Concept Of Narrative Research Articles

Implicit narratives and narrative agency

Abstract This article proposes the concept of implicit narrative as an analytic tool that helps to articulate how cultural models of narrative sense-making steer us to certain patterns of experience, discourse, and interaction, and the concept of narrative agency as an analytic tool for theorizing and evaluating the processes in which we navigate our narrative environments, which consist of a range of implicit narratives. As a touchstone for developing these theoretical concepts, which serve not only narrative studies but also overlapping fields such as memory studies and cultural studies, the article analyzes the implicit cultural narrative that has most strongly dominated public discourse on the coronavirus pandemic: the narrative of war. Thereby, the article also contributes to the analysis of pandemic storytelling and its effects on us, as the cultural memory of the pandemic is currently taking shape and affecting our orientation to the future.

Treating specific phobia fear of injury through narrative therapy post-release: A clinical case study

ABSTRACT There are an estimated 2.2 million people incarcerated in the United States and many suffer from mental illness. Specific phobia, fear of injury affects 7–9% of adults and 75% of those with specific phobia fear more than one situation or object. Specific phobia consists of fear and anxiety or frequent avoidance of an item or situation that leads to significant distress or impairment. Narrative therapy allows individuals to deconstruct their problematic stories and create a more preferred narrative. Narrative concepts of empowerment and resilience enable clients to change their lives. A case study displayed potential efficacy in utilizing narrative therapy with an individual post-release living with a fear of injury. Clinical implications and future directions are provided to expand on this necessary work.

La coconstruction de la narrativité. Trois niveaux dans le développement comme dans le soin

Après avoir rappelé quelques définitions concernant les concepts de narrativité, de récit et de narration, l’auteur évoque les différentes racines épistémologiques de la narrativité ainsi que l’ontogénèse de cette fonction dans le cadre du développement du bébé (narrativité sensorielle, narrativité corporelle, narrativité en images mentales et narrativité verbale enfin). Il montre ensuite que l’espace des interactions précoces peut être considéré comme un espace de coconstruction narrative entre l’adulte et l’enfant avant de rapporter les travaux de l’institut Pikler-Lóczy à Budapest et l’organisation de la construction narrative dans le cadre des soins selon trois niveaux (l’enfant, la nurse et la pédagogue) qui rappellent les trois générations nécessaires à la construction d’un sujet.

Politician, activist… or hero?

AbstractThis article explores how narratives and their discursive elements construct the idea of rebelliousness in subjects who followed different pathways through politics and activism after the Spanish 15-M movement. Methodologically, two representative examples of narratives have been selected on the basis of interviews with participants in the movement. To study these cases, the concept of rebel narratives is proposed from the perspective of narrative as social practice. The analysis applied here is based on a dialogue between the two cases studied, as discourses in which the activity of their tellers develops in certain contexts of discourse production. Based on this analysis, it is suggested that rebelliousness, in addition to manifesting subjective affiliations, fulfils a performative function with which the subjects legitimise their chosen path and constitute themselves, motivating, in the cases presented, revisions of the past or the rhetoric characteristic of a hero.

Contemporary French and Francophone Narratology

Contemporary French and Francophone Narratology

The Social Value of FASB

AbstractRamanna (Unreliable accounts: How regulators fabricate conceptual narratives to diffuse criticism.Accounting, Economics and Law: A Convivium, this issue) argues that the FASB’s new Conceptual Framework deemphasizes reliability, and especially verifiability, in favor of representational faithfulness to facilitate the FASB’s promotion of an “asset-liability” approach measured at fair values. More importantly, he argues that this change is likely to generate costly unintended consequences by undermining reporting quality. We agree and consider more broadly whether FASB creates social value through better accounting knowledge, and whether it is time to sunset the FASB monopoly in establishing accounting standards.

Contemporary Women's Post-Apocalyptic Fiction

Contemporary Women's Post-Apocalyptic Fiction

The Politics of Accounting Standards: A Comment on Ramanna’s “Unreliable Accounts: How Regulators Fabricate Conceptual Narratives to Diffuse Criticism”

Abstract Karthik Ramanna recounts how the Financial Accounting Standards Board (FASB) dropped “reliability” as a fundamental property of accounting in 2010. He offers two possible explanations for this change: (1) The FASB removed reliability to clarify its conceptual framework, and (2) It sought to reconcile its framework with the growing use of fair-value accounting. Ramanna does not give total victory to one explanation over another, nor does he assign purely public- or private-interest motives to the actors in the story. Yet this very ambiguity tells us a lot about the distinctive politics of accounting and other technical realms of regulation, and exposes some of the shortcomings of more standard interest-group models in political science.

The Architecture of Narrative Reciprocity in Ali Smith’s How to Be Both

ABSTRACT To write a book is to create a dwelling. Ali Smith’s novels are equal parts narrative and blueprint in the sense that they usher the reader into spaces, homes, habitats, and residences. Thus, an author is surely an architect – someone who designs and plans stories on top of stories – someone concerned with form and function, esthetic and purpose. Smith’s 2014 novel How to Be Both abounds with images of homes and roofs and doors. This essay is interested in architectural and literary thresholds, thresholds that welcome movement and exchange. Such spaces facilitate a type of narrative reciprocity between the novel’s two sections. Smith thus expands the concept of the traditional frame narrative and creates what I call a reciprocal frame narrative focused on exchange instead of embeddedness. In this essay, I explore the architecture of and in How to Be Both to better understand the connections between the two protagonists, George and Francescho.

Opening up semiotic spaces for gender expression: a case study of the construction of gender in Australian award-winning early childhood picture books

This article examines the visual and verbal expressions of gender in Australian award-winning early childhood picture books. It brings together social semiotic analysis and the narratological concepts of narration and focalization to examine the extent to which one community of practice (authors, illustrators, publishers and awards council) reproduces symbolic manifestations of gender, or offers readers space to engage with alternatives. The authors’ findings suggest that, while the literary works produced by this community of practice mostly serve to reinforce hegemonic cultural attitudes of what constitutes desirable femininity and masculinity in Australia, there is ample opportunity for change.

Becoming Vincent: Using the “hero’s journey” to connect and design (digital) tourist experiences along Vincent van Gogh’s heritage locations

Abstract This case describes a research and design project, commissioned to Breda University of Applied Sciences (the Netherlands) by several regional tourism organizations in Brabant, a province in the south of the Netherlands. The aim of the project was to draft a narrative concept and storylines that would link and upgrade the various Vincent Van Gogh heritage sites in the area in order to eventually attract international tourists to the province, especially in view of the commemoration of Van Gogh’s 125 th death anniversary in 2015. In the creative phase, we used a 12 steps storytelling model ( Bouma, 2010 ). This is based on Campbell’s “monomyth” or “hero’s journey” (1945). It applies to many great tales and chronologically orders the (metaphorical) steps that drive the “hero” in his actions. We compared the 12 steps to Vincent’s life. The first 6 steps, which took place in Brabant, we placed under the overarching narrative concept of “Becoming Vincent”. At various locations in the province, tourists can experience how the events in Vincent’s early life led him to become the tormented yet brilliant artist so well-known from his time in France (which we defined as “Being Vincent”), thus making a full narrative circle. VIU logo WLCE logo Information Vancouver Island University World Leisure Centre of Excellence © Licia Calvi & Moniek Hover 2022

Kultura, příběhy, identita : čínsko-americké povídačky Maxine Hong Kingstonové

This essay explores the intersection of culture, stories, and personal identity. It looks at narrative identity from a psychological perspective, focusing on the cultural conditioning of remembering one's life and narrating the self. It briefly discusses the concept of dominant cultural narratives (master narratives) and their influence on personal life stories as well as on one's life choices, paying attention to a form of "narrative resistance" where people whose experience does not fit a particular master narrative come up with alternative narratives. The next part of the essay deals with autobiographical writing, in which the questioning of socio-cultural norms and established beliefs is often accompanied by a violation of genre conventions and a search for alternative modes of self-expression, especially in the case of authors from socially marginalised groups. The last section then presents an analysis of the fictionalised autobiography The Woman Warrior by the Chinese American writer Maxine Hong Kingston, which depicts the conflict between two different conventions of life storying, models of identity construction, and master narratives that may occur for people of bicultural background. It also exemplifies the power of autobiographical texts to expose prevailing cultural narratives and to offer alternative perspectives.

O poetičkim kontinuitetima i diskontinuitetima (roman Klobuk Petra Sarića u kontekstu njegove romaneskne poetike)

Interpretation of an author's literary work compared to other literary works of the same author necessarily leads to understanding the similarities and differences that this work brings in relation to those that precede it, which means that it is necessary to talk about poetic continuities (which are inevitable) and poetic discontinuities (which are expected). Deciding to connect the plot of his latest novel Klobuk (2021) to the drama of a hero - Turkish leader Asan Begenišić, who was taken to the Janissaries as a child - Šaric made a step into the more distant past than he does in his earlier novels, but remained consistently faithful to the recognizable epic environment, patriarchal culture and tradition, way of storytelling, etc., With his focus on events and character(s) from the historical past and the Montenegrin space, with his novel Klobuk Petar Sarić expresses his consistency with his poetic world, well known from the novels Dečak iz Lastve, Petruša i Miluša, Sutra stiže Gospodar, Strah od svetlosti and Sara. However, he connected the basic story of the novel - the story of klobuk dizdar Asan (Jovan) Begenišić - with the memory of the story he grew up with, which significantly influenced the formation of the world of his literary work. The focus on the personal drama of the protagonist makes this novel by Sarić more psychologically complex, and the emphasized process of symbolization and open concept of narration more modern in relation to everything that this writer published during half a century of creation. With his latest novel, Sarić showed not only full creative and narrative maturity, but also the ability and courage to bring the elements that make up probably his greatest quality into the built and recognizable poetic world of his novels. This primarily refers to the symbolic layer of the novel with which the writer made the greatest poetic discontinuity in relation to previous achievements.

What Is Unreliable in Fiction and Where It Comes From

Maier’s article recalls the idea of finding common ground between different points of view on the truth in fiction and the problem of reliability that it generates. However, the criteria by which it is possible to determine the characteristics of the reliability or unreliability in the artistic narrative are unclear. A naive-realistic approach leads to contradictions. We propose to proceed from the already established approaches to the problem of “truth in fiction”, and consider as determining for the modal pragmasemantics of narrative the concept of narrator bifurcated between the actual and fictional worlds.

Jerusalem in the Alps: The Sacro Monte of Varallo and the Sanctuaries of North-Western Italy by Geoffrey Symcox

Reviewed by: Jerusalem in the Alps: The Sacro Monte of Varallo and the Sanctuaries of North-Western Italy by Geoffrey Symcox Nicholas Dean Brodie Symcox, Geoffrey, Jerusalem in the Alps: The Sacro Monte of Varallo and the Sanctuaries of North-Western Italy (Cursor Mundi, 37), Turnhout, Brepols, 2019; hardback; pp. xii, 310; 7 b/w, 50 colour illustrations; R.R.P. €85.00; ISBN 9782503580579. As its subtitle suggests, this book surveys the history of the Sacro Monte of Varallo and other similar sanctuaries, or hilltop religious complexes, in north-western Italy, nine of which are UNESCO World Heritage sites. While this work is a mostly study of the history of the Sacro Monte of Varallo, the sanctuaries of Orta, Crea, Oropa, Ghiffa, Varese, Domodossola, Ossuccio, Belmonte, Graglia, and Arona are described in sequence in a final chapter that relates them to each other and the Varallo exemplar, which, the author argues, inspired a regional wave of sanctuary building. Although some of those other sanctuaries had greater claim to antiquity as sites of religious devotion than Varallo, their early modern reconfigurations were undoubtedly influenced by the Varallo experience. Symcox's argument and method is framed by the work of traveller-scholar Samuel Butler, who in the later nineteenth century promoted the sanctuaries as sites of artistic value rooted in the distinctive social and cultural environment of the north Italian alpine valleys. Ultimately, Symcox affirms the general correctness of Butler's proposition, albeit with some caveats and clarifications. More than an argumentative conceit, however, Symcox's use of Butler serves as an engaging narrative means of addressing the historiography of the sanctuaries in the book's first chapter. Then, in Chapter 2, Symcox offers a detailed treatment of the historical context in which the Varallo project emerged, especially the role of seasonal migratory labour as a regional phenomenon which allowed for the flow of artistic skills and ideas into what might otherwise be dismissed as an economic and cultural backwater. Chapter 3 is focused on the foundation of Varallo's Sacro Monte under the inspiration and initial guidance of the Observant Franciscan Friar Bernadino Caimi, who 'conceived the Sacro Monte as a replica of Jerusalem' (p. 41), a sort of substitute pilgrimage site. The plan was for a hilltop site, modelled on the Holy Sites of Jerusalem, replete with lifelike figures designed to 'appeal directly to the emotions of the onlookers' (p. 59). A monastery was founded beneath the hill, enabling oversight of the sanctuary, but also setting the scene for many of the twists and turns of the complex's later history, where concerns about ownership, income, and authority repeatedly emerge as issues of contention. As Symcox argues, the original conception of the Sacro Monte as a substitute Jerusalem soon gave way to a more narrative conception of the pilgrim experience at this location. As Chapter 4 relates, there were significant developments during the early 1500s in the administration of the Sacro Monte, including the appointment [End Page 170] of fabbricieri. In this context, the artistic influences of Gaudenzio Ferrari and Galeazzo Alessi each came to play significant roles in the site's subsequent history, further shifting the sanctuary experience away from Caimi's originally topographical approach to a more fully emotive, narratively organized, and theologically didactic one. Then, as shown in Chapter 5, this process essentially continued into the seventeenth century, facilitating a growing Marian focus in the eighteenth century that is related in Chapter 6. Meanwhile, as Symcox discusses, there were regular contemporary arguments about the distribution of income derived from pilgrim donations, some shifts in administrative responsibility, and various levels of episcopal intervention and influence, all influenced by wider forces like the Counter-Reformation and the rise of Savoyard absolutism. Not unlike Butler a century and a half earlier, this book is valuable for bringing the scholarship of the Italian alpine sanctuaries to a wider audience in an accessible format. Those interested in the history of emotive spiritualities, and proxy pilgrimage experiences, will find much of value here. Moreover, in demonstrating that the sanctuaries developed through more organic processes than sometimes asserted, Symcox also helps put to rest outdated ideas of the sanctuaries as a Counter-Reformation...

Проблемы и принципы реконструкции отдельных понятий и нарративов культуры (методологические соображения)

The article deals with the problems and principles of reconstruction of certain concepts of philosophy and cultural narratives. The reason was the discussion of N. Kanaeva's report at the Institute of Philosophy, read at a seminar on the geography of rationality. Analyzing V. Bibikhin's work "Wittgenstein: Change of Aspect", the author poses the problem of correctly (to avoid contradictions and reach an understandable logic of text interpretation) reading the narratives of a foreign culture or even the narratives of one's own culture, but belonging to a different direction of thought. Such a reading, he claims, presupposes special optics, a hermeneutic concept and a cultural-historical reconstruction. To introduce and clarify what can be understood by such concepts (optics, concept and reconstruction), an analysis of two cases is proposed: semiotic schemes and G. Oldenberg's study of the Buddha's teachings. The schemes are discussed on the basis of the works of Plato ("Feast" and "Timaeus"). The author shows that Plato in "The Feast" constructs schemes for solving problem situations and specifying ideal objects, and in "Timaeus" he discusses the nature of schemes. In turn, Oldenberg reconstructs the prehistory of Buddhism and the basic ideas proposed by the Buddha. A feature of its reconstruction is an appeal to the culture of Ancient India, an analysis of the ancient Hindu consciousness and mentality, a discussion of the features of Buddhist discourse. The author concludes that if the ideas about Buddhism outlined by Oldenberg are used for the purpose of understanding Buddhist narratives, then these ideas as optics can be summed up under the notion of a hermeneutic concept. This concept is structured in such a way that it clearly takes into account the peculiarities of the Hindu culture and mentality, as different from the European ones.

Narrative Aspects of Images of Spear Use in Scandinavian Rock Carvings

Researchers have long discussed whether Scandinavian rock art reflects narratives. Their interpretations have frequently been based on inspections of rock art panels combined with knowledge from ethnographic and historical sources. Here, the authors adopt a more focused narratological approach that takes the concept of (visual) narrativity into consideration and draws on studies by literary analysts, cognitive psychologists, and semioticians. Images of spear use in the provinces of Bohuslän and Östergötland in Sweden, given their diversity and indexical qualities, are well-suited to such a study. They reveal different kinds of indexical relationships, i.e. how the spears direct attention to possible targets, arguably corresponding to action scripts well-known to Bronze Age communities. Many spear images may be regarded as mini-narratives and mnemonic devices intended to represent schematized action sequences. The authors suggest that concepts such as iconicity, indexical relationships, scripts, and mini-narratives could be fruitfully employed in research on Scandinavian rock art and beyond.

Annotation Guidelines For narrative levels, time features, and subjective narration styles in fiction (SANTA 2)

These guidelines comprise instructions for the usage of a series of markup tags that describe narrative characteristics of fiction. These tags are used to mark disruptions in narration, in the form of narrative level changes, temporal jumps, and instances of subjective narration. The tags are designed to be used in XML, as is the case in the examples in these guidelines, but they can be adapted for other platforms like CATMA. There are six tags: <level> (for a narrative level change, an occurrence of a story within a story), <analepsis> (a flashback), <prolepsis> (a flash forward in story time), <soc> (stream of consciousness), and <fid> (free indirect discourse). The guidelines first describe the narrative concepts represented by each of the tags, with reference to Genette and other narratologists. There follows some detail on how the tags should be used specifically in the encoding of texts, with examples taken from a corpus of modernist fiction. Essentially, the tags should be applied at the points in the text where the relevant instance of narrative disruption begins and ends. This allows them the encoded text to be analysed afterwards to count the frequency of the tags, and the number of words contained within a tag. In this way, the usage of the tags serves as a method for quantifying the extent of narrative disruption in works of fiction.

Refugee Arrival under Conditions of Urban Decline: From Territorial Stigma and Othering to Collective Place-Making in Diverse Shrinking Cities?

Places affected by urban shrinkage are widely depicted as left behind places characterized by decline and decay. Refugees are generally constructed as victims or ‘dangerous other’. Hence, place-making and negotiations of belonging in shrinking cities are accompanied by multiple layers of stigmatization. Despite this contextual factor and even though many questions related to inter-group relations in shrinking cities are still unanswered, refugee-centered revitalization of shrinking cities is being discussed among city officials, planners and in the scientific community. This paper investigates local discourses on urban shrinkage and refugee arrival as contextual factors for negotiations of place and belonging, and connects to previous studies on the stigmatization of declining cities and the othering of refugees. It uses Nayak’s (2019) concept of re-scripting narratives to analyze whether acts of re-writing apply not only to stigmatizations of place, but marginalized groups as well. The paper finds that while dominant discourses on place are contested and at times re-scripted by local actors, discourses which construct refugees as other are reaffirmed. Confirming previous findings according to which stigma was passed on to other marginalized groups, it concludes that there is a need to consider dominant discourses and their negative impact on social cohesion in debates around refugee-centered revitalization.

Narratiiv ja topos Heino Elleri “Sümfoonilises legendis”

This article focuses on the narrative analysis of late-romantic instrumental music. Having adopted the structuralist-semiotic conception of musical narrative as proposed by Byron Almén (2008) as the transvaluation of an opposing hierarchy, and the concept of the musical topic as musical elements with specific stylistic-cultural associations, I analyse the expressive form of Heino Eller’s early symphonic poem “Symphonic Legend” (1923). Narrative logic was found to permeate the musical work despite its collage or suite-like form, as the composer introduces characteristic musical actors that re-appear in different musical contexts. These actors are largely distinguished by musical topics, the conventional stylistic associations related with their musical characteristics as Eller’s piece presents a wide synthesis of styles – from musical impressionism and expressionism to lyrical or chromatic late-romantic; and various topics, such as fantastic, ombra, apassionata, pianto, heroic, and pastoral. Further, I propose a layered narrative structure for the “Symphonic Legend”, as the jarring and abrupt changes in musical material, affect and topic between different movements of the piece suggest shifts in the level of musical discourse and a framed narrative, as proposed by Hatten (1994). The primary order-imposing hierarchy is identified as the pastoral-impressionist topic that acts as the introduction and coda to the entire piece while the transgressive hierarchy is carried by antagonistic musical material associated with fantastical and dysphoric topics (whole-tone scale, chromaticism, fanfare-like brass and ombra) and with the main theme-actor of the piece (a theme strongly resembling the main theme of the first part of Rimsky-Korsakov’s “Scheherezade”). While the pastoral beginning and end of the piece (1st and 11th sections) suggest a narrative trajectory of a romance or “the victory of the order-imposing hierarchy over the transgression”, the abrupt shifts that occur between those sections and the middle-sections of the piece suggest that these take place at a different level of discourse, placing the narrative weight in sections 2–10, where the primary conflict seems to be between the antagonistic material and the theme-actor. In the middle sections Eller seems to problematize the typical narrative trajectory of dysphoric to euphoric in 19th-century symphonic poems, as the theme-actor’s heroic apotheosis in the 9th section is undermined by its reprise in section 10 and ultimate inability to be united with the order-imposing hierarchy in the coda, suggesting an ironic narrative. This reading is hopefully the first of many narrative analyses of Eller’s and other Estonian composers’ unique late-romantic and early modern symphonic poems.