narrative structures
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AbstractThis chapter explores the shared characteristics, both in terms of thematic concerns and narrative structures and strategies, of autofiction and the distinct Japanese form of the I-novel, shishōsetsu. Focusing on the works of three contemporary Japanese writers, Kanai Mieko, Sagisawa Megumu, and Mizumura Minae, it examines the narrative strategies applied by female authors to redefine the self. The chapter focuses on the traits shared by shishōsetsu and autofiction: the ambiguity of first-person narratives such as the semantics of “I” within the text; the interdependence of author, narrator, and protagonist; the practices of fictionalizing the self; and the question of authorship. Exploring shishōsetsu as an autofictional form also expands the scope of existing theoretical discussions on the autofictional, which rarely take Japanese literature into consideration.

BACKGROUND: Digital stories are short videos that use narrative structures to address health outcomes from a personal perspective. AIM: The main objective of this study was to train university students to design a video-based health education program for promoting peer-to-peer education and community awareness. METHODS: Cross-sectional study. The study was conducted as a project for medical students, enrolled in the implementation of the Egyptian Youth Initiative (EYI), executed in response to the Government of Egypt- United Nations Children’s Fund (UNICEF) Country Program of Cooperation for 2016 - 2018. A four-day train-the-trainer workshop established for capacity building on DST and video communication. RESULTS: Between June 2017 and May 2018, 120 eligible students were enrolled, among whom median age was 21 years and 67 (55%) were female. Pre- and posttests detected increased percent change of students’ knowledge regarding different health issues. Open-ended questions highlighted pros and cons of the program, the most important skills and knowledge gained, suggestions and recommendations mentioned by the students to maximize the use of this type of workshops in the framework of strengthening and activating the initiative outcome. The trainer created a grading rubric to evaluate student’s video projects. CONCLUSION: The digital story is a lay method to capture meaningful, impactful stories that can be used to advocate for public health concerns and crises. The study highlights the need for high-quality research on the impact of DST in health professionals’ education and behaviors.

This article proposes connections between literature and science through the relatively recent scientific concept of chaos. I examine Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman and Denis Diderot’s Jacques the Fatalist and His Master to show how these authors contradict the scientific thinkers of their time by creating narrative structures that disrupt the normal flow of time and bend the typically absolute space between reader and fictional story. Though the physical books of Jacques and Tristram Shandy have a final page, the two authors leave it to their readers to finish the stories for themselves. The narrators of both novels interact with their readers, creating a space that allows their audience to fill in the narrator’s and author's blanks. In doing this, these texts become simultaneously complete and incomplete. Thus, a narrative styled similarly to the thought experiment of Schrodinger's cat is created. In this sense these novels can be perceived as precursors to scientific thought of the twentieth and twenty-first century.

The nature of animated cinema involves the creation of any realistic or fantastical characters, places, and situations. Animation can be used to take characters far from their hometowns on believable journeys without big budgets used on location shooting. The Basque animated feature film Ipar Haizearen Erronka (The Challenge of the North Wind), directed in 1992 by Juanba Berasategi, illustrates how animation can represent a journey and a historic reality in a plausible way. The movie depicts a Basque whale hunting vessel travelling to the wild coast of Newfoundland, Canada in the sixteenth century. Typically, Basque live action movies in the 80s would recreate foreign locations with nearby settings. Ipar Haizearen Erronka avoids this problem by showing America through drawings. In this paper, we will use the movie Ipar Haizearen Erronka to interpret how animation uses backgrounds and objects to represent a voyage across the Atlantic Ocean and determine the realistic accuracy of the social and historical moments represented in the movie. We will also see how this journey embodies the characteristics of the literary genre of Bildungsroman, as well as the narrative structures pointed out by Vladimir Propp’s folktale and Joseph Campbell's monomyth. The study also focuses on how the film depicts the most representative characteristics of the journey, and how they are used as filming narrative resources. A closer look will be taken into the main vessels, the captain's logbook, the map, the historical context of the sailing of the ship, the maritime laws where sexism is abundant, the financing of the trip, and the work on board.

Animation is considered a prevalent medium in contemporary moving image culture, which increasingly appears across non-conventional surfaces and spaces. And while storytelling in animation films has been extensively theorized, narrative forms that employ physical space as part of storytelling have been less explored. This paper will examine the narrative aspect of animation works which are screened outside the traditional cinematic venues. It will look at how these animation works tell stories differently - using the full potential of the space, as a narrative device, a tool, and a stage where the narratives unfold. This paper will look at the historical perspective and the state of the art in animation installation today, exploring the relationship between the space and narrative in pre-cinematic, cinematic and post-cinematic conditions. It will examine how narrative structures in animation have changed over time, on their way from the black box of the cinema to the white cube of the gallery and even further, where they became part of any space or architecture. Through case studies of works by Tabaimo, Rose Bond, William Kentridge and other relevant artists, the interdependency of the narrative and the space where it appears will be explored, in order to identify new strategies for storytelling in animation. The aim of this paper is to emphasize the storytelling novelty that animation installations offer, which goes beyond the narrative structures that we are used to see on a single flat surface.

The present article concentrates on the concept of “narrative” as a literary category, its characteristics and structural elements. The authors of the article concretize the idea of “narrative”, analyze the main narrative theories, and compare the basic concepts of narratology in the scientific works of outstanding scholars. The “multiple” narrator can be found in the works of original genre with complex compositional and narrative structure. In such narrative structures, the narrator can create his own “reality”, his own author's myth through the view angle of each character. This is typical of modern genre forms, where the plot is built on new genre canons, such as novel forms of the “talk show” format or “SMS” novel. The “multiple” narrator forms the structure, provides plot-compositional unity, “leads” narrative story and influences the genre modification of the literary work. Structural types of “multiple” narrator can perceive the reality subjectively and have the ability to present their own vision of reality and interact with other narrative components such as narrator, recipient, author-demiurge, the signs of which are closely interwoven in the modern text. The narrative component of the novel “Olive Kitteridge” by E. Strout is examined in the article as multi-vector, characterized by free narrative and by a heterodiegetic narrator in an extradiegetic situation.

This study explores the socio-cognitive dynamics of the photographic representation of Afghan Refugees residing in Pakistan. It aims to reveal counter discursivity present in the images of Afghan refugees and accentuate the visual nature of this counter discourse. Data sets taken for analysis consist of five photographs of Afghan refugees retrieved from the album collection of an international photographer Muhammad Muheisen. By adopting an interdisciplinary perspective based on three schools, i.e. Critical Discourse Studies, Social Semiotics and Cognitive Linguistics, the study proposed a Cognitive Grammar approach to traditional Transitivity Analysis. Cognitive transitivity analysis explored the discursive strategy of Structural Configuration by highlighting the cognitive systems such as image schemas, narrative structures and processes in both visual representations and textual taglines assigned to the images by the photographer. The findings of the study revealed the employment of CONTAINER, FORCE, SPACE, and SOURCE- PATH Schemas and dominant presence of agentive and transactional roles of Afghan refugees. The taglines of photographs revealed material processes dominating the discourse, thus, coinciding with agentive representation of Afghan refugees. The findings revealed that image schemas, narrative structures and processes, being embodied sources, preconceptual and mimetic structures, project Afghan photographic discourse as marginalized in the face of Pakistan’s Refugee Policies.

Distinguishing their work from the causalist approaches of objectivist ethology, sociobiology, or cognitive ethology, a growing number of ethologists lay claim to the possibility of describing what animals do through more or less complex narratives. Narration becomes a methodological tool in its own right. Animals thus become characters as in novels. This is an epistemological choice. Our capacity to perceive the complexity of animal lives is tied to our capacity to tell ourselves stories in which animals are the heroes. These animals are not robots. They are subjects, individuals, and even persons. From this results a new and transpecific form of third-person narration. This approach still relies, however, on a set of very carefully collected field data and requires a great familiarity with observed animals. It then becomes possible to concern oneself with the individual strategies of particular animals rather than solely with behaviors that would be common to all members of a given species. The recourse to narrative as a means of understanding animal intelligence is especially pertinent as we become increasingly aware that animals themselves tell stories and that our concepts of narrative must expand beyond the human. Knowing whether animals have narrative structures is a philosophical question before it is a biological one. The desire to extend narrativity to the animal necessarily modifies what narrativity signifies. We perceive in animals a processual narrativity, a behavioral narrativity, and a fictional narrativity. The study of animals forces to rethink what a fiction is and compels one to consider its phylogensis in a rigorous manner without locating its origins in Homo sapiens.

Event structures are central in Linguistics and Artificial Intelligence research: people can easily refer to changes in the world, identify their participants, distinguish relevant information, and have expectations of what can happen next. Part of this process is based on mechanisms similar to narratives, which are at the heart of information sharing. But it remains difficult to automatically detect events or automatically construct stories from such event representations. This book explores how to handle today's massive news streams and provides multidimensional, multimodal, and distributed approaches, like automated deep learning, to capture events and narrative structures involved in a 'story'. This overview of the current state-of-the-art on event extraction, temporal and casual relations, and storyline extraction aims to establish a new multidisciplinary research community with a common terminology and research agenda. Graduate students and researchers in natural language processing, computational linguistics, and media studies will benefit from this book.

Early medieval authors frequently used horses as narrative devices. Therefore, when working with historiographical sources, one is confronted with a vital question: how can we reconstruct the horses’ agency without knowing whether their depiction is a mere narrative device? Combining praxeological approaches with the analysis of narrative structures, this paper offers a glance “beyond the text.” It shows how analysing the underlying knowledge of the medieval reader contributes to reconstructing a contemporary image of early medieval horses and their (perceived) agency in human society and thereby develops a new perspective for the future of historical human-animal studies.