Narrative Sequence Research Articles

The Commentary of Origen on the Gospel of St. Matthew: Translated with Introduction and Brief Annotations trans. by Ronald E. Heine

Reviewed by: The Commentary of Origen on the Gospel of St. Matthew: Translated with Introduction and Brief Annotations trans. by Ronald E. Heine John Solheid Raphael A. Cadenhead, trans. The Commentary of Origen on the Gospel of St. Matthew: Translated with Introduction and Brief Annotations (2 Volumes) Oxford Early Christian Texts Oxford: Oxford University Press, 2018 Pp. ix + 773. (2 Volume Set) US $255.00. Origen of Alexandria was one of the most prolific biblical scholars of his era, not to mention one of the most studied of the church fathers. Given those facts, it is remarkable that English readers have not had access to one of his most important works, Commentary on the Gospel of St. Matthew, since Rev. John Patrick translated five of the eight books in the late nineteenth century. Ronald Heine has, therefore, performed a monumental service to English-reading scholars of early Christianity by translating the work in both its Greek and Latin versions. Thanks to Heine, early Christian scholars, and scholars of Origen in particular, can now more easily engage with and benefit from one of the most significant works of the Alexandrian. Moreover, this translation nicely coincides with the publication of the critical edition of Origen's recently discovered Psalm Homilies, which were delivered at nearly the same time as he composed his Matthew Commentary. The first volume contains the extant Greek text beginning with Book 10 and ending with Book 17 (Matt 13.36–22.33), as well as an appendix with selected passages of the Commentary preserved by later writers and the catena fragments, covering Matt 1.1–13.33 and 28.1–18. Heine also included in Volume One a bibliography of modern sources. Volume Two is divided into two parts. The first part contains the Latin translation from the Vetus Interpretatio, which covers Books 12–17 (Matt 16.13–22.33). The second part contains the Latin translation [End Page 671] of the Series Commentariorum, which begins where the Vetus Interpretatio ended; that is, it covers Origen's comments on Matt 22.34 to Matt 27. For the translation, Heine relied on the critical edition of Erich Klostermann and Ernst Benz in the GCS series. Heine does not describe his method of translation, but it appears to be a literal rendering of both the Greek text and Latin translations. Where there are ambiguities, stemming from issues such as syntax or vocabulary, Heine helpfully places explanations in the footnotes (e.g., 1:102n85 and 1:103n86). There are also instances in which Heine had to supply a word in order to make sense of the thought (e.g., 1:56n158). Heine's brief Introduction begins by placing the Commentary in the context of Origen's life. He then highlights significant themes in the Commentary, focusing especially on the frequent use Origen made throughout the Commentary on the distinction between Jesus teaching the crowds in parables and his disciples in secret. Other themes include the unity of the scriptures, comparing scripture with scripture, narrative sequence, and the role of figurative interpretation. Heine also compared Origen's understanding of Jesus's teachings in the Commentary with Origen's First Homily on Psalm 77 in the recently discovered Psalm Homilies. He then sets the composition of the Commentary in its historical relation to the Psalm Homilies and the Contra Celsum, two works of the same time period. The Introduction concludes with remarks on the preservation of Origen's Commentary in both Greek and the Latin translations. Perhaps Heine's most significant accomplishment in the Introduction is his treatment of how Origen develops a hermeneutical tool for the interpretation of scripture based on the evangelist's distinction of Jesus teaching the crowds in parables, but instructing his disciples in secret (11). Heine rightly points out that Origen was not an elitist snubbing his nose at the masses, but rather wanted to inspire his students not to rest content with the simple meaning of the text. Like the disciples who were persuaded to ask Jesus for explanations, Origen's students had a choice to investigate the scriptures rather than being satisfied with the simple meaning. The distinction between the crowds and the disciples, then, was...

SU68NO ASSOCIATION OF MTHFR C677T VARIANTS IN POSTPARTUM PSYCHOPATHOLOGY: A PROSPECTIVE STUDY OF AT-RISK WOMEN

The chapter gives an overview of economic, sociocultural and aesthetic background of transmedia. Based on the analysis of scholarly literature as well as on concrete examples, it aims to produce a workable definition of transmedia from the point of view of bibliographic information organisation. It also seeks to identify key concepts and relationships pertaining to transmedia practices, thereby providing a domain analysis that will constitute the basis for bibliographic modelling. A special attention is paid to relationships between transmedia and immersive practices and technologies such as live action role-playing, alternative reality games, augmented reality or virtual reality. The chapter also explores relationships between transmedia and overlapping concepts such as entertainment franchising, total work of art, multimedia, intermediality or intertextuality. It argues that transmedia represents a specific form of transfictionality, i.e. interconnectedness of distinct works at the conceptual level via narrative sequences, characters, settings and other elements that make up a fictional world.

Pitie et Non-violence dans 1S 24-26 : Cas de David Versus Saül et Nabal

This article takes root in the reading of the narrative sequence which we find 1S 24-26 where three narratives follow one after another: at first to David who leads Saul to Engaddi, then to Abigail who diverts David from his plan to avenge Nabal, and finally, to David who once more saves the life of Saul in the desert of Ziph. To emphasize the need for pity and nonviolence in the society, it seems interesting to us to raise the context antecedent to this sequence where the hostility of Saul towards David leaves no shadow of a doubt. Indeed, devoured by jealousy in the face of David's successes, Saul tries with a doggedness to eliminate the latter who dashes off desperately until golden opportunities are presented to him to eliminate Saul. He does not eliminate him, but he gets only the piece of his coat as he surprises him while he was covering his feet. Then, for a second time, he still saves his life when he perceives him sleeping near Abner. Refusing to hurt him, he takes the lance which was at his bedside as well as the gourd of water. Pity and non-violence towards enemies practised by David could be the resources which our society needs to strengthen to consolidate conviviality. In this context where wars, conflicts, hatred, vengeances and terrorism seem to gain ground, could the rediscovery of these two values be a challenge to reveal for our world?

La Cronique et histoire des mervilleuses aventures de Appolin roy de Thir (from the London manuscript, British Library, Royal 20 C II). Ed. Vladimir Agrigoroaei. Published under the direction of Claudio Galderisi and Pierre Nobel. Bibliothèque de Transmédie, 1. Turnhout, Belgium: Brepols, 2013, 205 pp.

Doubtless the hero’s journey was invented long before the Middle Ages. But, at least since The Odyssey, the theme was certainly popular, “back in the day.” Like some modern-day super hero, Appolin (Apollonius) encounters, during his own odyssey, an endless array of life-bending adventures. The list seems endless: an incest episode, a shipwreck, an encounter with a dragon as well a virgin in a brothel, and so forth, all occurring within some thirty chapter-like narrative sequences of about sixty lines each.

Narratological Approaches to Multimodal Cross-Cultural Comparisons of Global TV Formats

This article cross-culturally compares different versions of the Quebec sitcom/sketch comedy television series Un Gars, Une Fille (1997-2002) by examining the various gender roles and family conflict management strategies in a scene in which the heterosexual couple visits the male character’s mother-in-law. The article summarizes similarities and differences in the narrative structure, sequencing and content of several format adaptations by compiling computer-generated quantitative and qualitative data on the length of segments. To accomplish this, I have used the annotation function of Adobe Premiere, and visualized the findings using Microsoft Excel bar graphs and tables. This study applies a multimodal methodology to reveal the textual organization of scenes, shots and sequences which guide viewers toward culturally proxemic interpretations. This article discusses the benefits of applying the notion of discursive proximity suggested by Uribe-Jongbloed and Espinosa-Medina (2014) to gain a more comprehensive and complex understanding of the multimodal nature of cross-cultural comparison of global television format adaptations.

The interactional dynamics of scaling and contrast in accounts of interpersonal conflict

This study examines interactional regrading—specifically, scaling and contrast—and its role in the construction and interpretation of accounts of interpersonal conflict. Analysis and discussion center on an extended, multi-part narrative sequence produced by an adult immigrant woman describing her experiences with ethnic and linguistic discrimination in the United States. Drawing on talk-in-interaction perspectives, I examine how teller and recipient produce and orient to implicational scales and contrasts (e.g., ‘transgression’, ‘propriety’, ‘native/non-native English speaker’) and their associated categorial, affective, and moral resonances. These are shown to vary in their granularity (e.g., ‘general-specific’), intensity (e.g., ‘weak-strong’), and other gradable features. Analysis of this talk as it unfolds in ‘real-time’ reveals the dynamics of how regrading functions as a supportive resource to produce versions of events, to recalibrate and challenge transgressive people and actions, and to elicit affiliative recipient responses.

New Representations of the Myth of Pelops and Hippodamia in Roman Mosaic Art

Although the myth of Pelops and Hippodamia became very popular in the classical mythological tradition, to date, representations of it have been scarce. The few existing examples consisted of the sculptural ensemble of the pediment of the Temple of Zeus at Olympia, some 3rd century sarcophagi, and a number of ceramic vessels. The sole mosaic representation was that held by the Museum of Damascus.However, in recent years, the number of mosaic representations has greatly increased. The discovery of the mosaic at Noheda, featuring, for the first time, the entire narrative sequence of the myth, coupled with the discovery of a possible new specimen, in which Pothos is portrayed as a main character for the first time, not only makes it possible to reconstrue hitherto misinterpreted ancient tapestries, but also furthers understanding of the legend’s iconography in Classical Antiquity.

The earliest portrait of St Columba: Cod Sang 555, p 166

The portrait of St Columba was made on the last page of a version of The Life of St Columba by Adomnán. The book, Cod Sang 555, was written at the monastery of St Gallen in the later 9th century and the drawing possibly added shortly afterwards. The image shows Columba both on a mountain and inside a church, both alive with hands raised in prayer and dead, represented by his adjacent reliquary. The shape of the reliquary is matched by an illustration of the Ark of the Covenant, made at St Gallen at about the same time. This reveals the meaning of the picture: as God spoke to his people from the mercy seat on the Ark of the Covenant, Columba speaks directly to his reader and devotees through his relics in the shrine. It is proposed that the smaller container beside the reliquary is a satchel, possibly for containing this book itself. Typological exegesis relating the Old Testament to Columba explains Columba’s mystical appearance simultaneously on the mountain and in a church; and his ability to appear in person after his death. The concept of praesentia accounts for his active role as intercessor for his followers. The picture was composed at a time when illustrated saints’ lives were beginning to develop with detailed narrative sequences. This image stands apart because it does not illustrate events from the accompanying text. The text of Cod Sang 555 had already excised details of Columba’s Irish/ Scottish background on Iona to make it more relevant to a continental audience. Likewise, this image places Columba, through the power of his relics, no longer on Iona but directly before his followers in St Gallen Abbey.

Picturing War: Canadian Nurses’ First World War Photography

Previous studies of First World War photography focus on soldiers’ experiences and professional photographers’ work, with little attention paid to women’s ‘amateur’ war photography. Canadian trained nurses’ photo albums and scrapbooks provide a rich, layered, and gendered resource for understanding how these professional women commemorated their overseas war experiences. This study examines nurses’ visual interpretations of their wars, studying narrative arc, sequencing, page design, and patterns to show how nurses visually validated their work, protected patients yet demonstrated their successful healing, dealt with ongoing emotional trauma and displacement, and envisioned the war in their lifetime experiences. Through nurses’ eyes and through their visions, we see the specific and gendered interpretations they gave to their wars.

THE PROBLEM OF EQUILIBRIUM IN THE PANJI STORY: A TZVETAN TODOROV�S NARRATOLOGY PERSPECTIVE

Narrative is understood as the record of human activities which relate strongly to a cultural matrix. Narrative, in terms of story or story telling, is representative of factual and fictional achievement placed in a chronological or causal order. Therefore, narrative and narratology have an important function in understanding cultural activities. Some structuralist scholars, especialy those living during 1960-1980, created a special theory on narratology. There are four specialists of narratology; they are: Vladimir Propp, Claude Levi-Strauss, Tvsetan Todorov, and A. J. Greimas. They claimed the same perspective, that all narrative (such as folktale, myth, and legend) in fact share the same fundamental structure (i.e grammar, syntactical structure, semantics axes, actantial structure, or logical structure). Panji Story is one of Indonesian heritage stories popular during the rule of Madjapahit Kingdom. The narratives were transmitted into folktales, oral literature, written literature, hikayat, or engraved as the reliefs at ancient temples. The narrative which was originated from Singasari Kingdom was so pervasive in East Javanese culture, as it created a Panji Culture (Nurcahyo, 2016). The spread of the narratives was so extensive, reaching Bali, Nusa Tenggara, Sumatra, Borneo, Papua, and to neighbouring countries such as Malaysia, Thailand, Cambodia, Laos, and Myanmar. This paper aims at revealing narrative sequences of Panji Narratives in line with Todorovs narrative theory, especially in relation to his narratology theory of equilibrium. Todorovs equilibrium gets a new perspective and meaning.DOI: https://doi.org/10.24071/ijhs.2018.020110

“After These Things” and its Composition in Genesis

Abstract As a formulaic phrase that appears in Genesis to connect sequential narratives, critics have attributed “after these things” to a single literary stratum or to redactional insertions into developing narrative blocks. Drawing upon the other attestations of “after these things” from the biblical corpus, this article explains that “after these things” in Genesis may be viewed as a stock phrase, one that a composer or a redactor may employ in the absence of quantifiable chronological data to express the passage of an indefinite amount of time between two consecutive events.

InkPlanner: Supporting Prewriting via Intelligent Visual Diagramming.

Prewriting is the process of generating and organizing ideas before drafting a document. Although often overlooked by novice writers and writing tool developers, prewriting is a critical process that improves the quality of a final document. To better understand current prewriting practices, we first conducted interviews with writing learners and experts. Based on the learners' needs and experts' recommendations, we then designed and developed InkPlanner, a novel pen and touch visualization tool that allows writers to utilize visual diagramming for ideation during prewriting. InkPlanner further allows writers to sort their ideas into a logical and sequential narrative by using a novel widget - NarrativeLine. Using a NarrativeLine, InkPlanner can automatically generate a document outline to guide later drafting exercises. Inkplanner is powered by machine-generated semantic and structural suggestions that are curated from various texts. To qualitatively review the tool and understand how writers use InkPlanner for prewriting, two writing experts were interviewed and a user study was conducted with university students. The results demonstrated that InkPlanner encouraged writers to generate more diverse ideas and also enabled them to think more strategically about how to organize their ideas for later drafting.

Cyberpunk Redux: Dérives in the Rich Sight of Post-Anthropocentric Visuality

Our future effects on the earth, in light of the Anthropocene, are all dire expressions of a depleted world left in piles of detritus and toxic ruin—including the diminished human as an assemblage of impoverished existence, yet adumbrating that handicapped existence with an ersatz advanced technology. In the cyberpunk films, these expressions are primarily visual expressions—whether through written prose thick with densely dark adjectives describing the world of cyberpunk, or more widely known, the comic books and films of cyberpunk, whose representations have become classically understood as SF canon. The new films of the cyberpunk redux however, represent an evolution in cyberpunk visuality. Despite these debatable issues around this term, it will provide this paper with its primary object of visuality, that of the “rich sight”, a further term that arose from the allure created in the late 19th century development of department stores that innovated the display of the goods laid out in a spectacular view, presenting the shopper with a fantasy of wealth and fetishized objects which excited shoppers to purchase, but more paradoxically, creating the desire to see a fantasy that was at the same time also a reality. This particular and enframed view—so deeply embedded and beloved in our commodity-obsessed culture—is what I suggest so profoundly typifies the initial cyberpunk postmodern representation in the Blade Runner films, and its continuing popularity in the early part of the 21st century. Both films are influenced by Ridley Scott’s initial vision of the cinematic cyberpunk universe and organized as sequential narratives. Consequently, they serve as excellent examples of the evolution of this visual spectacular.

Hyperfiction and Reading, with Examples of Electronic Processing of Grimms’ Fairy Tales

Hypertext is suitable for conducting literary experiments. It deconstructs the temporal sequence of narration, and lessens the author’s authority. The author of hyperfiction, in some way, loses control over how his or her work influences the reader. On the other hand, the belief that the reader of hyperfiction is at the same time its author, for he or she chooses which way to navigate the text, which hyperlinks to mark and in this manner create a new text, can be challenged. Using as its basis the networked and the non-networked versions of some Grimms’ fairy tales, this paper presents the results of the study, which was conducted with the aim of determining whether and how works of hyperfiction will change ways of reading, or even thinking, or, on the contrary, whether traditional ways of thinking and reading, and their sequence (beginning, middle, end) are so deeply rooted in our processing that they cannot be changed.

Listening beyond seeing: Event-related potentials to audiovisual processing in visual narrative

Every day we integrate meaningful information coming from different sensory modalities, and previous work has debated whether conceptual knowledge is represented in modality-specific neural stores specialized for specific types of information, and/or in an amodal, shared system. In the current study, we investigated semantic processing through a cross-modal paradigm which asked whether auditory semantic processing could be modulated by the constraints of context built up across a meaningful visual narrative sequence. We recorded event-related brain potentials (ERPs) to auditory words and sounds associated to events in visual narratives—i.e., seeing images of someone spitting while hearing either a word (Spitting!) or a sound (the sound of spitting)—which were either semantically congruent or incongruent with the climactic visual event. Our results showed that both incongruent sounds and words evoked an N400 effect, however, the distribution of the N400 effect to words (centro-parietal) differed from that of sounds (frontal). In addition, words had an earlier latency N400 than sounds. Despite these differences, a sustained late frontal negativity followed the N400s and did not differ between modalities. These results support the idea that semantic memory balances a distributed cortical network accessible from multiple modalities, yet also engages amodal processing insensitive to specific modalities.

Den tværmediale serialitet


 
 
 This study investigates how serial storytelling in fiction film and television drama are connected through transmedia relations with a focus on aesthetics and the analysis of narrative, character and title sequences and how they are establishing seriality. The analysis is concerned with two main tendencies apparent in contemporary media culture representing different forms of transmedia seriality: ‘multi-protagonist transmedia storytelling’ as it unfolds in the Marvel fictional universe between the film series and the tv-series and ‘the mind game serial drama’ in the tv-series Westworld with connections to the official website and social media.
 
 

Invisibility and power in the digital age: issues for feminist and queer narratology

ABSTRACTThis essay examines the continued assumption that representational visibility equates to power, in the digital age. It considers the tension between the image as a form that captures what already exists and the image as a future possibility in the era of the mantra ‘You cannot be what you cannot see’ and growing recognition of gender fluidity. After re-examination of Peggy Phelan’s reminder about the power of the unmarked, I turn to Ali Smith’s 2014 How to be both, a novel with an interchangeable Renaissance narrative and contemporary story in a palimpsestic structure, to propose a formula that could be described as the becoming-simultaneous of narrative sequence. In conceiving the ‘unnarrated’ as both a gap in what was represented in retrospect in an existing storyworld but equally as a narrative future, I link the unmarked to political possibility, and conclude that you cannot always see what you can be.

Chris Ware e la costruzione dello spazio rizomatico

Space and time in comics are inextricably linked (Kukkonen 2013). Since the beginning of this medium, cartoonist have filled the extent of the page with details and complex structures to capture, cage and represent the flow of time for narrative purposes (Barbieri 1991 e 2010, Frezza 1999). On the comic page composed by the author, we often walk through the stories moving forward linearly panel by panel until the conclusion. The material support on which the story appears, far from being a neutral element, directs not only the relationship of the author with the semiotic space of the sequential narration (Noth 1990), but it also acts on the perceptive, affective and sensory relationship between device and readership. Therefore, the extent of the page and material support offer to cartoonist freedom and restrictions, impose rules and conventions that may be adopted or broken, or shown and overcome (Lefevre 2009). At a time of powerful reconfiguration of comics arrangements, in direction of massive convergence of media, cultures and technologies (Jenkins 2007), we have many examples of works working on the spatial structures, in a physical and semiotic sense, of comics media. Among these experimentations, we will be focusing on the case of Chris Ware, an authore capable of shaping rhizomatic temporal and narrative structures with a graphic style apparently simple and linear (on the rhizome concept we refer to Deleuze and Guattari 2003). In this renovated mediascape, conquers new spaces also a metariflexive and philosohical type of comic able to rethink its own iconopoietic terms: the best example of this graphic form able to be configured as a real adventure for images in the territories of though, is the work of Chris Ware (Tinkler 2008, Ball, Kuhlman 2011, Bartual 2012). In this essay we will analyze the graphic novel Building Stories (2012) (Dittmer 2014, Siirtola 2014, Morini 2015). We are going to try to understand the strategies with which the author uses the graphic novel as an instrument of thought to rethink the limits and boundaries of the page, setting himself outside the traditional sequential narrative logic in a multidimensional architecture direction. (Bredehoft 2006, Reid 2017). We are gong to investigate the unusual construction of the narrative space that is not limited just to the single page of the classic graphic novel, radically renewing the forms (Baetens 2008), with extra-narrative artifices in a story with open architecture that can be followed in several direction and through the most varied supports and devices (Hadler e Irrgang 2014). The construction of this atypical and non-hierarchical narrative space opens the door to a new idea of comics, capable of confronting - and benefitting from - with the hybrid, immersive, distributed and participated space of digital media and the Web.

When an energy drink exalts a table tennis hero: Brand placement and subvertising in the manga Ping-Pong Dash!! by Honda Shingo

While comic books have today become a commonplace subject of study that no longer requires justification, the issue of sports representation in the ninth art remains a relatively new one. In the case of a table tennis-themed manga, in particular, mirrored through the brand placement of an energy drink, Max Coffee, this paper studies the emerging mechanism which combines representation of a sports spectacle (table tennis) with the fictional construction of a modern sporting hero (Tendô Haruku), an in-vogue media-friendly story (manga) and a potential consumer target group (teen readers). By matching the values of the energy drink with the canons of heroic stories in terms of a sequential narrative, embedded episodes and plot twists, the cartoonist, Honda Shingo, creates a new-generation hero with rather uninhibited virility and an offbeat, romantic sense of humor, together with the self-assumed immoderation of contemporary sport.

The Fear of Iconoclasm: Genre and Medium Transformations from Comics to Graphic Novels in Amar Chitra Katha, Bhimayana, and Munnu

The Indian graphic novel tells stories through indigenous or mythographic prisms. This implies frequently departing from the comic medium’s typical grid structure of regular panels interrupted by gutter space. The comic medium’s linear and sequential narrative is often identified by graphic novel theorists with an ‘Enlightenment’ logic inadequate to a vernacular reality. At the same time, in so far as it is about the life narrative of an iconoclastic individual, the graphic narrative cannot entirely avoid speaking the language of a rational and sovereign subject. I argue that the combination of an individual’s iconoclastic trajectory, along with the desire to iconize that very trajectory through a mythic or indigenous idiom, leads to conflicts between decisions made at the level of form and those made at the level of subject matter. This is further complicated by the comic medium’s penchant for dialectical reversals. While it is possible to read Amar Chitra Katha’s mythological tales as critical secular biographies, the graphic narratives Bhimayana and Munnu are so driven by illustration in the form of metaphors, puns and allegories that their visual component loses its narrative traction, becoming in many ways merely decorative and artistic.