Academic literature on the topic 'Genesis map of narrative projects'

An increasing number of museum exhibits incorporate multi-modal technologies and interactions; yet these media divert visitors’ attention away from the cultural heritage artifacts on display. This paper proposes an overarching conceptual structure for designing tangible and embodied narrative interaction with cultural heritage artifacts within a museum exhibit so that visitors can interact with them to comprehend their cultural context. The Tangible and Embodied Narrative Framework (TENF) consists of three spectra (diegetic vs. non-diegetic, internal vs. external, and ontological vs. exploratory) and, considering how different interactions map along these three spectra, can guide designers in the way they integrate digital media, narrative, and embodiment. In this paper, we examine interactive narrative scholarship, existing frameworks for tangible and embodied interactions, and tangible and embodied narrative projects. We then describe the design of the TENF and its application to the pilot project, Mapping Place, and to the case study project, Multi-Sensory Prayer Nuts. The findings indicate that embodied engagement with artifacts through a narrative role can help visitors (1) contextualize the meaning of artifacts and (2) make personalized connections to the artifacts. Based on this work, we suggest design recommendations for tailoring the use of the TENF in the cultural heritage domain: simulate cultural practices, associate visitors with cultural perspectives, and provide simultaneous digital feedback. We conclude by describing future directions for the research, which include generating other possible projects using the TENF; collaborating with other designers and museum professionals; and exploring applications of the TENF in museum spaces.

AbstractThis article evaluates the benefits of a ‘turn to narration’ in international legal scholarship. It argues that significant attention should be paid to the narrators who employ international law as a vocabulary to further their professional projects. Theories of unreliable narration help map consensus within international law's interpretive community in a manner that is acutely sensitive to point of view and perspective. The article examines the existence and extent of unreliable narration through a case study: the practice of targeted killing by the Obama administration in the United States. The struggle for control of the narrative, by narrators with different professional roles and cognitive frames, is ultimately a struggle for interpretive power, with the resulting ability to ‘kill or capture’ divergent narrative visions. Unreliable narration offers a critical heuristic for assessing how narratives are generated, sustained, and called into question in international law, while fostering reflexive inquiry about international law as a professional discipline.

Summary This article attempts to revise the categories of hypertexuality, multimodality and transmediality in the context of the idea of multi-layered narration in Jacek Dukaj’s essay Bibliomachia and his novel The Old Axolot: Hardware Dreams (e-book, 2015). The principal aim of this analysis is to map the broad spectrum of narrative techniques and experiments that augment and upgrade the traditional concept of the represented world to that of the cognitive narrative world. The latter term holds out a promise of getting a better grip on certain innovative narrative projects whose harbinger is The Old Axolot. The world-building strategy of this novel is twofold: it shapes its narrative world and the marketing campaign of its bilingual e-book edition. At the same time, the introduction of the Fictionary word game and an evolving concept of worldness makes The Old Axolot both an epitome of worldcentred narration, characteristic of both the culture of media convergence and the poetics of fantasy fiction, and a teaser, inviting us to re-examine our understanding of literature at the time of the World-building Turn.

In this interview, Sara Lawrence-Lightfoot describes the genesis of the portraiture methodology and how it has developed over the past three decades. Portraiture seeks to blend art and science, bridging empiricism and aestheticism. It draws from a wide variety of phenomenological and narrative traditions. One of the ways in which it is distinct from other research methodologies is in its focus on "goodness"; documenting what is strong, resilient, and worthy in a given situation, resisting the more typical social science preoccupation with weakness and pathology. Dr Lawrence-Lightfoot also explains the work she does with her students at Harvard and gives examples of their research projects. She nishes by giving words of advice to those researchers interested in using the portraiture methodology.

Of Philip Glass's twelve symphonies - perhaps the most popular minimalist composer after John Cage – it is the choral Fifth, entitled "Requiem, Bardo, Nirmanakaya", composed in the years of full maturity (the first performance took place in 1994), that mostly impresses through its grand design, display of instruments and human voices, soloists and four choral ensembles may be considered a version of the theocratic scenario that projects the history of mankind in the order of the divine, characteristic of the premodern age. Glass's originality consists in the overlapping of several mythical structures - Swedish, biblical, Buddhist, Islamic, Sufi, etc. - in accordance with the holistic epistemology of the contemporary era. Despite the Buddhist references in the title, the narrative is modelled on the biblical archetype, from the genesis of the universe to the Last Judgment and it ends with the vision of a future humanity bonded in brotherhood, peace and compassion

The Uttara Kannada district of Karnataka well known as the “Pepper Queen” during colonial times gradually declined in stature and came to be known as a backward, forest district in need of “development.” These concerns framed the post-independence debates on the development of the district in terms of forestry programs and hydroelectric power projects, to help in the growth story of India. In the post-liberalization period, we have observed increasing market- and state-led drives of “resource development and conservation.” In recent years, international recognitions have come to the region’s sustainable agricultural practices and to its rich biodiversity, and it is declared a Heritage site. The dominant agricultural community of the region, the Havyaks, known for their environmentally sustainable spice garden farming, are credited with spearheading environmental movements against the material practices of the state. This article attempts to understand the complex social ecology of the region and the multiple ways in which it is portrayed and the way people talk about it. It attempts to juxtapose the environmental narrative along with the development narrative of the district and to understand and map the complex ground realities that exist interlinking the local with the global.

Video game developers go to great lengths to build worlds that are detailed, immersive, and believable. In addition to non-diegetic score to support the player's journey, in-world music is sometimes created for the radios, performance spaces, and streets that the player will encounter. This essay attempts to explore the collaborative decision-making process that shaped songs for two recent games, Dishonored 2 and Wolfenstein: The New Order. As the lead composer on both projects, I provide a firsthand account of how the songs were conceived, how they were deployed within and beyond the game, and the unexpected cultural relevance they had beyond their function within the gameworld. In contrasting these projects, I reveal how songs can map musical attributes to narrative aspects of a game's world, often on multiple levels simultaneously. Some connections are primary motivations while others happen as part of the creative problem-solving that is inevitably part of the songwriting process. Finally, in reflecting on my experience as a practitioner, I use auto-ethnography to explore how I experienced a delightful blurriness of identity while “playing” a songwriter in an imagined world.

Westerns evince utopian underpinnings when they highlight the necessity to reform corrupted social establishments and put forth solutions that are far from being realistic options. The genre usually depicts amicrocosmic environment in which individual human vices, attesting to some kind of nega­tive cultural norm, manifest themselves as excessive violence. Injustice and violence targeted at the grassroots calls for an immediate intervention, and that’s what happens. The Western carries utopian implications in that it expresses faith in the possibility of aquick and deep change of the state of af­fairs. However, with the initial state of order having been ushered in, the Western narrative reaches its closure, and the accomplishment of the incipient utopia falls outside its narrative frame. The contem­porary transnational significance of the Western has to do with the fact that it projects an allegory of positive change that can be applied to avariety of social and political contexts, and, at the same time, it precludes questions about the viability of the solutions it suggests. The article offers areading of three post-2000 film Westerns with the aim to uncover their utopian senses. My Sweet Pepper Land 2013, advertised as aKurdish Western, employs afamiliar scenario wherein alawman proves his courage and determination in the fight with alocal clan. The hero embodies the longing for amodern, progressive social reality. Dust 2001, by using ahistorical Macedonian setting, addresses the issue of nation-formation. It introduces two American characters who function as catalysts in the process of a nation’s transition from dependence to sovereignty. Blackthorn 2011 focuses on ahistorical situa­tion in Bolivia to emphasize the problem of continuing neocolonial injustice. It seeks asolution to this in the enfranchisement of the groups that have experienced oppression and exploitation, especially the poor and the indigenous, through ownership.MAPA TĘSKNOT. UTOPIJNE FUNDAMENTY WSPÓŁCZESNYCH TRANSNARODOWYCH WESTERNÓWWesterny przejawiają swoje utopijne fundamenty, gdy podkreślają konieczność zreformowania skorum­powanych społecznych elit i zastosowania rozwiązań, które są dalekie od realistycznych opcji. Gatunek ten zazwyczaj przedstawia mikrokosmos środowiska, w którym indywidualne ludzkie występki, po­twierdzające jakiś rodzaj negatywnej kulturowej normy, manifestują się jako nadmierna przemoc. Nie­sprawiedliwość i przemoc dotykające zwykłych obywateli przywołują niezwłoczną interwencję, która następuje. Western przejawia swoje utopijne implikacje w tym, że wyraża wiarę w możliwość szybkiej i głębokiej zmiany stanu rzeczy. Jednakże wraz z wprowadzonym na początku stanem zasad opowiada­nie westernowe dociera do swojego kresu, a wypełnienie rodzącej się utopii wykracza poza narracyjną ramę. Współczesna transnarodowa ranga westernu ma związek z faktem, iż projektuje on alegorię po­zytywnej zmiany, możliwej do wprowadzenia w rozmaitych społecznych i politycznych kontekstach i że — jednocześnie — uniemożliwia odpowiedzi na pytania dotyczące wykonalności rozwiązań przez niego sugerowanych. Artykuł przedstawia interpretację trzech westernów filmowych XXI wieku, nasta­wioną na odkrycie ich utopijnych znaczeń. Pewnego razu na Dzikim Wschodzie 2013, reklamowany jako kurdyjski western, opiera się na znajomym scenariuszu, wktórym człowiek prawa dowodzi swojej odwagi i determinacji w walce z miejscowym klanem. Bohater wciela tęsknotę za nowoczesnym, postę­powym społeczeństwem. Proch i pył 2001, wykorzystując historyczną macedońską scenerię, dotyka zagadnienia formowania się narodu. Występują w nim dwaj amerykańscy bohaterowie, którzy działają jako katalizatory w procesie przechodzenia narodu od stanu podległości do suwerenności. Blackthorn 2011 koncentruje się na historycznej sytuacji w Boliwii w celu uwydatnienia problemu trwającej postkolonialnej niesprawiedliwości. Film sugeruje rozwiązanie go przez uwłaszczenie tych grup spo­łecznych, które doświadczały opresji i eksploatacji, zwłaszcza biedaków i autochtonów. Przeł. Kordian Bobowski

The paper aims to explore where and why an ordinary member of language community creates the dialecticity of a locality and evaluate whether (and how) the dialect artefact of an ordinary member of language community is related with the dialecticity recognised and estimated by researchers, or, in other words, discuss the interaction of the emic and etic perspectives.The empirical basis for the discussion about the interaction of the emic and etic perspectives is formed on the verbalised and visualised language attitudes of the ordinary members of language community and the data of the text-stimuli perceptions gathered during the project “The Position of Standard Language in the Mental Map of the Lithuanian Language” carried out in 2014–2016 and supplied with the data of the ongoing project “Distribution of Regional Variants and Quasistandard Language at the Beginning of the 21st Century: Perceptual Approach (Perceptual Categorisation of Variants”, 2017–2019.The respondents of both projects are the first-fourth year grammar school pupils whom the scholars associate with the emic perspective. The first attempt concerned the data related with the verbalised and visualised (in the drawn maps) language attitudes of 1.415 teenagers; the second one analysed the data related with the verbalised and visualised (in the drawn maps) language attitudes of 1.064 youngsters and the data of the perception of the text-stimuli recorded in an adequate dialect. Both projects are interrelated with regard to the subject matter and the pursued goals: in the first case, an attempt was made to analyse the geolinguistic competence of an ordinary member of language community; in the second one, an additional aspect of the perceptual abilities of an ordinary member of language community was considered.During the performance of the two projects the essential criterion for the selection of the locations in the regions of Lithuania to be explored was whether they were (non)marked by dialect. Hence the respondent groups were formed in the regiolect and/or geolect zones, and in the second project the task of the text-stimuli perception had motivated the inclusion of the Lithuanian cities.The problem of how an ordinary member of language community creates the dialecticity of a location has been approached on the basis of the data given in the drawn maps presented in the two projects.The participants of the first project have drawn the so called perceptual isoglosses in two maps, i.e. in one map they have marked the areas where people speak in dialect and, in the other, where standard language was used. Meanwhile, the participants of the second project in their drawn maps related the linguistic homeland with other locations due to the similarity (or simultaneity) of expression. They also had to draw the maps of standard language and, in addition, localise 8 text-stimuli given to them for assessment which contained the 14–19 seconds fragments of spontaneous speech representing various regiolectic zones.To summarise the obtained results, it should be claimed that etic and emic discourses should be essentially related to the cause and effect factor. The narrative of an ordinary member of language community not only reveals the specific interior relationships but is also affected from outside. Such an insight is determined by the interaction between the created dialecticity of a locality and the dialecticity of localities legitimated in scientific discourse.The results obtained in both projects on perceptual dialectology show that the dialecticity of a locality has been constructed on the basis of adequate etic information: it is obvious from the drawn maps that dialecticity is attracted by the localities that are highly dialect-oriented, i.e. the geolectic and regiolectic areas. This assumption is based on the localisation of the text-stimulus having the most distinct features of dialect which confirms that dialect recognition by the ordinary members of language community does not enter into conflict with the researcher's evaluation from outside. Thus it shows that localities do consistently attract the text-stimuli having the most distinct features of dialect.Meanwhile, as a place of dialect levelling, the capital (or any city) accurately correlates with the NORM reflection of traditional dialectology.The paper summarises that it is not clear yet in what ways the constructors of the narrative from inside are affected by the narratives from outside. There is no tradition formed in the works on perceptual dialectology and no adequate methodological instruments have been devised which might help to find out the sources of knowledge, images and attitudes of the ordinary members of language community. Hence, in order to more clearly describe the relationship between the narrative of a researcher and that of an ordinary member of language community it would be reasonable to move an additional step forward – to expand the instrumentarium and methods of research by including the reflections of the ordinary members of language community regarding the knowledge, images and attitudes that they possess in the field of dialecticity. Thus a new perspective in dialectology should be initiated.

IntroductionBig data research has grown considerably over the last two decades. This presents new ethical challenges around consent, data storage and anonymisation. Big data research projects require public support to succeed and it has been argued that one way to achieve this is through public involvement and engagement. To better understand the role public involvement and engagement can play in big data research, we will review the current literature. This protocol describes the planned review methods.Methods and analysisOur review will be conducted in two stages. In the first stage, we will conduct a scoping review using Arksey and O’Malley methodology to comprehensively map current evidence on public involvement and engagement in big data research. Databases (CINAHL, Health Research Premium Collection, PubMed, Scopus, Web of Science) and grey literature will be searched for eligible papers. We provide a narrative description of the results based on a thematic analysis. In the second stage, out of papers found in the scoping review which discuss involvement and engagement strategies, we will conduct a systematic review following Preferred Reporting Items for Systematic Reviews and Meta-Analyses guidelines, exploring the delivery and effectiveness of these strategies. We will conduct a qualitative synthesis. Relevant results from the quantitative studies will be extracted and placed under qualitative themes. Individual studies will be appraised through Mixed Methods Appraisal Tool (MMAT), we will then assess the overall confidence in each finding through Confidence in the Evidence from Reviews of Qualitative research (GRADE-CERQual). Results will be reported in a thematic and narrative way.Ethics and disseminationThis protocol sets out how the review will be conducted to ensure rigour and transparency. Public advisors were involved in its development. Ethics approval is not required. Review findings will be presented at conferences and published in peer-reviewed journals.

Dans cette thèse, nous proposons d'analyser les étapes de l'œuvre de l'écrivain argentin Juan José Saer (Serodino 1937-Paris 2005) à partir d'une carte de genèse des projets narratifs. Cette carte expose les phases pré-rédactionnelles et rédactionnelles de chaque ouvrage édité. Par conséquent, la chronologie suivie n'est pas celle des éditions mais celle qui correspond aux périodes d'élaboration de chaque projet. À partir de cette carte, nous étudions les superpositions, les continuités et les ruptures entre les processus de rédaction des ouvrages. Le fil conducteur est l'espace diégétique et textuel de la Zona, présent d'une manière ou d'une autre au long de toute l'œuvre. Cet espace récursif, ses personnages et ses histoires, motive la lecture de l'œuvre de Juan José Saer en termes de « totalité ». L'étude des dynamiques qui définissent sa construction donne également un éclaircissement sur les enjeux sociohistoriques qui déterminent sa représentation
This thesis analyses the various stages of the work of Argentinean writer Juan José Saer (Serodino 1937-Paris 2005) from a genesis map of narrative projects that exposes the preeditorial and editorial phases of all the edited works. Therefore, the chronology this study follows is not that of the editions, but that of the development phases of each project. Based on this map, we study the overlaps, continuities and disruptions between the writing processes of the projects. The common thread is the diegetic and textual space of la Zona, present in one way or another throughout the whole work of the author. This recursive space, its characters and its stories, motivate the reading of the work of Juan Jose Saer as a "whole". The study of the dynamics that define its construction also clarify the socio-historical stakes that determine its representation

This chapter recalls the way in which landscapes are constructed, both in literary terms and in physical terms by characters within Herodotus’ narrative. It explores some modern parallels, such as the Kerch bridge which will link Crimea to Russia, for the manipulation of landscape through monumental engineering works as a symbol of imperial ambitions. It suggests, therefore, that the narrative of Herodotus, with its subtle and differentiated presentation of man’s interaction with the natural world, especially in the context of imperial projects, and its underlying proposition that the map of empire is constantly evolving, remains of immediate relevance to the modern world.

Chapter 3 offers narratives about gun violence; these narratives draw from public health tenets and practice. Contributors sketch a road map to how people with differing philosophies can act together to prevent gun deaths: Michael B. Siegel describes public health principles that can shape thinking about gun policy. Drawing from his experiences in Baltimore, Daniel W. Webster illustrates how gun violence has influenced urban life, examining the implications of aggressive law enforcement. His work with police and community members and his involvement with a gun violence reduction consortium yield strategies for reducing harm. Zeroing in on the community environments in which gun violence occurs, Bernadette Callahan Hohl illustrates how a public health approach can improve safety. Using examples from community-driven projects, she offers evidence that strengthening neighborhoods pays off. The chapter concludes an action agenda.

This chapter traces the genesis and institutional evolution of the Islamic University of Medina from the time of its founding in 1961 and over the decades that followed. It maps the history of this key Wahhabi missionary project onto Cold War geopolitics, maneuvering between the Saudi royals and the Wahhabi establishment, efforts to bolster narratives of dynastic and national legitimacy, and shifts in the international oil economy. In doing so, it emphasizes the extent to which the transactions in material and spiritual capital which would occur on the IUM campus were influenced by Saudi politics and integrated with the kingdom’s own political economy.

In the present chapter, we map and characterize crowdsourcing and crowdfunding platforms that promote social entrepreneurship in the online universe. We first analyze relevant theoretical concepts and the existing literature on entrepreneurship, digital inclusion, information and open culture, digital culture, and social technologies to better understand the genesis and development of initiatives that promote social entrepreneurship in the online universe. Then, we map and describe the platforms that tried to encourage this type of entrepreneurship around the world, especially in Brazil. Finally, we examine some important aspects of the panorama of crowdfunding in Brazil. By exploring the current development of crowdfunding and crowdsourcing platforms at international level, we expect to contribute to the creation of new projects and policies that respond to the current demands of the network society.

In the present chapter, we map and characterize crowdsourcing and crowdfunding platforms that promote social entrepreneurship in the online universe. We first analyze relevant theoretical concepts and the existing literature on entrepreneurship, digital inclusion, information and open culture, digital culture, and social technologies to better understand the genesis and development of initiatives that promote social entrepreneurship in the online universe. Then, we map and describe the platforms that tried to encourage this type of entrepreneurship around the world, especially in Brazil. Finally, we examine some important aspects of the panorama of crowdfunding in Brazil. By exploring the current development of crowdfunding and crowdsourcing platforms at international level, we expect to contribute to the creation of new projects and policies that respond to the current demands of the network society.

In the present chapter, we map and characterize crowdsourcing and crowdfunding platforms that promote social entrepreneurship in the online universe. We first analyze relevant theoretical concepts and the existing literature on entrepreneurship, digital inclusion, information and open culture, digital culture, and social technologies to better understand the genesis and development of initiatives that promote social entrepreneurship in the online universe. Then, we map and describe the platforms that tried to encourage this type of entrepreneurship around the world, especially in Brazil. Finally, we examine some important aspects of the panorama of crowdfunding in Brazil. By exploring the current development of crowdfunding and crowdsourcing platforms at international level, we expect to contribute to the creation of new projects and policies that respond to the current demands of the network society.

The siting of early movie studios outside the gates of Paris had direct consequences for the promotion of the suburban landscape as an object of visual interest rich with narrative potential. Addressing the dynamics of ‘creative interaction’ between filmmaker and location, the author examines common industry practices from the turn of the century to 1920 based on an extensive filmography of Pathé and Gaumont shorts and features. Generic street views shot in such suburbs as Vincennes served to depict places that the fiction tagged as Parisian; editing-room sleight-of-hand could make two topographically distant locales appear as contiguous. Viewers were indifferent, however, to precise localisations of the streets, buildings and topographical features projected on screen; what mattered was the development of a rapport between narrative form and mood, character and place, as the comic films of Max Linder and the crime serials of Louis Feuillade make clear.