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Oenning da Silva, Rita de Cácia. "Quem conta um conto aumenta muito mais que um ponto: narrativa, produção de si e gênero na produção fílmica com crianças pequenas." Perspectiva 33, no. 3 (April 1, 2016): 1069–88. http://dx.doi.org/10.5007/2175-795x.2015v33n3p1069.
Повний текст джерелаАнотація:
Analisando as performances narrativas do conto Chapeuzinho Vermelho de três crianças pequenas (2 a 4 anos de idade) frente à câmera filmadora, este artigo apresenta e discute o modo como essas narrativas tanto expressam quanto constituem o mundo e os sujeitos narradores. Variando na forma narrativa, no conteúdo e nos personagens clássicos do conto, essas performances narrativas revelam como as crianças narradoras entendem e dinamizam relações: entre seus pares (atentando especialmente para as relações de gênero – gender); com outros seres (imaginários ou não); e com o próprio gênero narrativo. A análise aponta para como, através dessas narrativas, estão testando possibilidades (de e entre seres, de linguagens, de fórmulas narrativas, de interação e estética). Chama-se a atenção para a capacidade transformativa e criativa presente nas performances narrativas de crianças pequenas e do aspecto filosófico do seu pensamento. Dessa forma, narrando frente à câmera e à plateia, fazem-se sujeitos: produzem a si mesmas e o mundo. More then just telling tales: narrative, self production and gender/genre in film production with small children AbstractThrough an analysis of the narratives of three small children playing with a video camera, the article presents and discusses the way that small children both express and produce themselves. As they vary the narrative form, the plot, and the characters of Little Red Riding Hood, these children's performances reveal how they understand and catalyze relations with their peers (especially subverting gender relations), with other beings (human, animal, imaginary beings etc.), and with narrative genre. Through these narratives they test the possibilities of beings, of interaction, and of language, opening a range of possibilities for an aesthetic of self. Based on an extensive background of film production with children, I point out the philosophical aspects of this production, showing how the performative and creative capacity of children open a space where they represent them selves. Narrating for the camera or for an audience, these children turn themselves into social subjects, thus producing themselves and the world.Keywords: Small Children. Narrative Performance. Digital Media. El cuento va más allá de lo contado: la narrativa, la producción de sí mismo, y el género en la producción cinematográfica con niños pequeños ResumenAnalizando de las narrativas de Caperucita Roja contadas por tres niños pequeños (2-4 años) en frente de la videocámara, este artículo presenta y discute cómo estas narrativas tanto expresan el mundo y como constituyen a sus narradores como sujetos. Estas actuaciones narrativas revelan cómo los pequeños narradores entienden y crean relaciones: entre pares (con especial atención a las relaciones de género); con otros seres (de ficción o no); y con su propio género narrativo. Los análisis apunta a las posibilidades de cómo, a través de estos relatos, están probando posibilidades (entre los seres, los idiomas, las fórmulas narrativas, la interacción y la estética). Llama la atención sobre la capacidad transformadora y creativa de este interpretaciones narrativas de los niños pequeños y el aspecto filosófico de su pensamiento. Por lo tanto, haciendo la narración delante de la cámara y del público, se convierten en sujetos: producen ellos mismos y el mundo.Palabras claves: Primera Infancia. Narrativa. Género.
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Paviotti, Antea. "God and COVID-19 in Burundian social media: The political fight for the control of the narrative." Journal of African Media Studies 13, no. 3 (September 1, 2021): 385–97. http://dx.doi.org/10.1386/jams_00055_1.
Повний текст джерелаАнотація:
While an incredible series of twists characterized the fight against COVID-19 in Burundi and its narration, references to God have never been missing in the narratives around the disease. Trust in God represented one of the pillars of the government’s narrative, next to an attitude of ‘denialism’, and the fight against ‘fake news’. This article analyses the evolution of the narration of COVID-19 on Twitter during the first three phases of the fight against the disease, focusing on the use of the religious narrative. Within Burundi’s contemporary sociopolitical context, analysis of these narratives on social media best demonstrates how the fight against COVID-19 in Burundi was a fight for the control of the narrative, and by extension for political legitimacy.
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Baptaglin, Leila Adriana, and Doris Pires Vargas Bolzan. "PERCURSOS INVESTIGATIVOS ACERCA DA APRENDIZAGEM DA DOCÊNCIA NO ENSINO MÉDIO INTEGRADO." Cadernos de Pesquisa 21, no. 2 (June 26, 2014): 52. http://dx.doi.org/10.18764/2178-2229.v21.n2.p.52-66.
Повний текст джерелаАнотація:
Este estudo objetiva aprofundar a discussão da cultura escolar como uma dimensão da aprendizagemda docência dos professores que trabalham nos cursos de Ensino Médio Integrado. A metodologia utilizada é denatureza qualitativa, com abordagem narrativa sociocultural. Tomamos por base, para a discussão da narrativa socioculturalos estudos de Vygotski (1995, 2003, 2007). Para a discussão da aprendizagem da docência nos cursostécnicos de Ensino Médio integrado utilizamos os estudos de Forquin (1993) e Julia (2001). Nesta perspectiva, apartir da análise das narrativas docentes evidenciamos as dimensões da cultura escolar e da cultura docente comoconstituintes da Aprendizagem da docência. Neste ensaio procuramos aprofundar as discussões relativas à culturaescolar destacando seus eixos articuladores e elementos categoriais. Assim, é possível constatar, com base nasnarrativas, a existência de um habitus docente na cultura do professor que está constantemente problematizando ereorganizando a cultura escolar, consolidando a aprendizagem da docência.Palavras-chave: Aprendizagem da Docência. Educação Profissional. Cursos Técnicos. Narrativa Sociocultural. INVESTIGATIVE PATHWAYS LEARNING ABOUT TEACHING IN INTEGRATEDSECONDARY EDUCATIONAbstract: This issue aims to deepen the discussion of school culture as a dimension of teachers’ learning thatwork in integrated high school courses. The methodology is qualitative in nature with sociocultural narrative approach.We take a basis for discussion about sociocultural narrative, based on Vygotsky’s studies (1995, 2003,2007). For a discussion of learning in teaching technical courses in high school we used integrated studies Forquin(1993) and Julia (2001). In this perspective, from the narratives teachers evidenced dimensions of school culture andteaching culture as a constituent of Learning of teaching. In this essay we seek to deepen discussions on schoolculture emphasizing their axes articulators and categorical elements Thus, it can be understood throught the studyof the narratives the existence of a teacher habitus in the culture of the teacher who is constantly questioning andrearranging the school culture, consolidating the learning of teaching.Keywords: Learning of teaching. Vocational Education. Technical courses. Sociocultural narrative. PERCURSOS INVESTIGATIVOS ACERCA DEL APRENDIZAJE DE LA DOCENCIAEN LA ENSEÑANZA MEDIA INTEGRADAResumen: Este estudio objetiva profundizar la discusión de la cultura escolar como una dimensión del aprendizajede la docencia de los profesores que trabajan en los cursos de enseñanza media integrada. La metodología utilizadaes de naturaleza cualitativa con abordaje narrativa sociocultural. Tomamos por base, para la discusión de la narrativasociocultural los estudios de Vygotski (1995, 2003, 2007). Para la discusión del aprendizaje de la docencia enlos cursos técnicos de enseñanza media integrada utilizamos los estudios de Forquin (1993) y Julia (2001). En estaperspectiva, a partir del análisis de las narrativas docentes evidenciamos las dimensiones de la cultura escolar yde la cultura docente como constituyentes del Aprendizaje de la Docencia. En este ensayo procuramos profundizarlas discusiones relativas a la cultura escolar destacando sus ejes articuladores y elementos categoriales. Así, esposible constatar, con base en las narrativas, la existencia de un habitus docente en la cultura del profesor que estáconstantemente problematizando y reorganizando la cultura escolar, consolidando el aprendizaje de la docencia.Palabras clave: Aprendizaje de la Docencia. Educación Profesional. Cursos Técnicos. Narrativa Sociocultural.
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Sapiezynska, Ewa. "The Media and Power in Postliberal Venezuela." Latin American Perspectives 44, no. 1 (July 27, 2016): 199–214. http://dx.doi.org/10.1177/0094582x16661185.
Повний текст джерелаАнотація:
Two narratives dominate the literature about the state of freedom of expression in postliberal Venezuela, and they have few points in common, since they depend on different conceptualizations of the notion of freedom of expression. While the traditional liberal narrative focuses on the negative freedom that prohibits state interference, the postliberal narrative is based on positive freedom that encompasses the collective right of self-realization, particularly for the previously marginalized. During the government of Hugo Chávez, the discourse of freedom of expression was renewed, placing it in the context of power relations, accentuating positive freedom, and emphasizing the role of the public and community media. The establishment of the international public channel TeleSUR has revived the 1970s debate about the right to communication and contributed to the creation of a new Latin American-ness. En la literatura predominan dos narrativas acerca del estado de la libertad de expresión en la Venezuela posliberal las que tienen pocos puntos en común porque parten de visiones distintas del concepto de la libertad de expresión. Mientras la narrativa liberal tradicional enfoca sólo en la libertad negativa que previene la injerencia estatal, la narrativa posliberal se centra en la libertad positiva que abarca la autorrealización del derecho colectivo, también de los previamente marginalizados. Durante el gobierno de Hugo Chávez el discurso acerca de la libertad de expresión se renueva, insertando el concepto en el contexto de las relaciones de poder, acentuando la libertad positiva y enfatizando el rol de los medios públicos y comunitarios. El establecimiento del medio público internacional TeleSUR revive los debates sobre el derecho a la comunicación de la década de los 70 y aporta a la creación de una nueva Latinoamericanidad.
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Haj Omar, Husam. "A narrative approach to media reporting of the Arab-Israeli conflict 2000–2010." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 17, no. 1 (July 26, 2019): 20–38. http://dx.doi.org/10.1075/forum.17014.haj.
Повний текст джерелаАнотація:
Abstract Narrative shapes conflict, influencing its outcomes and the parties involved in it. Translations reported by media lie in the heart of this dynamism as translation plays a crucial role in enabling narratives to cross cultural and linguistic barriers. This paper adopts a narrative approach to the analysis of media reporting of political discourse communicated during the Arab-Israeli conflict. The data under analysis is mainly derived from three conflicts: The Second Intifada 2000–2005, Lebanon War 2006 and Gaza War 2008/9. The study suggests that competing narratives have manifested themselves differently in the media reporting of the discourse. Statements have been framed and events labelled through the translations reported by media in line with the agenda of politically affiliated media outlets. Using various forms of framing and features of narrativity, conflicting parties have sought to promote their versions of the narrative on the conflict.
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Sverbilova, Tetiana. "COMPATIVE LITERATURE : FROM COMPARATIVE MEDIACULTURAL STUDIES TO TRANSMEDIAL NARATOLOGY." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 41–50. http://dx.doi.org/10.28925/2412-2475.2019.137.
Повний текст джерелаАнотація:
The article is devoted to the review of the prospects of multidisciplinary media-cultural studies in modern comparative literature studies towards comparative cultural studies and transmedial naratology. Comparative cultural studies syncretically combine the concepts of comparative literary criticism with the study of culture in the aspect of media-cultural studies, not limited to literature, but also various arts, mass media, computer games, etc. Literature is understood only as one of the media among other media. This is a transdisciplinary turn in comparative literature studies. Comparative naratology, and later transmedial naratology, in turn, is seen as a new discipline on the verge of literary comparativism, intermedialism, and naratology. The typology of intermedial forms of naratology in the classifications of Werner Wolf, Marie-Laure Ryan, and Jan-Noël Thon is discussed. Modern studies of various medial forms of narratives, which may also be presented in cinema, painting, graphic arts, ballet, comic books, and other mediums, and the discovery of the intermedial properties of narratives, lead to a rethinking of the fact that all narratives have a purely linguistic nature. Modern naratology as a separate discipline tends to go beyond purely literary narrative and transfer the concept of narration to other types of arts. Intermediate methodologies have already entered into comparative literature studies and have been successfully used in the analysis of literary works. It is about syncretic theoretical and methodological synthesis of three branches of art studies — naratology, intermedialism and literary comparativism, cross-disciplinary narrative studies. The combination of narrative and intermedial approaches to literature is becoming one of the most urgent tendencies of modern both naratology and the theory and practice of intermediality.
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Horstmann, Jan. "Zeitraum und Raumzeit: Dimensionen zeitlicher und räumlicher Narration im Theater." Journal of Literary Theory 13, no. 2 (September 6, 2019): 185–205. http://dx.doi.org/10.1515/jlt-2019-0007.
Повний текст джерелаАнотація:
Abstract The positioning in space and time of performed narration in theater poses a specific challenge to classical narratological categories of structuralist descent (developed, for example, by Gérard Genette or Wolf Schmid, for the analysis of narrative fiction). Time is the phenomenon which connects narratology and theater studies: on the one hand, it provides the basis for nearly every definition of narrativity; on the other, it grounds a number of different methodologies for the analysis of theater stagings, as well as theories of performance – with their emphasis on transience, the ephemeral, and the unrepeatable, singular or transitory nature of the technically unreproducible art of theater (e. g. by Erika Fischer-Lichte). This turn towards temporality is also present in theories of postdramatic theater (by Hans-Thies Lehman) and performance art. Narrating always takes place in time; likewise, every performance is a handling of and an encounter with time. Furthermore, performed narration gains a concrete spatial setting by virtue of its location on a stage or comparable performance area, so that the spatial structures contained in this setting exist in relation to the temporal structures of the act of theatrical telling, as well as the content of what is told. Both temporal and spatial structures of theater stagings can be systematically described and analyzed with a narratological vocabulary. With references to Seymour Chatman, Käte Hamburger and Markus Kuhn among others, the contribution discusses how narratological parameters for the analysis of temporal and spatial relations can be productively expanded in relation to theater and performance analysis. For exemplary purposes, it refers to Dimiter Gotscheff’s staging of Peter Handke’s Immer noch Sturm (which premiered in 2011 at the Thalia Theater Hamburg in cooperation with the Salzburger Festspiele), focusing on its transmedial broadening of temporal categories like order, duration, and frequency, and subsequent, prior, or simultaneous narration. The broadening itself proves feasible since all categories of temporal narration can be applied to performative narration in the theater – at times even more fruitfully than in written language, as is the case, for example, with the concept of ›duration‹. The concept of ›time of narration‹ too can be productively applied to theater. Whilst a subsequent narration is frequently considered the standard case in written-language narratives on the one hand – a conclusion that is, however, only correct if the narrator figure and narrative stand in spatiotemporal relation to one another, i. e. if a homodiegetic narrator figure is present – it is commonly held that in scenic-performed narration, on the other hand, the telling and the told take place simultaneously. The present contribution argues against this interpretation, as it stems from a misguided understanding of the ›liveness‹ of performance. ›Liveness‹ refers only to the relationship between viewers and performers and their respective presence, but not to their temporal and spatial relationship to the told. Rather, the following will argue that the time of narration in theater (as well as in film) stays unmarked in most cases. It is possible, however, to stage subsequent, prior, or simultaneous narration, too. Immer noch Sturm is one example for a performed subsequent narration. For audiovisual narration, then, a special case of iterative narration (telling once what happened n times) can be identified, which is to tell a few times (n minus x) what happened n times. As an additional category for the analysis of narrative temporality in audiovisual narrative media, I propose what I venture to call ›synchronized narration‹, in order to describe the specificity of spatiotemporal relations in performance. In synchronized narration, two or more events (that happen at different places or times in the narrative world) are shown at the same time on stage. This synchronized performance of several events is only realizable within the audiovisual dimension of spatial narration and not in written-language based narration. Furthermore, for narrative space relations the categories ›space covering‹, ›space extending‹, and ›space reducing narration‹ are suggested in order to analyze the relationships between discourse space and story space(s). Discourse space emerges in the concrete physical space of the performance when narrativity is present. Within this discourse space any amount of story spaces (with any expansion) can emerge. However, whilst in time-extending narration the time of the telling is longer than the time of the told, in space-extending narration the told space is bigger than the space of the telling. This principle is analogously valid for time-reducing or space-reducing narration. The transmission and media-specific broadening of temporal and spatial narratological parameters reveals how time and space form a continuum and should thus be linked and discussed alongside one another in analytical approaches to narrative artifacts. The staging of Immer noch Sturm actualizes a metaleptic structure, in which temporal borders are systematically dissolved and the overstepping of spatial borders becomes an indicator for the merging of different temporal levels. Referring back to established narratological parameters and developing analogous conceptual tools for narrative space facilitates a comparative analysis both of specific narratives and of narrative media and thus not only offers a productive challenge of classical narratological parameters, but allows to investigate and construct a holistic – if culture-specific – overall view of narration.
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Ferreira Junior, Sergio Do Espirito Santo, Nathan Nguangu Kabuenge, and Alda Cristina Costa. "Composição da intriga na narrativização de acontecimentos violentos // Emplotment in the narrativization of violent events." Contemporânea Revista de Comunicação e Cultura 18, no. 1 (September 29, 2020): 53. http://dx.doi.org/10.9771/contemporanea.v18i1.27597.
Повний текст джерелаАнотація:
A composição da intriga emerge no projeto hermenêutico de Paul Ricoeur como momento do processo da mímesis que instaura uma configuração narrativa de um mundo prefigurado rumo a uma refiguração do mundo, articulando uma síntese do heterogêneo que agencia acontecimentos e os associa a ações, causas e intenções. Neste trabalho, analisamos a composição da intriga em narrativas jornalísticas sobre violência urbana, partindo da tríplice mímesis em Paul Ricoeur, a fim de compreender os elementos e as estratégias alinhavados pela intriga da narrativização jornalística. Efetuamos a leitura de matérias sobre mortes violentas publicadas nas seções policiais dos jornais paraenses Diário do Pará e O Liberal, nos dias 23 de janeiro, 15 de março e 02 de maio de 2017. Para tanto, fazemos recurso ao projeto ricoeuriano de uma hermenêutica do texto e da narrativa. As leituras dos jornais nos permitem compreender uma armação da intriga que alinhava as narrativas como únicas, mas episódicas, assinalando um percurso eventivo da violência que permite que ela seja explicada e compreendida narrativamente.
As part of Paul Ricoeur’s hermeneutical project, emplotment is a moment of its threefold mimesis that establishes a narrative configuration of a prefigured world towards the refiguration of a world, articulating a synthesis of the heterogeneous that organizes events and associates them with actions, causes and intentions. We analyze emplotment in news media narratives on urban violence, going through Ricoeur’s threefold mimesis in order to understand elements and strategies aligned by the plot in news media narrativization. We carry out a reading of accounts on violent deaths published in the police sections of the newspapers Diário do Pará and O Liberal, on January 23, March 15 and May 2, 2017. We make use of the Ricoeurian project of a hermeneutics of the text and narrative. The readings of the newspapers allow us to understand a plot construction that presents the narratives as unique and episodic, marking an eventful course through which violence is to be narratively explained and understood.
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Henao, Laura. "Análisis sociológico del perdón: discursos dominantes y alternativos." REVISTA CONTROVERSIA, no. 209 (December 5, 2017): 111–68. http://dx.doi.org/10.54118/controver.vi209.1097.
Повний текст джерелаАнотація:
¿Qué significa el perdón? ¿Está el perdón en el centro de las narrativas de los sobrevivientes del conflicto? ¿Qué tan cerca se encuentran las narrativas de la prensa de las narrativas propias de quienes sufrieron el conflicto armado colombiano? La comparación de los discursos de los medios de comunicación con testimonios de víctimas, sugiere que existe una brecha en las narrativas de ambos al referirse a mecanismos de reparación. El perdón no está en el centro de las narrativas de las comunidades. En ese panorama, se hace necesario un estudio que muestre hasta dónde la narrativa del perdón ha sido institucionalizada para la reconfiguración del país, alejándose de las concepciones propias de quienes sufrieron violencia. Esto es de especial importancia en regímenes de transición.La metodología de la presente investigación recoge métodos mixtos novedosos que permiten acercarse al objeto de estudio: el perdón como narrativa de reconciliación. El uso de métodos cualitativos como el análisis de textos, y de métodos cuantitativos como Topic Modeling, hacen del presente estudio una investigación novedosa. Para ello, se analizaron 1.407 artículos de prensa de los dos principales diarios del país (El Tiempo y El Espectador) y de la revista con mayor circulación (Semana), y se compararon con 407 relatos y testimonios de víctimas de cinco casos emblemáticos, entendiendo los primeros como discursos dominantes, y los segundos como discursos alternativos.Palabras clave: narrativas, perdón, Topic Modeling, amnistías, indultos, opinión pública. ABSTRACTSociological analysis of forgiveness: Dominant and alternative discoursesWhat does forgiveness mean? Is forgiveness at the center of the narratives of conflict survivors? How close are the narratives of the press to the narratives of those who suffered the Colombian armed conflict? The comparison of the speeches of the media with testimonies of victims suggests that there is a gap between both narratives when referring to mechanisms of reparation. Forgiveness is not at the core of the narratives of the communities. In this scenario, a study is necessary to show how far the narrative of forgiveness has been institutionalized for the reconfiguration of the country, moving away from the conceptions of those who suffered violence. This is especially important in transition regimes. The methodology of this research includes novel mixed methods that allow us to approach the object of study: forgiveness as a narrative of reconciliation. The use of qualitative methods such as text analysis, and quantitative methods such as Topic Modeling, make this study a novel investigation. To this end, 1,407 press articles were analyzed from the country’s two main newspapers (El Tiempo and El Espectador) and from the magazine with the largest circulation (Semana), and were compared with 407 stories and testimonies from victims of five emblematic cases, understanding the former as dominant discourses, and the latter as alternative discourses.Keywords: narratives, pardon, Topic Modeling, amnesties, pardons, public opinion.
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Lucantoni, Davide. "Covid-19 e comunicazione istituzionale e mediatica." PRISMA Economia - Società - Lavoro, no. 1 (August 2021): 43–58. http://dx.doi.org/10.3280/pri2020-001004.
Повний текст джерелаАнотація:
L'articolo descrive i risultati di un'indagine condotta nell'area medio-adriatica durante la prima ondata della pandemia, sulle condizioni di vita della popolazione nel periodo di quarantena, raccogliendo informazioni sulle aspettative future del campione alla luce delle trasformazioni sociali portate dalla pandemia. Inoltre, viene fornito un quadro interpretativo in merito all'impatto che la compenetrazio-ne tra comunicazione politica e scientifica, all'interno delle dinamiche e dei mec-canismi narrativi dei diversi media, ha avuto sui comportamenti sociali e sulle formazioni identitarie in un contesto pandemico che mina la sicurezza ontologica degli individui. Infine, i dati relativi alle percezioni del campione sulla comunica-zione politica e scientifica vengono analizzati alla luce del fenomeno dell'infodemia, in particolare rispetto alle trasformazioni dell'agire comunicativo imposte dalla transizione digitale forzata del Paese. I risultati hanno mostrato che la fiducia nella credibilità e nelle fonti scientifiche è giudicata principalmente come sufficiente, anche se una parte non residuale del campione tende a dubitarne o a credere che si tratti di pura manipolazione. L'articolo sostiene che la comunicazio-ne scientifica non ha saputo uscire dall'impasse in cui lo scienziato legittima le sue affermazioni esercitando l'autorità che gli viene dogmaticamente attribuita dal buon senso, accettando la credibilità che gli viene offerta dal capitale simbolico proprio dei sistemi di credenze.
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Cascajosa Virino, Concepción, and Juan Pedro Molina Cañabate. "Narrativas expandidas entre la tradición y la innovación: construyendo el universo transmedial de "El Ministerio del Tiempo"." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 27 (January 3, 2017): 120. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017271544.
Повний текст джерелаАнотація:
El texto es una aproximación a la expansión narrativa de la serie de televisión El Ministerio del Tiempo (TVE1: 2015-) durante su segunda temporada. Se trata de un estudio de caso con el que valorar los retos y oportunidades que supone extender el universo narrativo de la ficción televisiva a través de productos orientados al consumo por parte de los fans. En el caso de El Ministerio del Tiempo es un aspecto clave ha sido la variedad de medios utilizados (ficción sonora, webserie, capítulo de realidad virtual, novelización), así con la recurrencia de temas y la estricta cohesión respecto a su material de partida, siendo un ejemplo modélico de expansión narrativa transmedial. This article focus on the narrative expansion of the television fiction series El Ministerio del Tiempo (TVE1: 2015) during his second season. It is a study case with the purpose of assessing the challenges and opportunities posed by the expanded narratives of television fiction series to be consumed by fans. In the case of El Ministerio del Tiempo, it is a key point the variety of media used (a sound fiction, a webserie, an episode of VR, a novelization), the recurrence of the same topics and the strict respect to the original material, so it can be considered as a model example of transmedial narrative expansion.
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Karbaum Padilla, Gerardo. "Narrativas social media y el prosumidor mediático." Correspondencias & Análisis, no. 8 (November 1, 2018): 219–38. http://dx.doi.org/10.24265/cian.2018.n8.11.
Повний текст джерела
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Dornelles, Olivia Maurício, and Fernanda Filgueiras Sauerbronn. "Narrativas: Definição e Aplicações em Contabilidade." Sociedade, Contabilidade e Gestão 14, no. 4 (January 2, 2020): 19–37. http://dx.doi.org/10.21446/scg_ufrj.v14i4.27082.
Повний текст джерелаАнотація:
Narrativas são textos que relatam acontecimentos de forma ordenada cronologicamente, com início, meio e fim, de forma que seja percebida a relação de causa e efeito entre os fatos. Diferem-se da descrição, da dedução e da poesia, pois apresentam um problema e sua resolução, e é isso que é narrado. Nas Ciências Sociais, nos anos 1990, houve uma recuperação do estudo das narrativas – narrative turn –, valorizando a maneira pela qual os fatos são contados, para além do conteúdo do que é dito. A presença do pesquisador também passou a ser valorizada, afastando a suposição de impessoalidade. O presente ensaio teve como objetivo apresentar a análise de narrativas de forma didática, com ênfase na aplicação em textos contábeis. Foram propostas duas maneiras de considerar as narrativas: tanto como forma de analisar diferentes tipos de textos quanto como modo de escrever os relatórios de pesquisa ou de obter os dados. Na análise narrativa, o texto é considerado como um todo; não são feitas segmentações das partes, como, por exemplo, na análise de conteúdo. Em relação à produção de narrativas, os relatórios finais podem ser escritos em primeira pessoa, semelhante a contar uma história; ou ainda os próprios dados podem ser obtidos através de narrativas, por exemplo, por entrevistas ou relatos pessoais. Em Contabilidade, a maioria dos artigos pesquisados usou como objeto da análise de narrativas os relatórios da administração e as cartas dos gestores que acompanham as demonstrações financeiras. A utilização de narrativas acrescenta um outro tipo de compreensão dos relatórios financeiros, complementar às análises quantitativas comumente empregadas.
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Snytko, Olena, and Stanislav Hrechka. ""Battle of narratives" in Ukraine's modern media space." Current issues of Ukrainian linguistics: theory and practice, no. 44 (2022): 86–117. http://dx.doi.org/10.17721/apultp.2022.44.86-117.
Повний текст джерелаАнотація:
The paper explores strategic communications in Ukraine's media space. Strategic communications as a system of multi-vector interaction with society have proven to be connected with a range of relevant and socially important issues, acting as the most effective technology in building the information defence amid intense hybrid aggression and ensuring the country's cognitive resilience. Typical anti-Ukrainian narratives undermine the main political reference points and affect the society's cognitive stability. The analysis of narrative realizations confirms that anti-Ukrainian narratives belong to post-truth. These narratives reflect the chaotization of world image: irrationality, emotionality, evaluation, expressiveness, and persuasiveness replace objectivity and rationality. The study determines the main features of strategic narratives and establishes the grand narrative in the strategic communications system. The paper claims a "battle of narratives" representing a struggle of different behavioural models exists in Ukraine's media space. All anti-Ukrainian narratives undermine the central Ukrainian narrative (or grand narrative), the identity narrative, while the majority of pro-Ukrainian narratives promote the idea of the Ukrainian people as a nation. An effective strategic narrative inevitably engenders a counter-narrative that aims at deconstructing or delegitimizing the previous narrative's (or its variants') effect on the target audience. A counter-narrative creation mechanism does not entail symmetry; its objective is to reprogram the call to action and block the recipients' motivational potential.
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Ummah, Athik Hidayatul. "Digital Media and Counter Narrative of Radicalism." Jurnal THEOLOGIA 31, no. 2 (February 13, 2021): 233–56. http://dx.doi.org/10.21580/teo.2020.31.2.6762.
Повний текст джерелаАнотація:
This article aims to describe the meaning of narratives are used by digital media or online media to counter the narrative of radicalism. The research method used is discourse analysis to find the meaning in the text. The theoretical framework used is narrative theory to explain process audience can trust about a narrative because of the consistency and truth of narrative or story. Narratives are analyzed using a framework of identity prism theory. The identity prism describes that online media as a brand has a strategy to build and promote it is unique among other brands. The results of the study are Islami.co and Ruangobrol.id have different characteristics or uniqueness and segmentation to convey the counter-narratives to the public. The narratives are built is to fight or deconstruct the narratives of radicalism-terrorism as an effort to prevent radicalism and the recruitment of new members through the internet. The counter-narrative also has coherence and truth as important standards for the public to select and judge that the narrative is consistent and credible. In the digital age, digital media have an important role in the counter-narratives of radicalism. It’s because radical-terrorist groups using the internet and social media platforms to spread their thoughts and their actions.
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De Figueiredo, Camila Augusta Pires. "In the post-TV era: transmedia and fandom in Sherlock, by Moffat and Gatiss." Letras de Hoje 55, no. 1 (April 28, 2020): 33789. http://dx.doi.org/10.15448/1984-7726.2020.1.33789.
Повний текст джерелаАнотація:
Serial narratives such as TV series have their own language, genres and narrative tools, according to their media specificities. It is observed that the television of today is going through a process of rapid cultural and technological transformations. Such advances have led to profound changes in the formats of the series, as well as in their modes of production and consumption. As for the production aspects, for example, we observe the creation of new narrative models in which the technological resources are shaped as extensions of the television product, creating a multiplatform or transmedial narrative experience. In this paper we will examine the case of the television series Sherlock by Steven Moffat and Mark Gatiss, broadcasted by BBC, as an example of a program designed for a transmedia television, one that encouraged the emergence of an engaged audience willing to follow the series beyond the TV screen across other media platforms.***Na era da pós-TV: transmídia e fandom em Sherlock, de Moffat e Gatiss***Narrativas seriais como as séries de televisão possuem linguagem, gêneros e ferramentas narrativas próprias, conforme suas especificidades midiáticas. Observa-se que a televisão de hoje passa por um processo de rápidas transformações culturais e tecnológicas. Tais avanços têm levado a profundas modificações nos formatos, modos de produção e consumo das séries. Em relação aos aspectos de produção, por exemplo, observa-se a criação de novos modelos narrativos nos quais os recursos tecnológicos se configuram como uma extensão do produto televisivo, criando uma experiência narrativa multiplataforma ou transmidiática. Neste trabalho analisaremos o caso da série televisiva Sherlock, de Steven Moffat e Mark Gatiss exibida pela BBC, como um exemplo de programa elaborado para uma televisão transmidiática que estimulou o surgimento de um público engajado, disposto a seguir a série para além da tela de TV.Palavras-chave: televisão; série de TV; Sherlock; transmídia; pós-TV.
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Lück, Julia, Hartmut Wessler, Antal Wozniak, and Diógenes Lycarião. "Counterbalancing global media frames with nationally colored narratives: A comparative study of news narratives and news framing in the climate change coverage of five countries." Journalism 19, no. 12 (November 25, 2016): 1635–56. http://dx.doi.org/10.1177/1464884916680372.
Повний текст джерелаАнотація:
This study disentangles national and transnational influences on international journalism by distinguishing convergent issue framing from nationally specific narrative in news texts. In a comparative quantitative content analysis of the newspaper coverage in five democratic countries (Brazil, Germany, India, South Africa, and United States) during four United Nations climate change conferences from 2010 to 2013, both textual-visual framing and narrative features were studied simultaneously for the first time. The narrative dimension consisted of variables that gauge (1) the degree of narrativity in an article, (2) the type of narrative (i.e. stories of catastrophe, conflict, success etc.), and (3) narrative roles of victims, villains, and heroes. Hierarchical cluster analysis was used to identify both the prevailing issue frame in an article and its dominant narrative. Results show that issue frames converge more strongly across countries while narratives are more closely related to the cultural context and political particularities of each country. Investigating issue frames and narratives concurrently helps to reveal country-specific patterns of narrative coloring even for the same issue frame.
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De Freitas Silveira, Nelson Lilioso, and Magali Menti. "A narrativa compartilhada em jogos de rpg e sua influência na formação do leitor." Revista Eletrônica Científica da UERGS 7, no. 3 (December 29, 2021): 284–92. http://dx.doi.org/10.21674/2448-0479.73.284-292.
Повний текст джерелаАнотація:
Resumo
O presente artigo é resultante de uma pesquisa documental que apresenta o RPG como ferramenta que desperta o interesse em literatura, especificamente a literatura dos cenários onde o jogo se passa, e cujo objetivo foi investigar a influência desse tipo de narrativa na formação do leitor. Discorre sobre o histórico do RPG e sua ascendência na construção literária de um gênero RPGístico, através de uma análise sobre o jogo de interpretação em sua conceituação, elementos e substratos mecânicos, de forma a compreender a importância do lore dentro dos cenários onde ocorre a narrativa. Verifica as dinâmicas entre os jogadores, narrador e autor através do jogo, considerando o compartilhamento da narrativa. Estabelece diferenciação entre a narrativa compartilhada e a coautoria da narrativa. Investiga o metagame e suas influências dentro da narrativa. Realiza levantamento de informações sobre as Night Witches. Desenvolve estudo de caso para verificar a influência da narrativa compartilhada na formação leitora bem como a capacidade do RPG em colaborar com a formação leitora através desse compartilhamento. Utilizamos a metodologia de pesquisa bibliográfica e estudo de caso para desenvolver uma análise epistemológica sobre o tema, investigando conceitos em sua aplicação prática. Constatamos o incentivo à formação leitora ao estimular o jogador a ler mais, sobre o jogo, o sistema, o cenário e outras informações. Destarte, ao inserir o leitor como protagonista, viabiliza aplicar o obtido na experimentação performática e lúdica das experiências literárias, o tornar contador da história e personagem daquilo que ele leu e pode estar lendo.
Palavras-chave: Ludicidade; metagame; lore; night witches.
Abstract
This article is the result of a documental research which presents RPG as a tool to create interest in literature, specifically about the setting of the game and addresses the history of RPG and its influence on creating a literary genre, its objective is to seek the influence of these narratives in reader’s development. This research analyses the role-playing game's concepts, and mechanics to understand the importance of the lore for the game. It verifies the dynamics between players, game master, and author, considering the shared narrative and establishing differences between shared narrative and co-authorship. It also investigates the concept of metagame and its influence within the narrative by collecting information about the Night Witches and developing a case study to verify the influence of the shared narrative in the reader’s formation as well as how RPG assists the reader’s formation by sharing narratives. The results of this study show that RPG encourages the reader’s formation and qualifies the reading process while stimulating players to read more about the game, the system, the setting and other information. The study uses a case study and bibliographical research to develop an epistemological analysis, investigating concepts in their practical application. By inserting the reader as the protagonist, it possible to apply what has been obtained in the performative and playful experimentation of literary experiences, making the reader the story teller and character of what they have read and may be reading.
Keywords: Playfullness; metagame; lore; night witches.
Resumen
Este artículo es el resultado de una investigación documental que presenta al RPG como una herramienta que despierta el interés por la literatura, específicamente la literatura sobre los escenarios donde se desarrolla el juego, y cuyo objetivo fue investigar la influencia de este tipo de narrativas en la formación del lector. Se discute la historia del RPG y su ascendencia en la construcción literaria de un género RPG, a través de un análisis del juego de rol en su conceptualización, elementos y sustratos mecánicos, con el fin de comprender la importancia del lore dentro de los escenarios donde se desarrolla la narrativa. . Comprueba la dinámica entre jugadores, narrador y autor a lo largo del juego, considerando el intercambio de la narrativa. Distingue entre narrativa compartida y coautoría narrativa. Investiga el metajuego y sus influencias dentro de la narrativa. Realiza una encuesta de información sobre las Brujas Nocturnas. Desarrolla un estudio de caso para verificar la influencia de la narrativa compartida en la formación del lector, así como la capacidad de los juegos de rol para colaborar con la formación del lector a través de este intercambio. Utilizamos la metodología de la investigación bibliográfica y el estudio de casos para desarrollar un análisis epistemológico sobre el tema, investigando conceptos en su aplicación práctica. Vemos el estímulo de la formación del lector al animar al jugador a leer más sobre el juego, el sistema, el escenario y otra información. Así, al insertar al lector como protagonista, permite aplicar lo obtenido en la experimentación performativa y lúdica de experiencias literarias, convirtiéndose en narrador y personaje de lo que ha leído y puede estar leyendo.
Palabras clave: Alegría; metagame; ciencia; brujas de la noche.
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Cheremisinova, Larisa I. "Narrative Strategy in Afanasy Fet’s Story The Golts Family." Tekst. Kniga. Knigoizdanie, no. 24 (2020): 5–20. http://dx.doi.org/10.17223/23062061/24/1.
Повний текст джерелаАнотація:
In the modern research on Afanasy Fet, questions of “prosaic” Fet studies remain poorly investigated: the poetics of Fet’s prose, the specifics of its narrative, the genre features of the works, the comparative analysis of Fet’s narrative practice and contemporary writers’ works. Examination of ways of implementing the narrative strategy in the story The Golts Family requires clarification of the genre features of this work since the principles of narration largely depend on the genre. The volume of this text, the coverage of the events depicted in it, the presence of several plot lines, the abundance of static narrative elements, the constructive role of the narrator, the organization of the narration mainly by descriptions and arguments rather than by event series make The Golts Family a story. The differences of subjects and types of narrative divide the story into two parts. The first part (Chapters 1–3) presents an objective narrative on behalf of an “omniscient” narrator. Starting from Chapter 4, the narrative type changes to “Inarration”, which continues until the very end of the story. A special lyrical atmosphere, an intimate tone, the warmth of memories cocoon the “cuirassier” pages of the story. Fet was faced with a difficult creative task: to depict the fate of the vet Golts and his family against the background of documentary episodes of the life of the cuirassier regiment. The search for the solution entailed a special way of implementing a narrative strategy, in particular, a change in the types of narration. The “interchangeability” of the storyteller and the narrator, changes in the perspectives of the image, in the points of view, and, at the same time, in the types of narration are artistically justified in Fet’s story for they fulfill a certain super-task. The “mediation” of the narrator allows the reader to enter the depicted world and look at the events through the eyes of the characters. In The Golts Family, views “from the outside” and “from the inside”, subjective and objective narratives intertwined. This allowed the author to capture a broad picture of life, to create a multidimensional live image that combines various character traits and possesses individuality and integrity. The author shows Golts’ tragic fate as if “from the outside”, on behalf of the narrator. The appearance of the narrator—the regimental adjutant—changes the point of view in the story and gives a different perspective of the image. The reader now perceives the world of artwork through the character’s consciousness. The position of narrating endows the story with lyricism and cordiality, “revives” it “from the inside”. Thus, the author unwittingly balances the internal and external positions, binds together the whole story.
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Miranda, Anna Karolyne Souza, and Ana Carolina Costa dos Anjos. "TERRITORIALIZAÇÕES DISCURSIVAS E DISPUTAS NARRATIVAS: Aldeia TabokaGrande e os carnavais de Taquaruçu em pauta." Aturá - Revista Pan-Amazônica de Comunicação 3, no. 2 (May 1, 2019): 18–38. http://dx.doi.org/10.20873/uft.2526-8031.2019v3n2p18.
Повний текст джерелаАнотація:
RESUMO
Seguindo a perspectiva de invenção de tradições de Eric Hobsbawm (2012) que, na contemporaneidade, conta com o discurso midiático como um elemento constitutivo do imaginário social, que produzimos esse artigo. Desse modo, apresentamos e discutimos três narrativas sobre a Aldeia TabokaGrande e eventos carnavalescos, no distrito Taquaruçu, da capital tocantinense, Palmas. As frentes que constroem o território discursivo são as do próprio produtor do evento, criador e idealizador da Aldeia, a dos moradores de Taquaruçu e o discurso midiático. Para tanto, se vale de uma criatividade metodológica com uso de Análise de Conteúdo, Análise de Discurso, Entrevistas semi-estruturadas e Análise de Discurso do Sujeito Coletivo e encontra semelhanças e diferenças dessas frentes discursivas, demonstrando como há projetos distintos para narrativa da recente história de Taquaruçu, Palmas e Tocantins.
PALAVRAS-CHAVE: Disputa Narrativa; Discurso Midiático; Carnaval de Taquaruçu.
ABSTRACT
From the perspective of invention of traditions of Eric Hobsbawm (2012) who relies on media discourse as a constitutive element of social imaginary in contemporary times, this article was developed. Thereby, we present and discuss three narratives about the Aldeia TabokaGrande and carnival events in the Taquaruçu district of the Tocantins capital, Palmas. The fronts that build the discursive territory are those of the event's own producer, creator and creator of the Aldeia, the residents of Taquaruçu and the media discourse. To this end, it uses methodological creativity using Content Analysis, Discourse Analysis, Semi-structured Interviews and Collective Subject Discourse Analysis and finds similarities and differences in these discursive fronts, demonstrating how there are distinct projects for the narrative of recent history of Taquaruçu, Palmas and Tocantins.
KEYWORDS: Narrative Dispute; Media speech; Taquaruçu Carnival.
RESUMEN
Siguiendo la perspectiva de invención de tradiciones de Eric Hobsbawn (2012) que, en la contemporaneidad, cuenta con el discurso mediático como un elemento constitutivo del imaginario social, producimos este artículo. Deste modo, presentamos y discutimos tres narrativas acerca del pueblo TabokaGrande y eventos carnavalescos en el distrito de Taquaruçu, de la capital de Tocantins, Palmas. Las frentes que constituyen el territorio discursivo son las del propio productor del evento, creador y idealizador del pueblo, la de los moradores de Taquaruçu y el discurso mediático. Para tanto, nos valemos de una creatividad metodológica con el uso de la Análisis de Contenido, Análisis del Discurso, Entrevistas semi-estructuradas y Análisis del Discurso del Sujeto Colectivo, y encuentra semejanças y diferencias entre esas frentes discursivas, demostrando como hay proyectos distintos para la narrativa de la reciente historia de Taquaruçu, Palmas y Tocantins.
PALABRAS CLAVE: Disputa Narrativa;. Discurso Mediático; Carnaval de Taquaruçu.
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Salzmann-Erikson, Martin, and Duygu Hiçdurmaz. "Use of Social Media Among Individuals Who Suffer From Post-Traumatic Stress." Qualitative Health Research 27, no. 2 (July 9, 2016): 285–94. http://dx.doi.org/10.1177/1049732315627364.
Повний текст джерелаАнотація:
Suffering from post-traumatic stress impacts and restricts the life situation of the individual on several levels, not least regarding social difficulties. Social media on the Internet facilitate new possibilities for interaction and communication. Earlier research has demonstrated that people use social media to seek support and to discuss health-related issues. The current study aimed to describe how individuals suffering from post-traumatic stress use social media to convey authentic narratives of their daily lives, including illness, and further, to analyze the content of this media use. The data comprised YouTube videos, blogs, and forum discussions. Five categories cover the findings: (a) structure of the narrative, (b) narrating the trauma, (c) restrictions in life, (d) strategies in everyday living, and (e) online interaction. We stress that sharing narratives online facilitates a “verbalizing” of the life conditions of the sufferers and can be used as a self-care activity.
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Лисичкіна, Ірина. "Mass-Media Specificity of Building an Effective Narrative as a Strategic Communication Tool." PSYCHOLINGUISTICS 26, no. 2 (November 12, 2019): 224–42. http://dx.doi.org/10.31470/2309-1797-2019-26-2-224-242.
Повний текст джерелаАнотація:
Objective. This research aims at defining the principles of constructing effective narratives with the use of the strategic communication capabilities and the media.
Materials and Methods. Publications in modern English and Ukrainian mass-media have been analyzed using methods and techniques of discourse analysis, content- and intent-analysis with elements of pragmatic and narrative analysis. The author’s methodology included the following: to identify the author’s intention and motives, the main topoi and points of the narrative focalization, to define hidden beliefs, social and psychological basis for the recipient’s perception of the narrative, to outline effective strategies for the narrative construction and dissemination in the media.
Results. In general, modern media have the capacity of constructing the desired frames in the audience’s consciousness by creating a mental model of the situation, on which the consumer of the information starts to rely. Decision-making now is reliant on the media consciousness, a virtual world imposed by the media and constructed with the help of relevant narratives. Modern strategic narratives usually have the external focalization which gets more credibility when supported and presented by the focalization points of celebrities and experts. Competing narratives, as well as the plurality of possible interpretations of events, are destroyed with the help of the media, which begin to broadcast one interpretation of the event that matches the narrative, by this making it the truth. Simultaneous use of several different media intensifies the influence and support the narrative. Repeating information changes its status and makes it not just a fact, but general knowledge. Any narrative is not only a sequential story of the selected events, but also persuasion in its nature. Persuasion is enhanced when narratives resonate with the audience's value system.
Conclusions. As a strategic communication tool, an effective narrative is constructed with regard to all the aspects of communication, psycholinguistic and social aspects being especially important. Further insights into the problem of shaping narratives will allow outlining best practices and their elements to develop image-forming narratives.
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Fan, Lai-Tze. "Writing while wandering." Convergence: The International Journal of Research into New Media Technologies 23, no. 1 (January 24, 2017): 5–19. http://dx.doi.org/10.1177/1354856516679635.
Повний текст джерелаАнотація:
In digital writing, there is a discrepancy between the dynamicism that is associated with born-digital narratives and the rigidly encoded structures of content management that shape digital media technologies. Locative media narratives – site-specific narratives that are designed for accessing digital mobile devices – are therefore interesting because they cannot be written without reference to real space and are subject to the dynamic relationships that device users have with material space. This article reveals the ontological complexities of digital reading and digital writing for the locative media narrative user. Writing and reading digitally through locative media narratives, I argue, require users’ dynamic and reflexive negotiation between the experience of reading and the material circumstances that offer insight into the element of contingency in digital writing. Specifically, I explore the element of contingency as a ‘counter’ to paradigms of standardization and rationalization during the age of modernity; its nullification through the introduction of predefined digital parameters; its resilience in the figure of the walker; and its contemporary resilience in the media user. Contingency is thus delineated as a condition through which a dynamic narrative can emerge between the parameters of digital writing and a user’s narrative play. The material spaces explored are contingent upon which paths users choose to take; also, the produced story is contingent upon the narrative trajectory that is formed through users’ wandering through material space. As users choose real spaces with historiocultural contexts, this article shows that locative media narratives allow us to write digital narratives while also engaging in the discourses of material space, media materiality, and emerging forms of narrative. In turn, by conceptualizing and identifying dynamic forms of narrative for how they complicate notions of reading and writing, this article proposes the initial shaping of a narratology for dynamic digital narratives.
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Kusumastuti, Frida, Jeanne Leonardo, and Radityo Widiatmojo. "NARASI TENTANG AUTISM DI FACEBOOK (Studi Autoetnografi pada Status K.W)." Interaksi: Jurnal Ilmu Komunikasi 8, no. 2 (December 11, 2019): 57. http://dx.doi.org/10.14710/interaksi.8.2.57-67.
Повний текст джерелаАнотація:
The narrative of a mother who is directly involved in living with a child with an autistic child's lifetime is worth noting because it can complement the narrative of the Professionals (doctors, psychiatrists, psychologists, educators). Especially if the narrative is done openly on social media such as Facebook. Social Media gives the opportunity of public voices that were originally being repossessed by large narratives. Thus the purpose of this research is to interpret the narrative of the subject about autism based on daily experience (everyday life). Narrative is the way someone tells his experience. The narrative about Autism, commonly referred to as "disability", is not necessarily the same as the people's narration or family. The narrative of experts and the general public about defects is often done in a dichotomistic, i.e. only when defects – including autism – are seen as sadness or suffering, and when a defective individual is successful with extraordinary achievement. This research was conducted on a Facebook social account, which is a KW account – a single-parent mother claiming to have five children, of which three of them (15 years old, 10 years old and 7 years old) were autistic. The choice on the subject of the study because the KW handled the children's autism with a full involvement with no shadower nor professional caregiver. Secondly, KW is capable of conducting autism narrative through social media (Facebook) which is open. The results showed (1) Narrative about the nature, attitudes, and principles of Autism, (2) narrative on the achievement of autism.
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Choironi, M. Alvin Nur. "Religion and Narration of Covid-19 on Social Media: A Study on Dapur Narasi Social Movement." DINIKA : Academic Journal of Islamic Studies 6, no. 2 (December 30, 2021): 213–34. http://dx.doi.org/10.22515/dinika.v6i2.4093.
Повний текст джерелаАнотація:
This article aims to analyze the social movements carried out by Dapur Narasi in fighting against misleading religious information about Covid -19. Data were collected from various online media, especially the Dapur Narasimedia, social media, and personal interviews. The finding indicates that at the beginning of the emergence of COVID- 19 in Indonesia, there were many false religious narratives, both from online media and the Islamic preachers. This article shows that the identity paradigm also creates a counter-narrative movement initiated by Dapur Narasi is carried out not only by its own members but also by other figures or communities who hold the same values. This is the reason why the narration raised by Dapur Narasi reach a large number of people.
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Do Vale, Simone. "O IMPÉRIO CONTRA-ATACA: narrativas políticas, alegorias midiáticas & ativismo." Revista Observatório 2, no. 3 (August 31, 2016): 199. http://dx.doi.org/10.20873/uft.2447-4266.2016v2n3p199.
Повний текст джерелаАнотація:
No início dos anos 2010, uma onda de manifestações sociais irrompeu em diferentes países. Por meio do uso de performances alinhadas com os gêneros virais das mídias sociais, essas manifestações consolidaram a estética Carnavalesca que caracteriza as narrativas políticas produzidas e distribuídas em rede por ativistas. Assim, este artigo reflete sobre o fenômeno das mobilizações globais a partir de seis vídeos que apresentam performances ativistas inspiradas no universo de Guerras nas Estrelas. Produzidos em mobilizações distintas entre os anos de 2010 e 2014, os vídeos foram coletados manualmente na plataforma YouTube e contextualizados sob a perspectiva dos Estudos de Mídia. PALAVRAS-CHAVE: Ativismo; Movimentos Sociais; Performance; Narrativa; Cibercultura. ABSTRACTIn the early 2010’s, a wave of social protests have erupted in different countries. By employing performances aligned with social media viral genres, these demonstrations have consolidated the Carnivalesque aesthetic that characterizes the political narratives produced and shared by activists. Thus, this article reflects on the phenomenon of global mobilizations by analyzing six videos featuring activist performances inspired by the Star Wars universe. Produced in different mobilizations between 2010 and 2014, the videos were collected manually from YouTube and contextualized from the perspective of Media Studies.KEY-WORDS: Activism; Social Movements; Performance; Narrative; Cyberculture. RESUMENA principios de 2010, una ola de protestas sociales estalló en diferentes países. A través de la utilización de performances alineadas con los géneros virales de las redes sociales, estas manifestaciones han consolidado la estética Carnavalesca que caracteriza a las narrativas políticas producidas y distribuidas en red por losactivistas. Por lo tanto, este artículo analiza el fenómeno de las movilizaciónes globales por medio de seis vídeos con performances activistas inspiradas en el universo de Star Wars. Producidos en diferentes movilizaciones entre los años 2010 y 2014, los vídeos fueron recogidos manualmente de la plataforma YouTube y contextualizados desde la perspectiva de los estudios de medios. PALABRAS-CLAVE: Activismo; Movimientos sociales; Performance; Narrativa; Cibercultura.
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Erickson, Sarah, Sonya Dal Cin, and Hannah Byl. "An Experimental Examination of Binge Watching and Narrative Engagement." Social Sciences 8, no. 1 (January 11, 2019): 19. http://dx.doi.org/10.3390/socsci8010019.
Повний текст джерелаАнотація:
Increasingly, audiences are engaging with media narratives through the practice of binge watching. The effects of binge watching are largely unknown, although early research suggests binge watching may be motivated by a need for escape and could be associated with some qualities of addiction. In this study, we ask whether the practice of binge watching impacts audience engagement with a media narrative. Using an experimental approach, we manipulate the format of exposure to media narratives (binge or nonbinge) and test the effect of this manipulation on audience engagement, specifically parasocial relationships with favorite characters and narrative transportation. Results suggest that binge watching increases the strength of parasocial relationships and the intensity of narrative transportation. Media engagement has been shown to increase media effects, suggesting that binge watching could change not only how audiences engage with narrative media but also the effect it has on them.
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Grishakova, Marina, and Siim Sorokin. "Notes on narrative, cognition, and cultural evolution." Sign Systems Studies 44, no. 4 (December 31, 2016): 542–61. http://dx.doi.org/10.12697/sss.2016.44.4.04.
Повний текст джерелаАнотація:
Drawing on non-Darwinian cultural-evolutionary approaches, the paper develops a broad, non-representational perspective on narrative, necessary to account for the narrative “ubiquity” hypothesis. It considers narrativity as a feature of intelligent behaviour and as a formative principle of symbolic representation (“narrative proclivity”). The narrative representation retains a relationship with the “primary” pre-symbolic narrativity of the basic orientational-interpretive (semiotic) behaviour affected by perceptually salient objects and “fits” in natural environments. The paper distinguishes between implicit narrativity (as the basic form of perceptual-cognitive mapping) of intelligent behaviour or non-narrative media, and the “narrative” as a symbolic representation. Human perceptual-attentional routines are enhanced by symbolic representations: due to its attention-monitoring and information-gathering function, narrative serves as a cognitive-exploratory tool facilitating cultural dynamics. The rise of new media and mass communication on the Web has thrown the ability of narrative to shape the public sphere through the ongoing process of negotiated sensemaking and interpretation in a particularly sharp relief.
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Bates, Adam, Trish Hobman, and Beth T. Bell. "“Let Me Do What I Please With It . . . Don’t Decide My Identity For Me”: LGBTQ+ Youth Experiences of Social Media in Narrative Identity Development." Journal of Adolescent Research 35, no. 1 (November 3, 2019): 51–83. http://dx.doi.org/10.1177/0743558419884700.
Повний текст джерелаАнотація:
Social media provides Lesbian Gay Bisexual Transgender Queer Plus (LGBTQ+) youth with daily access to a broader sociocultural dialogue that may shape narrative identity development. Through in-depth narrative interviews, this study sought to understand the lived experiences of 11 LGBTQ+ undergraduates ( age range = 19-23) building narrative identities in the cultural context of social media and the role of social media within this process. Interviews were analyzed using an interpretative, individual analysis of personal stories. These experiences were then compared and contrasted through thematic analysis to identify four shared narrative themes. Narratives of merging safe spaces highlight how LGBTQ+ youth now have regular access to safe environments online/offline which facilitate more secure identity development. Narratives of external identity alignment describe social media as a tool for LGBTQ+ youth to seek out identities that match their preexisting sense of self. Narratives of multiple context-based identities encapsulate how adolescents’ identity markers are multiple and invoked in a context-dependent manner. Finally, narratives of individuality and autonomy characterize how LGBTQ+ youth perceive themselves as highly individualized members of a wider community. These findings highlight the complex role social media plays within LGBTQ+ youth identity development. The implications are discussed within.
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Nadeem, Nahla. "Personal Experience Narrative Structure in “Al-ikhlas” Hadith." English Language and Literature Studies 12, no. 1 (November 22, 2021): 12. http://dx.doi.org/10.5539/ells.v12n1p12.
Повний текст джерелаАнотація:
Using personal experience narrative in different forms of teaching and preaching is so common that it is unsurprising that it has been the object of scholarly attention and research. The present study aims to apply Labov’s model of narrative structure to the personal experience narratives (PENs) in the sincerity hadith. Sincerity—“Alikhlas”—is defined as being deeply devoted to Allah by heart and actions. According to Islamic teachings, a sincere person not only has a deep fear of Allah, but his intentions in all actions are mainly to please Him. Drawing on Labov’s work on PEN structures (1972; initially Labov & Waletzky, 1967, 1981, 1997), the study attempts to answer two key questions: a) whether or not the Labovian model applies to the PENs in the hadith and b) how effective the model is in establishing the link between what was said (i.e., the stories told), how the narratives were structured and the Islamic concept the hadith was meant to teach. The analysis shows that though the hadith belongs to a different language with assumedly different socio-linguistic narrative practices, the Labovian model works as an effective tool of analysis as it sheds light on how the overlapping layers of the narratives were structured to define the Islamic concept of “sincerity”.
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Haase, Fee-Alexandra. "“Presentation” and “representation” of contents as principles of media convergence: A model of rhetorical narrativity of interactive multimedia design in mass communication with a case study of the digital edition of the New York Times." Semiotica 2019, no. 226 (January 8, 2019): 89–106. http://dx.doi.org/10.1515/sem-2017-0048.
Повний текст джерелаАнотація:
AbstractThis article presents a model and a case study of the narrative structures that are present in the interactive media design of multimedia applications in the mass media. As basic categories for the history and structure of media, we employ the model of the modes of the physical, analog, and digital presentation/representation. In this case study of the online edition of the New York Times, we have the case of a newspaper that in the digital edition employs multi-media applications. Contrasting the traditional concept of “narrativity” with the current status quo of the digital media outlets, we will examine the specific conditions of the multimedia applications in the mass media with this sample case of the New York Times. As narrative structure of interactive design in multimedia for mass communication, we analyze the types of narrative media and general narrativity in the New York Times with the background of its processes of interactivity and media convergence.
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Collins, Catherine. "Environmental Narratives and Media Conventions: Strategic Frames and Value-Based Argument." Media International Australia 127, no. 1 (May 2008): 127–37. http://dx.doi.org/10.1177/1329878x0812700116.
Повний текст джерелаАнотація:
Our understanding of environmental issues and our contribution to environmental degradation are shaped by the way our stories are framed, the value hierarchies they advance and a familiarity with the chosen narratives that are so conventionalised that this may deter recognition of how narrative choices limit our interpretive process. Textual arguments and image choices within these narratives have the potential to expand or restrict the audience's commitment to and participation in the belief or action sought by the message. In this article, I am interested in televised documentaries that argue for environmental preservation. I argue that, guided by journalistic conventions and stock environmental narratives, well-meaning appeals frequently make the wrong strategic choices. By examining a case study of similar documentaries employing different narrative choices, we can begin to see how particular narrative structures and substantive appeals advance or restrict audience adherence to the proposed environmental action.
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Suswanta, Suswanta, Danang Kurniawan, Achmad Nurmandi, and Salahudin Salahudin. "Analysis of the Consistency Policy Indonesia's Capital Relocation in the Pandemic Era." Jurnal Studi Sosial dan Politik 5, no. 1 (June 29, 2021): 35–48. http://dx.doi.org/10.19109/jssp.v5i1.7865.
Повний текст джерелаАнотація:
This study aims to look at the narrative of public policies related to the relocation of the Indonesian capital in the era of the Covid Pandemic 19. The narrative is seen through the development of opinions of government policy actors, political parties, and society. This study uses a Q-DAS (Qualitative Data Analysis Software) approach; besides the data in this study are media and social media data. The media have an essential role to play in shaping public narratives related to policymaking. The role of public narratives can create collective awareness in providing information about actor choices in policy decision-making. This research will conduct a Narrative Policy Framework (NPF) study, which can describe, explain the structure of political narratives in policymaking. The results showed that the Government's attitude was inconsistent regarding relocating the State Capital (IKN) after the Covid 19 Pandemic. The policy choices made by the Government were evident from the Government's narrative that temporarily suspended the relocation of the State Capital (IKN). The policy steps taken by the Government are the impact of the developing public narrative related to the relocation of the State Capital (IKN) in the Covid 19 Pandemic era. The factors affecting budget availability are Covid 19, weak public support, regulations, and aspects of environmental damage. These factors have developed in the public narrative on mass media and social media so that the Government took steps to delay the process of moving the country's capital city (IKN).
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Mattos, Cristine Fickelscherer. "Narrativa seriada e comunicação: meios, modos e tempos." Texto Livre: Linguagem e Tecnologia 11, no. 3 (December 26, 2018): 268–80. http://dx.doi.org/10.17851/1983-3652.11.3.268-280.
Повний текст джерелаАнотація:
RESUMO: O trabalho observa as características comunicativas da narrativa seriada do ponto de vista dos estudos contemporâneos de narratologia, em diversos tempos, modos e meios. Emprega o conceito de narrativa transmidiática para examinar a diversificada dinâmica de produção e recepção do gênero serial de forma contrastiva e diacrônica, e pondera acerca de seus efeitos sobre os seus elementos narrativos. Observa como inovações tecnológicas suscitam novos modos de narrativa seriada, que acionam novas referencialidades, através da complexa triangulação que envolve produção, recepção e meio de transmissão. Estuda ainda como contextos midiáticos específicos associam-se a disposições produtivas e receptivas que trabalham as heranças da narrativa seriada para simultaneamente alterá-las e reafirmá-las.
PALAVRAS-CHAVE: narratologia transmidiática; narrativa seriada;série televisiva.
ABSTRACT: The work observes the communicative characteristics of the serial narrative from the point of view of contemporary studies of narratology, at different ages, modes and media. Inside a transmedial narratology, it examines its diversified dynamics of production and reception in a contrastive and diachronic way and ponders about its effects on the narrative elements. It observes how technological innovations give rise to new modes of serial narrative that trigger new referentialities through the complex triangulation that involves production, reception, and mediation. It also studies how specific media contexts associate themselves with productive and receptive dispositions that work the heritages of the serial narrative to change and simultaneously reaffirm them.
KEYWORDS: transmedialnarratology; serial narrative; TV show.
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Santosa, Hedi Pudjo, Primada Qurrota Ayun, and Triyono Lukmantoro. "MISOGYNISTIC IN DIGITAL MEDIA : HATE SPEECH NARRATIVES TOWARDS BEAUTY INFLUENCERS." Interaksi: Jurnal Ilmu Komunikasi 11, no. 2 (July 1, 2022): 166–74. http://dx.doi.org/10.14710/interaksi.11.2.166-174.
Повний текст джерелаАнотація:
Huge numbers of social media users in Indonesia creates a phenomenon of beauty influencers. Selebgram or Instagram celebrities, starts to become a trend when artists wearing veils become a fashion icon for certain groups of communities. The influencers try to expose new identities which were considered old fashioned. However, this beauty influencer phenomenon also initiates hate speech trends. Nature of social media allows people to comment, spread information, and give opinions freely and anonymously, and even create the tendency to write misogynistic narratives. This research is a descriptive textual study using a narrative approach. Narrative in this connection refers to status updates on Instagram, narratives are understood as “small stories” that capture the whole variety of narrative activities that are not represented in the big or canonical narratives. The results of this study indicate that hate speech against female celebrities means that they receive negative judgments and comments from netizens by using religious statements and social norms of society. They provide comments by giving bad labels and giving judgments for their behavior
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Ramírez Amador, Sergio Carlos. "Los medios, el espectador y la narración: Poderes sutiles." Sincronía XXV, no. 80 (July 3, 2021): 197–224. http://dx.doi.org/10.32870/sincronia.axxv.n80.10b21.
Повний текст джерелаАнотація:
Since the proliferation of the mass media, society has experienced drastical changes, one of them in regards of power. In this essay I analize the power relationships between the mass media and their spectators, as well as their mechanisms and consecuences. I sustain that this mechanism is the narrative understood as a way of deliberately choosing information with the purpose to provide aesthetic feelings to the events on the world. This manipulation of reality generates a power relation as far as the citizen lacks alternative ways of knowing complex social realities, generating an information monopoly, information that can be manipulated both in its content (facts) and in its form (narrative) to show the spectator something that is not always the case. This would generate changes in public opinion which could be easily instrumentalized.
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Ramírez Amador, Sergio Carlos. "Los medios, el espectador y la narración: Poderes sutiles." Sincronía XXV, no. 80 (July 3, 2021): 605–21. http://dx.doi.org/10.32870/sincronia.axxv.n80.27b21.
Повний текст джерелаАнотація:
Since the proliferation of the mass media, society has experienced drastical changes, one of them in regards of power. In this essay I analize the power relationships between the mass media and their spectators, as well as their mechanisms and consecuences. I sustain that this mechanism is the narrative understood as a way of deliberately choosing information with the purpose to provide aesthetic feelings to the events on the world. This manipulation of reality generates a power relation as far as the citizen lacks alternative ways of knowing complex social realities, generating an information monopoly, information that can be manipulated both in its content (facts) and in its form (narrative) to show the spectator something that is not always the case. This would generate changes in public opinion which could be easily instrumentalized.
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Lino, Mirko. "Spatial Storytelling in the Transmedial Storyworld of The Walking Dead Franchises." Tekstualia 3, no. 58 (October 15, 2019): 35–54. http://dx.doi.org/10.5604/01.3001.0013.6422.
Повний текст джерелаАнотація:
Zombies are conceivable as cultural artefact that follow and embody the evolution of media narratives. They have migrated from the margins of a media system (the niche of the horror cinema genre) to the center of media convergence practices, which could be summarized in the crossmedia dissemination of its key features and the construction of a transmedia storytelling for its fi ctions. Crossmedia dissemination and transmedia storytelling seem to have become two of the most dominant logical elements of contemporary entertainment; they indicate the power of the narrative to spill over the media boundaries in order to arrange a story through media ubiquity and a network of integrated media. To demonstrate this affi rmation, the following analysis will focus on the transformation both cultural, medial and formal of zombie fi ction, by considering as a case study the infamous comic novel (2003–) and TV serial The Walking Dead (2010–). The analysis will also be carried out into the ways they engage the spectator within a storyworld sustained by different media sharing and working together to consolidate a narrative system via fi ctional and – as we shall see – „real” spatialities.
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Rocha, Raquel Barbosa, Marina Patrício de Arruda, and Izabel Cristina Feijó de Andrade. "FORMAÇÃO DE PROFESSORES EM SERVIÇO: narrativas de produção de si e do mundo." Cadernos de Pesquisa 25, no. 1 (April 24, 2018): 95. http://dx.doi.org/10.18764/2178-2229.v25n1p95-108.
Повний текст джерелаАнотація:
Esse artigo teve por objetivo compreender a formação em serviço e a perspectiva epistemológica da implicação do professor na construção de si e do mundo. A pesquisa foi realizada com 14 professores do Ensino Fundamental II e Ensino Médio por meio de uma entrevista semiestruturada. Após a entrevista, foram selecionados 04 professores para a entrevista narrativa contando suas experiências profissionais e pessoais. Como procedimento, as análises das narrativas seguiram as orientações da Análise Textual Discursiva. Esperamos que esta pesquisa possa contribuir com a proposta de formação de professores em serviço, pois em termos educacionais, estar implicado é estar por inteiro naquilo que se realiza. Assim, a educação poderá promover a formação de uma “inteligência geral” apta a compreender o complexo, a produção concomitante de si e do mundo.TRAINING OF TEACHERS IN SERVICE: narratives of self-production and the worldAbstractThis article aimed objective to understand the service training and the epistemological perspective implication of the teacher’s involvement in the constructing himself and the world. The research was carried out with 14 teachers of Elementary School II and High School through a semi-structured interview. After the interview, 04 teachers were selected for the interview / narrative telling their professionals and personal experiences. As a procedure, the analyzes of the narratives followed the guidelines of the Discursive Textual Analysis. We hope that this research can contribute to the proposal of in-service teacher training, because in educational terms, being involved is being fully in what is done. Thus, the education can promote the formation of a “general intelligence” capable of understanding the complex, concomitant production of self and the world.Keywords: Service Training. Narratives. Complex thinking. Production of yourself and the world.FORMACIÓN DE PROFESORES EM SERVICIO: narrativas de producción de sí y del mundoResumenEn este artículo se tuvo como objetivo comprender la formación en el servicio y la perspectiva epistemológica de la implicación del profesor en la construcción de sí mismo y del mundo. La investigación fue realizada con 14 maestros de la Enseñanza Fundamental II y la Enseñanza Media a través de uma entrevista semiestructurada. Después de la entrevista, 04 maestros fueron seleccionados para la entrevista narrativa contando sus experiencias profesionales y personales. Como procedimiento, los análisis de las narrativas siguieron las orientaciones del análisis textual discursivo. Esperamos que esta investigación pueda contribuir con la propuesta de formación de profesores en servicio, pues en términos educativos, estar implicado es estar por entero en lo que se realiza. Así, la educación podrá promover la formación de una “inteligencia general” apta para comprender el complejo, la producción concomitante de sí y del mundo.Palabras clave: Formación en servicio. Narrativas. Pensamiento complejo. Producción de sí mismo y del mundo.
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Aryal, Saroj Kumar, and Simant Shankar Bharti. "Changing the media landscape in India under the Modi government: a case study based on the Narrative Policy Framework." Studia z Polityki Publicznej 9, no. 3(35) (December 4, 2022): 47–64. http://dx.doi.org/10.33119/kszpp/2022.3.3.
Повний текст джерелаАнотація:
After the emergence of "new media," propaganda and so-called "alternative facts" are some of the main tools that have been used by governments, individuals, or interest groups to recalibrate the narration of certain information. By using the basic storytelling methods, the Narrative Policy Framework (NPF) allows policymakers to use the media to spread the newer dynamics of narration. Since 2014, after the Bharatiya Janata Party (BJP) came to power, the government has constantly been using narration through the state-funded media that have changed the overall media landscape in the country. Thus, using the NPF, this research aims to perform a media content analysis of India and discuss the changing media landscape of the nation. To prove the argument, the article provides various empirical examples and facts (from India) which are changing the narrative among the public and the ruling party's pursuit of its political aims by radical change in public policy.
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Ortuño Mengual, Pedro, and Virginia Villaplana Ruiz. "Activismo Transmedia. Narrativas de participación para el cambio social. Entre la comunicación creativa y el media art." Obra digital, no. 12 (February 28, 2017): 123–44. http://dx.doi.org/10.25029/od.2017.123.12.
Повний текст джерелаАнотація:
El artículo propone una revisión de prácticas activistas mediáticas, origen de las formas participativas de la narrativa transmedia, en relación al lugar y la acción política. La implantación de las redes digitales ha permitido el desarrollo de una cultura red. Se analizan prácticas artísticas de colectivos activistas y las nuevas propuestas desarrolladas con dispositivos móviles vía GPS y webdoc. En este sentido, se proponen tres líneas discursivas sobre el activismo transmedia: las aperturas narrativas del territorio y la ciudadanía, las políticas de acción y representación colectiva, y finalmente, la expresión de la experiencia mediante el testimonio.Transmedia activism. Participatory narratives for social changeAbstractWe propose a review of media activist practices giving rise to participative transmedia narratives in relation to political action and location. Digital networks have allowed the development of a network culture. We discuss artistic practices of activist groups and new proposals made via GPS with mobile devices and web documentaries. We identify three kinds of discourse in transmedia activism: narratives that open up to the regionand its inhabitants, policies for collective action and representation, and the expression of experiences through witness.Keywords: Transmedia, activism, participatory media practices, discursive communication, creative communication, social artpp. 123-144
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Sari, Ratu Arti Wulan, and Ahmad Jamaludin. "Counter Narrative Sexual Violence in Alternative Media Mubadalah.id." Alfuad: Jurnal Sosial Keagamaan 6, no. 2 (December 13, 2022): 63. http://dx.doi.org/10.31958/jsk.v6i2.7361.
Повний текст джерелаАнотація:
The media has a strategic role in providing an understanding and description of something through the narratives it creates, including the narrative about sexual violence. The issue of sexual violence has become a sensitive issue so the media should not only provide information to catch up with the number of readers, but the media in the narrative must take sides with victims of sexual violence as a form of protection. The purpose of this study is to find out how the narrative of sexual violence is packaged by the alternative media Mubdalam. id. This research is qualitative research using Sara Mills's discourse analysis method and using Antonio Gramsci's theory of hegemony. The results of the study show that the narratives presented by the alternative media Mubadalah.id are (1) the subject of the narrator as a person who advocates using the victim's perspective and the perspective of positive law and Islamic religious rules. (2) The alternative media, Mubadalah.id, leads the readers to take sides with the victims and ignites the readers to be able to do advocacy together against sexual violence. In conclusion, the alternative media Mubadalah.id is a media that has a counter-narrative and counter-hegemony on the issue of sexual violence that is developing in the community.
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Volchik, V. V., E. V. Fursa, and A. I. Maskaev. "Prospects of development of the Russian innovative system through the prism of qualitative methods." Russian Journal of Economics and Law 15, no. 4 (December 16, 2021): 541–660. http://dx.doi.org/10.21202/2782-2923.2021.4.641-660.
Повний текст джерелаАнотація:
Objective: to examine the influence of positive and critical narratives in the media, illustrating the problems and strengths of the Russian innovation system development, on the formation of public opinion.Methods: the methodology of narrative analysis of economics and original institutionalism is used in relation to the national innovation system.Results: with the help of narrative analysis, we analyzed 43 media outlets from Internet sources selected in accordance with the Medialogiya rating “Federal Mass Media: 2020” for the period from 01.01.2010 to 01.07.2021. A range of significant issues is highlighted which affect the innovative development, mentioned by media addressees and the Russian innovation system actors (policymakers, business, academic circles). Four types of positive narratives about the Russian innovation system are identified: 1) narratives about significant technological achievements; 2) narratives about the development of innovative infrastructure; 3) narratives that tell about the public recognition of the success of the Russian innovation system actors at professional conferences or by the state; 4) futurological narratives about prospects in the medium or long term.Scientific novelty: consists in the development of the narrative economics approach and the concept of public arenas for the analysis of the Russian innovation system with the help of mass media.Practical significance: the identified positive narratives allow studying the best practices and rules that contribute to the integration of science, government and business into a single innovation system in order to further upscale the positive experience to the entire economy. Positive narratives also contribute to the formation of a favorable innovation space and public opinion in Russia.
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Speidel, Klaus. "What narrative is." Frontiers of Narrative Studies 4, s1 (November 22, 2018): s76—s104. http://dx.doi.org/10.1515/fns-2018-0033.
Повний текст джерелаАнотація:
AbstractUnacknowledged by its practitioners, narratology has often been revisionary rather than descriptive when categorizing narratives. This is because definitions, expert judgment and personal intuition, traditionally the main tools for categorization, are vulnerable to media blindness and to being theory loaded. I argue that to avoid revisionary accounts of ordinary everyday practices such as narrative or gameplay of which non-experts have a firm understanding, expert categorizations have to be tested against folk intuitions as they become apparent in ordinary language. Pictorial narrative in single pictures is introduced as a specific case of categorization dispute and an experiment laid out in which non-experts assess if different pictures tell stories. As the chosen pictures correspond to different criteria of narrative to varying degrees, the experiment also serves as an implicit test of these criteria. Its results confirm monochrony compatibilism, the position that single monochronic pictures can autonomously convey stories. While the pictures rated high in narrativity correspond to traditional criteria of narrative, I argue that the way in which these criteria are usually interpreted by narratologists is problematic because they exclude these pictures from the realm of narratives. It is argued that the way marginal phenomena are categorized is essential for a sound understanding of even the most paradigmatic objects of a domain because categorizations influence definitions and definitions ultimately guide interpretations.
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Rembowska-Płuciennik, Magdalena. "Second-person narration as a joint action." Language and Literature: International Journal of Stylistics 27, no. 3 (August 2018): 159–75. http://dx.doi.org/10.1177/0963947018788519.
Повний текст джерелаАнотація:
This article represents an attempt to free narratological typologies from the constraints of first- and third-person dualities. It argues that a new collaborative and multiagent model of second-person narratives is needed, and draws on the concept of enactment to help explain the specificity of second-person narration. The growing popularity of second-person narration in contemporary print literature is linked to the rapid development of multimedial storytelling strategies and new technological environments. The new status of second-person narration in print literature is connected with the increasing cultural need for participation in interactive and socially shared experiences or activities (real or virtual). Understanding second-person narration as such a joint action can thus help to understand its growing popularity, not only in terms of the stylistic alternative it affords to both first- and third-person narration, but also in conjunction with the rising cultural value of social cooperation or co-acting in the media-saturated reality. My hypothesis is that second-person narrative stimulates a specific mode of reader involvement, rooted in participation rather than immersion.
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Ökmen, Yunus Emre. "New Media Narratives and Visualization as an Alternative to Traditional Media: Youtuber Barış Özcan Sample." International Visual Culture Review 1 (February 6, 2019): 17–22. http://dx.doi.org/10.37467/gka-visualrev.v1.1751.
Повний текст джерелаАнотація:
The traditional storytelling has begun to disappear, as the modern culture seizes every aspect of life (Ramsden and Hollingsworth, 2017: 14). The narrators began to take the place of digital media such as photography, cinema, television and internet. At the same time, basic cultural periods in communication can be handled in five different ways. These; Oral culture, written culture, printed culture, electric and electronic culture were finally added to these cultures or periods Digital culture, different media tools were introduced in the forms of communication between people and people (Baldini, 2000: 6). The traditional storytelling that started in the oral culture period has been moved to a different dimension with the applications on the web during the digital culture period. Thus, storytelling has experienced many changes and transformations in structural and content. When the digital culture era and the "Imagery Age" were considered, narrators tried to convey how they were changing through storytelling, exploration, new forms of communication and use of new media tools. In particular, the work of Guy Debord's "Show Society" has been utilized. This study was carried out by the scanning model of qualitative research methods. Since the phenomenon "Barış Özcan" was studied as a Youtuber, it was realized by using Case Study Model (Karasar, 2014: 77-86). Rogers “Diffusion of Innovation Theory" has become the most theoretical basis for his work. At the end of the study, it has been determined that there are structural and content differences between traditional media tools and traditional narrative style, digital media tools and digital narration style. With this changing and transforming narrative, the position of narrator and listener has been changed in many ways. The concept of time and space has been specifically addressed in this study. Traditional and digital narratives have changed in terms of time and space.
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Kohn, Ayelet, and Rachel Weissbrod. "Remediation and hypermediacy: Ezekiel’s World as a case in point." Visual Communication 19, no. 2 (July 12, 2018): 199–229. http://dx.doi.org/10.1177/1470357218785931.
Повний текст джерелаАнотація:
This article deals with Kovner’s graphic narrative Ezekiel’s World (2015) as a case of remediation and hypermediacy. The term ‘remediation’ refers to adaptations which involve the transformation of the original work into another medium. While some adaptations strive to eliminate the marks of the previous medium, others highlight the interplay between different media, resulting in ‘hypermediacy’. The latter approach characterizes Ezekiel’s World due to its unique blend of artistic materials adapted from different media. The author, Michael Kovner, uses his paintings to depict the story of Ezekiel – an imaginary figure based on his father, the poet Abba Kovner who was one of the leaders of the Jewish resistance movement during World War II. While employing the conventions of comics and graphic narratives, the author also makes use of readymade objects such as maps and photos, simulates the works of famous artists and quotes Abba Kovner’s poems. These are indirect ways of confronting the traumas of Holocaust survivors and ‘the second generation’. Dealing with the Holocaust in comics and graphic narratives (as in Spiegelman’s Maus: A Survivor’s Tale, 1986) is no longer an innovation, nor is their use as a means to deal with trauma; what makes this graphic narrative unique is the encounter between the works of the poet and the painter, which combine to create an exceptionally complex work integrating poetry, art and graphic narration.
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Dewi, Ratna Sari. "The Influence of Diary on the Students' Narrative Writing Skills Quasi-Experimental Study at UIN Syarif Hidayatullah, Jakarta." Jurnal Pendidikan dan Pengajaran 53, no. 1 (May 15, 2020): 66. http://dx.doi.org/10.23887/jpp.v53i1.24892.
Повний текст джерелаАнотація:
This study aims to determine the effect of the diary media on the ability to write narratives for Semester III students. The sample in this study was the 60th semester students of the Department of English Language Education at the Syarif Hidayatullah State Islamic University in Jakarta totalling 60 students. Sampling using a multistage random sampling technique. The method used is an experimental method, with non-equivalent experimental design. Data collection was performed using a narrative writing test and analysed using the t test. The results showed that the diary media had a significant effect on the ability to write student narratives with a coefficient of t count > table = 6.41> 1.70 at a significant level α = 0.05. These results indicate that the diary media can be used as an alternative media in learning to write student narratives. Therefore, teachers need to know the importance of using appropriate learning media to develop students' narrative writing skills.
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Mora Fernández, Jorge Ignacio. "Elementos Narrativos que Sirven para Generar Convergencias e Inteligibilidad en Narrativas Transmediáticas o Narrativas Interactivas Lineales." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 15, no. 1 (January 1, 2017): 186–210. http://dx.doi.org/10.7195/ri14.v15i1.1032.
Повний текст джерелаАнотація:
El término transmedia fue acuñado por Marsha Kinder (1991) para referirse a la intertextualidad entre películas, series de televisión de dibujos y los juguetes para niños y jóvenes preadolescentes. En dicha publicación participaba Henry Jenkins, quien posteriormente profundizó en el término de transmedia en Media Convergence (2006) y posteriormente en narrativa transmedia. La presente investigación analiza el uso de los elementos narrativos y de las características de los medios de comunicación utilizados para generar narrativas transmedia para poder utilizarlas en productos comunicativos independientes. Este artículo se concentra en el análisis transmedia del universo narrativo generado por los cómics, películas, web, videos de fans y videojuegos de Batman. El objetivo es el estudio de los elementos narrativos de las acciones, personajes, espacios y tiempos utilizados para generar convergencia e inteligibilidad comunicativas transmedia que retroalimentan coherentemente el universo de Batman, sus narrativas interactivas lineales y circulares. De esta forma es posible aplicar dichas técnicas narrativas transmedia a la construcción de productos comunicativos independientes y de edutainment.
ANEXO I
DESCARGAR
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Rud, Daria. "Memory construction of the local space: analysis of mnemonic online messages on Shabolovka district (Moscow)." Inter 11, no. 18 (2019): 34–54. http://dx.doi.org/10.19181/inter.2019.18.3.
Повний текст джерелаАнотація:
The article is devoted to narrative recollections, published in social media. The author analyzed messages about the district Shabolovskaya / Tulskaya (in Moscow) in 2018. Analysis was performed using concepts of memory scale and mnemonic media. The concept of scale, usually used in a topographical sense, is modifed and applied to the temporal depth. Mnemonic media allows tracing memories with different criteria of memory validity and have a variety of functions: identity, imagination, knowledge transfer. Topics of Great Purge and avant-garde are isolated subjects of narratives, not intersecting with other topics. Narrative triggers of “mememory”, such as old city photographs, were identifed to designate the positions of a unifed identity, e.g. owners of childhood memories in a Soviet city. Typical features of narratives referring to different places were analyzed. Work can be attributed to the felds of post-socialist research, approbation of memory research methodology, analysis of narrative recollections in social media, local memory investigation.