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Auswahl der wissenschaftlichen Literatur zum Thema „Narrative“
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Zeitschriftenartikel zum Thema "Narrative"
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Grim Feinberg, Joseph. „The Story of Dialectics and the Trickster of History“. Praktyka Teoretyczna, Nr. 1(43) (01.08.2022): 131–53. http://dx.doi.org/10.19195/prt.2022.1.6.
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Drawing on Hegel’s interpretation of narrative and Lyotard’s rejection of “grand” dialectical narratives, this paper addresses the relationship between emancipatory dialectics and narrative form. It begins by establishing the intimate connection between dialectical thought and narration. On this basis, the paper argues that varying conceptions of dialectics can be associated with varying structures of narrating history. Finally, the paper makes the case for identifying a specific narrative form adequate to the radical rereadings of Hegel that have replaced the perspective of the master (the subject privileged by a given system of historicity) with the perspective of the slave (who, while excluded from historicity, struggles against this exclusion). This narrative form corresponds to none of the classical Greek genres; it is best described as a trickster tale.
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Salvato, Valentina, und Giuseppe Paternostro. „LA NARRAZIONE COME STRUMENTO DIDATTICO E DI RICERCA NELLA ESPERIENZA DI ITASTRA“. Italiano LinguaDue 14, Nr. 1 (21.07.2022): 49–62. http://dx.doi.org/10.54103/2037-3597/18153.
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L’obiettivo di questo lavoro è quello di presentare il ruolo della narrazione nel modello didattico e di ricerca della Scuola di lingua italiana per Stranieri dell’Università di Palermo. In particolare, gli autori illustrano i tre pilastri su cui poggia l’impianto narrativo del modello di Itastra: l’autobiografia linguistica (§ 2); i laboratori artistico-narrativi (§ 3); la narrazione come pratica discorsiva metacomuncativa (§ 4). In conclusione del lavoro (§ 5) si evidenzia, da un lato, come la narrazione consenta di ampliare la capacità degli insegnanti di riflettere sulla loro attività didattica; dall’altro come essa contribuisca alla costruzione di una comunità di apprendimento centrata sulla forza che le lingue hanno di valorizzare le diversità e favorire la loro convivenza. Narrative as a teaching and research method. The experience of ItaStra The paper illustrates the role of narratives in the teaching and research model developed by the Italian language school for Foreigners of the University of Palermo (ItaStra). In particular, we discuss the three pillars on which the narrative model is based: linguistic autobiography (§ 2); artistic and narrative labs (§ 3); narrative as a meta-communicative practice (§ 4). In the last section (§ 5), we focus the fact that narrative can help teachers broaden their reflective capacity about teaching; narratives support the construction of a learning community where multilingualism plays a central role.
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Das, Shruti. „Counter-narrating: Re-constructing “Sita” in Amish's Sita: Warrior of Mithila“. University of Bucharest Review. Literary and Cultural Studies Series 11, Nr. 2 (Oktober 2021): 117–29. http://dx.doi.org/10.31178/ubr.11.2.9.
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Counter-narration re-casts existing narratives and foregrounds the marginalised by giving them agency and performativity. They are narratives that challenge and provide resistance against dominant and hegemonic grand narratives which have been instrumental in formulating a social ideology over a long period of time making them normative. The Ramayana, an ancient epic is a multi-layered story of Prince Rama and Princess Sita and their role in the politics of power, state and patriarchy. It is a grand or master narrative that presupposes the passivity of the female as normative. It portrays Sita, King Rama’s wife, as someone who experiences marginalization and oppression and is a victim of the dominant narrative of patriarchy. This paper will use the theory of counternarrative and analyse Amish Tripathi’s novel Sita: Warrior of Mithila (2017) in order to show how he has recast Sita deconstructing the myth of passivity. Here, Sita resists prescriptive norms of the dominant narrative, wherein she has been projected as the silent receptor and problematizes the patriarchal ideology propagated through the master narrative. This paper will show how counter storytelling or counter narrating by Amish Tripathi has challenged and defied the narrative silence and hegemony in The Ramayana, while making the female powerful and capable in education, warfare and state governance.
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Ruthrof, Horst. „Narration/narrative/narration“. Continuum 1, Nr. 1 (Januar 1988): 175–91. http://dx.doi.org/10.1080/10304318809359329.
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Cavalcanti, Erinaldo Vicente. „História, narrativa e ensino: diálogos, limites e possibilidades de uma reflexão teórica / History, narrative and education: dialogues, limits and possibilities of a theoretical reflection“. Revista de História e Historiografia da Educação 4, Nr. 10 (02.07.2020): 207. http://dx.doi.org/10.5380/rhhe.v4i10.72380.
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A narrativa foi — e é — objeto de reflexão na ciência história por diferentes autores e distintas abordagens. Este artigo acompanha o movimento de análise que tematiza a narrativa histórica, a fim de ampliar a reflexão acerca do “estatuto narrativo” da História acadêmica e didática e entender os limites e as possibilidades de sua pretensão em representar o passado. Com essa problematização, almeja-se colocar a narrativa como foco de análise no ensino de História como caminho passível para enfrentar as disputas de narrativas que perfilam o cotidiano da sala de aula. Para tanto, recorre-se a diferentes autores, em especial Paul Ricœur, para explicitar em que consiste a narrativa histórica e quais os procedimentos que atribuem legitimidade e reconhecimento a sua representação do passado. Pelo arcabouço teórico mobilizado, defende-se que os procedimentos constituidores da narrativa histórica podem ser acionados como uma estratégia viável para lidar com as disputas de narrativa em sala aula e promover o entendimento sobre a relação de confiança e credibilidade que esse relato escrito desfruta na tarefa de representar o passado.***The narrative was - and is - an object of reflection in history by different authors and different approaches. The article follows the movement of analysis that focuses on the historical narrative to broaden the reflection on the “narrative status” of History - academic and didactic – in order to understand the limits and possibilities of its claim to represent the past. With this problematization, the aim is to place the narrative as the focus of analysis in the teaching of History as a possible way to face the disputes of narratives that appear in the daily life of the classroom. To this end, it mobilizes different authors, especially Paul Ricoeur, to explain what the historical narrative consists of and which procedures give legitimacy and recognition to its representation of the past. Through the mobilized framework, it is argued that the procedures which constitute historical narrative can be used as a viable strategy to deal with classroom narrative disputes and to promote understanding of the relationship of trust and credibility that this written report rejoices in the task of representing the past.
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Beaulieu, Steve. „Re-imagining first-person narrative as a collective voice in John Edgar Wideman’s Sent for you yesterday“. Frontiers of Narrative Studies 4, Nr. 1 (28.06.2018): 82–95. http://dx.doi.org/10.1515/fns-2018-0006.
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AbstractThis article considers the “narrating-I” in African American fiction, reexamining its significance for narratological and sociopolitical theorizations of literature. First-person narratives can normally be understood as autodiegetic, in which the narrators present their experiences from their own perspectives at the expense of access to the viewpoints of other characters. However, African American narratives sometimes present their readers with first-person narrators who are seemingly more omniscient. Able to slip across the boundaries that demarcate their experience from that of others, these narrators can adopt the subject positions of other characters, shifting narrative focalization in ways that would normatively be impossible. Unlike “we” narratives that rely on the first-person plural to evoke collective storytelling, these works pluralize an otherwise singular narrator into a different sort of collective multiplicity. This paper argues that this plurality and multiplicity problematize the limitations of first-person narration, and in so doing resonate with issues surrounding the sociopolitical imagining of community. Through an investigation into the innovative narrative structures of John Edgar Wideman’s Sent for you yesterday, this paper thus hopes to contribute to ongoing conversations in narrative studies by reassessing its standard narrative frameworks, as well as argue for the applicability of narratology to contemporary sociopolitical thought.
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McCabe, Allyssa, Carole Peterson und Dianne M. Connors. „Attachment security and narrative elaboration“. International Journal of Behavioral Development 30, Nr. 5 (September 2006): 398–409. http://dx.doi.org/10.1177/0165025406071488.
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A key means of getting to know someone is through the sharing of personal experience narratives, an ability that shows considerable individual variation. Past research has documented a relationship between narration in conversations between children and their mothers and attachment security. However, children's narrative contributions are often embedded in an ongoing conversation which may be structured differently by mothers who also have assessed the extent to which their children use them as a secure base. In the present project, these two measurements were independent. Children's narration to an attentive, but non-scaffolding, stranger was investigated to see whether that, too, would correlate with security as assessed by mothers. Participants were 32 4-year-old children and their mothers. The security of children's attachment to their mother was assessed using the revised parent-reported 90-item Q-Sort and correlated with two measures of narration. One was simple length in words of the three longest narratives told to a friendly stranger, and the other was a composite formed from specific scored narrative variables. Both narrative measures were significantly correlated with attachment security, even after partialling out the effects of gender, age, and receptive vocabulary.These results suggest that securely-attached children have internalized the inclination to disclose themselves by means of relating narratives of some length and have begun to generalize this to adults outside their family.
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Algül, Mustafa. „Anlatı İçinde Anlatı: “Into The Woods (Sihirli Orman)” Filminin Peri Masalı Anlatıları İçindeki Gezintisi“. Etkileşim 4, Nr. 7 (April 2021): 128–49. http://dx.doi.org/10.32739/etkilesim.2021.7.121.
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Myths, epics, and tales have survived for centuries in the oral expression tradition and have been permanently transcribed from oral tradition into written form. They are the most frequently recreated narratives in the cinema with their fantastic narrative structures. Hollywood cinema has been using tales as visual narratives for years. Tales, which have been turned into a structure open to the interpretation in accordance with the changing world, on the one hand is being reediting continuously. On the other hand, they gain new appearances along with intertwined narrative structures. In Into the Woods (Rob Marshall, 2014), four different fairy tales were used together. In this study, it is aimed to determine what kind of changes has been carried out in the film in terms of the different stages of the fairy tales. For this purpose, while collecting the data by examining the narrative structure of the fairy tales, the action areas are identified in terms of the “five components” in the Greimas’ ‘canonical narrative’. Briefly, the main object in this paper is to explicate the status of the film within the types of the cinematic narratives.
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Kanellou, Maria Athansiou, Eugenia Athansiou Korvesi, Asimina Ralli, Aggeliki Mouzaki, Fay Antoniou, Vasiliki Diamanti und Sophia Papaioannou. „Narrative skills in preschool and first grade children“. Preschool and Primary Education 4, Nr. 1 (30.05.2016): 35. http://dx.doi.org/10.12681/ppej.207.
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The aim of the study was to investigate the developmental path of narrative skills of preschool and primary school children. Two hundred thirty seven Greek-speaking children from various regions of Greece participated in the study. They were separated in three age groups: 4-5, 5-6 and 6-7 years old. Retelling and narrative production skills were evaluated. Correlations between the two narrative skills were investigated. Four illustrated stories were used (two stories for retelling and two stories for narrative production).Children’s narratives were collected and transcribed from the recordings. Then, narratives were coded and assessed according to certain criteria: microstructure/ cohesion (conjunction and lexical cohesion) and macrostructure/ coherence (story grammar and temporal sequencing of actions and events). The findings revealed that narratives of older children tended to be better according to the story structure criteria in comparison to narratives produced by younger children. In addition, the qualitative analysis of children’s narratives demonstrated the different narrative levels (labeling, listing, connecting, sequencing and narrating) proposed by Stadler and Ward (2005). Children of all age groups performed better in retelling test compared to narrative production test. The results also revealed differences in performance in relation to gender (girls performed better than boys). Finally, a statistically significant correlation between children’s performance in retelling and narrative production skills was found. The results are discussed in terms of theoretical models of narrative abilities. Implications for research, theory and educational purposes are also discussed.
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Fonioková, Zuzana. „Tellers and Experiencers in Autobiographical Narratives: Focalization in “Peeling the Onion” by Günter Grass and “The Liars’ Club” by Mary Karr“. Prace Filologiczne. Literaturoznawstwo, Nr. 8(11) cz.1 (28.06.2019): 113–28. http://dx.doi.org/10.32798/pflit.59.
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This article examines the narrative point of view in two autobiographical texts, pointing out the diverse effects the narratives achieve by means of different focalization strategies. After a short explication of the split between the narrator and protagonist in life stories, I look at focalization techniques in Günter Grass’s Peeling the Onion (2006), where the perception of the present self continuously interferes in the depiction of the past. The superior knowledge available to the narrator at the time of narration leads to an interpretation of the depicted events that the experiencing self could not provide. I argue that although the book calls attention to the constructive nature of memory and narrative that necessarily affects retrospective accounts of the past, it also states its preference for the lens of the present by employing focalization through the narrating I. I subsequently contrast Grass’s text and its narrative strategies with Mary Karr’s childhood memoir The Liars’ Club (1995) and demonstrate how this narrative attains its realistic effect by engaging the child protagonist as the predominant focalizer. By shifting focalization between the narrating I and the experiencing I, involving either the suspension or application of the narrator’s current
knowledge, Karr manipulates readers’ engagement with the narrative, such as their empathy and moral judgement. Furthermore, the text communicates a sense of identity and continuity between the experiencer and the teller, which stands in sharp contrast to the emphasis Grass’s narrative puts on the distance between these two positions. Finally, I briefly address the challenges presented by recent conceptions of identity construction to the distinction between the narrating I and the experiencing I, suggesting that these narratological concepts retain their relevance to discussions of autobiographical texts as literary works rather than stages of self-creation.
Dissertationen zum Thema "Narrative"
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Tritter, Valérie. „Le statut du narrateur dans les littératures fantastiques française et anglo-saxonne d'E.A Poe à R.B. Matheson“. Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040236.
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L’objet de cette analyse est de dépeindre un siècle de littérature fantastique à travers le statut du narrateur qui implique d’envisager aussi le statut de son alter-ego, le narrataire. L’idée principale repose sur la théorie d’une évolution depuis les narrateurs d’E. A. Poe jusqu’à ceux de Richard Matheson, via les auteurs français et anglo-saxons tels Charles Nodier, Jules Verne, Guy de Maupassant, Robert Louis Stevenson, Bram Stoker, Hoxard Phillips Lovecraft.L’histoire de la littérature fantastique peut se subdiviser en trois périodes principales qui ont permis au fantastique de naître (par la critique des genres), de triompher (par la critique de la narration elle-même), et de survivre (par la critique du langage). La littérature fantastique suit l’évolution générale de la littérature, mais le narrateur se présente comme un cas à examiner dans ses interactions avec les événements surnaturels qu’il raconte,avec son propre récit, avec son propre personnage, avec son éthos. Ce narrateur “indigne de confiance” est, même pour la narratologie, un mytheThe purpose of this analysis is to depict one century of “littérature fantastique” through thestatus of the narrator which implicates also the status of its alter ego, the narratee. The mainidea rests on the theory of an evolution from Edgar Allan Poe’s narrators to Richard Matheson’svia French and Anglo-Saxon authors like Charles Nodier, Jules Verne, Guy de Maupassant, RobertLouis Stevenson, Bram Stoker, Henry James, Howard Phillips Lovecraft.The history of “littérature fantastique” is divided into three important periods, each of thempermitting it successively to be born (by generic criticism), to triumph (by the criticism of narrationitself) and to survive (by the criticism of language).“Littérature fantastique” follows the generalevolution of literature, but its narrator is a realcase to examine in its interactions withsupernatural events he tells, with the narrativeitself, with its proper character and with its“éthos”. This unreliable narrator is, fornarratology, like a myth
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Camargo, Thais Medina Coeli Rochel de. „Narrativas de políticas sobre aborto no Brasil: uma análise a partir do narrative policy framework“. Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8131/tde-31072018-162747/.
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Esta tese buscou explorar, por meio da análise das narrativas pró-direito ao aborto no Brasil, os níveis meso e macro do narrative policy framework (NPF), bem como testar as possíveis contribuições das técnicas de text mining para as análises de narrativas de políticas públicas. Foram analisados documentos pró-direito ao aborto elaborados por ativistas feministas entre 1976 e 1988 e documentos de organizações feministas, projetos de leis e documentos de políticas públicas sobre aborto referentes ao período de 1989 a 2016. Foi feita uma análise de conteúdo dos dois conjuntos de documentos usando o software OpenLogos. Os resultados da pesquisa revelam que as feministas fizeram uma escolha estratégica por uma narrativa de saúde pública de modo a expandir a coalizão pró-direito ao aborto por meio da inclusão de atores da área da saúde. A aliança com a saúde levou a conquistas para a coalizão, com a criação de serviços de aborto legal e a inclusão da anencefalia entre os casos em que o aborto é permitido. A narrativa de saúde pública foi, assim, institucionalizada, tornando-se tanto a principal narrativa da coalizão quanto a principal narrativa contida nos documentos de políticas públicas. Essa institucionalização é um objetivo da atuação das coalizões de militância, mas também impõe limites (constraints) à sua atuação futura, já que seu abandono pode colocar em risco a coalizão, ao mesmo tempo em que demandas futuras têm de ser elaboradas a partir da estrutura de políticas públicas já existente. A análise da institucionalização de narrativas é uma contribuição ao NPF, explorando seu nível macro, ainda menos desenvolvido. A tese revela ainda que as feministas, em resposta à percepção de derrota, buscaram contrair o escopo da disputa em torno do aborto, restringindo-a às áreas técnicas da saúde e ao Supremo Tribunal Federal, o que contraria as hipóteses do NPF. Por fim, a tese apresenta contribuições possíveis de técnicas de text mining para a análise de narrativas de políticas públicas.framework (NPF) through an analysis of pro-abortion rights narratives in Brazil. It also sought to test possible applications of text mining techniques to policy narrative analyses. I analyzed pro-abortion rights documents from feminist activists from 1976 to 1988 and documents from feminist organizations, law proposals and policy documents regarding abortion from 1989 to 2016. I carried out a content analysis of these documents using the OpenLogos software. Results show that feminists strategically opted for a public health narrative so as to expand the pro-abortion rights advocacy coalition through the inclusion of actors from the health field. The alliance with health sectors led to victories for the coalition, with the creation of legal abortion services and the inclusion of anencephaly among the exceptions to the abortion ban. The public health narrative thus became institutionalized: it became both the main narrative used by the coalition and the main narrative contained in policy documents. Coalitions seek to have narratives institutionalized, but this also constrains future action: abandoning an institutionalized narrative may threaten the coalition, while any future demands must be formulated within the framework of exiting policies. This dissertation further reveals that feminists, in response to perceived losses, sought to contract the scope of the dispute surrounding abortion, restricting it to technical health areas and to the Supreme Court. This contradicts NPF hypotheses. Finally, the dissertation also presents possible applications of text mining techniques to policy narrative analyses.
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Skoufias, Emmanouil. „Narratives in landscape photography : the narrative potential of transitional landscapes“. Thesis, University of Westminster, 2006. https://westminsterresearch.westminster.ac.uk/item/92756/narratives-in-landscape-photography-the-narrative.
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The aim ofthis thesis is to use practical and theoretical research to investigate the relationship of transitional landscapes with narrative. As transitional landscapes I refer to the photographic depiction of unorganised spaces situated between the rural and urban zones. The research engages in practical fieldwork and theoretical study. It comprises a written thesis and a visual output (photographic project). The theoretical part examines the historical framework focusing in the postmodern re-evaluations oflandscape photography. My research investigates if the iconographic austerity of transitional landscapes leads to interpretive austerity or on the contrary enhances their range of interpretations. The research methodology is influenced by theories that acknowledge the importance of the reader and it is qualitative and experimental. The research employs as key method visual questionnaires, which focus on the capacity of single images to prompt narrative interpretation. The groups of people that the questionnaires are distributed to, vary in their approach and regard of landscape and narrative. The results from this survey indicate how we perceive transitional landscapes, the type of narratives they suggest and what prompts them to interpret the images as specific narratives. The main findings ofthe study revealed that: 1. The iconographic austerity of transitional landscapes appears as a fertile ground for narratives as indicated by the high percentage of respondents who wrote narratives, the high percentage of narratives compared to descriptions and transformations and the respondents approach more as narrators rather than observers. 2. The respondents seemed to wish to categorise the transitional landscapes more as an urban or rural environment rather than a transitional environment. 3. A darker, closer to black & white landscape image is more responsive to narratives rather than the normal exposure and colour version of the same landscape image. Furthermore, transitional landscapes seem more narratively responsive in their blurred version. 4. Transitional landscapes create more pessimistic than optimistic responses justifying landscape theories based on the psychological approach to landscape. The findings are employed as a creative tool, creating the form and the content of the photographic project, which also incorporates the actual stories of the respondents for transitional landscapes. The photographic project displays two main narrative strategies in photography: a) Narratives created solely by images and b) Narratives created from combinin~ text and image. It progress from strategy a to b in four steps, gradually shifting from vertical panoramic landscapes to horizontal panoramic 'wordscapes'. The original co.ntribution to knowledge is in both the artwork and the method of producing it as I am extendmg the boundaries of what is currently considered as the landscape genre not only in terms of collective authoring but also about the transition of the visual sign to the word sign, thus examining our processes of making sense of signs and the subjective nature of interpretation. In my.concerns for transitional landscapes, I am investigating an aspect of a landscape genre, which has been marginalized in both traditional photographic history and subsequent critical debates.
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Silva, Elen Glauciene. „Chacina do Duro: do evento à representação dos acontecimentos“. Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7744.
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This dissertation deals with the different writings of Memory, Literature and History about events that occurred between 1918 and 1919 in the town of São José do Duro, in the northeast of the State of Goiás, and which were nationally known by the novel O Tronco of Bernardo Élis. Despite starting from the same sources, the authors constructed different representations about the events. In order to analyze the differences in the narratives, the forms of plot elaboration that led to the observation of the type of explanation given to the events were identified, and from there to the identification of which ideological implications are implicit and/or explicit in the texts. The narrative focuses adopted by the various authors were also analyzed, allowing the understanding that even when there are homogeneity of worldviews, history and time, and therefore ways of explanation, the narratives do not match, as they are attentive to different Outbreaks, denoting openness to future narratives. Meanwhile, the historical narratives took as a model of events the novel by goiano Bernardo Élis, a work that gave an opening to history.
Esta dissertação tem como objeto as diferentes escritas da Memória, da Literatura e da História sobre acontecimentos ocorridos entre 1918 e 1919 na Vila de São José do Duro, antigo nordeste do Estado de Goiás e que ficaram conhecidos nacionalmente pelo romance O Tronco de Bernardo Élis. Apesar de partirem das mesmas fontes, os autores construíram diferentes representações sobre os eventos. Para analisar as diferenças existentes nas narrativas foram identificadas as formas de elaboração de enredo que levaram à observação do tipo de explicação dado aos eventos e, a partir daí à identificação de quais implicações ideológicas estão implícitas e/ou explícitas nos textos. Os focos narrativos adotados pelos diversos autores também foram analisados, possibilitando a compreensão de que mesmo quando há homogeneidade de visões de mundo, de História e de tempo e, portanto, de maneiras de explicação, as narrativas não se igualam, pois se atentam a diferentes focos, denotando abertura para futuras narrativas. Entrementes a tudo isso, as narrativas históricas tomaram como modelo de representação dos acontecimentos o romance do goiano Bernardo Élis, uma obra que deu abertura para a História.
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Gaspar, Elisangela Teixeira Bálico. „Narrativas do cancro: Uma análise autobiográfica“. Master's thesis, ISPA - Instituto Universitário, 2013. http://hdl.handle.net/10400.12/2556.
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Dissertação de Mestrado em Psicologia Clínica, apresentada ao ISPA - Instituto UniversitárioO diagnóstico do cancro e todo o processo da doença são vividos, não só pelo doente como também pela sua família, como um momento de grande sofrimento, ansiedade, tristeza e angústia. Assim como, transformação de aspetos positivo e negativo, constatadas nas narrativas de revisão de literatura, e nas vivências subjetivas dos indivíduos com a experiência do cancro que aceitaram colaborar neste estudo. Neste sentido, o presente estudo objetivou a compreensão das narrativas pessoais, incluindo o modo transformativo e o impacto do cancro, desenvolvido no processo da doença. A Metodologia do presente trabalho foi desenvolvida numa abordagem qualitativa como um estudo narrativo, tendo-se recolhido cinco narrativas da biografia pessoal de um grupo de quatro indivíduos com experiência do cancro, a partir de entrevista aberta semiestruturada, em duas fases. Estas estórias pessoais foram depois analisadas, à luz da análise de Teoria Narrativa, tendo-se numa primeira fase criado temáticas a partir do conteúdo narrativo das entrevistas, e posteriormente adequando-os com os conteúdos mais abordados. As conclusões que se pode tirar deste estudo, de acordo com a literatura consultada revelam a relevância da abordagem narrativa, podendo propiciar na deteção, prevenção, adaptação emocional e social do indivíduo às várias etapas do tratamento oncológico, bem como na reabilitação e no manuseamento do indivíduo numa fase terminal.
ABSTRACT: The cancer diagnosis and throughout the disease process are experienced not only the patient but also for their family, as a time of great sorrow, anxiety, sadness and distress. As well as processing of positive and negative aspects, found in the narratives of literature review, and the subjective experiences of individuals with cancer experience who cooperated in this study. In this sense, the present study aimed to understand the personal narratives, including mode and transformative impact of cancer developed in the disease process. The methodology of this study was developed in a qualitative study as a narrative, having collected five narratives of personal biography of a group of four individuals with cancer experience, from open semistructured interview, in two phases. These personal stories were then analyzed in the light of the analysis of Narrative Theory, having initially created themes from the narrative content of the interviews, and then matching them with the most discussed content The conclusions that can be drawn from this study, according to the literature reveal the relevance of narrative approach, can provide the detection, prevention, emotional and social adjustment of the individual to the various stages of cancer treatment as well as rehabilitation and handling terminally ill patient.
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Karlsson, Axel, und Alexander Kores. „Forging a narrative : Political narratives in Swedish parties“. Thesis, Högskolan Väst, Avd för juridik, ekonomi, statistik och politik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-9704.
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The following thesis is an analysis of the self-narratives of the parties in the Swedish Riksdag and how these are used to construct the identities of the parties. For this purpose, we studied narrative theory and theories about identity in order to build a framework which would allow us to investigate the narratives of these parties. To identify the core narratives of the parties, we chose to focus on their respective party programs. Based on the results of our quantitative investigation, we chose four parties (Socialdemokraterna, Liberalerna, Miljöpartiet, and Sverigedemokraterna) to study in a more in-depth manner. Having selected these four parties, we utilized theories about narrative and identity in order to identify the constituent parts of the various parties' narratives contained in their party programs. The parties were found to adhere to our theoretical assumptions about how parties ought to construct narratives, albeit in different ways from party to party.
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Lee, Jung-Bog. „Preaching biblical narratives in a narrative sermon form“. Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.
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Nordqvist, Filip, und Erik Sahlbom. „Visual Narrative Game Design : Ett narrativ utan konversation“. Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16516.
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Vi undersöker den narrativa stilen som Flower och Journey använder sig av. I denna narrativastil finns det varken dialog och text. Utifrån Flower och Journey skapade vi en designmetodsom ska finnas till som inspiration för utvecklare som vill testa denna stilen. Resultatet avundersökningen ger upphov till en designmetod som vi applicerar på vår gestaltning för atttesta den i en annan spel genre. Mycket av metoden är fokuserad på hur Flower och Journeygör då vi bara undersöker de två spelen. Vi skulle vilja göra en mer generell undersökning dåvi undersöker mer spel som också har ett narrativ utan dialog och text.We study the narrative style that Flower and Journey uses. In this narrative style, there is nodialogue and text. Based on Flower and Journey, we created a design method that will be aninspiration for developers who want to test this style. The result of this bachelor thesis givesrise to a design method that we apply to our game idea this applies the method to anothergame genre. Much of the method is very focused on what Flower and Journey do when weonly examine these two games. We would like to do a more general study when we examinemore games that also have a narrative without dialogue and text.
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Manalvo, José Carlos de Oliveira. „Narrativa e analogias na arquitectura“. Doctoral thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2016. http://hdl.handle.net/10400.5/13734.
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Campos, Sheila Praxedes Pereira. „Entre o real, o ficional e o poético: de como Theodor Koch-Grunberg narrou a Amazônia“. Universidade Federal de Roraima, 2013. http://www.bdtd.ufrr.br/tde_busca/arquivo.php?codArquivo=153.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorAlém do conhecimento histórico, as narrativas de viagem sobre a Amazônia também se configuram como formas de construção imagética da região na medida em que essas narrativas constituem representações da realidade observada a partir do olhar subjetivo do estrangeiro, relacionando-se, com frequência, ao imaginário e ao simbólico. O volume I da obra Vom Roraima Zum Orinoco, do etnógrafo alemão Theodor Koch-Grünberg, é o relato de sua viagem nos anos de 1911 a 1913 à Amazônia. Nesse relato, ele narra e descreve seu encontro com os índios e a exuberante natureza amazônica da região circum-Roraima. É claro que este encontro com o outro não poderia deixar de ser descrito a partir do olhar europeu e, apesar do discurso científico-naturalista, e talvez pela própria força do novo lugar, Koch-Grünberg acaba fazendo diversas concessões ao poético, construindo imagens para a Amazônia (ou para o que ele supõe como Amazônia) que revelam a influência dos discursos identitários (e imaginários) sobre/da Amazônia que circulavam na Europa e que resultam numa prática discursiva reveladora do embate entre sua dimensão plural e singular. A partir do paradigma indiciário proposto por Carlo Ginzburg, este texto busca apontar alguns resquícios dessas imagens captadas pelo viajante alemão, enfatizando as diversas formas pelas quais ele narra uma Amazônia sob a perspectiva do real, do ficcional e do poético.
Above the historical knowledge, the travel narratives about Amazon also stand as imagetic forms of construction of the region in so far as these narratives are representations of reality seen from the subjective standpoint of foreign, relating frequently the imaginary and the symbolic. The first volume of work Vom Roraima Zum Orinoco, the German ethnographer Theodor Koch-Grünberg, is the description of his journey in the years 1911 to 1913 in the Amazon. In this report, he narrates and describes his meeting with the Indians and exuberant Amazonian nature of the circum-Roraima region. Of course this meeting with the other it could not be described from European look and, despite the scientific discourse-naturalist, and perhaps by the very force of the new place, Koch-Grünberg ends up doing several concessions to the poetic, constructing images to Amazon (or what he supposes as Amazon) that reveal the influence of discourses of identity (and imaginary) over/of the Amazon that circulated in Europe and revealing discursive practice that result in the conflict between plural and singular dimension. Starting from the indicting paradigm proposed by Carlo Ginzburg, this paper searches to identify some vestiges of these images captured by the German traveler, emphasizing the various ways in which he recounts an Amazon from the viewpoint on the real, fictional and poetic.
Bücher zum Thema "Narrative"
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Tabarra, João. Narrativa interior: Inner narrative. [Lisbon, Portugal]: Fundação Calouste Gulbenkian, 2014.
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Brewer, Mária Minich. Claude Simon: Narratives without narrative. Lincoln, Neb: University of Nebraska Press, 1995.
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Foote, Kenneth E., 1955- author und Azaryahu Maoz author, Hrsg. Narrating space/spatializing narrative: Where narrative theory and geography meet. Columbus: The Ohio State University Press, 2016.
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Saint-Etienne, Musée d'art moderne, Hrsg. Osvaldo Romberg: Architectures narratives = narrative architectures. Paris: Panama, 2005.
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Gould, Mike. Narrative. Dunstable: Folens, 1991.
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Lloyd, Jenny. Narrative. London: Film Education, 1997.
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Langmuir, Erika. Narrative. London: National Gallery, 2003.
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V, diAk e., und AphorismA Verlag Antiquariat Agentur Mit angeschl. Versandbuchhandlung gGmbH, Hrsg. Narrative. Berlin-Kreuzberg: AphorismA, 2017.
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K, Britton Bruce, Pellegrini A. D, University of Georgia. Institute for Behavioural Research. Cognitive Studies Group. und Conference on Narrative Thought and Narrative Language (1987 : University of Georgia), Hrsg. Narrative thought and narrative language. Hillsdale, N.J: Lawrence Erlbaum Associates, 1990.
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1940-, Hauerwas Stanley, und Jones L. Gregory, Hrsg. Why narrative?: Readings in narrative theology. Grand Rapids, Mich: W.B. Eerdmans, 1989.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Narrative"
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Huber, Irmtraud. „Narrative Deictic Narration“. In Present Tense Narration in Contemporary Fiction, 23–37. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56213-5_3.
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Heavey, Emily. „Narrative Bodies, Embodied Narratives“. In The Handbook of Narrative Analysis, 429–46. Hoboken, NJ: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781118458204.ch22.
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Munslow, Alun. „Narrating and Narration“. In Narrative and History, 44–63. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1057/978-1-137-01943-1_4.
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Caracciolo, Marco. „Narrative and Posthumanism/Posthumanist Narratives“. In Palgrave Handbook of Critical Posthumanism, 1097–118. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-04958-3_54.
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Caracciolo, Marco. „Narrative and Posthumanism/Posthumanist Narratives“. In Palgrave Handbook of Critical Posthumanism, 1–23. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-42681-1_54-1.
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Jacobs, Richard. „Narrative and Narratives: Designing and Delivering a First-Year Undergraduate Narrative Module“. In Teaching Narrative, 191–209. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71829-3_12.
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Modelski, George. „Narrative“. In Long Cycles in World Politics, 64–98. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-09151-5_5.
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Thwaites, Tony, Lloyd Davis und Warwick Mules. „Narrative“. In Tools for Cultural Studies, 111–31. London: Macmillan Education UK, 1994. http://dx.doi.org/10.1007/978-1-349-15178-3_7.
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Braun, Nadja S. „Narrative“. In A Companion to Ancient Egyptian Art, 344–59. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch18.
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Scalise Sugiyama, Michelle. „Narrative“. In Encyclopedia of Evolutionary Psychological Science, 1–6. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-16999-6_3316-1.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Narrative"
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Walker Moir-McClean, Tracey. „The Imaginative Space of Narrative“. In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.7.
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Narrative imagination creates a space of learning where contemporary and historic knowledge of designed place merge. This paperdiscusses how an instructor’s curation and narration of archival material can provoke design-students to imagine narratives and actively visualize processes humans use to construct, inhabit and adjust comfort in place. The concept of narrative imagination presented in this paper is informed by traditional narrative as Marie-Laure Ryan defines it her 2005 article, Narrative and the Split Condition of Digital Textuality: (The traditionalist school) “conceives narrative as an invariant core of meaning, a core that distinguishes narrative from other types of discourse, and gives it a trans-cultural, trans-historical, and trans-medial identity.”1 The work of Gerard Genette, Levi-Strauss, Roland Barthes, Jacques Derrida, Monica Fludernik, John Fiske, James Phelan, Henry Jenkins and others is also influential.2
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Eismont, Polina M. „A CARTOON OR A SERIES OF PICTURES? THE PROBLEM OF CHOOSING AN EXPERIMENTAL TECHNIQUE“. In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.19.
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Various experimental techniques are used in child language studies to research the development of coherent and cohesive narrative. The most common of them are the elicitation narrative tasks based on a series of pictures or on a video, for example, a cartoon. However, the comparison of the studies carried out using different methods shows the results that can both coincide and significantly diverge. Among the factors that influence the basic narrative characteristics of elicited child stories are age, the type of visual stimulus, its length, and the way the narrative is produced (online vs. subsequent mode). The following basic characteristics are considered to study the structure of narratives: opening and closing markers, details and separateness of the narration, the variety of characters and the presence (absence) of evaluation. The question whether the type of visual stimulus has a significant effect on the basic characteristics of children’s narratives and whether it is possible to construct a general description of the development of narrative skills regardless of the experimental task chosen by the researchers is discussed with a comparative analysis of oral narratives collected within two series of experiments with Russian native monolingual children of the senior preschool and primary school age. The analysis showed that although it is possible to reveal some tendencies inherent in the narratives collected with different experimental methods, the type of visual stimulus does not have any statistically significant effect on the basic characteristics of the narratives of primary schoolchildren. Only the differences in evaluation and closing markers in the narratives of older preschoolers, elicited either simultaneously with watching the cartoon or during its subsequent retelling, are statistically significant. Refs 37.
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Rubio Gutiérrez, Harmida. „La ciudad de los relatos: la transformación de la ciudad y sus lugares a partir de la narrativa“. In Seminario Internacional de Investigación en Urbanismo. Barcelona: Facultad de Arquitectura. Universidad de la República, 2015. http://dx.doi.org/10.5821/siiu.6226.
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Lo que nos ocupa en esta propuesta es saber qué narran las ciudades contemporáneas y por qué, a fin de entender cómo cambian y reflexionar de qué manera podemos estudiarlas y proyectarlas en este siglo XXI. Argumentamos que es necesario profundizar en la dimensión temporal de la ciudad desde un enfoque artístico y creativo, y proponemos la narrativa como perspectiva de acercamiento a la ciudad. Entendemos la narrativa epistemológicamente, como una manera de entender el mundo y la vida, y desde ahí construimos una propuesta metodológica para leer ciudades. Ponemos a prueba nuestro proceso metodológico narrativo en tres ciudades: Xalapa, Oaxaca (México) y Las Palmas de Gran Canaria (España). Sin embargo, para efectos de esta ponencia, solamente presentaremos Las Palmas de Gran Canaria por cuestiones de espacio y trataremos de encontrar los procesos clave de su transformación. What concerns us in this proposal is what do contemporary cities narrate and why, in order to understand how they change, and because of this, think of how we can study and project them into this century. We argue that it is necessary to examine the temporal dimension of the city from an artistic and creative approach, that is why we propose narrative like a perspective to approach to the city. We understand narrative in its epistemological part, as a way of understanding the world and life; and from there, we build a proposal to read cities. We test our narrative methodological process in three cities: Xalapa, Oaxaca (Mexico) and Las Palmas de Gran Canaria (Spain). However, for purposes of this paper, we present only Las Palmas, and we try to find the principal process of its transformation.
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Cobos, Miguel, und Patricia Salvador. „From literary narrative to video game narrative“. In 8th International Conference on Human Interaction and Emerging Technologies. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002763.
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Videogames have become a technological application that goes beyond entertainment; their participation in sociocultural processes is much more interesting and profitable than we might think. They have evolved from their original mission of entertainment to other fields such as social, cultural, medical, and other categories that fall into serious games.In the beginning they were developed by programmers and companies that began to emerge to meet the demand of new players. Now we know that consumers of this type of media have many requirements that have made their production involves a multidisciplinary team, among these requirements we can highlight the need to live the story at every moment.Videogames are present in our society, playing them is only one of the shores of this great sea, on the other side, there is an emerging-producing world that directs its work to various areas of human development. In the career of Graphic Design at Indoamerica University, students generate videogames based on the contents they receive, however, there has not been a deep emphasis on the narrative during the design process of these. For this reason, it is intended to identify a model that allows relating literary, graphic and videogame narratives, to involve narrative design within the creative process. Based on classroom experiences of the last five years, the academic work and the result of the products delivered by the students, an analysis was made that determined that the story is present but is not immersed in each of the elements that can be seen from the gameplay. Based on this, bibliographic research was made about literary narrative and its relationship with the narrative design for the video game, considering the significant contributions of Clara Fernández, Adrián Suárez, Jesse Schell, Alckmar dos Santos, Scott Rogers, Oliver Pérez, among others. This work presents a model of the relationship between literary, graphic, and video game narratives aimed at building the narrative design in new video games, on the other hand, to analyze these narratives in a current video game and tune it.We intend to automate this model in a video game prototype, in which the students participate, and then make use of it in the narrative design of new projects.
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Lade, Andrew John. „ERODING NARRATIVES: APPLYING THE NARRATIVE POLICY FRAMEWORK TO A COASTAL EROSION NARRATIVE SHIFT“. In 115th Annual GSA Cordilleran Section Meeting - 2019. Geological Society of America, 2019. http://dx.doi.org/10.1130/abs/2019cd-328956.
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Celmer, Matthew. „Narrative Homes“. In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.30.
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Self-initiated in the fall of 2018, Narrative Homes is an ongoing theoretical research project exploring home design through the lens of literature. The creative exploration focuses on the relationship of narratives (storytelling) to the architecture design process. The relationship between architecture and literature is understudied and undervalued with little to no arguments on the subject over the past half century. During this time the discipline of architecture shifted towards autonomy, resulting in an absence of imagination, disciplinary blind spots and a lack of critical engagement with other artistic fields. Narrative Homes looks to reclaim and reinvigorate this territory of architectural experimentation.
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Csorba, Diana. „DEVELOPING NARRATIVE INTELLIGENCE - KEY DIMENSIONS IN TRAINERS’TRAINING PROGRAMS“. In eLSE 2012. Editura Universitara, 2012. http://dx.doi.org/10.12753/2066-026x-12-021.
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Most arguments and points that describe the quality of training programs demonstrate that narrative art plays a central role in the discourses and practices of training and change. The paper we propose supports an enthusiastic viewpoint that aims to reveal few basic guidelines of a plea for narrative art and a set of reasons supporting the importance of developing narrative intelligence through training programs for trainers. Throughout the paper we address few possible interrogations: What is a story/narration that calls for an action? What goals could be aimed by including a story/narration in a training session? What is narrative intelligence? What is known about narrative intelligence? How can it be developed/improved? Is narrative intelligence only a useful communication tool, or can it be used as an evaluation criteria for the effectiveness of all forms of communication directed to action? How to insert narration in a training session? How can you call to action using the art of narration? Is there a secret language of the trainer? How can it be cultivated? What other functions/roles can perform stories/narration used in a training session? In this paper I want to describe some of the properties of a world of “reality” constructed according to narrative principles and their force to act in educational space. In doing so, I have gone back and forth between describing narrative mental “powers” and the symbolic systems of narrative discourse that make the expression of these powers possible. It is only a beginning. My objective has been merely to lay out the ground plan of narrative realities and possible ways to develop narrative intelligence to teachers.
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Hu, Xin, und Po Hsun Wang. „Virtual Reality in Museum: Exploring the User Experience of Exhibition Narrative“. In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004530.
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The exhibition narrative of traditional museums is “artifact- centered”, while the modern virtual museum is “people- centered”. The paper first analyzes the current typical VR narrative cases, summarizes the relevant elements and basic characteristics of virtual space narrative, and finds that there are many similarities with the narrative methods in traditional movies, but the relationship between storytelling in the virtual world and the audience The interactive relationship is closer. How to attract the audience's attention to the exhibits to enhance the VR exhibition experience is particularly important in the narrative design of virtual exhibitions. As we all know, the audience's line of sight in the three-dimensional space is not restricted because the audience has the freedom to distribute the line of sight.This research first confirmed the categories of points of interest that affect attention through expert interviews, including the physical layer, behavioral layer, and application layer of the VR system. Through 57 questionnaires, the behavioral characteristics, and psychological needs of audience for VR exhibition narratives were collected, Sample analyses were also conducted for this. Taking the design of China's virtual cultural relics exhibition as an example, the author mainly uses clues of points of interest in the design space to guide the audience to focus or distract their attention. During the narrative process of the exhibits, it was discovered that the connections between the points of interest are not isolated but have Continuous. Based on the narrative theory of "story and discourse", 7 points of interest were selected to explore the feasibility of point-of-interest narratives from three aspects: type combination, spatial arrangement, and interaction method. By comparing the attention-guiding effects of two different sets of interest points in linear narratives and non-linear narratives in two testing groups, a contextual correspondence between the audience's attention selection and points of interest was established. Through evaluation tests, we found that narrative methods that use points of interest to guide the audience's attention are feasible. Non-linear narratives have more opportunities than single-line narratives, such as increasing the application of interactive methods that guide the audience's attention. The conclusions have certain implications for the narrative design of VR exhibition.
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Patel, Roma, und Deborah Tuck. „NARRATING THE PAST: VIRTUAL ENVIRONMENTS AND NARRATIVE“. In Electronic Visualisation and the Arts (EVA 2008). BCS Learning & Development, 2008. http://dx.doi.org/10.14236/ewic/eva2008.28.
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Murakami, Mariane Harumi. „Narrative agency and user experience in transmedia narratives“. In CLIHC '15: Latin American Conference on Human Computer Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2824893.2824911.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Narrative"
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Shiller, Robert. Narrative Economics. Cambridge, MA: National Bureau of Economic Research, Januar 2017. http://dx.doi.org/10.3386/w23075.
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Driscoll, Mary C. Project Narrative. Office of Scientific and Technical Information (OSTI), Juli 2012. http://dx.doi.org/10.2172/1215448.
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Wilson, Gina. Narrative Painting. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.6411.
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Bwerinofa, Iyleen Judy, Jacob Mahenehene, Makiwa Manaka, Bulisiwe Mulotshwa, Felix Murimbarimba, Moses Mutoko, Vincent Sarayi und Ian Scoones. Living Through a Pandemic: Competing Covid-19 Narratives in Rural Zimbabwe. Institute of Development Studies, August 2022. http://dx.doi.org/10.19088/ids.2022.058.
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Through a real time analysis of the Covid-19 pandemic across rural Zimbabwe, this Working Paper explores the competing narratives that framed responses and their politics. Based on 20 moments of reflection over two years, together with ongoing document and media analysis and an intensive period of qualitative interviewing, a complex, dynamic story of the pandemic ‘drama’ emerges, which contrasts with snapshot perspectives. Across the period, a science-led public health narrative intersects with a security and control narrative promoted by the state and is countered by a citizens’ narrative that emphasises autonomy, independence, and local innovation. The politics of this contestation over narratives about appropriate pandemic responses are examined over three periods – reflecting different waves of infection – and in relation to two conjunctures – an early, strict lockdown and the rollout of vaccines. Different narratives gain ascendancy and overlap at different times, but a local citizen-led narrative emerges strongly in the context of heavy-handed lockdowns, inadequate state capacity, and struggles around rural livelihoods. The pandemic has reshaped relationships between the state and citizens in important ways, with self-reliance rooted in local resilience central to local pandemic responses.
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Porter, Wayne, und Mark Mykleby. A National Strategic Narrative. Fort Belvoir, VA: Defense Technical Information Center, Januar 2011. http://dx.doi.org/10.21236/ada543772.
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Ator, Robin. Boudica : an illustrated narrative. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.5705.
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Giacomini, Raffaella, Toru Kitagawa und Matthew Read. Narrative Restrictions and Proxies. Federal Reserve Bank of Chicago, 2022. http://dx.doi.org/10.21033/wp-2022-10.
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Adams, Elizabeth, und Sandra Oza. Narrative CVs: the background. University of Dundee, Dezember 2023. http://dx.doi.org/10.20933/100001296.
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Adams, Elizabeth. Writing a Narrative CV. Herausgegeben von Sandra Oza. University of Dundee, Dezember 2023. http://dx.doi.org/10.20933/100001295.
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This workbook guides you through reflective questions to help you with a narrative CV. What you write here will probably be much longer than the word or space limit that you will ultimately have in a grant or Fellowship application. It’s important that you read the call guidance each time. Think of this as your ‘master’ narrative CV document. When it comes to writing the one for the actual application, you will be pulling out the key bits of information which support you to demonstrate that you are the right person (or part of the right team), with a unique set of experiences, to be able to deliver the grant you are applying to. The examples here are written from an ECR or PGR perspective but every answer will be unique.
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Imbrie, Andrew, Rebecca Gelles, James Dunham und Catherine Aiken. Contending Frames: Evaluating Rhetorical Dynamics in AI. Center for Security and Emerging Technology, Mai 2021. http://dx.doi.org/10.51593/20210010.
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The narrative of an artificial intelligence “arms race” among the great powers has become shorthand to describe evolving dynamics in the field. Narratives about AI matter because they reflect and shape public perceptions of the technology. In this issue brief, the second in a series examining rhetorical frames in AI, the authors compare four narrative frames that are prominent in public discourse: AI Competition, Killer Robots, Economic Gold Rush and World Without Work.