Suchergebnisse

Inhaltsverzeichnis; Werner Früh / Felix Frey; Einleitung; Felix Frey / Werner Früh; Die Vielfalt der Erzählung: Eine Inhaltsanalyse zur Definition von ›Narration‹, ›Geschichte‹ und ›Narrativität‹ in wissenschaftlichen Fachzeitschriften; Werner Früh; Narration und Storytelling; Felix Frey; Wirkungen des Narrativen.Ein systematischer Forschungsüberblick zu Effekten narrativer Kommunikationsformen ; Werner Früh / Felix Frey; Narration und Storytelling im politischen Journalismus. Eine inhaltsanalytische Untersuchung zur Verwendung erzählender Darstellungsweisen; Werner Früh / Felix Frey

The law is full of stories, ranging from the competing narratives presented at trials to the Olympian historical narratives set forth in Supreme Court opinions. How those stories are told and listened to makes a crucial difference to those whose lives are reworked in legal storytelling. The public at large has increasingly been drawn to law as an area where vivid human stories are played out with distinctively high stakes. And scholars in several fields have recently come to recognize that law's stories need to be studied critically.This notable volume-inspired by a symposium held at Yale Law School-brings together an exceptional group of well-known figures in law and literary studies to take a probing look at how and why stories are told in the law and how they are constructed and made effective. Why is it that some stories-confessions, victim impact statements-can be excluded from decisionmakers' hearing? How do judges claim the authority by which they impose certain stories on reality?Law's Stories opens new perspectives on the law, as narrative exchange, performance, explanation. It provides a compelling encounter of law and literature, seen as two wary but necessary interlocutors.ContributorsJ. M. BalkinPeter BrooksHarlon L. DaltonAlan M. DershowitzDaniel A. FarberRobert A. FergusonPaul GewirtzJohn HollanderAnthony KronmanPierre N. LevalSanford LevinsonCatharine MacKinnonJanet MalcolmMartha MinowDavid N. RosenElaine ScarryLouis Michael SeidmanSuzanna SherryReva B. SiegelRobert Weisberg

In this important book, a leading authority in the field of social theory and communication shows how scientific practice is a rhetorical and narrative activity, a story well told. Richard Harvey Brown develops the idea of science as narration, casts various scientific disciplines as literary genres, and argues that expert knowledge of any kind is a form of power. He then explains how a narrative view of science can help integrate science within a democratic civic discourse.Brown shows why social science knowledge is as much a rhetorical enterprise as is the social reality that it describes. He construes laboratory science, physics, ethnography, sociology, philosophy, and astronomy as genres, narratives, and other rhetorical practices, and thereby portrays science as a special kind of narrative discourse that generates theories and shapes their validity and significance. He next focuses on the political dimensions of science, including the politics of psychology in the United States, showing how power and knowledge shape, limit, and infuse each other. Brown argues that this linguistically and socially constructed character of knowledge does not undermine its truth value but rather reaffirms the moral status and political responsibilities of its practitioners. In one important chapter, written with Robert Brulle, he explores the movement for environmental justice in the United States, showing how ordinary people can use science as part of a larger civic narration. Brown concludes by discussing how the rationality of science can be preserved even as it is subsumed within a rational and moral civic discourse

This collection of essays demonstrates how new media and genres as well as unnatural narratives challenge classical forms of narration in ways that call for the development of analytical tools and modelling systems that move beyond classical structuralist narratology. The articles thus contribute to the further development of both transmedial and unnatural narrative theory, two of the most important manifestations of postclassical narratology

Nicolas Roeg, der für Filme wie »Don't Look Now«, »Walkabout« und »The Man Who Fell to Earth« bekannt ist, war nie ein Regisseur, mit dem sich das Publikum und die Kritiker leicht getan haben. Dies ist mindestens so sehr dem Inhalt seiner Filme geschuldet wie ihrer Erzählweise, die sich dem Prinzip der Unordnung verschrieben hat. Keyvan Sarkhosh zeigt: In impliziter Auseinandersetzung mit und dezidierter Abgrenzung von den Traditionen des klassischen Hollywood-Kinos setzen Roegs Filme an die Stelle eines auf linearen Erzählkonventionen basierenden Realismus ein vielschichtiges und verzweigtes Netz, in dem sich Raum und Zeit verbinden und verdichten.

Intro -- Words, Worlds and Narratives: Transmedia and Immersion -- Table of Contents -- Introduction: Words, Worlds and Narratives -- Part I Narrative Production and Narrative Experience in the Transmedia World -- Narrative Slips 'Between the Cup and the Lip': Transmedia 'Gaps' as Migratory Paths between the Hugos -- 'The Controller is Mightier than the Pen!' Narrative Space in Video Games -- The Transmedia Vampire: From Bram Stoker's Dracula to HBO's True Blood -- Part II Transmedia Fandoms and Community Formation -- Adaptations: Primitive Transmedia Narratives? -- Oh, the Angst! Emotional Immersion in Jane Austen Fan Fiction -- Control, Destroy, Merge, Refuse, Retake: Players, the Author Function and the Mass Effect Ending Controversy -- Distorted Riffs of Authenticity: The Production of Extreme Metal Music in Context of the Live Gig -- Part III Immersive Words / Immersive Worlds: Digging into Transmedia Projects -- Designing and Constructing Storyworlds for Multiplatform Participatory Narratives -- 'Parallel Realities': Salman Rushdie's Experiment with Transmedia Narratives -- Paula Queen of the Gypsies -- What Everyone Knows About Stories.

"Political Narratosophy offers a critically subversive rethinking of the political and philosophical significance of narrative, and why feminist epistemology and feminist social theory matters for the meaning of the 'self' and narrativity. Through a re-examination of the notions of democracy and emancipation, Senka Anastasova coins the term 'political narratosophy', a unique interpretation of the philosophy of narrative, identification, and disidentification, developed in conversation with philosophers Jacques Rancière, Nancy Fraser, and Paul Ricoeur. Utilizing the author's own identity as a feminist philosopher has lived in socialist Yugoslavia, post-Yugoslavia, and Macedonia (now North Macedonia), Anastasova explores the fluctuating and disappearing borders around which identity is situated in a country that no longer exists. She expertly reveals how the subject finds, makes and unmakes itself through narrativity, politics, and imagination. Political Narratosophy is an important intervention in political philosophy and a welcome contribution to the historiography on female authors who lived through twentieth century communism and its aftermath. It will be of great interest to scholars and researchers in the fields of political theory, philosophy, women's studies, international relations, identity studies, (comparative) literary studies, and aesthetics studies"--

This volume argues that "narrative hermeneutics" serves as a vitally important vehicle for addressing and redressing current social and political problems. Hanna Meretoja and Mark Freeman have gathered an interdisciplinary group of esteemed authors to explore how interpretation is relevant to the current discussions in narrative studies and to the broader debate that revolves around issues of truth, facts, and narrative. Addressing topics from the dangers of political narratives to questions of truth in medical and psychiatric practice, they emphasize that narrative is a cultural meaning-making practice that is integral to how we make sense of who we are and who we could be.

The story of arts and cultural policy in the twenty-first century is inherently of global concern no matter how local it seems. At the same time, questions of identity have in many ways become more challenging than before. Narrative, Identity, and the Map of Cultural Policy: Once Upon a Time in a Globalized World explores how and why stories and identities sometimes merge and often clash in an arena in which culture and policy may not be able to resolve every difficulty. DeVereaux and Griffin argue that the role of narrative is key to understanding these issues. They offer a wide-ranging history and justification for narrative frameworks as an approach to cultural policy and open up a wider field of discussion about the ways in which cultural politics and cultural identity are being deployed and interpreted in the present, with deep roots in the past. This timely book will be of great interest not just to students of narrative and students of arts and cultural policy, but also to administrators, policy theorists, and cultural management practitioners