceptual pivot that allows human development to function as a classical narrative. In this essay, I will focus on the ways in which the text both cites that state of affairs, and treats adolescence in radically different, non-narrative terms. These methods include the depiction of personal difficulties with narrativity, the refusal of dynamism, and the use of the literary devices of repetition and analepsis. The result, as I will show, is that the novel allows us to imagine an adolescent body in synchronic rather than diachronic terms--thereby challenging the ideals of sexuality, gender, and race that normally accrue to such bodies. This argument is affined with recent feminist-theoretical and queertheoretical work on Member. Sarah Gleeson-White, for example, argues that Carson McCullers's fiction is particularly fertile for an investigation into new understandings of gender and sexuality, written as it in the 1940s and 1950s, a of between the changing status of women and the southern ideal of womanhood; between a growing liberalism on the one hand and segregation and repressive sexual mores on the other (2). More specifically, this time of tension included questions about women's role in war, and about the new cultural status of the bride--a figure that becoming a consumer icon in this period (see Freeman 49). …

National narratives and new politics of memory in Georgia

This paper examines three dominant forms of national narratives concerning the fate of the Georgian nation: the old or classical narrative concerning the salvation and rescue of the Georgian nation despite imperial aggression; the narrative of the ‘Rose Revolution’ telling of the birth of a new nation; and a third narrative of the Georgian Christian Orthodox Church. The first narrative was favored by the old socialist intellectuals and has been eclipsed by the second narrative favored by ‘new intellectuals’. Likewise the Orthodox narrative is not anchored on ancient Georgian churches but the new Shrine of the Trinity in Tbilisi. The paper argues that all three narratives embody realms of memory in Georgia and are vital to the understanding of impulses behind Georgian politics. It also suggests that Georgia has not so far undergone a full secularization in the Western sense and has been unable so far to construct new secular realms of memory though the old secular realms associated with the Shevardnadze era have been devalued. The article concludes by briefly discussing the significance of the Georgian intellectual Merab Mamardashvili whose grave in a common cemetery demonstrates the possibility of ‘spontaneous’ or ‘vivid’ memory.

"Some Things Are Better Left Unsaid": Discourses of the Sexual Abuse of Boys

"Some Things Are Better Left Unsaid":Discourses of the Sexual Abuse of Boys Marc Ouellette (bio) Introduction The popular portrayal of male children who have been sexually abused depicts them as inevitably growing to be abusers themselves, and this may have more to do with maintaining the cultural taboos both against male victimization and against males having sex with males than with elucidating the experiences of the children.1 More significantly, the circular narrative, which Montreal therapist Michel Dorais calls the myth of "the bite of the vampire," is so thoroughly naturalized that it has become the de facto official discourse and, as such, even appears in the reactions of some therapists (59).2 Not only do therapists such as Dorais feel the need to address the myth, but it is also so widespread in popular discourse that the American Medical Association devotes a portion of its manual on the topic to dispelling prevailing myths about male victims of sexual abuse because the mythic story often repeats in responses from professional therapists and social workers (26, 28).3 The circular narrative reflects the primacy of what prominent Australian sociologist Robert Connell calls "hegemonic masculinity," which is the preferred gender formation in a given cultural site and which assures (some) men power over women, and over homosexuals and other minorities (131). Ultimately, the dominant popular discourse is not so much for males who have been sexually abused as it is about them. As leading British cultural theorist Stuart Hall explains, "every discourse constructs positions from which alone it makes sense. . . . Anyone deploying a discourse must position themselves as if they were the subject of the discourse" (author's emphasis; "The West" 202). It is little surprise, then, that the abuse that former NHL star Sheldon Kennedy and other, unnamed, hockey players suffered morphed into stories centred on their coach, Graham James, and on the resultant impact on hockey (Kylie; Fusco and Kirby).4 As well, Brandon Nesler's abuse becomes a [End Page 67] mechanism to tell The Ellie Nesler Story, which details Ellie's revenge killing of her son's abuser and positions her as the star, the source of identifications. In short, she is the subject of the story rather than Brandon. Thus, the stories that are told have little to do with the individual in question—call him a "victim," a "survivor," etc.—and everything to do with the rest of the audience; the stories serve to dissociate audiences from those who have been abused. These dissociative discourses, which reassure the audience that it is outside of the story loop, most resemble the discourse of death, the elegy: they voice a rationalization of a subject unfathomable for those who have not experienced it; they speak in terms of the loss and the grief of those close to the victim; they seek to console those who were not lost. What becomes apparent, as well, is that the circular narrative contrasts with what French literary critic and theorist Roland Barthes describes as the typical operation of the classic narrative. According to Barthes, the narrative process does not just lead to, but also relies upon, the achievement of the end of the story for one of its central motivations. The purpose of this arrangement, Barthes writes, is to "articulate in various ways a question, its response, and the variety of chance events which can either formulate the question or delay its answer; or even, constitute an enigma and lead to its solution" (17). Regardless of the generic location of the stories considered in the course of this paper, the problem being solved is not that of the child who has been abused. In fact, as I will show, the most frequent solution offered for the child who has been abused is death. In this way, the cycle has an elegiac function that provides a means of understanding the narrative, but this suggests that death is the only way to break the cycle. This is the solution offered in a docu-drama like The Boys of St. Vincent; in a dramatic whodunit like the Academy-Award winning Mystic River; in episodes of TV cop shows Law and Order—a plot-based show...

Disagreement without reconciliation: Democracy, equality and the public realm

Nancy Fraser claims that the public sphere did not live up to the assumption of strict equality envisioned by Arendt and Habermas. She also believes that socioeconomic equality is a necessary condition for a truly democratic public realm. This is problematic not because equality is an unworthy goal but because it ties its pursuit to classical narratives of emancipation and hence to an ethos of reconciliation, at least implicitly. I argue instead that public space is structured around an ethos of polemicization and propose two criteria to frame its relation with equality. One is that public space comes into being through a polemic about the status of the given. This polemic tests the boundary between public and private and very often reconfigures it. The other criterion is that equality is always a contested equality to come. This is not because it takes the shape of a delayed presence – of an ideal equality that is simply not‐yet‐here – but because it can never find a resting point: the question of equality opens up whenever there is an attempt to verify it.

Journalist or panderer? Framing underage webcam sites

If the television brought images of the outside world into the home, web camera technology potentially inverts this trend by transmitting activities in the home to outside viewers. This article examines a high-profile case, first exposed by the New York Times, of teenagers using their home computers, web cameras, and other web-based commercial establishments such as PayPal to establish and conduct their own home-based, interactive Internet pornography businesses. The author considers recent journalistic and public policy discourses surrounding these sites—often run surreptitiously out of minors’ rooms—especially the uneasy representation of teens as simultaneously stars, victims, producers, perpetrators, and entrepreneurs. The author argues that what is being produced is not only a classic narrative of underage victims and adult perpetrators but also a new set of complex social and legal relationships enabled by and embedded within these new technologies.

모바일 전용 영화의 내러티브 구조와 의미구성 - 모바일 전용 영화 <Project X>와 <건달과 달걀>을 중심으로

디지털 테크놀로지의 발달은 디지털화된 이야기의 형식으로 내러티브를 구축하며 의미를 구성한다. 모바일 전용 영화와 같은 영상콘텐츠 역시 디지털 테크놀로지 기반의 내러티브 구조와 의미구성 방식을 따른다. 이 연구는 모바일 전용 영화가 모바일 미디어에 적합하게 기획 및 제작됨으로써 전통적인 내러티브 구조를 확장하고 새로운 의미구성 방식을 제시할 수 있음을 논증하고자 했다. 이를 위해 국내 최초의 모바일 전용 영화라고 할 수 있는 <Project >와 <건달과 달걀>을 사건의 인과관계에 따른 의미중복과 시공간 구조의 이중교차를 통한 내러티브 구조의 통합과 응집 과정을 중심으로 분석했다. 연구결과에 의하면, 두 편의 연구대상 모바일 전용 영화는 이야기의 연속성과 일관성을 위해 의미를 응집시켜 통합적으로 내 러티브를 구축하고, 시공간을 등장인물의 주관적 시점에서 이중으로 교차시켜 이동시키는 것으로 나타났다. 이는 곧 모바일 전용 영화의 내러티브 구조와 의미구성 방식이 모바일 미디어에 적합하게 전통적인 영화 고유의 형식을 변형 또는 확장시키는 것이라고 할 수 있다. The development of digital technology constructs meaning through the narrative by digitalized story. Including mobile whole aspect movie, visual contents have the narrative structure and signification based on the digital technology. This study planned to explore the possibility that mobile movie can expand the classical narrative structure and bring up the method of signification. For this purpose, this paper proved the process to cohere narrative through redundancy and a double across of space-time structure according to the principle of causality in mobile movies such as <Project X> and <Gundal and Egg>. According to the findings, mobile movies appeared to construct a consolidated structure through cohesion of meaning and to move the space-time doubly across at a subjective point of view of the characters for continuity of story. Such a result means the narrative structure and the method of signification of mobile movie are modifying or expanding the unique formation of classical films in accordance with mobile devices as digital media.