Journal articles: 'Narrative art'

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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.

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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.

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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.

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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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Feng, Ma. "The Narrative Art of Contemplator: An Analysis on Milan Kundera’s Works." Lingua Cultura 3, no. 1 (May 30, 2009): 85. http://dx.doi.org/10.21512/lc.v3i1.335.

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Article presented a narrative theoretical analysis on Milan Kundera’s works. Its emphasis point lied on the unity of the theory and the practical explanation to the text. Kundera’s works joined the unique ponder art and the narrative artistic together, which had led to the work a possible implication that would be much richer. Based on a macroscopic angle, this article used the relative theory, including theories on classic and latter classic narrates study. Then, based on the microscopic angle, this article mainly utilized the narrative theory about “the intervention” as well as the acceptable aesthetic theory. What’s more, the article did not only carry on a careful narrative analysis on Kundera’s creation, but also discussed the profound effect with which the narration brought. This article offered some careful and profound discussions respectively on the narrator’s and reader’s intervenes. The narrator intervenes stressed that the narrator’s “narration person, narration method and the narration identity” in the work, and discussed the narrator “we”, illusion narration, parenthesis replenishment narration as well as the Polyphony and reliability which were brought by the narration method and narrator’s identity. The reader intervene stressed the reader’s strategy during the connoisseurship and the acceptance process, and also evaluated reader’s identity during the reading process, and concerned about the lost readers in the “garden paths phenomenon and jungle for explanation”.

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Ewing, Bonnie, and Marie Hayden-Miles. "Narrative Pedagogy and Art Interpretation." Journal of Nursing Education 50, no. 4 (January 31, 2011): 211–15. http://dx.doi.org/10.3928/01484834-20110131-01.

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Gordon, R. P., and S. Bar-Efrat. "Narrative Art in the Bible." Vetus Testamentum 41, no. 3 (July 1991): 371. http://dx.doi.org/10.2307/1519087.

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Conolly, O. "Narrative Art and Moral Knowledge." British Journal of Aesthetics 41, no. 2 (April 1, 2001): 109–24. http://dx.doi.org/10.1093/bjaesthetics/41.2.109.

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Novitz, David. "Art, Narrative, and Human Nature." Philosophy and Literature 13, no. 1 (1989): 57–74. http://dx.doi.org/10.1353/phl.1989.0056.

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Rice-DeFosse, Mary. "Reconsidering Flora Tristan's Narrative Art." Women in French Studies 3, no. 1 (1995): 45–54. http://dx.doi.org/10.1353/wfs.1995.0001.

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Thompson, Chris. "Hot Spots: Interactive Narrative Art." PAJ: A Journal of Performance and Art 26, no. 1 (January 2004): 94–99. http://dx.doi.org/10.1162/152028104772624982.

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Vice, Samantha. "Literature and the Narrative Self." Philosophy 78, no. 1 (January 2003): 93–108. http://dx.doi.org/10.1017/s0031819103000068.

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Claims that the self and experience in general are narrative in structure are increasingly common, but it is not always clear what such claims come down to. In this paper, I argue that if the view is to be distinctive, the element of narrativity must be taken as literally as possible. If we do so, and explore the consequences of thinking about our selves and our lives in this manner, we shall see that the narrative view fundamentally confusues art and life. We learn from art itself that our selves and lives transcend narratives and that thinking in a narrative manner ignores the rich complexity of individual persons.

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Stepanova, Lyudmila, and Yu Yan. "Narrative-discursive approach in the aspect of Art Pedagogy." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 110–16. http://dx.doi.org/10.24195/2617-6688-2019-3-16.

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The article covers the results of theoretical and methodological research of the phenomenon “narrative discourse”, clarifies its essence through the prism of the basic provisions of narratology and artistic pedagogy. The introduction highlights the relevance of the problem, the purpose and objectives of this stage. The research was carried out on the material of scientific elaborations that highlight the phenomenology of the narrative discourse and the narrative-discursive approach. In order to realize the purpose and to solve the set tasks in the course of exploration, we used a complex of methods: theoretical ‒ the analysis, comparison, generalization of philosophical, psychological, pedagogical, art, musical and pedagogical sources ‒ to clarify the essence and content of the phenomena “narrative” and “discourse” in the field of arts; the contextual analysis ‒ to define the concepts “the narrative discourse” and “the narrative-discursive approach”; empirical ‒ generalization of pedagogical and methodological experience, innovative practices; theoretical generalization ‒ to predict and substantiate the perspectives of the narrative-discursive approach as a methodological basis for training future teachers of Arts. As a result of the theoretical and methodological research, the essence of the concepts “narrative” and “discourse” has been clarified. The term “pedagogical narrative” has been defined as a special means of personality formation, his / her knowledge, skills, experience; a specific method of optimizing the processes of personal socialization and immersion of an individual into the public worldview, a worldview through a story that reflects imaginary or real events. It has been established that the pedagogical potential of the narration-based approach is determined by the ideas of hermeneutical and phenomenological analysis of texts as general cultural and pedagogical phenomena. The prospects of introducing the narrative-discursive approach into the process of training future teachers of Arts have been determined. The narrative-discursive approach directs perspective directions of further scientific explorations of the problem related to the determination of pedagogical principles and conditions enabling the formation of the narrative competence of future teachers of Arts. Keywords: narrative, discourse, narrative-discursive approach, future teachers of Arts.

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Wang, Qiong. "A Brief Analysis on the Narrative Art of Pulp Fiction." Art and Society 2, no. 1 (February 2023): 42–44. http://dx.doi.org/10.56397/as.2023.02.06.

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Pulp Fiction by Quentin Tarantino was made in 1994. With its novel and unique method and structure of narration, the film won many international awards including the Academy Award, the Golden Globe Award and the Golden Palm. The film adopted a seemingly messy but orderly form of expression, showing black violence, vulgar, marginal and other narrative elements, as well as subverting the traditional narrative perspective and space, creating a brand new visual experience for the audience. Today, China’s movie market is very prosperous, China has become the second largest movie market after the United States, and has the largest movie audience in the world. However, the overall level of Chinese film industry is low. This paper analyzes the non-linear narrative structure and omniscient narrative perspective of Pulp Fiction, thus exploring the feelings it brought to the audience through its unique narrative method. By doing so, this paper hopes to provide some reference for the development of Chinese narrative film.

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Hafeli, Mary. "Angels, Wings, and Hester Prynne: The Place of Content in Teaching Adolescent Artists." LEARNing Landscapes 2, no. 1 (February 1, 2008): 87–113. http://dx.doi.org/10.36510/learnland.v2i1.277.

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This case study uses adolescents’ accounts of studio practice to trace the diverse themes, sources, and contexts that inspire aesthetic and narrative meaning in their artworks. Beyond self expression and formal and technical concerns, the study illustrates how eight young artists work to address cultural and aesthetic themes that borrow, build on, and ultimately reinvent conventional narratives and art forms. Narrative formation, and its relevance for learning and teaching art, is investigated as distinct but related practices in multiple worlds of art, cultures, and education.

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El-Nasr, Magy Seif. "Interaction, narrative, and drama." Interaction Studies 8, no. 2 (June 19, 2007): 209–40. http://dx.doi.org/10.1075/is.8.2.03eln.

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Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to the unpredictability of users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre.

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Li, Qizhan. "A Study on the Embodiment of New Sensation Literature in Film Art." International Journal of Education and Humanities 5, no. 2 (October 25, 2022): 69–71. http://dx.doi.org/10.54097/ijeh.v5i2.2107.

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The novels of the New Sensation, which rose in the late 1920s and early 1930s, have brought fresh feelings to the new literature with their new, strange and strange characteristics. The discussion of the narrative art of the New Sensation plays a great role in correctly understanding the artistic value, style and characteristics of the New Sensation novels. The narrative development of the Suzhou Creek by Lou Ye is not only a structural reference and innovation, but also a practical behavior of the change of creative ideas. The new feeling of Suzhou Creek is characterized by the equal transformation of narrative perspective, the control of emotional rhythm and synchronic time and space. This paper starts with narration, and enters into the reading space of the novel from three aspects: narrative angle, narrative time and space, and narrative structure to capture and appreciate this "new feeling", so as to grasp the main artistic features of this novel genre.

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Veshnev, Vasily P., and Dmitry G. Tkach. "Principles and methods of creating subject compositions of modern street art." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 357–71. http://dx.doi.org/10.37816/2073-9567-2021-62-357-371.

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The paper traces the evolution of compositional solutions and figurative content of narrative street art from its inception to the present and identifies the most common constituent elements of narrative street art compositions. They include: narrative photo images, narrative digital art, narrative unique and printed author's graphics, narrative scenes and elements from the works of classical, national art and mass culture. The author considers the relationship between the evolution of technical means in the arsenal of street art artists and creative techniques and methods performed in figurative street art compositions. The narrative component was present already at the stage of graffiti and early street art, then gradually evolved towards greater significance and diversity of compositional solutions, reaching its heyday in modern public art. The study discusses characteristic creative techniques of iconic figures in contemporary street art and their role in the process of evolution of narrative street art compositions. Among them are Seen, K. Haring, J. M. Basquiat, Banksy, Ma Claim, Shepard Fairey, as well as the Russian cult street-art artist Pavel Pukhov, who gained international fame during his lifetime. The authors determined main methods of creating narrative compositions in contemporary street art; the most commonly used ones are the literal reproduction of narrative source material, the multiplication of primary sources, their mixing, superimposition and collage. The paper outlines the main principles of successful narrative street art compositions, including the relevance of the narrative, communication and contextual aspects, poster art, ensuring a quick perception by using an artistic language accessible to the mass audience, the use of easily recognizable allusions and archetypical images.

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Kokanović, Renata, and Meredith Stone. "Listening to what cannot be said: Broken narratives and the lived body." Arts and Humanities in Higher Education 17, no. 1 (September 27, 2017): 20–31. http://dx.doi.org/10.1177/1474022217732871.

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The core of this special issue of Arts and Humanities in Higher Education emerged from the Broken Narratives and the Lived Body conference held in 2016. The ‘Broken Narrative’ essays included in this issue open up a critical space for understanding and theorising illness narratives that defy a conventional cognitive ordering of the self as a bounded spatial and temporal entity. Here, we discuss how narratives might be ‘broken’ by discourse, trauma, ‘ill’ lived bodies and experiences that exceed linguistic representation. We trouble distinctions between coherent and incoherent narratives, attending to what gaps, silences and ‘nonsenses’ can convey about embodied illness experiences. Ultimately, we suggest that ‘breaks’ are in fact a continuation of embodied narration. This is shown in the ‘Art and Trauma’ forum of essays, which reveal how narrative silences can ‘infect’ other embodied subjects and be transformed, achieving musical or visual representation that allow us to apprehend the ‘constitutive outside’ of narratives of illness or trauma.

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Smyczyńska, Katarzyna. "A door to the unknown: crossing boundaries through picturebook art." Problemy Wczesnej Edukacji 34, no. 3 (September 30, 2016): 69–83. http://dx.doi.org/10.5604/01.3001.0009.4844.

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This paper engages with the question of the ethical implications of, and artistic imagination in picturebooks. The analysis relies on two visual narratives confronting the theme of cultural difference. The juxtaposition of the two books that share the themes of visiting and hosting, of confronting otherness, and of cultural prejudice indicates differences in their narrative and artistic potential. The analysis of formal strategies in Jemmy Button by Jennifer Uman and Valerio Vidali and in Eric by Shaun Tan serves to point out the role of artistic imagination and narrative wisdom in creating visual literature.

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Craig, Jennifer. "Narrative art inquiry and anorexia nervosa." Nursing Standard 18, no. 46 (July 28, 2004): 33–37. http://dx.doi.org/10.7748/ns2004.07.18.46.33.c3656.

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Kuplen. "Therapeutic Self-knowledge in Narrative Art." Journal of Aesthetic Education 55, no. 1 (2021): 56. http://dx.doi.org/10.5406/jaesteduc.55.1.0056.

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Castriota, David, and Mark D. Stansbury-O'Donnell. "Pictoral Narrative in Ancient Greek Art." American Journal of Archaeology 105, no. 2 (April 2001): 354. http://dx.doi.org/10.2307/507297.

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Faryad, Waqas. "Narrative Art in Rasheed Amjad's Fictions." Makhz 2, no. III (September 30, 2021): 286–92. http://dx.doi.org/10.47205/makhz.2021(2-iii)22.

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Mitchell, Kristina E., Amanda Martin-Hamon, and Maura Coleman-Murray. "Instructional Resources: Narrative Devices in Art." Art Education 52, no. 5 (September 1999): 25. http://dx.doi.org/10.2307/3193813.

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George, Michael. "Mathematics Teaching as a Narrative Art." Mathematics Teacher 108, no. 4 (November 2014): 266–71. http://dx.doi.org/10.5951/mathteacher.108.4.0266.

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Williams, Rachel, and Janette Y. Taylor. "Narrative Art and Incarcerated Abused Women." Art Education 57, no. 2 (March 2004): 47–54. http://dx.doi.org/10.1080/00043125.2004.11653543.

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Thomas, Carol G. "GREEK GEOMETRIC NARRATIVE ART AND ORALITY." Art History 12, no. 3 (September 1989): 257–67. http://dx.doi.org/10.1111/j.1467-8365.1989.tb00358.x.

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Webb, Ruth, and Peter Holliday. "Narrative and Event in Ancient Art." Art Bulletin 78, no. 1 (March 1996): 162. http://dx.doi.org/10.2307/3046162.

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Matz, David. "Negotiation and the Art of Narrative." Negotiation Journal 31, no. 3 (July 2015): 285–90. http://dx.doi.org/10.1111/nejo.12095.

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Livholts, Mona. "Narrative writing as art based practice." Research in Arts and Education 2018, no. 3 (December 1, 2018): 10–29. http://dx.doi.org/10.54916/rae.118857.

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Jo, Jae Hong. ""The Study of connection between art and narrative - until the disappearance of narrative in Modernism art -"." Journal of Basic Design & Art 20, no. 4 (August 31, 2019): 527–42. http://dx.doi.org/10.47294/ksbda.20.4.38.

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Je, Sukhee, and Sunnam Choi. "An Ontological narrative Inquiry on Art Therapist’ Art Diary Experience." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 17 (September 15, 2022): 319–40. http://dx.doi.org/10.22251/jlcci.2022.22.17.319.

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Objectives The purpose of this study is to understand what art therapists experience in the process of painting diary and what meaning those experiences have in the life of an art therapist. Methods The inquiry method was an autobiographical inquiry, and among the qualitative research methods, the method of narrative inquiry was used. The research procedure was conducted from January 2021 to April 2022, and the analysis contents of the art therapist's analysis process and the researcher's flower drawings and diary writing were used as artifacts. Results As a result of the investigation, the picture diary is a promise to the father, a pure record that connects the past and the present, and the image, that is, the flower painting, freed emotions and experiences. Also, although the analysis was painful, it became the basis for growth and healing, and the picture diary was a process of having time to immerse myself in my inner voice. Conclusions This investigation was a courageous challenge for me as an art therapist to look back on my life through a picture diary, and it was a process of loving myself.

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Rosenthal, Nicolas G. "Rewriting the Narrative." California History 96, no. 4 (2019): 54–77. http://dx.doi.org/10.1525/ch.2019.96.4.54.

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A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.

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De Weever, Jacqueline. "Introduction: The Saracen as Narrative Knot." Arthuriana 16, no. 4 (2006): 4–9. http://dx.doi.org/10.1353/art.2006.0000.

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Grimm, Kevin T. "Sir Thomas Malory's Narrative of Faith." Arthuriana 16, no. 2 (2006): 16–20. http://dx.doi.org/10.1353/art.2006.0070.

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Mills, BA, Emily J., Lauren S. Seifert, PhD, and Clare Murray Adams, MFA. "Arts-based reminiscence through visual art and narrative analysis: An intergenerational exploration." American Journal of Recreation Therapy 13, no. 3 (February 12, 2017): 34. http://dx.doi.org/10.5055/ajrt.2014.0077.

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Objective: To celebrate memory through intergenerational reminiscence that led to the creation of Keepsake Boxes and to the cultivation of lively narratives about them. In Western cultures, adults more than 65 years of age are often subjected to negative and condescending attitudes. Yet they are one of our greatest resources—possessing life experience and wisdom. The current research study sought to oppose ageism and affirm the value of aging adults through reminiscence, expressive art, visual analysis, and narrative analysis. In an intergenerational collaboration, a multimethod and trans-disciplinary approach was used to investigate an arts-based reminiscence activity. With a focus on problem solving, the authors drew upon theory, research, and methods from art, psychology, gerontology, and literary analysis. Dialogic process, narrative analysis, qualitative research techniques, and visual methods were cultivated. All participants took an art class that focused on one of their chosen, significant memories. The researchers used both narrative and visual methods to respond to participants’ artwork and narrative explanations. This project provides an example of the use of multiple methodologies within a trans-disciplinary framework to help engage adults across generations in reminiscence and reflection. It reasserts a positive role of art activities in elder life and of intergenerational collaboration in arts-based research.

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Moloney, Francis J. "Book Review: Narrative Art and Act in the Fourth Gospel." Pacifica: Australasian Theological Studies 11, no. 3 (October 1998): 333–35. http://dx.doi.org/10.1177/1030570x9801100311.

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Spivey, Nigel. "Art and Archaeology." Greece and Rome 61, no. 2 (September 12, 2014): 287–90. http://dx.doi.org/10.1017/s0017383514000138.

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Whatever Luca Giuliani writes is usually worth reading. Image and Myth, a translation and revision of his Bild und Mythos (Munich, 2003), is no exception. This monograph engages with a topic germane to the origins and development of classical archaeology – the relation of art to text. Giuliani begins, rather ponderously, with an exposition of G. E. Lessing's 1766 essay Laokoon, ‘on the limits of painting and poetry’. Lessing, a dramatist, predictably considered poetry the more effective medium for conveying a story. A picture, in his eyes, encapsulates the vision of a moment – likewise a statue. The Laocoon group, then, is a past perfect moment. A poet can provide the beginning, middle, and end of a story; the artist, only the representation of a fleeting appearance. Giuliani shows that this distinction does not necessarily hold – works of art can be synoptic, disobedient of Aristotelian laws about unity of place and time (and scale). Yet he extracts from Lessing's essay a basic dichotomy between the narrative and the descriptive. This dichotomy dictates the course of a study that is most illuminating when its author is being neither narrative nor descriptive but analytical – explaining, with commendable care for detail, what we see in an ancient work of art. But is the distinction between narrative and descriptive as useful as Giuliani wants it to be? One intellectual predecessor, Carl Robert, is scarcely acknowledged, and a former mentor, Karl Schefold, is openly repudiated; both of these leave-takings are consequent from the effort on Giuliani's part to avoid seeking (and finding) ‘Homeric’ imagery in early Greek art. The iconography of Geometric vases, he maintains, ‘is devoid of narrative intention: it refers to what can be expected to take place in the world’ (37). In this period, we should not be asking whether an image is ‘compatible’ with a story, but rather whether it is incomprehensible without a story. If the answer is ‘no’, then the image is descriptive, not narrative. Thus the well-known oinochoe in Munich, clearly showing a shipwreck, and arguably intending to represent a single figure astride an overturned keel, need not be read as a visual allusion to Odyssey 12.403–25, or some version of the tale of Odysseus surviving a shipwreck. It is just one of those things that happens in the world. Well, we may be thinking – let us be glad that it happens less frequently these days, but double our travel insurance nevertheless. As Giuliani commits himself to this approach, he is forced to concede that certain Geometric scenes evoke the ‘heroic lifestyle’ – but, since we cannot admit Homer's heroes, we must accept the existence of the ‘everyman aristocrat’ (or aristocratic everyman: either way, risking oxymoron). Readers may wonder if Lessing's insistence on separating the descriptive from the narrative works at all well for Homer as an author: for does not Homer's particular gift lie in adding graphic, descriptive detail to his narrative? And have we not learned (from Barthes and others) that ‘descriptions’, semiotically analysed, carry narrative implications – implications for what precedes and follows the ‘moment’ described? So the early part of Giuliani's argument is not persuasive. His conviction, and convincing quality, grows as artists become literate, and play a ‘new game’ ‘in the context of aristocratic conviviality’ (87) – that of adding names to figures (as on the François Vase). Some might say this was simply a literate version of the old game: in any case, it also includes the possibility of ‘artistic licence’. So when Giuliani notes, ‘again we find an element here that is difficult to reconcile with the epic narrative’ (149), this does not, thankfully, oblige him to dismiss the link between art and text, or art and myth (canonical or not). Evidently a painter such as Kleitias could heed the Muses, or aspire to be inspired; a painter might also enjoy teasing his patrons with ‘tweaks’ and corrigenda to a poet's work. (The latter must have been the motive of Euphronios, when representing the salvage of the body of Sarpedon as overseen by Hermes, rather than by Apollo, divergent from the Homeric text.) Eventually there will be ‘pictures for readers’, and a ‘pull of text’ that is overt in Hellenistic relief-moulded bowls, allowing Giuliani to talk of ‘illustrations’ – images that ‘have surrendered their autonomy’ (252).

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van der Hout, Sanne, and Martin Drenthen. "Hunting for Nature’s Treasures or Learning from Nature?: The Narrative Ambivalence of the Ecotechnological Turn." Nature and Culture 12, no. 2 (June 1, 2017): 162–80. http://dx.doi.org/10.3167/nc.2017.120204.

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Scientists need narrative structures, metaphors, and images to explain and legitimize research practices that are usually described in abstract and technical terms. Yet, sometimes they do not take proper account of the complexity and multilayered character of their narrative self-presentations. This also applies to the narratives of ecotechnology explored in this article: the treasure quest narrative used in the field of metagenomics, and the tutorial narrative proposed by the learning-from-nature movement biomimicry. Researchers from both fields tend to underestimate the general public’s understanding of the inherent ambivalence of the narratives suggested by them; the treasure quest and tutorial narratives build upon larger master narratives that can be found throughout our culture, for instance, in literature, art, and film. We will show how these genres reveal the moral ambivalence of both narratives, using two well-known movies as illustrations: Raiders of the Lost Ark (1981) and Disney’s The Sorcerer’s Apprentice (1940).

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Hetka, Eliza. "Creative Art and Psychopathology: Jerzy Krzysztoń’s Insanity." Ruch Literacki 58, no. 2 (March 1, 2017): 177–97. http://dx.doi.org/10.1515/ruch-2017-0025.

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Summary This article is an attempt at reopening the discussion about the art of psychotic artists. It revisits the problem of schizophrenic art creation, which tends to be neglected or marginalized, by focusing on Jerzy Krzysztoń’s Obłęd (Insanity). The novel, treated as an example of schizophrenic narrative, a subset of trauma narratives, is examined here in two aspects, its language and the structure of its fictional world. This is an interdisciplinary, comparative study which makes use of the analytical tools of psychology, psycholinguistics and psychiatry.

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Liu, Xia. "The specifics of the narrative in the opera genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 170–83. http://dx.doi.org/10.34064/khnum1-55.12.

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Logical reason for research. The opera art remains an object of high attention of the public, and of the composing and performing art; it has a diverse repertoire in various historical, national and author’s styles, it is presented by interesting results in the field of innovations and theatre experiments. This situation has always led to theoretical understanding and generalization in musicology studies at various levels; it raises many questions related to the genesis and development of the opera genre, its historical path, both in historical, cultural and theoretical understanding, as well as in the performing sphere, in line with the modern interpretology searches. This aspect combines a number of historical, theoretical and practical questions into a single complex, and also allows one to find answers to these questions related to the demands of both musical science and musical practice. Innovation. The article is devoted to one of the most basic genre indicators of an opera composition. The narrative in music is presented as a special setting for the verbal narrative, associated, on the one hand, with the narrative plot, and on the other hand, with an emotional assessment of the events reflected; these two vectors interact in the opera at the genre level. One of the theories of literary criticism, which can be useful both in the process of theoretical research of the opera genre and in the field of the practical embodiment of an opera composition on the stage, is the theory of the narrative. Associated with the study of a special type of the narrative, this theory can be involved in the study of opera compositions, which also represent the embodiment of the narrative, as a rule, quite large-scale and complex, where the narrative, the plot, is realized both by the word and by means of the dramatic art. Objectives. The purpose of the presented study is to identify the specifics of the action of the narrative in the opera genre. Methods. The main methods of the presented research are the genre one and the narrative one. The first is related to the identification of the genre meaning of the narrative in an opera composition, the second helps to characterize the structural and semantic features of the narratives that are involved in the opera genre. Results and Discussion. The systematization of scientific sources on the theory of the narrative, according to its specifics in the musical art, in particular in the opera genre, is certainly relevant for substantiating the theory of the opera narrative. The most systematic is the study by V. Schmidt “The Narratology”. Many scientific sources related to the study of the narrative address semantics issues as well. In the modern musicology, this aspect of research is very important; this is confirmed by scientific works devoted, in particular, to the musical and theatrical art, which has a synthetic artistic nature and the complex nature of the interaction of musical and extra-musical factors and, accordingly, the multi-level nature of semantics. Also noteworthy is the emergence of a large number of studies on musical interpretation, which are also devoted to semantics in the musical art both at the composing and at the performing level. Musical-scenic genres and, in particular, the opera as the leading one of them, has precisely the narrative character of its nature – this is a narrative about a number of interrelated events, which has a storyteller-mediator and an emotional assessment of what is happening. Thus, the narrative is a genre component of the opera and one can analyse the effect of the narrative at different levels of the opera genre – the author’s (composing) one and the performing (musical, stage, taking into account various parameters of the text and subtexts of the composition) one. A separate issue is the specifics of the genre varieties of the opera, but the narrativeness remains an integral part of its nature, even in the mono-opera, where the narration gets the status of “the first person”, but the suspension still occurs – it can have a temporary, plot-like, communicative character. The narrativeness as a genre quality in the opera is the result of the correlation of the verbal text and the corresponding plot of the vocal composition (the extra-musical component) and the peculiarities of their musical embodiment (the musical component). The narrative qualities can be manifested at all levels of the opera text, both to enhance the emotional colouring, and to contrast the juxtaposition, and to create the dramatic depth. In accordance with the synthetic nature of the genre, the opera narratives also show their synthetics. The task of the performer as a participant in the opera performance from the point of view of the implementation of the narrative has the character of a composing performing interpretation to identify the artistic potential of the composition, as well as to create its individual performing version (from the singer to the conductor and the director). Conclusions. The use of the knowledge of philology and literary criticism in the musical science exists owing to the use of the word in the musical art. Manifestations of the narrativeness in music are primarily associated with those genres where literature, verbal text, and word are involved. The narrative as a story-telling, among other things, is characterized by an emotional attitude that is as if directed from the outside towards the one to whom the narrative is directed (in literature – the reader, in music – the listener). The most vividly and systematically the specificity of the action of the narrative (the narrativeness) manifests itself where there is a word and a story-telling, a plot, namely in the musical-stage genres, especially in the opera. Here, the narrative determines the specifics of the genre, while acting at several levels, since it is associated not only with the literary, but also with the theatrical factor. Another important quality of the narrative is the connection with the mediator between its source and the recipient, and in the art of music such a special intermediary is the performer; consequently, the narrative in music is firmly connected with the performing interpretation, and with the performing art.

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Vieira, Estela. "THE ART OF STEALING: EÇA DE QUEIRÓS AND KLEPTOMANIA." Revista de Estudos Literários 6 (December 27, 2017): 239–60. http://dx.doi.org/10.14195/2183-847x_6_11.

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This essay analyzes an important early short story by José Maria de Eça de Queirós (1845-1900), “Eccentricities of a Blonde-Haired Girl”, first published in 1874. The female protagonist’s kleptomania plays a major role in the story, and is far more significant than has been previously noted by criticism. While her impulse to steal serves to challenge and undermine the social, economic, and patriarchal order it also functions as a meta-narrative technique. Through a focus on the materiality of the story, on the objects stolen, and on the symbolic and metonymic references, this essay connects a critique of economic and literary conventions with the story’s narrative structure. As Marie-Hélène Piwnik has noted, “Eccentricities of a Blonde- Haired Girl” resonates with an earlier short narrative by Balzac, just as the ambivalent first-person narrator seems to steal the romantic tale from the protagonist Macário. This instability of narrators and authors is part of Eça’s art of stealing and narrating, and Luísa’s kleptomania, as an extension of the author’s own, is thus a mark of autonomy, creativity, and critique, a revisionary shaking of established orders.

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Tsang, Winnie. "Creating National Narrative: The Red Guard Art Exhibitions and the National Exhibitions in the Chinese Cultural Revolution 1966 - 1976." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 117–32. http://dx.doi.org/10.5195/contemp.2014.58.

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The artistic development in China experienced drastic changes during the Cultural Revolution from 1966 to 1976. Traditional Chinese art was denounced, whereas propaganda art became predominant in shaping the public’s loyalty towards the Communist Party and the country. Two major groups of art exhibitions emerged during the Revolution—the unofficial Red Guard art exhibitions organized by student activists in collaboration with local communes and art schools between 1966 and 1968, and the state-run national exhibitions from 1972 to 1975. These exhibitions were significant to this period because they were held frequently in the capital city Beijing and occasionally elsewhere, and through art they presented unique revolutionary beliefs to the Chinese people in a public setting. While the Red Guard art exhibitions and the national exhibitions certainly created different national narratives, I argue that the national exhibitions were in fact an attempt to revise the national narrative created by the Red Guard art exhibitions in order to re-establish a more utopian, consistent, and official national narrative. This paper unravels the intricate relationship between the two groups of exhibitions by comparing their exhibition venues, ideological focuses, work selection and quality editing.

Journal articles on the topic 'Narrative art'

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