Narrative Universe Research Articles

Regência arquetípica feminina: Método de construção de personagem

This paper discusses the construction of one of the parameters of the method of female psyche creation for characters of the The Rotfather transmedia narrative universe, developed by students of the research group G2E [Education and Entertainment Group] of the Federal University of Santa Catarina. The creation method is based on the archetypal reasoning of Jungian theory and aims to direct the creative process of multidimensional, complex and narratively coherent characters through a composition tool combining female archetypes of Greek goddesses. In addition to the purpose of psychological construction, this research aims to improve the representation of women for social validation with their target audience.

Sociálne a vzdelávacie funkcie (literárnych) naratív

The study deals with social and educational functions of (literary) narratives – both oral and written – in everyday life of a socially grounded individual. Narratives (or stories told or read) play an essential role in building and strengthening social bonds within a community (by spending time together, informing its members of preferred social values and behaviour patterns, etc.) The author sustains that narratives circulating within a particular community (or ethnic group, nation) should be viewed and analyzed from the perspective of cultural anthropology. As an educational tool, stories are utilized not only in families and schools, but also in penitentiary and correctional institutions or in public reading courses. The author also pays attention to particular structural components of “captivating” narratives (such as novelty, surprise, cognitive and/or emotional relevance to the reader, etc.) and so-called narrative universals – themes, types of characters, plots and settings that are common to all cultures worldwide (such as romantic love, human desires and needs, sacrifice, etc.).

Geopoetics: Storytelling against mastery

In this engagement with Eric Magrane’s article, ‘Climate Geopoetics (The Earth is a Composted Poem)’, I follow two provocations: first, geopoetics as travelling through disciplinary turfs, and second, geopoetics as storytelling. Coming from a disciplinary trajectory that spent a long stop at international relations (IR), these provocations attach me to geopoetics as practice and a growing field. My engagement here is oriented to geopoetics not only at the threshold of geography and the arts and humanities, but also the intersections of geography and politics. I primarily propose that viewing geopoetics as an open space for experimenting allows for disrupting masterful understandings of the academic self and counters a univocal, universal narrative of the world.

Cartografías subjetivas en las novelas La mujer desnuda (1950) y Viaje al corazón del día (1986) de Armonía Somers (1914-1994))

En este artículo me propongo explorar la construcción de subjetividades literarias en la primera y en la anteúltima novela de la escritora uruguaya Armonía Somers (1914-1994), a partir del trazado de cartografías subjetivas de carácter contingente que articulen el lenguaje visual y el lingüístico. Se trata de ver cómo las “subjetividades delirantes” (Guattari, 1986) que fabrica Somers portan un potencial de minar la subjetividad dominante en cada uno de sus universos narrativos y, por otra parte, considerar en qué medida la plasticidad de los personajes elabora un mapa identitario móvil, que se transforma junto con ellos, ensayando nuevos posicionamientos en relación al género, al deseo, a la moral y a la religión. De este modo, y a partir de la idea de Judith Butler de “replantear lo posible en cuanto tal” (1990 [2007: 24]), consideraré cómo se reconfiguran y ensayan nuevas formas de identidad(es) posibles que escapen (al menos momentáneamente) a las mallas represivas del poder.

Shambhala as a Sacred Place: the Central Point of the Nothing Sacred Series Universe

This article examines the duology of Elizabeth Ann Scarborough, consisting of the novels Nothing Sacred andLast Refuge. The paper aims to present the function of the literary Shambhala in the context of the space-timemodel of the world presented by the books under study. Based on Mircea Eliade’s comparative religion theory,the author puts forward and attempts to prove the hypothesis of a far-reaching similarity between the function ofScarborough’s Shambhala in the narrative universe and the meaning of a sacred place in the archaic, religiousmodel of reality.

‘After Auschwitz’: Writing history after injustice in Adorno and Lyotard

Political philosophy in the last decades has turned away from universal narratives of progress, on grounds that these narratives produce exclusion and justify domination. However, the universal values that underlie emancipatory political projects seem to presuppose universal history, which explains its persistence in some contemporary political philosophers committed to such projects. In order to find a response to the paradox according to which universal history is inherently exclusionary and yet necessary to uphold universal values, I examine the contrast between Adorno’s and Lyotard’s perspectives on the problem of writing history ‘after Auschwitz’. For both philosophers, Auschwitz interrupts our fundamental normative and cognitive values, because any attempt to identify the meaning of the camps by means of these values misunderstands the suffering that took place in them. Yet this interruption produces a feeling that calls for the institution of new universal normative values. For Adorno, this value is a purely negative command to act in such a way that Auschwitz does not repeat itself. For Lyotard, by contrast, it is the demand to invent new idioms that make it possible to find meaning in Auschwitz.

Plac Czerwony jako technologia oporu w rosyjskiej sztuce protestu

Red Square is a symbolic place for the Moscow dissidence protests. Russian artists, writers and dissidents have frequently used the history of the square’s memory as a crucial and fundamental issue within the framework of their strategy. Haunting images associated with Red Square’s past, permanently returning in the history of the Russian activism, always refer both to universal narratives of the politics of protest and to the specific contexts producing entirely new meanings. Each time, through their public actions artists create new meanings for the Red Square’s space – they expose the existing limits of the power apparatus and call for the right to legitimize it, therefore contesting the links between the theatre of legitimacy and the public space. From this perspective, the space of protest becomes a fundamental instrument of political action, and the square - ordinarily used in the established order to manifest the government’s symbolic authority - this time becomes a kind of technique as well as a material body support in the politics of resistance.

Marvel's Spider-Man: "Ragnoverso" crossmediale = Marvel's Spider-Man: crossmedia "Spider-Verse"

Marvel's Spider-Man: crossmedia Spider-Verse. This paper analyses the videogame Marvel's Spider-Man, released by Insomniac in 2018, from a crossmedia perspective. In particular, this study will enquire into the extent to which the examined videogame is influenced by the comics imaginary and, in turn, influences it. Furthermore, the examination will explore the mutual exchanges between comics and game story elements, which are essential in Marvel's Spider-Man to contribute to the processes of world and storyline building. Finally, the analysis will reveal the function of the urban environment at the time of creating transmedia connections, which are meant to construct and preserve the counterfactual scenario developed by Sony across several media. The main research objective is to underline that the narrative universe of Marvel Comics can benefit from the creation and preservation of the crossmedia Gameverse.

Transtemporal and Transspatial Narrative in Philippe Claudel’s Monsieur Linh and his Child

Bu çalışmanın bütüncesi çağdaş Fransız romancı Philippe Claudel’in göç, sürgün, travma ve arkadaşlık temalarının işlendiği Bay Linh ve Torunu romanından oluşur. Adı geçen eser bebek torunu hariç ailesinin tamamını kaybeden yaşlı bir adamın dilini bile bilmediği bir yere göç etmesini ve burada yaşadıklarını konu edinir. Torunu için hayata tutunmaya devam eden Bay Linh’in yaşadıkları hikâye dışı üçüncü tekil anlatıcı tarafından aktarılır. Baş kahramanın yaşam izlencesinden yola çıkarak gerçek ve kurmaca ilişkisi romanda “gizlenen” ve “gösterilen” ikilisi üzerinden irdelenir. Anlatıcının romanın sonuna kadar anahtar ögelerden birini gizleyerek oluşturduğu beklenmedik son, okuyucunun bilincinde metnin yeniden anlamlandırma sürecine başlamasına zemin hazırlar. Bununla birlikte hikâye evreninin kesin olmayan zaman ve yer belirteçlerinden oluşturulduğu eser, olayların bir yere ya da bir zamana indirgenmeden ortak bir bilince hitap etmesine imkân sağlar. Karakter isimlerinin sınırlı kullanımı da bu durumu destekler. Söz konusu zamansal ve uzamsal çerçevenin belirsiz bırakılması anlatının zamanötesi ve uzamötesi bir yapıya bürünerek belirli bir kesimin değil ortak bir belleğin gerçekliğini yansıtan bir roman olarak değerlendirilmesini sağlar. Bu çalışmada Bay Linh ve Torunu romanının anlatı evrenine ışık tutmak ve roman kurgusunu ortaya koymak için eser, anlatıbilim, gerçeklik etkisi bakış açıları ve kurmaca kuramları ışığında ele alınır. Makalede anlatıcının güvenilmezliği, kurmacanın gerçeklik özelliği ve anlatının zamansal/uzamsal çerçevesinin anonimleşmesi konularının incelenmesi amaçlanır. Belirtilen ögelerin üzerinde durulduğu incelemede metod olarak “olası dünyalar” ve “gerçeklik etkisi” temel alınır. Nitel bir araştırma kapsamında yazılı dökümanların analizi yöntemi izlenerek yorumlayıcı bir çalışma ortaya konulur.

Narrative Universals, Emotion, and Ethics

Some recent writers on ethics, prominently Jonathan Haidt, have seen emotion and narrative as central to moral judgment and behavior. However, much of this work is not clear about the precise nature of emotion and narrative or the relation of the two to each other and to ethics. Research in distinct narrative traditions — a form of comparative literary study — offers a possible solution. The author has argued that a number of prototype-based story structures recur across a broad range of genetically and areally distinct traditions. These structures derive from emotion systems and general principles of emotion modulation and involve ideals that are both hedonic and ethical. We may better understand the complex relations among narrative, emotion, and morality in terms of these story universals, their sources in emotion systems, and their associated ideals, which collectively predict a range of ethical responses to any given situation. In addition, even the usual ethical orientations of emotions and prototypes may be altered through the particularization of stories. In this way, emotional response and initial emplotment bias ethical response and evaluation, but the former do not simply determine the latter. The author illustrates these points by the sometimes surprising similarities relating European, Chinese, and Indian works.

THE NARRATIVES OF INTERNATIONAL CONFLICT: GLOBAL TURBULENCE OR DESTRUCTION OF THE WORLD SYSTEM?

Problem of setting. In of the article first certain and analysed research narratives to the international conflict, which was folded in modern scientific discourse - civilization, universal, phenomenological, deterministic, rhythm of development, the world is politicians, judicial. There is an appropriate question in science: how in our time to perceive and explain the situation of international conflict - by global turbulence or destructions of the world system?Analysis of main researches. In political science tradition objectively there were different of international of the world. Narrative of «conflict of civilizations» (S. Hantington) takes a place from their global opposition in foreshortening of the historical differences, values and alternative ways of life. P. Sorokin and Q. Wright developed universal narrative of international conflicts, where attributed them to the class ofgeneral social. Other scientists (E. Luard, K. Levin, J. Rubin, D. Pruit, K. S. Kim, T. Shelling) formulated in in the second half of XX century deterministic, rhythm of development, the world is politicians, judicial narratives of conflicts on a world arena.Paper objective. Idea and purpose ofthe article: to generalize the picture ofinternational conflicts in phenomenological narrative (the essence, sources, varieties and strategies of decision); to expose objective connection of conflicts with destructions of the world system and processes of global turbulence.Paper main body. In the epoch of globalization the modern world tested cardinal changes, caused the contradictory tendencies of integration and differentiation of international processes of, which strengthens the conflict of relations. In these terms essence of international conflict is interpreted, as culmination of development of objective contradictions between the states (by the group of the states), the display of which is a collision on soil of opposite national interests, public aims and aspirations. The sources of origin and factors of determination of international conflicts do not touch private or group interests, they are anymore determined defence of sovereignty of the state, interests ofnational safety, maintainance of territorial integrity, rights andfreedoms of the citizens; but sometimes international excesses are continuation of retrograde internal policy of certain countries.In maintenance internationally-legal conflicts more frequent international spores - formal disagreements consist between international legal of, subjects which arose up on questions of debatable fact or broken right. A global danger in relation to a conflict in is the world created by international terrorism, especially with the risk of application of weapon of mass defeat. General systematization of international conflicts allows to select a few their types and classes, in particular - intergovernmental and national liberation wars, international conflicts inwardly, local, regional, global, armed or unarmed conflicts and others that. The special place in development ofconflict on the global arena of relations occupies international crisis. Its essence is more high phase of the international opposing, growth of him from confrontation to the greatest political level. Original narrative of these international collisions offers the canadian political scientist A. Rappoport, where in obedience to a form and the specific flowing characterizes an international crisis in three formats: of ’battle’, ’game ’ and ’debate’.The world political system is objective reality, result of concordance nation-states political, legal, social and economic ’status quo ’ on planetary and regional levels. But it modern character is straight predefined influence offactors of global turbulence in an international policy. An international law, in obedience to UN Charter, gives advantage principles ofpeaceful decision of international conflicts and crises, that it is fixed in bases of existence and stable functioning of world concord.Conclusions. Logic of development of conflicts and crises shows on a world arena, that the political system ofplanet has certain destructions, disfunctions and global problems which become the drivers of international conflict.

Defining Lyfe in the Universe: From Three Privileged Functions to Four Pillars.

Motivated by the need to paint a more general picture of what life is—and could be—with respect to the rest of the phenomena of the universe, we propose a new vocabulary for astrobiological research. Lyfe is defined as any system that fulfills all four processes of the living state, namely: dissipation, autocatalysis, homeostasis, and learning. Life is defined as the instance of lyfe that we are familiar with on Earth, one that uses a specific organometallic molecular toolbox to record information about its environment and achieve dynamical order by dissipating certain planetary disequilibria. This new classification system allows the astrobiological community to more clearly define the questions that propel their research—e.g., whether they are developing a historical narrative to explain the origin of life (on Earth), or a universal narrative for the emergence of lyfe, or whether they are seeking signs of life specifically, or lyfe at large across the universe. While the concept of “life as we don’t know it” is not new, the four pillars of lyfe offer a novel perspective on the living state that is indifferent to the particular components that might produce it.

Cecilia Eudave’s Youth Narrative: a Postmodern Proposal Between The Fantastic And The Unusual

This paper reflects on the complex narrative universes of the youth trilogy written by Cecilia Eudave and consisting of La criatura del espejo, El enigma de la esfera and Pesadillas a mediodia. These three novels feature doctor Julia Dench, a psychologist who is an expert in paranormal cases who ventures into the mysterious territories of the teenage soul as she battles her own ghosts and demons. From the genres of horror, the fantastic or the unusual, games and prospects for building realities are activated in these novels in which Eudavian narrative mechanisms emerge.

Follow the Thing: Data

AbstractThis research starts its journey from a video that failed to be published during the 2009 uprising in Iran. By following data outside the common trajectories of data circulation in the global North, this paper offers new geographical and data imaginations neglected by the universalised understandings of data and its political economy. Consequently, data’s behaviour as a thing is thoroughly investigated in the “follow the thing tradition” by scrutinising data as a commodity, its meanings and its associations. Using actor‐network‐theory, the paper highlights data’s open and contested character as well as the breakdowns throughout its journey. Following an uncirculated video via its traces sheds light on data’s agency in evoking different assemblages and spatialities. It also reflects on the epistemological importance of not treating the Southern data as exceptional and calls for a theoretical landscape that does not leave many realities of data out in its homogenised universal narrative.

Transmedia, Translation and Adaptation: Parallel Universes or Complex System?

This article explores the relationship between transmedia narratives, translation, and adaptation, and exposes why one can be lead to believe that these disciplines have very little in common. It first gives a definition of complexity and transmedia narratives, and explains the difference between transmedia, crossmedia, and multimedia. It then describes the types of transmedia projects proposed by Christy Dena (2011, n.p.) and illustrates them with the examples of two cult series’ narrative universes, that is, Twin Peaks and Skam. Transmedia stories, which spread on multiple platforms and involve audience participation, are considered by transmedia theorists to be part of story worlds (story universes, or “storyverses”). Yet, most of these narratives can be considered as adaptations, or as multimodal, intersemiotic translations. Despite the evident relationship between translation, adaptation and transmedia, adaptation is reduced to a mere media transfer, and translation is mostly referred to as an interlinguistic operation in recent academic conversations around transmedia and participatory culture. This article examines how the emergence of transmedia narratives illuminates the fact that adaptation and translation must step into the study of contemporary transmedial landscape, and how transmedia, translation and adaptation could gain from it.

DANTE KAO KONSTITUTIVNI ELEMENT DESNIČINOG PROMIŠLjANjA O SUDBINI ČOVJEKA

The posthuman world inhabited by Ishiguro’s protagonists enables its examination within the framework of Marie-Laure Ryan’s narrative semantics, owing to its genre characteristics, as well as to the specific structure of its narrative universe fabricated from memories. The analysis of the interwoven textual worlds aims to indicate a motif functioning as a center of the amalgamation and conflicts within the worlds, as well as to corroborate the claim that the inconceivability of escape stems from the internal structure of Ishiguro’s narrative universe.

MOGUĆI SVETOVI U ROMANU „NE DAJ MI NIKADA DA ODEM“ KAZUA IŠIGURA

The posthuman world inhabited by Ishiguro’s protagonists enables its examination within the framework of Marie-Laure Ryan’s narrative semantics, owing to its genre characteristics, as well as to the specific structure of its narrative universe fabricated from memories. The analysis of the interwoven textual worlds aims to indicate a motif functioning as a center of the amalgamation and conflicts within the worlds, as well as to corroborate the claim that the inconceivability of escape stems from the internal structure of Ishiguro’s narrative universe.

Climate Change and Intersectionality

White climate ethicists have a responsibility to learn, teach, and write about the intersections between climate change and white supremacy. Learning from Andrea Smith’s understanding of white supremacy as three pillars—commodification, orientalism, and genocide—built from heteropatriarchy, this essay argues that white climate ethicists should focus on particular experiences rather than universal narratives; learn from histories of colonization, slavery, and genocide; and support coalitions that empower people of color and indigenous communities. A focus on the writings of scholars from marginalized identities leads to an understanding of climate change as atmospheric defilement.

Apocalisse mediale. La saturazione dei flussi nella nuova serialità televisiva

The contemporary media landscape is marked by different phenomena and rapid changes that re-shape its possible fruition models: the expansion of narrative ecosystems, the complexity of serial mechanisms and the content modulation on several platforms and devices require a high level of cooperation from the spectator – continuously being asked and trained to rebuild, complete and contemplate the media universe. In this context, interactions between a medium and a spectator usually result in the reflective aestheticization of the same serial mechanism that characterises these narrative ecosystems and contributes to making these products targets of fetish worship by spectators. This issue becomes complicated if we consider the increasing overlapping between everyday life and the media, in which media contents and consumptions tend more and more to determine values and temporality of everyday life. Within the analysis of “Bandersnatch” – showing in a complex way the possible dystopian drifts of our (post)media condition – the aim of this essay is to highlight the consequences of the expansion of narrative universes : it does not result in a fragmentation or leak of elements, but rather in their convergence towards an increase of self-reference and resilience of the whole media universe. The spectator turns out to be absorbed in this integrated environment (from the product to its consumption) being not a dynamic subject anymore, but an object mirroring himself in his own daily and fetish relationship with the media. The flow of images and contents appears to be saturated as soon as the media universe expansion constitutes, covers and integrates most of the entire culture and everyday experience.

FREE INDIRECT DISCOURSE AND POSSIBLE WORLDS IN IAN MCEWAN’S THE CHILD IN TIME

The paper discusses the nature of free indirect discourse and the manner in which it appears within postmodern fiction, more precisely in Ian McEwan’s novel The Child in Time, through the modality of possible world semantics. First it explains how free indirect discourse should be understood in this context, outlining the theoretical introduction and justification of this particular approach. The subsequent discussion focuses on speech acts and how they can be understood theoretically and in a fictional universe. It then showcases how free indirect discourse works in Ian McEwan’s The Child in Time, which offers an excellent case study for this type of analysis, given the fact that the novel is a third person narrative, an indirect account of events, and a reported story, and thus a perfect sample of free indirect discourse in fiction. Finally, by blending these perspectives within the narrative universe and observing how they render a structural matrix of fiction upon which worlds of possibility can be modally distinguished, the paper will prove that the analysis of free indirect discourse completes the picture of narrative syntax within possible world determinism.