Relevant bibliographies by topics / Narrative art

Academic literature on the topic 'Narrative art'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 March 2023

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "Narrative art":

1

FITZPATRICK, Paul. "Narrative Art and Narrative Criticism." Louvain Studies 33, no. 3 (December 31, 2008): 255–72. http://dx.doi.org/10.2143/ls.33.3.2045800.

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Shaheen, Osamah Hussein. "Prospects of Narrative Rhetoric." International Journal of Early Childhood Special Education 14, no. 1 (March 17, 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.
3

Skalin, Lars-Åke. "The art of narrative – narrative as art: Sameness or difference?" Frontiers of Narrative Studies 5, no. 1 (July 2, 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.
4

Saidi, Acep Iwan. "Narrative Patterns in Indonesian Fine Art." Britain International of Linguistics Arts and Education (BIoLAE) Journal 3, no. 1 (March 26, 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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Carroll, Noël. "Art, Practice, and Narrative." Monist 71, no. 2 (1988): 140–56. http://dx.doi.org/10.5840/monist198871212.

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Oatley, Keith, and Maja Djikic. "Psychology of Narrative Art." Review of General Psychology 22, no. 2 (June 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, no. 1 (April 2004): 66–67. http://dx.doi.org/10.1111/j.0034-0472.2004.03801011_2.x.

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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, no. 4 (November 1, 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.
9

Esquivel, Patricia. "Art Narratives and Globalization." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, no. 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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Rodríguez Gómez, Sergio. "An agential-narrative approach on art semiosis." Technoetic Arts 17, no. 3 (October 1, 2019): 281–95. http://dx.doi.org/10.1386/tear_00021_1.

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Abstract In this article, a semiotic approach is proposed to explain how human agents use and give meaning to art in complex contexts. Inspired by the psycho-historical approach on art appreciation, which attempts to embrace psychological and cognitive aspects of art sense-making, as well as the art-historical context dependence of artworks, an extended theory is suggested: an agent's art use and interpretation can be described using three general categories of meaning grounding: phylogenetic recurrence, ontogenetic recurrence and collective recurrence. These categories explain how a certain meaning of a sign is possible and justifiable, supported by human agents' capabilities and purposes. This article also proposes that it is possible to narrate, using such categories of meaning grounding, how different agents enact art, that is, give meaning and act upon art in different circumstances. Finally, I offer some examples about how the model can be used in real art contexts. The objective of this narrative-enactive approach, even though it offers a limited and edited focus, is to offer an orderly and comprehensible method to explain the dynamic nature of art meaning and how biologic, individual and collective grounding and purposes intertwine.
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You might also be interested in the extended bibliographies on the topic 'Narrative art' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Narrative art":

1

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).
2

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.
3

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.
4

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
5

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 and 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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Books on the topic "Narrative art":

1

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

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Romberg, Osvaldo. Osvaldo Romberg: Architectures narratives = narrative architectures. Paris: Panama, 2005.

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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. 2nd ed. Sheffield: JSOT, 1991.

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Duncan, Isla. Alice Munro's narrative art. New York: Palgrave Macmillan, 2011.

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

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Ponder, Melinda M. Hawthorne's early narrative art. Lewiston: E. Mellen Press, 1990.

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

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Gassiot-Talabot, Gérald. La figuration narrative. Nîmes: J. Chambon, 2003.

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

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Book chapters on the topic "Narrative art":

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Kemp, Wolfgang. "Narrative." In Critical Terms for Art History, translated by 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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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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Hart, William David. "Art and the Ancestor Narrative." In Afro-Eccentricity, 35–64. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118713_3.

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Conference papers on the topic "Narrative art":

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McNamara, Ann, Thomas Booth, and 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, and 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, and 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, and 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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Reports on the topic "Narrative art":

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Enríquez-Enríquez, Diego, Carlos Mecina-Zapata, Hernán Riveros-Cárcamo, Daniel Jerez-Mayorga, and 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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Bwerinofa, Iyleen Judy, Jacob Mahenehene, Makiwa Manaka, Bulisiwe Mulotshwa, Felix Murimbarimba, Moses Mutoko, Vincent Sarayi, and 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, February 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, and Catherine Aiken. Contending Frames: Evaluating Rhetorical Dynamics in AI. Center for Security and Emerging Technology, May 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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Pizzini, Nigel, and Helen Gremillion. Counsellor Clients as Insider Experts in a School Community. Unitec ePress, November 2017. http://dx.doi.org/10.34074/ocds.82017.

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This paper describes a practice developed at a large secondary school in Auckland whereby students’ experiences of overcoming problems are made available to others in the form of insider brochures. These students are thus able to share their insights and strategies in support of peers who may be experiencing similar problems. Drawing on narrative counseling conversations as well as narrative community work, a school counselor facilitates the process. This paper describes how insider voices contribute to the brochures and provides detail from one case example. In keeping with narrative approaches to problems, the goals are to de-privatise and de-individualise young people’s experiences of difficulties, and to reposition these students from ‘sufferers’ of problems to ‘experts’ on how to overcome them. In the process not only are students’ preferred identities developed but also collective knowledge is created and students are empowered to support one another.
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Nalla, Vineetha, and Nihal Ranjit. Afterwards: Graphic Narratives of Disaster Risk and Recovery from India. Indian Institute for Human Settlements, 2022. http://dx.doi.org/10.24943/9788195648559.

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Afterwards is an anthology of visual narratives of disaster impacts and the process of recovery that follows. These stories were drawn from the testimonies of disaster-affected individuals, households, and communities documented between 2018-19 from the Indian states of Odisha, Tamil Nadu, and Kerala. They communicate challenges related to housing resettlement, loss of livelihoods, gender-based exclusion among others. At the heart of this anthology lies the idea of ‘representation’: how are those affected portrayed by the media, state actors, official documents; how are their needs represented and how do these portrayals impact the lives of those at risk and shape their recovery? Graphically illustrating these themes provides a platform to relay personal experiences of disaster risk and recovery.
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Monier, Elizabeth. Whose Heritage Counts? Narratives of Coptic People’s Heritage. Institute of Development Studies (IDS), December 2021. http://dx.doi.org/10.19088/creid.2021.015.

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This paper examines whose voices narrate official Coptic heritage, what the in-built biases in representations of Coptic heritage are and why, and some of the implications of omissions in narratives of Coptic heritage. It argues that the primary narrator of official Coptic heritage during the twentieth century was the leadership of the Coptic Orthodox Church. The Coptic Orthodox Church is the body that holds authority over the sources of heritage, such as church buildings and manuscripts, and also has the resources with which to preserve and disseminate heritage. The Church hierarchy’s leadership was not entirely uncontested, however, a middle ground was continually negotiated to enable lay Copts to play various roles and contribute to the articulation of Coptic heritage. Ultimately, though, alternative voices must operate within the limits set by the Church leadership and also negotiate the layers of exclusion set by society and state.
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Leis, Sherry, Mike DeBacker, Lloyd Morrison, Gareth Rowell, and Jennifer Haack. Vegetation community monitoring protocol for the Heartland Inventory and Monitoring Network: Narrative, Version 4.0. Edited by Tani Hubbard. National Park Service, November 2022. http://dx.doi.org/10.36967/2294948.

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Native and restored plant communities are part of the foundation of park ecosystems and provide a natural context to cultural and historical events in parks throughout the Heartland Inventory and Monitoring Network (HTLN). Vegetation communities across the HTLN are primarily of three types: prairie, woodland, and forest. Park resource managers need an effective plant community monitoring protocol to guide the development and adaptation of management strategies for maintaining and/or restoring composition and structure of prairies, woodland, and forest communities. Our monitoring design attempts to balance the needs of managers for current information and the need for insight into the changes occurring in vegetation communities over time. This monitoring protocol consists of a protocol narrative (this document) and 18 standard operating procedures (SOPs) for monitoring plant communities in HTLN parks. The scientific objectives of HTLN plant community monitoring are to (1) describe the species composition, structure, and diversity of prairie, woodland, and forested communities; (2) determine temporal changes in the species composition, structure and diversity of prairie, woodland, and forested communities; and (3) determine the relationship between temporal and spatial changes and environmental variables, including specific management practices where possible. This protocol narrative describes the sampling design for plant communities, including the response design (data collection methods), spatial design (distribution of sampling sites within a park), and revisit design (timing and frequency of monitoring visits). Details can be found in the SOPs, which are listed in the Revision History section and available at the Integrated Resource Management Applications (IRMA) website (irma.nps.gov). Other aspects of the protocol summarized in the narrative include procedures for data management and reporting, personnel and operating requirements, and instructions for how to revise the protocol.
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Nalla, Vineetha, Nihal Ranjit, Yashodara Udupa, Mythili Madhavan, Jasmitha Arvind, Garima Jain, and Teja Malladi. Afterwards – Graphic Narratives of Disaster Risk and Recovery from India (Volume Set). Indian Institute for Human Settlements, 2022. http://dx.doi.org/10.24943/9788195648573.

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Afterwards is an anthology of graphic narratives of disaster impacts and the process of recovery that follows. These stories were drawn from the testimonies of disaster-affected individuals, households, and communities documented from the Indian states of Odisha, Tamil Nadu, and Kerala. The book has been translated into the regional languages of these states – Odia, Tamil, and Malayalam. They communicate challenges related to housing resettlement, loss of livelihoods, and gender-based exclusion among others. At the heart of this anthology lies the idea of ‘representation’: how are disaster-affected people portrayed by the media, state actors, and official documents; how are their needs represented and how do these portrayals impact the lives of those at risk and shape their recovery?
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Kull, Kathleen, Craig Young, Jennifer Haack-Gaynor, Lloyd Morrison, and Michael DeBacker. Problematic plant monitoring protocol for the Heartland Inventory and Monitoring Network: Narrative, version 2.0. National Park Service, May 2022. http://dx.doi.org/10.36967/nrr-2293355.

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Problematic species, which include invasive, exotic, and harmful species, fragment native ecosystems, displace native plants and animals, and alter ecosystem function. In National Parks, such species negatively affect park resources and visitor enjoyment by altering landscapes and fire regimes, reducing native plant and animal habitat, and increasing trail maintenance needs. Recognizing these challenges, Heartland Inventory and Monitoring (I&M) Network parks identified problematic plants as the highest-ranking vital sign across the network. Given the need to provide early detection of potential problematic plants (ProPs) and the size of network parks, the Heartland I&M Network opted to allocate available sampling effort to maximize the area searched. With this approach and the available sampling effort in mind, we developed realistic objectives for the ProP monitoring protocol. The monitoring objectives are: 1. Create a watch list of ProPs known to occur in network parks and a watch list of potential ProPs that may invade network parks in the future, and occasionally update these two lists as new information is made available. 2. Provide early detection monitoring for all ProPs on the watch lists. 3. Search at least 0.75% and up to 40% of the reference frame for ProP occurrences in each park. 4. Estimate/calculate and report the abundance and frequency of ProPs in each park. 5. To the extent possible, identify temporal changes in the distribution and abundance of ProPs known to occur in network parks. ProP watch lists are developed using the best available and most relevant state, regional, and national exotic plant lists. The lists are generated using the PriorityDB database. We designed the park reference frames (i.e., the area to be monitored) to focus on accessible natural and restored areas. The field methods vary for small parks and large parks, defined as parks with reference frames less than and greater than 350 acres (142 ha), respectively. For small parks, surveyors make three equidistant passes through polygon search units that are approximately 2-acres (0.8 ha) in size. For large parks, surveyors record each ProP encountered along 200-m or 400-m line search units. The cover of each ProP taxa encountered in search units is estimated using the following cover scale: 0 = 0, 1 = 0.1-0.9 m2, 2 = 1-9.9 m2, 3 = 10-49.9 m2, 4 = 50-99.9 m2, 5 = 100-499.9 m2, 6 = 499.9-999.9 m2, and 7 = 1,000-4,999.9 m2. The field data are managed in the FieldDB database. Monitoring is scheduled to revisit most parks every four years. The network will report the results to park managers and superintendents after completing ProP monitoring.

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