A Grammar of Stories: An Introduction
... Research on oral storytelling over the last 100 years has distinguished at least two levels of narrative representation (1) story, or fabula: the content of a narrative in terms of the sequence of events and relations between them, the story characters and their traits and affects, and the properties and settings; and (2) discourse, or sujhet: the actual expressive telling of a story as a stream of words, gestures, images or facial expressions in a storytelling medium [2,22,7,19,20]. In the telling of a narrative, events from the story are selected, ordered, and expressed in the discourse. We use this distinction to create Fabula Tales, a computational framework for a virtual storyteller that can tell the same story in different ways, using a set of general narratological variations, such as direct vs. indirect speech, character voice (style), point of view, and focalization. ...
Research on storytelling over the last 100 years has distinguished at least two levels of narrative representation (1) story, or fabula; and (2) discourse, or sujhet. We use this distinction to create Fabula Tales, a computational framework for a virtual storyteller that can tell the same story in different ways through the implementation of general narratological variations, such as varying direct vs. indirect speech, character voice (style), point of view, and focalization. A strength of our computational framework is that it is based on very general methods for re-using existing story content, either from fables or from personal narratives collected from blogs. We first explain how a simple annotation tool allows naive annotators to easily create a deep representation of fabula called a story intention graph, and show how we use this representation to generate story tellings automatically. Then we present results of two studies testing our narratological parameters, and showing that different tellings affect the reader's perception of the story and characters.
... Według niego narracja filmowa tworzy całość uporządkowaną według nadrzędnej zasady, transformacja leży u podstaw ekspresji twórczej, natomiast proces samoregulacji wynika z funkcjonalności i celowości wszystkich zawartych w niej elementów. Sam termin narracja często jest ujmowany, jako struktura rozwijająca się w czasie (czasowa struktura znaczenia), będąc formą, która według Gerald Prince [1973] odtwarza upływ czasu, ukazując relację temporalną między dwoma stanami rzeczy i zmianę sytuacji w miarę upływu czasu. Katarzyna Mąka-Malatyńska wnioskuje, że każda forma opowiadania o "dramaturgii rzeczywistości" "jest nałożeniem na bieg zdarzeń konkretnej struktury. ...
Lo relatado en la novela Genio y figura de Juan Valera se caracteriza por la acumulación diegética de una serie de ausencias deconstructoras, puestas de relieve por diversos narradores antinaturales que utilizan el ejercicio gramatológico de la escritura, para ostentar, con cierta frecuencia, rasgos omniscientes. El contenido semántico de tales ausencias se halla penetrado, a su vez, por recuerdos más o menos ambiguos que suelen superponerse, sin solución de continuidad, al tiempo que contribuyen, de hecho, a enriquecer todo lo relatado desde diversas focalizaciones perspectivistas. El desenlace final de lo narrado por los diversos personajes que hacen acto de presencia a lo largo de la historia comunicada apunta hacia un futuro un tanto inconcluso, relacionado semánticamente con el refrán al que parece aludir el título de dicha novela.
Nowadays it is recognized that an individual’s identity is constructed through reflection. So it has to be borne in mind that a human individual is a being that not only exists over time, but also that the development which this being constantly undergoes is one of its essential ontological features. This leads to the assertion that the individual’s identity and ontological structure are ongoing processes; issues requiring constant updating and refinement. Reflexivity and thinking are thus the fundamental factors that constitute an individual’s identity. The concept of narrative helps us understand this, as a narrative creates a temporal structure, and so evolves over time, has a beginning and an end. In this sense, a story is a sequence of statements, the elements of which are arranged in linear interdependence and are ordered chronologically. In other words, a story is a structure that unfolds over time, that reproduces the passage of time, and as such it can reveal the temporal relation between two states of affairs and how a situation changes as time goes by. The concept of narrative is of course complex, and it is understood in various ways which focus on different defining aspects. It has been pointed out that a narrative includes descriptions of actions and past events that are deemed noteworthy—by the narrator and listener—because they deviate from ordinary events or situations. It has also been emphasized that a narrative statement is constructed on the basis of at least two appropriately related sentences, so there are no absolute or independent narrative sentences. Finally, Hayden White significantly expanded the concept of “narrative structure”, by introducing emplotment:
Zusammenfassung
Der vorliegende Beitrag zeigt narrative Konstitutions- und Stabilisierungsangebote kollektiver ,rechter‘ Identität in religionsbezogener Kommunikation auf. Dabei wird deutlich, dass die Affordanzen identitätsbildender Identifikationsangebote in der Konstruktion bestimmter Narrative angelegt sind. Exemplarisch zeigt sich dies über die Konturierung eines rechtspopulistischen (religiös getönten) Masternarrativs: Forcierte Distinktionsbestimmungen zielen auf eine bestimmte Strukturierung der Wahrnehmung sozialer Realität ab. Dazu bedienen sich Kommunikationsteilnehmer:innen auf synchroner Ebene der Figur des Anti-Elitismus, in diachroner Perspektive der Vitalisierung der Vorstellung eines ,heartlands‘, das in scharfem Kontrast zur krisenhaft beschriebenen Gegenwart steht. Beide Momente der potenziell (gruppen-)identitätsbildenden Angebote, so ist anzunehmen, begünstigen nicht zuletzt affektiv die diskursive Rezeptivität und Produktivität nicht nur des Masternarrativs, sondern auch entsprechender rechtspopulistischer Narrativfragmente. Wenngleich Gary Alan Fines Klassifizierung sogenannter „movement stories“ nicht eins zu eins auf das Material des Projektes anwendbar ist, so lässt die Relektüre des Materials mit der Brille der Ausdifferenzierung in „horror stories“, „war stories“ und „happy endings“ noch einmal die unterschiedlichen narrativen Möglichkeiten und Realisierungen potenziell identitätsstiftender Identifikationsangebote in rechtspopulistischer, gar als rechtsextrem zu bezeichnenden Kommunikationen aufleuchten.
Cinematic Virtual Reality (CVR) is a style of narrative-based Virtual Reality (VR) experience built on filmed or computer-generated 360-degree videos. Since CVR is becoming more popular and widely accessible, researchers and practitioners have been trying to address challenges such as the conflict between the viewer’s freedom of choice and the creator’s control over where to look, or the risk of missing key story elements due to such freedom. As part of the solution, CVR creators employ attention-guiding cues, introduce viewer interaction, and combine these two techniques into all-encompassing CVR production frameworks. However, there are very few CVR projects that embrace the various differences in the backgrounds, preferences, and expectations of each individual viewer. Further to this, they do not consider the content creator/owners’ perspective when presenting and digitizing stories from the real world, especially when considering viewer’s connection to the cultural significance contained. In this paper, a case study is presented to explore the use of adaptability to viewer situations and the coherence to Māori (the indigenous people of New Zealand) storytelling contexts in CVR experiences. In the case study, we began with co-design sessions with storytellers from Te Rau Aroha Marae (an active Māori cultural heritage site in the deep south of New Zealand), about appropriate features to collect from visitors to a virtual storytelling event , then co-built personas as representative tools. 360-degree videos of pūrākau (stories) were then captured and presented via an adaptable VR system. Evaluations were conducted with the storytellers to validate the system, and to collect reflections and opinions on both the use of CVR in Māori storytelling and the cultural appropriateness of CVR with adaptability. We conclude this paper with a discussion of possible improvements for future CVR frameworks.
A nem természetes narratívák tudatfolyam-ábrázolásainak keretes szövegként, sőt narratívaként való értelmezhetősége Emmott (1999) szövegtipológiája alapján megkérdőjelezhető. Tanulmányomban Faulkner "A hang és a téboly" című regényéből (1956) Benjy monológját elemzem és arra a következtetésre jutok, hogy a személyközi, tér- és időviszonyok ábrázolásában nem épül ki az a kontextuális keret, amely a regény narratívaként való felfogását lehetővé tenné. Ez az észrevétel szorosan összefügg a szövegbeli kauzalitás – mint keretépítő tényező – alapvető hiányával és az érzelmi motiváció – mint az asszociatív jelenetváltásokat implikáló jelenség – előtérbe kerülésével (vö. Velleman 2003).
Jelen tanulmányban a nem természetes narratív sémák feltárásának céljából egy egyszerre szövegtani és stilisztikai kiindulópontú (Gibbons–Whiteley 2018; Stockwell 2009), poétikai (Stockwell 2002; Turcsik 2019, 2020) valamint egy mind style-vizsgálaton (Fowler 1977) alapuló elemzéssel azt mutatom be, hogy hogyan bomlik meg és értelmeződik újra a Benjy-monológbeli kauzalitás.
Narrative methods have become increasingly important in organizational development in recent years: Organizational developers and consultants are increasingly discovering the extent to which narrative structures determine culture, basic assumptions, patterns of action, sense-making, and values in an organization. Of particular importance in this context is Storylistening, hence working with the stories that exist in the organization or are produced in protected narrative spaces. This article presents the basics of this approach and describes important storylistening methods for change, knowledge transfer and experience sharing.
In this Research Topic we are interested in the impact of online video-sharing on the public communication of science and the environment, but also on intra-scientific communication and practice. The online video format has great potential for science and environmental communication, but there are also potential problems and pitfalls that need to be reflected. We are interested in the role of online video-sharing platforms, such as YouTube, Vimeo and others, for the public communication of science and research.
Production
We are looking for various perspectives on the production of online videos, i.e. who creates and uploads videos with scientific and environmental contents and what are the intentions and purposes of these videos? What are the differences and similarities between professional, amateur, institutional and other actors who produce online videos? How do the different creators of videos about science and the environment legitimize themselves and what audiences do they want to reach and for what reasons? What are the differences in practices and intentions of journalists, YouTubers, scientists, scientific institutions and others when it comes to online video-sharing?
Content
Which scientific and environmental topics and what kinds of research and knowledge are represented in publicly available online videos and which are not? Are there certain scientific disciplines that use online videos for public and/ or intra-scientific communication more often than others? What kind of video formats, genres, videographic styles etc. are most successful, widespread and adequate for science and environmental communication? How can the quality of scientific online videos be assessed? What role do misinformation, disinformation and conspiracy theories play in online videos about scientific and environmental topics and what could be done to successfully counteract erroneous and problematic video content? Can differences concerning topics, frames or aesthetic aspects be found and analyzed, and if so how? What are the differences between the online videos of professional, amateur, institutional and other user/ producer cultures? Are there differences in the online videos from diverse geographical locations, languages and disciplinary communities?
Audiences, reception and communities
How are online videos on science and the environment perceived by various audiences? Do scientists and researchers also make use of the online-video format, and if so, how and why? How do different audiences make sense of the online videos they are watching and how do they affect perceptions, knowledge and attitudes? How do different users seek and find online videos about science and the environment and how do they assess the credibility of the videos? What communities emerge around specific video channels featuring science and environmental online videos and how do various audiences/ communities and video creators interact? What is the role of specific online video-sharing platforms for the dissemination, recommendation and practices of environmental and science communication via online video?
Methodological innovations
What quantitative, qualitative, computational and other methods could be used to study scientific and environmental online-videos and practices of online video-sharing?
Practical perspectives
We are also interested in perspectives of online video practitioners or researchers and others who experimented with online videos for science and environmental communication. We also welcome case studies and the experiences of science YouTubers and experience reports of exchanges with scientists, scientific institutions, journalists, filmmakers and others who use online videos for environmental and science communication.
Keywords: Science Communication, Environmental Communication, Online Video, Video Platforms, YouTube, Vimeo, Public Understanding of Science, Science of Science Communication, Social Sciences, Media, Communications, Interdisciplinarity
See also:
https://www.frontiersin.org/research-topics/11604/new-directions-in-science-and-environmental-communication-understanding-the-role-of-online-video-sha
Open-world processes generate information that cannot be captured in a single data set. In fields such as medicine and defense, where precise information can be life-saving, a modeling paradigm is needed in which multiple media and contexts can be logically and visually integrated, in order to inform the engineering of large systems. One barrier is the underlying ontological heterogeneity that multiple contexts can exhibit, along with the need for those facts to be compatible with or translated between domains and situations. Another barrier is the dynamism and influence of context, which has traditionally been difficult to represent. This chapter describes a method for modeling the changes of interpretation that occur when facts cross-over context boundaries, whether those contexts are differentiated by discipline, time or perspective (or all three). We that processing Here, a new modeling environment is developed in which those transitions can be visualized. Our prototype modeling platform, Wunderkammer, can connect video, text, image and data while representing the context from which these artifacts were derived. It can also demonstrate transfers of information among situations, enabling the depiction of influence. Our example focuses on post-traumatic stress disorder (PTSD), combining psychological, neurological and physiological information, with a view to informing the aggregation of information in intelligent systems. These different forms of information are connected in a single modeling space using a narrative-based visual grammar. The goal is to develop a method and tool that supports the integration of information from different fields in order to model changing phenomena in an open world, with a focus on detecting emerging disorders. In turn, this will ultimately support more powerful knowledge systems for fields such as neurobiology, autonomous systems and artificial intelligence (AI).
Social media platforms host an increasing amount of costumer reviews on a wide range of products. While most studies on product reviews focus on the sentiments expressed or helpfulness judged by readers and on their impact on subsequent buying this study aims at uncovering the psychological state of the persons making the reviews. More specifically, the study applies a narrative approach to the analysis of product reviews and addresses the question what the narrative construction of product reviews reveals about the level of post-decisional cognitive dissonance experienced by reviewers. The study involved 94 participants, who were asked to write a product review on their recently bought cell phones. The level of cognitive dissonance was measured by a self-report scale. The product reviews were analyzed by the Narrative Categorical Content Analytical Toolkit. The analysis revealed that agency, spatio-temporal perspective, and psychological perspective reflected the level of cognitive dissonance of the reviewers. The results are interpreted by elaborating on the idea that narratives have affordance to express affect.
Words like “story,” “narration,” “narrative,” and “storytelling” are often used interchangeably even though they can mean very different things depending on the context. Sometimes “story” may for example simply refer to an interesting topic; sometimes the expression comments on a specific aesthetic or emotionality. In spite of the different circumstances under which the terms may be used, all narrative forms have one thing in common: a temporal structure. This little interlude develops a handy dictionary of narrative terms, so you will not get lost on your journey.
A large body of experimental evidence in the empirical sciences shows that writing about life experiences can be beneficial for mental and physical health. While empirical data regarding the health benefits of writing interventions have been collected in numerous studies in psychology and biomedicine, this literature has remained almost entirely disconnected from scholarship in the humanities and cognitive neuropsychology. In this paper, I review the literature from psychological and biomedical writing interventions, connect these findings to views from philosophy, cognitive neuropsychology and narratology and argue that examining established regularities in how narratives are structured can shed further light on the psychological processes engaged during writing interventions. In particular, I argue that the narratological concept of conflict can be applied to resolve patterns of seemingly conflicting empirical findings in psychological studies. More generally, I propose that an interdisciplinary perspective can provide a broader theoretical basis for understanding the psychological processes underlying the health benefits of autobiographical writing and provide directions for future research in psychology and biomedicine.
Every company has a future story, whether it knows it or not. A crucial question is: Is the company at least partly in control of this future story, or is it fate that writes the story? A second important question concerns the nature of the future story: Does a company rely on a closed or an open story setting? Closed story settings motivate employees by fear and offer few options, while open stories motivate employees by giving the work in the company a deeper meaning and offer lots of options. This paper explains the difference between both story styles and shows the process for developing successful future stories.
This paper investigates, by performing a comparative analysis of concepts from cognitive and behavioural psychology, complexity theory, linguistics, logic, cognitive narratology and narrative theory, how mental schemata are utilised in narrative composition by exploring the cognitive mechanisms that come into play during dramatic writing. Schemata are high-level cognitive structures that have the capacity to integrate data relations systematically, and which can organize existing information or serve as bedrocks for the acquisition of future information. In the effort to synthesise complex narrative systems where logical inconsistencies are minimised, schemata appear to hold a triple function. The first function is cognitive and explains the mental processes with which readers and viewers use existing information so to identify with the fictional characters and follow a story throughout. The second function is structural as schemas consolidate related narrative information in situations during which a decision must be made from the author for the advancement of plot; a process that is facilitated by the plotting schema. The third function supplements the second with further architectural differentiation by consolidating information pertaining to narrative activity; a process that is facilitated by the action schema. The analysis leads to the conclusion that in narrative composition correlation gives emergence to causality, and that the aim of authors must be the creation of narratives that are consistent but not complete.
In this paper, we present story curves, a visualization technique for exploring and communicating nonlinear narratives in movies. A nonlinear narrative is a storytelling device that portrays events of a story out of chronological order, e.g., in reverse order or going back and forth between past and future events. Many acclaimed movies employ unique narrative patterns which in turn have inspired other movies and contributed to the broader analysis of narrative patterns in movies. However, understanding and communicating nonlinear narratives is a difficult task due to complex temporal disruptions in the order of events as well as no explicit records specifying the actual temporal order of the underlying story. Story curves visualize the nonlinear narrative of a movie by showing the order in which events are told in the movie and comparing them to their actual chronological order, resulting in possibly meandering visual patterns in the curve. We also present Story Explorer, an interactive tool that visualizes a story curve together with complementary information such as characters and settings. Story Explorer further provides a script curation interface that allows users to specify the chronological order of events in movies. We used Story Explorer to analyze 10 popular nonlinear movies and describe the spectrum of narrative patterns that we discovered, including some novel patterns not previously described in the literature. Feedback from experts highlights potential use cases in screenplay writing and analysis, education and film production. A controlled user study shows that users with no expertise are able to understand visual patterns of nonlinear narratives using story curves.
Storytelling serves many different social functions, e.g. stories are used to persuade, share troubles, establish shared values, learn social behaviors, and entertain. Moreover, stories are often told conversationally through dialog, and previous work suggests that information provided dialogically is more engaging than when provided in monolog. In this paper, we present algorithms for converting a deep representation of a story into a dialogic storytelling, that can vary aspects of the telling, including the personality of the storytellers. We conduct several experiments to test whether dialogic storytellings are more engaging, and whether automatically generated variants in linguistic form that correspond to personality differences can be recognized in an extended storytelling dialog.
Die Wurzeln der narratologischen Textanalyse liegen in zwei Ansätzen, die in der ersten Hälfte des 20. Jahrhunderts der Literaturwissenschaft eine neue Grundlage gaben. Dabei handelt es sich um den russischen Formalismus und den Prager Strukturalismus (vgl. dazu Hansen-Löve 1978). In einer programmatischen Schrift aus dem Jahr 1928 bezeichnen Jurij Tynjanov und Roman Jakobson (1972) die Analyse von Strukturgesetzen von Sprache und Literatur als das vordringliche Ziel der Literatur- und Sprachwissenschaft (beide Disziplinen sind in ihren Augen eng miteinander verbunden) und stellen als Ergebnis einer solchen Anstrengung die »Ermittlung einer begrenzten Reihe real gegebener Strukturtypen (bzw. Typen der Evolution)« (ebd., S. 391) in Aussicht. Die wissenschaftsgeschichtliche Relevanz dieses Beitrags liegt in der Forderung nach der theoretischen Fundierung literaturwissenschaftlicher Arbeit, deren Zielsetzung Jakobson (1972, S. 31) in einer oft zitierten Passage pointiert formuliert hat: »Gegenstand der Literaturwissenschaft [ist] nicht die Literatur, sondern die Literarizität, d. h. dasjenige, was das vorliegende Werk zum literarischen Werk macht«.
‚Storytelling in der Internen Kommunikation‘ klingt wie ein Ausschnitt aus dem großen Ganzen, ein Ausschnitt aus Storytelling in der Gesamtkommunikation. Einer Gesamtkommunikation, welche auch die externe Kommunikation umfasst. Storytelling in der Internen Kommunikation ist aber mehr als ein Ausschnitt.
Narrationen in Form sogenannten Storytellings haben in den letzten Jahrzehnten vermehrt Einzug in die Organisationskommunikation gehalten. Nicht zuletzt wird damit das Ziel verfolgt, ansonsten vielleicht nüchterne Inhalte in lustige und belehrende Geschichten zu verpacken, um sie den MitarbeiterInnen schmackhaft zu machen und einen nachhaltigen Effekt daraus zu erzielen. Dabei wird gleichzeitig gehofft, so manches Werkzeug der Internen Kommunikation, wie zum Beispiel das Intranet, von Daten- und Formularfriedhöfen in blühende Kommunikationswiesen zu verwandeln.
The need for users to make sense of their growing mass of personal digital data presents a challenge to Design and HCI researchers. There is a growing interest in using narrative techniques to support the interpretation and understanding of such data. In this early study we explore methods of selecting images from personal Instagram accounts in the form of a triptych (a sequence of three images) in order to create a sense of narrative. We present a brief description of the algorithms behind image selection, evaluate how effective they are in creating a sense of narrative, and discuss the wider implications of our work. Results show that semantic tagging, a dynamic programming algorithm, and a simple narrative structure produced triptychs which were significantly more story-like, with a significantly more coherent order, than a random selection, or a neutral sequence of images.
Defence and security organisations rely on the use of scenarios for a wide range of activities; from strategic and contingency planning to training and experimentation exercises. In the grand strategic space, scenarios normally take the form of linguistic stories, whereby a picture of a context is painted using storytelling principles. The manner in which these stories are narrated can paint different mental models in planners’ minds and open opportunities for the realisation of different contextualisations and initialisations of these stories. In this chapter, we review some scenario design methods in the defence and security domain. We then illustrate how evolutionary computation techniques can be used to evolve different narrations of a strategic story. First, we present a simple representation of a story that allows evolution to operate on it in a simple manner. However, the simplicity of the representation comes with the cost of designing a set of linguistic constraints and transformations to guarantee that any random chromosome can get transformed into a unique coherent and causally consistent story. Second, we demonstrate that the representation being utilised in this approach can simultaneously serve as the basis to form a strategic story as well as the basis to design simulation models to evaluate these stories. This flexibility fulfils a large gap in current scenario planning methodologies, whereby the strategic scenario is represented in the form of a linguistic story, while the evaluation of that scenario is completely left for the human to subjectively decide on it.
The focus on cognitive dimensions of the narratives raises questions about the way receivers effectively interpret stories and the ways to study these process. In this context, experimental reception studies have their place in narratology as they seek to objectify the representations constructed by the receivers, how they are developed and how they are used. This paper considers the contributions and limitations of the experimental reception studies applied to narratology. The argumentation is based on some experiments conducted for a research on knowledge communication through science popularization stories.
Der Artikel »Erzählen. Die ethisch-politische Funktion narrativer Diskurse« stellt eine »disziplinübergreifende Werkzeug-kiste« aus unterschiedlichen Theorietraditionen zusammen. Er versucht aufzuzeigen, was sich von jeder der einzelnen Theorietraditionen lernen lässt, um narrative Diskurse besser auf ihre ethisch-politische Funktion hin analysieren zu können.
Im ersten Teil geht es um die Eigenschaften und Funktionen von Narrativen: insbesondere, wie Erzählungen den Ereignissen einen Sinn und eine Struktur geben, indem sie diese mithilfe von fünf narrativen Gründen in Beziehung zueinander stellen. Neben der Aktantentheorie von Algirdas J. Greimas werden das Zeit- und Verantwortungsmanagement narrativer Diskurse behandelt (etwa Ricœur, Arendt, MacIntyre).
Der zweite Teil widmet sich (u. a. im Anschluss an Booth, Eco, Ricœur, Genette, Foucault und White) der Frage, wer eigentlich der Erzähler oder die Erzählerin einer Narration ist und an welches Publikum sie sich richten.
Research on storytelling over the last 100 years has distinguished at least two levels of narrative representation (1) story, or fabula; and (2) discourse, or sujhet. We use this distinction to create Fabula Tales, a computational framework for a virtual storyteller that can tell the same story in different ways through the implementation of general narratological variations, such as varying direct vs. indirect speech, character voice (style), point of view, and focalization. A strength of our computational framework is that it is based on very general methods for re-using existing story content, either from fables or from personal narratives collected from blogs. We first explain how a simple annotation tool allows naíve annotators to easily create a deep representation of fabula called a story intention graph, and show how we use this representation to generate story tellings automatically. Then we present results of two studies testing our narratological parameters, and showing that different tellings affect the reader's perception of the story and characters.
A Discourse-Centered Approach to Language and Culture
The Sapir-Whorf hypothesis, as usually formulated, searches for isomorphisms between grammar and culture and views language as either providing the means for thought and perception, or, in its stronger form, conditioning thought, perception, and world view. In this article I consider discourse to be the concrete expression of language-culture relationships. It is discourse that creates, recreates, focuses, modifies, and transmits both culture and language and their intersection, and it is especially in verbally artistic and playful discourse, such as poetry, magic, verbal dueling, and political rhetoric, that the resources provided by grammar, as well as cultural meanings and symbols, are activated to their fullest potential and the essence of language-culture relationships become salient.
Most theories of communication take the idea of « organization » as a given. The article which follows argues for a different approach, that the organization is a reality which emerges out of interaction. Organization becomes a reality when the conversation is understood as a set of transactions, by means of which relations are established, value is exchanged and identities are created. The nature of the communication event supporting transactions is analyzed as a linking of agent/beneficiary (victim) in a complementary relationship. Fundamental to the identification of a transaction is the narrativization of the conversation, preliminary to its textualization. It is as text that the organization becomes an identifiable object. The dynamics of change are traced to the ongoing dialectic of conversation and text.
Requirements Elicitation (RE) is a critical process in system/software engineering. Its goal is to capture the stakeholders’ expectations, needs and constraints, which can be elicited, analyzed and specified as requirements. Gathering the requirements correctly, clearly and completely in a natural way is a typical challenging problem, because requirements analysts always play key roles in the elicitation process dominantly while stakeholders participate in passively. In this paper, we propose a collective intelligence driven business process oriented requirements acquisition and refining method. Its aim is to reduce the requirements analysts’ dominance and promote stakeholders’ self-expression and self-improvement to elicit requirements clearly and completely. It adopts the group storytelling method to promote the collaboration and communication among stakeholders, utilizes the narrative network model to enhance the associations among story fragments, and introduces dialogue game theory to guide the progressive refining. At the same time, the activity theory is adopted as the description framework to present the method and an application example is introduced. Finally, a pilot experiment is carried out to evaluate its perceived usefulness and perceived ease of use; and the actual quality of the requirements based on the degree of completeness and understandability in comparison with JAD. The results show that the requirements elicited by BPCRAR are more complete and understandable than JAD. In addition, the BPCRAR is perceived usefulness and ease of use in the experiment.
1. Uvodne napomene U žarištu danoga istraživanja bit će pripovjedni elementi i mehanizmi u minimalnim književ-nim djelima, tj. književnim mikroformama. Pojam književne mikroforme valja razlikovati od pojma »jednostavni oblik« (usp. naslov knjige Andrea Jollesa iz 1930. godine: Einfache Formen) ili od nešto proširenijega pojma »mali oblik«. Stvar je u tome da ćemo pod mikroformama razu-mijevati maksimalno kratka (maksimalno malena) književna djela, tj. umjetničke tekstove koji se sastoje od dviju, triju ili četiriju riječi (dvorječja, trorječja, četverorječja).[1] Takva maksimalno kratka, ali semantički, estetski, strukturno i funkcionalno cjelovita i kompleksna djela mogu se pronaći i u sferi tradicionalnih usmenoknjiževnih žanrova (poslovice, izreke, zaklinjanja, zdra-vice, psovke i dr.), i u sferi pismeno-slikovnih žanrova suvremene gradske svakodnevice (grafiti, parole, transparenti, reklame, oglasi, spotovi), i među autorskim književnim žanrovima (lirika). [2] 2. Minimalni uvjeti narativnosti Suvremena naratologija (teorija pripovjednih tekstova) čini neobično kompleksan sustav katego-rija (usp. npr. Šmid 2003) koji pretendira ne samo na to da opiše umjetničke tekstove, nego isto tako i historiografske, znanstvene, pa čak i filozofske. »U svima se njima prepoznaje jedinstvena pripovjedna matrica kao organizacijsko načelo najprije čovjekova jezičnog, a potom i ukupnog odnosa prema svijetu« (Biti 2000: 329). Ovdje ne možemo poduzimati re-konstrukciju nara-tologije kao sustava koji polazi od kategorija kao što su pripovijedanje (naracija), pripovjedne instance (autor -pripovjedač -lik -čitatelj), fabula i siže (priča i diskurz), razine, tipovi i modusi »prezentacije naracije«, i sl. Naprotiv, ovdje ću pokušati odrediti onaj minimum koji će nam, nadam se, pomoći da razlikujemo kako narativ od ne-narativa (pripovjedno djelo od nepripo-vjednoga), tako i protonarativ od narativa. Čini se da upravo književne mikroforme (mikrodjela) mogu poslužiti kao polazište, odnosno kao vrijedna građa, pri provjeravanju -potvrđivanju ili odbacivanju -nekih, ponekad čak i temeljnih, naratologijskih postavaka. Svojedobno je Gerald Prince ustvrdio da se »minimalna priča« sastoji od jednoga događaja i dva-ju stanja (»statičnih događaja«). Prvo stanje prethodi u vremenu »aktivnomu događaju«, a drugo slijedi za »aktivnim događajem«. Pritom je posljednje (završno) stanje, koje je sa središnjim »ak-tivnim događajem« povezano ne samo vremenski nego i kauzalno, suprotno početnomu stanju: »Čovjek je bio sretan, zatim je susreo ženu, zatim je, kao rezultat toga, bio nesretan« (Prince 1973: 19). Ako je riječ o dvama suprotnim ali uzajamno neuvjetovanim »statičnim događajima« ili stanjima (stativ? events), to nije dostatno za stvaranje priče. Zato rečenica »John je bio bogat, zatim je postao siromašan« nije priča (Prince 1973: 20; 1987: 53). Da bi John upao u »priču«, on mora biti podvrgnut još jednomu, središnjemu, »aktivnomu događaju«: »John je bio bogat, zatim je putovao, zatim je, kao rezultat toga, bio siromašan« (Prince 1973: 22, 31).
The article discusses newspaper news stories in terms of linguistic and literary narratology. It regards the news as a discursive composition, which is produced by the journalist-mobilized news narrator, singling out relevant pieces of information from the discourses of real-life actors, ordering them into definite relationships and binding them together in a linking discourse. The article presents a detailed analysis of the properties of the narrator's linking discourse and of the ways in which the narrator, in making the news, can shape his or her point of view of the discourses of the actors in the news so as to support or undermine them. The article is intended primarily as a methodical experiment, and it concludes that, if appropriately modified, narratological tools and concepts are well suited to the structural analysis of news.
Description, narrative, and explanation can be viewed both as cognitive activities and as forms of communication, that is, text types embedded within socio-cultural, institutional, and discipline-specific histories of practice. I relate these three text-type categories to research on categorization processes more generally, exploring what might constitute the "basic" level of a taxonomy of text types (i.e., the most cognitively fundamental level) and also what might be considered prototypical features of descriptions, explanations, and stories (i.e., the features found fully realized in exemplars or standard cases of these types). Building on the taxonomy outlined in the first three sections of the essay, especially my account of core features of explanation, the final section constitutes a "coda" in which I use the taxonomy to investigate how narrative relates to description and explanation in contexts of scientific inquiry in particular.
The contextual approach to teaching is generally recognized as a reasonable and desirable strategy to enhance student learning
in science. Using several cognitive and learning theories together with various philosophical considerations, I identify five
distinct contexts that are important in engaging learners: the theoretical, practical, social, historical, and affective.
Based on these five contexts, I construct a model for teaching and learning, named the Story-Driven Contextual Approach (SDCA),
in which the story assumes a major role in engaging the learner affectively. The teacher introduces the SDCA to students by
means of a story, encouraging students to engage actively with the five contexts. In the SDCA, students function as novice
researchers and the teacher as a research director.
Although various reasons have been proposed to explain the potential effectiveness of science stories to promote learning,
no explicit relationship of stories to learning theory in science has been propounded. In this paper, two structurally analogous
models are developed and compared: a structural model of stories and a temporal conceptual change model of learning. On the
basis of the similarity of the models, as elaborated, it is proposed that the structure of science stories may promote a re-enactment
of the learning process, and, thereby, such stories serve to encourage active learning through the generation of hypotheses
and explanations. The practical implications of this theoretical analogy can be applied to the classroom in that the utilization
of stories provides the opportunity for a type of re-enactment of the learning process that may encourage both engagement
with the material and the development of long-term memory structures.
Many educators today advocate the use of historical narratives as one of a number of possible contexts for teaching science. However, several pedagogical and epistemological issues arise when implementing narratives in the classroom. In this paper, we are interested in expanding our view of narrative, specific to integrating the history of science and science teaching, and we extend our argument beyond simple anecdotal references to recognise the benefits of the historical narrative in a variety
of ways. At the same time, we address pedagogical concerns by broadening perceptions of the manner and contexts in which narratives can be developed so as to include imaginative and manipulative elements that provide interactive experiences for students that are more conducive to implementation by science teachers. Several practical examples are presented as illustrations of historical narratives with imaginative and manipulative elements that by design facilitate a more meaningful implementation
in the science classroom.
Poetics Today 24.2 (2003) 297-395
Laurence Sterne, Tristram Shandy
Laurence Sterne, Tristram Shandy
In a cross-disciplinary review of narrative theory, "Telling in Time," I diagnosed isolationism as a cardinal evil:
Unhappily, the narrative field is parcelled up among several disciplines, which tend to work in casual or even studied disregard for one another's very subject matter as well as methods and findings. Thus the inquiries into so-called artistic/literary, historical, and everyday narrative all too often go each its own institutional way: a division of labor with little interdisciplinary feedback and synthesis. (Sternberg 1990b: 991 and passim)
In this regard, only with the substantive implications foregrounded, the present argument complements that "Telling in Time" series. Here, as there, vested group interests come second to my interest in narrative at large. Of the groups involved to date, I will show, the cognitivist latecomer has most flagrantly and self-defeatingly reversed this hierarchy, especially in its contact, or lack thereof, with the poetic tradition. It exhibits too much self-sealing, too little achievement by common standards, and less impact on the mainstream treated, or most often ignored, as outgroup. The self-styled Cognitive Revolution has therefore failed either to rival or to reorient the practice of narratology—let alone interests other than theoretical—not even at a time when the major Structuralist paradigm eventually began to crumble there. As before, the reorientations discernible there since, in and against the mentalist line, not excepting the occasional tie-up with cognitivism proper, have mainly issued from lights and changes and pressures, alternatives and shifts of balance, within the established discipline.
Moreover, though the group's apartness widely typifies its approach to text at large, these minuses vis-á-vis narrative and narratology have a special claim to attention. Nowhere else has the renovated mind science invested so heavily since the 1970s, in a discourse kind so central and congenial as well as so researched within the humanities. Next to it by such criteria, the work done on figurative language under the new banner, since Ortony (1979) and Lakoff and Johnson (1980), has relatively more to show, and more will to show it, with a fairer chance of being heard without—in special issues of Poetics Today (13:4, 14:1, 20:3), for example. Accordingly, perhaps, its amnesia and separatism have also drawn more fire.
As a longtime student of how narrative is constructed in the mind, I for one find the poor start made by a kindred area of study anything but exhilarating. That the so-called cognitive turn has on the whole turned out such a disappointment regarding the genre most attractive to it and most amenable to comparative assessment, however, yet leaves the future open. The unhealthy balance sheet to date only brings home the general lesson of isolationism and argues for a sea change in this particular new arrival, from self-conception downward, without either belittling the spirit of its enterprise or overidealizing the established poetic tradition with which it might, and still may, form an interdiscipline other and better, if not larger or greater, than the sum of its parts. Other certainly, like any whole; also better, if only owing, and proportionally, to the forgeable composite equipment; though not larger or perforce greater, in that it would be focused on the mind/narrative junction, hence bent on selectively interrelating, not swallowing and supplanting wholesale, the disciplines that encompass the respective parts.
In effect, such contact amounts to a must for this latecoming group. Where else would the body of narrative knowledge indispensable to all practitioners in the field come from? The developments, the accidents, if you will, of intellectual history over...
Poetics Today 24.3 (2003) 517-638
We now return to the three narrative universals from another viewpoint, that of false cognitivist pretenders to the title. The chief pretenders, as in Brewer et al., appear at times under the guise and the very name of the genuine article, yet essentially align with their naked disciplinary equivalents. You may therefore want to refresh your memory of the original definitions cited in section 1 of the first part of this article (Sternberg 2003: 326–28). All the issues to be reviewed next intersect in the following (mis)translation of the generic universals into hard and fast rules, with thumbnail examples to suit:
A surprise event structure must contain critical expository or event information early in the event sequence. In a surprise discourse organization, the critical information from the beginning of the event structure is omitted from the discourse, without letting the reader know that it has been omitted, and then is inserted later in the discourse. We assume that the reader will be surprised when the reader reaches the point where the omitted information is revealed, and that the surprise is resolved when the reader reinterprets the underlying event sequence in light of this new information. An example of a minimal surprise discourse structure is: "Charles got up from the chair. He walked slowly toward the window. The window broke and Charles fell dead. The sound of a shot echoed in the distance." In the underlying event sequence, a sniper has come within range of Charles' window, but this critical event information has been omitted from the discourse structure to produce surprise . . .
Suspense
A suspense discourse organization must contain an initiating event or situation. An initiating event is an event which could lead to significant consequences (either good or bad) for one of the characters in the narrative. The event structure must also contain the outcome of the initiating event. In a suspense discourse organization the initiating event occurs early in the discourse. The initiating event causes the reader to become concerned about the consequences for the relevant character and this produces suspense. Typically, additional discourse material is placed between the initiating event and the outcome event, to encourage the build up of the suspense. The suspense is resolved when the outcome is presented in the discourse. Thus, in a suspense discourse structure, the order of events in the discourse can map the order of events in the event structure. An example of a minimal suspense discourse organization from the event sequence used above is: "The sniper was waiting outside the house. Charles got up from the chair. He walked slowly toward the window. There was the sound of a shot and the window broke. Charles fell dead." Notice that it is the reader's affect that is crucial. In this case the reader is placed in suspense, while the character doesn't know that he is in danger.
Curiosity
A curiosity event structure must contain a significant event early in the sequence. In a curiosity discourse organization, the significant event is omitted from the discourse, but (unlike surprise) the reader is given enough information to know that the event is missing. This discourse organization leads the reader to become curious about the withheld information. The curiosity is resolved by providing enough information in the later parts of the discourse for the reader to reconstruct the omitted significant event. This is, of course, the discourse organization of the classic mystery story. An example of a minimal curiosity discourse for the event sequence used above is "Charles fell dead. The police came and found the broken glass, etc." (Brewer and Lichtenstein 1982: 480–81; iterated in their 1981: 365–67; Brewer 1983: 595, 1985: 169–70, 1995a: 92, 1996: 110–13, 1998: 157–60; Brewer and Ohtsuka 1988: 396–97; echoed as a whole in, e.g., Millis 1995: 239ff., Hoeken and van Vliet 2000: esp. 278–80)
The problems with this transfer range from narrative closure to narrated selectivity. Yet they do form a set, or even a sequel to the earlier typology/teleology and feeling/thought problematics, and not only because of their ongoing, cumulative restrictiveness. They also share deeper...
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