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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Narrative</h1><div class="u-tcGrayDark">105,476 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Narrative</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Narrative">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Narrative/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Narrative/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Narrative/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Narrative">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7972865" data-work_id="7972865" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7972865/_LOST_in_Serialization_Non_Linear_Narrative_Goes_Prime_Time_International_Conference_on_Narrative_2009_University_of_Birmingham_4_6_June_2009">‘LOST in Serialization: Non-Linear Narrative Goes Prime Time’. International Conference on Narrative 2009, University of Birmingham , 4-6 June 2009.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">LOST exemplifies a contemporary American prime-time series that exhibits both serial and episodic traits and, thanks to technological developments, has proliferated across many different platforms allowing for a deepening of its... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7972865" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">LOST exemplifies a contemporary American prime-time series that exhibits both serial and episodic traits and, thanks to technological developments, has proliferated across many different platforms allowing for a deepening of its hyperdiegetic world. This paper will examine how Lost’s non-linear narrative structure, using flashbacks and flash forwards, serves to provide a linear development of story and character while also creating an implicit promise of narrative resolution and final closure. However, as I will argue using a close study of Lost’s fifth season finale, recent developments have extended and problematised the non-linear framework that has structured the show’s development from the beginning. Instead of the promise of a story that can, despite a complex non-linear narrative, be reconstituted in linear terms, the increasing complexity of Lost’s narrative has opened up the possibility of a radical act of de-narration that threatens to erase an entire five seasons’ worth of story.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7972865" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7ed1cf61f196be696f75822023a9bf10" rel="nofollow" data-download="{"attachment_id":34443173,"asset_id":7972865,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34443173/download_file?st=MTczMjc1MDE3NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1229271" href="https://uva.academia.edu/RobAllen">Rob Allen</a><script data-card-contents-for-user="1229271" type="text/json">{"id":1229271,"first_name":"Rob","last_name":"Allen","domain_name":"uva","page_name":"RobAllen","display_name":"Rob Allen","profile_url":"https://uva.academia.edu/RobAllen?f_ri=2852","photo":"https://0.academia-photos.com/1229271/4104213/10482522/s65_rob.allen.jpg"}</script></span></span></li><li class="js-paper-rank-work_7972865 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7972865"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7972865, container: ".js-paper-rank-work_7972865", }); });</script></li><li class="js-percentile-work_7972865 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7972865; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_7972865"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_7972865 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="7972865"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7972865; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7972865]").text(description); $(".js-view-count-work_7972865").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_7972865").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="7972865"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1571" href="https://www.academia.edu/Documents/in/Television_Studies">Television Studies</a>, <script data-card-contents-for-ri="1571" type="text/json">{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2858" href="https://www.academia.edu/Documents/in/Popular_Culture">Popular Culture</a>, <script data-card-contents-for-ri="2858" type="text/json">{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="40559" href="https://www.academia.edu/Documents/in/Serialization">Serialization</a><script data-card-contents-for-ri="40559" type="text/json">{"id":40559,"name":"Serialization","url":"https://www.academia.edu/Documents/in/Serialization?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7972865]'), work: {"id":7972865,"title":"‘LOST in Serialization: Non-Linear Narrative Goes Prime Time’. International Conference on Narrative 2009, University of Birmingham , 4-6 June 2009.","created_at":"2014-08-14T06:09:24.808-07:00","url":"https://www.academia.edu/7972865/_LOST_in_Serialization_Non_Linear_Narrative_Goes_Prime_Time_International_Conference_on_Narrative_2009_University_of_Birmingham_4_6_June_2009?f_ri=2852","dom_id":"work_7972865","summary":"LOST exemplifies a contemporary American prime-time series that exhibits both serial and episodic traits and, thanks to technological developments, has proliferated across many different platforms allowing for a deepening of its hyperdiegetic world. This paper will examine how Lost’s non-linear narrative structure, using flashbacks and flash forwards, serves to provide a linear development of story and character while also creating an implicit promise of narrative resolution and final closure. However, as I will argue using a close study of Lost’s fifth season finale, recent developments have extended and problematised the non-linear framework that has structured the show’s development from the beginning. Instead of the promise of a story that can, despite a complex non-linear narrative, be reconstituted in linear terms, the increasing complexity of Lost’s narrative has opened up the possibility of a radical act of de-narration that threatens to erase an entire five seasons’ worth of story.","downloadable_attachments":[{"id":34443173,"asset_id":7972865,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1229271,"first_name":"Rob","last_name":"Allen","domain_name":"uva","page_name":"RobAllen","display_name":"Rob Allen","profile_url":"https://uva.academia.edu/RobAllen?f_ri=2852","photo":"https://0.academia-photos.com/1229271/4104213/10482522/s65_rob.allen.jpg"}],"research_interests":[{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=2852","nofollow":false},{"id":40559,"name":"Serialization","url":"https://www.academia.edu/Documents/in/Serialization?f_ri=2852","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39124400" data-work_id="39124400" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39124400/Rehumanizing_the_Alien_Invaders_Applications_of_Digital_Testimonies_from_Holocaust_Survivors_to_Current_Refugees">Rehumanizing the Alien “Invaders”: Applications of Digital Testimonies from Holocaust Survivors to Current Refugees</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Personal testimony by survivors of genocide or persecution has long constituted the gold standard for learning about human-inflicted tragedy. The physical presence of a survivor captivates audiences and lends immediacy to catastrophes... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39124400" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Personal testimony by survivors of genocide or persecution has long constituted the gold standard for learning about human-inflicted tragedy. The physical presence of a survivor captivates audiences and lends immediacy to catastrophes that seem both unfathomable but also eminently repeatable. The Holocaust looms large as an example. The most aggressive efforts at preserving live testimony have centered on assembling archives of video testimonies. This transformation of live testimony into a different medium generates two key questions:<br />1. What value can personal testimony have when disembodied and presented in a medium more manipulable by the audience (via editing, selective viewing, etc.)?<br />2. How can mediated survivor testimonies serve as tools for preventing and counteracting prejudice?<br /> <br /> As survivors of genocides pass away, their firsthand testimonies increasingly will be accessible primarily through video archives. The preservation of memory through video archives also exacts a price. Once a survivor’s testimony enters the archive, it risks becoming ossified as a static monument. The video preserves the definitive record not only of that survivor’s life, but it also endures as an instantiation of archetypal narrative templates that channel perceptions into familiar storylines. As these narrative patterns become embedded as expectations, they risk obscuring or marginalizing the complex panoply of ways the survivors dealt with their situations.<br /><br /> This project takes Holocaust survivor testimonies as its point of departure in assessing the pedagogical challenges and opportunities of video testimonies. Discussions focus on three types of mediated testimony: early non-fiction televised chronicles of Holocaust survivors (particularly the first appearance of a survivor, on the 1953 U.S. television series This Is Your Life); archival video testimonies; and “unsettled testimony” consisting of less structured, first-person testimonies that reveal the challenges of discursive representation. The final category includes testimonies of Holocaust survivors independently recorded by the author. Each type of testimony offers distinct advantages and limitations in reducing prejudice and increasing productive engagement with the global immigration crises that many politicians continue to foment into nativism and xenophobia.<br /><br />Critical examination of each medium of testimony leads to recommendations regarding how to provide more thorough, nuanced understanding of refugees and immigrants in the present. Testimony from immigrants could put into practice several key lessons gleaned from Holocaust survivor testimony. At the micronarrative level, individual testimonies can provide counterexamples to categorical generalizations about immigrants. Attention at this level focuses on providing detailed context and background to demonstrate how immigrants do not necessarily align with how they are categorized by media and politicians. At the mesonarrative level, the diversity of narratives can activate themes and characterizations absent or suppressed in collective portrayals of immigrants. Metanarrative testimony reframes immigrants by offering new narratives that can reframe the role of immigrants in society, suggesting storylines that treat immigrants as contributors rather than invaders.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39124400" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="26da9259753c23eb2fc1b41be7a5f088" rel="nofollow" data-download="{"attachment_id":59245734,"asset_id":39124400,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59245734/download_file?st=MTczMjc1MDE3NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7079429" href="https://ncsu.academia.edu/RoySchwartzman">Roy Schwartzman</a><script data-card-contents-for-user="7079429" type="text/json">{"id":7079429,"first_name":"Roy","last_name":"Schwartzman","domain_name":"ncsu","page_name":"RoySchwartzman","display_name":"Roy Schwartzman","profile_url":"https://ncsu.academia.edu/RoySchwartzman?f_ri=2852","photo":"https://0.academia-photos.com/7079429/2666788/105701954/s65_roy.schwartzman.jpg"}</script></span></span></li><li class="js-paper-rank-work_39124400 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39124400"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39124400, container: ".js-paper-rank-work_39124400", }); });</script></li><li class="js-percentile-work_39124400 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39124400; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39124400"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39124400 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39124400"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39124400; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39124400]").text(description); $(".js-view-count-work_39124400").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39124400").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39124400"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="850" href="https://www.academia.edu/Documents/in/Testimony">Testimony</a>, <script data-card-contents-for-ri="850" type="text/json">{"id":850,"name":"Testimony","url":"https://www.academia.edu/Documents/in/Testimony?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="859" href="https://www.academia.edu/Documents/in/Communication">Communication</a>, <script data-card-contents-for-ri="859" type="text/json">{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a><script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39124400]'), work: {"id":39124400,"title":"Rehumanizing the Alien “Invaders”: Applications of Digital Testimonies from Holocaust Survivors to Current Refugees","created_at":"2019-05-14T04:57:38.181-07:00","url":"https://www.academia.edu/39124400/Rehumanizing_the_Alien_Invaders_Applications_of_Digital_Testimonies_from_Holocaust_Survivors_to_Current_Refugees?f_ri=2852","dom_id":"work_39124400","summary":"\tPersonal testimony by survivors of genocide or persecution has long constituted the gold standard for learning about human-inflicted tragedy. The physical presence of a survivor captivates audiences and lends immediacy to catastrophes that seem both unfathomable but also eminently repeatable. The Holocaust looms large as an example. The most aggressive efforts at preserving live testimony have centered on assembling archives of video testimonies. This transformation of live testimony into a different medium generates two key questions:\n1.\tWhat value can personal testimony have when disembodied and presented in a medium more manipulable by the audience (via editing, selective viewing, etc.)?\n2.\tHow can mediated survivor testimonies serve as tools for preventing and counteracting prejudice?\n\t\n\tAs survivors of genocides pass away, their firsthand testimonies increasingly will be accessible primarily through video archives. The preservation of memory through video archives also exacts a price. Once a survivor’s testimony enters the archive, it risks becoming ossified as a static monument. The video preserves the definitive record not only of that survivor’s life, but it also endures as an instantiation of archetypal narrative templates that channel perceptions into familiar storylines. As these narrative patterns become embedded as expectations, they risk obscuring or marginalizing the complex panoply of ways the survivors dealt with their situations.\n\n\tThis project takes Holocaust survivor testimonies as its point of departure in assessing the pedagogical challenges and opportunities of video testimonies. Discussions focus on three types of mediated testimony: early non-fiction televised chronicles of Holocaust survivors (particularly the first appearance of a survivor, on the 1953 U.S. television series This Is Your Life); archival video testimonies; and “unsettled testimony” consisting of less structured, first-person testimonies that reveal the challenges of discursive representation. The final category includes testimonies of Holocaust survivors independently recorded by the author. Each type of testimony offers distinct advantages and limitations in reducing prejudice and increasing productive engagement with the global immigration crises that many politicians continue to foment into nativism and xenophobia.\n\nCritical examination of each medium of testimony leads to recommendations regarding how to provide more thorough, nuanced understanding of refugees and immigrants in the present. Testimony from immigrants could put into practice several key lessons gleaned from Holocaust survivor testimony. At the micronarrative level, individual testimonies can provide counterexamples to categorical generalizations about immigrants. Attention at this level focuses on providing detailed context and background to demonstrate how immigrants do not necessarily align with how they are categorized by media and politicians. At the mesonarrative level, the diversity of narratives can activate themes and characterizations absent or suppressed in collective portrayals of immigrants. Metanarrative testimony reframes immigrants by offering new narratives that can reframe the role of immigrants in society, suggesting storylines that treat immigrants as contributors rather than invaders.\n\n","downloadable_attachments":[{"id":59245734,"asset_id":39124400,"asset_type":"Work","always_allow_download":false},{"id":59245735,"asset_id":39124400,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7079429,"first_name":"Roy","last_name":"Schwartzman","domain_name":"ncsu","page_name":"RoySchwartzman","display_name":"Roy Schwartzman","profile_url":"https://ncsu.academia.edu/RoySchwartzman?f_ri=2852","photo":"https://0.academia-photos.com/7079429/2666788/105701954/s65_roy.schwartzman.jpg"}],"research_interests":[{"id":850,"name":"Testimony","url":"https://www.academia.edu/Documents/in/Testimony?f_ri=2852","nofollow":false},{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=2852","nofollow":false},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":3892,"name":"Media Ecology","url":"https://www.academia.edu/Documents/in/Media_Ecology?f_ri=2852"},{"id":12742,"name":"Holocaust Studies","url":"https://www.academia.edu/Documents/in/Holocaust_Studies?f_ri=2852"},{"id":39869,"name":"Refugees","url":"https://www.academia.edu/Documents/in/Refugees?f_ri=2852"},{"id":54318,"name":"Immigrants","url":"https://www.academia.edu/Documents/in/Immigrants?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_75807747" data-work_id="75807747" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/75807747/Lila_Unbound_Critical_Negativity_and_Entropy_in_Elena_Ferrante_s_Neapolitan_Novels">Lila Unbound: Critical Negativity and Entropy in Elena Ferrante’s Neapolitan Novels</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/75807747" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="78db39973779b9aeef18fe72cd380458" rel="nofollow" data-download="{"attachment_id":83431554,"asset_id":75807747,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/83431554/download_file?st=MTczMjc1MDE3NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12627508" href="https://gc-cuny.academia.edu/VictorZarour">Victor Zarour Zarzar</a><script data-card-contents-for-user="12627508" type="text/json">{"id":12627508,"first_name":"Victor","last_name":"Zarour Zarzar","domain_name":"gc-cuny","page_name":"VictorZarour","display_name":"Victor Zarour Zarzar","profile_url":"https://gc-cuny.academia.edu/VictorZarour?f_ri=2852","photo":"https://0.academia-photos.com/12627508/3599610/34991710/s65_victor_xavier.zarour_zarzar.jpg"}</script></span></span></li><li class="js-paper-rank-work_75807747 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="75807747"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 75807747, container: ".js-paper-rank-work_75807747", }); 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$(".js-view-count[data-work-id=75807747]").text(description); $(".js-view-count-work_75807747").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_75807747").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="75807747"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7887" href="https://www.academia.edu/Documents/in/Italian_Literature">Italian Literature</a>, <script data-card-contents-for-ri="7887" type="text/json">{"id":7887,"name":"Italian Literature","url":"https://www.academia.edu/Documents/in/Italian_Literature?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15514" href="https://www.academia.edu/Documents/in/Contemporary_Literature">Contemporary Literature</a><script data-card-contents-for-ri="15514" type="text/json">{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=75807747]'), work: {"id":75807747,"title":"Lila Unbound: Critical Negativity and Entropy in Elena Ferrante’s Neapolitan Novels","created_at":"2022-04-08T04:19:25.937-07:00","url":"https://www.academia.edu/75807747/Lila_Unbound_Critical_Negativity_and_Entropy_in_Elena_Ferrante_s_Neapolitan_Novels?f_ri=2852","dom_id":"work_75807747","summary":null,"downloadable_attachments":[{"id":83431554,"asset_id":75807747,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12627508,"first_name":"Victor","last_name":"Zarour Zarzar","domain_name":"gc-cuny","page_name":"VictorZarour","display_name":"Victor Zarour Zarzar","profile_url":"https://gc-cuny.academia.edu/VictorZarour?f_ri=2852","photo":"https://0.academia-photos.com/12627508/3599610/34991710/s65_victor_xavier.zarour_zarzar.jpg"}],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":7887,"name":"Italian Literature","url":"https://www.academia.edu/Documents/in/Italian_Literature?f_ri=2852","nofollow":false},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=2852","nofollow":false},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852"},{"id":23310,"name":"Novel","url":"https://www.academia.edu/Documents/in/Novel?f_ri=2852"},{"id":69388,"name":"Letteratura italiana moderna e contemporanea","url":"https://www.academia.edu/Documents/in/Letteratura_italiana_moderna_e_contemporanea?f_ri=2852"},{"id":909148,"name":"Elena Ferrante","url":"https://www.academia.edu/Documents/in/Elena_Ferrante?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_49618188" data-work_id="49618188" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/49618188/What_Happens_when_the_Story_is_Told_Afterthoughts_on_Narrative_Culture_and_the_Aesthetics_of_Religion_The_Case_of_Armenian_Christians_from_Musa_Da%C4%9F%C4%B1">What Happens when the Story is Told? Afterthoughts on Narrative Culture and the Aesthetics of Religion: The Case of Armenian Christians from Musa Dağı</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">By following the sectional structure of this volume, these afterthoughts explore a multitude of venues for approaching aesthetics as a means to study the dynamics of religious narratives and their reception. They not only elaborate on the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49618188" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">By following the sectional structure of this volume, these afterthoughts explore a multitude of venues for approaching aesthetics as a means to study the dynamics of religious narratives and their reception. They not only elaborate on the theoretical and methodological potential of the aesthetics of religion for the study of narrative cultures in diverse religious contexts, but also explore the main insights of this volume’s contributions by applying it to a case study. The afterthoughts follow the sectional structure of this volume and engage in methodological and theoretical reflections on issues central to the aesthetics of religion. To demonstrate how the theoretical and methodological approach as proposed in this volume could be put into practice and work within the context of a single case study, these afterthoughts illustrate how the aesthetics approach can be used to elucidate less obvious forms of narrative cultures and the different aesthetic means of their transmission within different religious and cultural contexts. By presenting a case study in which different narrative cultures are intertwined through lines of socially and culturally interconnected storyworlds, the most significant insights of these afterthoughts outline the potential framework for future analysis that emerges through the assemblage of the individual contributions. With the aim to highlight unrecognized connections and expand on the aesthetic junctures of sensation and imagination, a nuanced consideration of all dimensions and aspects promises to exemplify the theoretical and methodological relevance of the aesthetic frame and narrative focus as integral to the makeup of this volume and the study of religion as a whole.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49618188" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3aa4c1dfdf13b530d915fd613a908fe8" rel="nofollow" data-download="{"attachment_id":68981005,"asset_id":49618188,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/68981005/download_file?st=MTczMjc1MDE3NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="133305" href="https://wichita.academia.edu/JensKreinath">Jens Kreinath</a><script data-card-contents-for-user="133305" type="text/json">{"id":133305,"first_name":"Jens","last_name":"Kreinath","domain_name":"wichita","page_name":"JensKreinath","display_name":"Jens Kreinath","profile_url":"https://wichita.academia.edu/JensKreinath?f_ri=2852","photo":"https://0.academia-photos.com/133305/35458/21463295/s65_jens.kreinath.jpg"}</script></span></span></li><li class="js-paper-rank-work_49618188 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49618188"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49618188, container: ".js-paper-rank-work_49618188", }); 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Afterthoughts on Narrative Culture and the Aesthetics of Religion: The Case of Armenian Christians from Musa Dağı","created_at":"2021-07-08T13:37:00.838-07:00","url":"https://www.academia.edu/49618188/What_Happens_when_the_Story_is_Told_Afterthoughts_on_Narrative_Culture_and_the_Aesthetics_of_Religion_The_Case_of_Armenian_Christians_from_Musa_Da%C4%9F%C4%B1?f_ri=2852","dom_id":"work_49618188","summary":"By following the sectional structure of this volume, these afterthoughts explore a multitude of venues for approaching aesthetics as a means to study the dynamics of religious narratives and their reception. They not only elaborate on the theoretical and methodological potential of the aesthetics of religion for the study of narrative cultures in diverse religious contexts, but also explore the main insights of this volume’s contributions by applying it to a case study. The afterthoughts follow the sectional structure of this volume and engage in methodological and theoretical reflections on issues central to the aesthetics of religion. To demonstrate how the theoretical and methodological approach as proposed in this volume could be put into practice and work within the context of a single case study, these afterthoughts illustrate how the aesthetics approach can be used to elucidate less obvious forms of narrative cultures and the different aesthetic means of their transmission within different religious and cultural contexts. By presenting a case study in which different narrative cultures are intertwined through lines of socially and culturally interconnected storyworlds, the most significant insights of these afterthoughts outline the potential framework for future analysis that emerges through the assemblage of the individual contributions. With the aim to highlight unrecognized connections and expand on the aesthetic junctures of sensation and imagination, a nuanced consideration of all dimensions and aspects promises to exemplify the theoretical and methodological relevance of the aesthetic frame and narrative focus as integral to the makeup of this volume and the study of religion as a whole.","downloadable_attachments":[{"id":68981005,"asset_id":49618188,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":133305,"first_name":"Jens","last_name":"Kreinath","domain_name":"wichita","page_name":"JensKreinath","display_name":"Jens Kreinath","profile_url":"https://wichita.academia.edu/JensKreinath?f_ri=2852","photo":"https://0.academia-photos.com/133305/35458/21463295/s65_jens.kreinath.jpg"}],"research_interests":[{"id":106,"name":"Religion","url":"https://www.academia.edu/Documents/in/Religion?f_ri=2852","nofollow":false},{"id":997,"name":"Reception Studies","url":"https://www.academia.edu/Documents/in/Reception_Studies?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":4058,"name":"Ritual","url":"https://www.academia.edu/Documents/in/Ritual?f_ri=2852","nofollow":false},{"id":14070,"name":"Transmedial Storytelling","url":"https://www.academia.edu/Documents/in/Transmedial_Storytelling?f_ri=2852"},{"id":14138,"name":"Armenian History","url":"https://www.academia.edu/Documents/in/Armenian_History?f_ri=2852"},{"id":14554,"name":"Armenian Culture","url":"https://www.academia.edu/Documents/in/Armenian_Culture?f_ri=2852"},{"id":14578,"name":"Method and Theory in the Study of Religion","url":"https://www.academia.edu/Documents/in/Method_and_Theory_in_the_Study_of_Religion?f_ri=2852"},{"id":19635,"name":"Anthropology of the Senses","url":"https://www.academia.edu/Documents/in/Anthropology_of_the_Senses?f_ri=2852"},{"id":22253,"name":"Religion and Literature","url":"https://www.academia.edu/Documents/in/Religion_and_Literature?f_ri=2852"},{"id":26936,"name":"Reception History","url":"https://www.academia.edu/Documents/in/Reception_History?f_ri=2852"},{"id":48551,"name":"Ritual Studies","url":"https://www.academia.edu/Documents/in/Ritual_Studies?f_ri=2852"},{"id":55115,"name":"Aesthetics of Religion","url":"https://www.academia.edu/Documents/in/Aesthetics_of_Religion?f_ri=2852"},{"id":96728,"name":"Study of Religion","url":"https://www.academia.edu/Documents/in/Study_of_Religion?f_ri=2852"},{"id":182456,"name":"METHOD AND THEORY FOR THE STUDY OF RELIGION","url":"https://www.academia.edu/Documents/in/METHOD_AND_THEORY_FOR_THE_STUDY_OF_RELIGION?f_ri=2852"},{"id":346828,"name":"Study of Religion as an Analytical Discipline","url":"https://www.academia.edu/Documents/in/Study_of_Religion_as_an_Analytical_Discipline?f_ri=2852"},{"id":371517,"name":"Hatay","url":"https://www.academia.edu/Documents/in/Hatay?f_ri=2852"},{"id":541529,"name":"Anthropology of the Senses; Anthropology of Religion; Aesthetics","url":"https://www.academia.edu/Documents/in/Anthropology_of_the_Senses_Anthropology_of_Religion_Aesthetics?f_ri=2852"},{"id":619396,"name":"Anthropology of Religion","url":"https://www.academia.edu/Documents/in/Anthropology_of_Religion?f_ri=2852"},{"id":1284470,"name":"The Place of Aesthetics In the Social and Behavioral Sciences","url":"https://www.academia.edu/Documents/in/The_Place_of_Aesthetics_In_the_Social_and_Behavioral_Sciences?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32167246" data-work_id="32167246" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32167246/The_Fact_of_Resonance_An_Acoustics_of_Determination_in_Faulkner_and_Benjamin">The Fact of Resonance: An Acoustics of Determination in Faulkner and Benjamin</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay proposes a historically material theory of resonance in experience and literature. Working against contemporary techno-deterministic assessments of sound, I argue for a historical, rather than individual, modality of listening... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32167246" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay proposes a historically material theory of resonance in experience and literature. Working against contemporary techno-deterministic assessments of sound, I argue for a historical, rather than individual, modality of listening – a collective acoustical unconscious. Understood in its technical expression, Faulkner’s literary acoustics helps us to draw out some of Benjamin’s more elliptical points regarding an acoustical unconscious, a notion that Benjamin never directly articulated, but can be found scattered across the writings. Both Faulkner and Benjamin teach us that the acoustical unconscious far exceeds the boundaries of the individual life. In Absalom, Absalom!, Faulkner crafted a narrative space that is a sensitive recording apparatus, more sensitive than any mechanical device. But as history moves through narrative space and its radiophonic air, there are consequences for racial consciousness. In Faulkner’s narrative space, blackness and whiteness become, above all, sound-effects,  or what I call a “fact of resonance” rather than of essence or substance.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32167246" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="20ca642c002e959c13f55e4d39d8482c" rel="nofollow" data-download="{"attachment_id":52403180,"asset_id":32167246,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52403180/download_file?st=MTczMjc1MDE3NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="51826524" href="https://independent.academia.edu/JulieBethNapolin">Julie Beth Napolin</a><script data-card-contents-for-user="51826524" type="text/json">{"id":51826524,"first_name":"Julie Beth","last_name":"Napolin","domain_name":"independent","page_name":"JulieBethNapolin","display_name":"Julie Beth Napolin","profile_url":"https://independent.academia.edu/JulieBethNapolin?f_ri=2852","photo":"https://0.academia-photos.com/51826524/14719328/15540697/s65_julie_beth.napolin.jpeg"}</script></span></span></li><li class="js-paper-rank-work_32167246 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32167246"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32167246, container: ".js-paper-rank-work_32167246", }); });</script></li><li class="js-percentile-work_32167246 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 32167246; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_32167246"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_32167246 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="32167246"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32167246; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32167246]").text(description); $(".js-view-count-work_32167246").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32167246").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="32167246"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7212" href="https://www.academia.edu/Documents/in/Sound_studies">Sound studies</a>, <script data-card-contents-for-ri="7212" type="text/json">{"id":7212,"name":"Sound studies","url":"https://www.academia.edu/Documents/in/Sound_studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7888" href="https://www.academia.edu/Documents/in/Literary_Theory">Literary Theory</a><script data-card-contents-for-ri="7888" type="text/json">{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32167246]'), work: {"id":32167246,"title":"The Fact of Resonance: An Acoustics of Determination in Faulkner and Benjamin","created_at":"2017-03-31T08:32:47.255-07:00","url":"https://www.academia.edu/32167246/The_Fact_of_Resonance_An_Acoustics_of_Determination_in_Faulkner_and_Benjamin?f_ri=2852","dom_id":"work_32167246","summary":"This essay proposes a historically material theory of resonance in experience and literature. Working against contemporary techno-deterministic assessments of sound, I argue for a historical, rather than individual, modality of listening – a collective acoustical unconscious. Understood in its technical expression, Faulkner’s literary acoustics helps us to draw out some of Benjamin’s more elliptical points regarding an acoustical unconscious, a notion that Benjamin never directly articulated, but can be found scattered across the writings. Both Faulkner and Benjamin teach us that the acoustical unconscious far exceeds the boundaries of the individual life. In Absalom, Absalom!, Faulkner crafted a narrative space that is a sensitive recording apparatus, more sensitive than any mechanical device. But as history moves through narrative space and its radiophonic air, there are consequences for racial consciousness. In Faulkner’s narrative space, blackness and whiteness become, above all, sound-effects, or what I call a “fact of resonance” rather than of essence or substance.","downloadable_attachments":[{"id":52403180,"asset_id":32167246,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":51826524,"first_name":"Julie Beth","last_name":"Napolin","domain_name":"independent","page_name":"JulieBethNapolin","display_name":"Julie Beth Napolin","profile_url":"https://independent.academia.edu/JulieBethNapolin?f_ri=2852","photo":"https://0.academia-photos.com/51826524/14719328/15540697/s65_julie_beth.napolin.jpeg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":7212,"name":"Sound studies","url":"https://www.academia.edu/Documents/in/Sound_studies?f_ri=2852","nofollow":false},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=2852","nofollow":false},{"id":8330,"name":"Walter Benjamin","url":"https://www.academia.edu/Documents/in/Walter_Benjamin?f_ri=2852"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852"},{"id":23086,"name":"William Faulkner","url":"https://www.academia.edu/Documents/in/William_Faulkner?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5965930" data-work_id="5965930" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5965930/Kennewick_Man_and_the_Evolutionary_Origins_of_the_Nation">Kennewick Man and the Evolutionary Origins of the Nation </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article addresses the recent attempts to integrate evolutionary history in the US national narrative. Focusing on the cultural, legal, and scientific controversy over Kennewick Man, the ancient human remains discovered in Washington... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5965930" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article addresses the recent attempts to integrate evolutionary history in the US national narrative. Focusing on the cultural, legal, and scientific controversy over Kennewick Man, the ancient human remains discovered in Washington state in 1996, the article explores the narrative politics of American national belonging. Through a popular historical novel on Kennewick Man's life, the article further theorizes nostalgia as a narrative tool in imagining the evolutionary origins of the nation. The article argues that nostalgia produces a temporal dynamic that bridges the gap between national history and global prehistory, and that this dynamic is reinforced through cultural ideas of genetic knowledge. At the same time, prehistoric nostalgia renders problematic ideas of ethnic difference largely invisible.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5965930" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6a2b5757cea00c370a633aef4233b3dc" rel="nofollow" data-download="{"attachment_id":40205931,"asset_id":5965930,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40205931/download_file?st=MTczMjc1MDE3NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1032749" href="https://uta-fi.academia.edu/VenlaOikkonen">Venla Oikkonen</a><script data-card-contents-for-user="1032749" type="text/json">{"id":1032749,"first_name":"Venla","last_name":"Oikkonen","domain_name":"uta-fi","page_name":"VenlaOikkonen","display_name":"Venla Oikkonen","profile_url":"https://uta-fi.academia.edu/VenlaOikkonen?f_ri=2852","photo":"https://0.academia-photos.com/1032749/358793/1609283/s65_venla.oikkonen.jpg"}</script></span></span></li><li class="js-paper-rank-work_5965930 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5965930"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5965930, container: ".js-paper-rank-work_5965930", }); 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$(".js-view-count[data-work-id=5965930]").text(description); $(".js-view-count-work_5965930").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5965930").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5965930"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">43</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="129" href="https://www.academia.edu/Documents/in/American_History">American History</a>, <script data-card-contents-for-ri="129" type="text/json">{"id":129,"name":"American History","url":"https://www.academia.edu/Documents/in/American_History?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="390" href="https://www.academia.edu/Documents/in/American_Studies">American Studies</a>, <script data-card-contents-for-ri="390" type="text/json">{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="926" href="https://www.academia.edu/Documents/in/Indigenous_Studies">Indigenous Studies</a><script data-card-contents-for-ri="926" type="text/json">{"id":926,"name":"Indigenous Studies","url":"https://www.academia.edu/Documents/in/Indigenous_Studies?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5965930]'), work: {"id":5965930,"title":"Kennewick Man and the Evolutionary Origins of the Nation ","created_at":"2014-02-05T18:45:07.199-08:00","url":"https://www.academia.edu/5965930/Kennewick_Man_and_the_Evolutionary_Origins_of_the_Nation?f_ri=2852","dom_id":"work_5965930","summary":"This article addresses the recent attempts to integrate evolutionary history in the US national narrative. Focusing on the cultural, legal, and scientific controversy over Kennewick Man, the ancient human remains discovered in Washington state in 1996, the article explores the narrative politics of American national belonging. Through a popular historical novel on Kennewick Man's life, the article further theorizes nostalgia as a narrative tool in imagining the evolutionary origins of the nation. The article argues that nostalgia produces a temporal dynamic that bridges the gap between national history and global prehistory, and that this dynamic is reinforced through cultural ideas of genetic knowledge. At the same time, prehistoric nostalgia renders problematic ideas of ethnic difference largely invisible.","downloadable_attachments":[{"id":40205931,"asset_id":5965930,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1032749,"first_name":"Venla","last_name":"Oikkonen","domain_name":"uta-fi","page_name":"VenlaOikkonen","display_name":"Venla Oikkonen","profile_url":"https://uta-fi.academia.edu/VenlaOikkonen?f_ri=2852","photo":"https://0.academia-photos.com/1032749/358793/1609283/s65_venla.oikkonen.jpg"}],"research_interests":[{"id":129,"name":"American History","url":"https://www.academia.edu/Documents/in/American_History?f_ri=2852","nofollow":false},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=2852","nofollow":false},{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=2852","nofollow":false},{"id":926,"name":"Indigenous 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Identity","url":"https://www.academia.edu/Documents/in/National_Identity?f_ri=2852"},{"id":11483,"name":"Cultural Memory","url":"https://www.academia.edu/Documents/in/Cultural_Memory?f_ri=2852"},{"id":11858,"name":"Popular Fiction","url":"https://www.academia.edu/Documents/in/Popular_Fiction?f_ri=2852"},{"id":14868,"name":"Literature And Science","url":"https://www.academia.edu/Documents/in/Literature_And_Science?f_ri=2852"},{"id":21500,"name":"Social Studies Of Science","url":"https://www.academia.edu/Documents/in/Social_Studies_Of_Science?f_ri=2852"},{"id":23855,"name":"Affect Studies","url":"https://www.academia.edu/Documents/in/Affect_Studies?f_ri=2852"},{"id":27903,"name":"Affect (Cultural Theory)","url":"https://www.academia.edu/Documents/in/Affect_Cultural_Theory_?f_ri=2852"},{"id":36600,"name":"Native American 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Remains","url":"https://www.academia.edu/Documents/in/Repatriation_of_Indigenous_Human_Remains?f_ri=2852"},{"id":128259,"name":"Romance","url":"https://www.academia.edu/Documents/in/Romance?f_ri=2852"},{"id":165155,"name":"American prehistory","url":"https://www.academia.edu/Documents/in/American_prehistory?f_ri=2852"},{"id":177441,"name":"Native American Graves Protection and Repatriation Act (NAGPRA)","url":"https://www.academia.edu/Documents/in/Native_American_Graves_Protection_and_Repatriation_Act_NAGPRA_?f_ri=2852"},{"id":182681,"name":"Nostalgia and Memory","url":"https://www.academia.edu/Documents/in/Nostalgia_and_Memory?f_ri=2852"},{"id":208780,"name":"Human Remains and Ethics","url":"https://www.academia.edu/Documents/in/Human_Remains_and_Ethics?f_ri=2852"},{"id":234542,"name":"Science and Culture","url":"https://www.academia.edu/Documents/in/Science_and_Culture?f_ri=2852"},{"id":282940,"name":"Human remains in Archaeology","url":"https://www.academia.edu/Documents/in/Human_remains_in_Archaeology?f_ri=2852"},{"id":286628,"name":"Indigenous Knowledge and Science","url":"https://www.academia.edu/Documents/in/Indigenous_Knowledge_and_Science?f_ri=2852"},{"id":311708,"name":"Romantic fiction","url":"https://www.academia.edu/Documents/in/Romantic_fiction?f_ri=2852"},{"id":391715,"name":"Ethnicity and National Identity","url":"https://www.academia.edu/Documents/in/Ethnicity_and_National_Identity?f_ri=2852"},{"id":431548,"name":"Kennewick Man","url":"https://www.academia.edu/Documents/in/Kennewick_Man?f_ri=2852"},{"id":467513,"name":"Ancient Human Remains","url":"https://www.academia.edu/Documents/in/Ancient_Human_Remains?f_ri=2852"},{"id":468498,"name":"Prehistoric fiction","url":"https://www.academia.edu/Documents/in/Prehistoric_fiction?f_ri=2852"},{"id":501614,"name":"Media and Culture","url":"https://www.academia.edu/Documents/in/Media_and_Culture?f_ri=2852"},{"id":523113,"name":"National narratives","url":"https://www.academia.edu/Documents/in/National_narratives?f_ri=2852"},{"id":634379,"name":"history of the USA","url":"https://www.academia.edu/Documents/in/history_of_the_USA?f_ri=2852"},{"id":1744493,"name":"Science and Technology Studies","url":"https://www.academia.edu/Documents/in/Science_and_Technology_Studies?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38693379" data-work_id="38693379" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38693379/Narrative_Theology">Narrative Theology</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Not long ago, narrative was all the rage... today, not as much. The fashionable preoccupation with (yet another) category to deliver religious imagination from the grips of organizing principles - artificial and reductionistic tropes -... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38693379" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Not long ago, narrative was all the rage... today, not as much. The fashionable preoccupation with (yet another) category to deliver religious imagination from the grips of organizing principles - artificial and reductionistic tropes - enjoyed its brief day in the sun. As with most fads, narrative theology still influences many but not in the label - more in the details and low-powered vocabulary. Why? Because we're frightened by those grand, reductionistic themes... embarrassed by our hubris and too cool to be tricked once again. Good luck with that....<br /><br />"Narrative Theology" is a piece published as part of Walter Elwell's 2001 revised edition of The Evangelical Dictionary of Theology (Baker).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38693379" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="acb8f81c63882cefee76d8fb7e25d8fe" rel="nofollow" data-download="{"attachment_id":58775748,"asset_id":38693379,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58775748/download_file?st=MTczMjc1MDE3NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="27994399" href="https://elmhurst.academia.edu/JamesCallahan">James Callahan</a><script data-card-contents-for-user="27994399" type="text/json">{"id":27994399,"first_name":"James","last_name":"Callahan","domain_name":"elmhurst","page_name":"JamesCallahan","display_name":"James Callahan","profile_url":"https://elmhurst.academia.edu/JamesCallahan?f_ri=2852","photo":"https://0.academia-photos.com/27994399/7937015/23866275/s65_james.callahan.jpg"}</script></span></span></li><li class="js-paper-rank-work_38693379 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38693379"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38693379, container: ".js-paper-rank-work_38693379", }); 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$(".js-view-count[data-work-id=38693379]").text(description); $(".js-view-count-work_38693379").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38693379").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38693379"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1302" href="https://www.academia.edu/Documents/in/Theology">Theology</a>, <script data-card-contents-for-ri="1302" type="text/json">{"id":1302,"name":"Theology","url":"https://www.academia.edu/Documents/in/Theology?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2280" href="https://www.academia.edu/Documents/in/Historical_Theology">Historical Theology</a>, <script data-card-contents-for-ri="2280" type="text/json">{"id":2280,"name":"Historical Theology","url":"https://www.academia.edu/Documents/in/Historical_Theology?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5513" href="https://www.academia.edu/Documents/in/Narratology">Narratology</a><script data-card-contents-for-ri="5513" type="text/json">{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38693379]'), work: {"id":38693379,"title":"Narrative Theology","created_at":"2019-04-02T05:59:04.870-07:00","url":"https://www.academia.edu/38693379/Narrative_Theology?f_ri=2852","dom_id":"work_38693379","summary":"Not long ago, narrative was all the rage... today, not as much. The fashionable preoccupation with (yet another) category to deliver religious imagination from the grips of organizing principles - artificial and reductionistic tropes - enjoyed its brief day in the sun. As with most fads, narrative theology still influences many but not in the label - more in the details and low-powered vocabulary. Why? Because we're frightened by those grand, reductionistic themes... embarrassed by our hubris and too cool to be tricked once again. Good luck with that....\n\n\"Narrative Theology\" is a piece published as part of Walter Elwell's 2001 revised edition of The Evangelical Dictionary of Theology (Baker).","downloadable_attachments":[{"id":58775748,"asset_id":38693379,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":27994399,"first_name":"James","last_name":"Callahan","domain_name":"elmhurst","page_name":"JamesCallahan","display_name":"James Callahan","profile_url":"https://elmhurst.academia.edu/JamesCallahan?f_ri=2852","photo":"https://0.academia-photos.com/27994399/7937015/23866275/s65_james.callahan.jpg"}],"research_interests":[{"id":1302,"name":"Theology","url":"https://www.academia.edu/Documents/in/Theology?f_ri=2852","nofollow":false},{"id":2280,"name":"Historical Theology","url":"https://www.academia.edu/Documents/in/Historical_Theology?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852","nofollow":false},{"id":6110,"name":"Narrative Theology","url":"https://www.academia.edu/Documents/in/Narrative_Theology?f_ri=2852"},{"id":14376,"name":"Hans Frei","url":"https://www.academia.edu/Documents/in/Hans_Frei?f_ri=2852"},{"id":14800,"name":"Hermeneutics and Narrative","url":"https://www.academia.edu/Documents/in/Hermeneutics_and_Narrative?f_ri=2852"},{"id":19688,"name":"Stanley Hauerwas","url":"https://www.academia.edu/Documents/in/Stanley_Hauerwas?f_ri=2852"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38944335 coauthored" data-work_id="38944335" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38944335/Towards_a_phenomenology_of_self_patterns_in_psychopathological_diagnosis_and_therapy">Towards a phenomenology of self patterns in psychopathological diagnosis and therapy</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Abstract: Categorization-based diagnosis, which endeavors to be consistent with the third-person, objective measures of science, is not always adequate with respect to problems concerning diagnostic accuracy, demarcation problems when... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38944335" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Abstract:<br />Categorization-based diagnosis, which endeavors to be consistent with the third-person, objective measures of science, is not always adequate with respect to problems concerning diagnostic accuracy, demarcation problems when there are comorbidities, well-documented problems of symptom amplification, and complications of stigmatization and looping effects. While psychiatric categories have proved useful and convenient for clinicians in identifying a recognizable constellation of symptoms typical for a particular disorder for the purposes of communication and eligibility for treatment regimes, the reification of these categories has without doubt had negative consequences for the patient and also for the general understanding of psychiatric disorders. We argue that a complementary, integrated framework that focuses on descriptive symptom-based classifications (drawing on phenomenological interview methods and narrative) combined with a more comprehensive conception of the human subject (found in the pattern theory of self), can not only offer a solution to some of the vexed issues of psychiatric diagnosis but also support more efficacious therapeutic interventions.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38944335" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3cf37d6fec8b0ca28723640cf79990e7" rel="nofollow" data-download="{"attachment_id":60677418,"asset_id":38944335,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60677418/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1479669" href="https://utas.academia.edu/AnyaDaly">Anya Daly</a><script data-card-contents-for-user="1479669" type="text/json">{"id":1479669,"first_name":"Anya","last_name":"Daly","domain_name":"utas","page_name":"AnyaDaly","display_name":"Anya Daly","profile_url":"https://utas.academia.edu/AnyaDaly?f_ri=2852","photo":"https://0.academia-photos.com/1479669/697790/3216191/s65_anya.daly.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-38944335">+1</span><div class="hidden js-additional-users-38944335"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://memphis.academia.edu/ShaunGallagher">Shaun Gallagher</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-38944335'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-38944335').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38944335 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38944335"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38944335; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38944335]").text(description); $(".js-view-count-work_38944335").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38944335").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38944335"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="227" href="https://www.academia.edu/Documents/in/Psychological_Assessment">Psychological Assessment</a>, <script data-card-contents-for-ri="227" type="text/json">{"id":227,"name":"Psychological Assessment","url":"https://www.academia.edu/Documents/in/Psychological_Assessment?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8655" href="https://www.academia.edu/Documents/in/Psychopathology">Psychopathology</a>, <script data-card-contents-for-ri="8655" type="text/json">{"id":8655,"name":"Psychopathology","url":"https://www.academia.edu/Documents/in/Psychopathology?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="100657" href="https://www.academia.edu/Documents/in/Therapy">Therapy</a><script data-card-contents-for-ri="100657" type="text/json">{"id":100657,"name":"Therapy","url":"https://www.academia.edu/Documents/in/Therapy?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38944335]'), work: {"id":38944335,"title":"Towards a phenomenology of self patterns in psychopathological diagnosis and therapy","created_at":"2019-04-26T21:58:31.203-07:00","url":"https://www.academia.edu/38944335/Towards_a_phenomenology_of_self_patterns_in_psychopathological_diagnosis_and_therapy?f_ri=2852","dom_id":"work_38944335","summary":"Abstract:\nCategorization-based diagnosis, which endeavors to be consistent with the third-person, objective measures of science, is not always adequate with respect to problems concerning diagnostic accuracy, demarcation problems when there are comorbidities, well-documented problems of symptom amplification, and complications of stigmatization and looping effects. While psychiatric categories have proved useful and convenient for clinicians in identifying a recognizable constellation of symptoms typical for a particular disorder for the purposes of communication and eligibility for treatment regimes, the reification of these categories has without doubt had negative consequences for the patient and also for the general understanding of psychiatric disorders. We argue that a complementary, integrated framework that focuses on descriptive symptom-based classifications (drawing on phenomenological interview methods and narrative) combined with a more comprehensive conception of the human subject (found in the pattern theory of self), can not only offer a solution to some of the vexed issues of psychiatric diagnosis but also support more efficacious therapeutic interventions.\n","downloadable_attachments":[{"id":60677418,"asset_id":38944335,"asset_type":"Work","always_allow_download":false},{"id":59046125,"asset_id":38944335,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1479669,"first_name":"Anya","last_name":"Daly","domain_name":"utas","page_name":"AnyaDaly","display_name":"Anya Daly","profile_url":"https://utas.academia.edu/AnyaDaly?f_ri=2852","photo":"https://0.academia-photos.com/1479669/697790/3216191/s65_anya.daly.jpg"},{"id":112762,"first_name":"Shaun","last_name":"Gallagher","domain_name":"memphis","page_name":"ShaunGallagher","display_name":"Shaun Gallagher","profile_url":"https://memphis.academia.edu/ShaunGallagher?f_ri=2852","photo":"https://0.academia-photos.com/112762/30471/28017/s65_shaun.gallagher.jpeg"}],"research_interests":[{"id":227,"name":"Psychological Assessment","url":"https://www.academia.edu/Documents/in/Psychological_Assessment?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":8655,"name":"Psychopathology","url":"https://www.academia.edu/Documents/in/Psychopathology?f_ri=2852","nofollow":false},{"id":100657,"name":"Therapy","url":"https://www.academia.edu/Documents/in/Therapy?f_ri=2852","nofollow":false},{"id":177119,"name":"Psychiatric Diagnosis","url":"https://www.academia.edu/Documents/in/Psychiatric_Diagnosis?f_ri=2852"},{"id":3215483,"name":"Pattern Theory of Self","url":"https://www.academia.edu/Documents/in/Pattern_Theory_of_Self?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32920624" data-work_id="32920624" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32920624/_Structure_The_Routledge_Research_Companion_to_the_Medieval_Icelandic_Sagas_ed_%C3%81rmann_Jakobsson_and_Sverrir_Jakobsson_London_NY_2017_127_33">“Structure,” The Routledge Research Companion to the Medieval Icelandic Sagas, ed. Ármann Jakobsson and Sverrir Jakobsson (London/NY 2017), 127–33.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32920624" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ad279e2ee43554ea17d118d045014967" rel="nofollow" data-download="{"attachment_id":58716961,"asset_id":32920624,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58716961/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1183037" href="https://hi.academia.edu/%C3%81rmannJakobsson">Ármann Jakobsson</a><script data-card-contents-for-user="1183037" type="text/json">{"id":1183037,"first_name":"Ármann","last_name":"Jakobsson","domain_name":"hi","page_name":"ÁrmannJakobsson","display_name":"Ármann Jakobsson","profile_url":"https://hi.academia.edu/%C3%81rmannJakobsson?f_ri=2852","photo":"https://0.academia-photos.com/1183037/425349/55024726/s65__rmann.jakobsson.jpg"}</script></span></span></li><li class="js-paper-rank-work_32920624 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32920624"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32920624, container: ".js-paper-rank-work_32920624", }); 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$(".js-view-count[data-work-id=32920624]").text(description); $(".js-view-count-work_32920624").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32920624").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="32920624"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="659" href="https://www.academia.edu/Documents/in/Comparative_Literature">Comparative Literature</a>, <script data-card-contents-for-ri="659" type="text/json">{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1228" href="https://www.academia.edu/Documents/in/Medieval_Literature">Medieval Literature</a>, <script data-card-contents-for-ri="1228" type="text/json">{"id":1228,"name":"Medieval Literature","url":"https://www.academia.edu/Documents/in/Medieval_Literature?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2081" href="https://www.academia.edu/Documents/in/Structuralism_Literary_Criticism_">Structuralism (Literary Criticism)</a><script data-card-contents-for-ri="2081" type="text/json">{"id":2081,"name":"Structuralism (Literary Criticism)","url":"https://www.academia.edu/Documents/in/Structuralism_Literary_Criticism_?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32920624]'), work: {"id":32920624,"title":"“Structure,” The Routledge Research Companion to the Medieval Icelandic Sagas, ed. Ármann Jakobsson and Sverrir Jakobsson (London/NY 2017), 127–33.","created_at":"2017-05-09T04:29:12.662-07:00","url":"https://www.academia.edu/32920624/_Structure_The_Routledge_Research_Companion_to_the_Medieval_Icelandic_Sagas_ed_%C3%81rmann_Jakobsson_and_Sverrir_Jakobsson_London_NY_2017_127_33?f_ri=2852","dom_id":"work_32920624","summary":null,"downloadable_attachments":[{"id":58716961,"asset_id":32920624,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1183037,"first_name":"Ármann","last_name":"Jakobsson","domain_name":"hi","page_name":"ÁrmannJakobsson","display_name":"Ármann Jakobsson","profile_url":"https://hi.academia.edu/%C3%81rmannJakobsson?f_ri=2852","photo":"https://0.academia-photos.com/1183037/425349/55024726/s65__rmann.jakobsson.jpg"}],"research_interests":[{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=2852","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=2852","nofollow":false},{"id":1228,"name":"Medieval Literature","url":"https://www.academia.edu/Documents/in/Medieval_Literature?f_ri=2852","nofollow":false},{"id":2081,"name":"Structuralism (Literary Criticism)","url":"https://www.academia.edu/Documents/in/Structuralism_Literary_Criticism_?f_ri=2852","nofollow":false},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=2852"},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852"},{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies?f_ri=2852"},{"id":3654,"name":"Textual Scholarship","url":"https://www.academia.edu/Documents/in/Textual_Scholarship?f_ri=2852"},{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=2852"},{"id":4178,"name":"Textual Criticism","url":"https://www.academia.edu/Documents/in/Textual_Criticism?f_ri=2852"},{"id":4235,"name":"Old Norse Literature","url":"https://www.academia.edu/Documents/in/Old_Norse_Literature?f_ri=2852"},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852"},{"id":11798,"name":"Icelandic Literature","url":"https://www.academia.edu/Documents/in/Icelandic_Literature?f_ri=2852"},{"id":35636,"name":"Medieval Icelandic Literature","url":"https://www.academia.edu/Documents/in/Medieval_Icelandic_Literature?f_ri=2852"},{"id":42642,"name":"Structuralism","url":"https://www.academia.edu/Documents/in/Structuralism?f_ri=2852"},{"id":49505,"name":"Icelandic Sagas","url":"https://www.academia.edu/Documents/in/Icelandic_Sagas?f_ri=2852"},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies?f_ri=2852"},{"id":62083,"name":"Textual Criticism and Editing","url":"https://www.academia.edu/Documents/in/Textual_Criticism_and_Editing?f_ri=2852"},{"id":68570,"name":"Formalism","url":"https://www.academia.edu/Documents/in/Formalism?f_ri=2852"},{"id":70300,"name":"Old Norse literature and culture","url":"https://www.academia.edu/Documents/in/Old_Norse_literature_and_culture?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31249052" data-work_id="31249052" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31249052/Narrative_Theory_Film_and_Literature">Narrative Theory: Film & Literature</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Our time is characterized by a crisis of representational practice, fuelled by unprecedented technological and economic changes on a global level. Narrative, therefore, takes a wide variety of forms. This course examines the aesthetics... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31249052" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Our time is characterized by a crisis of representational<br />practice, fuelled by unprecedented technological and economic changes on a global level. Narrative, therefore, takes a wide variety of forms. This course examines the aesthetics and techniques of film and literature from around the world, and analyses the masters of each art form. Through short stories and plays, we will study different ways a story can be told and the many exciting ways embedded "narratives" (or discourses) can be framed. Similarly, through films and film adaptations of great literary masterpieces, we will study how visual elements challenge the reader's imagination.<br /><br /><br />Specifically, we examine the relationship between meaning<br />and narrative structure. The course considers the tensions<br />between claims for originality and poetic license, between<br />producers and audiences, between fiction and reality, narrative and history, memory and representation. We will study representative theorists of narratology, such as J. Hillis Miller, Wolfgang Iser and Hayden White. Cutting-edge scholarship on film and the new media will also be introduced, such as Seymour Chatman, Rey Chow, as well as Jay David Bolter and Richard Grusin's Remediation. In addition to becoming familiar with major issues in film studies and East-West comparative studies, students will acquire a working knowledge of narrative theory.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31249052" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0c614b448bb75b691633f4363b5b08b6" rel="nofollow" data-download="{"attachment_id":51655507,"asset_id":31249052,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51655507/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="239992" href="https://gwu.academia.edu/Joubin">Alexa Alice Joubin</a><script data-card-contents-for-user="239992" type="text/json">{"id":239992,"first_name":"Alexa Alice","last_name":"Joubin","domain_name":"gwu","page_name":"Joubin","display_name":"Alexa Alice Joubin","profile_url":"https://gwu.academia.edu/Joubin?f_ri=2852","photo":"https://0.academia-photos.com/239992/52381/13698313/s65_alexa.huang.jpg"}</script></span></span></li><li class="js-paper-rank-work_31249052 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31249052"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31249052, container: ".js-paper-rank-work_31249052", }); 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$(".js-view-count[data-work-id=31249052]").text(description); $(".js-view-count-work_31249052").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31249052").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31249052"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="10" href="https://www.academia.edu/Documents/in/American_Literature">American Literature</a>, <script data-card-contents-for-ri="10" type="text/json">{"id":10,"name":"American Literature","url":"https://www.academia.edu/Documents/in/American_Literature?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15" href="https://www.academia.edu/Documents/in/British_Literature">British Literature</a>, <script data-card-contents-for-ri="15" type="text/json">{"id":15,"name":"British Literature","url":"https://www.academia.edu/Documents/in/British_Literature?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="658" href="https://www.academia.edu/Documents/in/World_Literatures">World Literatures</a>, <script data-card-contents-for-ri="658" type="text/json">{"id":658,"name":"World Literatures","url":"https://www.academia.edu/Documents/in/World_Literatures?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="659" href="https://www.academia.edu/Documents/in/Comparative_Literature">Comparative Literature</a><script data-card-contents-for-ri="659" type="text/json">{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31249052]'), work: {"id":31249052,"title":"Narrative Theory: Film \u0026 Literature","created_at":"2017-02-05T20:49:43.611-08:00","url":"https://www.academia.edu/31249052/Narrative_Theory_Film_and_Literature?f_ri=2852","dom_id":"work_31249052","summary":"Our time is characterized by a crisis of representational\npractice, fuelled by unprecedented technological and economic changes on a global level. Narrative, therefore, takes a wide variety of forms. This course examines the aesthetics and techniques of film and literature from around the world, and analyses the masters of each art form. Through short stories and plays, we will study different ways a story can be told and the many exciting ways embedded \"narratives\" (or discourses) can be framed. Similarly, through films and film adaptations of great literary masterpieces, we will study how visual elements challenge the reader's imagination.\n\n\nSpecifically, we examine the relationship between meaning\nand narrative structure. The course considers the tensions\nbetween claims for originality and poetic license, between\nproducers and audiences, between fiction and reality, narrative and history, memory and representation. We will study representative theorists of narratology, such as J. Hillis Miller, Wolfgang Iser and Hayden White. Cutting-edge scholarship on film and the new media will also be introduced, such as Seymour Chatman, Rey Chow, as well as Jay David Bolter and Richard Grusin's Remediation. In addition to becoming familiar with major issues in film studies and East-West comparative studies, students will acquire a working knowledge of narrative theory.","downloadable_attachments":[{"id":51655507,"asset_id":31249052,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":239992,"first_name":"Alexa Alice","last_name":"Joubin","domain_name":"gwu","page_name":"Joubin","display_name":"Alexa Alice Joubin","profile_url":"https://gwu.academia.edu/Joubin?f_ri=2852","photo":"https://0.academia-photos.com/239992/52381/13698313/s65_alexa.huang.jpg"}],"research_interests":[{"id":10,"name":"American Literature","url":"https://www.academia.edu/Documents/in/American_Literature?f_ri=2852","nofollow":false},{"id":15,"name":"British Literature","url":"https://www.academia.edu/Documents/in/British_Literature?f_ri=2852","nofollow":false},{"id":658,"name":"World Literatures","url":"https://www.academia.edu/Documents/in/World_Literatures?f_ri=2852","nofollow":false},{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=2852","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2852"},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852"},{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=2852"},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=2852"},{"id":8446,"name":"Franz Kafka","url":"https://www.academia.edu/Documents/in/Franz_Kafka?f_ri=2852"},{"id":19119,"name":"American Novel","url":"https://www.academia.edu/Documents/in/American_Novel?f_ri=2852"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852"},{"id":28660,"name":"Asian American Literature","url":"https://www.academia.edu/Documents/in/Asian_American_Literature?f_ri=2852"},{"id":57138,"name":"James Bond","url":"https://www.academia.edu/Documents/in/James_Bond?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3748534" data-work_id="3748534" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3748534/Baroni_R_2006_Passion_et_narration_Prot%C3%A9e_Revue_internationale_de_th%C3%A9ories_et_de_pratiques_s%C3%A9miotiques_n_34_2_3_p_163_175">Baroni, R. (2006) « Passion et narration », Protée, Revue internationale de théories et de pratiques sémiotiques, n° 34 (2-3), p. 163-175 </a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3748534" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="233bd2709c104d2c51f09660f0e5019b" rel="nofollow" data-download="{"attachment_id":31421960,"asset_id":3748534,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31421960/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4384264" href="https://unil.academia.edu/RaphaelBaroni">Raphaël Baroni</a><script data-card-contents-for-user="4384264" type="text/json">{"id":4384264,"first_name":"Raphaël","last_name":"Baroni","domain_name":"unil","page_name":"RaphaelBaroni","display_name":"Raphaël Baroni","profile_url":"https://unil.academia.edu/RaphaelBaroni?f_ri=2852","photo":"https://0.academia-photos.com/4384264/1869160/19548620/s65_rapha_l.baroni.jpg"}</script></span></span></li><li class="js-paper-rank-work_3748534 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3748534"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3748534, container: ".js-paper-rank-work_3748534", }); 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$(".js-view-count[data-work-id=3748534]").text(description); $(".js-view-count-work_3748534").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3748534").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3748534"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="953" href="https://www.academia.edu/Documents/in/Rhetoric">Rhetoric</a>, <script data-card-contents-for-ri="953" type="text/json">{"id":953,"name":"Rhetoric","url":"https://www.academia.edu/Documents/in/Rhetoric?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4490" href="https://www.academia.edu/Documents/in/Cognitive_Narratology">Cognitive Narratology</a><script data-card-contents-for-ri="4490" type="text/json">{"id":4490,"name":"Cognitive Narratology","url":"https://www.academia.edu/Documents/in/Cognitive_Narratology?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3748534]'), work: {"id":3748534,"title":"Baroni, R. (2006) « Passion et narration », Protée, Revue internationale de théories et de pratiques sémiotiques, n° 34 (2-3), p. 163-175 ","created_at":"2013-06-19T22:01:32.557-07:00","url":"https://www.academia.edu/3748534/Baroni_R_2006_Passion_et_narration_Prot%C3%A9e_Revue_internationale_de_th%C3%A9ories_et_de_pratiques_s%C3%A9miotiques_n_34_2_3_p_163_175?f_ri=2852","dom_id":"work_3748534","summary":null,"downloadable_attachments":[{"id":31421960,"asset_id":3748534,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4384264,"first_name":"Raphaël","last_name":"Baroni","domain_name":"unil","page_name":"RaphaelBaroni","display_name":"Raphaël Baroni","profile_url":"https://unil.academia.edu/RaphaelBaroni?f_ri=2852","photo":"https://0.academia-photos.com/4384264/1869160/19548620/s65_rapha_l.baroni.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=2852","nofollow":false},{"id":953,"name":"Rhetoric","url":"https://www.academia.edu/Documents/in/Rhetoric?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":4490,"name":"Cognitive Narratology","url":"https://www.academia.edu/Documents/in/Cognitive_Narratology?f_ri=2852","nofollow":false},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852"},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=2852"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852"},{"id":138926,"name":"Narratology/semiotics","url":"https://www.academia.edu/Documents/in/Narratology_semiotics?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32965300" data-work_id="32965300" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32965300/Literary_Prehistory_The_Origins_and_Psychology_of_Storytelling">Literary Prehistory: The Origins and Psychology of Storytelling</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">What we know today as literature began as oral tales told in small hunter-gatherer bands. Several lines of evidence indicate that storytelling has long been an integral part of human experience. Our species, Homo sapiens, emerged around... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32965300" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">What we know today as literature began as oral tales told in small hunter-gatherer bands. Several lines of evidence indicate that storytelling has long been an integral part of human experience. Our species, Homo sapiens, emerged around 200,000 years ago, at which point language was firmly in place. The recent finding that 85% of nighttime conversation among San foragers is dedicated to the recounting of stories and myths attests to the prominence of this activity in modern and—by implication--ancestral hunter-gatherer life. Unfortunately, behavior doesn’t fossilize, so we don’t have access to the stories told by our ancestors. However, thanks to texts collected by early anthropologists and extant oral traditions kept alive by dedicated tribal elders, we have a good sense of what storytelling was like in recent foraging groups. Due to contact with industrialized state societies and access to Western goods, recent forager life differs somewhat from that of our ancestors; however, their story traditions date to a time when they lived in small, nomadic or semi-nomadic bands and made their living by hunting and gathering. Thus, these traditions are the product of an existence that was very similar to that of early humans—a life without agriculture, social stratification, economic specialization, motorized transport, telecommunication, or modern medicine. For this reason, research on modern foraging peoples is seen as a valuable tool for reconstructing the hominid past. Similarly, the oral traditions of ethnographically documented foragers provide a model of storytelling in ancient environments....</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32965300" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e88462162e4ce6c35ba22b74389e34e9" rel="nofollow" data-download="{"attachment_id":53090253,"asset_id":32965300,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53090253/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10377771" href="https://uoregon.academia.edu/MichelleScaliseSugiyama">Michelle Scalise Sugiyama</a><script data-card-contents-for-user="10377771" type="text/json">{"id":10377771,"first_name":"Michelle","last_name":"Scalise Sugiyama","domain_name":"uoregon","page_name":"MichelleScaliseSugiyama","display_name":"Michelle Scalise Sugiyama","profile_url":"https://uoregon.academia.edu/MichelleScaliseSugiyama?f_ri=2852","photo":"https://0.academia-photos.com/10377771/3162316/3722610/s65_michelle.scalise_sugiyama.jpg"}</script></span></span></li><li class="js-paper-rank-work_32965300 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32965300"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32965300, container: ".js-paper-rank-work_32965300", }); 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$(".js-view-count[data-work-id=32965300]").text(description); $(".js-view-count-work_32965300").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32965300").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="32965300"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="659" href="https://www.academia.edu/Documents/in/Comparative_Literature">Comparative Literature</a>, <script data-card-contents-for-ri="659" type="text/json">{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="772" href="https://www.academia.edu/Documents/in/Human_Evolution">Human Evolution</a>, <script data-card-contents-for-ri="772" type="text/json">{"id":772,"name":"Human Evolution","url":"https://www.academia.edu/Documents/in/Human_Evolution?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2418" href="https://www.academia.edu/Documents/in/Literature">Literature</a>, <script data-card-contents-for-ri="2418" type="text/json">{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a><script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32965300]'), work: {"id":32965300,"title":"Literary Prehistory: The Origins and Psychology of Storytelling","created_at":"2017-05-11T11:33:14.749-07:00","url":"https://www.academia.edu/32965300/Literary_Prehistory_The_Origins_and_Psychology_of_Storytelling?f_ri=2852","dom_id":"work_32965300","summary":"What we know today as literature began as oral tales told in small hunter-gatherer bands. Several lines of evidence indicate that storytelling has long been an integral part of human experience. Our species, Homo sapiens, emerged around 200,000 years ago, at which point language was firmly in place. The recent finding that 85% of nighttime conversation among San foragers is dedicated to the recounting of stories and myths attests to the prominence of this activity in modern and—by implication--ancestral hunter-gatherer life. Unfortunately, behavior doesn’t fossilize, so we don’t have access to the stories told by our ancestors. However, thanks to texts collected by early anthropologists and extant oral traditions kept alive by dedicated tribal elders, we have a good sense of what storytelling was like in recent foraging groups. Due to contact with industrialized state societies and access to Western goods, recent forager life differs somewhat from that of our ancestors; however, their story traditions date to a time when they lived in small, nomadic or semi-nomadic bands and made their living by hunting and gathering. Thus, these traditions are the product of an existence that was very similar to that of early humans—a life without agriculture, social stratification, economic specialization, motorized transport, telecommunication, or modern medicine. For this reason, research on modern foraging peoples is seen as a valuable tool for reconstructing the hominid past. Similarly, the oral traditions of ethnographically documented foragers provide a model of storytelling in ancient environments.... ","downloadable_attachments":[{"id":53090253,"asset_id":32965300,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10377771,"first_name":"Michelle","last_name":"Scalise Sugiyama","domain_name":"uoregon","page_name":"MichelleScaliseSugiyama","display_name":"Michelle Scalise Sugiyama","profile_url":"https://uoregon.academia.edu/MichelleScaliseSugiyama?f_ri=2852","photo":"https://0.academia-photos.com/10377771/3162316/3722610/s65_michelle.scalise_sugiyama.jpg"}],"research_interests":[{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=2852","nofollow":false},{"id":772,"name":"Human Evolution","url":"https://www.academia.edu/Documents/in/Human_Evolution?f_ri=2852","nofollow":false},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":7540,"name":"Oral Traditions","url":"https://www.academia.edu/Documents/in/Oral_Traditions?f_ri=2852"},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=2852"},{"id":32948,"name":"Hunter-Gatherers (Anthropology)","url":"https://www.academia.edu/Documents/in/Hunter-Gatherers_Anthropology_?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39631048 coauthored" data-work_id="39631048" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39631048/Identity_Narrative_and_Its_Role_in_Biological_Survival_Implications_for_Child_and_Adolescent_Psychotherapy">Identity Narrative and Its Role in Biological Survival: Implications for Child and Adolescent Psychotherapy</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this article, we propose the term identity narrative (IdN) to define an implicit emotional and cognitive framework that serves as an unconscious scaffolding for the gradual development of autobiographical memory. We distinguish... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39631048" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this article, we propose the term identity narrative (IdN) to define an implicit emotional and cognitive framework that serves as an unconscious scaffolding for the gradual development of autobiographical memory. We distinguish preverbal IdN from narrative identity, a term previously used in the philosophical literature. Unlike narrative identity, which refers to conscious lifescripts, IdN is unconscious and constitutes a contemporary neuropsychological conceptualization of the unconscious. Within autobiographical memory, IdN has a stabilizing function providing individual predictability and, hence, social stability. IdN begins prior to language acquisition and has an evolutionary significance. It is consolidated by neurohormonal mechanisms, influences and is influenced by attachment, and moldsthemannerinwhichautobiographicalmemoryisrecalled.Itparticipates in the emergence of self and identity. IdN is reshaped throughout life by both bottom-up (implicit “predictive cycle” paradigm) and top-down acquisitions that include paradigm shift/sudden new insights, experiences with high emotional valence, repetition and practicing, and prolonged exposure. In this way, IdN, autobiographical memory, and the language brain are parts of a larger biological substrate of human social affiliations.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39631048" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="37acae8f1d0b3c42118f5c97f5d76c57" rel="nofollow" data-download="{"attachment_id":59789986,"asset_id":39631048,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59789986/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="100688" href="https://independent.academia.edu/AndreiNovacMD">Andrei Novac, MD, DFAPA</a><script data-card-contents-for-user="100688" type="text/json">{"id":100688,"first_name":"Andrei","last_name":"Novac, MD, DFAPA","domain_name":"independent","page_name":"AndreiNovacMD","display_name":"Andrei Novac, MD, DFAPA","profile_url":"https://independent.academia.edu/AndreiNovacMD?f_ri=2852","photo":"https://0.academia-photos.com/100688/27744/58684260/s65_andrei.novac_md_dfapa.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-39631048">+1</span><div class="hidden js-additional-users-39631048"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://uci.academia.edu/BartonBlinder">Barton J. Blinder MD PhD</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-39631048'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-39631048').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_39631048 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39631048"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39631048, container: ".js-paper-rank-work_39631048", }); });</script></li><li class="js-percentile-work_39631048 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39631048; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39631048"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39631048 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39631048"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39631048; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39631048]").text(description); $(".js-view-count-work_39631048").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39631048").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39631048"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="244" href="https://www.academia.edu/Documents/in/Psychoanalysis">Psychoanalysis</a>, <script data-card-contents-for-ri="244" type="text/json">{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2240" href="https://www.academia.edu/Documents/in/Psychotherapy">Psychotherapy</a>, <script data-card-contents-for-ri="2240" type="text/json">{"id":2240,"name":"Psychotherapy","url":"https://www.academia.edu/Documents/in/Psychotherapy?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14831" href="https://www.academia.edu/Documents/in/Narrative_and_Identity">Narrative and Identity</a><script data-card-contents-for-ri="14831" type="text/json">{"id":14831,"name":"Narrative and Identity","url":"https://www.academia.edu/Documents/in/Narrative_and_Identity?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39631048]'), work: {"id":39631048,"title":"Identity Narrative and Its Role in Biological Survival: Implications for Child and Adolescent Psychotherapy","created_at":"2019-06-18T20:18:19.245-07:00","url":"https://www.academia.edu/39631048/Identity_Narrative_and_Its_Role_in_Biological_Survival_Implications_for_Child_and_Adolescent_Psychotherapy?f_ri=2852","dom_id":"work_39631048","summary":"In this article, we propose the term identity narrative (IdN) to define an implicit emotional and cognitive framework that serves as an unconscious scaffolding for the gradual development of autobiographical memory. We distinguish preverbal IdN from narrative identity, a term previously used in the philosophical literature. Unlike narrative identity, which refers to conscious lifescripts, IdN is unconscious and constitutes a contemporary neuropsychological conceptualization of the unconscious. Within autobiographical memory, IdN has a stabilizing function providing individual predictability and, hence, social stability. IdN begins prior to language acquisition and has an evolutionary significance. It is consolidated by neurohormonal mechanisms, influences and is influenced by attachment, and moldsthemannerinwhichautobiographicalmemoryisrecalled.Itparticipates in the emergence of self and identity. IdN is reshaped throughout life by both bottom-up (implicit “predictive cycle” paradigm) and top-down acquisitions that include paradigm shift/sudden new insights, experiences with high emotional valence, repetition and practicing, and prolonged exposure. In this way, IdN, autobiographical memory, and the language brain are parts of a larger biological substrate of human social affiliations.","downloadable_attachments":[{"id":59789986,"asset_id":39631048,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":100688,"first_name":"Andrei","last_name":"Novac, MD, DFAPA","domain_name":"independent","page_name":"AndreiNovacMD","display_name":"Andrei Novac, MD, DFAPA","profile_url":"https://independent.academia.edu/AndreiNovacMD?f_ri=2852","photo":"https://0.academia-photos.com/100688/27744/58684260/s65_andrei.novac_md_dfapa.jpg"},{"id":100686,"first_name":"Barton J.","last_name":"Blinder MD PhD","domain_name":"uci","page_name":"BartonBlinder","display_name":"Barton J. Blinder MD PhD","profile_url":"https://uci.academia.edu/BartonBlinder?f_ri=2852","photo":"https://0.academia-photos.com/100686/27743/6794943/s65_barton.blinder.jpg"}],"research_interests":[{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=2852","nofollow":false},{"id":2240,"name":"Psychotherapy","url":"https://www.academia.edu/Documents/in/Psychotherapy?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":14831,"name":"Narrative and Identity","url":"https://www.academia.edu/Documents/in/Narrative_and_Identity?f_ri=2852","nofollow":false},{"id":29866,"name":"Autobiographical Memory","url":"https://www.academia.edu/Documents/in/Autobiographical_Memory?f_ri=2852"},{"id":80119,"name":"Implicit Memory","url":"https://www.academia.edu/Documents/in/Implicit_Memory?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20081764" data-work_id="20081764" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20081764/Is_Narrative_Essential_to_the_Law_Precedent_Case_Law_and_Judicial_Emplotment">Is Narrative Essential to the Law?: Precedent, Case Law and Judicial Emplotment</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Storytelling pervades almost every aspect of the law. Many narrativistic legal elements, however, have in fact been little more than historically transitory. Given the precarious status of narrative at law, I argue we should focus instead... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20081764" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Storytelling pervades almost every aspect of the law. Many narrativistic legal elements, however, have in fact been little more than historically transitory. Given the precarious status of narrative at law, I argue we should focus instead on one of the most historically consistent acts of legal storytelling: the judicial opinion. Here I examine in particular the invocation of precedent in legal opinions, what I call “judicial emplotment,” as an almost archetypal act of formalized storytelling. As I go on to argue, the courts justify legal outcomes by invoking precedent, thereby placing decisions within a specific and heavily formalized legal-narrative structure.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20081764" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e9faffb29c53c7fc584b8669c41ffe85" rel="nofollow" data-download="{"attachment_id":41439311,"asset_id":20081764,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41439311/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="372453" href="https://ugent.academia.edu/AndrewBenjaminBricker">Andrew Benjamin Bricker</a><script data-card-contents-for-user="372453" type="text/json">{"id":372453,"first_name":"Andrew Benjamin","last_name":"Bricker","domain_name":"ugent","page_name":"AndrewBenjaminBricker","display_name":"Andrew Benjamin Bricker","profile_url":"https://ugent.academia.edu/AndrewBenjaminBricker?f_ri=2852","photo":"https://0.academia-photos.com/372453/96713/14819086/s65_andrew_benjamin.bricker.jpeg"}</script></span></span></li><li class="js-paper-rank-work_20081764 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20081764"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20081764, container: ".js-paper-rank-work_20081764", }); 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Many narrativistic legal elements, however, have in fact been little more than historically transitory. Given the precarious status of narrative at law, I argue we should focus instead on one of the most historically consistent acts of legal storytelling: the judicial opinion. Here I examine in particular the invocation of precedent in legal opinions, what I call “judicial emplotment,” as an almost archetypal act of formalized storytelling. As I go on to argue, the courts justify legal outcomes by invoking precedent, thereby placing decisions within a specific and heavily formalized legal-narrative structure.","downloadable_attachments":[{"id":41439311,"asset_id":20081764,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":372453,"first_name":"Andrew Benjamin","last_name":"Bricker","domain_name":"ugent","page_name":"AndrewBenjaminBricker","display_name":"Andrew Benjamin Bricker","profile_url":"https://ugent.academia.edu/AndrewBenjaminBricker?f_ri=2852","photo":"https://0.academia-photos.com/372453/96713/14819086/s65_andrew_benjamin.bricker.jpeg"}],"research_interests":[{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":3767,"name":"Law and 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3886680" data-work_id="3886680" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3886680/2000_Fragebogen_Sexuelle_Gewalt_Ruhr_Universit%C3%A4t_Bochum_Andreu_Ginestet">2000 - Fragebogen Sexuelle Gewalt - Ruhr Universität Bochum - Andreu Ginestet</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3886680" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11804984/Eros_through_the_looking_glass_Erotic_ekphrasis_and_narrative_structure_in_Moschus_Europa">Eros through the looking-glass? Erotic ekphrasis and narrative structure in Moschus' Europa.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Moschus' 'Europa' has long been recognised to be a highly visual and pictorial poem. It is also dominated by an erotic theme: the sexual awakening of the maiden Europa and her love affair with Zeus. This article will focus on a connection... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11804984" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Moschus' 'Europa' has long been recognised to be a highly visual and pictorial poem. It is also dominated by an erotic theme: the sexual awakening of the maiden Europa and her love affair with Zeus. This article will focus on a connection between erotic theme and highly visual narrative that has received attention in relation to Greek texts from the Roman Empire, but none in relation to Moschus. The sophisticated and self-conscious use of vision and ekphrasis in erotic narrative which has been traced in authors such as Achilles Tatius (in particular by Goldhill) is anticipated, I shall argue, in Moschus' Hellenistic poem.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11804984" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="12c51317561af8d194885c8136c904ac" rel="nofollow" data-download="{"attachment_id":37227340,"asset_id":11804984,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37227340/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="28336661" href="https://kansas.academia.edu/SarahCullinanHerring">Sarah J Cullinan Herring</a><script data-card-contents-for-user="28336661" type="text/json">{"id":28336661,"first_name":"Sarah","last_name":"Cullinan Herring","domain_name":"kansas","page_name":"SarahCullinanHerring","display_name":"Sarah J Cullinan Herring","profile_url":"https://kansas.academia.edu/SarahCullinanHerring?f_ri=2852","photo":"https://0.academia-photos.com/28336661/8313406/156083082/s65_sarah.cullinan_herring.jpg"}</script></span></span></li><li class="js-paper-rank-work_11804984 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11804984"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11804984, container: ".js-paper-rank-work_11804984", }); 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The sophisticated and self-conscious use of vision and ekphrasis in erotic narrative which has been traced in authors such as Achilles Tatius (in particular by Goldhill) is anticipated, I shall argue, in Moschus' Hellenistic poem.","downloadable_attachments":[{"id":37227340,"asset_id":11804984,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":28336661,"first_name":"Sarah","last_name":"Cullinan Herring","domain_name":"kansas","page_name":"SarahCullinanHerring","display_name":"Sarah J Cullinan Herring","profile_url":"https://kansas.academia.edu/SarahCullinanHerring?f_ri=2852","photo":"https://0.academia-photos.com/28336661/8313406/156083082/s65_sarah.cullinan_herring.jpg"}],"research_interests":[{"id":826,"name":"Greek Literature","url":"https://www.academia.edu/Documents/in/Greek_Literature?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":15667,"name":"Greek Epic","url":"https://www.academia.edu/Documents/in/Greek_Epic?f_ri=2852","nofollow":false},{"id":62284,"name":"Epyllion","url":"https://www.academia.edu/Documents/in/Epyllion?f_ri=2852","nofollow":false},{"id":79229,"name":"Ecphrasis","url":"https://www.academia.edu/Documents/in/Ecphrasis?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_487695" data-work_id="487695" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/487695/_Belarus_in_Berlin_Berlin_in_Belarus_Moyshe_Kulbaks_Raysn_and_Meshiekh_ben_Efrayim_between_Nostalgia_and_Apocalypse_">"Belarus in Berlin, Berlin in Belarus: Moyshe Kulbak's Raysn and Meshiekh ben-Efrayim between Nostalgia and Apocalypse"</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/487695" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ca5268660e488fd5c61fbee221e0a2d3" rel="nofollow" data-download="{"attachment_id":2228294,"asset_id":487695,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/2228294/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="30318" href="https://diddl.academia.edu/MarcCaplan">Marc Caplan</a><script data-card-contents-for-user="30318" type="text/json">{"id":30318,"first_name":"Marc","last_name":"Caplan","domain_name":"diddl","page_name":"MarcCaplan","display_name":"Marc Caplan","profile_url":"https://diddl.academia.edu/MarcCaplan?f_ri=2852","photo":"https://0.academia-photos.com/30318/96840/143817847/s65_marc.caplan.jpg"}</script></span></span></li><li class="js-paper-rank-work_487695 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="487695"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 487695, container: ".js-paper-rank-work_487695", }); 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Se estudia el relato en tanto estructura poniendo énfasis en los... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29036051" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Resumen El artículo intenta realizar una aproximación de tipo narratológica a la serie de televisión Mad Men (AMC, 2007-2015) del creador y guionista Matthew Weiner. Se estudia el relato en tanto estructura poniendo énfasis en los mecanismos narrativos. En primer lugar se aborda el inicio del relato – íncipit-poniendo énfasis en los códigos que ya desde ahí orientan la recepción de la serie para luego contrastarlos con los elementos que dan cierre al relato. Posteriormente, se trabaja la construcción espacial a partir del concepto cronotopos, condensación del binomio espacio-tiempo, según la perspectiva de Mijaíl Bajtín. Desde ahí se analizarán tres cronotopos principales: la ciudad como gran escenario, las casas y, por último, las diferentes oficinas de la agencia Sterling Cooper, a juicio de quién escribe estas líneas, el cronotopos predominante. Finalmente se trabaja la cuestión temporal, en este caso desde tres aristas diferentes: como decurso, como discurso y como experiencia vital Palabras clave: Mad Men, serie de televisión, estructura narrativa, espacios, tiempo Abstract The article proposes a narrative approach to Mad Men (AMC, 2007-2015), the television series by the creator and screenwriter Matthew Weiner. The story is analyzed structurally, emphasizing its narrative mechanisms. Firstly, the beginning of the narrative –incipit-is tackled by highlighting the codes that are already orienting the reception of the series, in order to contrast them with the elements that draw an end to the story. Afterwards, the spatial construction is examined upon the concept of cronotopos, according to Mikhail Bakhtin's perspective. From there onwards, three main cronotopos will be analyzed: the city as a great stage, the homes and lastly, the different offices of the agency Sterling Cooper, which is the predominant cronotopos in the opinion of the one writing these lines. Finally, the topic of temporary matters is handled, in this case, in accordance to three different points of view: as course of time, as discourse and as vital experience.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29036051" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ecc2830c57d86803c39424fa19f84b39" rel="nofollow" data-download="{"attachment_id":49486467,"asset_id":29036051,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49486467/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38062685" href="https://ucr.academia.edu/LedaRodr%C3%ADguez">Leda Rodríguez</a><script data-card-contents-for-user="38062685" type="text/json">{"id":38062685,"first_name":"Leda","last_name":"Rodríguez","domain_name":"ucr","page_name":"LedaRodríguez","display_name":"Leda Rodríguez","profile_url":"https://ucr.academia.edu/LedaRodr%C3%ADguez?f_ri=2852","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_29036051 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29036051"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29036051, container: ".js-paper-rank-work_29036051", }); 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Se estudia el relato en tanto estructura poniendo énfasis en los mecanismos narrativos. En primer lugar se aborda el inicio del relato – íncipit-poniendo énfasis en los códigos que ya desde ahí orientan la recepción de la serie para luego contrastarlos con los elementos que dan cierre al relato. Posteriormente, se trabaja la construcción espacial a partir del concepto cronotopos, condensación del binomio espacio-tiempo, según la perspectiva de Mijaíl Bajtín. Desde ahí se analizarán tres cronotopos principales: la ciudad como gran escenario, las casas y, por último, las diferentes oficinas de la agencia Sterling Cooper, a juicio de quién escribe estas líneas, el cronotopos predominante. Finalmente se trabaja la cuestión temporal, en este caso desde tres aristas diferentes: como decurso, como discurso y como experiencia vital Palabras clave: Mad Men, serie de televisión, estructura narrativa, espacios, tiempo Abstract The article proposes a narrative approach to Mad Men (AMC, 2007-2015), the television series by the creator and screenwriter Matthew Weiner. The story is analyzed structurally, emphasizing its narrative mechanisms. Firstly, the beginning of the narrative –incipit-is tackled by highlighting the codes that are already orienting the reception of the series, in order to contrast them with the elements that draw an end to the story. Afterwards, the spatial construction is examined upon the concept of cronotopos, according to Mikhail Bakhtin's perspective. From there onwards, three main cronotopos will be analyzed: the city as a great stage, the homes and lastly, the different offices of the agency Sterling Cooper, which is the predominant cronotopos in the opinion of the one writing these lines. Finally, the topic of temporary matters is handled, in this case, in accordance to three different points of view: as course of time, as discourse and as vital experience.","downloadable_attachments":[{"id":49486467,"asset_id":29036051,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":38062685,"first_name":"Leda","last_name":"Rodríguez","domain_name":"ucr","page_name":"LedaRodríguez","display_name":"Leda Rodríguez","profile_url":"https://ucr.academia.edu/LedaRodr%C3%ADguez?f_ri=2852","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":21829,"name":"Series TV","url":"https://www.academia.edu/Documents/in/Series_TV?f_ri=2852","nofollow":false},{"id":221053,"name":"Time and Space","url":"https://www.academia.edu/Documents/in/Time_and_Space-1?f_ri=2852","nofollow":false},{"id":237053,"name":"Mad Men","url":"https://www.academia.edu/Documents/in/Mad_Men?f_ri=2852","nofollow":false},{"id":2486895,"name":"Matthew Weiner","url":"https://www.academia.edu/Documents/in/Matthew_Weiner?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5734664" data-work_id="5734664" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5734664/%CE%9F%CE%B9_%CF%83%CF%84%CF%81%CE%B1%CF%84%CE%B7%CE%B3%CE%B9%CE%BA%CE%AD%CF%82_%CE%B1%CF%86%CE%AE%CE%B3%CE%B7%CF%83%CE%B7%CF%82_%CF%83%CF%84%CE%B7_%CF%86%CF%89%CF%84%CE%BF%CE%B3%CF%81%CE%B1%CF%86%CE%AF%CE%B1_%CF%84%CE%BF%CF%80%CE%AF%CE%BF%CF%85">Οι στρατηγικές αφήγησης στη φωτογραφία τοπίου</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li 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τοπίου","url":"https://www.academia.edu/Documents/in/%CF%86%CF%89%CF%84%CE%BF%CE%B3%CF%81%CE%B1%CF%86%CE%AF%CE%B1_%CF%84%CE%BF%CF%80%CE%AF%CE%BF%CF%85?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7110989" data-work_id="7110989" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7110989/Reconsidering_Unreliability_Fallible_and_Untrustworthy_Narrators">Reconsidering Unreliability: Fallible and Untrustworthy Narrators</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Olson, Greta. “Reconsidering Unreliability: Fallible and Untrustworthy Narrators.” Narrative 11.1 (2003): 93-109.</div></div><ul class="InlineList u-ph0x u-fs13"><li 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Gender","url":"https://www.academia.edu/Documents/in/Medieval_Women_and_Gender?f_ri=2852"},{"id":671241,"name":"Willibald Pirckheimer","url":"https://www.academia.edu/Documents/in/Willibald_Pirckheimer?f_ri=2852"},{"id":694815,"name":"Feministische Kunstgeschichte","url":"https://www.academia.edu/Documents/in/Feministische_Kunstgeschichte?f_ri=2852"},{"id":1539165,"name":"Agnes Frey Dürer","url":"https://www.academia.edu/Documents/in/Agnes_Frey_Durer?f_ri=2852"},{"id":1746905,"name":"Albrecht Durer","url":"https://www.academia.edu/Documents/in/Albrecht_Durer-1?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8197101" data-work_id="8197101" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8197101/Tsippi_Kauffman_the_Hasidic_Story_A_Call_for_Narrative_Religiosity_JJTP_Eng_">Tsippi Kauffman- the Hasidic Story- A Call for Narrative Religiosity- JJTP (Eng)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The paper examines the dominancy of narrative in Hasidic religious life through the discourse of narrative ethics and its implications for theology, specifically feminist theology, and for religion in general. I claim that the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8197101" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The paper examines the dominancy of narrative in Hasidic religious life through the discourse of narrative ethics and its implications for theology, specifically feminist theology, and for religion in general. <br /> I claim that the centrality of storytelling in Hasidism reflects and constructs an essential attitude toward religious life. This attitude directs one to narrative and contextual thinking, which focuses on the specific person, circumstances, emotions, as opposed to law, norm, and abstract determination. This centrality of storytelling is connected to a deep Hasidic awareness of the restriction of normative religious life, a finite facet of the infinite paths to God</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8197101" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1c379a2871d7da81d484e4edcf98fd8b" rel="nofollow" data-download="{"attachment_id":34627040,"asset_id":8197101,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34627040/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7791152" href="https://barilan.academia.edu/tsippikauffman">tsippi kauffman</a><script data-card-contents-for-user="7791152" type="text/json">{"id":7791152,"first_name":"tsippi","last_name":"kauffman","domain_name":"barilan","page_name":"tsippikauffman","display_name":"tsippi kauffman","profile_url":"https://barilan.academia.edu/tsippikauffman?f_ri=2852","photo":"https://0.academia-photos.com/7791152/3013668/3539813/s65_tsippi.kauffman.jpg"}</script></span></span></li><li class="js-paper-rank-work_8197101 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8197101"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8197101, container: ".js-paper-rank-work_8197101", }); 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$(".js-view-count[data-work-id=8197101]").text(description); $(".js-view-count-work_8197101").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8197101").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8197101"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7322" href="https://www.academia.edu/Documents/in/Mysticism">Mysticism</a>, <script data-card-contents-for-ri="7322" type="text/json">{"id":7322,"name":"Mysticism","url":"https://www.academia.edu/Documents/in/Mysticism?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13417" href="https://www.academia.edu/Documents/in/Martin_Buber">Martin Buber</a>, <script data-card-contents-for-ri="13417" type="text/json">{"id":13417,"name":"Martin Buber","url":"https://www.academia.edu/Documents/in/Martin_Buber?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19818" href="https://www.academia.edu/Documents/in/Narrative_Theory">Narrative Theory</a><script data-card-contents-for-ri="19818" type="text/json">{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8197101]'), work: {"id":8197101,"title":"Tsippi Kauffman- the Hasidic Story- A Call for Narrative Religiosity- JJTP (Eng)","created_at":"2014-09-04T04:14:18.100-07:00","url":"https://www.academia.edu/8197101/Tsippi_Kauffman_the_Hasidic_Story_A_Call_for_Narrative_Religiosity_JJTP_Eng_?f_ri=2852","dom_id":"work_8197101","summary":"The paper examines the dominancy of narrative in Hasidic religious life through the discourse of narrative ethics and its implications for theology, specifically feminist theology, and for religion in general.\r\n I claim that the centrality of storytelling in Hasidism reflects and constructs an essential attitude toward religious life. This attitude directs one to narrative and contextual thinking, which focuses on the specific person, circumstances, emotions, as opposed to law, norm, and abstract determination. This centrality of storytelling is connected to a deep Hasidic awareness of the restriction of normative religious life, a finite facet of the infinite paths to God\r\n","downloadable_attachments":[{"id":34627040,"asset_id":8197101,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7791152,"first_name":"tsippi","last_name":"kauffman","domain_name":"barilan","page_name":"tsippikauffman","display_name":"tsippi kauffman","profile_url":"https://barilan.academia.edu/tsippikauffman?f_ri=2852","photo":"https://0.academia-photos.com/7791152/3013668/3539813/s65_tsippi.kauffman.jpg"}],"research_interests":[{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":7322,"name":"Mysticism","url":"https://www.academia.edu/Documents/in/Mysticism?f_ri=2852","nofollow":false},{"id":13417,"name":"Martin Buber","url":"https://www.academia.edu/Documents/in/Martin_Buber?f_ri=2852","nofollow":false},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852","nofollow":false},{"id":26467,"name":"Hasidism","url":"https://www.academia.edu/Documents/in/Hasidism?f_ri=2852"},{"id":343916,"name":"Jewish Mysticism, Hasidism","url":"https://www.academia.edu/Documents/in/Jewish_Mysticism_Hasidism?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37722326" data-work_id="37722326" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37722326/El_arte_de_ense%C3%B1ar_la_docencia_como_trabajo_artesanal">El arte de enseñar: la docencia como trabajo artesanal</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">El Sociólogo norteamericano Richard Sennett (2009) explica que la artesanía es la habilidad de hacer las cosas bien y está activada por un impulso humano duradero y básico: el deseo de realizar adecuadamente una tarea. Desde esta mirada,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37722326" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">El Sociólogo norteamericano Richard Sennett (2009) explica que la artesanía es la habilidad de hacer las cosas bien y está activada por un impulso humano duradero y básico: el deseo de realizar adecuadamente una tarea. Desde esta mirada, el término es más abarcativo que el estrictamente referido al trabajo manual especializado, se aplica a muchas profesiones y a oficios y suele retribuir al individuo con el orgullo por la labor realizada. Todo buen artesano, continúa Sennett, mantiene un diálogo entre sus prácticas concretas y sus pensamientos, que evolucionan juntos hasta convertirse en hábito. De esta manera, el concepto del artesano va más allá y representa en cada uno de nosotros el deseo de hacer algo bien, concretamente y sin ninguna otra finalidad.<br />En este trabajo se explorarán distintos conceptos como: artesanía, motivación, habilidad, despertar, pericia, vocación y or- gullo por el trabajo propio. Se trazará así un camino que permita visualizar las prácticasdocentes de los profesores universitarios en un marco particular, el de la artesanía.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37722326" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2b851151e50f2118fe638e0855eb685c" rel="nofollow" data-download="{"attachment_id":57715522,"asset_id":37722326,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57715522/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="29422771" href="https://mdp.academia.edu/silviabranda">silvia branda</a><script data-card-contents-for-user="29422771" type="text/json">{"id":29422771,"first_name":"silvia","last_name":"branda","domain_name":"mdp","page_name":"silviabranda","display_name":"silvia branda","profile_url":"https://mdp.academia.edu/silviabranda?f_ri=2852","photo":"https://0.academia-photos.com/29422771/8423555/18021166/s65_silvia.branda.jpg"}</script></span></span></li><li class="js-paper-rank-work_37722326 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37722326"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37722326, container: ".js-paper-rank-work_37722326", }); 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$(".js-view-count[data-work-id=37722326]").text(description); $(".js-view-count-work_37722326").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37722326").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37722326"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1601" href="https://www.academia.edu/Documents/in/Teacher_Education">Teacher Education</a>, <script data-card-contents-for-ri="1601" type="text/json">{"id":1601,"name":"Teacher Education","url":"https://www.academia.edu/Documents/in/Teacher_Education?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="55054" href="https://www.academia.edu/Documents/in/Investigaci%C3%B3n_cualitativa">Investigación cualitativa</a>, <script data-card-contents-for-ri="55054" type="text/json">{"id":55054,"name":"Investigación cualitativa","url":"https://www.academia.edu/Documents/in/Investigaci%C3%B3n_cualitativa?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3056237" href="https://www.academia.edu/Documents/in/investigaci%C3%B3n_interpretativa">investigación interpretativa</a><script data-card-contents-for-ri="3056237" type="text/json">{"id":3056237,"name":"investigación interpretativa","url":"https://www.academia.edu/Documents/in/investigaci%C3%B3n_interpretativa?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37722326]'), work: {"id":37722326,"title":"El arte de enseñar: la docencia como trabajo artesanal","created_at":"2018-11-07T14:45:12.044-08:00","url":"https://www.academia.edu/37722326/El_arte_de_ense%C3%B1ar_la_docencia_como_trabajo_artesanal?f_ri=2852","dom_id":"work_37722326","summary":"El Sociólogo norteamericano Richard Sennett (2009) explica que la artesanía es la habilidad de hacer las cosas bien y está activada por un impulso humano duradero y básico: el deseo de realizar adecuadamente una tarea. Desde esta mirada, el término es más abarcativo que el estrictamente referido al trabajo manual especializado, se aplica a muchas profesiones y a oficios y suele retribuir al individuo con el orgullo por la labor realizada. Todo buen artesano, continúa Sennett, mantiene un diálogo entre sus prácticas concretas y sus pensamientos, que evolucionan juntos hasta convertirse en hábito. De esta manera, el concepto del artesano va más allá y representa en cada uno de nosotros el deseo de hacer algo bien, concretamente y sin ninguna otra finalidad.\nEn este trabajo se explorarán distintos conceptos como: artesanía, motivación, habilidad, despertar, pericia, vocación y or- gullo por el trabajo propio. Se trazará así un camino que permita visualizar las prácticasdocentes de los profesores universitarios en un marco particular, el de la artesanía.","downloadable_attachments":[{"id":57715522,"asset_id":37722326,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":29422771,"first_name":"silvia","last_name":"branda","domain_name":"mdp","page_name":"silviabranda","display_name":"silvia branda","profile_url":"https://mdp.academia.edu/silviabranda?f_ri=2852","photo":"https://0.academia-photos.com/29422771/8423555/18021166/s65_silvia.branda.jpg"}],"research_interests":[{"id":1601,"name":"Teacher Education","url":"https://www.academia.edu/Documents/in/Teacher_Education?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":55054,"name":"Investigación cualitativa","url":"https://www.academia.edu/Documents/in/Investigaci%C3%B3n_cualitativa?f_ri=2852","nofollow":false},{"id":3056237,"name":"investigación interpretativa","url":"https://www.academia.edu/Documents/in/investigaci%C3%B3n_interpretativa?f_ri=2852","nofollow":false},{"id":3056238,"name":"Profesores de Inglés","url":"https://www.academia.edu/Documents/in/Profesores_de_Ingl%C3%A9s?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_50270915" data-work_id="50270915" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/50270915/Becoming_cat_or_what_a_womans_body_can_do">Becoming-cat or what a woman's body can do</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Drawing on a body of literature that considers narrative meaning emerging in intraspecies entanglements, in this paper I read Gwen John's letters revolving around her relationship with the many cats she lived with throughout her life. I... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_50270915" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Drawing on a body of literature that considers narrative meaning emerging in intraspecies entanglements, in this paper I read Gwen John's letters revolving around her relationship with the many cats she lived with throughout her life. I am particularly interested in throwing light at moments when a woman's body makes strong connections with the animal's body blurring the boundaries between humans and nonhumans through a cosmological ethics of care. In doing so, I follow trails of Deleuze's and Guattari's idea of becoming-animal, as it is fleshed out through a narrative analysis of a modernist woman artist's letters.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/50270915" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="503234c077743354e5bd1207e45f26e8" rel="nofollow" data-download="{"attachment_id":68319428,"asset_id":50270915,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/68319428/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="88481" href="https://uel.academia.edu/MariaTamboukou">Maria Tamboukou</a><script data-card-contents-for-user="88481" type="text/json">{"id":88481,"first_name":"Maria","last_name":"Tamboukou","domain_name":"uel","page_name":"MariaTamboukou","display_name":"Maria Tamboukou","profile_url":"https://uel.academia.edu/MariaTamboukou?f_ri=2852","photo":"https://0.academia-photos.com/88481/24620/136945965/s65_maria.tamboukou.jpeg"}</script></span></span></li><li class="js-paper-rank-work_50270915 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="50270915"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 50270915, container: ".js-paper-rank-work_50270915", }); });</script></li><li class="js-percentile-work_50270915 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 50270915; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_50270915"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_50270915 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="50270915"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50270915; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=50270915]").text(description); $(".js-view-count-work_50270915").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_50270915").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="50270915"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19915" href="https://www.academia.edu/Documents/in/Gilles_Deleuze_and_Felix_Guattari">Gilles Deleuze and Felix Guattari</a>, <script data-card-contents-for-ri="19915" type="text/json">{"id":19915,"name":"Gilles Deleuze and Felix Guattari","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze_and_Felix_Guattari?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="21144" href="https://www.academia.edu/Documents/in/Women_Artists">Women Artists</a>, <script data-card-contents-for-ri="21144" type="text/json">{"id":21144,"name":"Women Artists","url":"https://www.academia.edu/Documents/in/Women_Artists?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1341432" href="https://www.academia.edu/Documents/in/Epistolarity">Epistolarity</a><script data-card-contents-for-ri="1341432" type="text/json">{"id":1341432,"name":"Epistolarity","url":"https://www.academia.edu/Documents/in/Epistolarity?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=50270915]'), work: {"id":50270915,"title":"Becoming-cat or what a woman's body can do","created_at":"2021-07-26T07:46:02.239-07:00","url":"https://www.academia.edu/50270915/Becoming_cat_or_what_a_womans_body_can_do?f_ri=2852","dom_id":"work_50270915","summary":"Drawing on a body of literature that considers narrative meaning emerging in intraspecies entanglements, in this paper I read Gwen John's letters revolving around her relationship with the many cats she lived with throughout her life. I am particularly interested in throwing light at moments when a woman's body makes strong connections with the animal's body blurring the boundaries between humans and nonhumans through a cosmological ethics of care. In doing so, I follow trails of Deleuze's and Guattari's idea of becoming-animal, as it is fleshed out through a narrative analysis of a modernist woman artist's letters.","downloadable_attachments":[{"id":68319428,"asset_id":50270915,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":88481,"first_name":"Maria","last_name":"Tamboukou","domain_name":"uel","page_name":"MariaTamboukou","display_name":"Maria Tamboukou","profile_url":"https://uel.academia.edu/MariaTamboukou?f_ri=2852","photo":"https://0.academia-photos.com/88481/24620/136945965/s65_maria.tamboukou.jpeg"}],"research_interests":[{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":19915,"name":"Gilles Deleuze and Felix Guattari","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze_and_Felix_Guattari?f_ri=2852","nofollow":false},{"id":21144,"name":"Women Artists","url":"https://www.academia.edu/Documents/in/Women_Artists?f_ri=2852","nofollow":false},{"id":1341432,"name":"Epistolarity","url":"https://www.academia.edu/Documents/in/Epistolarity?f_ri=2852","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1802556 coauthored" data-work_id="1802556" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1802556/Gewalt_und_Handlungsmacht_Queer_Feministische_Perspektiven">Gewalt und Handlungsmacht: Queer_Feministische Perspektiven</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Feministische Interventionen gegen geschlechtsspezifische Gewalt führten in den letzten Jahrzehnten zu politisch-institutionellen Maßnahmen. Dieser Entwicklung steht eine wissenschaftliche Auseinandersetzung gegenüber, die ihren Blick... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1802556" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Feministische Interventionen gegen geschlechtsspezifische Gewalt führten in den letzten Jahrzehnten zu politisch-institutionellen Maßnahmen. Dieser Entwicklung steht eine wissenschaftliche Auseinandersetzung gegenüber, die ihren Blick zunehmend auf Handlungsmacht von *Frauen richtet und die Debatte um queere sowie postkoloniale Sichtweisen erweitert. Die Autor_innen stellen sich der Frage, wie feministische Ansätze die vielgestaltigen Gewaltformen adäquat erfassen können.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1802556" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7ccfc0bebb35134113770163bbf07835" rel="nofollow" data-download="{"attachment_id":56252807,"asset_id":1802556,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56252807/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="485453" href="https://uni-frankfurt.academia.edu/JosefBarla">Josef Barla</a><script data-card-contents-for-user="485453" type="text/json">{"id":485453,"first_name":"Josef","last_name":"Barla","domain_name":"uni-frankfurt","page_name":"JosefBarla","display_name":"Josef Barla","profile_url":"https://uni-frankfurt.academia.edu/JosefBarla?f_ri=2852","photo":"https://0.academia-photos.com/485453/164828/33972051/s65_josef.barla.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-1802556">+3</span><div class="hidden js-additional-users-1802556"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://gu-se.academia.edu/NoraKoller">Nora Koller</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://hu-berlin.academia.edu/PetraSussner">Petra Sussner</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://univie.academia.edu/SannaVedernjak">Sanna Vedernjak</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-1802556'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-1802556').html(); 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Dieser Entwicklung steht eine wissenschaftliche Auseinandersetzung gegenüber, die ihren Blick zunehmend auf Handlungsmacht von *Frauen richtet und die Debatte um queere sowie postkoloniale Sichtweisen erweitert. 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Appunti per una letteratura post-postmoderna</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">• This essay explores the literature/digital nexus from a narratological perspective and asks: how does the digital enter the traditional printed novel? The concept of the paratext – with the new categories of material peritexts and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30638623" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">• This essay explores the literature/digital nexus from a narratological perspective and asks: how does the digital enter the traditional printed novel? The concept of the paratext – with the new categories of material peritexts and digital epitexts – serves as a theoretical frame to be discussed along with Paul Dawson's proposal for a discursive narratology and James Phelan's rhetorical approach to narrative in the attempt to fruitfully combine the two for a contextualized and cultural-aware narrative analysis.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30638623" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c83beea789967eeeb2aea64bdd15cb03" rel="nofollow" data-download="{"attachment_id":51082138,"asset_id":30638623,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51082138/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33406562" href="https://uab.academia.edu/VirginiaPignagnoli">Virginia Pignagnoli</a><script data-card-contents-for-user="33406562" type="text/json">{"id":33406562,"first_name":"Virginia","last_name":"Pignagnoli","domain_name":"uab","page_name":"VirginiaPignagnoli","display_name":"Virginia Pignagnoli","profile_url":"https://uab.academia.edu/VirginiaPignagnoli?f_ri=2852","photo":"https://gravatar.com/avatar/64a7903a9fda46be108b31274a7cad7a?s=65"}</script></span></span></li><li class="js-paper-rank-work_30638623 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30638623"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30638623, container: ".js-paper-rank-work_30638623", }); 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$(".js-view-count[data-work-id=30638623]").text(description); $(".js-view-count-work_30638623").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_30638623").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="30638623"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="10" href="https://www.academia.edu/Documents/in/American_Literature">American Literature</a>, <script data-card-contents-for-ri="10" type="text/json">{"id":10,"name":"American Literature","url":"https://www.academia.edu/Documents/in/American_Literature?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2869" href="https://www.academia.edu/Documents/in/Digital_Media">Digital Media</a>, <script data-card-contents-for-ri="2869" type="text/json">{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5513" href="https://www.academia.edu/Documents/in/Narratology">Narratology</a><script data-card-contents-for-ri="5513" type="text/json">{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30638623]'), work: {"id":30638623,"title":"Se il digitale entra nel romanzo. 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The concept of the paratext – with the new categories of material peritexts and digital epitexts – serves as a theoretical frame to be discussed along with Paul Dawson's proposal for a discursive narratology and James Phelan's rhetorical approach to narrative in the attempt to fruitfully combine the two for a contextualized and cultural-aware narrative analysis.","downloadable_attachments":[{"id":51082138,"asset_id":30638623,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33406562,"first_name":"Virginia","last_name":"Pignagnoli","domain_name":"uab","page_name":"VirginiaPignagnoli","display_name":"Virginia Pignagnoli","profile_url":"https://uab.academia.edu/VirginiaPignagnoli?f_ri=2852","photo":"https://gravatar.com/avatar/64a7903a9fda46be108b31274a7cad7a?s=65"}],"research_interests":[{"id":10,"name":"American Literature","url":"https://www.academia.edu/Documents/in/American_Literature?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=2852","nofollow":false},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852","nofollow":false},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852"},{"id":20306,"name":"Rhetorical Theory","url":"https://www.academia.edu/Documents/in/Rhetorical_Theory?f_ri=2852"},{"id":31710,"name":"Twenty-first Century Literature","url":"https://www.academia.edu/Documents/in/Twenty-first_Century_Literature?f_ri=2852"},{"id":57827,"name":"Paratexts","url":"https://www.academia.edu/Documents/in/Paratexts?f_ri=2852"},{"id":160374,"name":"Teoria Della Letteratura","url":"https://www.academia.edu/Documents/in/Teoria_Della_Letteratura?f_ri=2852"},{"id":384421,"name":"Letteratura Angloamericana","url":"https://www.academia.edu/Documents/in/Letteratura_Angloamericana?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31439557" data-work_id="31439557" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31439557/Nets_Zehngut_R_2015_The_role_of_direct_experience_people_in_promoting_transitional_justice_The_Israeli_case_In_E_Bird_and_F_Ottanelli_Eds_The_performance_of_memory_as_transitional_justice_115_132_Cambridge_Intersentia">Nets-Zehngut, R. (2015). The role of direct-experience people in promoting transitional justice: The Israeli case. In E. Bird and F. Ottanelli (Eds.), The performance of memory as transitional justice, 115-132. Cambridge: Intersentia.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Transitional justice is a major concept in promoting peace and reconciliation between conflicting parties. It is usually associated with formal judicial processes such as criminal justice, rule-of law reform and paying reparations. This... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31439557" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Transitional justice is a major concept in promoting peace and reconciliation between conflicting parties. It is usually associated with formal judicial processes such as criminal justice, rule-of law reform and paying reparations. This chapter focuses on another transitional justice method, a more informal one: memory work. There is a growing realization of the major impact on the way in which the history of a conflict is viewed by the members of parties involved on their psychological and behavioral reactions. Addressing that history properly can promote their well being, conflict resolution and reconciliation between the parties. There are many ways of addressing the relevant history, for example, through truth and reconciliation committees, the rewriting of history textbooks, and commemoration projects. This chapter focuses on another way: the role of the autobiographical memory, that of the people who experienced the conflict directly, as it is manifested in their memoirs, newspaper articles and interviews with scholars. To this end the chapter uses a case study approach, regarding the causes for the main historical event of the Israeli-Palestinian conflict: the 1948 Palestinian exodus. It explores for the first time the way in which Israeli-Jewish 1948 war veterans presented these causes between 1949 and 2004. The question posed was: did their autobiographical memory present a Zionist narrative (willing flight of the Palestinians) or a critical/post-Zionist narrative (willing flight combined with expulsion)? This exploration is based on an analysis of all published war veterans' memoirs and newspaper articles, as well as interviews with scholars, in the 56 year research period. During this study, interviews were also conducted with 1948 war veterans. Following the description of the empirical findings regarding the Israeli-Jewish autobiographical memory of the exodus, these findings are used to theoretically conceptualize various phenomena. For example, what determines the way in which direct-experience people describe their experiences during a conflict, how these people influence directly and indirectly the collective memory of their society of a given conflict, and the way in which they influence the dynamics of</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31439557" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="04f61a116abf8e6c8c699a2749c55fc2" rel="nofollow" data-download="{"attachment_id":51800477,"asset_id":31439557,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51800477/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5199751" href="https://biu.academia.edu/DrRafiNetsZehngut">Dr. Rafi Nets-Zehngut</a><script data-card-contents-for-user="5199751" type="text/json">{"id":5199751,"first_name":"Dr. Rafi","last_name":"Nets-Zehngut","domain_name":"biu","page_name":"DrRafiNetsZehngut","display_name":"Dr. Rafi Nets-Zehngut","profile_url":"https://biu.academia.edu/DrRafiNetsZehngut?f_ri=2852","photo":"https://0.academia-photos.com/5199751/2290993/2675322/s65_rafi.nets-zehngut.jpg"}</script></span></span></li><li class="js-paper-rank-work_31439557 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31439557"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31439557, container: ".js-paper-rank-work_31439557", }); 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(2015). The role of direct-experience people in promoting transitional justice: The Israeli case. In E. Bird and F. Ottanelli (Eds.), The performance of memory as transitional justice, 115-132. Cambridge: Intersentia.","created_at":"2017-02-14T21:53:56.636-08:00","url":"https://www.academia.edu/31439557/Nets_Zehngut_R_2015_The_role_of_direct_experience_people_in_promoting_transitional_justice_The_Israeli_case_In_E_Bird_and_F_Ottanelli_Eds_The_performance_of_memory_as_transitional_justice_115_132_Cambridge_Intersentia?f_ri=2852","dom_id":"work_31439557","summary":"Transitional justice is a major concept in promoting peace and reconciliation between conflicting parties. It is usually associated with formal judicial processes such as criminal justice, rule-of law reform and paying reparations. This chapter focuses on another transitional justice method, a more informal one: memory work. There is a growing realization of the major impact on the way in which the history of a conflict is viewed by the members of parties involved on their psychological and behavioral reactions. Addressing that history properly can promote their well being, conflict resolution and reconciliation between the parties. There are many ways of addressing the relevant history, for example, through truth and reconciliation committees, the rewriting of history textbooks, and commemoration projects. This chapter focuses on another way: the role of the autobiographical memory, that of the people who experienced the conflict directly, as it is manifested in their memoirs, newspaper articles and interviews with scholars. To this end the chapter uses a case study approach, regarding the causes for the main historical event of the Israeli-Palestinian conflict: the 1948 Palestinian exodus. It explores for the first time the way in which Israeli-Jewish 1948 war veterans presented these causes between 1949 and 2004. The question posed was: did their autobiographical memory present a Zionist narrative (willing flight of the Palestinians) or a critical/post-Zionist narrative (willing flight combined with expulsion)? This exploration is based on an analysis of all published war veterans' memoirs and newspaper articles, as well as interviews with scholars, in the 56 year research period. During this study, interviews were also conducted with 1948 war veterans. Following the description of the empirical findings regarding the Israeli-Jewish autobiographical memory of the exodus, these findings are used to theoretically conceptualize various phenomena. For example, what determines the way in which direct-experience people describe their experiences during a conflict, how these people influence directly and indirectly the collective memory of their society of a given conflict, and the way in which they influence the dynamics of","downloadable_attachments":[{"id":51800477,"asset_id":31439557,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5199751,"first_name":"Dr. Rafi","last_name":"Nets-Zehngut","domain_name":"biu","page_name":"DrRafiNetsZehngut","display_name":"Dr. Rafi Nets-Zehngut","profile_url":"https://biu.academia.edu/DrRafiNetsZehngut?f_ri=2852","photo":"https://0.academia-photos.com/5199751/2290993/2675322/s65_rafi.nets-zehngut.jpg"}],"research_interests":[{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":6337,"name":"Oral history","url":"https://www.academia.edu/Documents/in/Oral_history?f_ri=2852","nofollow":false},{"id":8265,"name":"Biography","url":"https://www.academia.edu/Documents/in/Biography?f_ri=2852","nofollow":false},{"id":9251,"name":"Transitional Justice","url":"https://www.academia.edu/Documents/in/Transitional_Justice?f_ri=2852","nofollow":false},{"id":11455,"name":"Social and Collective Memory","url":"https://www.academia.edu/Documents/in/Social_and_Collective_Memory?f_ri=2852"},{"id":13078,"name":"Peacekeeping","url":"https://www.academia.edu/Documents/in/Peacekeeping?f_ri=2852"},{"id":13950,"name":"Collective Memory","url":"https://www.academia.edu/Documents/in/Collective_Memory?f_ri=2852"},{"id":18214,"name":"Social Memory","url":"https://www.academia.edu/Documents/in/Social_Memory?f_ri=2852"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852"},{"id":20985,"name":"Memoir and Autobiography","url":"https://www.academia.edu/Documents/in/Memoir_and_Autobiography?f_ri=2852"},{"id":26112,"name":"Autobiographical Self-Representation","url":"https://www.academia.edu/Documents/in/Autobiographical_Self-Representation?f_ri=2852"},{"id":29866,"name":"Autobiographical Memory","url":"https://www.academia.edu/Documents/in/Autobiographical_Memory?f_ri=2852"},{"id":33164,"name":"Life Writing (Literature)","url":"https://www.academia.edu/Documents/in/Life_Writing_Literature_?f_ri=2852"},{"id":38712,"name":"Sustainable Peacebuilding","url":"https://www.academia.edu/Documents/in/Sustainable_Peacebuilding?f_ri=2852"},{"id":45559,"name":"Peace","url":"https://www.academia.edu/Documents/in/Peace?f_ri=2852"},{"id":45578,"name":"Peacebuilding","url":"https://www.academia.edu/Documents/in/Peacebuilding?f_ri=2852"},{"id":49664,"name":"Oral History and Memory","url":"https://www.academia.edu/Documents/in/Oral_History_and_Memory?f_ri=2852"},{"id":72708,"name":"Biography and Life-Writing","url":"https://www.academia.edu/Documents/in/Biography_and_Life-Writing?f_ri=2852"},{"id":88500,"name":"Memoir","url":"https://www.academia.edu/Documents/in/Memoir?f_ri=2852"},{"id":105076,"name":"Transitional justice and reconciliation processes","url":"https://www.academia.edu/Documents/in/Transitional_justice_and_reconciliation_processes?f_ri=2852"},{"id":447363,"name":"Post conflict, Reconstruction, Peace building and Transitional Justice","url":"https://www.academia.edu/Documents/in/Post_conflict_Reconstruction_Peace_building_and_Transitional_Justice?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36207874" data-work_id="36207874" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36207874/Leggere_storie_Introduzione_allanalisi_del_testo_narrativo">Leggere storie. Introduzione all'analisi del testo narrativo</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La critica letteraria è una materia in cui “parole e cose” sono strettamente intrecciate le une alle altre, e in cui tra i componenti materiali dei testi e le categorie che li classificano esiste un intricato rapporto di individuazione... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36207874" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La critica letteraria è una materia in cui “parole e cose” sono strettamente intrecciate le une alle altre, e in cui tra i componenti materiali dei testi e le categorie che li classificano esiste un intricato rapporto di individuazione reciproca: non c’è termine, nel lessico della teoria letteraria, che non sia nato da un dato testuale, un caso particolare che ne ha influenzato natura e confini con le proprie caratteristiche specifiche, e allo stesso tempo non si dà dato testuale che possa essere identificato come tale in mancanza di una categoria che gli preesiste, di uno spazio teorico che lo fa esistere in quanto oggetto e ne garantisce la riconoscibilità. Partendo da questo doppio presupposto, questo libro si offre come strumento di partenza per lo studio della narrativa, occasione per riepilogare i concetti fondamentali della critica riportandoli – per quanto possibile – ai loro contesti di origine, così da coniugare nozione ed evoluzione, significato e storia.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36207874" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a87c769e8c47f5255df3db902fa379dd" rel="nofollow" data-download="{"attachment_id":56109251,"asset_id":36207874,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56109251/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="50578689" href="https://unistrasi.academia.edu/ValeriaCavalloro">Valeria Cavalloro</a><script data-card-contents-for-user="50578689" type="text/json">{"id":50578689,"first_name":"Valeria","last_name":"Cavalloro","domain_name":"unistrasi","page_name":"ValeriaCavalloro","display_name":"Valeria Cavalloro","profile_url":"https://unistrasi.academia.edu/ValeriaCavalloro?f_ri=2852","photo":"https://0.academia-photos.com/50578689/26423668/33330103/s65_valeria.cavalloro.jpg"}</script></span></span></li><li class="js-paper-rank-work_36207874 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36207874"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36207874, container: ".js-paper-rank-work_36207874", }); 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$(".js-view-count[data-work-id=36207874]").text(description); $(".js-view-count-work_36207874").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36207874").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36207874"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="659" href="https://www.academia.edu/Documents/in/Comparative_Literature">Comparative Literature</a>, <script data-card-contents-for-ri="659" type="text/json">{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3773" href="https://www.academia.edu/Documents/in/Literary_Criticism">Literary Criticism</a>, <script data-card-contents-for-ri="3773" type="text/json">{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7888" href="https://www.academia.edu/Documents/in/Literary_Theory">Literary Theory</a><script data-card-contents-for-ri="7888" type="text/json">{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36207874]'), work: {"id":36207874,"title":"Leggere storie. Introduzione all'analisi del testo narrativo","created_at":"2018-03-20T03:41:08.646-07:00","url":"https://www.academia.edu/36207874/Leggere_storie_Introduzione_allanalisi_del_testo_narrativo?f_ri=2852","dom_id":"work_36207874","summary":"La critica letteraria è una materia in cui “parole e cose” sono strettamente intrecciate le une alle altre, e in cui tra i componenti materiali dei testi e le categorie che li classificano esiste un intricato rapporto di individuazione reciproca: non c’è termine, nel lessico della teoria letteraria, che non sia nato da un dato testuale, un caso particolare che ne ha influenzato natura e confini con le proprie caratteristiche specifiche, e allo stesso tempo non si dà dato testuale che possa essere identificato come tale in mancanza di una categoria che gli preesiste, di uno spazio teorico che lo fa esistere in quanto oggetto e ne garantisce la riconoscibilità. Partendo da questo doppio presupposto, questo libro si offre come strumento di partenza per lo studio della narrativa, occasione per riepilogare i concetti fondamentali della critica riportandoli – per quanto possibile – ai loro contesti di origine, così da coniugare nozione ed evoluzione, significato e storia.","downloadable_attachments":[{"id":56109251,"asset_id":36207874,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50578689,"first_name":"Valeria","last_name":"Cavalloro","domain_name":"unistrasi","page_name":"ValeriaCavalloro","display_name":"Valeria Cavalloro","profile_url":"https://unistrasi.academia.edu/ValeriaCavalloro?f_ri=2852","photo":"https://0.academia-photos.com/50578689/26423668/33330103/s65_valeria.cavalloro.jpg"}],"research_interests":[{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=2852","nofollow":false},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=2852","nofollow":false},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852"},{"id":38317,"name":"History of Literary Criticism","url":"https://www.academia.edu/Documents/in/History_of_Literary_Criticism?f_ri=2852"},{"id":44675,"name":"Fiction","url":"https://www.academia.edu/Documents/in/Fiction?f_ri=2852"},{"id":62548,"name":"Narrator","url":"https://www.academia.edu/Documents/in/Narrator?f_ri=2852"},{"id":64486,"name":"Critica letteraria","url":"https://www.academia.edu/Documents/in/Critica_letteraria?f_ri=2852"},{"id":92738,"name":"Text Analysis","url":"https://www.academia.edu/Documents/in/Text_Analysis?f_ri=2852"},{"id":160374,"name":"Teoria Della Letteratura","url":"https://www.academia.edu/Documents/in/Teoria_Della_Letteratura?f_ri=2852"},{"id":166634,"name":"Characterization","url":"https://www.academia.edu/Documents/in/Characterization?f_ri=2852"},{"id":229030,"name":"Letteratura italiana","url":"https://www.academia.edu/Documents/in/Letteratura_italiana?f_ri=2852"},{"id":289838,"name":"Letteratura Comparata, Teoria della letteratura","url":"https://www.academia.edu/Documents/in/Letteratura_Comparata_Teoria_della_letteratura?f_ri=2852"},{"id":1131056,"name":"Storia Della Critica Letteraria","url":"https://www.academia.edu/Documents/in/Storia_Della_Critica_Letteraria?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_74818426" data-work_id="74818426" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/74818426/Three_narratives_of_American_foreign_political_ritual_identity_or_why_does_Bowie_sing_I_am_afraid_of_Americans_ENG">Three narratives of American foreign-political ritual identity (or, why does Bowie sing "I am afraid of Americans") - ENG</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The rough text, in English language, of the student seminar delivered at the Banja Luka Political Science Department - April 2013. The seminar explains the key parameters of the US foreign policy in terms of a 'ritual identity' that's... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_74818426" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The rough text, in English language, of the student seminar delivered at the Banja Luka Political Science Department - April 2013.<br />The seminar explains the key parameters of the US foreign policy in terms of a 'ritual identity' that's based on three narratives or narrative-frames<br />(the frames figure as frequently recurring, behavior-shaping cultural matrices):<br />1.  Power as a Divine Grace.<br />2.  Puritan narrative - a hero of  a 'promised/free land'<br />3.  'Pioneer' - a hero in a land of continually expanding and moving boundaries (Manifest Destiny) <br />The seminar illustrates such an analysis of US foreign political vocabulary with many examples from American self-descriptions (official talks, memoirs, diplomatic notes, presidential speeches....), and enumerates some key consequences of the thus explained identity in its foreign political projection.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/74818426" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fcdb74ed20b22488d4e78029dd74fdc6" rel="nofollow" data-download="{"attachment_id":82919547,"asset_id":74818426,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/82919547/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="678458" href="https://independent.academia.edu/DrazenPehar">Drazen Pehar</a><script data-card-contents-for-user="678458" type="text/json">{"id":678458,"first_name":"Drazen","last_name":"Pehar","domain_name":"independent","page_name":"DrazenPehar","display_name":"Drazen Pehar","profile_url":"https://independent.academia.edu/DrazenPehar?f_ri=2852","photo":"https://0.academia-photos.com/678458/235435/161455289/s65_drazen.pehar.jpg"}</script></span></span></li><li class="js-paper-rank-work_74818426 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="74818426"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 74818426, container: ".js-paper-rank-work_74818426", }); 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$(".js-view-count[data-work-id=74818426]").text(description); $(".js-view-count-work_74818426").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_74818426").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="74818426"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1166" href="https://www.academia.edu/Documents/in/International_Relations_Theory">International Relations Theory</a>, <script data-card-contents-for-ri="1166" type="text/json">{"id":1166,"name":"International Relations Theory","url":"https://www.academia.edu/Documents/in/International_Relations_Theory?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1483" href="https://www.academia.edu/Documents/in/Foreign_Policy_Analysis">Foreign Policy Analysis</a>, <script data-card-contents-for-ri="1483" type="text/json">{"id":1483,"name":"Foreign Policy Analysis","url":"https://www.academia.edu/Documents/in/Foreign_Policy_Analysis?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a><script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=74818426]'), work: {"id":74818426,"title":"Three narratives of American foreign-political ritual identity (or, why does Bowie sing \"I am afraid of Americans\") - ENG","created_at":"2022-03-28T12:10:53.607-07:00","url":"https://www.academia.edu/74818426/Three_narratives_of_American_foreign_political_ritual_identity_or_why_does_Bowie_sing_I_am_afraid_of_Americans_ENG?f_ri=2852","dom_id":"work_74818426","summary":"The rough text, in English language, of the student seminar delivered at the Banja Luka Political Science Department - April 2013.\nThe seminar explains the key parameters of the US foreign policy in terms of a 'ritual identity' that's based on three narratives or narrative-frames\n(the frames figure as frequently recurring, behavior-shaping cultural matrices):\n1. Power as a Divine Grace.\n2. Puritan narrative - a hero of a 'promised/free land'\n3. 'Pioneer' - a hero in a land of continually expanding and moving boundaries (Manifest Destiny) \nThe seminar illustrates such an analysis of US foreign political vocabulary with many examples from American self-descriptions (official talks, memoirs, diplomatic notes, presidential speeches....), and enumerates some key consequences of the thus explained identity in its foreign political projection.","downloadable_attachments":[{"id":82919547,"asset_id":74818426,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":678458,"first_name":"Drazen","last_name":"Pehar","domain_name":"independent","page_name":"DrazenPehar","display_name":"Drazen Pehar","profile_url":"https://independent.academia.edu/DrazenPehar?f_ri=2852","photo":"https://0.academia-photos.com/678458/235435/161455289/s65_drazen.pehar.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=2852","nofollow":false},{"id":1166,"name":"International Relations Theory","url":"https://www.academia.edu/Documents/in/International_Relations_Theory?f_ri=2852","nofollow":false},{"id":1483,"name":"Foreign Policy Analysis","url":"https://www.academia.edu/Documents/in/Foreign_Policy_Analysis?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":3824,"name":"Rhetorical Analysis","url":"https://www.academia.edu/Documents/in/Rhetorical_Analysis?f_ri=2852"},{"id":4486,"name":"Political Science","url":"https://www.academia.edu/Documents/in/Political_Science?f_ri=2852"},{"id":6224,"name":"American Foreign Policy","url":"https://www.academia.edu/Documents/in/American_Foreign_Policy?f_ri=2852"},{"id":9707,"name":"Diplomacy","url":"https://www.academia.edu/Documents/in/Diplomacy?f_ri=2852"},{"id":23342,"name":"Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Cultural_Anthropology?f_ri=2852"},{"id":131971,"name":"Global Politics","url":"https://www.academia.edu/Documents/in/Global_Politics?f_ri=2852"},{"id":373163,"name":"Ritual Practices","url":"https://www.academia.edu/Documents/in/Ritual_Practices?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29909447" data-work_id="29909447" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29909447/Le_dernier_style_de_Chopin_Contexte_analyse_et_strat%C3%A9gies_narratives_des_oeuvres_tardives_Chopins_last_style_context_analysis_and_narrative_strategies_of_the_late_works_">Le dernier style de Chopin Contexte, analyse et stratégies narratives des oeuvres tardives [Chopin's last style: context, analysis and narrative strategies of the late works]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29909447" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer.<br /><br />Cette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux oeuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonais.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29909447" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="de626d9997de304ccaccbc0e8075e4bc" rel="nofollow" data-download="{"attachment_id":50371193,"asset_id":29909447,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50371193/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=2852","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_29909447 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29909447"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29909447, container: ".js-paper-rank-work_29909447", }); 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$(".js-view-count[data-work-id=29909447]").text(description); $(".js-view-count-work_29909447").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29909447").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29909447"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a><script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29909447]'), work: {"id":29909447,"title":"Le dernier style de Chopin Contexte, analyse et stratégies narratives des oeuvres tardives [Chopin's last style: context, analysis and narrative strategies of the late works]","created_at":"2016-11-17T03:07:40.183-08:00","url":"https://www.academia.edu/29909447/Le_dernier_style_de_Chopin_Contexte_analyse_et_strat%C3%A9gies_narratives_des_oeuvres_tardives_Chopins_last_style_context_analysis_and_narrative_strategies_of_the_late_works_?f_ri=2852","dom_id":"work_29909447","summary":"This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer.\n\nCette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux oeuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonais.","downloadable_attachments":[{"id":50371193,"asset_id":29909447,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=2852","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=2852","nofollow":false},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=2852","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=2852","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2852","nofollow":false},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=2852"},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852"},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852"},{"id":10339,"name":"Semiotics of Music","url":"https://www.academia.edu/Documents/in/Semiotics_of_Music?f_ri=2852"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852"},{"id":51195,"name":"Esthetics","url":"https://www.academia.edu/Documents/in/Esthetics?f_ri=2852"},{"id":89812,"name":"Topic theory","url":"https://www.academia.edu/Documents/in/Topic_theory?f_ri=2852"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=2852"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=2852"},{"id":386642,"name":"Semiología Musical","url":"https://www.academia.edu/Documents/in/Semiologia_Musical?f_ri=2852"},{"id":436794,"name":"Chopin","url":"https://www.academia.edu/Documents/in/Chopin?f_ri=2852"},{"id":1822796,"name":"Chopin Studies","url":"https://www.academia.edu/Documents/in/Chopin_Studies?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40431649" data-work_id="40431649" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40431649/Modern_Film_Dramaturgy_An_Introduction">Modern Film Dramaturgy- An Introduction</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">What makes a good movie? How can one analyse a film accordingly without primarily interpreting it? Dramaturgy can enrich film understanding, for those who make films, as well as for those who want to understand better why they are made... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40431649" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">What makes a good movie? How can one analyse a film accordingly without primarily interpreting it? Dramaturgy can enrich film understanding, for those who make films, as well as for those who want to understand better why they are made how. Film Dramaturgy supports the creative process of filmmaking, especially the work of the authors, directors and producers. Students and professionals who are involved in the creation of a film also benefit from this knowledge. The understanding of dramaturgy supports film analysis and film criticism too. In some regions of the world, dramaturgy is well established; in other parts, it is less familiar.<br />This book provides a basic introduction to modern film dramaturgy. It emerges from academic research drawn from professional practice. It addresses students, scholars, colleagues, filmmakers and all professionals involved in making films, videos, audio-visual time-based media productions</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40431649" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a1446e035700cafd8dd992cbbc4c8fab" rel="nofollow" data-download="{"attachment_id":60688833,"asset_id":40431649,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60688833/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="285365" href="https://napier.academia.edu/DStutterheim">Dr. Kerstin Stutterheim</a><script data-card-contents-for-user="285365" type="text/json">{"id":285365,"first_name":"Dr. Kerstin","last_name":"Stutterheim","domain_name":"napier","page_name":"DStutterheim","display_name":"Dr. Kerstin Stutterheim","profile_url":"https://napier.academia.edu/DStutterheim?f_ri=2852","photo":"https://0.academia-photos.com/285365/70156/54278484/s65_dr._kerstin.stutterheim.jpg"}</script></span></span></li><li class="js-paper-rank-work_40431649 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40431649"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40431649, container: ".js-paper-rank-work_40431649", }); });</script></li><li class="js-percentile-work_40431649 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40431649; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40431649"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40431649 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40431649"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40431649; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40431649]").text(description); $(".js-view-count-work_40431649").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40431649").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40431649"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="7" href="https://www.academia.edu/Documents/in/Screenwriting">Screenwriting</a>, <script data-card-contents-for-ri="7" type="text/json">{"id":7,"name":"Screenwriting","url":"https://www.academia.edu/Documents/in/Screenwriting?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a><script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40431649]'), work: {"id":40431649,"title":"Modern Film Dramaturgy- An Introduction","created_at":"2019-09-24T06:44:32.310-07:00","url":"https://www.academia.edu/40431649/Modern_Film_Dramaturgy_An_Introduction?f_ri=2852","dom_id":"work_40431649","summary":"What makes a good movie? How can one analyse a film accordingly without primarily interpreting it? Dramaturgy can enrich film understanding, for those who make films, as well as for those who want to understand better why they are made how. Film Dramaturgy supports the creative process of filmmaking, especially the work of the authors, directors and producers. Students and professionals who are involved in the creation of a film also benefit from this knowledge. The understanding of dramaturgy supports film analysis and film criticism too. In some regions of the world, dramaturgy is well established; in other parts, it is less familiar.\nThis book provides a basic introduction to modern film dramaturgy. It emerges from academic research drawn from professional practice. It addresses students, scholars, colleagues, filmmakers and all professionals involved in making films, videos, audio-visual time-based media productions","downloadable_attachments":[{"id":60688833,"asset_id":40431649,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":285365,"first_name":"Dr. Kerstin","last_name":"Stutterheim","domain_name":"napier","page_name":"DStutterheim","display_name":"Dr. Kerstin Stutterheim","profile_url":"https://napier.academia.edu/DStutterheim?f_ri=2852","photo":"https://0.academia-photos.com/285365/70156/54278484/s65_dr._kerstin.stutterheim.jpg"}],"research_interests":[{"id":7,"name":"Screenwriting","url":"https://www.academia.edu/Documents/in/Screenwriting?f_ri=2852","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2852","nofollow":false},{"id":26387,"name":"Dramaturgy and Scriptwriting","url":"https://www.academia.edu/Documents/in/Dramaturgy_and_Scriptwriting?f_ri=2852"},{"id":63288,"name":"Narration","url":"https://www.academia.edu/Documents/in/Narration?f_ri=2852"},{"id":274431,"name":"TV Series","url":"https://www.academia.edu/Documents/in/TV_Series?f_ri=2852"},{"id":357671,"name":"Film Dramaturgy","url":"https://www.academia.edu/Documents/in/Film_Dramaturgy?f_ri=2852"},{"id":846091,"name":"Quality TV","url":"https://www.academia.edu/Documents/in/Quality_TV?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27698725" data-work_id="27698725" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27698725/Mise_en_abyme_and_Text_within_a_text">Mise en abyme and Text-within-a-text</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article compares the concepts of “text-within-a-text” and “mise en abyme”. Until now, there have been no attempts to analyze and differentiate them in Russian literary studies. This paper tries to identify these phenomena by... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27698725" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article compares the concepts of “text-within-a-text” and “mise en<br />abyme”. Until now, there have been no attempts to analyze and differentiate them in Russian literary studies. This paper tries to identify these phenomena by considering the context of their emergence and conceptualization, by studying the semantic and functional criteria for differentiating them in narratives of 19th – 20th century, as well as by regarding the prospects of further integration of these two concepts.<br /><br />Key words: mise en abyme; text-within-a-text; narrative; semiotic analysis.<br /><br />Аннотация. В статье сопоставляются такие понятия, как «текст-в-тексте» и «редупликация» (mise en abyme). До сих пор в отечественном литературоведении не предпринимались попытки их анализа и разграничения. Данная работа приближается к идентификации этих феноменов: рассматривается контекст возникновения и концептуализации самих терминов, изучаются критерии их семантического и функционального разграничения в прозе XIX и XX в., а также учитываются перспективы их дальнейшего взаимодействия.<br /><br />Ключевые слова: редупликация; mise en abyme; текст-в-тексте; нарратив; семиотический анализ.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27698725" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="12c49392a15f45bf01cc6368fcbbec17" rel="nofollow" data-download="{"attachment_id":47965912,"asset_id":27698725,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47965912/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5346259" href="https://independentresearcher.academia.edu/LarissaMuravieva">Larissa Muravieva</a><script data-card-contents-for-user="5346259" type="text/json">{"id":5346259,"first_name":"Larissa","last_name":"Muravieva","domain_name":"independentresearcher","page_name":"LarissaMuravieva","display_name":"Larissa Muravieva","profile_url":"https://independentresearcher.academia.edu/LarissaMuravieva?f_ri=2852","photo":"https://0.academia-photos.com/5346259/2347873/39914116/s65_larissa.muravieva.jpg"}</script></span></span></li><li class="js-paper-rank-work_27698725 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27698725"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27698725, container: ".js-paper-rank-work_27698725", }); });</script></li><li class="js-percentile-work_27698725 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 27698725; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_27698725"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_27698725 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="27698725"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 27698725; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=27698725]").text(description); $(".js-view-count-work_27698725").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_27698725").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="27698725"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="36250" href="https://www.academia.edu/Documents/in/Mise_en_abyme_-_Theory">Mise en abyme - Theory</a>, <script data-card-contents-for-ri="36250" type="text/json">{"id":36250,"name":"Mise en abyme - Theory","url":"https://www.academia.edu/Documents/in/Mise_en_abyme_-_Theory?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="191729" href="https://www.academia.edu/Documents/in/Semiotic_Analysis">Semiotic Analysis</a><script data-card-contents-for-ri="191729" type="text/json">{"id":191729,"name":"Semiotic Analysis","url":"https://www.academia.edu/Documents/in/Semiotic_Analysis?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=27698725]'), work: {"id":27698725,"title":"Mise en abyme and Text-within-a-text","created_at":"2016-08-11T00:43:11.715-07:00","url":"https://www.academia.edu/27698725/Mise_en_abyme_and_Text_within_a_text?f_ri=2852","dom_id":"work_27698725","summary":"This article compares the concepts of “text-within-a-text” and “mise en\nabyme”. Until now, there have been no attempts to analyze and differentiate them in Russian literary studies. This paper tries to identify these phenomena by considering the context of their emergence and conceptualization, by studying the semantic and functional criteria for differentiating them in narratives of 19th – 20th century, as well as by regarding the prospects of further integration of these two concepts.\n\nKey words: mise en abyme; text-within-a-text; narrative; semiotic analysis.\n\nАннотация. В статье сопоставляются такие понятия, как «текст-в-тексте» и «редупликация» (mise en abyme). До сих пор в отечественном литературоведении не предпринимались попытки их анализа и разграничения. Данная работа приближается к идентификации этих феноменов: рассматривается контекст возникновения и концептуализации самих терминов, изучаются критерии их семантического и функционального разграничения в прозе XIX и XX в., а также учитываются перспективы их дальнейшего взаимодействия.\n\nКлючевые слова: редупликация; mise en abyme; текст-в-тексте; нарратив; семиотический анализ.","downloadable_attachments":[{"id":47965912,"asset_id":27698725,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5346259,"first_name":"Larissa","last_name":"Muravieva","domain_name":"independentresearcher","page_name":"LarissaMuravieva","display_name":"Larissa Muravieva","profile_url":"https://independentresearcher.academia.edu/LarissaMuravieva?f_ri=2852","photo":"https://0.academia-photos.com/5346259/2347873/39914116/s65_larissa.muravieva.jpg"}],"research_interests":[{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":36250,"name":"Mise en abyme - Theory","url":"https://www.academia.edu/Documents/in/Mise_en_abyme_-_Theory?f_ri=2852","nofollow":false},{"id":191729,"name":"Semiotic Analysis","url":"https://www.academia.edu/Documents/in/Semiotic_Analysis?f_ri=2852","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_898110" data-work_id="898110" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/898110/Exploring_the_reproduction_of_conflict_through_narrative_Israeli_youth_motivated_to_participate_in_a_coexistence_program">Exploring the reproduction of conflict through narrative: Israeli youth motivated to participate in a coexistence program</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/898110" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="581e1cf2f3cedfd2dcd7b173411a0213" rel="nofollow" data-download="{"attachment_id":5424112,"asset_id":898110,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/5424112/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="240929" href="https://ucsc.academia.edu/PhillipLHammack">Phillip L Hammack</a><script data-card-contents-for-user="240929" type="text/json">{"id":240929,"first_name":"Phillip L","last_name":"Hammack","domain_name":"ucsc","page_name":"PhillipLHammack","display_name":"Phillip L Hammack","profile_url":"https://ucsc.academia.edu/PhillipLHammack?f_ri=2852","photo":"https://0.academia-photos.com/240929/244169/145939581/s65_phillip_l.hammack.jpg"}</script></span></span></li><li class="js-paper-rank-work_898110 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="898110"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 898110, container: ".js-paper-rank-work_898110", }); });</script></li><li class="js-percentile-work_898110 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 898110; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_898110"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_898110 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="898110"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 898110; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=898110]").text(description); $(".js-view-count-work_898110").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_898110").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="898110"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2490" href="https://www.academia.edu/Documents/in/Political_Psychology">Political Psychology</a>, <script data-card-contents-for-ri="2490" type="text/json">{"id":2490,"name":"Political Psychology","url":"https://www.academia.edu/Documents/in/Political_Psychology?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5075" href="https://www.academia.edu/Documents/in/Narrative_Psychology">Narrative Psychology</a>, <script data-card-contents-for-ri="5075" type="text/json">{"id":5075,"name":"Narrative Psychology","url":"https://www.academia.edu/Documents/in/Narrative_Psychology?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6184" href="https://www.academia.edu/Documents/in/Israel_Palestine">Israel/Palestine</a><script data-card-contents-for-ri="6184" type="text/json">{"id":6184,"name":"Israel/Palestine","url":"https://www.academia.edu/Documents/in/Israel_Palestine?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=898110]'), work: {"id":898110,"title":"Exploring the reproduction of conflict through narrative: Israeli youth motivated to participate in a coexistence program","created_at":"2011-09-08T06:49:49.837-07:00","url":"https://www.academia.edu/898110/Exploring_the_reproduction_of_conflict_through_narrative_Israeli_youth_motivated_to_participate_in_a_coexistence_program?f_ri=2852","dom_id":"work_898110","summary":null,"downloadable_attachments":[{"id":5424112,"asset_id":898110,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":240929,"first_name":"Phillip L","last_name":"Hammack","domain_name":"ucsc","page_name":"PhillipLHammack","display_name":"Phillip L Hammack","profile_url":"https://ucsc.academia.edu/PhillipLHammack?f_ri=2852","photo":"https://0.academia-photos.com/240929/244169/145939581/s65_phillip_l.hammack.jpg"}],"research_interests":[{"id":2490,"name":"Political Psychology","url":"https://www.academia.edu/Documents/in/Political_Psychology?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":5075,"name":"Narrative Psychology","url":"https://www.academia.edu/Documents/in/Narrative_Psychology?f_ri=2852","nofollow":false},{"id":6184,"name":"Israel/Palestine","url":"https://www.academia.edu/Documents/in/Israel_Palestine?f_ri=2852","nofollow":false},{"id":13089,"name":"Intergroup Contact","url":"https://www.academia.edu/Documents/in/Intergroup_Contact?f_ri=2852"},{"id":14831,"name":"Narrative and Identity","url":"https://www.academia.edu/Documents/in/Narrative_and_Identity?f_ri=2852"},{"id":25186,"name":"Peace Psychology","url":"https://www.academia.edu/Documents/in/Peace_Psychology?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_22015854" data-work_id="22015854" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/22015854/Three_women_writing_riding_feminisms_third_wave">Three women writing/riding feminism's third wave</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/22015854" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="46f0bfe5e96272ef8ed467926ca29db7" rel="nofollow" data-download="{"attachment_id":42712085,"asset_id":22015854,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/42712085/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7901621" href="https://tamu.academia.edu/WMoore">Wendy Leo Moore</a><script data-card-contents-for-user="7901621" type="text/json">{"id":7901621,"first_name":"Wendy","last_name":"Leo Moore","domain_name":"tamu","page_name":"WMoore","display_name":"Wendy Leo Moore","profile_url":"https://tamu.academia.edu/WMoore?f_ri=2852","photo":"https://0.academia-photos.com/7901621/2970391/3483870/s65_wendy.moore.jpg"}</script></span></span></li><li class="js-paper-rank-work_22015854 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22015854"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22015854, container: ".js-paper-rank-work_22015854", }); });</script></li><li class="js-percentile-work_22015854 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 22015854; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_22015854"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_22015854 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="22015854"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 22015854; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=22015854]").text(description); $(".js-view-count-work_22015854").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_22015854").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="22015854"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="184" href="https://www.academia.edu/Documents/in/Sociology">Sociology</a>, <script data-card-contents-for-ri="184" type="text/json">{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2621" href="https://www.academia.edu/Documents/in/Higher_Education">Higher Education</a>, <script data-card-contents-for-ri="2621" type="text/json">{"id":2621,"name":"Higher Education","url":"https://www.academia.edu/Documents/in/Higher_Education?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7297" href="https://www.academia.edu/Documents/in/Autobiography">Autobiography</a><script data-card-contents-for-ri="7297" type="text/json">{"id":7297,"name":"Autobiography","url":"https://www.academia.edu/Documents/in/Autobiography?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=22015854]'), work: {"id":22015854,"title":"Three women writing/riding feminism's third 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href="https://www.academia.edu/30613323/Frankenstein_and_Ecocriticism">Frankenstein and Ecocriticism</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">“Frankenstein and Ecocriticism,” in Andrew Smith, ed., The Cambridge Companion to Frankenstein (Cambridge UP, 2016), 143–57.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30613323" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="68715ae91aef67c74e295a2fa9e9a62a" rel="nofollow" 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type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3773" href="https://www.academia.edu/Documents/in/Literary_Criticism">Literary Criticism</a>, <script data-card-contents-for-ri="3773" type="text/json">{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7888" href="https://www.academia.edu/Documents/in/Literary_Theory">Literary Theory</a><script data-card-contents-for-ri="7888" type="text/json">{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30613323]'), work: {"id":30613323,"title":"Frankenstein and 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Heidegger","url":"https://www.academia.edu/Documents/in/Martin_Heidegger?f_ri=2852"},{"id":9846,"name":"Ecology","url":"https://www.academia.edu/Documents/in/Ecology?f_ri=2852"},{"id":16201,"name":"Ecocriticism","url":"https://www.academia.edu/Documents/in/Ecocriticism?f_ri=2852"},{"id":20094,"name":"Object Oriented Ontology","url":"https://www.academia.edu/Documents/in/Object_Oriented_Ontology?f_ri=2852"},{"id":23310,"name":"Novel","url":"https://www.academia.edu/Documents/in/Novel?f_ri=2852"},{"id":28025,"name":"Frankenstein","url":"https://www.academia.edu/Documents/in/Frankenstein?f_ri=2852"},{"id":74511,"name":"Mary Shelley","url":"https://www.academia.edu/Documents/in/Mary_Shelley?f_ri=2852"},{"id":86423,"name":"Literary Theory and Criticism","url":"https://www.academia.edu/Documents/in/Literary_Theory_and_Criticism?f_ri=2852"},{"id":91714,"name":"Timothy Morton","url":"https://www.academia.edu/Documents/in/Timothy_Morton?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_962845" data-work_id="962845" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/962845/Television_Textuality">Television Textuality</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The article discusses the production of live television formats, as they have developed in Europe during the past decade. The analytical examples are taken from entertainment as well as factual television, and from public service as well... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_962845" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The article discusses the production of live television formats, as they have developed in Europe during the past decade. The analytical examples are taken from entertainment as well as factual television, and from public service as well as commercial contexts. In the article, it is argued that there has been an approximation between the textual features and generic and narrative structures of entertainment and factual live television, and a model is presented that is supposed to account for these narrative patterns.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/962845" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b037eb7b9af2593da606d263ebdac583" rel="nofollow" data-download="{"attachment_id":5886983,"asset_id":962845,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/5886983/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="181864" href="https://sh.academia.edu/G%C3%B6ranBolin">Göran Bolin</a><script data-card-contents-for-user="181864" type="text/json">{"id":181864,"first_name":"Göran","last_name":"Bolin","domain_name":"sh","page_name":"GöranBolin","display_name":"Göran Bolin","profile_url":"https://sh.academia.edu/G%C3%B6ranBolin?f_ri=2852","photo":"https://0.academia-photos.com/181864/44852/533463/s65_g_ran.bolin.jpg"}</script></span></span></li><li class="js-paper-rank-work_962845 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="962845"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 962845, container: ".js-paper-rank-work_962845", }); 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$(".js-view-count[data-work-id=962845]").text(description); $(".js-view-count-work_962845").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_962845").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="962845"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="934" href="https://www.academia.edu/Documents/in/Media_and_Cultural_Studies">Media and Cultural Studies</a>, <script data-card-contents-for-ri="934" type="text/json">{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1571" href="https://www.academia.edu/Documents/in/Television_Studies">Television Studies</a>, <script data-card-contents-for-ri="1571" type="text/json">{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a><script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=962845]'), work: {"id":962845,"title":"Television Textuality","created_at":"2011-09-29T06:14:43.204-07:00","url":"https://www.academia.edu/962845/Television_Textuality?f_ri=2852","dom_id":"work_962845","summary":"The article discusses the production of live television formats, as they have developed in Europe during the past decade. The analytical examples are taken from entertainment as well as factual television, and from public service as well as commercial contexts. In the article, it is argued that there has been an approximation between the textual features and generic and narrative structures of entertainment and factual live television, and a model is presented that is supposed to account for these narrative patterns.","downloadable_attachments":[{"id":5886983,"asset_id":962845,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":181864,"first_name":"Göran","last_name":"Bolin","domain_name":"sh","page_name":"GöranBolin","display_name":"Göran Bolin","profile_url":"https://sh.academia.edu/G%C3%B6ranBolin?f_ri=2852","photo":"https://0.academia-photos.com/181864/44852/533463/s65_g_ran.bolin.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=2852","nofollow":false},{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=2852","nofollow":false},{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":13958,"name":"Media","url":"https://www.academia.edu/Documents/in/Media?f_ri=2852"},{"id":16499,"name":"Genre Theory","url":"https://www.academia.edu/Documents/in/Genre_Theory?f_ri=2852"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852"},{"id":45033,"name":"Eurovision Song Contest","url":"https://www.academia.edu/Documents/in/Eurovision_Song_Contest?f_ri=2852"},{"id":165615,"name":"Textual analysis","url":"https://www.academia.edu/Documents/in/Textual_analysis?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44495507" data-work_id="44495507" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44495507/Samuel_3_1_21_Speak_LORD_for_your_servant_is_listening">Samuel 3.1-21-Speak, LORD, for your servant is listening</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A study of the call of Samuel with a focus on the structure of the narrative.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44495507" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="56363256456845731cd02fe5059c76c6" rel="nofollow" data-download="{"attachment_id":64929752,"asset_id":44495507,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64929752/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13770491" href="https://independent.academia.edu/EvertJanHempenius">Evert Jan Hempenius</a><script data-card-contents-for-user="13770491" type="text/json">{"id":13770491,"first_name":"Evert Jan","last_name":"Hempenius","domain_name":"independent","page_name":"EvertJanHempenius","display_name":"Evert Jan Hempenius","profile_url":"https://independent.academia.edu/EvertJanHempenius?f_ri=2852","photo":"https://0.academia-photos.com/13770491/17449428/21070860/s65_evert_jan.hempenius.jpg"}</script></span></span></li><li class="js-paper-rank-work_44495507 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44495507"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44495507, container: ".js-paper-rank-work_44495507", }); });</script></li><li class="js-percentile-work_44495507 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44495507; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_44495507"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_44495507 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44495507"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44495507; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44495507]").text(description); $(".js-view-count-work_44495507").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44495507").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44495507"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4769" href="https://www.academia.edu/Documents/in/Old_Testament_Theology">Old Testament Theology</a>, <script data-card-contents-for-ri="4769" type="text/json">{"id":4769,"name":"Old Testament Theology","url":"https://www.academia.edu/Documents/in/Old_Testament_Theology?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6492" href="https://www.academia.edu/Documents/in/Storytelling">Storytelling</a>, <script data-card-contents-for-ri="6492" type="text/json">{"id":6492,"name":"Storytelling","url":"https://www.academia.edu/Documents/in/Storytelling?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="153986" href="https://www.academia.edu/Documents/in/Old_Testament_Exegesis">Old Testament Exegesis</a><script data-card-contents-for-ri="153986" type="text/json">{"id":153986,"name":"Old Testament Exegesis","url":"https://www.academia.edu/Documents/in/Old_Testament_Exegesis?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44495507]'), work: {"id":44495507,"title":"Samuel 3.1-21-Speak, LORD, for your servant is listening","created_at":"2020-11-13T13:29:40.704-08:00","url":"https://www.academia.edu/44495507/Samuel_3_1_21_Speak_LORD_for_your_servant_is_listening?f_ri=2852","dom_id":"work_44495507","summary":"A study of the call of Samuel with a focus on the structure of the narrative.","downloadable_attachments":[{"id":64929752,"asset_id":44495507,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13770491,"first_name":"Evert Jan","last_name":"Hempenius","domain_name":"independent","page_name":"EvertJanHempenius","display_name":"Evert Jan Hempenius","profile_url":"https://independent.academia.edu/EvertJanHempenius?f_ri=2852","photo":"https://0.academia-photos.com/13770491/17449428/21070860/s65_evert_jan.hempenius.jpg"}],"research_interests":[{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":4769,"name":"Old Testament Theology","url":"https://www.academia.edu/Documents/in/Old_Testament_Theology?f_ri=2852","nofollow":false},{"id":6492,"name":"Storytelling","url":"https://www.academia.edu/Documents/in/Storytelling?f_ri=2852","nofollow":false},{"id":153986,"name":"Old Testament Exegesis","url":"https://www.academia.edu/Documents/in/Old_Testament_Exegesis?f_ri=2852","nofollow":false},{"id":445280,"name":"Hebrew Bible/Old Testament","url":"https://www.academia.edu/Documents/in/Hebrew_Bible_Old_Testament?f_ri=2852"},{"id":512443,"name":"1 and 2 Samuel","url":"https://www.academia.edu/Documents/in/1_and_2_Samuel?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7051096" data-work_id="7051096" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7051096/Assessing_Current_Trends_in_Narratology">Assessing Current Trends in Narratology</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Fludernik, Monika and Greta Olson. "Assessing Current Trends in Narratology." Current Trends in Narratology. Ed. Greta Olson. Berlin and New York: De Gruyter, 2011. 1-33.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7051096" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b9c8ae5484647ef699c2ae1775f4d7e5" rel="nofollow" data-download="{"attachment_id":33704522,"asset_id":7051096,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33704522/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10215211" href="https://uni-giessen.academia.edu/GretaOlson">Greta Olson</a><script data-card-contents-for-user="10215211" type="text/json">{"id":10215211,"first_name":"Greta","last_name":"Olson","domain_name":"uni-giessen","page_name":"GretaOlson","display_name":"Greta Olson","profile_url":"https://uni-giessen.academia.edu/GretaOlson?f_ri=2852","photo":"https://0.academia-photos.com/10215211/4732063/18874518/s65_greta.olson.jpg"}</script></span></span></li><li class="js-paper-rank-work_7051096 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7051096"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7051096, container: ".js-paper-rank-work_7051096", }); 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$(".js-view-count[data-work-id=7051096]").text(description); $(".js-view-count-work_7051096").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_7051096").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="7051096"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5513" href="https://www.academia.edu/Documents/in/Narratology">Narratology</a>, <script data-card-contents-for-ri="5513" type="text/json">{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8475" href="https://www.academia.edu/Documents/in/Narrative_Methods">Narrative Methods</a>, <script data-card-contents-for-ri="8475" type="text/json">{"id":8475,"name":"Narrative Methods","url":"https://www.academia.edu/Documents/in/Narrative_Methods?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18880" href="https://www.academia.edu/Documents/in/Narrative_Analysis">Narrative Analysis</a><script data-card-contents-for-ri="18880" type="text/json">{"id":18880,"name":"Narrative Analysis","url":"https://www.academia.edu/Documents/in/Narrative_Analysis?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7051096]'), work: {"id":7051096,"title":"Assessing Current Trends in Narratology","created_at":"2014-05-14T20:23:53.832-07:00","url":"https://www.academia.edu/7051096/Assessing_Current_Trends_in_Narratology?f_ri=2852","dom_id":"work_7051096","summary":"Fludernik, Monika and Greta Olson. \"Assessing Current Trends in Narratology.\" Current Trends in Narratology. Ed. Greta Olson. Berlin and New York: De Gruyter, 2011. 1-33.","downloadable_attachments":[{"id":33704522,"asset_id":7051096,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10215211,"first_name":"Greta","last_name":"Olson","domain_name":"uni-giessen","page_name":"GretaOlson","display_name":"Greta Olson","profile_url":"https://uni-giessen.academia.edu/GretaOlson?f_ri=2852","photo":"https://0.academia-photos.com/10215211/4732063/18874518/s65_greta.olson.jpg"}],"research_interests":[{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852","nofollow":false},{"id":8475,"name":"Narrative Methods","url":"https://www.academia.edu/Documents/in/Narrative_Methods?f_ri=2852","nofollow":false},{"id":18880,"name":"Narrative Analysis","url":"https://www.academia.edu/Documents/in/Narrative_Analysis?f_ri=2852","nofollow":false},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9525917" data-work_id="9525917" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9525917/A_new_methodology_for_the_narrative_and_thymic_analysis_in_Chopins_last_style"> A new methodology for the narrative and thymic analysis in Chopin's last style</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. These... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9525917" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. These unities are characteristic figures coming from the historical and social musical legacy and refer to genres and musical styles (march, dances, hymn, etc.). In line with the publications of Robert Hatten, Eero Tarasti, Márta Grabócz and many others, our narrative analyses try to understand the stylistic evolution and the different strategies of Chopin’s compositions. The evolution and concatenation of the topics reveal different identities and itineraries called “narrative structures”. Three models emerge from our analyses: the “complex” structure, the “simple” structure and the and “non-contrasted” structure which characterized all the 21 pieces of our corpus, composed after 1841 and linked to the last style.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9525917" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e0d27ac08062f59c8de4142fc305ce78" rel="nofollow" data-download="{"attachment_id":35762524,"asset_id":9525917,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35762524/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=2852","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_9525917 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9525917"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9525917, container: ".js-paper-rank-work_9525917", }); 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$(".js-view-count[data-work-id=9525917]").text(description); $(".js-view-count-work_9525917").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9525917").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9525917"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1258" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a>, <script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14890" href="https://www.academia.edu/Documents/in/Musical_Semiotics">Musical Semiotics</a>, <script data-card-contents-for-ri="14890" type="text/json">{"id":14890,"name":"Musical Semiotics","url":"https://www.academia.edu/Documents/in/Musical_Semiotics?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18880" href="https://www.academia.edu/Documents/in/Narrative_Analysis">Narrative Analysis</a><script data-card-contents-for-ri="18880" type="text/json">{"id":18880,"name":"Narrative Analysis","url":"https://www.academia.edu/Documents/in/Narrative_Analysis?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9525917]'), work: {"id":9525917,"title":" A new methodology for the narrative and thymic analysis in Chopin's last style","created_at":"2014-11-27T05:16:06.137-08:00","url":"https://www.academia.edu/9525917/A_new_methodology_for_the_narrative_and_thymic_analysis_in_Chopins_last_style?f_ri=2852","dom_id":"work_9525917","summary":"This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. These unities are characteristic figures coming from the historical and social musical legacy and refer to genres and musical styles (march, dances, hymn, etc.). In line with the publications of Robert Hatten, Eero Tarasti, Márta Grabócz and many others, our narrative analyses try to understand the stylistic evolution and the different strategies of Chopin’s compositions. The evolution and concatenation of the topics reveal different identities and itineraries called “narrative structures”. Three models emerge from our analyses: the “complex” structure, the “simple” structure and the and “non-contrasted” structure which characterized all the 21 pieces of our corpus, composed after 1841 and linked to the last style.","downloadable_attachments":[{"id":35762524,"asset_id":9525917,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=2852","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":14890,"name":"Musical Semiotics","url":"https://www.academia.edu/Documents/in/Musical_Semiotics?f_ri=2852","nofollow":false},{"id":18880,"name":"Narrative Analysis","url":"https://www.academia.edu/Documents/in/Narrative_Analysis?f_ri=2852","nofollow":false},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=2852"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=2852"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=2852"},{"id":373896,"name":"Naratology","url":"https://www.academia.edu/Documents/in/Naratology?f_ri=2852"},{"id":829070,"name":"Musical Topics","url":"https://www.academia.edu/Documents/in/Musical_Topics?f_ri=2852"},{"id":957759,"name":"Tópico Musical","url":"https://www.academia.edu/Documents/in/Topico_Musical?f_ri=2852"},{"id":1199454,"name":"Tension","url":"https://www.academia.edu/Documents/in/Tension?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_962844" data-work_id="962844" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/962844/Television_Stories">Television Stories</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The article discusses the production of live television formats, as they have developedin Europe the last decade. The analytical examples are taken from entertainment aswell as factual television, and from public service as well as... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_962844" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The article discusses the production of live television formats, as they have developedin Europe the last decade. The analytical examples are taken from entertainment aswell as factual television, and from public service as well as commercial contexts. Inthe article is argued that there have been an approximation between the textualfeatures and generic and narrative structures of entertainment and factual livetelevision, and a model is presented, that is suppose to account for these narrativepatterns.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/962844" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d534470de61023709933194ebd74a727" rel="nofollow" data-download="{"attachment_id":5886977,"asset_id":962844,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/5886977/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="181864" href="https://sh.academia.edu/G%C3%B6ranBolin">Göran Bolin</a><script data-card-contents-for-user="181864" type="text/json">{"id":181864,"first_name":"Göran","last_name":"Bolin","domain_name":"sh","page_name":"GöranBolin","display_name":"Göran Bolin","profile_url":"https://sh.academia.edu/G%C3%B6ranBolin?f_ri=2852","photo":"https://0.academia-photos.com/181864/44852/533463/s65_g_ran.bolin.jpg"}</script></span></span></li><li class="js-paper-rank-work_962844 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="962844"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 962844, container: ".js-paper-rank-work_962844", }); });</script></li><li class="js-percentile-work_962844 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 962844; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_962844"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_962844 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="962844"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 962844; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=962844]").text(description); $(".js-view-count-work_962844").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_962844").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="962844"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1571" href="https://www.academia.edu/Documents/in/Television_Studies">Television Studies</a>, <script data-card-contents-for-ri="1571" type="text/json">{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16499" href="https://www.academia.edu/Documents/in/Genre_Theory">Genre Theory</a><script data-card-contents-for-ri="16499" type="text/json">{"id":16499,"name":"Genre Theory","url":"https://www.academia.edu/Documents/in/Genre_Theory?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=962844]'), work: {"id":962844,"title":"Television Stories","created_at":"2011-09-29T06:14:43.147-07:00","url":"https://www.academia.edu/962844/Television_Stories?f_ri=2852","dom_id":"work_962844","summary":"The article discusses the production of live television formats, as they have developedin Europe the last decade. The analytical examples are taken from entertainment aswell as factual television, and from public service as well as commercial contexts. Inthe article is argued that there have been an approximation between the textualfeatures and generic and narrative structures of entertainment and factual livetelevision, and a model is presented, that is suppose to account for these narrativepatterns.","downloadable_attachments":[{"id":5886977,"asset_id":962844,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":181864,"first_name":"Göran","last_name":"Bolin","domain_name":"sh","page_name":"GöranBolin","display_name":"Göran Bolin","profile_url":"https://sh.academia.edu/G%C3%B6ranBolin?f_ri=2852","photo":"https://0.academia-photos.com/181864/44852/533463/s65_g_ran.bolin.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=2852","nofollow":false},{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":16499,"name":"Genre Theory","url":"https://www.academia.edu/Documents/in/Genre_Theory?f_ri=2852","nofollow":false},{"id":26227,"name":"Entertainment","url":"https://www.academia.edu/Documents/in/Entertainment?f_ri=2852"},{"id":45033,"name":"Eurovision Song Contest","url":"https://www.academia.edu/Documents/in/Eurovision_Song_Contest?f_ri=2852"},{"id":165615,"name":"Textual analysis","url":"https://www.academia.edu/Documents/in/Textual_analysis?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_24211841" data-work_id="24211841" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/24211841/A_typical_romantic_strategy_the_case_of_the_Fantasy_op_49">A typical romantic strategy: the case of the Fantasy op. 49</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Today I finished the Fantasy – and the sky is beautiful, there’s a sadness in my heart – but that’s alright. If it were otherwise, perhaps my existence would be worth nothing to anyone. (Letter to J. Fontana, 20th October 1841) Musical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_24211841" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Today I finished the Fantasy – and the sky is beautiful, there’s a sadness in my heart – but that’s alright. If it were otherwise, perhaps my existence would be worth nothing to anyone.<br /> (Letter to J. Fontana, 20th October 1841)<br /><br />Musical narratology is an important item to highlight and understand the narrative strategies of musical works by the study of the concatenation of the expressive unities it contains. In the 19th century, the narrative strategy is often built as a “path which leads the listener from dysphoric elements till the transcendental level (euphoric) through several steps […]. This itinerary often corresponds to the coming-of-age novel or imaginary or initiatory journey […]” (Grabocz, 2009, p. 33). This is also possible in music by the choice of the protagonists, their relationships and their evolution into the musical piece. <br /> In our thesis, which focuses on Chopin’s last style, we study 21 works of the 1840’s to reach a definition of this late stylistic period. Among our corpus, the Fantasy op. 49 in F minor is particularly interesting. In fact, this piece was rather badly received by the contemporary critics, considering “a lack of unity and cohesion” according to Lenz while Schumann found it “full of genius traits, although the whole hasn’t felt to have being bound by a formal harmonious framework”.<br />However, we consider that this work is a very good illustration of a real mastery of the formal construction and the narrative strategy proposed by Chopin and revealed by the narrative analysis. Composed in the beginnings of the 40’s, two themes serve as a basis of all the progression: the first is dramatic and more and more powerful all along its repetitions which put us deeper into the dramaturgy. The second is more transitional, in an improvised style and presents two kinds of appearance, totally opposite, which carries the auditor into two different atmospheres. The interactions between these two protagonists will build the “plot” of the piece, anchored in this romantic aesthetic, as we will try to show it in our presentation. <br />This kind of narrative strategy will also be compared with other works of our corpus which present the same kind of strategy but also totally contrary, like the Ballade op. 52 in f minor whose analysis in our forthcoming paper "La Ballade op. 52: une « épopée dramatique ». Entre analyse formelle, narrative et thymique" noticed a totally inverse narrative strategy.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/24211841" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a2f40e409f15906598b3be7e12d0b414" rel="nofollow" data-download="{"attachment_id":44542338,"asset_id":24211841,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44542338/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=2852","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_24211841 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="24211841"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 24211841, container: ".js-paper-rank-work_24211841", }); });</script></li><li class="js-percentile-work_24211841 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 24211841; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_24211841"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_24211841 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="24211841"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 24211841; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=24211841]").text(description); $(".js-view-count-work_24211841").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_24211841").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="24211841"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1258" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a><script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=24211841]'), work: {"id":24211841,"title":"A typical romantic strategy: the case of the Fantasy op. 49","created_at":"2016-04-08T08:48:14.030-07:00","url":"https://www.academia.edu/24211841/A_typical_romantic_strategy_the_case_of_the_Fantasy_op_49?f_ri=2852","dom_id":"work_24211841","summary":"Today I finished the Fantasy – and the sky is beautiful, there’s a sadness in my heart – but that’s alright. If it were otherwise, perhaps my existence would be worth nothing to anyone.\n (Letter to J. Fontana, 20th October 1841)\n\nMusical narratology is an important item to highlight and understand the narrative strategies of musical works by the study of the concatenation of the expressive unities it contains. In the 19th century, the narrative strategy is often built as a “path which leads the listener from dysphoric elements till the transcendental level (euphoric) through several steps […]. This itinerary often corresponds to the coming-of-age novel or imaginary or initiatory journey […]” (Grabocz, 2009, p. 33). This is also possible in music by the choice of the protagonists, their relationships and their evolution into the musical piece. \n In our thesis, which focuses on Chopin’s last style, we study 21 works of the 1840’s to reach a definition of this late stylistic period. Among our corpus, the Fantasy op. 49 in F minor is particularly interesting. In fact, this piece was rather badly received by the contemporary critics, considering “a lack of unity and cohesion” according to Lenz while Schumann found it “full of genius traits, although the whole hasn’t felt to have being bound by a formal harmonious framework”.\nHowever, we consider that this work is a very good illustration of a real mastery of the formal construction and the narrative strategy proposed by Chopin and revealed by the narrative analysis. Composed in the beginnings of the 40’s, two themes serve as a basis of all the progression: the first is dramatic and more and more powerful all along its repetitions which put us deeper into the dramaturgy. The second is more transitional, in an improvised style and presents two kinds of appearance, totally opposite, which carries the auditor into two different atmospheres. The interactions between these two protagonists will build the “plot” of the piece, anchored in this romantic aesthetic, as we will try to show it in our presentation. \nThis kind of narrative strategy will also be compared with other works of our corpus which present the same kind of strategy but also totally contrary, like the Ballade op. 52 in f minor whose analysis in our forthcoming paper \"La Ballade op. 52: une « épopée dramatique ». Entre analyse formelle, narrative et thymique\" noticed a totally inverse narrative strategy. \n\n","downloadable_attachments":[{"id":44542338,"asset_id":24211841,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=2852","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=2852","nofollow":false},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=2852","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2852","nofollow":false},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852"},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=2852"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=2852"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=2852"},{"id":207891,"name":"Fantasia","url":"https://www.academia.edu/Documents/in/Fantasia?f_ri=2852"},{"id":436794,"name":"Chopin","url":"https://www.academia.edu/Documents/in/Chopin?f_ri=2852"},{"id":1822796,"name":"Chopin Studies","url":"https://www.academia.edu/Documents/in/Chopin_Studies?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11445447" data-work_id="11445447" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11445447/Different_structures_of_the_narrative_course_in_Chopin_s_last_style">Different structures of the narrative course in Chopin’s last style</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The last style of Chopin is a new notion in musicology in France. In spite of the fact that the authors admit its existence, very less researches concern this subject, particularly in France. All along our researches, the analysis of the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11445447" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The last style of Chopin is a new notion in musicology in France. In spite of the fact that the authors  admit its existence, very less researches concern this subject, particularly in France. All along our researches, the analysis of the works of our corpus  shows us different narratives structures. <br />The narrative framework, proved by some theoretician of literature , is the thread of the main conventional narrative  and can also govern the musical discourse: initial situation (tranquillity, exposition), inciting incident, quest and adventures, crisis, resolution, and final situation. In the romantic period, the artists change these traditional paths to express their new aesthetics ideas and cause a bursting of the classical structures, which will more freely model the narrative framework. <br />In this paper, we want to present several examples of different narrative structures in Chopin’s last style. In fact, the themes, motives and thymic states of the works enable to model different evolutions of the dramaturgy. The results of these researches reveal different “narrative structures” used by Chopin in the works of the last style.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11445447" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=2852","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_11445447 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11445447"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11445447, container: ".js-paper-rank-work_11445447", }); });</script></li><li class="js-percentile-work_11445447 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11445447; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_11445447"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_11445447 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="11445447"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11445447; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11445447]").text(description); $(".js-view-count-work_11445447").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11445447").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="11445447"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1258" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a>, <script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5513" href="https://www.academia.edu/Documents/in/Narratology">Narratology</a><script data-card-contents-for-ri="5513" type="text/json">{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11445447]'), work: {"id":11445447,"title":"Different structures of the narrative course in Chopin’s last style","created_at":"2015-03-15T14:18:58.681-07:00","url":"https://www.academia.edu/11445447/Different_structures_of_the_narrative_course_in_Chopin_s_last_style?f_ri=2852","dom_id":"work_11445447","summary":"The last style of Chopin is a new notion in musicology in France. In spite of the fact that the authors admit its existence, very less researches concern this subject, particularly in France. All along our researches, the analysis of the works of our corpus shows us different narratives structures. \r\nThe narrative framework, proved by some theoretician of literature , is the thread of the main conventional narrative and can also govern the musical discourse: initial situation (tranquillity, exposition), inciting incident, quest and adventures, crisis, resolution, and final situation. In the romantic period, the artists change these traditional paths to express their new aesthetics ideas and cause a bursting of the classical structures, which will more freely model the narrative framework.\r\nIn this paper, we want to present several examples of different narrative structures in Chopin’s last style. In fact, the themes, motives and thymic states of the works enable to model different evolutions of the dramaturgy. The results of these researches reveal different “narrative structures” used by Chopin in the works of the last style. \r\n","downloadable_attachments":[],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=2852","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=2852","nofollow":false},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852","nofollow":false},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=2852"},{"id":436794,"name":"Chopin","url":"https://www.academia.edu/Documents/in/Chopin?f_ri=2852"},{"id":745375,"name":"Music Romanticism","url":"https://www.academia.edu/Documents/in/Music_Romanticism?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37730254" data-work_id="37730254" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37730254/Beyond_Survival_Navigating_Women_s_Personal_Narratives_of_Sexual_Violence_in_the_Holocaust">Beyond Survival: Navigating Women’s Personal Narratives of Sexual Violence in the Holocaust</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">During the Holocaust and the subsequent process of what has become known as liberation, women constantly confronted convergent oppressive forces. Under the Nazi regime and its cohorts as well as during the liberation process, Jews faced... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37730254" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">During the Holocaust and the subsequent process of what has become known as liberation, women constantly confronted convergent oppressive forces. Under the Nazi regime and its cohorts as well as during the liberation process, Jews faced torture and genocide. Jewish women constantly lived with an additional layer of oppression: threatened or actual sexual violence. Positioned at the vortex of intersecting oppressions, how can the identities of these women transcend their stature as victims? How do women creatively reposition themselves vis-à-vis the perpetrators and the traumatic events so they can maintain or reclaim their agency and dignity?<br /> Centering on narrative analysis of first-person testimony gleaned from memoirs and from the USC Shoah Foundation’s Visual History Archive (VHA), this investigation covers four narratively sustained modes of comportment toward sexual violence. First, mutual aid demonstrates an ethic of care. Second,  degrading or minimizing the perpetrator or the sexual act retains the narrator’s dignity. The final two angles offer complementary ways to avoid or repel assault: distracting an assailant by directing him toward more attractive targets, and rendering oneself repellant.<br /> Departing from the prevailing approach of treating Holocaust survivor testimonies primarily as responses to trauma, this project reveals how the narrators actively craft their identities through the storytelling process. This creative molding of identity through narrative, a process called autopoeisis, recasts survivors of these and other traumas as dynamically (re)negotiating their understanding of self and their relationship to lived experiences. Trauma stories thereby further tikkun olam—repair of a fractured world.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37730254" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7b7545433d8ca7c8b7b81408d9c0f351" rel="nofollow" data-download="{"attachment_id":58745601,"asset_id":37730254,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58745601/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7079429" href="https://ncsu.academia.edu/RoySchwartzman">Roy Schwartzman</a><script data-card-contents-for-user="7079429" type="text/json">{"id":7079429,"first_name":"Roy","last_name":"Schwartzman","domain_name":"ncsu","page_name":"RoySchwartzman","display_name":"Roy Schwartzman","profile_url":"https://ncsu.academia.edu/RoySchwartzman?f_ri=2852","photo":"https://0.academia-photos.com/7079429/2666788/105701954/s65_roy.schwartzman.jpg"}</script></span></span></li><li class="js-paper-rank-work_37730254 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37730254"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37730254, container: ".js-paper-rank-work_37730254", }); 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$(".js-view-count[data-work-id=37730254]").text(description); $(".js-view-count-work_37730254").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37730254").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37730254"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="696" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1138" href="https://www.academia.edu/Documents/in/Womens_Studies">Women's Studies</a>, <script data-card-contents-for-ri="1138" type="text/json">{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3972" href="https://www.academia.edu/Documents/in/Genocide_Studies">Genocide Studies</a><script data-card-contents-for-ri="3972" type="text/json">{"id":3972,"name":"Genocide Studies","url":"https://www.academia.edu/Documents/in/Genocide_Studies?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37730254]'), work: {"id":37730254,"title":"Beyond Survival: Navigating Women’s Personal Narratives of Sexual Violence in the Holocaust","created_at":"2018-11-08T17:23:05.960-08:00","url":"https://www.academia.edu/37730254/Beyond_Survival_Navigating_Women_s_Personal_Narratives_of_Sexual_Violence_in_the_Holocaust?f_ri=2852","dom_id":"work_37730254","summary":"During the Holocaust and the subsequent process of what has become known as liberation, women constantly confronted convergent oppressive forces. Under the Nazi regime and its cohorts as well as during the liberation process, Jews faced torture and genocide. Jewish women constantly lived with an additional layer of oppression: threatened or actual sexual violence. Positioned at the vortex of intersecting oppressions, how can the identities of these women transcend their stature as victims? How do women creatively reposition themselves vis-à-vis the perpetrators and the traumatic events so they can maintain or reclaim their agency and dignity?\n\tCentering on narrative analysis of first-person testimony gleaned from memoirs and from the USC Shoah Foundation’s Visual History Archive (VHA), this investigation covers four narratively sustained modes of comportment toward sexual violence. First, mutual aid demonstrates an ethic of care. Second, degrading or minimizing the perpetrator or the sexual act retains the narrator’s dignity. The final two angles offer complementary ways to avoid or repel assault: distracting an assailant by directing him toward more attractive targets, and rendering oneself repellant.\n\tDeparting from the prevailing approach of treating Holocaust survivor testimonies primarily as responses to trauma, this project reveals how the narrators actively craft their identities through the storytelling process. This creative molding of identity through narrative, a process called autopoeisis, recasts survivors of these and other traumas as dynamically (re)negotiating their understanding of self and their relationship to lived experiences. Trauma stories thereby further tikkun olam—repair of a fractured world. \n","downloadable_attachments":[{"id":58745601,"asset_id":37730254,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7079429,"first_name":"Roy","last_name":"Schwartzman","domain_name":"ncsu","page_name":"RoySchwartzman","display_name":"Roy Schwartzman","profile_url":"https://ncsu.academia.edu/RoySchwartzman?f_ri=2852","photo":"https://0.academia-photos.com/7079429/2666788/105701954/s65_roy.schwartzman.jpg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=2852","nofollow":false},{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=2852","nofollow":false},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false},{"id":3972,"name":"Genocide Studies","url":"https://www.academia.edu/Documents/in/Genocide_Studies?f_ri=2852","nofollow":false},{"id":4801,"name":"Sexual Violence","url":"https://www.academia.edu/Documents/in/Sexual_Violence?f_ri=2852"},{"id":10453,"name":"Feminism","url":"https://www.academia.edu/Documents/in/Feminism?f_ri=2852"},{"id":12742,"name":"Holocaust Studies","url":"https://www.academia.edu/Documents/in/Holocaust_Studies?f_ri=2852"},{"id":16442,"name":"Sexual Assault","url":"https://www.academia.edu/Documents/in/Sexual_Assault?f_ri=2852"},{"id":43575,"name":"Holocaust","url":"https://www.academia.edu/Documents/in/Holocaust?f_ri=2852"},{"id":45082,"name":"Sexual Harassment","url":"https://www.academia.edu/Documents/in/Sexual_Harassment?f_ri=2852"},{"id":77293,"name":"Holocaust and Genocide Studies","url":"https://www.academia.edu/Documents/in/Holocaust_and_Genocide_Studies?f_ri=2852"},{"id":145670,"name":"Holocaust Testimonies","url":"https://www.academia.edu/Documents/in/Holocaust_Testimonies?f_ri=2852"},{"id":292539,"name":"Gender Violence","url":"https://www.academia.edu/Documents/in/Gender_Violence?f_ri=2852"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3633955" data-work_id="3633955" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3633955/Baroni_R_2007_La_Tension_narrative_Suspense_curiosit%C3%A9_surprise_Paris_Seuil_coll_Po%C3%A9tique_">Baroni, R. (2007), La Tension narrative. Suspense, curiosité, surprise, Paris, Seuil, coll. « Poétique ».</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Suspendus aux lèvres d’un conteur, incapables d’interrompre la lecture d’un roman, captivés par un film haletant, nous faisons tous l’expérience quotidienne de ce plaisir apparemment paradoxal que nous tirons de notre insatisfaction... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3633955" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Suspendus aux lèvres d’un conteur, incapables d’interrompre la lecture d’un roman, captivés par un film haletant, nous faisons tous l’expérience quotidienne de ce plaisir apparemment paradoxal que nous tirons de notre insatisfaction provisoire face à un récit inachevé. Bien qu’une mode esthétique et théorique ait tenté de nous convaincre que ce plaisir était honteux, on peut néanmoins avoir l’intuition que le cœur vivant de la narrativité réside précisément dans ce nœud coulant, toujours plus serré à mesure que nous progressons dans l’histoire, qui nous attache à l’intrigue et creuse la temporalité par l’attente impatiente d’un dénouement. Si le récit a quelque chose à voir avec la manière dont nous éprouvons le temps, cette expérience n’apparaît jamais avec autant d’éclat que dans le suspense, la curiosité ou la surprise qui font la force des intrigues fictionnelles. La compréhension des fonctions narratives engage donc non seulement l’analyse littéraire, linguistique et sémiotique, mais aussi l’analyse cognitive et la psychologie des émotions.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3633955" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="967aca9da19fb2b69c020e3a1997953e" rel="nofollow" data-download="{"attachment_id":47158492,"asset_id":3633955,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47158492/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4384264" href="https://unil.academia.edu/RaphaelBaroni">Raphaël Baroni</a><script data-card-contents-for-user="4384264" type="text/json">{"id":4384264,"first_name":"Raphaël","last_name":"Baroni","domain_name":"unil","page_name":"RaphaelBaroni","display_name":"Raphaël Baroni","profile_url":"https://unil.academia.edu/RaphaelBaroni?f_ri=2852","photo":"https://0.academia-photos.com/4384264/1869160/19548620/s65_rapha_l.baroni.jpg"}</script></span></span></li><li class="js-paper-rank-work_3633955 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3633955"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3633955, container: ".js-paper-rank-work_3633955", }); 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$(".js-view-count[data-work-id=3633955]").text(description); $(".js-view-count-work_3633955").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3633955").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3633955"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">51</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="94" href="https://www.academia.edu/Documents/in/Discourse_Analysis">Discourse Analysis</a>, <script data-card-contents-for-ri="94" type="text/json">{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="191" href="https://www.academia.edu/Documents/in/Interactionism">Interactionism</a>, <script data-card-contents-for-ri="191" type="text/json">{"id":191,"name":"Interactionism","url":"https://www.academia.edu/Documents/in/Interactionism?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="236" href="https://www.academia.edu/Documents/in/Cognitive_Psychology">Cognitive Psychology</a><script data-card-contents-for-ri="236" type="text/json">{"id":236,"name":"Cognitive Psychology","url":"https://www.academia.edu/Documents/in/Cognitive_Psychology?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3633955]'), work: {"id":3633955,"title":"Baroni, R. (2007), La Tension narrative. Suspense, curiosité, surprise, Paris, Seuil, coll. « Poétique ».","created_at":"2013-05-31T00:02:13.967-07:00","url":"https://www.academia.edu/3633955/Baroni_R_2007_La_Tension_narrative_Suspense_curiosit%C3%A9_surprise_Paris_Seuil_coll_Po%C3%A9tique_?f_ri=2852","dom_id":"work_3633955","summary":"Suspendus aux lèvres d’un conteur, incapables d’interrompre la lecture d’un roman, captivés par un film haletant, nous faisons tous l’expérience quotidienne de ce plaisir apparemment paradoxal que nous tirons de notre insatisfaction provisoire face à un récit inachevé. Bien qu’une mode esthétique et théorique ait tenté de nous convaincre que ce plaisir était honteux, on peut néanmoins avoir l’intuition que le cœur vivant de la narrativité réside précisément dans ce nœud coulant, toujours plus serré à mesure que nous progressons dans l’histoire, qui nous attache à l’intrigue et creuse la temporalité par l’attente impatiente d’un dénouement. Si le récit a quelque chose à voir avec la manière dont nous éprouvons le temps, cette expérience n’apparaît jamais avec autant d’éclat que dans le suspense, la curiosité ou la surprise qui font la force des intrigues fictionnelles. La compréhension des fonctions narratives engage donc non seulement l’analyse littéraire, linguistique et sémiotique, mais aussi l’analyse cognitive et la psychologie des émotions.","downloadable_attachments":[{"id":47158492,"asset_id":3633955,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4384264,"first_name":"Raphaël","last_name":"Baroni","domain_name":"unil","page_name":"RaphaelBaroni","display_name":"Raphaël Baroni","profile_url":"https://unil.academia.edu/RaphaelBaroni?f_ri=2852","photo":"https://0.academia-photos.com/4384264/1869160/19548620/s65_rapha_l.baroni.jpg"}],"research_interests":[{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=2852","nofollow":false},{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=2852","nofollow":false},{"id":191,"name":"Interactionism","url":"https://www.academia.edu/Documents/in/Interactionism?f_ri=2852","nofollow":false},{"id":236,"name":"Cognitive Psychology","url":"https://www.academia.edu/Documents/in/Cognitive_Psychology?f_ri=2852","nofollow":false},{"id":237,"name":"Cognitive Science","url":"https://www.academia.edu/Documents/in/Cognitive_Science?f_ri=2852"},{"id":953,"name":"Rhetoric","url":"https://www.academia.edu/Documents/in/Rhetoric?f_ri=2852"},{"id":997,"name":"Reception Studies","url":"https://www.academia.edu/Documents/in/Reception_Studies?f_ri=2852"},{"id":1595,"name":"Memory (Cognitive Psychology)","url":"https://www.academia.edu/Documents/in/Memory_Cognitive_Psychology_?f_ri=2852"},{"id":2368,"name":"Reception Theory","url":"https://www.academia.edu/Documents/in/Reception_Theory?f_ri=2852"},{"id":2741,"name":"Cognitive Semantics","url":"https://www.academia.edu/Documents/in/Cognitive_Semantics?f_ri=2852"},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852"},{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=2852"},{"id":3934,"name":"Visual Narrative","url":"https://www.academia.edu/Documents/in/Visual_Narrative?f_ri=2852"},{"id":4490,"name":"Cognitive Narratology","url":"https://www.academia.edu/Documents/in/Cognitive_Narratology?f_ri=2852"},{"id":5512,"name":"Narrative and interpretation","url":"https://www.academia.edu/Documents/in/Narrative_and_interpretation?f_ri=2852"},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=2852"},{"id":5583,"name":"Audience and Reception Studies","url":"https://www.academia.edu/Documents/in/Audience_and_Reception_Studies?f_ri=2852"},{"id":6492,"name":"Storytelling","url":"https://www.academia.edu/Documents/in/Storytelling?f_ri=2852"},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=2852"},{"id":8246,"name":"Interactive Narrative","url":"https://www.academia.edu/Documents/in/Interactive_Narrative?f_ri=2852"},{"id":8258,"name":"Sequential Narrative","url":"https://www.academia.edu/Documents/in/Sequential_Narrative?f_ri=2852"},{"id":8300,"name":"Jorge Luis Borges","url":"https://www.academia.edu/Documents/in/Jorge_Luis_Borges?f_ri=2852"},{"id":8475,"name":"Narrative Methods","url":"https://www.academia.edu/Documents/in/Narrative_Methods?f_ri=2852"},{"id":8491,"name":"Roland 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u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This book is the edited proceedings from the conference 'The Art of Stesichorus' held at St John's College, Oxford, on June 29–30 2012. Contributors include: Ewen Bowie (Oxford), Chris Carey (London), Patrick Finglass (Nottingham),... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3388832" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book is the edited proceedings from the conference 'The Art of Stesichorus' held at St John's College, Oxford, on June 29–30 2012. Contributors include: Ewen Bowie (Oxford), Chris Carey (London), Patrick Finglass (Nottingham), Richard Hunter (Cambridge), Adrian Kelly (Oxford), Ian Rutherford (Reading), Gerson Schade (Berlin), Laura Swift (Open University), Martin West (Oxford). <br /> <br />Pelling, C., Classics for All 2015/08/11</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3388832" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="353b340621bd6dad08b084b4e62a1212" rel="nofollow" data-download="{"attachment_id":66129562,"asset_id":3388832,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66129562/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2581919" href="https://oxford.academia.edu/AdrianKelly">Adrian Kelly</a><script data-card-contents-for-user="2581919" type="text/json">{"id":2581919,"first_name":"Adrian","last_name":"Kelly","domain_name":"oxford","page_name":"AdrianKelly","display_name":"Adrian Kelly","profile_url":"https://oxford.academia.edu/AdrianKelly?f_ri=2852","photo":"https://0.academia-photos.com/2581919/810044/6003880/s65_adrian.kelly.jpg"}</script></span></span></li><li class="js-paper-rank-work_3388832 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3388832"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3388832, container: ".js-paper-rank-work_3388832", }); 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L’onomastica nelle novelle di Luigi Pirandello</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Recensione di Agata Irene De Villi del volume di P. Marzano, “Quando il nome «è cosa seria». L’onomastica nelle novelle di Luigi Pirandello. Con un regesto di nomi e personaggi”, 1 vol. + CD, Pisa, ETS, 2008 [ma 2010].</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38664988" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d3d58ca82fac9c5b1485e1539ba67469" rel="nofollow" data-download="{"attachment_id":58744933,"asset_id":38664988,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58744933/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3940058" href="https://ulg.academia.edu/PasqualeMarzano">Pasquale Marzano</a><script data-card-contents-for-user="3940058" type="text/json">{"id":3940058,"first_name":"Pasquale","last_name":"Marzano","domain_name":"ulg","page_name":"PasqualeMarzano","display_name":"Pasquale Marzano","profile_url":"https://ulg.academia.edu/PasqualeMarzano?f_ri=2852","photo":"https://0.academia-photos.com/3940058/23476656/24374471/s65_pasquale.marzano.jpg"}</script></span></span></li><li class="js-paper-rank-work_38664988 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38664988"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38664988, container: ".js-paper-rank-work_38664988", }); 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Coverage includes the full range of ABR genres, including those based in literature (such as narrative and poetic inquiry); performance (music, dance, playbuilding); visual arts (drawing and painting, collage, installation art, comics); and audiovisual and multimethod approaches. Each genre is described in detail and brought to life with robust research examples. 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Radomír D. - ROZBOR FILMU (2015, celá kniha, PDF)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">ROZBOR FILMU / FILM ANALYSIS [English summary] Radomír D. Kokeš (Brno: Masarykova univerzita, 2015) The book focuses on possibilities of analyzing a film as a system. Its aim is to deal with the process of asking questions in such a way... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39632126" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">ROZBOR FILMU / FILM ANALYSIS [English summary]<br /><br />Radomír D. Kokeš (Brno: Masarykova univerzita, 2015)<br /><br />The book focuses on possibilities of analyzing a film as a system. Its aim is to deal with the process of asking questions in such a way that their answers will contribute to convincing solutions of exactly formulated tasks related to the structure of a film work. It is not a broadly conceived exposé of numerous kinds of analyses of numerous types of films; it rather follows the method of in-depth study of a limited scope of issues. As such, it consists of four sections. Each of these sections offers different questions and answers, presents different findings to the reader and follows different methods of work with the explication. All sections logically follow from the others, and thus analysed topics reappear in various contexts, as well as complement and develop each other. An invariable background of the explications in the book is formed, first, by aesthetic norms of the classic Hollywood film, second, by traditions of the Czech cinema and third, by Kristin Thompson’s and David Bordwell’s neoformalist poetics.<br /><br />(1) The first section is titled TO OBSERVE and it presents the basic tools for an analysis of a work of art. It sees the work as a system, where it distinguishes between basic components of narrative, style and the fictional world. It explains each of these components separately on specific examples. It gives special attention to the films: A Close Shave (GB, 1995) and Once upon a Time in the West (USA/Italy, 1968). The subject matter of the explication is a film work.<br /><br />(2) In the second section, TO PLAN, the book approaches to discussion and writing about film as a way of issues-solving. It explains the importance of finding, posing, and answering question about the structure of a film. It gives examples of the films Titanic (USA, 1997) and Bloody Sunday (GB/Ireland, 2002). For a better understanding of the topic it deals with, it offers a conception of two types of theses: centripetal and centrifugal. The subject matter of the explication is the analysis as such.<br /><br />(3) The third section TO WRITE AND READ / TO READ AND WRITE is the most guiding one, as it focuses on practical aspects of analytical writing, theoretical coherence and the field of recommended publication, which can help to enhance this sensibility. The subject matter of the explication is a written analytical text.<br /><br />(4) The final section APPENDIX: THREE ANALYTICAL FORMATS AND A READER makes it easier to understand on a higher level the various ways of structuring analysis and its functions. It presents three formats of such texts: an analytical essay, an analytical study, and poetological study. Adaptability to analysed issues follows primarily from six case-studies of the films Who Wants to Kill Jessie? (Czechoslovakia, 1966), Arsenic and Old Lace (USA, 1944), Speed Racer (USA, 2008), Memento (USA, 2000), Smugglers of Death (Czechoslovakia, 1959) and A Tooth for a Tooth (Austria-Hungary, 1913). Each of these more or less comprehensive studies deals with a different issue, asks different questions and (intentionally) addresses readers with different levels of experience. The subject matter of the explication is a unity of approach on the one hand and a variety of issues-solving on the other hand.<br />The book aims to show the widest range of the explanatory possibilities of its approach, which it labels a poetics of fiction. When working with its case-studies, it repeatedly proceeds in the chapters from formally playful films (like A Close Shave, Titanic, Speed Racer or Memento) to structurally complex works (like Once Upon a Time in the West, Bloody Sunday or Smugglers of Death). This enables it to cover a wide range of challenges, which one can encounter in the process of an analysis of (not only audio-visual) works. And finally, the last chapter introduces the theme of a historiographic dimension of the book. It presents original research of the beginnings of Czech cinema.<br /><br />The field of an analysis of a film authorship is rather suppressed in the explications, although it remains crucial and as such it is primarily dealt with in the second section of the book, which can thus be also seen from this perspective as an original contribution to authorial poetics and questions of a realistic effect in the work of the director Paul Greengrass.<br /><br />Given the reasons stated above, Film Analysis wants to be (a) a comprehensible guide to the analytical process of a wide readership (especially students of programmes in history and theory of the arts, cinephiles and beginning critics), (b) a collection of original analyses, which explain a variety of issues related to structures of film from the perspective of the poetics of fiction, and (c) a source of helpful tools for not only film analysis, but also the analytical process as such (for example, kinds of theses or analytical formats).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39632126" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="03b9f912a37c3b060c5ac45419abcb66" rel="nofollow" data-download="{"attachment_id":65487226,"asset_id":39632126,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65487226/download_file?st=MTczMjc1MDE3Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4920222" href="https://muni.academia.edu/rdk">Radomir D. Kokeš</a><script data-card-contents-for-user="4920222" type="text/json">{"id":4920222,"first_name":"Radomir D.","last_name":"Kokeš","domain_name":"muni","page_name":"rdk","display_name":"Radomir D. Kokeš","profile_url":"https://muni.academia.edu/rdk?f_ri=2852","photo":"https://0.academia-photos.com/4920222/2121768/14296340/s65_radom_r.koke_.jpg"}</script></span></span></li><li class="js-paper-rank-work_39632126 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39632126"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39632126, container: ".js-paper-rank-work_39632126", }); });</script></li><li class="js-percentile-work_39632126 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39632126; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39632126"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39632126 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39632126"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39632126; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39632126]").text(description); $(".js-view-count-work_39632126").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39632126").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39632126"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2065" href="https://www.academia.edu/Documents/in/Research_Methodology">Research Methodology</a>, <script data-card-contents-for-ri="2065" type="text/json">{"id":2065,"name":"Research Methodology","url":"https://www.academia.edu/Documents/in/Research_Methodology?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3301" href="https://www.academia.edu/Documents/in/Film_Analysis">Film Analysis</a><script data-card-contents-for-ri="3301" type="text/json">{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=2852","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39632126]'), work: {"id":39632126,"title":"Kokeš, Radomír D. - ROZBOR FILMU (2015, celá kniha, PDF)","created_at":"2019-06-19T00:40:19.028-07:00","url":"https://www.academia.edu/39632126/Koke%C5%A1_Radom%C3%ADr_D_ROZBOR_FILMU_2015_cel%C3%A1_kniha_PDF_?f_ri=2852","dom_id":"work_39632126","summary":"ROZBOR FILMU / FILM ANALYSIS [English summary]\n\nRadomír D. Kokeš (Brno: Masarykova univerzita, 2015)\n\nThe book focuses on possibilities of analyzing a film as a system. Its aim is to deal with the process of asking questions in such a way that their answers will contribute to convincing solutions of exactly formulated tasks related to the structure of a film work. It is not a broadly conceived exposé of numerous kinds of analyses of numerous types of films; it rather follows the method of in-depth study of a limited scope of issues. As such, it consists of four sections. Each of these sections offers different questions and answers, presents different findings to the reader and follows different methods of work with the explication. All sections logically follow from the others, and thus analysed topics reappear in various contexts, as well as complement and develop each other. An invariable background of the explications in the book is formed, first, by aesthetic norms of the classic Hollywood film, second, by traditions of the Czech cinema and third, by Kristin Thompson’s and David Bordwell’s neoformalist poetics.\n\n(1) The first section is titled TO OBSERVE and it presents the basic tools for an analysis of a work of art. It sees the work as a system, where it distinguishes between basic components of narrative, style and the fictional world. It explains each of these components separately on specific examples. It gives special attention to the films: A Close Shave (GB, 1995) and Once upon a Time in the West (USA/Italy, 1968). The subject matter of the explication is a film work.\n\n(2) In the second section, TO PLAN, the book approaches to discussion and writing about film as a way of issues-solving. It explains the importance of finding, posing, and answering question about the structure of a film. It gives examples of the films Titanic (USA, 1997) and Bloody Sunday (GB/Ireland, 2002). For a better understanding of the topic it deals with, it offers a conception of two types of theses: centripetal and centrifugal. The subject matter of the explication is the analysis as such.\n\n(3) The third section TO WRITE AND READ / TO READ AND WRITE is the most guiding one, as it focuses on practical aspects of analytical writing, theoretical coherence and the field of recommended publication, which can help to enhance this sensibility. The subject matter of the explication is a written analytical text.\n\n(4) The final section APPENDIX: THREE ANALYTICAL FORMATS AND A READER makes it easier to understand on a higher level the various ways of structuring analysis and its functions. It presents three formats of such texts: an analytical essay, an analytical study, and poetological study. Adaptability to analysed issues follows primarily from six case-studies of the films Who Wants to Kill Jessie? (Czechoslovakia, 1966), Arsenic and Old Lace (USA, 1944), Speed Racer (USA, 2008), Memento (USA, 2000), Smugglers of Death (Czechoslovakia, 1959) and A Tooth for a Tooth (Austria-Hungary, 1913). Each of these more or less comprehensive studies deals with a different issue, asks different questions and (intentionally) addresses readers with different levels of experience. The subject matter of the explication is a unity of approach on the one hand and a variety of issues-solving on the other hand.\nThe book aims to show the widest range of the explanatory possibilities of its approach, which it labels a poetics of fiction. When working with its case-studies, it repeatedly proceeds in the chapters from formally playful films (like A Close Shave, Titanic, Speed Racer or Memento) to structurally complex works (like Once Upon a Time in the West, Bloody Sunday or Smugglers of Death). This enables it to cover a wide range of challenges, which one can encounter in the process of an analysis of (not only audio-visual) works. And finally, the last chapter introduces the theme of a historiographic dimension of the book. 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href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=2852","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" 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