Статті в журналах: "Narrative art"

1

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

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Skalin, Lars-Åke. "The art of narrative – narrative as art: Sameness or difference?" Frontiers of Narrative Studies 5, no. 1 (July 2, 2019): 35–56. http://dx.doi.org/10.1515/fns-2019-0004.

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AbstractThis paper is a critique of narratology’s generality thesis and especially focused on a corollary of that thesis, the “sameness premise”. It says that all objects designated by the noun “narrative”, whether actual, possible, or fictional, are defined by some basic intrinsic properties. This goes for ordinary informative telling of events as well as for literary art, such as novels and short stories. The latter assumption is rejected by me and theorists taking up a “difference premise” instead. Literary art should not be included within a general category of narrative. It would be more correct to regard it as sui generis, since it manifests a system quite different from and incompatible with narrative as this system is defined by standard narratology. For example, ordinary narrative accounts display logically a two-place relation between the denoting signs and the denoted contents (events); while the artistic representations produced by literary art and other art-forms do not denote anything outside themselves– the relation between signs and content is one-place. I discuss this theoretic problem from two sources: modern narratology in conflict with artistic/aesthetic theory and the mimesis-debate in Greek antiquity between Plato and Aristotle, where Plato is advocating a sameness and Aristotle a difference premise.

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3

Shaheen, Osamah Hussein. "Prospects of Narrative Rhetoric." International Journal of Early Childhood Special Education 14, no. 1 (March 17, 2022): 857–63. http://dx.doi.org/10.9756/int-jecse/v14i1.221100.

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This study elucidates the relationship of the new rhetoric with the narrative achievement, which involves a rhetorical act that is different from its poetic counterpart, because it contains new types of text formulation that refer to the unspoken in the fabric of the narration, where its content proves its formation in a new process outside the ordinary, and this new compositional awareness can convince and enjoy in Now the same, and on this basis, the study came to transcend the constant and accomplish the shift between rhetorical art and narration art, to analyze the creative discourse, and reveal its aesthetic values.

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4

Saidi, Acep Iwan. "Narrative Patterns in Indonesian Fine Art." Britain International of Linguistics Arts and Education (BIoLAE) Journal 3, no. 1 (March 26, 2021): 77–87. http://dx.doi.org/10.33258/biolae.v3i1.411.

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This paper aims to describe the structure and pattern of narratives in art, which in this case Indonesian fine art is used as a case study. This topic is important considering that the assumption that works of fine art have narrative characteristics has become common knowledge, but the structure and narrative patterns within the genre of work of fine art that can be used as a reference have not yet been formulated. By using a structural semiotic approach, studies in this paper have found that narrative patterns in fine art are a combination of denotative visual sign units presented as works on the syntagmatic axis of language (visual) interrelated to form associations or groups of narrative connotations on the paradigmatic axis (community knowledge system). This proposition, as well as several other formulations found in the analysis, has a significant contribution to the development of fine art, both theoretically and practically, both in Indonesia and the world.

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5

Duan, Lian. "Narrative identity of the possible author: a tertiary narrativization of Chinese realist art of the 1950s–1990s." Chinese Semiotic Studies 18, no. 4 (November 1, 2022): 515–62. http://dx.doi.org/10.1515/css-2022-2079.

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Abstract From a narratological perspective, this essay reinterprets the development of Chinese realist art under Western influence in the second half of the twentieth century and explores the narrative issue of the possible author that is transformed from the integral reader. As a crucial response to Western influence, realist art in China developed from imitating to appropriating Western art and continued from taking inspiration from Western art to participating in the international arena of conceptual art with certain renovations. In this essay, the narratological notion of “possible author” is proposed to discuss the issue of narrative identity. While some scholars declared the death of the reader, this essay introduces a new reader to art historical narrative. This is a tertiary reader that transforms into a possible author who re-narrates the story of art history in the possible space between the secondary narration and tertiary narrativization. In this space, the three layers of the first-hand fabula, secondary narration, and tertiary narrativization work together in defining the possible author’s narrative identity as re-interpretive and critical.

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6

Carroll, Noël. "Art, Practice, and Narrative." Monist 71, no. 2 (1988): 140–56. http://dx.doi.org/10.5840/monist198871212.

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7

Oatley, Keith, and Maja Djikic. "Psychology of Narrative Art." Review of General Psychology 22, no. 2 (June 2018): 161–68. http://dx.doi.org/10.1037/gpr0000113.

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Artistic narrative has been recognized in fictional genres such as poetry, plays, novels, short stories, and films. It occurs also in nonfictional genres such as essays and biographies. We review evidence on the empirical exploration of effects of narrative, principally fiction, on how it enables people to become more empathetic, on how foregrounded phrases encourage readers to recognize the significance of events as if for the first time in ways that tend to elicit emotion, and on how literary works can help people to change their own personalities. We then suggest 3 principles that characterize narrative art in psychological terms: a focus on emotion and empathy, a focus on character, and a basis of indirect communication.

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8

Grainger, Teresa. "Art, Narrative and Childhood." Literacy (formerly Reading) 38, no. 1 (April 2004): 66–67. http://dx.doi.org/10.1111/j.0034-0472.2004.03801011_2.x.

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9

McGregor, Rafe. "Introduction: Aesthetic Education through Narrative Art." Journal of Aesthetic Education 57, no. 3 (October 1, 2023): 1–11. http://dx.doi.org/10.5406/15437809.57.3.01.

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Abstract The purpose of this introduction is to set out the scope and content of this special issue of the Journal of Aesthetic Education, which takes Aesthetic Education through Narrative Art as its subject. I begin by delineating the “aesthetic” itself and then identifying the denotation of “aesthetic education” with which the issue's authors are concerned. This is followed by a characterization of “narrative art” that belies my preference for representation rather than art and draws attention to the multiple modes of representation that constitute complex narratives. I next turn to the title of the special issue, an abridged version of Aesthetic Education through Narrative Art and its Relevance for the Humanities, which is an installation research project funded by the Croatian Science Foundation to investigate the relationship between aesthetic and artistic values on the one hand and ethical, political, and social values on the other. The project is multidisciplinary among philosophy, criminology, film studies, and cognitive science, and three of the authors are members of the project team. I conclude by introducing each of the six articles, which employ two approaches, one from philosophical aesthetics and the other from critical criminology.

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10

Esquivel, Patricia. "Art Narratives and Globalization." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, no. 2 (2011): 135–44. http://dx.doi.org/10.28937/1000106178.

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Arthur Danto proklamierte das »Ende der Kunst«, d. h. das Ende der auf ein Narrativ und auf eine unidirektionale Grundlage basierenden Kunstgeschichte. In der zeitgenössischen Kunstwelt und besonders in der Historiographie hingegen findet man durchaus ein Telos. Dieses Telos ist die Globalisierung. Es gibt heute ein sich ausbreitendes unidirektionales Narrativ, dessen Regel als »Netzwerklegitimation« erklärt werden kann. Ein Netzwerk, dessen Ausmaß (mehr Regionen der Welt), Sättigung (mehr Objekte) und Historizität (umfassendere Entwicklungsketten) zunehmen. Das Netzwerk hat auch einen Mittelpunkt, den Westen, wenn auch nicht für immer.<br><br>Arthur Danto proclaimed the »end of art«, that is, the end of the history of art structured on a narrative and unidirectional basis. But in contrast to Danto’s ideas, we detect a telos in the contemporary art world, especially in historiography. This telos is globalisation. At present, we have a clearly expansive unidirectional narrative in which the norm can be summed up as »network legitimation.« A network that is growing in extent (more regions of the world), saturation (more objects) and historicity ( further-ranging chains of development). The network also has a centre, the West, although it may not last forever.

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11

Rodríguez Gómez, Sergio. "An agential-narrative approach on art semiosis." Technoetic Arts 17, no. 3 (October 1, 2019): 281–95. http://dx.doi.org/10.1386/tear_00021_1.

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

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12

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

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

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13

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

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

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14

Poliakova, Anastasiia, and Kateryna Lut. "NARRATIVE IN VIDEO GAMES’ VERBAL MODE." Scientific Journal of Polonia University 59, no. 4 (November 15, 2023): 87–92. http://dx.doi.org/10.23856/5912.

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As a distinctive form of art, video games feature a narrative element in a similar way that literature, theatre, and cinema do; however, there are certain characteristics that make video game narrative different from its counterparts in other art forms. Through the video games’ brief history (as compared to other art forms), the narrative went from being almost absent and neglected to playing an integral role in the product. The goal of this paper is to research the narrative element present in the verbal mode of video games. Hence, the study focuses on the history and evolution of video games and narratives represented in them. It also considers the peculiarities of video game texts resulting in their analysis and detailed description. Methods used in the research include induction, deduction, synthesis and analysis; categorization; descriptive method, and historical method. Practical importance of the paper lies in that the results may become the basis for further investigation of narrative elements and the role texts play in video games.

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15

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

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

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

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

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

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

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18

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

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19

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

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20

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

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21

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

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22

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

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23

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

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

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

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

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

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

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

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

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

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Slobodian, Elvira Yu. "THE FUNCTION OF EKPHRASIS AND METAEKPHRASIS IN PODCASTS ABOUT PLASTIC ARTS." Articult, no. 3 (September 30, 2023): 51–61. http://dx.doi.org/10.28995/2227-6165-2023-3-51-61.

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The article for the first time distinguishes between the functions of ekphrasis, narrative ekphrasis and metaekphrasis in Russian podcasts about plastic arts on the example of eight episodes dedicated to painters and architects. Episodes of podcasts “Art for Guys”, “Talk About Art”, “About History and Art. Project YaAndArt”, “Walls have ears”, “Art and Facts” have become the empirical material of the research. By reviewing the content of episodes, it is proved that polyfunctionality is inherent in both ekphrasis, including its narrative version, and metaekphrasis. In particular, the examples given in the text of the article illustrate how the problem of limited visuality of audio narratives is solved due to ekphrastic descriptions. It also analyzes the construction of narrative ekphrasis in relation to artifacts with a plot and non-plot basis and indicates the contradiction between the elements of fiction in the speech of the presenters and the verifiability of art history knowledge. Finally, the manifestation of meta-ekphrasis is considered from the point of view of comparing works of art within the same type and between different types, critical interpretation of the author and description of ideological, political-critical, social-constructive contexts.

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

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

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Quadrio, Daniele. "La scena finzionale della storia. "Maus" di Art Spiegelman." Lingue e culture dei media 7, no. 1-2 (January 30, 2024): 124–32. http://dx.doi.org/10.54103/2532-1803/22396.

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Nel 1981 esce Maus, di Art Spiegelman: un graphic novel che presenta, sul piano del rapporto tra linguaggio e immagine, una modalità innovativa e una connotazione autobiografica. La struttura narrativa si compone di diversi livelli, alternando le voci dei narratori. La drammatica vicenda vissuta dal padre di Art a Auschwitz viene rievocata attraverso un racconto i cui personaggi assumono le sembianze di animali. Le modalità narrative corrispondono a livelli temporali distinti, e danno luogo all’inclusione della realtà testimoniale all’interno di un universo finzionale. Parole e immagini costruiscono dialogicamente una narrazione polifonica e rivolgono uno sguardo critico sulla realtà storica dell’Olocausto. In 1981, Art Spiegelman's Maus was published: a graphic novel with an innovative mode and an autobiographical connotation in terms of the relationship between language and image. The narrative structure consists of several levels, alternating the voices of the narrators. The dramatic event experienced by Art's father in Auschwitz is evoked through a story whose characters take on the appearance of animals. The narrative modes correspond to distinct temporal levels, and give rise to the inclusion of testimonial reality within a fictional universe. Words and images dialogically construct a polyphonic narrative and turn a critical eye on the historical reality of the Holocaust.

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Perry, Rachel E. "Not by Words Alone: Early Holocaust Graphic Narratives as a “Minor Art”." IMAGES 16, no. 1 (December 6, 2023): 131–57. http://dx.doi.org/10.1163/18718000-12340175.

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Abstract Immediately after the Holocaust, scores of Jewish survivors created graphic narratives, in word and image, about their individual and collective wartime experiences under Nazi oppression. This essay will make a case for these early postwar works as a “minor art.” “Minor” captures the material characteristics of this low-capital, low-circulation printed matter: slight in weight, small in size, modest in price, and ephemeral in quality. It also describes their “poor” images that pull, in form and structure, from popular culture (comics, cartoons, illustrated books) on the margins of modernist concerns (composite image-texts relying on narrative storytelling). Borrowing from Gilles Deleuze and Félix Guattari’s concept of “minor literature” as a deterritorialized, political, collective utterance, I argue that disciplinary notions of “art” and “testimony” have prevented us from seeing this “minor art” and recognizing how its vernacular, amateur art practices allowed survivors to reconstruct the past, remember communities and identities erased, and reclaim their own narratives of persecution. Created by a minority (a decimated Jewish community) working on the peripheries of the art world, they tell a Jewish story using Jewish frames of reference to create a community outside of majoritarian culture. What is at stake in them is not only a poetics of recollection but a politics of representation: of seeing with Jews as a critical act by dominated persons against the dominant, antifascist master narrative of WWII and the primary media of its dissemination, photography and film. Ultimately, this “minor art” can have major implications for both how we understand the crucial first decade of survivor initiatives and how we write our histories of Jewish art.

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Shen, Zijun, Mingting Zhao, and Kamran Zaib. "Unearthing the art of storytelling: A closer look at Sir Arther Canon Doyle’s B24." International Journal of English Language and Literature Studies 13, no. 2 (March 8, 2024): 173–87. http://dx.doi.org/10.55493/5019.v13i2.5005.

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Narratives play a crucial role in our understanding of the world, identity formation, empathy building and imparting moral lessons. The purpose of the study is to evaluate how Doyle uses Labov's model focusing on the narrative's elements. The intricacy of the story is revealed by the qualitative methodology which highlights Doyle's skill for writing captivating stories with vivid settings and multifaceted characters such as lady Mannering and even minor characters like the innkeeper. This study analyzes the structural and linguistic elements in Doyle’s “B24” using Labov’s sociolinguistic model. The central conflict revolves around the burglar's struggles and lady Mannering’s quest for freedom but the resolution remains uncertain, reflecting the complexities of truth and deception. Doyle uses narrative devices, literary techniques, grammatical elements and precise language to convey a moral lesson about trusting strangers and the importance of caution. These elements contribute to constructing a compelling narrative that captivates readers and heightens suspense. Future research could include a comparative analysis of Doyle’s works from the same era exploring the impact of structural and linguistic differences on reader interpretation, investigating the function of narratives and comparing narrative elements across different adventure stories. Labov’s model could also be applied to analyzing narrative poems and short films. This study is pertinent for people in the field of literature, teachers and authors who aim to improve their understanding of narrative techniques.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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46

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

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

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

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

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Molnár, Gábor Tamás. "Art of Annotation." Central European Cultures 2, no. 2 (March 8, 2023): 52–73. http://dx.doi.org/10.47075/cec.2022-2.04.

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This paper aims to interpret the process of self-documentation in Péter Esterházy’s A Novel of Production (1979), an important Hungarian novel which utilizes extensive endnotes to link a parodic narrative to a body of fictionalized autobiographical commentary. Drawing on theories of play and self-reflexivity as well as critical studies on the history of annotation in nonfiction and fiction, the article presents the structure of Esterházy’s novel and elucidates some textual connections between seemingly disconnected parts. The interpretation focuses on a storyline involving the attempted signing of the fictionalized author, also a lower-league football player, by a club bigger than his current one. The article argues that this narrative demonstrates the intersection of several thematic levels and discourses within the narrative, including football, finance, politics and literature—and illustrates the way in which a complex reality is modeled by the intersections and mutual displacement of competing discourses or fields of play. In conclusion, the article considers the role of self-documentation and self-commentary in the process of semiotic modeling, and links Esterházy’s creative method to Greimas’s semiotic square.

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

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50

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

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

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