Academic literature on the topic 'Multilinear narrative'
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Journal articles on the topic "Multilinear narrative"
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Ensslin, Astrid. "‘I want to say I may have seen my son die this morning’: Unintentional unreliable narration in digital fiction." Language and Literature: International Journal of Stylistics 21, no. 2 (May 2012): 136–49. http://dx.doi.org/10.1177/0963947011435859.
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This article offers comparative close readings of two digital fictions that feature various types and degrees of unintentional unreliable narration. Its prime focus lies on the affordances and restraints provided by hypertextual, multilinear, multimodal, interactive and ludic new media with respect to the aesthetic representation and textual embedding of unreliability. To this end, I have chosen narratives from two ‘generations’ of digital fiction – a hyperfiction par excellence, and a hypermedia narrative, both of which are multilinear by definition yet deal with the ideas of closure and narrative framing in very different ways. In particular, I shall examine how unintentional, psycho-pathological unreliability in the sense of Riggan’s (1981; cf. Heyd, 2006; Jahn, 1998) ‘madman’ are represented in afternoon, a story (Joyce, 1987) and the German hypermedia novel Quadrego (Maskiewicz, 2001). My comparative analysis shows how manifestations of deviant yet not devious, in the sense of quietly deceptive narration, are aesthetically enriched by techniques afforded by the digital medium, such as hypertextual multilinearity, lack of or partial closure, multisensory experience, fluid transitions and boundaries and, most significantly, the play with reader agency, which may – in cases of radical multilinearity – even lead to readerly unreliability.
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Bene, Adrián. "Rhizomatic Narrative and Intermediality in Treme." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (August 1, 2015): 61–71. http://dx.doi.org/10.1515/ausfm-2015-0026.
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Abstract In this paper, I study the narrative structure and the layers of meaning in the Treme (2010-2013), using the concept of rhizome introduced in A Thousand Plateaus by Deleuze and Guattari (1987) and the Hannerzian “root metaphor” of creole culture. As for New Orleans in the Treme, music makes the narrative structure not just multilinear but rhizomatic. Moreover, spontaneity and hybridity highlight dialogicity and poliphony as well as a strong ironic and subversive capacity concerning music and creole culture. On a narratological level, analysing the critical representation of social problems after the destruction of Hurricane Kathrina raises the problems of focalization and narratorial distance
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Beeston, Alix. "A “Leg Show Dance” in a Skyscraper: The Sequenced Mechanics of John Dos Passos's Manhattan Transfer." PMLA/Publications of the Modern Language Association of America 131, no. 3 (May 2016): 636–51. http://dx.doi.org/10.1632/pmla.2016.131.3.636.
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Performing a historicized analysis of John Dos Passos's Manhattan Transfer (1925), this essay returns this understudied author to the center stage of modernist studies and includes the popular stage in accounts of the technologized mechanisms of modernist writing. By disclosing a deep correlation between the composite narrative tactics of Dos Passos's multilinear novel and the mass entertainments of this period, particularly Florenz Ziegfeld's annual Follies revues, it supplies new parameters for theorizing strategies of narration and characterization in modernist fiction vis-à-vis the technologies of popular entertainment and display in the early twentieth century. The discussion of Dos Passos's broad critique of the gendered specular economy of the modern metropolis in the era of Taylorism repositions his early writing as integral to the development of high modernism in the 1920s.
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D, Jayavelu, and Mamta Pillai. "Women Empowerment in Amish’s The Ramchandra Series: A Dharmic Narrative." International Journal of Language and Literary Studies 3, no. 1 (March 30, 2021): 122–30. http://dx.doi.org/10.36892/ijlls.v3i1.507.
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The portrayal of women in literary texts over the centuries has been stuck in the conviction that women are enormously subjugated, but now repetition of the same is considered unjustified. The canon of reformers in the literary world has started to interpret feminism from various perspectives. Women characters are reformulated and rethought by the new emerging authors and those authors reinforce a new dimension to the status and moral experience of women which was largely criticized in the domain of traditional literature. The present research, therefore, intends to elicit the narrative technique of Amish’s writings and his treatment of women characters in his novels. Amish’s women characters falsify the claims of traditional portrayal. The female protagonists of his novels highlight the punctuated identities of Indian women. They are strong, challenge traditional norms. In this regard Amish’s the Ram Chandra Series is a mythical fiction based on mythology of Ramayana with a multilinear narrative. This paper is intended to provide a brief and authentic exposition of status of women in India during the Vedic times with reference to the women characters in Amish’s the Ram Chandra Series in every aspect of social order like education, philosophy, religion, administration and warfare.
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Wortel, Elise. "From history to haecceity." Alphaville: Journal of Film and Screen Media, no. 2 (February 14, 2012): 60–75. http://dx.doi.org/10.33178/alpha.2.05.
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This article investigates the transformation of history into haecceities that allow us to grasp history through a nonlinear, cinematic sensation of pure past. Here, cinema merges classical knowledge of historical facts with the lived reality of the unrecorded past. Experiments with spatial reframings of the past in The Lady and the Duke, The King's Daughters, The White Ribbon and Coco Before Chanel are discussed to create nonlinear sensations of duration that link with Deleuze and Guattari's notions of affect and haecceity, which transform history into cinematic sets of speed, movement, and texture. Furthermore, the article analyses how the traditionally linear narrative of history is transposed into the abstract sensation of time through haecceity as pure past, where time and space come together to put the sensory quality of memory to the fore. Shifting the perspective from the linear account of history to the multilinear effects of affect and haecceity this analysis challenges the cultural hegemony of representation that favours a homogeneous image of thought. Focussing on the material and performative quality of the film image, the article analyses the spatiotemporal relations that create an analytical perception through the senses.
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Nogueira, Patrícia. "Ways of affection: How interactive documentaries affect the interactor’s felt experience and performance." New Cinemas: Journal of Contemporary Film 17, no. 1 (March 1, 2020): 49–68. http://dx.doi.org/10.1386/ncin_00004_1.
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This article intends to explore how interactivity and new technologies promote new spectatorship performances and subsequently affect the interactor’s subjectivity. Through the analysis of three interactive documentaries, I propose and describe a taxonomy for addressing the felt experience of interacting in digital environments. Each selected documentary corresponds to a different mode of interaction and, therefore, engages the audience in a particular way: Bear 71 (hyperlink mode), Fort McMoney (conversational mode) and A Journal of Insomnia (participative mode). Throughout the analysis, I consider the interactor and the digital object as two interrelated and dependent entities that influence and shape one another. I argue the objects of interaction affect the viewers by inducing bodily felt sensations and shaping their subjectivity. As so, the sensuous encounter between the interactor and the digital documentary provides a virtual gratification for the spectator’s performance. Delving into a phenomenological and post-phenomenological investigation, I focus my attention in the microperceptions, as structures of sensory perception in the bodily dimensions of experience, translated as senses. As fragmented, multilinear and dynamic forms, interactive documentaries provide the audience with the agency of manipulating and developing the narrative, while conversely engender in the interactors what I address as ways of affection. I propose or adapt eight digitally disrupted and induced sensations, or senses of, for describing how interactive documentary affects users during the interaction performance: sense of control, sense of presence, sense of Self, sense of place, sense of belonging, sense of almightiness, sense of endlessness, sense of incompleteness.
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Niewiadoma, Elżbieta. "The Experimental Works of Stu Campbell: The Use of New Media in Creating Online Comics." Studia Litteraria 16, no. 3 (2021): 221–39. http://dx.doi.org/10.4467/20843933st.21.016.14006.
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Literature does not need to be solely confined to text, but can be accompanied by moving images, animation, sound, music, as well as a multi-linear narrative, which has become easier to integrate due to the use of hypertext and augmented reality (AR) technology. One author who readily uses such innovations is Stu Campbell, more widely known by his alias, Sutu. Aside from being a writer, Campbell is also an interactive designer and illustrator who combines art and technology in order to produce unique and experimental works. Campbell is inspired by multiple genres and formats through which he addresses poignant themes, such as memory and its loss, the imminent passage of time, as well as the meaning of identity and reality in our increasingly digital and fast-paced environment. Therefore, this paper discusses the selected works of Stu Campbell in the context of their experimental and technological nature drawing on Paola Trimarco’s discussion of “affordances,” a term originally derived from psychologist James L. Gibson, denoting the opportunities and limitations in certain environments. The works discussed are the following: Modern Polaxis, a multilinear comic in the form of a private journal which depends on AR technology to advance its narrative, Nawlz, a cyberpunk webcomic created on a horizontal interactive digital canvas, and These Memories Won’t Last, a semi-autobiographical webcomic which incorporates music, sound and animation. Eksperymentalna twórczość Stu Campbella. Użycie nowych mediów w tworzeniu komiksów online Literatura nie musi ograniczać się wyłącznie do tekstu, ale może towarzyszyć jej ruchomy obraz, animacja, dźwięk, muzyka, a także wieloliniowa narracja, która stała się łatwiejsza do zintegrowania dzięki wykorzystaniu hipertekstu i technologii rozszerzonej rzeczywistości (AR). Jednym z autorów, który chętnie korzysta z takich innowacji, jest Stu Campbell, szerzej znany pod pseudonimem Sutu. Oprócz bycia pisarzem Campbell jest także projektantem interaktywnych aplikacji i ilustratorem, który łączy sztukę i technologię, tworząc unikalne, eksperymentalne utwory. Campbell inspiruje się wieloma gatunkami i formatami o poruszającej tematyce, takiej jak pamięć i jej utrata, nieuchronny upływ czasu, a także znaczenie tożsamości i rzeczywistości w naszym, coraz bardziej cyfrowym i narzucającym szybkie tempo, środowisku. Dlatego w niniejszym artykule omówiono wybrane prace Stu Campbella w kontekście ich eksperymentalnego i technologicznego charakteru, odwołując się do refleksji Paoli Trimarco na temat „afordancji”, terminu wywodzącego się z dorobku psychologa Jamesa L. Gibsona, a oznaczającego możliwości i ograniczenia w określonych środowiskach. Artykuł omawia Modern Polaxis, wielowierszowy komiks w formie prywatnego dziennika, którego narracja opiera się na technologii AR, Nawlz, cyberpunkowy komiks internetowy stworzony na płaskim, interaktywnym, cyfrowym „płótnie”, oraz These Memories Won’t Last, na wpół autobiograficzny komiks internetowy, zawierający muzykę, dźwięk i animację.
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Rocha, Cláudio Aleixo. "Vídeos Publicitários e Multilinearidade: uma estratégia criativa para o ambiente <i>Web</i>." Revista Panorama - Revista de Comunicação Social 4, no. 1 (June 22, 2022): 108. http://dx.doi.org/10.18224/pan.v4i1.3467.
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RESUMO: O artigo aborda a importância do audiovisual publicitário na Web como um meio de diversão
e entretenimento on-line que possui grande força estratégica de relacionamento entre marca e
consumidor. O foco principal de estudo é dado à narrativa multilinear aplicada ao conteúdo audiovisual
publicitário veiculado na Web. Apresenta como estudo de caso as campanhas interativas
??A hunter shoots a bear? e ??Hunter and bear??s 2012 birthday party?, ambos da marca de corretivo
Tipp-Ex divulgadas no Youtube.
PALAVRAS-CHAVE: Publicidade na Web; Conteúdo audiovisual; Narrativa multilinear; Diversão
e Entretenimento on-line
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Caramello, Charles. "The Only Teller: Readings in the Monologue Novel, and: Pattern and Chaos: Multilinear Novels by Dos Passos, Döblin, Faulkner, and Koeppen, and: The Nonfiction Novel, and: The Soft Machine: Cybernetic Fiction, and: A Theory of Narrative (review)." MFS Modern Fiction Studies 32, no. 2 (1986): 345–50. http://dx.doi.org/10.1353/mfs.0.0388.
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Estorillio, Rodrigo dos Santos. "Bandersnatch: uma crítica de processo." Manuscrítica: Revista de Crítica Genética, no. 45 (December 30, 2021): 56–71. http://dx.doi.org/10.11606/issn.2596-2477.i45p56-71.
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A complexa sistematização das narrativas interativas se processa nas inovações homem-máquina, potencializadas pelo uso de ferramentas tecnológicas que manipulam interfaces de aplicativos hipermidiáticos, modelando scripts em linguagem HTML que se traduzem em conceitos narratológicos e conteúdo multitrama aos usuários em plataformas e redes de comunicação. O recorte desta pesquisa parte do processo de criação hipertextual em multitrama, Bandersnatch, e seu tratamento em roteiro de longa-metragem de ficção interativa. A sistematização narratológica gravita um processo de readequação estrutural por conta das potencialidades interativas que o meio digital on-line propicia ao interator na fruição do filme-jogo. O fenômeno ocorre conforme um menor ou maior grau de abertura da obra ou compartilhamento indicial de autoria, em que a dimensão multilinear da história provoca cognitivamente o sistema nervoso por meio do “envolvimento extensivo do corpo na sua globalidade psicossensorial, sinestésica”[1] (SANTAELLA, 2010). Objetivo demonstrar como a manipulação dos elementos estruturais dos mundos ficcionais da narrativa interativa revela a multidimensionalidade do real frente às relações entre o virtual e o atual, operando complexidades intersemióticas por meio dos fenômenos de linguagem e signagens. [1] SANTAELLA, L. Culturas e artes do pós-humano: da cultura das mídias à cibercultura. 4ª ed.. São Paulo: Editora Paulus, 2010, p. 227. [1] SANTAELLA, Lúcia. Culturas e artes do pós-humano: da cultura das mídias à cibercultura. 4ª ed.. São Paulo: Editora Paulus, 2010, p. 227.
Dissertations / Theses on the topic "Multilinear narrative"
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Keen, Seth. "Video chaos : multilinear narrative structuration in new media video practice /." Electronic version, 2005. http://adt.lib.uts.edu.au/public/adt-NTSM20050921.151215/index.html.
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Vickery, Lindsay Ross. "Exploring new and emerging models for nonlinear performative works." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/63499/1/Lindsay_Vickery_Thesis.pdf.
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This dissertation seeks to define and classify potential forms of Nonlinear structure and explore the possibilities they afford for the creation of new musical works. It provides the first comprehensive framework for the discussion of Nonlinear structure in musical works and provides a detailed overview of the rise of nonlinearity in music during the 20th century.
Nonlinear events are shown to emerge through significant parametrical discontinuity at the boundaries between regions of relatively strong internal cohesion. The dissertation situates Nonlinear structures in relation to linear structures and unstructured sonic phenomena and provides a means of evaluating Nonlinearity in a musical structure through the consideration of the degree to which the structure is integrated, contingent, compressible and determinate as a whole.
It is proposed that Nonlinearity can be classified as a three dimensional space described by three continuums: the temporal continuum, encompassing sequential and multilinear forms of organization, the narrative continuum encompassing processual, game structure and developmental narrative forms and the referential continuum encompassing stylistic allusion, adaptation and quotation.
The use of spectrograms of recorded musical works is proposed as a means of evaluating Nonlinearity in a musical work through the visual representation of parametrical divergence in pitch, duration, timbre and dynamic over time. Spectral and structural analysis of repertoire works is undertaken as part of an exploration of musical nonlinearity and the compositional and performative features that characterize it.
The contribution of cultural, ideological, scientific and technological shifts to the emergence of Nonlinearity in music is discussed and a range of compositional factors that contributed to the emergence of musical Nonlinearity is examined. The evolution of notational innovations from the mobile score to the screen score is plotted and a novel framework for the discussion of these forms of musical transmission is proposed.
A computer coordinated performative model is discussed, in which a computer synchronises screening of notational information, provides temporal coordination of the performers through click-tracks or similar methods and synchronises the audio processing and synthesized elements of the work. It is proposed that such a model constitutes a highly effective means of realizing complex Nonlinear structures.
A creative folio comprising 29 original works that explore nonlinearity is presented, discussed and categorised utilising the proposed classifications. Spectrograms of these works are employed where appropriate to illustrate the instantiation of parametrically divergent substructures and examples of structural openness through multiple versioning.
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"Video chaos : multilinear narrative structuration in new media video practice." Thesis, University of Technology, Sydney. Faculty of Humanities & Social Sciences, 2005. http://hdl.handle.net/10453/20021.
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University of Technology, Sydney. Faculty of Humanities and Social Sciences.The presentation of the thesis comprises the Dissertation component (66%) along with the Practice Component and the Practice Report (33%). In this Video Chaos dissertation, through an examination of current video practices, I note an emerging trend towards disseminating audio-visual content simultaneously in the form of poly-sequential narrative structures. I argue that this is a significant development within the video medium, and that this is an effect of video new media artist-practitioners' engagement with the relationships between art and technology. Two extensive case studies are investigated and, whilst a number of issues come to the fore in this research, exploring the issue of narrative structuration is the primary focus and exploration of this dissertation. The presentation of the thesis comprises the Dissertation component (66%) along with the Practice Component and the Practice Report (33%). The Practice Report documents the nature and development of the research undertaken during the course of the study. The culmination of the Practice Component takes the form of an exhibition and archiving of video works from June 2003 to the date of submission, January 2005. The Practice Component has been based in the following locations and used resources from Central Queensland University (Bundaberg campus), and The Australian National University, Centre for New Media Arts in Canberra. The practice has examined the topic through the production of the audio-video installation Sugartown and three video works The Hazzards, Nodal Dialectics 1 and boomsplatbangwhack. While these video works exist as discrete media artworks, they also operate as a type of practice process diary for working through the ideas explored in the written dissertation. Even though the video works are not meant to literally 'illustrate' those ideas, they nevertheless explore ways of integrating the theoretical concepts into my own research practice. In this Video Chaos dissertation, through an examination of current video practices, I note an emerging trend towards disseminating audio-visual content simultaneously in the form of poly-sequential narrative structures. I argue that this is a significant development within the video medium, and that this is an effect of video new media artist-practitioners' engagement with the relationships between art and technology. Two extensive case studies are investigated and, whilst a number of issues come to the fore in this research, exploring the issue of narrative structuration is the primary focus and exploration of this dissertation.
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"Video Chaos: Multilinear narrative structuration in New Media video practice." University of Technology, Sydney. Faculty of Humanities & Social Sciences, 2005. http://hdl.handle.net/2100/285.
Full textAbstract:
The presentation of the thesis comprises the Dissertation component (66%) along with the Practice Component and the Practice Report (33%). In this Video Chaos dissertation, through an examination of current video practices, I note an emerging trend towards disseminating audio-visual content simultaneously in the form of poly-sequential narrative structures. I argue that this is a significant development within the video medium, and that this is an effect of video new media artist-practitioners' engagement with the relationships between art and technology. Two extensive case studies are investigated and, whilst a number of issues come to the fore in this research, exploring the issue of narrative structuration is the primary focus and exploration of this dissertation. The presentation of the thesis comprises the Dissertation component (66%) along with the Practice Component and the Practice Report (33%). The Practice Report documents the nature and development of the research undertaken during the course of the study. The culmination of the Practice Component takes the form of an exhibition and archiving of video works from June 2003 to the date of submission, January 2005. The Practice Component has been based in the following locations and used resources from Central Queensland University (Bundaberg campus), and The Australian National University, Centre for New Media Arts in Canberra. The practice has examined the topic through the production of the audio-video installation Sugartown and three video works The Hazzards, Nodal Dialectics 1 and boomsplatbangwhack. While these video works exist as discrete media artworks, they also operate as a type of practice process diary for working through the ideas explored in the written dissertation. Even though the video works are not meant to literally 'illustrate' those ideas, they nevertheless explore ways of integrating the theoretical concepts into my own research practice. In this Video Chaos dissertation, through an examination of current video practices, I note an emerging trend towards disseminating audio-visual content simultaneously in the form of poly-sequential narrative structures. I argue that this is a significant development within the video medium, and that this is an effect of video new media artist-practitioners' engagement with the relationships between art and technology. Two extensive case studies are investigated and, whilst a number of issues come to the fore in this research, exploring the issue of narrative structuration is the primary focus and exploration of this dissertation.
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Monteiro, Juliana. "A narrativa multilinear no livro digital educativo: Uma experiência de desenvolvimento e utilização com alunos do 1º ciclo do ensino básico." Dissertação, 2013. http://hdl.handle.net/10216/73870.
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Monteiro, Juliana Carolina Campos. "A narrativa multilinear no livro digital educativo: Uma experiência de desenvolvimento e utilização com alunos do 1º ciclo do ensino básico." Master's thesis, 2013. https://repositorio-aberto.up.pt/handle/10216/67693.
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Monteiro, Juliana Carolina Campos. "A narrativa multilinear no livro digital educativo: Uma experiência de desenvolvimento e utilização com alunos do 1º ciclo do ensino básico." Dissertação, 2013. https://repositorio-aberto.up.pt/handle/10216/67693.
Full textBooks on the topic "Multilinear narrative"
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Beeston, Alix. Frozen in the Glassy, Bluestreaked Air. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.003.0004.
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This chapter interprets the serialized narration and characterization of John Dos Passos’s Manhattan Transfer (1925) in line with the figuring of female bodies through the photographic apparatus of advertisement and celebrity that was ancillary to popular Broadway entertainments in the early twentieth century. Unpacking the image of Ellen Thatcher, Dos Passos’s central character, as a photograph at the end of the multilinear novel, it accounts for Dos Passos’s critique of the patriarchal, white-centric specular economy of the modern city. The photographic freezing of the wealthy, white Ellen registers her imprisonment to the male gaze and her resistance to those who are ethnically and socially other to her. Yet by the additive construction of its female characters, Manhattan Transfer undercuts Ellen’s sense of her essentialized difference from the novel’s other women.
Book chapters on the topic "Multilinear narrative"
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dos Reis, Filipe. "Contingencies in International Legal Histories." In Contingency in International Law, 111–28. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192898036.003.0007.
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This chapter reconstructs how contingency is situated in international legal histories. In particular, it focuses on how contingency relates to narratives of international law’s origin and progress. It explores, first, how traditional and recent international legal histories locate the origin of international law. Different authors—advancing different projects—situate international law within a range of different origins. In the end, the origin of international law is contingent. Moreover, it is possible for some authors, particularly those problematising international law’s Eurocentric origin, to conceptualise the link of contingency and origin not only as the contingency of origin but also in the form of a contingency as origin of international law, as international law originates from the confrontations, translations, encounters, and struggles of various actors. The chapter analyses, second, arguments about progress in international legal histories and argues that these arguments are tied to different conceptualisations of the observer, i.e. the international legal historian. Here, more traditional international legal histories often rely on an understanding of a non-contingent observer, who seeks to create an international legal order that is able to tame the contingencies of the international sphere. However, such narratives of international law’s linear progress have come under scrutiny recently as several interventions started to direct our attention to the multiple perspectives and multilinear trajectories in the making of the current international legal order or invite us to conceptualise the history of international law as a sequence of contingent disruptive events. The chapter concludes with a brief discussion of what it could mean to open international legal histories for different conceptualisations of origin and to give up the idea of a non-contingent observer inscribed in progressive narratives.