Thematische Bibliographien / Narrative art

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Auswahl der wissenschaftlichen Literatur zum Thema „Narrative art“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Narrative art"

FITZPATRICK, Paul. „Narrative Art and Narrative Criticism“. Louvain Studies 33, Nr. 3 (31.12.2008): 255–72. http://dx.doi.org/10.2143/ls.33.3.2045800.

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Skalin, Lars-Åke. „The art of narrative – narrative as art: Sameness or difference?“ Frontiers of Narrative Studies 5, Nr. 1 (02.07.2019): 35–56. http://dx.doi.org/10.1515/fns-2019-0004.

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AbstractThis paper is a critique of narratology’s generality thesis and especially focused on a corollary of that thesis, the “sameness premise”. It says that all objects designated by the noun “narrative”, whether actual, possible, or fictional, are defined by some basic intrinsic properties. This goes for ordinary informative telling of events as well as for literary art, such as novels and short stories. The latter assumption is rejected by me and theorists taking up a “difference premise” instead. Literary art should not be included within a general category of narrative. It would be more correct to regard it as sui generis, since it manifests a system quite different from and incompatible with narrative as this system is defined by standard narratology. For example, ordinary narrative accounts display logically a two-place relation between the denoting signs and the denoted contents (events); while the artistic representations produced by literary art and other art-forms do not denote anything outside themselves– the relation between signs and content is one-place. I discuss this theoretic problem from two sources: modern narratology in conflict with artistic/aesthetic theory and the mimesis-debate in Greek antiquity between Plato and Aristotle, where Plato is advocating a sameness and Aristotle a difference premise.

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Shaheen, Osamah Hussein. „Prospects of Narrative Rhetoric“. International Journal of Early Childhood Special Education 14, Nr. 1 (17.03.2022): 857–63. http://dx.doi.org/10.9756/int-jecse/v14i1.221100.

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This study elucidates the relationship of the new rhetoric with the narrative achievement, which involves a rhetorical act that is different from its poetic counterpart, because it contains new types of text formulation that refer to the unspoken in the fabric of the narration, where its content proves its formation in a new process outside the ordinary, and this new compositional awareness can convince and enjoy in Now the same, and on this basis, the study came to transcend the constant and accomplish the shift between rhetorical art and narration art, to analyze the creative discourse, and reveal its aesthetic values.

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Saidi, Acep Iwan. „Narrative Patterns in Indonesian Fine Art“. Britain International of Linguistics Arts and Education (BIoLAE) Journal 3, Nr. 1 (26.03.2021): 77–87. http://dx.doi.org/10.33258/biolae.v3i1.411.

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This paper aims to describe the structure and pattern of narratives in art, which in this case Indonesian fine art is used as a case study. This topic is important considering that the assumption that works of fine art have narrative characteristics has become common knowledge, but the structure and narrative patterns within the genre of work of fine art that can be used as a reference have not yet been formulated. By using a structural semiotic approach, studies in this paper have found that narrative patterns in fine art are a combination of denotative visual sign units presented as works on the syntagmatic axis of language (visual) interrelated to form associations or groups of narrative connotations on the paradigmatic axis (community knowledge system). This proposition, as well as several other formulations found in the analysis, has a significant contribution to the development of fine art, both theoretically and practically, both in Indonesia and the world.

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Duan, Lian. „Narrative identity of the possible author: a tertiary narrativization of Chinese realist art of the 1950s–1990s“. Chinese Semiotic Studies 18, Nr. 4 (01.11.2022): 515–62. http://dx.doi.org/10.1515/css-2022-2079.

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Abstract From a narratological perspective, this essay reinterprets the development of Chinese realist art under Western influence in the second half of the twentieth century and explores the narrative issue of the possible author that is transformed from the integral reader. As a crucial response to Western influence, realist art in China developed from imitating to appropriating Western art and continued from taking inspiration from Western art to participating in the international arena of conceptual art with certain renovations. In this essay, the narratological notion of “possible author” is proposed to discuss the issue of narrative identity. While some scholars declared the death of the reader, this essay introduces a new reader to art historical narrative. This is a tertiary reader that transforms into a possible author who re-narrates the story of art history in the possible space between the secondary narration and tertiary narrativization. In this space, the three layers of the first-hand fabula, secondary narration, and tertiary narrativization work together in defining the possible author’s narrative identity as re-interpretive and critical.

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Carroll, Noël. „Art, Practice, and Narrative“. Monist 71, Nr. 2 (1988): 140–56. http://dx.doi.org/10.5840/monist198871212.

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Oatley, Keith, und Maja Djikic. „Psychology of Narrative Art“. Review of General Psychology 22, Nr. 2 (Juni 2018): 161–68. http://dx.doi.org/10.1037/gpr0000113.

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Artistic narrative has been recognized in fictional genres such as poetry, plays, novels, short stories, and films. It occurs also in nonfictional genres such as essays and biographies. We review evidence on the empirical exploration of effects of narrative, principally fiction, on how it enables people to become more empathetic, on how foregrounded phrases encourage readers to recognize the significance of events as if for the first time in ways that tend to elicit emotion, and on how literary works can help people to change their own personalities. We then suggest 3 principles that characterize narrative art in psychological terms: a focus on emotion and empathy, a focus on character, and a basis of indirect communication.

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Grainger, Teresa. „Art, Narrative and Childhood“. Literacy (formerly Reading) 38, Nr. 1 (April 2004): 66–67. http://dx.doi.org/10.1111/j.0034-0472.2004.03801011_2.x.

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McGregor, Rafe. „Introduction: Aesthetic Education through Narrative Art“. Journal of Aesthetic Education 57, Nr. 3 (01.10.2023): 1–11. http://dx.doi.org/10.5406/15437809.57.3.01.

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Abstract The purpose of this introduction is to set out the scope and content of this special issue of the Journal of Aesthetic Education, which takes Aesthetic Education through Narrative Art as its subject. I begin by delineating the “aesthetic” itself and then identifying the denotation of “aesthetic education” with which the issue's authors are concerned. This is followed by a characterization of “narrative art” that belies my preference for representation rather than art and draws attention to the multiple modes of representation that constitute complex narratives. I next turn to the title of the special issue, an abridged version of Aesthetic Education through Narrative Art and its Relevance for the Humanities, which is an installation research project funded by the Croatian Science Foundation to investigate the relationship between aesthetic and artistic values on the one hand and ethical, political, and social values on the other. The project is multidisciplinary among philosophy, criminology, film studies, and cognitive science, and three of the authors are members of the project team. I conclude by introducing each of the six articles, which employ two approaches, one from philosophical aesthetics and the other from critical criminology.

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Esquivel, Patricia. „Art Narratives and Globalization“. Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, Nr. 2 (2011): 135–44. http://dx.doi.org/10.28937/1000106178.

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Arthur Danto proklamierte das »Ende der Kunst«, d. h. das Ende der auf ein Narrativ und auf eine unidirektionale Grundlage basierenden Kunstgeschichte. In der zeitgenössischen Kunstwelt und besonders in der Historiographie hingegen findet man durchaus ein Telos. Dieses Telos ist die Globalisierung. Es gibt heute ein sich ausbreitendes unidirektionales Narrativ, dessen Regel als »Netzwerklegitimation« erklärt werden kann. Ein Netzwerk, dessen Ausmaß (mehr Regionen der Welt), Sättigung (mehr Objekte) und Historizität (umfassendere Entwicklungsketten) zunehmen. Das Netzwerk hat auch einen Mittelpunkt, den Westen, wenn auch nicht für immer.<br><br>Arthur Danto proclaimed the »end of art«, that is, the end of the history of art structured on a narrative and unidirectional basis. But in contrast to Danto’s ideas, we detect a telos in the contemporary art world, especially in historiography. This telos is globalisation. At present, we have a clearly expansive unidirectional narrative in which the norm can be summed up as »network legitimation.« A network that is growing in extent (more regions of the world), saturation (more objects) and historicity ( further-ranging chains of development). The network also has a centre, the West, although it may not last forever.

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Dissertationen zum Thema "Narrative art"

Clatworthy, Janine. „The art of magical narrative“. Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/10196.

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Bibliography: leaf 61.
What is a magical narrative? How can the inconsistencies and strange repetitions in the plots of Malory's Arthurian cycle be explained? What are their purposes and why are they essential to the plot? In this dissertation, I have attempted to answer these questions by applying Anne Wilson's theory of magical narrative (The magical quest) to a selection of tales from the beginning of Malory's Arthurian cycle (The tale of King Arthur) and from the latter half (The book of Sir Launcelot and Queen Quinevere).

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Bovair, Simone. „Handling virtue : Chaucer's narrative art“. Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702157.

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In the Middle Ages, the virtues were usually considered in terms of categories, branches, parts, manners and degrees. They were sorted and defined in an attempt to understand their meaning and their relationship to one another. This taxonomic approach to morality, found in many philosophical and exegetical texts, has been used as a framework through which to study Chaucerian virtue. However, as I hope to demonstrate in this thesis, Chaucer approaches virtue differently. Rather than present the virtues in abstraction as conceptual ideals, he contextualizes them through narrative. Throughout his work, he challenges the possibility of abstract definitions of virtue by showing that virtues must be considered in the human contexts that form, challenge and prove them. Building on work done on individual virtues and tales, this dissertation examines in detail how Chaucer handles virtue across a range of his work. Texts to be examined include the House of Fame, the Pardoner's Tale, the Knight's Tale and the Summoner's Tale (chapter one); the Physician's Tale, the Man of Law's Tale, and the Clerk's Tale (chapter two); the Wife of Bath's Tale, the Franklin's Tale, the Squire's Tale and the Tale of Sir Thopas (chapter three); Troilus and Criseyde (chapter four); and the Parson's Tale and the Retractions. Rather than imposing any potentially limiting taxonomic framework, it prioritizes the close study of his poetry. It also takes into account the changes Chaucer made to his sources, the traditions of virtue he had at his disposal, and the wide range of discussions he drew upon for his own examination of virtue. In its approach and its findings, this thesis fits within a critical tradition that shows that ethics cannot be abstracted from human experience and that the study of literature is a way of examining the richness of that experience.

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Silveira, Paulo Antonio de Menezes Pereira da. „As existências da narrativa no livro de artista“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/12111.

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Este estudo visa verificar o intervalo formativo entre o comparecimento e a ausência das estratégias de narração nos livros de artista de edição e se e como a narrativa visual é capaz de determinar sua bibliogênese.
This research, As existências da narrativa no livro de artista (“The existences of narrative in the artist’s book”), aims to verify the formative spectrum from attendance to nonappearance of narration strategies into the published artist’s books and if and how the visual narrative is able to determine its bibliogony.

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Gelamo, Renata Pelloso 1980. „Narrar a voz : trajetórias de uma voz-experiência em busca da voz própria /“. São Paulo, 2018. http://hdl.handle.net/11449/157185.

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Orientador(a): Luiza Helena da Silva Christov
Banca: Margarete Arroyo
Banca: Ecleide Cunico Furlanetto
Banca: Joana Mariz de Sousa
Banca: Anderson Zanetti
Resumo: Neste trabalho, apresento questões, reflexões e aprendizados a partir de narrativas, minhas e de outras pessoas, com as quais me encontrei durante as trajetórias em busca de uma voz própria e que me levaram à criação do Ateliê de Voz, um projeto constituído nas fronteiras de diferentes áreas do conhecimento que tem a voz como interesse. A estrutura textual que propus para este trabalho mostra a criação e a sustentação de um espaço onde pude nomear, em primeira pessoa, os processos que vivi durante a minha história com a voz. Narro momentos de empobrecimento da experiência, passando pelo silenciamento da minha voz, submetida ao que os outros tinham a dizer ou ao que as áreas consagradas da ciência tinham a dizer à respeito da voz, assim como a experiência de tombamento vivida no contato com as vozes dos cantos de trabalho das Destaladeiras de Fumo de Arapiraca, em que coloco em suspensão todas as verdades sobre a voz até então conhecidas por mim. Por fim, narro como acontece o Ateliê de Voz, um espaço em aberto para a invenção de uma voz-experiência, uma voz que escuta e pode ser escutada, pode narrar a própria história, habita o próprio corpo e se expõe, cuida de si e se percebe. Por esse caminho da voz-experiência chegamos à voz própria: uma voz pode enunciar a si próprio e inventar a si próprio
Abstract: In this thesis, I present questions, reflections, and learnings from narratives, either mine and form other people which whom I met during the trajectories in the search for the self-voice and that led me to the creation of the "Voice Atelier", a project built in the borderline of different fields of knowledge which hold the voice as its interest. The textual structure I propose for this thesis shows the creation and sustaining of a space where I could name, in first person, the processes I lived during my own history with the voice. I narrate moments of impoverishment of the experience, passing through the silencing of my own voice, submitted to what others had to say, or about what the renowned scientific fields had to say about the voice, as well as the experience of collapse lived through the contact wit the voices of the working songs of the Destaladeiras de Fumo (Workers who manually struke tobacco leafs) from Arapiraca, when I suspended all the truths I knew by then about the voice. At last, I narrate how the "Voice Atelier" happens, an opens space for invention of a voice-experience, a voice that can listen and be listened, can narrate its own history, inhabits its own body and, exposes, looks after and is aware of itself. Through this pathway of the voice-experience we reach the self-voice: A voice capable of self-enunciating and self-inventing
Doutor

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Mathewson, Steven D. „The art of preaching Old Testament narrative literature“. Theological Research Exchange Network (TREN) Access this title online, 2000. http://www.tren.com/search.cfm?p068-0218.

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黎艷娥 und Yim-ngor Janet Lai. „The narrative art in Mao Dun's short stories“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31224568.

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Schmidt, Carola (Carola Birgit) 1965 Carleton University Dissertation English. „Dreamfiction as narrative art in Robert Zend's Daymares“. Ottawa.:, 1993.

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West, Angela Ames. „The Narrative Inquiry Museum:An Exploration of the Relationship between Narrative and Art Museum Education“. BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3331.

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For art to become personally meaningful to visitors, museums need to view art interpretation as a narrative inquiry process. General museum visitors without art expertise naturally make meaning of art by constructing stories around a work to relate to it. Narrative inquiry, a story based exploration of experience, fits into contemporary museum education theory because it is a constructive and participatory meaning making process. This thesis examines how art museums can build upon visitors' natural interpretive behaviors, by employing art-based narrative inquiry practices and using the work of art as a narrative story text. Individuals learn when their personal narrative comes into conflict with the narrative of the museum and they negotiate new meaning. This kind of narrative learning is a process of inquiry that visitors must engage in themselves. The art museum interpretive experience can foster in visitors the ability to engage in an art-based narrative inquiry process by suspending disbelief,recalling personal memories, comparing different narrative versions, imagining possible meanings, and re-storying experiences into new understandings. This research text explores these topics through a narrative based method of inquiry comprised of a series of autobiographical stories describing the researcher's experiences in coming to understand the relationship between narrative inquiry and art museum education.

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Phillips, Debra Joan. „A narrative of the imagined future : How art-making displaced a narrative of suicidality“. Phd thesis, Australian Catholic University, 2020. https://acuresearchbank.acu.edu.au/download/9578480e9b5cd3bdd1fc21c262c06ac9b498857a509968c3d811fbfe01f3ec60/32731502/Phillips_2020_A_narrative_of_the_imagined_future.pdf.

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This interdisciplinary and autoethnographic PhD by creative project examines the experience of halted suicide on the part of the researcher, an “invisible woman” raised to set aside her wants to satisfy others’ needs. The inquiry examines the researcher’s engagement with artmaking in order to manage her ongoing suicidality and analyses some of her resulting artworks, which might be described as examples of “Outsider art”. Drawing on perspectives from philosophy, theology, psychology, art therapy and the interdisciplinary field of narrative studies, the project identifies three key factors pertinent to the researcher’s experience of halted suicide and subsequently managing suicidality. The first is the role of spirituality and the experience of epiphany or “prophetic call”. The second is a “narrative of the imagined future”. This refers to the need for people experiencing suicidality to make use of the imaginative resources generated by their depression to create a new story about their future self and life. The third factor is “radical courage”, a term adapted from the philosopher Jonathan Lear’s notion of “radical hope”. This refers to a steadfast, resolute determination to choose life over death, and to move towards the realisation of an alternative future in concrete, moment-by-moment ways. Art-making services a number of roles in this doctoral project. In the first place, the researcher uses a series of artworks as autoethnographic sources. These chiefly take the form of watercolours and collages, most produced in visual diaries with the aim of recording states of mind and being over time. Those works produced before the doctoral project began have been subjected to close analysis in order to provide details of the researcher’s subjective experience, and thus evidence of her autoethnographic findings. The researcher has also produced a body of work during this project as a form of autoethnographic inquiry in its own right. In this case, she has consciously explored concepts in visual form and subjected the resulting images to techniques of visual analysis with the aim of deepening her autoethnographic insights. In addition, to this art-making, the researcher has produced a body of paintings exhibited to the public. The purpose here has been to communicate her findings in visual form, supplementing and providing an alternative to the discussion in this thesis. The exhibited paintings also provide a reflexive demonstration of the process of imagining a new, future-oriented self-narrative and then exercising the courage required to bring it into life whilst also explaining how the three key factors mentioned above are layered together in the works. The value of this doctoral project lies firstly in demonstrating the value of first-person and autoethnographic accounts for understanding suicidality, particularly those from “invisible women” whose perspectives remain under-represented in sociological and psychological literature. The project draws attention to another under-researched topic: the relationship between spirituality and the ability to halt a suicide. The project emphasises the power of imagining a new future-oriented self-narrative, and the courageous process involved in bringing that imagined narrative into being through small, incremental actions in the present. Art-making practices are also explored, particularly those by people with no formal art training who produce “Outsider art”. Finally, in using artwork and techniques of visual analysis in multiple ways, the project has value for those interested in the multi-faceted and unconventional methods associated with art-based ethnographic inquiry.

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Harris, Phil. „Stories /“. Online version of thesis, 1989. http://hdl.handle.net/1850/11302.

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Bücher zum Thema "Narrative art"

Binch, Norman. Narrative art. Oxford: Oxford University Press, 1994.

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Saint-Etienne, Musée d'art moderne, Hrsg. Osvaldo Romberg: Architectures narratives = narrative architectures. Paris: Panama, 2005.

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Lisboa, Bedeteca de, Hrsg. A pintura narrativa etíope: Narrative art in Ethiopia. Lisboa: Câmara Municipal, 2000.

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Duncan, Isla. Alice Munro's Narrative Art. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9781137000682.

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Fokkelman, J. P. Narrative art in Genesis. 2. Aufl. Sheffield: JSOT, 1991.

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Morag, Styles, und Bearne Eve 1943-, Hrsg. Art, narrative and childhood. Stoke on Trent, U.K: Trentham, 2003.

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Bamberg, Michael G. W., 1947-, Hrsg. Narrative, state of the art. Amsterdam: J. Benjamins Pub. Co., 2007.

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Bamberg, Michael, Hrsg. Narrative – State of the Art. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/bct.6.

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Moschini, Lisa B. Art, Play, and Narrative Therapy. New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351170925.

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1940-, Bindman David, Hrsg. Essays on British narrative art. San Marino, Calif: Henry E. Huntington Library and Art Gallery, 1986.

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Buchteile zum Thema "Narrative art"

Kemp, Wolfgang. „Narrative“. In Critical Terms for Art History, übersetzt von David Britt, 62–74. Berkley, California: University of California Press, 2010. http://dx.doi.org/10.2307/book5.10.

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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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Collins, Paul. „Narrative“. In A Companion to Ancient Near Eastern Art, 261–82. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118336779.ch11.

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Aschenbrenner, Karl. „Coherence in Narrative Art“. In The Concept of Coherence in Art, 112–27. Dordrecht: Springer Netherlands, 1985. http://dx.doi.org/10.1007/978-94-009-5327-7_16.

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Phelan, James. „Narrative as Rhetoric and the Art of Medicine“. In Narrative Medicine, 1–20. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003018865-1.

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Stelter, Reinhard. „The narrative perspective“. In The Art of Dialogue in Coaching, 71–78. New York, NY : Routledge, 2019. | Series: Coaching psychology |: Routledge, 2018. http://dx.doi.org/10.4324/9781351006545-8.

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Marini, Maria Giulia. „Bridging from Mythology to Contemporary Care: The Art of Listening“. In Narrative Medicine, 11–17. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-22090-1_2.

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Marini, Maria Giulia. „Bridging from Oral Tradition to Writing: The Art of Empathy“. In Narrative Medicine, 19–26. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-22090-1_3.

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González-Ayala, Sofía Natalia. „Narrative Inquiry“. In An Introductory Guide to Qualitative Research in Art Museums, 125–40. London: Routledge, 2024. http://dx.doi.org/10.4324/9780429262326-18.

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Waddock, Sandra. „Transformation Catalysts, Narrative, and Art“. In Routledge Handbook for Creative Futures, 229–38. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003020714-30.

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Konferenzberichte zum Thema "Narrative art"

McNamara, Ann, Thomas Booth und Srinivas Sridharan. „Directing gaze in narrative art“. In the ACM Symposium. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2338676.2338689.

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„Narrative Evolvement From Panoramic Art to Interactive Art“. In 2017 International Conference on Humanities, Arts and Language. Francis Academic Press, 2018. http://dx.doi.org/10.25236/humal.2017.88.

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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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Akimenko, Daria. „Narrative Identities in Participatory Art and Design Cases“. In Nordes 2017: Design and Power. Nordes, 2017. http://dx.doi.org/10.21606/nordes.2017.022.

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Paramonov, I. F. „Narrative structures in the text of the Apocalypse“. In Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-07-2020-05.

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Liu, Yu-Ling, und Tzu-Yang Hsien. „Art Therapy, Narrative Inquiry and E-Learning： Aesthetic Approach“. In Annual International Conference on Education & e-Learning. Global Science & Technology Forum (GSTF), 2011. http://dx.doi.org/10.5176/2251-1814_eel47.

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Di Mascio, Danilo, und Tom W. Maver. „Investigating a narrative architecture - Mackintosh's Glasgow School of Art“. In eCAADe 2014: Fusion. eCAADe, 2014. http://dx.doi.org/10.52842/conf.ecaade.2014.1.653.

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Wardrip-Fruin, Noah, Jorn Meyer, Ken Perlin, Ben Bederson und Jim Hollan. „A zooming sketchpad, a multiscale narrative“. In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259227.

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Jiao, Min. „Narrative Approach to Henry V (Branagh, 1989)“. In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.97.

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Urbaneja, Maribel Hidalgo. „Narrative Interfaces: Temporality and spatiality in art museums’ online resources“. In Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.5.

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Berichte der Organisationen zum Thema "Narrative art"

Enríquez-Enríquez, Diego, Carlos Mecina-Zapata, Hernán Riveros-Cárcamo, Daniel Jerez-Mayorga und Francisco Guede-Rojas. Warm-up strategies and performance in competitive swimmers. A systematized narrative review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, September 2021. http://dx.doi.org/10.37766/inplasy2021.9.0038.

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Review question / Objective: In competitive swimmers, are warm-up strategies effective in improving time trial performance? The aim of this systematized narrative review is to analyze the state of the art regarding the effectiveness of warm-up strategies on time trial performance in competitive swimmers. Condition being studied: Effects of active, passive or mixed warm-up strategies on performance in time trials equal to or less than 200 meters applied in healthy competitive swimmers over 15 years of age. Information sources: An electronic search of the MEDLINE database was performed through PubMed.

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Fernández, Iván Escobar. COMTOG Report: ‘My Memory of Us’ — Boosting Historical Memory Through Implicit Visual Metaphors. European Center for Populism Studies (ECPS), April 2023. http://dx.doi.org/10.55271/rp0037.

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My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city that has been divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, and stealth elements, as well as a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game that tells a story of friendship, love, and survival during a war.

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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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Yatsymirska, Mariya. MODERN MEDIA TEXT: POLITICAL NARRATIVES, MEANINGS AND SENSES, EMOTIONAL MARKERS. Ivan Franko National University of Lviv, Februar 2022. http://dx.doi.org/10.30970/vjo.2022.51.11411.

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The article examines modern media texts in the field of political journalism; the role of information narratives and emotional markers in media doctrine is clarified; verbal expression of rational meanings in the articles of famous Ukrainian analysts is shown. Popular theories of emotions in the process of cognition are considered, their relationship with the author’s personality, reader psychology and gonzo journalism is shown. Since the media text, in contrast to the text, is a product of social communication, the main narrative is information with the intention of influencing public opinion. Media text implies the presence of the author as a creator of meanings. In addition, media texts have universal features: word, sound, visuality (stills, photos, videos). They are traditionally divided into radio, TV, newspaper and Internet texts. The concepts of multimedia and hypertext are related to online texts. Web combinations, especially in political journalism, have intensified the interactive branching of nonlinear texts that cannot be published in traditional media. The Internet as a medium has created the conditions for the exchange of ideas in the most emotional way. Hence Gonzo’s interest in journalism, which expresses impressions of certain events in words and epithets, regardless of their stylistic affiliation. There are many such examples on social media in connection with the events surrounding the Wagnerians, the Poroshenko case, Russia’s new aggression against Ukraine, and others. Thus, the study of new features of media text in the context of modern political narratives and emotional markers is important in media research. The article focuses review of etymology, origin and features of using lexemes “cмисл (meaning)” and “сенс (sense)” in linguistic practice of Ukrainians results in the development of meanings and functional stylistic coloring in the usage of these units. Lexemes “cмисл (meaning)” and “сенс (sense)” are used as synonyms, but there are specific fields of meanings where they cannot be interchanged: lexeme “сенс (sense)” should be used when it comes to reasonable grounds for something, lexeme “cмисл (meaning)” should be used when it comes to notion, concept, understanding. Modern political texts are most prominent in genres such as interviews with politicians, political commentaries, analytical articles by media experts and journalists, political reviews, political portraits, political talk shows, and conversations about recent events, accompanied by effective emotional narratives. Etymologically, the concept of “narrative” is associated with the Latin adjective “gnarus” – expert. Speakers, philosophers, and literary critics considered narrative an “example of the human mind.” In modern media texts it is not only “story”, “explanation”, “message techniques”, “chronological reproduction of events”, but first of all the semantic load and what subjective meanings the author voices; it is a process of logical presentation of arguments (narration). The highly professional narrator uses narration as a “method of organizing discourse” around facts and impressions, impresses with his political erudition, extraordinary intelligence and creativity. Some of the above theses are reflected in the following illustrations from the Ukrainian media: “Culture outside politics” – a pro-Russian narrative…” (MP Gabibullayeva); “The next will be Russia – in the post-Soviet space is the Arab Spring…” (journalist Vitaly Portnikov); “In Russia, only the collapse of Ukraine will be perceived as success” (Pavel Klimkin); “Our army is fighting, hiding from the leadership” (Yuri Butusov).

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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.

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Viytovych, Tetyana. FROM DATA TO NARRATIVES: THE ART OF STORYTELLING IN ECONOMIC JOURNALISM. Ivan Franko National University of Lviv, März 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12160.

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The study analyzes the effectiveness of data storytelling for the comprehensibility of economic publications. It considers it as a method of presenting information that facilitates better perception and understanding of economic processes. Data storytelling has proven to be one of the key methods in presenting economic data, transforming complex numerical sets into meaningful narratives. The application of this method allows readers to more easily assimilate information more efficiently, enhancing financial literacy. Keywords: media, data storytelling, narratives, economic journalism, infographics.

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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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Giacomini, Raffaella, Toru Kitagawa und Matthew Read. Identification and Inference under Narrative Restrictions. Reserve Bank of Australia, Oktober 2023. http://dx.doi.org/10.47688/rdp2023-07.

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We consider structural vector autoregressions subject to narrative restrictions, which are inequalities involving structural shocks in specific time periods (e.g. shock signs in given quarters). Narrative restrictions are used widely in the empirical literature. However, under these restrictions, there are no formal results on identification or the properties of frequentist approaches to inference, and existing Bayesian methods can be sensitive to prior choice. We provide formal results on identification, propose a computationally tractable robust Bayesian method that eliminates prior sensitivity, and show that it is asymptotically valid from a frequentist perspective. Using our method, we find that inferences about the output effects of US monetary policy obtained under restrictions related to the Volker episode are sensitive to prior choice. Under a richer set of restrictions, there is robust evidence that output falls following a positive monetary policy shock.

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Rosinska, Olena. Образи батьків у молодіжних серіалах: наратив протистояння. Ivan Franko National University of Lviv, März 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11748.

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The subject of the research in the publication is the method of parents-children conflicts construction and the typology of parents’ images in teen serials of Ukraine and Poland. For analysis such series as “School” (Ukraine, 2017), “First sparrows” (Ukraine (2020), “Sex, Insta and ZNO” (Ukraine, 2021), “Sexify” (Poland, 2021) have been chosen; that allows drawing parallels between these media products made at different time, specify the methods of reflecting the conflicts between parents and children, peculiarities in constructing the parents’ images in each of the series, typology of the images due to psychological problems actualized in the series. The purpose of the research is to specify media narratives in representing the parents-children conflict and images formation based on the material of teen series. The purpose of the research can be reached due to the application of content analysis as a system research technique for objective description of the available content of communication in media material; such methods of analysis as comparison, synthesis, narrative analysis. Due to the use of the above methods, the following results have been reached: summarized the typology of conflicts in the series specified outlining those storylines and characters related to these conflicts, in particular, the conflict of opinions, values and behavior; determined and systemized typological images of parents in the series being researched – aggressive parents, parents imposing their own vision of the future on a child, making them implement parents’ own dreams and comply with the stereotypes topical for them; asocial parents, parents who cannot cope with their own lives, etc.: write the narrative strategies of formation of these kinds of images. Thus, the research outlines particular media psychological problems related to the narratives in teen series made in Ukraine and Poland. The perspective of the research is the engagement of larger volume of media materials of the thematic group, determination of new problematic areas to deepen media psychological context. Key words: teen series, narrative, typology of images, conflict.

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Ertanowska, Delfina. Меми як спосіб комунікації в умовах війни. Ivan Franko National University of Lviv, März 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11738.

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The article analyzes memes as a form of visual communication in war conditions, on the example of memes with Oleksii Arestovych and Valerii Zaluzhnyi, during the Russian armed aggression against Ukraine. Two forms of this method of communication have been described: direct communication and the method of narration. In the case of direct communication, memes are a communication tool of the hero of these memes, in the second, the way of narrating events. Key words: memes, war, Ukraine, visual communication, social media, Arestovych, Zaluzhnyi.

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