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Recent Concepts of Narrative and the Narratives of Narrative Theory

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Abstract

Among the current definitions of narrative, causal and temporal conceptions continue to vie for explanatory supremacy. In contrast, nearly all standard accounts of modern criticism and theory follow a narrowly linear and relentlessly causal trajectory that reenacts the very teleology that recent theory has taught us to reject. A comprehensive account of the oblique evolution of narrative theory in this century leads to a more multiform model that can better express the recursive and deviant patterns of literary and critical history.
... We can see that Richardson (2000) and Ryan's (2007) accounts share commonalities such as the idea that narrative is made up of a series of linked events and that change is an essential component of narrative. However, although this classificatory approach has the advantage of boiling down narrative to its component parts, during the process there is also the sense that something of the intangible essence of narrative is lost. ...
... Aristotle's famous description of a narrative as consisting of a beginning, a middle and an end can be seen as the basic origins of the line metaphor for narrative. Aristotle's (2012, 13) notion of 'causal necessity' linking the individual stages of a drama, can be seen as a forerunner of both Richardson (2000) and Ryan's (2007) identification of a series of linked events as one of the key characteristics of narratives. ...
Conference Paper
In this thesis, I attempt to trace the threads that links the theoretical concept of narrative to the museum blockbuster exhibition. I adopt a qualitative dialogic approach, exploring the topic of narrative from the perspective of both exhibition makers and museum visitors. Semi-structured interviews with museum professionals provide an insight into the strategies and practices involved in the encoding of narrative in museum exhibitions. Interviews with members of the public reveal how visitors decode exhibition narratives, while also illustrating the role museums play in the stories people tell about themselves. Narrative is a term that is often used in reference to museums but is frequently under-theorised. My case studies – three blockbuster exhibitions held at the British Museum from 2013 to 2015 – each approach the question of how is narrative as a concept relevant in helping us understand the critical issue of the museum from different perspectives. Drawing on the work of the Roland Barthes and the Mikhail Bakhtin, I investigate how concepts taken from literary theory such as plot structure and narratorial perspective might manifests themselves in the space of a museum exhibition. Using the concept of cultural capital taken from the work of the French Sociologist Pierre Bourdieu, I also explore the role a visitor’s social background and familiarity with museums plays in their decision to follow a narrative or reject it. Two threads run throughout my thesis. One is the use of the term narrative to describe the multimodal, multi-authored nature of museum-making. The other is the role museums play in the construction of narratives about the past. It is in the dialogue between the two narrative threads that this thesis seeks to explore and untangle.
... Similar to plants, SDT postulates that humans are growth-oriented organisms, and their psychological growth is dependent on their social environment. Specifically, SDT argues that humans have three basic, universal needs for optimal well-being and growth: (a) autonomy, (b) competence and (c) relatedness (Deci & Ryan, 1985, 2000Ryan & Deci, 2020). Autonomy refers to volition or behaving for reasons that are one's own. ...
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This article will help youth coaches utilize theory-driven motivational strategies to benefit their athletes and themselves. Researchers and coach educators can also use the stories as educational intervention tools to teach coaches about motivational theories.
... In questo senso, la coerenza narrativa globale diventa una proprietà cruciale in grado di rivelare elementi importanti della struttura del Sé. Questa proprietà si riferisce alla capacità di organizzare nello spazio e nel tempo gli eventi narrati, stabilendo tra loro nessi causali e temporali (King et al., 2014;Reese et al., 2011;Richardson, 2000). Proprio alla luce di questo, il fattore temporale viene ad essere un elemento chiave della dimensione narrativa (Abbott, 2002;Corballis, 2011): è proprio la capacità di inserire le sequenze di eventi in una storia organizzata temporalmente a dare a quelle sequenze la corretta struttura di una trama. ...
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[Medicina delle Dipendenze. Italian Journal of the Addictions] Diversi studi hanno dimostrato che l’analisi della dimensione narrativa può rappresentare un valido strumento per far luce su alcuni aspetti psicologici critici; in questo senso, può essere utile per capire meglio il disturbo da dipendenza. Il presente articolo riporta tra l’altro alcuni tra i dati principali di una ricerca da noi condotta e pubblicata nella rivista Journal of Gambling Issues nel 2021. In tale ricerca abbiamo indagato gli aspetti psicologico-narrativi coinvolti nelle dipendenze, specificamente nel DUS e nel DGA, attraverso un’analisi quali-quantitativa multidimensionale di un’intervista semi-strutturata, che ha invitato due gruppi di soggetti dipendenti in trattamento (DGA e DUS) a raccontare le varie fasi della dipendenza. Le analisi narrative multidimensionali da noi condotte sembrano aver portato alla luce alcuni punti critici su cui focalizzare l’attenzione per la costruzione di un adeguato trattamento dei soggetti con dipendenza. Nello specifico, i risultati suggerirebbero la necessità di lavorare su aspetti dissociati del Sé al fine di: 1) favorire il processo di integrazione di motivazioni e azioni, aumentando la consapevolezza e il senso di autoefficacia, soprattutto con i giocatori d’azzardo; 2) migliorare la coerenza globale nella narrazione del desiderio al fine di diminuire la disregolazione emotiva tipica di questa fase; 3) migliorare la capacità di proiezione del Sé nel tempo. Quest’ultimo punto potrebbe essere particolarmente rilevante in una prospettiva di intervento riabilitativo, soprattutto per quanto riguarda gli strumenti di trattamento legati alla dimensione narrativa. Il rapporto circolare tra regolazione dell’impulsività, autocontrollo, integrità dell’Io, funzioni cognitive e dimensione narrativa trova nel fattore temporale uno dei principali perni comuni.
... Narrative is a very broad concept, definitions of which change according to the approach one adopts. Brian Richardson (2000) explains four main approaches to the definition of narrative; temporal, causal, minimal, and transactional. For this study, I adopted the temporal narrative definition, which is the representation of events that had happened in a time interval before the narration time. ...
... It is a rich brand experience that enables consumers to immerse themselves in a narrative story world and strengthen their relationship with the brand (Caru and Cova, 2003;Hollenbeck et al., 2008;Narsey and Russell, 2013). Narratives have been described as the process of telling stories (Richardson, 2000;Ungar et al., 1980) and are regarded as a means to make our consumption experience more meaningful (Polkinghorne, 1988). In a similar vein, Kim et al. (2016) described the role of narrative in improving the readability of the story for the consumer. ...
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