Good Story Research Articles

МЕДІАМІСТИФІКАЦІЯ У КОНТЕНТІ ВСЕУКРАЇНСЬКИХ ТЕЛЕКАНАЛІВ: УКРАЇНСЬКИЙ ДОСВІД

The article analyzes the Ukrainian experience of using media mystification in the content of all-Ukrainian TV channels. An actual problem is the use of the genre of hoax in the content of all-Ukrainian TV channels, with the help of which journalists demonstrate fake news or fabricated programs on television as real in the country and abroad. The scientific approaches of scientists to the definition of the concept of "media mystification" are analyzed. It was determined that a significant number of researchers emphasize that one of the main signs of a hoax is plausibility, which is characterized as a criterion of its quality, since an effective media hoax will be considered in the case when there is the highest level of plausibility. It was found that media mystification is aimed at showing the viewer a fragment of reality, and in its truthfulness, so that suspicions do not arise. It was determined that at present, there are commonly used techniques of hoaxing that are used on Ukrainian television: filming "from the first person", the effect of a shaky camera, unpopular actors or unknown representatives of authorities, To create good and positive stories, hoaxers began to stretch the truth, emphasize the most sensational corners of their stories, invent more interesting details, and exaggerate until some stories became fiction. As part of our research, attention is focused on satirical fake news, which is aimed at creating motivational attitudes towards self-reflective analysis of news media content. Satirical fake media do not strive for hidden propaganda, do not try to hide their goals and deceive, misinform, manipulate public opinion, do not create an illusion of reality, do not endow authors with the masks of fair, objective journalists, but on the contrary, recognize the fictionality of the described events and phenomena, as an example, we can cite the following entertainment programs: "95-quarter", "Diesel Show", etc. In addition, due to the fact that, in addition to the use of mystification through the use of satire, the main purpose of media mystification is also material enrichment. As you know, modern mass media strive not only to fulfill their high social mission, but also to bring profit to the editorial office and the owner of the information resource. For example, the following hoaxes were noted on Ukrainian TV channels: the growth of digital indicators: 90% in Ukraine live beyond the poverty line (demonstrating the level of enrichment of the population by including audio and video materials); summarizing digital metrics: medical reform has paid off. Over the past year, the number of patients in medical institutions has decreased by three times, and therefore, the population of Ukraine has become twice as healthy (the journalist expresses his opinion and offers actors to play an appropriate role to confirm this information), etc. Conclusions were made that media mystification is the creation and consolidation of a fictitious story or event in the information field, which is supported by a list of plausible facts that act as a vivid informational reason for mass media for a long time in order to achieve a socially significant result. And the purpose of media mystification can be self-interested, that is, to contribute to material enrichment, propagandistic, which promotes the spread of relevant ideas, and entertaining, for example, a joke for the purpose of gaining popularity.

British Detective Fiction 1891-1901: The Successors to Sherlock Holmes, by Clare Clarke

Reviewed by: British Detective Fiction 1891–1901: The Successors to Sherlock Holmes by Clare Clarke Caroline Reitz (bio) British Detective Fiction 1891–1901: The Successors to Sherlock Holmes, by Clare Clarke; pp. xi + 166. London: Palgrave Macmillan, 2020, $74.99, $59.99 ebook. Clare Clarke’s British Detective Fiction 1891–1901: The Successors to Sherlock Holmes begins like any good detective story: with a missing person. That person is Sherlock Holmes, who died tumbling over Reichenbach Falls with archnemesis Professor Moriarity in “The Final Problem” (1893). Clarke examines six different authors who published detective fiction during “The Great Hiatus,” the decade between Holmes’s fall and Arthur Conan Doyle’s revival of the Great Detective in The Hound of the Baskervilles (1901–2). Focusing on this decade allows Clarke to explore the colorful characters who stepped through the Sherlock-shaped hole. More importantly, the book adds to an ongoing critical correction. Scholarly work on the genre has been theorized disproportionately around the Sherlock Holmes canon. Clarke persuasively and engagingly makes the case that stories that “enjoyed widespread circulation . . . but . . . did not conform to later-decided rules of the genre” allow us to see “what the post-Sherlock fin-de-siècle detective narrative could be and do” (7–8). While some of these stories and series are derivative of Holmes (from archnemeses, to vulnerable female clients, to twelve story collections), and while Holmes is frequently invoked in reviews and marketing as both yardstick and lure, some of these stories represent a real departure in character and tone, including a female Romany pawnbroker, a ghost detective fighting man-eating plants on the “blurry boundaries” of the detective story, and an amoral detective-cum-murderer (150). These innovations challenge some sacred ideas about the genre, such as the immunity of detectives, the American origin of hardboiled detective fiction, and the conservative cultural work that the whodunnit allegedly provides. This book is a sequel of sorts to Clarke’s earlier and excellent Late Victorian Crime Fiction in the Shadows of Sherlock (2014); like that text, it balances close readings of significant overlooked figures with a broad overview of historical and publication contexts. Indeed, if recovery anthologies have been organized around gender or nationality (for example, Nick Rennison’s Sherlock’s Sisters: Stories from the Golden Age of the Female Detective [2020] or LeRoy Lad Panek and Mary M. Bendel-Simso’s Early American Detective Stories: An Anthology [2014]), Clarke is “particularly eager to uncover the lesser-known places and the publications in which late-Victorian British readers consumed detective fiction” (154). Clarke’s attention to the original publication (and republication) of these stories in regional weekly and daily newspapers is a tremendously useful addition to our [End Page 689] understanding of the popular fiction of this period. As Clarke writes, we are familiar with the “well-known account of white-collar London middle-class male workers on their commuter trains reading sixpenny or shilling monthlies, like the Strand,” the home of Sherlock (154). But regional newspapers outnumbered and outsold London publications from the mid-nineteenth century until the 1950s. An eager cadre of writers emerged (think George Gissing’s 1891 New Grub Street) to meet a newly literate reading public and drew their topics from a late-nineteenth-century culture anxious about scientific discoveries, shifting gender roles, imperial expansion, urban poverty, and religious crises. Noting that she “simply [wrote] to order,” L. T. Meade’s complicated female criminals replaced Holmes in the Strand (1891–1950) and ticked several of those boxes (qtd. in Clarke 16). While Madame Koluchy and Madame Sara are perhaps the most well-known of Clarke’s subjects, her chapter on Meade goes beyond showing the ways in which femme fatales are brought to heel by the middle-class masculine professional competence of scientists, lawyers, and police. These stories, Clarke notes, feature strong secondary female characters, including a New Woman journalist, a bacteriologist’s assistant, and a woman brought in to assist Scotland Yard who is like a “bloodhound when she scents the prey” (32). Popular fiction at the end of the century is a fertile ground for female characters. C. L. Pirkis’s Loveday Brooke, frequently compared to Sherlock...

Four Novels of 1939: Ambition and Redemption; Ethnicity and Race

Four Novels of 1939: Ambition and Redemption; Ethnicity and Race

Do good lives make good stories?

Narrativists about well-being claim that our lives go better for us if they make good stories—if they exhibit cohesion, thematic consistency, and narrative arc. Yet narrativism leads to mistaken assessments of well-being: prioritizing narrative makes it harder to balance and change pursuits, pushes us toward one-dimensionality, and can’t make sense of the diversity of good lives. Some ways of softening key narrativist claims mean that the view can’t tell us very much about how to live a good life that we can’t find in other theories of well-being; while there are smaller-scale ways we can incorporate narrativist insights into our views of well-being, narrativism should not be a universal organizing principle for our lives.

Intangible cultural heritage souvenirs: image congruity and brand influence on tourists’ purchase intention

Recuerdos del patrimonio cultural inmaterial:la influencia de la consistencia de la imagen y la marca en la intención de compra de los turistasResumenPropósitoBasado en la congruencia objeto-objeto, el presente estudio busca esclarecer los factores impulsores y el mecanismo antecedente sobre la disposición de los turistas a adquirir recuerdos del PCI.Diseño/metodología/enfoqueEl presente estudio utiliza una escala de Likert de cinco puntos para recopilar datos y plantea un Modelo de Ecuaciones Estructurales (MEE) para estudiar este asunto.ResultadosLa congruencia entre el heredero/recuerdo del PCI se relaciona de forma positiva con la intención de compra de recuerdos del PCI por parte de los turistas y con la autenticidad percibida; la autenticidad percibida y la identidad de marca ejercen un efecto mediador en cadena entre la congruencia entre el heredero/recuerdo del PCI y la intención de compra de recuerdos del PCI.Originalidad/valorEl presente estudio explora el mecanismo antecedente de la intención de compra de los turistas de recuerdos de PCI a partir de la tercera perspectiva de la teoría de congruencia de la imagen (la congruencia objeto-objeto).Implicaciones teóricasEl presente estudio justifica la validez y racionalidad de la congruencia objeto-objeto, extendiendo la teoría de la congruencia de imagen.Implicaciones prácticasLos minoristas de los recuerdos del PCI deben fomentar que los herederos del PCI respalden y promocionen sus productos al mismo tiempo que los crean. Ellos pueden contar sus propias experiencias o crear experiencias entretenidas para turistas mediante la enseñanza mediante ejemplos.Limitaciones/implicaciones del estudioEl presente documento no tiene en cuenta los factores individuales, situacionales y culturales e ignora el posible papel moderador de estos factores. Dicho tratamiento simplifica la viabilidad de este estudio, aunque podría dar lugar a una desviación entre los resultados de la presente investigación y los resultados reales.

The Stories We Tell: Individual and Society in The Childhood of Jesus

Abstract: Commentators have drawn attention to the close relationship between The Childhood of Jesus and Coetzee's exchanges with Arabella Kurtz in The Good Story . Read in the light of The Good Story's concern with the stories we tell ourselves about the lives we lead, our relationship to those stories and to their truth or falsity, the stories of Simón and David, their tensions and conflicts with one another and with the sometimes-incompatible stories told by the inhabitants of Novilla, exemplify the contemporary postmodern human condition. In particular, Childhood explores the consequences of what Coetzee calls a common postmodern situation in which someone is aware that a story is not true but nevertheless commits to it wholeheartedly. It shows how lives are changed by the commitment to a particular story and how they unfold as a result of the tensions that develop between individual and collective stories.

Research on international publicity strategies of Gannan red tourism in the context of the belt and road

Cultural self-confidence and the going-global strategy of China’s excellent traditional culture have given red culture new opportunities and higher expectations, accelerating red culture to go abroad following the times. Based on the overview of the development of red tourism, the article clarifies the present situation of red tourism international publicity in Gannan through SWOT, believes that the challenges and opportunities of red tourism in Gannan coexist, and further proposes several paths including updating the concept while telling a good story, clarifying the audience while accumulating talents, refining the spirit while upgrading technology, innovating channels while combining the internal and external, “casting the soul” with culture by joint cooperation, and enriching the routes besides “red and green”. The foundation is laid for the continuation of red resources to open a new chapter in the era.

Research on the Application of Narrative Strategy in Film Creation

Film is the latest among seven major arts and film art form was not basically formed until the 20th century. Its development process witnesses various technological revolutions that produce diverse art schools. For any art schools, they advocate to create films based on stories. This study analyzes different stages of film development from perspective of film history. It explains necessary skills of creating good stories or mastered by narrators, as well as narrates characteristics of a good story. Finally, it reveals problems of fiction and witticism in current Chinese film art, and proposes suggestions.

Speech acts of children with adults in communication: Through “The collection of good Vietnamese short stories for children”

This article is based on the theory of speech acts and J. Searle's classification of speech acts to investigate and categorize speech acts of children in communication with adults according to three age types: children aged 4-6 with adults, children aged 6-11 with adults, and children aged 11-15 with adults. The research results show that in their communication with adults, children employ all five categories of speech acts, consisting of 64 speech acts and 4,275 times of speech acts. There are variations in the number of speech acts within each types, influenced by communication factors such as the communication context, communication topic, and communication content. This reflects the children's natural, innocent, yet resolute and responsible language abilities and characteristics in their interactions with adults.

Strategies for College Students to Tell Good Chinese Stories and Show Cultural Confidence through English Public Speaking Based on “Three-Wide Education” Philosophy

Strategies for College Students to Tell Good Chinese Stories and Show Cultural Confidence through English Public Speaking Based on “Three-Wide Education” Philosophy

LINGUISTIC FEATURES ABOUT THE BEHAVIOR, GESTURES OF CHILDREN'S CHARACTERS USED BY THE NARRATOR (Through the corpus “the collection of good Vietnamese short stories for children")

The article is based on theories of communication, children, and children's characters in children's short stories to find out the linguistic features of children's characters' behavior, gestures used by the narrator. From surveying and classifying children's language, we differentiate the narrator's children's language and analyze the following aspects: children’s communication situations, communication roles, communication themes, address form behavior and language actions and words, gestures. Research results show that children's language is diverse in terms of expression and aims to clarify children's appearance and personality from the narrator's point of view. Children's characters appear with innocence, youthfulness, carrying in them the desires and innocent personalities of youth.

Study on How to Interpret China’s Stories in English Class during Primary Education

Interpreting China’s stories well is conducive to manifesting its cultural soft power, enhancing its cultural competitiveness and national power, thus improving its international status. To do so can strengthen cultural exchanges between China and other countries, enhance their mutual understanding, promote Chinese culture to the world, enhance the attractiveness and influence of Chinese culture in the international arena, and establish a good image of China in the world. It is also conducive to demonstrating the unique charm of Chinese culture, enhancing cultural self-awareness and cultural confidence, and firmly taking the road of socialism with Chinese characteristics. Telling stories of China in English Class during primary education is crucial to the development both for students and for our country. To tell good stories of China in English class, we need to extend the culture, to extend the stories, to incorporate the current events and to integrate with other subjects.

Application of cinematographic vignettes to teaching in Mental Health

In this work some ideas about the possible relationships between cinema and psychopathology are presented. To carry out this task, the results of an experience carried out at the IUSAM-APdeBA are described, where a particular way of telling patient stories is explored, which is the cinematographic story. One of the many possible varieties of communicating clinical cases, in addition to the classic written and oral forms, is the audiovisual format. It is known that it is not easy to find good patient stories; even more so in these times where the possibilities of communicating real cases have been restricted by ethical-legal regulations. It has been observed that the audiovisual clinical vignettes extracted from the cinematographic stories can be a very useful tool for the purposes of discussion, exchange and teaching in psychopathology.

Teaching about good sex: classroom reflections on a positive sexuality curriculum and the Good Sex Story Project

Teaching about good sex: classroom reflections on a positive sexuality curriculum and the Good Sex Story Project

FENOMENA JUDUL DI PERNOVELAN TANAH AIR

This article is a literature review on the phenomenon of titles in Indonesian novels. This study is motivated by the phenomenon of the title of the novel which is something that is interesting to study because the author of the novel has put in the time and energy to make a good story but everything can be conveyed to the reader through the intermediary of the title. In addition, titles have extraordinary market power, titles can increase book sales, and generally someone chooses to read through the title. In addition, this article provides information on how to make interesting novel titles and the need to study novel titles from generation to generation of Indonesian literature where the title reflects the contents of the novel and the contents of the novel are influenced by the conditions of society in the era, so if you want to make a bombastic novel title, follow the era and pay attention to taste. market.

Community MH Must Include Care for Incarcerated Individuals, Released Prisoners

Community MH Must Include Care for Incarcerated Individuals, Released Prisoners

The Cup Whisperer

The Cup Whisperer

Everyone loves a good story: Learning design in massive open online courses for language learning

These couple of years have witnessed an increase in interest in Higher Education Institutions (HEIs) have for Massive Open Online Courses (MOOCs). As the COVID-19 situation amply showed us, MOOCs promptly became a practical way to secure continuity of education for students in lockdown. Educational institutions chose the MOOC format to swiftly adapt to the “new normal” and deliver their courses online without incurring too many unbudgeted expenses. However, the quality of teaching practices and learning design in MOOCs’ Digital Learning Environments (DLEs) varies considerably. Also, while the interest in the MOOC format has increased, the emergent body of specific research on MOOCs for language learning or Language MOOCs (LMOOCs) is unfortunately still limited. By choosing a connectivist approach to understand teaching and learning dynamics in DLEs, this article will elaborate on the importance of learning design and Digital Story Telling (DST) to create sustainable DLEs in MOOCs for Language Learning. The main research question investigates whether and how the development of a comprehensive and interconnected narrative structure based on DST can enhance the participants’ learning experience in LMOOCs and facilitate language learning leading to better participant retention and higher completion rates. To illustrate and support the logic threads of the argumentation, the article introduces a mixed-methods or multi-modal study of three international LMOOCs in Norwegian for beginners (NfB) developed for the international e-learning platform FutureLearn (FL). The findings discussed in the article seem to corroborate the initial hypothesis that including a comprehensive narrative structure based on DST and inspired by principles of Connectivism can lead to the development of higher-quality DLEs in MOOCs, specifically in LMOOCs.

The book and the pen: reading biography and writing autobiography as feminist project in Good Night Stories for Rebel Girls and I Am A Rebel Girl

ABSTRACT Global publishing phenomenon Good Night Stories for Rebel Girls launched a wave of biography aimed at children. Styled as feminist bedtime stories and as a reinvention of the fairy tale, the trademark celebratory biographical arcs which focus on women’s lives and stories as heroic have also attracted critique. This paper argues that Good Night Stories for Rebel Girls draws deliberate attention to both the limits and possibility of biography as a genre that has distinctive, ideological, and cultural power in conferring visibility and status to the subjects of representation. In interactive journal pages appended to each Good Night Stories for Rebel Girls volume, and in publications like I Am A Rebel Girl, the reader becomes a participant in the biographical project, invited to practise auto/biography and to create their own ‘rebel’ story. Rebel Girls work within the limits of but also models a potential for auto/biography as a feminist, activist tool, available to be taken up self-consciously by a generation of ‘rebel’ readers who may themselves become the rebel writers of their own or others’ lives, inventing and evolving the possibility for biography as a feminist mode.

Van Gogh and Myth in A. S. Byatt’s Still Life

ABSTRACT Van Gogh is a character that appears in a verse drama entitled The Yellow Chair, a story within a story, in A. S. Byatt’s Still Life, the second novel of the Frederica Potter Quartet. In this novel, both Van Gogh’s paintings and a major life event – his agon with the French artist Paul Gauguin in Arles – are represented on stage. This paper argues that Van Gogh’s self-mutilation is a mimesis of the various facets of the myth of the sun depicted in his numerous paintings (i.e. the life and death of vegetation in nature, the rising and setting of the sun in the sky, and the division of the white sunlight into both complementary and spectrum colors). The myths of fertility incorporated in Van Gogh’s narrative in the novel epitomize the main character Frederica Potter’s erotic experiences, who, as a Cambridge undergraduate, believes that the body is the ultimate source of all good in the world and that “marriage [is] the end of every good story.” 1