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1
Strömberg, Mikael. "History Repeating Itself. The function of turning points and continuity in three historical narratives on operetta." Nordic Theatre Studies 29, no. 1 (December 27, 2017): 102. http://dx.doi.org/10.7146/nts.v29i1.102970.
Повний текст джерелаАнотація:
The article’s primary aim is to discuss the function of turning points and continuity within historiography. That a historical narrative, produced at a certain time and place, influence the way the historian shapes and develops the argument is problematized by an emphasis on the complex relationship between turning points and continuity as colligatory concepts within an argumentative framework. Aided by a number of examples from three historical narratives on operetta, the article stresses the importance of creating new narratives about the past. Two specific examples from the history of operetta, the birth of the genre and the role of music, are used to illustrate the need to revise not only the use of source material and the narrative strategy used, but also how the argument proposed by the historian gathers strength. The interpretation of turning points and continuity as colligatory concepts illustrate the need to revise earlier historical narratives when trying to counteract the repetitiveness of history.
2
Strömberg, Mikael. "History Repeating Itself. The function of turning points and continuity in three historical narratives on operetta." Nordic Theatre Studies 29, no. 1 (January 27, 2018): 102. http://dx.doi.org/10.7146/nts.v29i1.103311.
Повний текст джерелаАнотація:
The article’s primary aim is to discuss the function of turning points and continuity within historiography. That a historical narrative, produced at a certain time and place, influence the way the historian shapes and develops the argument is problematized by an emphasis on the complex relationship between turning points and continuity as colligatory concepts within an argumentative framework. Aided by a number of examples from three historical narratives on operetta, the article stresses the importance of creating new narratives about the past. Two specific examples from the history of operetta, the birth of the genre and the role of music, are used to illustrate the need to revise not only the use of source material and the narrative strategy used, but also how the argument proposed by the historian gathers strength. The interpretation of turning points and continuity as colligatory concepts illustrate the need to revise earlier historical narratives when trying to counteract the repetitiveness of history.
3
Beck, Deborah. "Emotional and Thematic Meanings in a Repeating Homeric Motif: A Case Study." Journal of Hellenic Studies 138 (2018): 150–72. http://dx.doi.org/10.1017/s0075426918000095.
Повний текст джерелаАнотація:
AbstractThe regularly occurring Homeric motif τρὶς μέν … τρὶς δέ shares key characteristics with both formulas and type scenes. Like a formula, it is a group of metrically localized words that refers regularly to the same idea. Like a type scene, it describes a series of discrete events that feature ‘repeated attempts to do something, often by two different characters’. This motif evokes the same basic theme in the narratives of both Homeric poems: a vigorous hero gains the sympathy of the audience in the course of repeated attempts, usually in vain, to surmount a powerful opposing force. As with many forms of narrative repetition in Homeric epic, most of the instances of the τρὶς μέν … τρὶς δέ motif display regular narrative patterns, and then a few key scenes elaborate on those patterns in order to create moments of outstanding poetic and emotional force. Highly developed examples of this motif make significant contributions to the aristeia of Patroclus in Iliad 16, the death of Hector in Iliad 22 and Telemachus’ attempt to string Odysseus’ bow in Odyssey 21.
4
Drake, Tynan. "Change the Narrative." Digital Literature Review 5 (January 13, 2018): 24–38. http://dx.doi.org/10.33043/dlr.5.0.24-38.
Повний текст джерелаАнотація:
In post-apocalyptic fiction, the concept of empathy often is depicted as a weakness that the characters cannot afford if they hope to survive. This depiction leads to harmful perceptions on the value of empathy and its ability to avert apocalyptic catastrophes. By examining David Clement-Davies young adult novel The Sight through theories of narrative empathy and through James Berger’s theories of post-apocalyptic representation, this essay argues that by representing empathic understanding, fiction writers have the power to influence positive changes in real world situations. By representing the need to teach empathy for all people, regardless of their differences, and the harm a lack of empathy can cause on both a personal level and on a large societal scale, this novel encourages future generations to seek peaceful and empathic solutions instead of repeating the cataclysmic mistakes of their forebearers.
5
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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Norrick, Neal R. "Negotiating the reception of stories in conversation." Narrative Inquiry 18, no. 1 (August 15, 2008): 131–51. http://dx.doi.org/10.1075/ni.18.1.07nor.
Повний текст джерелаАнотація:
In this article, I explore strategies storytellers use to increase listener response to their performances, such as (1) repeating a salient phrase, particularly a piece of dialogue; (2) adding an explanation of the point of a story; (3) drawing out some consequence of the story; and particularly (4) the unobtrusive strategy of producing a minimal response to draw out a more extensive reaction from listeners. This last strategy came to light in a large-scale corpus-based search. Instead of working from a set of narratives, I begin by looking at a linguistic element, namely items from the class of discourse markers like so and y’know in all kinds of contexts in a very large corpus, and slowly narrowed my focus to narrative passages within the whole array of examples. In the process, I discovered distributions and functions for items, which have not been described in previous research on conversational narrative.
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Blancas Blancas, Noé. "Los de abajo. Mitificación y metalepsis." Literatura Mexicana 32, no. 2 (August 31, 2021): 43–72. http://dx.doi.org/10.19130/iifl.litmex.2021.32.2.29152.
Повний текст джерелаАнотація:
The study of narrative resources such as free indirect discourse and narrated monologue, in Los de abajo, although it has been clearly pointed out by critics such as Mansour, Escalante and St. Ours, is scarce in comparison with the works on the Mexican Revolution and the controversy over the ideological position of its author, Mariano Azuela. In the present work, an approach to these resources is made, following the precepts of narratology, starting from the relationship between the narrative voice and the figural discourse, and between the discourses of the characters; that is, from the citation processes. Specifically, an approach is made to the way in which Demetrio Macías recounts his exploits by repeating the speech of Alberto Solís, shaped, in turn, by other anonymous speeches. The relevance of self-narrating in this way is such that it implies a radical change in the personality and destiny of Demetrio Macías.
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Lockley, Catherine. "Health vs. hedonism: public communication of nutrition science." Journal of Science Communication 19, no. 03 (June 16, 2020): C03. http://dx.doi.org/10.22323/2.19030303.
Повний текст джерелаАнотація:
Do differences in narrative approach; hedonic language vs. scientific language, influence public perception and opinion of Nutrition and food consumption? Our study investigated this question using qualitative research via Focus Group (FG). The stimulus films and subsequent meals exemplified hedonic language and biomedical language respectively. The FG was chosen to elucidate alternative narrative tools for further research and public health communication. Five sessions were held over 4 weeks with 8–10 non-repeating participants at each session. Film clips were viewed in a dining room environment and food served in buffet style after viewing. 47 people participated in the focus groups (15 males, and 32 females [ages 18–78]). Recruitment was by social media, local news outlets, word of mouth, and printed material and followed up via email. Study eligibility included self-identifying as primary food provider/cook, being over eighteen years old, and providing informed consent. Qualitative content analysis and grounded theory was used for coding and analysis. Interpretive reading of the transcript identified manifest and latent content before a coding frame was arrived at based on the frequency of relevant categories. Cross-coding was undertaken and patterns identified according to our primary research question. Communication disparities suggested by previous research were confirmed in our findings with participants emphasizing that the personal impact of hedonic and psychosocial narrative on their personal food experience held greater weight than the ‘health’ narrative alone. We conclude that scientific nutrition communication paradigms are less effective than emotional narrative that engages passion, memory and deep feeling. The findings support a move towards nutrition communication strategies that incorporate wider human emotional experience through gastronomic narratives.
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Shin, Michael D. "The afterlives of Yi Gwangsu: Narrating the trauma of colonial collaboration." Bulletin of the School of Oriental and African Studies 84, no. 2 (June 2021): 355–75. http://dx.doi.org/10.1017/s0041977x21000690.
Повний текст джерелаАнотація:
AbstractThis article seeks to examine the repeated appearance of Yi Gwangsu (1892–1950) in South Korean postcolonial fiction as a sign of collective trauma. Yi was a pioneering novelist who was a nationalist hero to his readers, but later became a collaborator who supported Japan's war effort. This article focuses on depictions of Yi in the works of three postcolonial writers – Choe Inhun, Seonu Hwi, and Bok Geoil – whose works bore witness to how traumatic his collaboration was. Their works displayed many of the defining characteristics of trauma such as delayed experience and transmission to others. They were also marked by narrative rupture as represented by Yi's mutually incompatible identities as both a nationalist and a collaborator. Rather than repeating the traumatic event, these stories employed various strategies to create new narratives that attempted to heal the trauma.
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Pichugina, T. A., S. A. Dan'shina, G. V. Merzlyakova, and E. I. Mikhaleva. "BEHAVIORAL SCENARIOS OF STUDENTS IN THE FORMATION OF THE IMAGE OF THE UNIVERSITY: EXPERIENCE OF NARRATIVE ANALYSIS." Bulletin of Udmurt University. Series Philosophy. Psychology. Pedagogy 31, no. 3 (October 25, 2021): 302–9. http://dx.doi.org/10.35634/2412-9550-2021-31-3-302-309.
Повний текст джерелаАнотація:
The article presents the results of a study aimed at identifying behavioral scenarios of students of the Institute of Social Communications in the narrative about the Udmurt State University. The typology of behavioral scenarios was built using narrative analysis based on the methodological foundations laid down in the works of G. Rosenthal. The research possibilities of the method of narrative analysis in the study of large social groups on a given topic were considered, the parameters of the external and internal image of the Udmurt State University and the Institute of Social Communications were determined, on the basis of narrative essays / individual biographies, idealtypical / behavioral scenarios of students were identified as stable, repeating in a certain sequence ways of categorizing ideas about the image of the university in everyday life.The sample consisted of students (N=378, 25 % - men) Institute of Social Communications of the Udmurt State University (bachelor's degree, full-time education, 2-4 courses) in all areas of study (Advertising and public relations, Tourism, Hotel business, Organization of work with youth, Cultural Studies). The experience of narrative analysis has confirmed the validity of the ideas that in order to conduct narrative and analytical studies of large social groups, it is necessary to collect data with direct reference to the carriers of the corresponding group identity. Based on the identified behavioral scenarios of students, it is possible to assess the image of an educational institution with a forecast of its formation.
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De Jonckheere, Heleen. "‘Examining Religion’ through Generations of Jain Audiences: The Circulation of the Dharmaparīkṣā". Religions 10, № 5 (7 травня 2019): 308. http://dx.doi.org/10.3390/rel10050308.
Повний текст джерелаАнотація:
Indian literary traditions, both religious and non-religious, have dealt with literature in a fluid way, repeating and reusing narrative motifs, stories and characters over and over again. In recognition of this, the current paper will focus on one particular textual tradition within Jainism of works titled Dharmaparīkṣā and will trace its circulation. This didactic narrative, designed to convince a Jain audience of the correctness of Jainism over other traditions, was first composed in the tenth century in Apabhraṃśa and is best known in its eleventh-century Sanskrit version by the Digambara author Amitagati. Tracing it from a tenth-century context into modernity, across both classical and vernacular languages, will demonstrate the popularity of this narrative genre within Jain circles. The paper will focus on the materiality of manuscripts, looking at language and form, place of preservation, affiliation of the authors and/or scribe, and patronage. Next to highlighting a previously underestimated category of texts, such a historical overview of a particular literary circulation will prove illuminating on broader levels: it will show networks of transmission within the Jain community, illustrate different types of mediation of one literary tradition, and overall, enrich our knowledge of Jain literary culture.
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Kiriakov, O. "THEBES IN THE BOIOTIANS’ MYTHOLOGICAL NARRATIVE." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 143 (2019): 18–21. http://dx.doi.org/10.17721/1728-2640.2019.143.4.
Повний текст джерелаАнотація:
he article is devoted to the study of the Boiotians’ myths. These legendary stories were a basis of the imagined past. So myths had formed the mentality of the Ancient Greek society. The main for Boiotian people was a myth about the own migration. We can find this tale in the “History” by Thucydides. But it was only a later retelling of the myths of the epic text. The first version of the tale we need to look for in the epic texts such as Homer’s “Iliad” and Hesiod’s poems. So myth about migration of Boiotians was the basis of the imagined past of the people of this region. Main role of the tale was played by Boiotians, who became eponym of the people. The author tried to recover myths about the polis of Thebes. Differences between regional and polis tales may answer the question: what was a real role played by polis of Thebes in the imagined past of Boiotian people. Ancient Greeks created a great number of myths about Thebes. A lot of these tales were a basis for Attic classical tragedy. But none of the earliest mythological narratives of Thebes intersect with myth of the Boiotians origin. The biggest polis of the region didn’t play any role at the imagining past of the Boiotian people. But imagined past could be changed. One of the examples we can find at Corinna’s poems. This source told us that first king of Thebes was a son of Boiotos. It was the newer tradition than an epic migration story. This tale appeared at the period of Thebes’ hegemony. And it has sense only as propaganda of polis of Thebes in the region. Mythological origin genealogy was softly rewriting of the imagined past. A new reality was created by using a poem in ritual. So, Thebes had a political motive to change imagine past and used for that soft mythical genealogy. The repeating through the ritual should have justified this new tradition. This research is based on the ancient written sources and academic studies. The article is an attempt to understand how myths were created and influenced the life of Ancient Greeks.
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Finardi, Kyria Rebeca. "Effects of task repetition on L2 oral performance." Trabalhos em Linguística Aplicada 47, no. 1 (June 2008): 31–43. http://dx.doi.org/10.1590/s0103-18132008000100003.
Повний текст джерелаАнотація:
This study departs from the assumption that speaking an L2 is a complex cognitive ability (FORTKAMP, 2000) whose execution seems to involve tradeoff effects among the different goals of speech production, mainly among fluency, accuracy and complexity (BYGATE, 1998, 1999, 2001b; FOSTER e SKEHAN, 1996; SKEHAN e FOSTER, 1995, 2001; SKEHAN, 1998). Bygate (2001b) studied the effects of task familiarity on L2 speech performance. He found that in repeating a narrative task there were gains in terms of complexity of speech and these gains were achieved at the cost of a loss especially in accuracy. The present study investigated whether the results reported in Bygate (2001b) would be similar in the case of a repetition of a picture description task. According to Robinson (2001), a description is less complex than a narrative task. Four measures of speech performance were calculated following Fortkamp (2000): fluency, accuracy, complexity and lexical density. Results indicate gains in complexity and these gains seem to have been paid, especially by gains in accuracy, thus corroborating Bygate´s (2001b) findings for this task condition.
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Pieniążek-Marković, Krystyna. "On Memory of Plates and Dishes." Fluminensia 32, no. 2 (2020): 117–36. http://dx.doi.org/10.31820/f.32.2.8.
Повний текст джерелаАнотація:
The aim of the article is to discuss how elements of food narratives meals and kitchen tools used for cooking are used in order to consolidate and shape the Croatian cultural memory, especially in the context of its Mediterranean heritage.For this reason, the texts by Veljko Barbieri, collected in the four volumes under the common and significant title Kuharski kanconijer. Gurmanska sjećanja Mediterana, are analysed. His circum-culinary narratives are a combination of encyclopaedic knowledge, references to historical and literary sources, personal memories and literary fiction. They can be easily inscribed in the Croatian (collective and individual) identity discourse since they are able to strengthen the collective (either national and supranational, or geo-regional) identity, and to construct the cultural memory. They also show Croatia's affiliation to the Western world along with its cultural-civilization rooting in antiquity, the Mediterranean region and Christianity, thus forming a part of the founding memory that develops a narrative about the very beginnings of Croatian presence on this land. The gastronomic narratives serve to create the cultural memory and this version of history which is to stabilize the social identity described by Pierre Nora and Andreas Huyssen. Through his stories, Barbieri shapes memory based on the representation of the past. In the analysed narratives, the memory carriers are dishes and plates which find reference to the oldest history of Croatia rendered by myths and other narratives. Associated with dishes, the pots enable the narrator to recall the past and the identity coded in individual dishes. They also participate in the processes of repeating, storage and remembering which generate a symbiotic relationship between man and thing. The memory carriers that is, food and plates depicted in Barbieri's culinary narratives do not convey their content in a neutral way, but construct their marked images.
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Zvereva, G. I. "The Ordinary Social Media User as a Historian: Ways to Create a Historical Narrative on YouTube." Prepodavatel XXI vek, no. 4, 2019 (2019): 323–37. http://dx.doi.org/10.31862/2073-9613-2019-4-323-337.
Повний текст джерелаАнотація:
The article discusses the features of the participation of ordinary users of the YouTube platform in the creation of digital products that look like “folk” stories about Russian history of the twentieth century. Such stories are created by ordinary users within the framework of standard digital algorithms and technologies for their production. This gives rise to the effect of invariance of storytelling and makes it possible to identify repeating structural and substantial elements in them. The aim of the study is to study the specifics of technologies for creating digital stories and identifying narrative structures in them that are correlated with the components of a mediatized cultural memory. The focus of the research is video stories created by ordinary users and the semantic extension of video stories in user comment threads. The article suggests typologization of video stories by formats and production methods, as well as by their content and rhetoric. The following describes the principles of constructing stories about the past in the comments. This allows us to identify the different roles that users choose when creating macro- and microhistories. Video stories and comments on them should be considered as integral works, the interactive digital content of which is formed and transformed in the process of socio-cultural network communications.
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Holm-Hadulla, R. M. "Integrative psychotherapy of patients with schizophrenic spectrum disorders." European Psychiatry 64, S1 (April 2021): S494. http://dx.doi.org/10.1192/j.eurpsy.2021.1321.
Повний текст джерелаАнотація:
IntroductionPsychotherapy of patients suffering from schizophrenic disorders remains controversial. There are promising descriptions of psychothereputic interventions in combination with pharmacological treatment. Some empirical studies show that different forms of psychotherapy are effective. However, there are few models to combine different psychotherapeutic strategies in a comprehensive way.ObjectivesWe here propose a model of integrative psychotherapy that is based on the therapeutic alliance and the general principles of understanding and communication. It comprises interpersonal, behavioral, psychodynamic, and existential elements.MethodsTheoretical principles of different psychotherapeutic schools are applied hermeneutically to a case of schizophrenia. Thus, general methods of psychotherapy gain contextual meaning by the analysis of an individual narrative. The patient himself assessed and approved his case report.ResultsAfter remission of the acute symptoms, integrative psychotherapy played the major role in the recovery of a young musician. It is shown how the therapeutic alliance and communication in a general sense interacted with behavioral, cognitive, psychodynamic, and existential techniques. It is demonstrated narratively how recovery was facilitated, adjunct to pharmacological treatment, by method-integrative psychotherapy. Basic cognitive-behavioral techniques ensured at first the stabilization of the patient. Then psychodynamic remembering, repeating, and working through became possible. Finally, existential topics and creative solutions dominated the sessions.ConclusionsPsychotherapeutic method-integration is necessary to treat patients with various mental disorders especially schizophrenia. We propose an ABCDE-Model that comprises the following principles: Therapeutic alliance (A); behavior change (B); cognitive reflection on dysfunctional meanings and beliefs (C); psychodynamic remembering, repeating, and working through (D); and existential understanding and communication (E).
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Ferguson, Christopher J. "Violent Video Games, Sexist Video Games, and the Law: Why Can't We Find Effects?" Annual Review of Law and Social Science 14, no. 1 (October 13, 2018): 411–26. http://dx.doi.org/10.1146/annurev-lawsocsci-101317-031036.
Повний текст джерелаАнотація:
During the early 2000s, several states and municipalities sought to regulate minors’ access to violent video games owing to perceived harms to minors. The resultant case law, culminating in the US Supreme Court case Brown v. EMA (2011), demonstrated court skepticism of the science linking violent games to harm in minors. Such skepticism was increasingly confirmed as numerous newer studies could not link violent games to socially relevant outcomes. In more recent years, there has been a newer focus on sexist games and the harm these might cause. This field appears at risk for repeating some of the problems of the violent game field, including exaggeration of mixed findings, lack of curiosity regarding null findings, and unreliable research designs. By persisting in advancing a narrative of public health crisis, despite evidence to the contrary, social science has risked damaging its reputation in the eyes of the courts.
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Yankov, Igor. "TRAUMA AND NARRATIVE FETISHISM AS THE SOURCE FOR CREATIVITY IN THE URBAN SPACE / TRAUMA IR NARATYVINIS FETIŠIZMAS KAIP KŪRYBINGUMO ŠALTINIS MIESTO ERDVĖJE." CREATIVITY STUDIES 4, no. 2 (January 11, 2012): 122–30. http://dx.doi.org/10.3846/20290187.2011.633247.
Повний текст джерелаАнотація:
The paper analyzes trauma as the source for creativity in the urban space. There are two strategies to find a way to live with traumatic experience. The first way, according to Sigmund Freud, is “the work of mourning”, which by constant remembering and repeating trauma in the language of tropes and figures allows to integrate discontinuous traumatic experience thus partly expunging trauma. Another strategy for dealing with trauma was described by Eric L. Santner's term “narrative fetishism”. This strategy supposes a refusal or inability to admit trauma substituting mourning for narratives, which seemingly do not have any connection to trauma itself. I can find outcomes of this traumatic creative strategy in urban spaces of contemporary megalopolises. The paper analyzes art objects in Yekaterinburg city, namely, the gangsters’ tombstones and the cathedral that has been used for political and ideological purposes, the street art activity of painter Radya. Santrauka Straipsnyje analizuojama trauma kaip kūrybingumo šaltinis miesto erdvėje. Egzistuoja dvi strategijos rasti būdą gyventi su traumine patirtimi. Pirmasis būdas, remiantis Sigmundu Freudu, tai ,,gedėjimo darbas‘‘, kuris per nuolatinį prisiminimą ir traumos pakartojimą tropų ir figūrų kalboje leidžia papildyti netolygią trauminę patirtį, iš dalies išbraukiant traumą. Kita strategija buvo aprašyta Erico L. Santnerio terminu ,,naratyvinis fetišizmas‘‘. Ši strategija siūlo nepripažinti traumos, gedėjimą pakeičiant tais naratyvais, kurie akivaizdžiai niekaip nesusiję su pačia trauma. Šiuolaikinių megalopolių erdvėse galima rasti kūrybinių strategijų. Straipsnyje analizuojami meno objektai Jekaterinburgo mieste, iš kurių svarbiausi yra nusikaltėlių antkapiai ir katedra, kuri buvo naudojama politiniais ir ideologiniais tikslais, bei tapytojo Radya‘os gatvės menas.
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Greene, Julie. "Bookends to a Gentler Capitalism: Complicating the Notion of First and Second Gilded Ages." Journal of the Gilded Age and Progressive Era 19, no. 2 (February 26, 2020): 197–205. http://dx.doi.org/10.1017/s1537781419000628.
Повний текст джерелаАнотація:
AbstractThe narrative of a second Gilded Age erroneously suggests that the current dynamics are repeating those of the late nineteenth century. Although they share certain important characteristics, these are profoundly different historical moments. Focusing on the history of capitalism and labor, and taking a global perspective, demonstrates that the two periods were bookends—the “before” and “after” to a lengthy period when the cruelest characteristics of corporate capitalism were temporarily constrained. The late nineteenth century saw the ascent of serious efforts to rein in the power of the new capitalism and force it to bow down to the needs of civil society. During the late twentieth and early twenty-first centuries, we are experiencing the decline of that effort as capitalists and their ideological and political supporters push to see how far they can go to ensure the unchallenged hegemony of corporate and property rights. The slow climb toward a more humane capitalism and the rapid descent away from it constitute two very different experiences.
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Rogers, Holly. "Fitzcarraldo's Search for Aguirre: Music and Text in the Amazonian Films of Werner Herzog." Journal of the Royal Musical Association 129, no. 1 (2004): 77–99. http://dx.doi.org/10.1093/jrma/fkh003.
Повний текст джерелаАнотація:
This article explores the filmic relationship between music, text and image through an intertextual reading of Herzog's two Amazonian films, Aguirre: Wrath of God and Fitzcarraldo. When Aguirre and Fitzcarraldo encounter each other in the rainforest, 300 years apart, a complicated interplay of history and legend, truth and fiction, is initiated. Awash with magical occurrence, the forest has its own endlessly repeating soundtrack (written by Popul Vuh). The ability of both explorers to defend themselves from the forest depends on their relationship to this music: Aguirre, the earlier explorer, is deaf to the circular sound and attempts to overlay it with a written account of their journey. Fitzcarraldo, on the other hand, enters the forest equipped with a gramophone that plays Verdi arias; he comes with his own soundtrack. Comparison between the two journeys exposes the conventional uses of text/speech and music/song in film, to reveal music as the predominant driving force behind filmic narrative.
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Blumberg, Ilana M. "Stealing the “Parson’s Surplice” / the Person’s Surplus: Narratives of Abstraction and Exchange in Silas Marner." Nineteenth-Century Literature 67, no. 4 (March 1, 2013): 490–519. http://dx.doi.org/10.1525/ncl.2013.67.4.490.
Повний текст джерелаАнотація:
Silas Marner (1861) depicts a stolen hoard of glittering gold at a historical moment that saw an increasing displacement of coinage by paper money in one of the major developments of industrial capitalist modernity. Reading the novel as George Eliot’s aesthetic and ethical response to the modern processes of abstraction that absorbed nineteenth-century thinkers from Auguste Comte to Ludwig Feuerbach and Karl Marx, I suggest that Silas Marner consoles for a potentially impoverishing process of abstraction by refiguring it as an opportunity for a new form of value, one that transcends material limitations and depends upon human networks for its realization. Associating the “abstraction” of gold with the creation of a post-Malthusian modern economy in which giving has little personal cost and, on the contrary, produces collective, practical benefit, Silas Marner reflects the possibilities for abundance, surplus, and shared wealth that could be glimpsed in England at the outset of the 1860s. As the novel shifts from describing money as an unchanging, inanimate object to describing it instead as an exchange-value whose meaning is expressed in relation to the natural growth and repeating cycles of human experience, George Eliot offers a historically relevant fable of moral progress dependent on the abstractions common to material exchange, social sympathy, and narrative itself.
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Simon, Mărioara, Ioan Simon, Paul Andrei Tent, Doina Adina Todea, and Antonia Haranguș. "Cryobiopsy in Lung Cancer Diagnosis—A Literature Review." Medicina 57, no. 4 (April 19, 2021): 393. http://dx.doi.org/10.3390/medicina57040393.
Повний текст джерелаАнотація:
Optimizing the diagnosis of lung cancer represents a challenge, as well as a necessity, for improving the low survival of these patients. Flexible bronchoscopy with forceps biopsy is one of the key diagnostic procedures used for lung tumors. The small sample size and crush artifacts are several factors that can often limit access to a complete diagnosis, therefore leading to the need of repeating the bronchoscopy procedure or other invasive diagnostic methods. The bronchoscopic cryobiopsy is a recent technique that proved its utility in the diagnosis of both endobronchial and peripheral lung tumors. In comparison with conventional forceps biopsy, studies report a higher diagnostic yield and a superior quality of the collected samples for both the histopathological and the molecular diagnosis of lung cancer. This method shows promising results in sampling lung tissue, alone, or in conjunction with fluoroscopy or radial endobronchial ultrasound (r-EBUS). With a good safety and cost-benefit profile, this novel method has the potential to improve the diagnosis, and therefore the management of lung cancer patients. The objective of this narrative review is to provide a comprehensive review of the recent data regarding the advantages of cryobiopsy and r-EBUS in lung cancer diagnosis.
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Witkowski, Terrence H. "Visualizing Winchester: a brand history through iconic Western images." Journal of Historical Research in Marketing 10, no. 4 (November 19, 2018): 383–419. http://dx.doi.org/10.1108/jhrm-09-2017-0053.
Повний текст джерелаАнотація:
Purpose This paper aims to present a visually documented brand history of Winchester Repeating Arms through a cultural analysis of iconic Western images featuring its lever action rifles. Design/methodology/approach The study applies visual culture perspectives and methods to the research and writing of brand history. Iconic Western images featuring Winchester rifles have been selected, examined, and used as points of departure for gathering and interpreting additional data about the brand. The primary sources consist chiefly of photographs from the nineteenth century and films and television shows from the twentieth century. Most visual source materials were obtained from the US Library of Congress, the Smithsonian Institution, the Buffalo Bill Center of the West and the Internet Movie Firearms Database. These have been augmented by written sources. Findings Within a few years of the launch of the Winchester brand in 1866, visual images outside company control associated its repeating rifles with the settlement of the American West and with the colorful people involved. Some of these images were reproduced in books and others sold to consumers in the form of cartes de visite, cabinet cards and stereographs made from albumen prints. Starting in the 1880s, the live Wild West shows of William F. Cody and his stars entertained audiences with a heroic narrative of the period that included numerous Winchesters. During the twentieth century and into the present, Winchesters have been featured in motion pictures and television series with Western themes. Research limitations/implications Historical research is an ongoing process. The discovery of new primary data, both written and visual, may lead to a revised interpretation of the selected images. Originality/value Based largely on images as primary data sources, this study approaches brand history from the perspective of visual culture theory and data. The research shows how brands acquire meaning not just from the companies that own them but also from consumers, the media and other producers of popular culture.
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Zhang, Xinyu. "Þannig er saga okkar“: Um sagnritunarsjálfsögur og skáldsöguna Hundadaga eftir Einar Má Guðmundsson." Íslenskar kvikmyndir 19, no. 2 (October 24, 2019): 249–73. http://dx.doi.org/10.33112/ritid.19.2.10.
Повний текст джерелаАнотація:
The ambiguity between reality and fiction haunts Einar Már Guðmundsson’s novel Hundadagar (Dog Days, 2015), as it is a fictional narrative about factual, historical figures and events, such as Jörgen Jörgensen, Rev. Jón Steingrímsson, Finnur Magnússon and Guðrún Johnsen, while the same can be said about many other novels labeled as postmodernism. Canadian literary scholar Linda Hutcheon coined the concept of historiographic metafiction to describe fictions as such, which are “intensely self-reflexive”, while “paradoxically lay claim to historical events and personages”. Hutcheon suggests that historiographic metafictions fully illuminate the very way in which postmodernism entangles itself with both the epistemological and ontological status of history. This paper begins with an introduction to Hutcheon’s theoretical contributions on postmodernism, postmodern literature and the relationship between history and fiction, followed by a reading of Hundadagar as a historiographic metafiction. The narrator’s strategies—such as parataxis, metanarrative comments, we-narrative discourse and documentary intertext—largely indicate an imitation, a revelation, or say, a parody of the process of historian’s writings. The paper further suggests that it is the Icelandic financial crisis in 2008 that prompts the narrator to revisit the 18. and 19. century, since the financial crisis takes the role of a rupture of the Enlightenment ideals, leading to disorder and chaos. Moreover, the narrator finds an uncanny similarity between the past and the present, as if the history has been repeating itself. The spectre of history keeps (re)appearing in a deferred temporality. While revisiting the past, the narrator also (re)visits the present in an allegorical way. In a word, as a historiographic metafiction, Einar Már Guðmundsson’s Hundadagar is “fundamentally contradictory, resolutely historical, and inescapably political”, just as Hutcheon’s perception of postmodernism.
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Amirian, Seyed Mohammad Reza, and Azam Behshad. "The Effect of Native Model Writing on the Vocabulary Richness of Iranian EFL Learners’ Written Text in a Four-stage Writing Task." Theory and Practice in Language Studies 6, no. 8 (August 1, 2016): 1713. http://dx.doi.org/10.17507/tpls.0608.28.
Повний текст джерелаАнотація:
Vocabulary is a main part of English language teaching because without sufficient vocabulary students cannot understand others or express their own thoughts. “A repeating inquiry in the historical backdrop of language teaching research has been that of how vocabulary can be best organized for learning “(see McArthur 1998; Howatt and Widdowson 2004 for historical reviews). The present study investigated a group of Iranian EFL students’ knowledge for vocabulary learning and their vocabulary size. This study aimed at investigating the role of native-like writing in enhancing learners' writing ability by sensitizing them to select more native-like terms and expressions through improving their vocabulary knowledge. For this purpose the researcher used native models in two revisions of story in four-stage writing task that consisted of output, comparison, and two revisions. The question that researchers asked was whether giving native models later turns into better performance. At the end it is concluded that the 4-satge native model of writing helps L2 learners to write a well-formed English narrative and make use of better terms and expressions as well as helping teachers understand the formulation problems of EFL writers and what the students notice. That is, the gap between the way that they write and the native models to which they compare themselves.
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Qiu, Xuyan, and Yuen Yi Lo. "Content familiarity, task repetition and Chinese EFL learners’ engagement in second language use." Language Teaching Research 21, no. 6 (December 25, 2016): 681–98. http://dx.doi.org/10.1177/1362168816684368.
Повний текст джерелаАнотація:
Previous research has considered the effects of content familiarity and task repetition on second language (L2) performance, but few studies have looked at the effect of these factors on learners’ engagement in task performance. This study explores the influence of content familiarity and task repetition on English as a foreign language (EFL) learners’ engagement in oral performance. Sixty EFL learners performed four narrative tasks with two familiar and two unfamiliar topics. They also repeated the same tasks to the same audience. Their oral production was analysed with various measures of behavioural and cognitive engagement. Stimulated recalls were collected from twenty-one participants to capture their emotional engagement. The participants were behaviourally and cognitively more engaged in tasks with familiar topics as well as having a more positive affective response to them. Repeating the tasks, however, negatively influenced behavioural and cognitive engagement, although the participants felt more relaxed and confident. In addition, the participants were more motivated to repeat unfamiliar topics, although they demonstrated more noticeable declines in their frequency of self-repair (an indicator of cognitive engagement) for these topics. These results provided empirical evidence for the relationship between task design and implementation factors and L2 task engagement. Teachers might base repetition decisions partially on learners’ familiarity with the topic.
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Ismail Mousa, Sayed M., and Ghassan Nawaf Jaber Alhomoud. "Exploring the Literary Representation of Trauma in Contemporary Iraqi Fiction from Socio-historical Perspective." World Journal of English Language 12, no. 1 (January 28, 2022): 162. http://dx.doi.org/10.5430/wjel.v12n1p162.
Повний текст джерелаАнотація:
The present study aims to critically review the aspects of war in selected Iraqi war novels— Sinan Antoon, The Baghdad Eucharist (2017), Corpse Washer (2013) Zauhair Jabouri, The Corpse Hunter (2014)—that focus on depicting vividly the traumatic experiences of Iraqi, particularly after the US-led invasion of Iraq 2003 and how these novels could recur constantly to humanist themes and traumatized figures, the psychological suffering of minorities and the oppressed. In other words, it aims to make visible specific historical instances of trauma in Iraqi war fiction. The present study undertakes an in-depth investigation of the socio-political and historical dimensions of Cathy Caruth’s literary trauma simply because trauma experiences in Iraq were emanated from several causes such as social injustice, the oppression of minorities, political despotism, and the persecution of religious minorities, the displacement of Iraqis from the homeland, and the genocidal policies of jihadist. The study has found that Iraqi war fiction depends on the stylistic technique of repeating certain expressions, phrases, and lexical items to intensify the extraordinary events. It is a narrative of traumatic haunting known for its non-linear and circular style that often leads to ambiguity where readers are often unable to decode the authorial intentions, deriving its ambiguity from the traits of dreams and nightmares, the interpretations of which are continually and unredeemably haunted by the memory of loss.
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Chan, Gerry, Ali Arya, Rita Orji, and Zhao Zhao. "Motivational strategies and approaches for single and multi-player exergames: a social perspective." PeerJ Computer Science 5 (November 4, 2019): e230. http://dx.doi.org/10.7717/peerj-cs.230.
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Background Exergames have attracted the interest of academics, practitioners, and designers, in domains as diverse as health, human-computer interaction, psychology, and information technology. This is primarily because exergames can make the exercise experience more enjoyable and entertaining, and in turn, can increase exercise levels. Despite the many benefits of exergames, they suffer from retention problems. Thus, the objective of this article was to review theories and game elements that have been empirically examined or employed in an attempt to make exergames more motivating so people engage in sustained physical activity (duration of physical activity) in a repeating pattern over time (frequency of physical activity). Methodology A literature search and narrative review were conducted. Results Five major theories and elements were prevalent in the exergaming literature: (1) self-determination theory, (2) gamification, (3) competition and cooperation, (4) situational interest, and (5) social interaction. These theories and elements are important for encouraging long-term play and show promise for designing exergames to promote sustained engagement and motivate physical activity. We discuss their strengths and weaknesses throughout the paper. Conclusions The long-term effectiveness of exergame interventions is unclear mainly because of the limited amount of long-term studies. Better metrics are also needed to evaluate this effectiveness. We also identified particular attention to social factors and group dynamics, such as multi-player exergames and more effective player matchmaking strategies for increasing social connectedness, as a key area of future research.
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Bernstein, Robin. "Children's Books, Dolls, and the Performance of Race; or, The Possibility of Children's Literature." PMLA/Publications of the Modern Language Association of America 126, no. 1 (January 2011): 160–69. http://dx.doi.org/10.1632/pmla.2011.126.1.160.
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In about 1855, three decades before frances hodgson burnett wrote her first best-selling children's book, little lord fauntleroy, she was a child—Frances Eliza Hodgson—and she read Harriet Beecher Stowe's Uncle Tom's Cabin. She found Stowe's novel, like all the stories she encountered, to be “unsatisfactory, filling her with vague, restless craving for greater completeness of form” (Burnett 44). The form the girl craved—that is, the material she believed she needed to complete the narrative—was a black doll. When Burnett obtained the doll, she named it Topsy and used it to “act” out the parts of the novel she found most “thrilling” (53). Casting a white doll she already owned as Little Eva, she played out ever-repeating scenes of Eva laying hands on Topsy, awakening the hardened slave girl to Christian love. Burnett also kept the Eva doll “actively employed slowly fading away and dying,” and in these scenes she took on the role of Uncle Tom (57). At other times, Burnett performed the scene of Eva's death, casting the white doll as Eva and herself as “all the weeping slaves at once” (58). And at least once she designated the doll Uncle Tom and cast herself as Simon Legree. For this scenario, the girl bound the doll to a candelabra stand. “[F]urious with insensate rage,” she whipped her doll (fig. 1). Throughout the whipping, the doll maintained a “cheerfully hideous” grin, which suggested to the girl that Uncle Tom was “enjoying the situation” of being “brutally lashed” (56, 55).
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Wistreich, Richard. "PHILIPPE DE MONTE: NEW AUTOBIOGRAPHICAL DOCUMENTS." Early Music History 25 (August 17, 2006): 257–308. http://dx.doi.org/10.1017/s0261127906000167.
Повний текст джерелаАнотація:
In a letter written in the year he died, the novelist Italo Calvino spoke of his unease with the writing of the story of his own life: ‘Each time I see my life fixed and objectified I am seized with anxiety, especially when it is notes that I myself have supplied … by repeating the same things [but] using different words I always hope to get round my neurotic relationship with autobiography.’ Such testimony from a still-living creative artist is a valuable reminder of the historiographical conundrums of even the most apparently ‘authentic’ biographical narrative. Those of us who read, research and write the stories of long-dead artists, relying as we must on the contents of documents both written and preserved for all kinds of forgotten and quite likely unfathomable reasons, have learnt to be cautious, if not a little anxious, in our relationships with what they seem to be saying to us. The more consciously autobiographical such writings appear to be, the more circumspectly we tend to tread, trying to temper the seductive pleasure of a time-dissolving intimacy with our subjects which such texts seem to promise with our historians' sense of their Siren dangers. Nevertheless, in the case of the still largely unknown story of Philippe de Monte, whose scarce documentary sources, apart from a rich but small handful of private letters, consist of the often enigmatic prefaces to his published music, the addition of two new, very substantial and intensely autobiographical documents can hardly fail to excite expectations of increased access to ‘the man himself’.
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Vanides, Aaron. "Iohannes Hus, Constantiensia, ed. Helena Krmíčková, Dušan Coufal, Jana Fuksová, Lucie Mazalová, Petra Mutlová, Jana Nechutová, and Libor Švanda. Corpus Christianorum Continuatio Mediaevalis, 274. Turnhout: Brepols, 2016, xcii, 350 pp., 15. color ill." Mediaevistik 34, no. 1 (January 1, 2021): 496–99. http://dx.doi.org/10.3726/med.2021.01.133.
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Abstract: Before his immolation, the Bohemian theologian Jan Hus spent the final 242 days of his life as a prisoner in the lakeside imperial city of Constance. That was 1415. More recently, and partially in anticipation of the sixth centenary of his execution at the Council of Constance, the past decade has seen a marked increase in attention, popular and scholarly alike, paid to all things Hus and Hussite. Jan Hus, one could say, is ‘hot.’ This relative uptick in Hus’s visibility is not, however, simply commemorative; it has as much to do with trends in the study of the later Middle Ages as it does with public history. Much like his contemporary Jean Gerson, Hus left behind an extraordinary written corpus that exemplifies the world in which he lived, and scholars have made a concerted effort to resituate Hus within the complexities of European society during the Great Western Schism. Instead of repeating the narrative of Hus as the forerunner of a Reformation to come, some of the most compelling studies on the Hussite milieu have focused on an increasingly wide range of topics: the history of political thought, literary networks and communication, book history, vernacular preaching and literature, and even the notoriously under-studied wilderness of late-medieval canon law. And yet regardless of the path one takes to get to Hus, and wherever one thinks that path may take them, all roads lead to Constance in one way or another, to his trial, his death, and to its aftermath in the decades and centuries that followed.
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Caballero, Carlo. "Silence, Echo: A Response to "What the Sorcerer Said"." 19th-Century Music 28, no. 2 (2004): 160–82. http://dx.doi.org/10.1525/ncm.2004.28.2.160.
Повний текст джерелаАнотація:
In "What the Sorcerer Said," Carolyn Abbate proposed a reading of Dukas's Sorcerer's Apprentice (1897) focused on the possibility of musical narration. The present essay shifts that focus to the question of the work's uncanniness and excess. In particular, where Abbate finds that the slow part of the epilogue resonates with her understanding of the work as an instance of narration, I begin with the final two measures of the work, which suddenly revert to the fast tempo of the central scherzo. These final measures, which Abbate does not mention, produce a disturbing regression that suggests another reanimation of the broom. This "third beginning" (thus heard in relation to the two preceding moments of animation) marks the broom as an agent of the uncanny (heimlich and unheimlich) in the sense identified by Freud in his essay "Das Unheimliche" (1919). Indeed, Dukas's work as a whole is haunted by motives Freud later identified as uncanny: magic, the omnipotence of thought, animism, and involuntary repetition. The essay works backward from the final noise of the piece into a re-reading founded on musical details such as the representation of the brooms through minor- and major-third dyads, the role of the pitch-class Ab, the structure of the central "reanimation scene," and the dismal interplay of motives associated with the broom and the Apprentice. Close attention is given to Dukas's immediate literary source, Goethe's ballad "Der Zauberlehrling," whose use of assonance and repeating rhymes provides subtle structural cues echoed in Dukas's music; I argue that the relationship between the ballad and Dukas's score is more homologous than Abbate was willing to allow. A number of revisions to Abbate's account also emerge through reference to a descriptive note on The Sorcerer's Apprentice left by Dukas in manuscript (Paris B.N.F. Musique MS 1037). Finally, I suggest that this "symphonic scherzo after Goethe" conflates literary and musical logics into a peculiar kind of fiction that points to the uncanny nature of narrative itself. Dukas's work ultimately engages the issue of mastery by focusing the listener's attention on the failure of authority and the contingency of animation or de-animation. In this Lacanian "overflow" into the unknown, the musical work goes beyond its literary sources, for the broom, not the human figure of the Apprentice, becomes the true protagonist of Dukas's work.
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Sapriadi, Sapriadi, Chamil Arkhasa Nikko Mazlan, and Affendi Ramli. "Proses Awal dalam Penghasilan Komposisi “Kelampan Bajang” dengan Mengadaptasi Struktur Musik Pop Suku Sasak Lombok." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 3, no. 2 (December 17, 2021): 86–102. http://dx.doi.org/10.24036/musikolastika.v3i2.68.
Повний текст джерелаАнотація:
The musical composition, entitled Kelampan Bajang, is the main narrative of the composition theme about the story of the journey of the young Sasak tribe which is semiotically depicted in three different times, namely morning, afternoon, and night. This composition emerged due to several phenomena found, including 1) there are no complete Sasak songs in transcripts and arrangements, 2) many musicians arrange songs in Sasak but often cause controversy in lyrics and music, 3) many talented young musicians cover repeating noname songs on several songs performed by many pop singers in Lombok, 4) many sasak pop songs but most of them do not represent local culture in terms of lyrics and music. This paper aims to explain the initial process of musical composition with the theme Kelampan Bajang including 1) Bekuliq, 2) Bekayaq, 3) Matur Tampiasih, 4) Sepi Alam Dese, 5) Lalo Midang, and 6) Merariq. All song lyrics are written in the Sasak language. The research uses the autoethnographic method to discuss the problem, how the idea of creating musical compositions can be aligned with the diversity of musical culture in Lombok. After conducting an in-depth study, the author concluded that in order to create a compositional work that could represent regional culture and not cause controversy among the public, namely 1) the author inserted an exploration of the pelog and slendro melodic motifs in the vocal melody section as regional identity, 2) the author inserted the motif the melodies of pelog and slendro in the musical arrangement section, and 3) the author uses good and correct local language lyrics that are in accordance with the regional culture in Lombok.
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Veprev, Aleksandr Ivanovich. "Matryoshka version of the Russian verlibre." Litera, no. 4 (April 2021): 64–92. http://dx.doi.org/10.25136/2409-8698.2021.4.35358.
Повний текст джерелаАнотація:
Referring to the possibility and need for an experiment in literary studies, mentioned in the early XX century by the Soviet literary theoretician and poetry scholar Boris Yarkho, who paid particular attention to the transformation of the genre and the structure of expressive means as a whole, the author of this article analyzes the new form of the Russian verlibre (free verse), its varieties of the most probable form, attempting to determine its most characteristic typology, as well as to introduce into the concept of the matryoshka verlibre the two main forms, two of its fundamental metaphases and several subvarieties: 1. Verlibre in verlibres (verlibre in several verlibres); 2. Verlibre in verlibre (several verlibra in one verlibre). The author also distinguishes two subvarieties that are formed from the verlibre in verlibre: 3. Veprlibr (large verlibre in several verlibres); 4. Aphoristic verlibre (verlibre in several aphorisms), and others. The main conclusion of the conducted analysis of the new form of the matryoshka verlibre consists in the fact that matryoshka verlibre is patterned by a catenate fairy tale and is attributed to the type of catenate fairy tale (cumulative fairy tale, recursive fairy tale, chainlike fairy tale). The verlibre, in which dialogues or actions are repeated and develop in a modified form according to the plotline, belongs to the matryoshka verlibre. The effect of these verlibres is based on the repeating narrative, characteristic image and action changing for one or another reason and reaching culmination. In this case, semantic differentiation of the text is viewed as a synthesis of both dimensions, where any component of the work is simultaneously motivated by the coherence of such element that it creates with other elements, as well as semantic union of the elements that are subject to destruction, and belong to different components of the entire work. A matryoshka doll serves as an example.
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Klin, Celia M., Angela S. Ralano, and Kristin M. Weingartner. "Repeating phrases across unrelated narratives: Evidence of text repetition effects." Memory & Cognition 35, no. 7 (October 2007): 1588–99. http://dx.doi.org/10.3758/bf03193493.
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Sherstyukov, S. A. "The Narratives of Muslim Women of Central Asia about "Liberation": the Voice of the Subaltern? (1920s-1930s)." Izvestiya of Altai State University, no. 5(115) (November 30, 2020): 57–63. http://dx.doi.org/10.14258/izvasu(2020)5-08.
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This article examines the narratives of Muslim women in Central Asia about their experience of their emancipation. Gender issues occupy an important place in postcolonial studies which have progressed rapidly in recent decades. Can the analytical language and approaches develop within the framework of postcolonial studies be applied to the study of Soviet history? This issue continues to be the subject of discussion among Russian and Western authors. However, it is obvious that when studying some aspects of the life of Soviet society, it is impossible to ignore the experience of studying colonial and postcolonial societies. The author, repeating the question posed by postcolonial researchers about whether the Subaltern can speak, tries to answer it by focusing on the narratives of Muslim women in Central Asia about “liberation”. These narratives were an important part of the Soviet discourse on the emancipation of women. Muslim women's gaining a voice (individual and collective) was seen as an important indicator of the success of policies aimed at "liberating" women. Analysis of Muslim women's narratives about "liberation" provided an opportunity to see the similarity of their structure, as well as how the structure of narratives changed in the 1930s.
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Beserra, Bernadete. "The reinvention of Brazil and other metamorphoses in the world of Chicago samba." Vibrant: Virtual Brazilian Anthropology 8, no. 1 (June 2011): 117–45. http://dx.doi.org/10.1590/s1809-43412011000100005.
Повний текст джерелаАнотація:
The article demonstrates, through an ethnographic study of Chicago Samba, a Brazilian musical ensemble, that samba and the Brazilians who reconstruct it, circulate within Chicago repeating old narratives tangled in new webs of meanings, paradoxically creating new spaces of sociability and cooperation between normally separate and distant social groups. They build ‘corners of the world’ that temporarily break down borders of all types. In the effort to give life to the narratives that open the market to their products, they recreate them and, in the process, create dialogues and sociabilities that subvert them: kinds of niches of resistance to the dominant narratives regarding their own and their host culture. Even though the entry and vibrant v.8 n.1 bernadete beserra departure from these niches signal temporary abandonment as well as return to the dominant codes, these encounters, no matter how brief, leave in those who venture into them vestiges of and desires for metamorphosis.
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Yakovenko, Iryna. "African American history in Natasha Trethewey’s “Native Guard”." Synopsis: Text Context Media 27, no. 4 (December 25, 2021): 224–30. http://dx.doi.org/10.28925/2311-259x.2021.4.4.
Повний текст джерелаАнотація:
The article presents interpretations of the poetry collection “Native Guard” of the American writer Natasha Trethewey — the Pulitzer Prize winner (2007), and Poet Laureate (2012–2014). Through the lens of African American and Critical Race studies, Trethewey’s “Native Guard” is analyzed as the artistic Civil War reconstruction which writes the Louisiana Native Guard regiments into national history. Utilizing the wide range of poetic forms in the collections “Domestic Work” (2000), “Bellocq’s Ophelia” (2002), “Thrall” (2012), — ekphrastic poetry, verse-novellas, epistolary poems, rhymed and free verse sonnets, dramatic monologues, in “Native Guard” (2006) Natasha Trethewey experiments with the classical genres of villanelle (“Scenes from a Documentary History of Mississippi”), ghazal (“Miscegenation”), pantoum (“Incident”), elegy (“Elegy for the Native Guard”), linear palindrome (“Myth”), pastoral (“Pastoral”), sonnet (the ten poems of the crown sonnet sequence “Native Guard”). Following the African American modernist literary canon, Trethewey transforms the traditional forms, infusing blues into sonnets (“Graveyard Blues”), and experimenting with into blank verse sonnets (“What the Body Can Tell”). In the first part of “Native Guard”, the poet pays homage to her African American mother who was married to a white man in the 1960s when interracial marriage was illegal. The book demonstrates the intersections of private memories of Trethewey’s mother, her childhood and personal encounters with the racial oppression in the American South, and the “poeticized” episodes from the Civil War history presented from the perspective of the freed slave and the soldier of the Native Guard, Nathan Daniels. The core poems devoted to the 1st, 2nd and 3rd Louisiana regiments in the Union Army formed in 1862, are the crown sonnet sequence which variably combine the formal features of the European classical sonnet and the African American blues poetics. The ten poems are composed as unrhymed journal entries, dated from 1862 to 1865, and they foreground the reflections of the African American warrior on historical episodes of the Civil War focusing on the Native Guard’s involvement in the military duty. In formal aspects, Trethewey achieves the effect of continuity by “binding” together each sonnet and repeating the final line of the poem at the beginning of the following one in the sequence. Though, the “Native Guard” crown sonnet sequence does not fully comply with the rigid structure of the classical European form, Trethewey’s poetic narrative aims at restoring the role of the African American soldiers in the Civil War and commemorating the Native Guard. The final part of the collection synthesizes the two strains – the personal and the historical, accentuating the racial issues in the American South. Through the experience of a biracial Southerner, and via the polemics with the Fugitives, in her poems Natasha Trethewey displays that the Civil Rights Act has not eliminated racial inequality and racism. Trethewey’s extensive experimentation with literary forms and style opens up the prospects for further investigation of the writer’s artistic methods in her poetry collections, autobiographical prose, and nonfiction.
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Singler, Beth. "The AI Creation Meme: A Case Study of the New Visibility of Religion in Artificial Intelligence Discourse." Religions 11, no. 5 (May 19, 2020): 253. http://dx.doi.org/10.3390/rel11050253.
Повний текст джерелаАнотація:
Through a consideration of examples of the AI Creation Meme, a remix of Michelangelo’s Creazione di Adamo featuring a human hand and a machine hand nearly touching, fingertip to fingertip, this article will tackle the religious continuities and resonances that still emerge in AI discourse in an allegedly ‘secular age’. The AI Creation Meme, as a highly visible cultural artefact appearing in a variety of forms and locations, will be analyzed and discussed for its religious, apocalyptic, and post-humanist narratives, along with reference to earlier work on the New Visibility of Religion—specifically, Alexander Darius Ornella’s consideration of the New Visibility of Religion and religious imagery of the 2006 film, Children of Men. Work that outlines the aspects of critical post-humanism, speculative post-humanism, and transhumanism in relation to the contemporary post-secular age will also be addressed to expand on the implicit apocalyptic messages of the AI Creation Meme. Such a consideration of repeating and remixed imagery will add to the scholarly conversation around AI narratives and the entanglements of religion and technology in our imaginaries of the future.
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Kasselstrand, Isabella. "‘We Still Wanted That Sense of Occasion’: Traditions and Meaning-Making in Scottish Humanist Marriage Ceremonies." Scottish Affairs 27, no. 3 (August 2018): 273–93. http://dx.doi.org/10.3366/scot.2018.0244.
Повний текст джерелаАнотація:
As a secularising nation in Northern Europe, Scotland has, over the last few decades, experienced a steep decline in religious belonging, church attendance, and beliefs. Ritual participation, which is arguably an understudied dimension of secularisation, follows a similar pattern of decline, with a significant majority of Scottish marriage rituals now being conducted in secular ceremonies. Using data from semi-structured in-depth interviews with 17 married couples, this study examines the decisions that secular Scots make when planning their wedding. Moreover, it places a particular focus on humanist marriage ceremonies, which have seen a noteworthy increase in popularity since they became legally recognised in Scotland in 2005. The secular participants emphasised the role of personal convictions and family expectations in choosing a particular type of marriage ceremony. The narratives also revealed how positive attitudes toward humanist ceremonies, in contrast with civil ceremonies, are centred around their ability to create personalised, nonreligious, celebrations that nevertheless give attention to culture and heritage. Ultimately, the findings suggest that repeating history through cultural traditions are an important aspect of both secular and religious rites of passage.
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Humphrey, Vernon F. "I Can’t Be Blind, I Can See." Journal of Autoethnography 1, no. 4 (2020): 370–77. http://dx.doi.org/10.1525/joae.2020.1.4.370.
Повний текст джерелаАнотація:
In Narrating the Closet, Adams described “coming out” as a seemingly never-ending ongoing process. I reflected on the number of times I had to explain how a blind guy could see, and I had a better understanding of coming out. Although I do not have the same negative social stigma, I often get weary repeating myself, trying to explain how a blind guy can see. Autoethnography can provide the reader with an opportunity to embrace the cultural standpoint of the writer,1 especially if they find a way to associate the experience with their own journey. I am attempting to “seek dimensions of experience that will engender connection and recognition in the midst of complexity.”2 I offer this article to provide a perspective of the phenomenon created when an adventitiously blind person (a person who had sight long enough to have visual references, usually after the age of five) tries to re-enter the sight-biased world.
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Polish, Jessica. "After Alice After Cats in Derrida's L'animal que donc je suis." Derrida Today 7, no. 2 (November 2014): 180–96. http://dx.doi.org/10.3366/drt.2014.0088.
Повний текст джерелаАнотація:
In this essay, I argue that Derrida cannot pursue the question of being/following unless he thinks through the question of sexual difference posed by figures of little girls in philosophical texts and in literature, specifically as posed by Lewis Carroll's Alice whom Derrida references in L'animal que donc je suis. At stake in thinking being after animals after Alice is the thought of an other than fraternal following, a way of being-with and inheriting from (other than human) others that calls for an account of development that is not dictated by a normative autotelic and sacrificial logic. I argue that Derrida's dissociation of himself and his cat from Alice and her cat(s) in L'animal que donc je suis causes him to risk repeating the closed, teleological gestures philosophers like Kant and Hegel perpetuate in their accounts of human development. The more sweeping conclusion towards which this essay points is the claim that the domestication of girls and their subjection to familial fates in narratives and the reduction of development to teleology more generally, require the sacrifice and forgetting of ‘nature’, including animals, so that the fates of girls and ‘nature’ are intertwined in the context of projects of human world-building and home-making.
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Akhavan, Niki. "Nonfiction Form and the “Truth” about Muslim Women in Iranian Documentary." Feminist Media Histories 1, no. 1 (January 1, 2015): 89–111. http://dx.doi.org/10.1525/fmh.2015.1.1.89.
Повний текст джерелаАнотація:
More than three decades of hostile relations between Iran and the West have meant that images about Iran and Iranian women circulate in a charged political environment. In this geopolitical context, Iranian women filmmakers have often found receptive audiences abroad who turn to documentaries as sites to reveal the truths of contemporary Iran. The enthusiasm for these works, however, also exerts pressures on filmmakers to adhere to familiar narratives about Iran and Iranian women or risk losing their audiences. Focusing on Nahid Sarvestani's Prostitution behind the Veil (2004) and Mahvash Sheikholeslami's Where Do I Belong? (2007), this article examines two tendencies in recent Iranian documentary. The former film exemplifies the prevalent trend of repeating troubling but familiar tropes about Islam and Muslim women, while the latter is an example of attempts to provide a more nuanced picture of Iran's social and political problems. Placing these films in the broader context of the history of nonfiction films in Iran, the article also draws from both feminist scholarship on representations of the Muslim world and longstanding debates within documentary studies to show the high stakes of producing films about Iran and to suggest that documentary works by and about Iranian women should be more rigorously interrogated for their ethical and political implications.
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Boldt, Gail M., and Kevin Leander. "Becoming through ‘the break’: A post-human account of a child’s play." Journal of Early Childhood Literacy 17, no. 3 (August 12, 2017): 409–25. http://dx.doi.org/10.1177/1468798417712104.
Повний текст джерелаАнотація:
In this article, we think through six-year-old Mike’s play with Lego and with his father, using Deleuze and Guattari’s concept of the break. For Deleuze and Guattari, the break is thought about in relation to impersonal flows of desire that are always everywhere at work and to the refrain, which we describe as materials and energies organized into repeating patterns. The movement of desiring flows in relation to refrains inevitably produces difference; breaks matter insofar as they are the introduction of difference that might make a difference, that produces movement and momentum, the felt life in things. In this article, we take two passes at thinking about breaks and their associated movements. In the first, we come close to the action of Mike’s play to think about materials, narratives and discourses, and about the ways, both predictable and wild, that they assemble and disassemble, hold together and fall apart. In the second pass, we think about the temporal organization of play and how players mess about in time and with time, drawing on Deleuze and Guattari’s (1990) notion of chronos and aiôn. After considering the break in Mike’s play, we conclude with reflections on the differences that would be possible were we to allow movement to be immanent to our ways of being as researchers and as teachers.
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Mononen, Sini. "Epäilyksen musiikki ja anteeksiannon montaasi." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (September 8, 2021): 42–56. http://dx.doi.org/10.23994/lk.111160.
Повний текст джерелаАнотація:
Artikkeli käsittelee yhteisön affektiivista kuvaa nordic noir -televisiosarjan Kaikki synnit (ohj. Mika Ronkainen) musiikissa. Nordic noirin lajityyppiin kuuluu keskeisenä affektina epäilys. Artikkelissa tarkastellaan sarjan keskeistä teemaa, anteeksiantoa, epäilyksien affektiivisena vastinparina.Sarjan tarinamaailma sijoittuu fiktiiviseen pohjoispohjanmaalaiseen Varjakan kuntaan, jonka valtaväestö on vanhoillislestadiolaista. Nordic noirille lajityypilliseen tapaan sarjan tarina nousee ajankohtaisesta yhteiskunnallisesta kysymyksestä, joka Kaikki synnit -televisiosarjassa on sukupuolittunut väkivalta ja seksuaalinen häirintä. Sarjan analyysin teoreettisena viitekehyksenä on 2000-luvun affektiteoria, jossa affektiivisuus ymmärretään kulttuurissa ja yhteiskunnassa syntyneenä.Kaikki synnit -televisiosarjan musiikki hyödyntää affektiivisuutta keskeisenä katsomiskokemusta ja tarinaa jäsentävänä tekijänä. Sarjan tarinamaailmassa yhteisön affektiivisuus näyttäytyy sidoksina ja katkoksina, jota musiikki ilmentää. Sarjaa tarkastellaan artikkelissa feministisen estetiikan valossa: yksiselitteisen väkivallan toistamisen sijaan sarja pyrkii kohti kerrontaa, jossa tarinan päätepisteenä ei ole kosto vaan sovinto menneisyyden kanssa.Avainsanat: Kaikki synnit, nordic noir, televisiosarjan musiikki, affekti, seksuaalinen häirintä, feministinen estetiikkaThe Music of suspicion and the montage of forgiveness: music as an affective image of the community in the television series Kaikki synnitThis article discusses the affective representation of the community in the music of the Nordic noir TV series Kaikki synnit (dir. Mika Ronkainen). The genre of Nordic Noir includes suspicion as a key affect. The article looks at the central theme of Kaikki synnit, forgiveness, as an affective counterpart of suspicion.The story world of the series is set in the fictional North Ostrobothnian town of Varjakka, where the majority of the population are conservative Laestadians. For Nordic noir, in a genre-specific way, the story of the series arises from a topical sociopolitical issue, which in the TV series Kaikki synnit is gendered violence and sexual harassment. The theoretical background of the analysis of the series is formed by recent affect theory, where affect is understood as a social and cultural phenomenon.The music in Kaikki synnit TV series draws on affect as a key factor in the viewing experience. In the story world of the series, the affectiveness of the community is represented as bonds and breaks, which is echoed in the music of the series. The series is viewed in light of feminist aesthetics: instead of repeating unambiguous violence, the series tends toward narration where the end point of the story is not revenge but reconciliation with the past.Keywords: Kaikki synnit, Nordic Noir, music in television series, affect, sexual harassment, feminist aesthetics
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Palmer, Bruce. "WHY STORIES BEAR REPEATING: NEUROSCIENCE, POLITICS, POWER, HISTORY, AND NARRATIVE OPERATIONS." SSRN Electronic Journal, 2021. http://dx.doi.org/10.2139/ssrn.3810313.
Повний текст джерела
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"Narrative frequency in the structure of feature film التواتر السردي في بنية الفلم الروائي". المجلد 14 عدد 2 2021 14, № 2 (серпень 2021): 179–200. http://dx.doi.org/10.47016/14.2.3.
Повний текст джерелаАнотація:
Abstract Our current research studies the technique of narrative frequency in the structure of the narrative film, as one of the most controversial narrative techniques in the narrative systems in general and the cinematic film in particular. Section I of this paper presents the research problem, which is centered around the question: What are the narrative, semantic, and aesthetic dimensions of employing the technique of narrative frequency in the structure of the narrative film? The second section covers two topics. In the first topic, entitled "Narrative Frequency: The Term and the Concept", the researchers addressed the concept of narrative frequency and its manifestations in the narrative medium. In his encyclopedic and comprehensive study of the narrative theory, the critic and theorist (Gerard Gent) made an attempt to develop an integrated concept of the narrative frequency in all systems of narration, including cinematic discourse as one of the highly complex story systems due to the nature of the narrative medium and its ever-renewable potential. The second topic entitled "The Structure of Narrative Frequency in the Film Tale", deals with the nature of the relationship between the narrative frequency and the controlling point of view. Here, the concept of frequency is related to another, more complicated issue, namely the changing of the angle or perspective from which the events are viewed. So this topic will be a cinematic subject dealing specifically with the narrative frequency in the narrative film and its forms through the film examples. The most prominent result reached was that the narrative frequency is related to the ideological viewpoints of the characters, who see the facts from their point of view. The narrative frequency also created semantic, philosophical and ideological dimensions added to the events presented on the screen, opening the way wide for interpretation by the viewer. keywoords: Repeating, Narrative, Repeating narrative, Film structure, Cinematic narrative, Point of view narrative, The narrator, Recurring narration, Multiple narration, Cinema story. الملخص يختص بحثنا الحالي بدراسة تقنية التواتر السردي في بنية الفلم الروائي، بوصفها إحدى التقنيات السردية الأكثر جدلا في الأنظمة الحكائية بشكل عام والفلم السينمائي منها تحديدا، ولخصوصية هذا البحث في تناوله لآلية التواتر السردي من مجمل التقنيات السردية الأخرى فقد اشتمل الفصل الأول على مشكلة البحث التي تمحورت حول السؤال: ما هي الأبعاد السردية والدلالية والجمالية لتوظيف تقنية التواتر السردي في بنية الفلم الروائي؟ والفصل الثاني اشتمل على مبحثين: الأول هو التواتر السردي مصطلحا ومفهوما، وفيه تناول الباحثان مفهوم التواتر السردي وتشكلاته في الوسط الروائي, وقد قام الناقد والمنظر (جيرار جنت) من خلال دراسته الموسوعية والشاملة لنظرية السرد بمحاولة وضع مفهوم متكامل للتواتر السردي في جميع الأنظمة الحكائية ومنها الخطاب السينمائي كواحد من الأنظمة الحكائية بالغة التعقيد بسبب طبيعة الوسيط السردي وما يمتلكه من إمكانات متجددة على الدوام. أما المبحث الثاني، بنية التواتر السردي في الحكاية الفلمية، فتناولا طبيعة العلاقة بين التواتر السردي ووجهة النظر المتحكمة بزاوية رؤية الأحداث، وهنا يرتبط مفهوم التواتر بقضية أخرى أكثر تعقيدا وهي تغيّر الزاوية التي ينظر من خلالها للأحداث. فيكون هذا المبحث مبحثا سينمائيا يختص بالتواتر السردي في الفلم الروائي تحديدا وتشكلاته من خلال الأمثلة الفلمية. ومن أبرز النتائج التي تم الخروج بها هي: ارتباط التواتر السردي بوجهة النظر الأيديولوجية لكل شخصية من الشخصيات التي ترى الحقائق من وجهة نظرها الخاصة والزاوية التي تنظر بها إلى الأحداث، كما عمل التواتر السردي على خلق أبعاد دلالية وفلسفية وأيديولوجية مضافة للأحداث المعروضة على الشاشة بما يفتح المجال واسعا للتأويل لدى المشاهد. الكلمات المفتاحية: تواتر، سرد، التواتر السردي، بنية الفلم، سرد سينمائي، سرد فلمي، وجهة النظر السردية، الراوي، السرد المتكرر، السرد المتعدد، قصة سينمائية.
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Tranter, Kieran. "Welcome to the Multiverse: Law, Technology and Humans." Law, Technology and Humans, November 13, 2019, 1–5. http://dx.doi.org/10.5204/lthj.v1i0.1379.
Повний текст джерелаАнотація:
Law, Technology and Humans aims for something different from the mainstream of technology law scholarship. Rather than repeating analysis born from the dominant narrative, it boldly presents itself as a portal to the multiverse of stories and methods through which to understand, dream, critique, build and live well in the technological present as it, with every planetary rotation, moves towards the technological future.
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Di Marco, Martín Hernán. "Why? How Perpetrators of Male-Male Homicide Explain the Crime." Journal of Interpersonal Violence, March 25, 2022, 088626052210819. http://dx.doi.org/10.1177/08862605221081930.
Повний текст джерелаАнотація:
This paper identifies the explanatory narratives used by perpetrators of male-male homicide in Buenos Aires (Argentina) to make sense of this crime. Drawing upon narrative criminology and masculinities theories, this study enquires into the rationalisations of perpetrators, considering their emic terms, rationalities and stories. Fieldwork was conducted between 2016 and 2020, and a convenience sample strategy was employed for participant recruitment. The analysis is based upon seventy-three narrative-biographical interviews with offenders, and field observations in prisons and homes of former convicts. The corpus was analysed following an inductive thematic coding strategy using Atlas.Ti. Eight narratives were typified, considering how men talked about agency and change, and the explanatory locus of the stories: ‘rebel’, ‘affected’, ‘idiot’, ‘either him or me’, ‘repeating the story’, ‘gang’, ‘betrayed’ and ‘victim’. These accounts revealed two paradoxes about violence perpetration storytelling and its discursive management: men can commit a homicide and present themselves as not responsible for it and, simultaneously, they use, reconfigure and negotiate expert theories and scientific labels to explain away, excuse and justify lethal violence. This study argues that accounts are not merely neutralisation strategies, but the rationalisations of the perpetrators’ experiences, and the foundation for how they relate to and inhabit penal institutions. This paper contributes to the understanding of how those explanations shape past and future actions, and how masculinities, biographical processes and violence performance are interconnected.
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Larsen, Mads. "Repeating Authorial Blackface in Analogous Adaptation of Probably Ghostwritten The Dark Child." Adaptation, September 24, 2020. http://dx.doi.org/10.1093/adaptation/apaa033.
Повний текст джерелаАнотація:
Abstract After decades of investigation, leading scholars conclude that the founding novel of francophone African literature was likely written by Europeans. Camara Laye’s The Dark Child (1953) was sold as an autobiography and became the most read African novel in French. The idyllic narrative that African critics accused of colonial apologetics is now accused by Western scholars of being the product of an anti-independence conspiracy supported by François Mitterrand. When claims of ghost-writing were still dismissed as petty African jealousy, Laurent Chevallier relocated Laye’s childhood story to present-day Guinea with an analogous film adaptation that both builds on and parallels the novel. The French director introduces L’enfant noir (1995) not as his own interpretation but that of Laye’s relatives who also act in his film. Although Chevallier sells his story as authentically local, his Eurocentric adaptation of gender, polygamy, and reproduction has provoked accusations of Western plotting against African values.