Kind Of Narrative Research Articles

Scientific experimental articles are modernist stories

This paper attempts to revive the epistemological discussion of scientific articles. What are their epistemic aims, and how are they achieved? We argue that scientific experimental articles are best understood as a particular kind of narrative: i.e., modernist narratives (think: Woolf, Joyce), at least in the sense that they employ many of the same techniques, including colligation and the juxtaposition of multiple perspectives. We suggest that this way of writing is necessary given the nature of modern science, but it also has specific epistemic benefits: it provides readers with an effective way to grasp the content of scientific articles which increases their understanding. On the other hand, modernist writing is vulnerable to certain kinds of epistemic abuses, which can be found instantiated in modern scientific writing as well.

Ментальна топографія травми (за романом володимира рафєєнка петрикор – запах землі після дощу)

The article is research into the traumatic experience of war, based on the Volodymyr Rafieienko’s novel Petrichor – Smell of the Earth after the Rain. It’s logical to examine this text from the position of trauma studies, which have become very actual in the context of the Russian-Ukrainian war and its consequences. The writer represented the prospect of overcoming collective and individual trauma in a very original way. He describes in details the painful experiences caused by the forced resettlement of people, and most of all – the feeling of guilt due to the death of close ones. Rafieienko’s novel reflects the world of imagination of a person with a disturbed psyche. In such a way, he suggests a new kind of narration where imaginarium (the world of fantasy, visions and the dreams of the characters) and the pictures of an unbearable reality, which must be recalled to understand the depth of the pain in order to continue living, are crossed in a natural way. Petrichor… represents the author’s individual vision of the cultural trauma, which causes a radical change in human identity. This new identity is the creative force and at the same time, it impresses on one the state of total danger, nationwide mobilization and solidarity. The writer raises the issue of sacred sacrifice. We mean the price that must be paid for the renunciation of the difficult past. All this leads to a persistent psychological disorder within the novel’s characters. Thus, Rafieienko carries out a mental topography of trauma, indicating its important markers and motives within a specific geocultural space.

Pripovijedanje o YHWH-inoj kraljevskoj vlasti u Psalmima

Psalms 93-100 function within Book 4 of the Psalter to advance the narrative of YHWH’s kingship over the cosmos. Whatever the origins of the constituent psalms, their current sequencing within Book 4 softens the despair that appears in psalms like Psalm 89, the ending of Book 3. As a kind of narrative used in liturgy, these psalms develop characters and plotlines that concentrate upon YHWH’s kingship and proper ordering of the world, which, in turn, benefits Israel and through them, the world.

The Paraleptic Effect

This article examines the alleged narratological paradox of paralepsis. It is argued that the first-person narrators of Moby-Dick, À la recherche du temps perdu and The Great Gatsby (to name but three prominent examples) occasionally display an inexplicable awareness of facts that would be naturally inaccessible to them (knowledge of other people’s thoughts, minute familiarity with unwitnessed events, etc.). Paralepsis, as Genette calls it, can be defined as the class of situations in which a first-person narrator seems to exercise the impossible epistemic privilege. This paper argues against the existence of genuine paraleptic events on two levels. First, it is argued that this kind of narration is rarely epistemically paradoxical. Even some of the strongest candidates for paralepsis could be naturalized (the reader can detect possible natural ways in which the narrator might have obtained the seemingly impossible information). Second, even in cases where they cannot be convincingly naturalized, “paralepses” need not be mysterious. It is often possible to read them (as P. Dawson has done) as “authorial performances.” They can be explained as instances of a specific rhetorical procedure that we have termed raconteural narration: a mode of narration in which, for the sake of more convincing exposition, mere conjectures are offered without the usual modal phrases that indicate the speculative quality of such assertions and thus create the erroneous impression of uncanny narrative knowledge.

The Development of Polish Nationalism in the Period 1815-1864 after the Fourth Partition of Poland

Under Metanarratives that typically portray post-Napoleonic Poland as a region of uprisings and underground revolts, Polish nationalism is generally seen as radical and largely overseas. Generally speaking, this kind of narrative is not wrong, but Polish nationalism in the post-Napoleonic era and after the Crimean War actually evolved to a considerable extent different from the traditional impression. Based on the analysis of historical facts from 1815 to 1864, by referring to Zamoyskis Poland: A History and Cambridges A Concise History of Poland and other new achievements in the past two decades, the paper summarizes the development of Poland before the uprising broke out in 1863. It also aims to identify variations and main features of nationalism, and explores how these differ over time and from other nationalist cultures of the time.

Narratives in economics

AbstractThere is growing awareness within the economics profession of the important role narratives play in the economy. Even though empirical approaches that try to quantify economic narratives are getting increasingly popular, there is no theory or even a universally accepted definition of economic narratives underlying this research. First, we review and categorize the economic literature concerned with narratives and work out the different paradigms at play. Only a subset of the literature considers narratives to be active drivers of economic activity. To solidify the foundation of narrative economics, we propose a definition of collective economic narratives, isolating five important characteristics. We argue that, for a narrative to be economically relevant, it must be a sense‐making story that emerges in a social context and suggests action to a social group. We also systematize how a collective economic narrative differs from a topic and from other kinds of narratives that are likely to have less impact on the economy. With regard to the popular use of topic modeling, we suggest that the complementary use of other methods from the natural language processing (NLP) toolkit and the development of new methods is inevitable to go beyond identifying topics and move towards true empirical narrative economics.

Ethnogenesis and Stranger-Kings in Old Scandinavian Literature

Ethnogenesis and Stranger-Kings in Old Scandinavian Literature

Character Dimensions in Karwan Omer Kakasor’s novel (Shall I See My Childhood Friend Again?)

This research entitled (Character Dimensions in Karwan Omer Kakasor’s novel Shall I See My Childhood Friend Again?) is an attempt to answer the question: What is the importance of the character element in general and particularly in this novel? If we know that the character is the closest element to the novelist in order to express his views and ideology, then it will be easy to explain the importance of the character in the novel as a kind of narration, because everything that happens in the text, is due to the activity of the characters

한중 소설 번역에서의 서술 방식 연구 - ｢삼포 가는 길｣의 네 가지 중국어 번역본을 중심으로 -

What distinguishes novel from drama and poem is that the story is conveyed to the reader by the narrator. Therefore, the aesthetic effect of a novel is hugely influenced by its point of view and the narrative style. This thesis sorts out the concept and characteristics of the point of view and narrative style of the novel and discusses their influences on narrative distance. Then it compares and analyzes Hwang Sukyoung's The Road to Sampo and its four Chinese translations on the changes of narrative style in different points of view and how they influence the effects to the readers. The results of this analysis show that, when adopting the character-focalizer, Hwang uses words and expressions of personal speech style or narrative styles that emphasize the characters’ voices including free indirect discourse. However, the styles are altered frequently in the translations, which weakens the characters’ voices. Therefore, translators should carefully analyze the original texts when translating such kind of narratives.

Rogue Revolutionaries: The Fight for Legitimacy in the Greater Caribbean

Rogue Revolutionaries: The Fight for Legitimacy in the Greater Caribbean

Narrative nudges to peace in protracted conflict: karabakh conflict as a case study

Recent research in narrative psychology provides insights into the dynamics of collective memories and group identities and how they are exploited by populist and nationalist forces for instigating intergroup conflict. In particular, narrative approach to conflict is important in this regard. In one key way, this approach considers conflicts as competing stories and conflict resolution as narrative transformation and the creation of a common (shared) narrative. In this regard, two questions are of particular concern: 1) What kinds of narratives are conducive to reconciliation between adversaries? 2) Which strategies for dealing with narratives found in intergroup conflicts are effective? As a way of addressing these questions we have developed a theoretical model of narrative intervention which was empirically examined at the context of conflict between Armenia and Azerbaijan over Nagorno Karabakh. These studies over the two decades have used different perspectives that enable us to identify “common suffering” type of narrative as a way of eliciting positive implicit attitudes and empathy among the conflicting parties. The research has also identified two psychological constructs - “painful collective memory” and “competitive victimhood”, which are often employed by political forces who are not interested in peace and reconciliation in the region.

Centrist and Radical Right Populists in Central and Eastern Europe: Divergent Visions of History and the EU

ABSTRACT This article compares the politics of history and positions in the EU of six ruling populist leaders and their parties (Fidesz, PiS, SDS, GERB, ANO and OĽaNO) from Central and Eastern European (CEE) EU member states. Through the comparison of leaders’ biographies and longitudinal analysis of party electoral manifestos an overlap between two types of CEE populism and two types of mnemonic actors in the region is found. Radical right-wing populist parties (Fidesz, PiS and SDS) are more oriented towards national histories, memory wars against ex-communists and critical events for losing or gaining their national sovereignty (mnemonic warriors). Centrist populist parties (GERB, ANO and OĽaNO) largely ignore that kind of narrative and focus on anti-corruption or promises of managing the state more effectively (mnemonic abnegators). Radical right-wing populist parties are also more likely to challenge the Brussels elites by using examples from their national histories. Emphasis on national traumas, anti-communism and their leaders’ vision of politics labelled here as combat tasks politics seems to be contributing to their Euroscepticism. Combat tasks politics, i.e. seeing politics as a constant battle against political enemies, underpins the Eurosceptic narratives of Kaczyński, Orbán and Janša-former dissidents who were politically socialised while challenging militarised communist regimes.

The breathing story: fiction as a tool for living

ABSTRACT Fiction writers are always scanning for stimuli – laughter from an open window, the crime section, a paraglider over skyscrapers. What’s the story there? we ask, rarely stopping to ask what’s the story here. What’s with me? Sometimes the story’s not up there with the paraglider but down here in our trying to make sense of it within our own confusing pockets of existence. For at the bottom of every story is this story: we don’t know who we are. So what if the fiction writer lets go of the intention to write about ‘dramatic stuff happening’ and instead leans into their daily confusion, uncertainty, discomfort? What might they discover there? This article lays out a process of fiction writing driven not by intention but by active attention. By setting aside commitments to narrative craft and instead placing ourselves within a richer field of interference, we might get beyond the limits of our imaginations. Furthermore, we might improvise from our anti-narrative experience a new kind of narrative. It's only when writers challenge themselves to renegotiate where ‘interest’ might lie in a work of fiction that their fiction becomes a more vital activity – a tool for living.

Reflection on Wolf Schmid's Narratological Model and Historical Narrative

Abstract This contribution responds to the ongoing discussion about the narrativity of history and looks at some differences between fictive and historical narrative. The objective of this contribution is to further elaborate on the ideas of narrative transformations developed by Wolf Schmid, focusing particularly on historical narratives. The authors see differences between both kinds of narrative, especially on the level of reference (which is in line with the views of D. Cohn, P. Ricouer and L. Doležel). The problem of fiction and reference is illustrated by Schmid's four tiered narratological model, especially on the level of happening. In fiction, this tier (of happening) is inferred backwards based on the presentation of the narration. This tier is positioned (excluded in absentia) so the elements of the narrative can be selected. In historical narrative happening has a different status and precedes both the story and the text. Although the shape of the past is related to the presentation of the narrative, it is not determined by nor reduced to it. The authors of this contribution describe the specific character and aspects of narrative transformation in the writing process.

Why Computer AI Will Never Do What We Imagine It Can

In response to questions about the author’s previous proof (in Narrative 29.1) that computers contain a hardware limit that renders them permanently incapable of reading or writing narrative, this article draws upon the author’s work with Deep Neural Networks, Judea Pearl’s do-calculus, GPT-3, and other current-generation AI to logically demonstrate that no computer AI (quantum or otherwise) has ever learned, or will ever learn, to produce or process novels or any other kind of narrative (including scripts, short fiction, political speeches, business plans, scientific hypotheses, technology proposals, military strategies, and plots to take over the world).

The Richness of a Narrative Arrest

The work of Hollywood director William Wyler offers a rewarding case for studying the narrative purposes of rhythmic variations. Film critics have traditionally viewed Wyler’s scenes in terms of depth of field but by looking for elements that weaken his pace, we can explain his acclaimed work as the result of how performance and picture jointly serve rhythmic purposes. My study distinguishes between two kinds of narrative arrests in Wyler’s films, 1935–1970. The unfocused arrests are critical for Wyler’s art and depend on actors’ techniques for adding emphasis and Wyler’s techniques for creating pictorial diversions. By halting dramatic progression during key scenes, Wyler seemingly expands the characters’ worlds with meanings in the spectator’s eyes. Finally, I show how changing technologies and narrative norms constrained Wyler’s later work.

3. De quelle sorte de récit relève la déposition juridique ?

This article examines Theresienstadt survivors who testified repeatedly in legal proceedings connected to the ghetto and how their testimonies changed over time. I also explore why was it only men who were repeatedly asked to testify, and demonstrate how male testimony is constructed as factual, whereas female testimony is portrayed as emotional and harrowing to prove the horrors of the Holocaust. By comparing these legal testimonies to other self-testimonies by these same witnesses, I show that Holocaust survivors were indeed able to shape their narratives in front of their courts, thus contradicting the research of Sigrid Weigel and Aleida Assmann. This article is the first piece of scholarship to examine what kind of narrative is legal testimony. It exists within the context of narrative research, early Holocaust trials and survivors’ retribution, and early Holocaust documentation by scholars such as Alexandra Garbarini, Lisa Leff, Laura Jockusch, and Henry Greenspan.

MOĞOL İSTİLÂSINA DAİR İKİ FARKLI AKTARIM BİÇİMİ: TARİHÎ KAYNAKLAR VE MENAKIPNAMELER

Undoubtedly, the Mongolian invasions rank first among the chain of events that shaped the fate of the states and left indisputable effects on the societies in their path during the Middle Ages. The invasions began during the reign of great Chinghis Khan who had the ideal of world domination. With the invasions, on one hand, the political equilibrium in several regions was changed dramatically; on the other hand, the religious and intellectual (including those of ṣūfī structures) patterns of the societieswere also deeply influenced by depending on the changing political balance. Conventionally, the way the religious and ṣūfī structures in this period were affected has usually been studied by referencing the historical sources. However, such evaluations neglecting the menākıbnāmes in which the stories of the sheikhs and dervishes of these religious and ṣūfī structures were told fall short in variety of aspects. As the menākıbnāmes were regarded as the sacred literary texts that were formed in the context of the semantic worlds of the sheikhs and dervishes, they can serve as complimentary sources for the period that can shed light on the neglected spots of the historical studies. Nonetheless,the menākıbnāmes not only convey the words and actions of wisdom by the ṣūfīs but also reflectthe traces of the social and religious structures these ṣūfīs lived in. In this study, therefore, themenākıbnāmes, which have invaluable significance in terms of cultural history, were used accordinglywith the historical sources. Using menākıbnāmes as a source led us to the conclusion that there weretwo different narratives regarding the Mongolian invasions. When historical sources and modernstudies are surveyed, it can be implied that the Mongols’ own belief in their status as selected nationand their notion of a universal empire were among the most important factors in their quest forconquests. Equally important, the richness of the Islamic world and the welcoming attitudes of someMuslim states further motivated the Mongols for conquests. When the historical progress of theconquests is followed from the menākıbnāmes, however, a different kind of narrative appears. Thisdifferent narrative was especially elaborated in the narratives of Nafahāt al-Uns, Menāḳıb al-ʿĀrifīn,Sipehsālār Risalesi and Vilāyet-Nāme. The records of these menākıbnāmes help us comprehend themental and intellectual world of some sheikhs and dervishes, and allow for how they interpreted theMongolian invasions. Keywords: The Mongol Invasions, Historical Sources, Menākıbnāmes, Sheikhs and Dervishes,Prophecies.

Conversations about structural racism are uncomfortable. That’s the point.

Conversations about structural racism are uncomfortable. That’s the point.

Prawo w filmie jako przejaw estetyki prawa i szczególny przypadek kierunku prawo i literatura

If we put together and systematize research streams: law in film, law and literature, and aesthetics of law, it is easy to reach the conclusion that we are dealing with related subjects, with a certain overlap in research areas. The broadest term is aesthetics of law, whose scope covers the entire law and literature movement, meanwhile law in film is a more detailed aspect of the latter. Systematizing the aesthetics of law, we can close it in three aspects: the external one, the internal one, and the one called ‘law as a device for aesthetization’. The aesthetics of law in the external aspect deals with manifestations of law, legal inspirations, legal themes, symbols, signs, which were represented through centuries in fine arts. The subject of the aesthetics of law in the internal aspect is the law itself. The third aspect of the aesthetics of law focuses on law as a device for aesthetization of daily life. In the law and literature movement, the reflections concern either the inclusion of legislative and legal content in literary works (law in literature), or the literary, including aesthetic, value, of normative instruments, and more broadly, also other acts of applying the law (law as literature). A special case of this research stream is legal cinematography, where a film prepared on the basis of a screenplay is treated as a kind of narrative, justifying the statement that law in film further develops the law and literature movement. The practical aspect of such research – of legal aesthetics, law and literature, and law in film – concerns mainly the significance and influence on legal awareness, and on shaping the attitudes towards law. The key thing here is approaching the problem of influencing legal awareness through other means than the text of a normative instrument alone.