In lieu of an abstract, here is a brief excerpt of the content:From Source to Sermo:Narrative Technique in Livy 34.54.4-8Cynthia DamonLivy's predilection for an indirect narrative style is well known. It is most clearly visible when he is adapting a passage from an author who uses a more direct style, Polybius, for example, who frequently pronounces judgment on the events he describes, praising or criticizing military strategies, assessing the importance of political decisions, and so on.1 Livy occasionally reproduces (...) Polybian analyses in his own voice, as when he states that the force of Carpetani that faced Hannibal at the Tagus River would have won if the location had not favored Hannibal (inuicta acies, si aequor dimicaretur campo, 21.5.11; cf. Polybius 3.14.4, ). But more often he makes the same point indirectly, by ascribing the analysis to someone present at the time. Thus the μεγαλοψυχια that Polybius himself praises in Scipio Africanus ("Perhaps even at this early stage of his career it would be right to take note of Scipio's greatness of mind," 10.40.6) is present in Livy's version, too, but is acknowledged by Scipio's contemporaries, not by his historian: sensere etiam barbari magnitudinem animi ("even foreigners perceived his greatness of mind," 27.19.6). Lambert's book on indirect statement in Livy contains an excellent overview of the subject (1946, 46-65). In this paper I examine a single passage, one that is rendered particularly transparent by the chance survival of parallel accounts. In this passage one can see how Livy uses the indirect technique to create a smooth narrative surface over a historical tradition troubled by contradictions of both fact and interpretation.Luce (1977, 140-50), in his discussion of Livy's management of conflicting sources, particularly conflicts of fact, argues that Livy was "at the mercy of his sources" (150). The present paper examines Livy's response to what he treats as a conflict of interpretation, and shows him in creative control. In a nutshell, I will argue that Livy presents the divergent [End Page 251] analyses of different sources as a contemporary debate, sermones pro and con. My aim is to document Livy's independence in constructing both narrative and commentary at 34.54.4-8, and to illustrate one mechanism he uses to control refractory material. In the process we will also learn something about Livy's priorities as a historian.In chapter 54 of book 34 Livy mentions the institution of special seating for senators at public festivals, specifically at the ludi Romani of 194 B.C.: horum aedilium [sc. A. Atilius Serranus L. Scribonius Libo aediles curules] ludos Romanos primum senatus a populo secretus spectauit ("At the ludi Romani of these same aediles, senators were seated apart from the populace for the first time," 34.54.4).2 He had reported this innovation ten chapters earlier, too, in his catalog of the censors' business for 194:gratiam quoque ingentem apud eum ordinem [sc. senatorium] pepererunt, quod ludis Romanis aedilibus curulibus imperarunt ut loca senatoria secernerent a populo; nam antea in promiscuo spectarant.(34.44.5)The censors earned a great deal of gratitude from senators because they instructed the curule aediles to separate senate and populace at the ludi Romani. Before this, the audience had been mixed in the stands.The later notice, 35.54.4, appears amidst the year-end material for 194 (34.54.1-8). Commentators are quick to label the second notice a doublet: between chapters 44 and 54 Livy changed sources, and at 54 he failed to weed out the superfluous information.3But Livy's second passage is much more than a doublet of the first, and gives plentiful evidence of careful composition. To the notice I have already quoted is appended a report of contemporary sermones:praebuitque sermones, sicut omnis nouitas solet, aliis tandem quod multo ante debuerit tributum existimantibus amplissimo ordini, (5) aliis demptum ex dignitate populi quidquid maiestati patrum adiectum esset interpretantibus, et omnia discrimina talia quibus ordines discernerentur et concordiae et libertatis aequae minuendae esse: (6) ad quingentesimum [End Page 252] octauum annum in prosmiscuo spectatum esse; quid repente factum cur immisceri sibi in cauea patres plebem nollent? (7) cur... (shrink)

While theater and film are distinct art forms, their interaction through dramatic structure and narrative technique reveals deep philosophical and theological dimensions. This paper explores the complex, non-linear relationship between cinematic narrative techniques—such as choreography and plot twists—and the dramatic structures in theatre, including retrospective, open-ended, and character-focused narratives. We hypothesize a significant non-linear interplay and validate this through a model that analyzes variance and mean scores across diverse narrative films, with statistical significance established at P.

In lieu of an abstract, here is a brief excerpt of the content:The Trial of Cn. Piso in Tacitus’ Annals and the Senatus Consultum de Cn. Pisone Patre: New Light on Narrative TechniqueCynthia DamonIn writing the narrative of Germanicus’ death and Piso’s trial in Annals 2 and 3 Tacitus produced, in the estimation of two distinguished and perceptive Taciteans, “a text of unresolved ambiguity.” For Woodman and Martin, Tacitus’ achievement is the more striking when contrasted with the “monotonous (...) confidence” of the Senate’s resolutions in the aftermath of the trial, now available in the recently published Senatus Consultum de Cn. Pisone Patre. 1 Woodman and Martin worked with this document even before its publication and use it to good effect in their commentary. The present essay treats a subject not easily addressed in the commentary format and beyond the purview of the document’s first (1996) editors, namely, Tacitus’ narrative technique.For his history of this episode Tacitus uses the common and effective narrative structure in which a scene is replayed, sometimes called a mirror story: Piso’s trial in Annals 3 contains the second telling of part of a story presented more fully in book 2, the story of Piso’s eastern command and the death of Germanicus. Mirror stories are found in all ancient narrative genres and accomplish a variety of narrative tasks; here the structure conveys the historian’s verdict on the trial. With the SCPP now available we can see with unusual precision how Tacitus selects, suppresses, and deploys material in order to present his case. I argue that in book 2 he offers an account of what really happened (as he reconstructs it, anyway), then in book 3 shows how this “truth” was obscured by a haze of rumor and suspicion in a world driven by obsequiousness and dissimulation. [End Page 143]Mirror StoriesMirror stories, like so much else in ancient historical writing, go back to the Homeric epics. In the Iliad and the Odyssey most mirror stories occur in direct speech: a character will repeat material already reported by the narrator, adapting it to his or her emotional state and rhetorical purpose. 2 Thus Thetis, for example, giving Hephaestus an account of the events that caused the loss of Achilles’ armor, “simplifies” the story given in the narrative so as to heighten her son’s role and strengthen the case for her own request (Il. 18.444–56). 3 The structure serves to distinguish among the epic’s various narrative levels, particularly between narrator-narrative and character-narrative.In novels mirror stories are no longer confined to direct speech. A single example will illustrate how the structure’s mechanics developed. One of several mirror stories in Apuleius’ Metamorphoses is Lucius’ trial for the murder of what he had taken to be a band of robbers (2.32–3.6). The trial culminates in a display of the victims: the cloth covering their bodies is swept away, only to reveal, not bloody corpses but wineskins that had been punctured by Lucius’ sword and stained red by their contents. There were no real victims and Lucius was not guilty of murder; the trial was in fact a farce devised in honor of the god Risus, whose annual festival was being celebrated that day. The spectators at the trial knew what was going on the whole time, but the stranger Lucius did not. Nor (and this is the important point) did Apuleius’ readers, for the fight scene was focalized through Lucius’ eyes. The trial becomes a dramatic revelation of Lucius’ vain and drunken misperceptions: the opponents in what Lucius saw as a heroic action were only some wineskins that had been left lying outside his host’s door. By telling the story twice, once through Lucius’ eyes, and once in the glare of a public trial, Apuleius re-enacts Lucius’ discovery of his own clouded vision for the reader. Of course Lucius is the narrator of the Metamorphoses and knows perfectly well when he tells the story of the “battle” what was really going on, but he allows the reader to have the same eye-opening experience that he himself had had. And in fact Lucius’ eyes are still only half open, as the... (shrink)

Epistemic injustice sits at the intersection of ethics, epistemology, and social justice. Generally, this philosophical term describes when a person is wrongfully discredited as a knower; and within the clinical space, epistemic injustice is the underlying reason that some patient testimonies are valued above others. The following essay seeks to connect patterns of social prejudice to the clinical realm in the United States: illustrating how factors such as race, gender identity, and socioeconomic status influence epistemic credence and associatively, the quality (...) of healthcare a person receives. After describing how epistemic injustice disproportionately harms already vulnerable patients, I propose a narrative therapy intervention. This intervention can help providers re-frame their relationships with patients, in such that they come to view patients as valuable sources of unique knowledge. Though I identify this intervention as a valuable step in addressing clinical epistemic injustice, I call upon medical educators and practitioners to further uplift the voices, perspectives, and stories of marginalized patients. (shrink)

L'ampio e documentato studio di Ingela Nilsson conferma l'interesse sempre crescente per i romanzi bizantini, ribadito anche dalla ricca mise au point che Agapitos ha riservato di recente alle opere della Komnenenzeit, tra le quali Ismine e Isminia di Eumazio Macrembolita – la Nilsson accetta questa forma del nome (p. 18), condividendo l'ipotesi di Hunger, che identifica l'autore con il dignitario imperiale che fu per due volte eparchos di Costantinopoli e protoasekretis durante la sinodo del 1166 – costituisce l'unico testo (...) in prosa, solo da poco, per una felice coincidenza, riedito criticamente da M. Marcovich (Teubner, Stutgardiae et Lipsiae 2001). (shrink)

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 109 Heft: 2 Seiten: 785-808.

Soon after the 2013 military coup, state-sponsored violence and human rights abuses have begun to shake Egyptian society. The regime of president Abdel Fattah al-Sisi has attempted to rationalize them, claiming that this is the only path to save the most populous Middle Eastern country from civil unrest, terrorism, and economic decay. Al-Sisi, the former army chief during the 2013 coup, initially portrayed his ascendency to power as the only way to restore security and end the threat of terrorism. Egypt’s (...) generals have also recognized that they cannot rely only on the promise of restoring security to justify ending of the democratic opening and their heavy-handed ruling techniques. Therefore, they have also been using a web of alternative narratives to justify their approach and have been spreading these narratives using security-controlled public and private media institutions. Conspiracy theories, defamation campaigns, and hate speech against voices of dissent have assumed central positions... (shrink)

Heliodorus is known for his elaborate narrative technique. This effect is due to ekphrasis, a resource widely used by sophists and recommended in textbooks of rhetoric (Progymnasmata). In the first block of the work, Heliodorus uses this resource, but not randomly. There is an image, literally or metaphorically repeating itself: the labyrinth. Our intention is to demonstrate that the repetitions have a commonality, in addition to a strong hermeneutical appeal. Moreover, the labyrinths are introduced in the part where the (...) narrative is skillfully written in medias res. It is precisely in this passage that the reader, as in a labyrinth, is meanderingly led by several paths, until he reaches the understanding of the opening scene, at the mouth of the Nile. The analysis of the procedures used by Heliodorus leads to the conclusion that the succession of textual or imagethic labyrinths places the reader in a game, from which he can only emerge at the end of the fifth book. (shrink)

While Plato recommended expelling poets from the ideal society, W. H. Auden famously declared that poetry makes nothing happen. The 19 contributions to the present book avoid such polarized views and, responding in different ways to the “ethical turn” in narrative theory, explore the varied ways in which narratives encourage readers to ponder matters of right and wrong. All work from the premise that the analysis of narrative ethics needs to be linked to a sensitivity to esthetic form. (...) The ethical issues are accordingly located on different levels. Some are clearly presented as thematic concerns within the text considered, while others emerge through the presentation of character and event by means of particular narrative techniques. The objects of analysis include such well-known or canonical texts as Biblical Old Testament stories, Mark Twain’s Huckleberry Finn, J. R. R. Tolkien’s The Lord of the Rings, Vladimir Nabokov’s Lolita, Jonathan Littell’s The Kindly Ones, Ann Radcliffe’s The Italian and Matthew Lewis’s The Monk. Others concentrate on less-well-known texts written in languages other than English. There are also contributions that investigate theoretical issues in relation to a range of different examples. (shrink)

While Plato recommended expelling poets from the ideal society, W. H. Auden famously declared that poetry makes nothing happen. The 19 contributions to the present book avoid such polarized views and, responding in different ways to the “ethical turn” in narrative theory, explore the varied ways in which narratives encourage readers to ponder matters of right and wrong. All work from the premise that the analysis of narrative ethics needs to be linked to a sensitivity to esthetic form. (...) The ethical issues are accordingly located on different levels. Some are clearly presented as thematic concerns within the text considered, while others emerge through the presentation of character and event by means of particular narrative techniques. The objects of analysis include such well-known or canonical texts as Biblical Old Testament stories, Mark Twain’s Huckleberry Finn , J. R. R. Tolkien’s The Lord of the Rings , Vladimir Nabokov’s Lolita , Jonathan Littell’s The Kindly Ones , Ann Radcliffe’s The Italian and Matthew Lewis’s The Monk . Others concentrate on less-well-known texts written in languages other than English. There are also contributions that investigate theoretical issues in relation to a range of different examples. (shrink)

This essay offers a rationale for the employment of narrative pedagogies in introductory philosophy courses, as well as examples of narrative techniques, assignments, and course design that have been successfully employed in the investigation of philosophical topics. My hope is to undercut the sense that “telling stories in class” is just a playful diversion from the real material, and to encourage instructors to treat storytelling as a genuine philosophical activity that should be rigorously developed. I argue that (...) introductory courses focused on student narratives fulfill the ideals of learning-centered teaching. Since narrative learning also promotes self-knowledge and empathic understanding, there is good reason to consider replacing or supplementing canonical texts or arguments with narrative assignments. The concluding sections provide details as to how such assignments can be constructed,integrated into course units, and assessed. (shrink)

Narrative Faith engages with the faith and doubt dynamic to explore the moral visions expressed by Dostoevsky, Camus, and Singer in their works and their use of doubt-generating narrative techniques to portray characters struggling with faith.

This paper explores the pragmatic foundations of unreliable narration (UN), a narrative technique highly popular in western literary texts. It sets out by giving a critique of the competing theoretic frameworks of UN, namely the seminal Boothian concept and more recent constructivist approaches. It is argued that both frameworks neglect a pragmatic perspective as the most viable way for identifying and analysing UN. Such a pragmatic model is then developed on the basis of theories of cooperation, such as the (...) Gricean maxims, relevance theory, and politeness. The emerging definition of UN treats a narrator as unreliable if he or she violates the cooperative principle without intending an implicature. This model is tested against three prototypical UNs: Christie's The Murder of Roger Ackroyd, Ishiguro's The Remains of the Day, and Poe's The Tell-Tale Heart. These sample analyses yield a typology of UN: while pragmatic deviation is shown to be the intrinsic feature of the phenomenon, unreliable narrators vary according to their degree of intentionality. Finally, two recurring issues in the UN debate are briefly discussed: the existence of textual clues of UN, and the role of the reader in constructing unreliability. (shrink)

This paper argues that the distinctive feature of African philosophising is a communitarian outlook expressed through various forms of narrative. The paper firstillustrates the close relationship between narrative and community in the African cultural milieu. It then goes on to examine the way in which African academics invarious fields have employed the narrative technique in their works. Next, the paper urges that through migration to European and American institutions of higherlearning, African philosophers have had a significant impact (...) on Western philosophy. Thereafter, the paper argues that while a communalistic outlook is part and parcel of African philosophising, it does not imply an insular approach to identity, but rather accommodates the fact of the dynamism of the sources of identity. Finally, the paper points out that one implication of the communalistic and narrativistic approach of African philosophy is that the dichotomy between “analytic” and “continental” philosophy, so common in the West, is not applicable to it. (shrink)

The objective of this article is to reflect on the impact that Ricoeur’s work on psychoanalysis (following his book on Freud) might have on his concept of narrative identity. In these texts, one of the points he draws from psychoanalysis is that resistance mechanisms can hamper the process of self-recognition of the subject through the story that he tells himself about himself. These resistance mechanisms cannot be put to an end simply by understanding them intellectually. These writings teach us (...) that, in order to be brought to an end, these resistance mechanisms require more than the willingness to appropriate one’s own narrative identity. An appropriate technique to handle energies must be put into place. This explains why the production of a narrative identity can sometimes take the form of a real work. (shrink)

The deceptive clues in the impossible puzzle film confirm the viewer’s internal expectations and allow retrospective attributing. In the film, a transcendental object negates an internal expectation, causing a retrospective blockage. Retrospectivity does not stop there; the transcendental object reinterpreting deceptive clues in the associative area leads to repeated attribution. This article consists of three parts. First, it discusses impossible puzzle films in the context of complex narrative classification. The following section introduces the Jungian concept of synchronicity and illustrates (...) how it works. The article concludes with a case study of Long Day’s Journey into Night (2018), which contains more complicated puzzles and explains how mind-game narrative techniques create deceptive clues and induce deceptive retrospective attribution. (shrink)

Narrative picturing is a creative interviewing technique that can be applied within qualitative research interviews with the aim of enhancing the ‘richness’ of narrative data. This paper describes briefly narrative picturing and its theoretical underpinnings. Whilst using this technique within a dedicated study of people with experience of self‐cutting, two key factors emerged in relation to advancing the use of narrative picturing. These were overcoming the inhibitions of the person interviewed and the exploration of personal meaning(s) (...) disclosed during narrative picturing, which were commonly found to be particularly abstract or unprocessed. This paper suggests interviewing techniques aimed at overcoming these potential limitations. Once overcome, narrative picturing appeared to support the exploration and narration of more ‘in‐depth’ accounts of lived experience, enhancing understandings of both the person interviewed and the researcher. (shrink)

Engaging stakeholders in policy making and supporting policy development with advanced information and communication technologies including policy simulation is currently high on the agenda of research. In order to involve stakeholders in providing their input to policy modeling via online means, simple techniques need to be employed such as scenario technique. Scenarios enable stakeholders to express their views in narrative text. At the other end of policy development, a frequently used approach to policy modeling is agent-based simulation. So (...) far, effective support to transform narrative text input to formal simulation statements is not widely available. In this paper, we present a novel approach to support the transformation of narrative texts via conceptual modeling into formal simulation models. The approach also stores provenance information which is conveyed via annotations of texts to the conceptual model and further on to the simulation model. This way, traceability of information is provided, which contributes to better understanding and transparency, and therewith enables stakeholders and policy modelers to return to the sources that informed the conceptual and simulation model. In this paper, we present the consistent conceptual description (CCD) as conceptual modeling approach to bridge the gap between narrative texts and formal policy models. The CCD meta-model with the underlying vocabulary for describing policy contexts is detailed. A case study introduces the application of the approach in the Open Collaboration for Policy Modeling project. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Formal Technique and Epithalamial Setting in the Song of the Parcae (Catullus 64.305–22, 328–36, 372–80)Marcos Ruiz SánchezThe present study aims to analyze the technique of verbal reminiscences and the structure of the frame of the song of the Parcae, one of the most important sections in poem 64 and the most controversial in meaning, together with the implications these verbal echoes have for the meaning of the text.Catullus’ poem (...) 64 was undoubtedly conceived by the author himself as his masterpiece and it appears as such in the very centre of the collection. We know from poem 95 that Cinna, Catullus’ poet friend and companion on his journey to the East, took nine years to write a similar poem, the epyllion entitled Zmyrna. Cinna’s work was famous for its obscurity, but also poem 35 mentions the time spent by another poet from Catullus’ circle of friends in writing a poem on the Magna Mater. Both references reveal the meticulousness (the labor limae) with which the neoteric poets composed their most important works.This explains the reason for the compositional virtuosity that can frequently be discovered in poem 64. An example of this is the repeated use of verbal reminiscences throughout the poem. 1 For the author this procedure serves various purposes: to provide a frame for the descriptive sections or direct speech; to link the different events by underlining the causal relations between them; to confer a symbolic nature on the text, and so forth. Before we turn to the introduction of the Parcae and their song, which is the main focus of this paper, it will be useful to illustrate Catullus’ technique of simultaneous ring composition and forward [End Page 75] cross-reference through verbal echoes from verses 112–15. This one case and its allusive network may serve as an example, among many, of this compositional virtuosity of Catullus. When he describes the hero Theseus emerging from the labyrinth after slaying the Minotaur, he does so in the following terms:inde pedem sospes multa cum laude reflexit errabunda regens tenui vestigia filo, ne labyrintheis e flexibus egredientem tecti frustraretur inobservabilis error.(64.112–15)These verses are an echo, after the elaborated Homeric simile used by the author to refer to the death of the monster, of those in which Catullus previously described the fears of Ariadne enamoured by Theseus’ fortune:cum saevum cupiens contra contendere monstrum aut mortem appeteret Theseus aut praemia laudis! non ingrata tamen frustra munuscula divis promittens tacito succepit vota labello.2 (64.101–4)In both cases the narration centres on the favours granted Theseus by Ariadne: in the first with the supplications she directs to the gods; in the second with the gift of the ball of thread which enables the hero to escape from the labyrinth.It is not difficult to discover a closer relation between the two passages. In the first, Theseus wishes to fight the monster: cum saevum cupiens contra contendere monstrum /... Theseus. The expectation thus raised with regard to possible narratives is answered in verse 110, which evokes the previous verse: sic domito saevum postravit corpore Theseus.The hero wishes for death or glory: 3 aut mortem appeteret Theseus [End Page 76] aut praemia laudis This verse is taken up later in the following passage: inde pedem sospes multa cum laude reflexit (64.112). If Theseus wished for death or the reward of glory, Ariadne’s help enabled him to avoid one and achieve the other. The reappearance of the term frustra (102) in the verb frustraretur (115) stresses the heroine’s intervention. 4In verses 112–15 we find, moreover, the stylistic recourse of etymologically related words that had been used by the poet in the previous simile (indomitus turbo, 107; exturbata, 108; domito, 110). Reflexit (112) and errabunda vestigia (113) are echoed again in labyrintheis flexibus (114) and inobservabilis error (115), such that the verses are ordered as follows: A (112), B (113), A′ (114), B′ (115).The repetitions stress the difficulty in returning and the importance of Ariadne’s help. Theseus’ life depends on the tenuous thread that governs his steps. Reflexit and flexibus emphasize the tortuousness... (shrink)

Introduction. In foreign and domestic studies there is a steady scientific and practical interest in studying subjectivity, but methods and techniques that promote its development at the value and meaning level are not sufficiently presented. The study considers narrative practices that are effective ways to develop subjectivity. Narrative prac- tices are aimed at making sense of past experience, developing the ability to goal-setting and creating a positive mood for the future. The purpose of the study is to (...) reveal the potential of using narrative practices for developing subjectivity. Methods. The author uses comparative analysis of philosophical and psychological-pedagogical literature, generalization and systematization of the results of domestic and foreign studies. Scientific novelty of the study. The paper expands the understanding of narrative practices. The multidirectional influence of narrative practices on the development of human subjectivity is shown. Results. Subjectivity is understood as the property of a subject to be an agent of action. Subjectivity serves as a condition for self-realization of personality, determination of development trajectory, planning of life activity in accordance with the chosen system of values. The development of subjec- tivity is possible through using narrative practices. Narrative practices are understood as anthropocentric approaches, which are a set of techniques aimed at comprehending and interpreting the structure, content and meaning of life stories. Conclusions. Narrative practices have a positive impact on the development of subjectivity, as they form a conscious and active attitude of a person to the world and himself. Narrative practices can be diary entries, autobiographies, narratives with elements of confession, the method of deconstruction of dominant discourses. They allow organizing life experience, defining a system of values, setting goals, choosing ways of their implementation, feeling the author of one’s own life. (shrink)

It is necessary to have available a variety of evidence-based resilience practices as we experience life’s stressors including the ongoing COVID-19 pandemic. Evoking, experiencing, and reflecting on awe moments by developing and sharing an “awe narrative” are a type of mindfulness technique that can have the potential to help someone flourish, enhance their resilience, and have a positive impact on their overall wellbeing. This paper explores how constructing an awe narrative can assist the individual while also possibly having (...) a positive impact on others. (shrink)

The following article explores the use of creative writing techniques to teach research ethics, breathe life into case study preparation, and train students to think of their settings as complex organizational environments with multiple actors and stakeholders.

White women's racism has been the topic of many critiques, discussions and conflicts within British feminist theory and politics over the last fifty years, driven by women of colour's insistence that white feminists must take on board the significance of race in order to stop perpetuating racism. Yet still today, feminist academia and activism in Britain continues to be white-dominated and to participate in the reproduction of racism and whiteness. This article examines the role of dominant historical narratives of feminism (...) in enabling this reproduction, arguing that there is a direct correlation between how the feminist past is constructed in relation to race and racism and how feminist theory and politics are articulated in the present. Focussing on three contemporary feminist texts that address feminism itself as a subject, it highlights three techniques used in these texts that, it is argued, are commonly employed in the narrative reproduction of white feminist racism. These are: (1) the erasure of the work of British feminists of colour; (2) white feminist co-option of work by feminists of colour; and (3) the narration of feminist theory and politics as having ‘moved on’ from racism. These techniques lead to evasion of the topic of white feminist racism, both historically and in the present. They also reinforce the construction of British feminism as a story that belongs to white women. The article argues that in order to work towards ending white supremacy, white feminists must relinquish control of the feminist narrative and stop moving on from the topic of white feminist racism. (shrink)

In order to summarize a story, it is necessary to access a high level analysis of the story that highlights its central concepts. A technique of memory representation based on plot units appears to provide a rich foundation for such an analysis. Plot units are conceptual structures that overlap with each other when a narrative is cohesive. When overlapping intersections between plot units are interpreted as arcs in a graph of plot units, the resulting graph encodes the plot of (...) the story. Structural features of the graph then reveal which concepts are central to the story, and which concepts are peripheral. Plot unit analysis is currently being investigated as a processing strategy for narrative summarization by both computer simulation and psychological experiments. (shrink)

Scenarios are flexible means to integrate disparate ideas, thoughts and feelings into holistic images, providing the context and meaning of possible futures. The application of narrative scenarios in engineering, development of socio-technical systems or communities provides an important link between general ideas and specification of technical system requirements. They focus on how people use systems through context-related storytelling rather than abstract descriptions of requirements. The quality of scenarios depends on relevant assumptions and authentic scenario stories. In this article, we (...) will explore how the narrative approach may enrich the scenario ‘skeleton’ with ‘flesh and blood’, that is, living, detailed and consistent storytelling. In addition, criteria are suggested for evaluation of the quality of scenario storytelling. (shrink)

Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to (...) the unpredictability of users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre. (shrink)

The trend to centralization of the Mizrahi narrative has become an integral part of the nationalistic, ethnic, religious, and ideological-political dimensions of the emerging, complex Israeli identity. This trend includes several forms of opposition: strong opposition to "melting pot" policies and their ideological leaders; opposition to the view that ethnicity is a dimension of the tension and schisms that threaten Israeli society; and, direct repulsion of attempts to silence and to dismiss Mizrahim and so marginalize them hegemonically. The Mizrahi (...) Democratic Rainbow [The Keshet], the most prominent proponent and representative of this trend, was established in the 1990s with the intention of being a leading civic and political body in Israeli society. While it was the Mizrahi worldview that led to selection of the organization's name and aims, their vision was to be involved in social struggle on behalf of other groups in Israeli society. Since it was established, The Keshet has aimed to function as an assertive, long-term alternative coalition exerting influence, power, and pressure on the Israeli narrative network. And, indeed, the organization has succeeded in disrupting Israeli discourse, principally, by challenging the ideological foundations of the Zionist meta-narrative. Nearing the end of the first decade of the 21st century and nearly a decade since it was established, The Keshet not only represents the most current wave of Mizrahi discourse, it has changed it to such a great degree that it is impossible to ignore its influence. Further, this alternative narrative may have significant potential to advance the internal Jewish discourse so fundamental at this time given the changing Israeli situation and regional conditions. And, while it is possible to view The Keshet and this new narrative as a continuation of the Mizrahi struggle, as a narrative The Keshet's agenda represents a post-colonial perspective and multi-cultural alternative to Zionism as a social vehicle. Amidst all of this, The Keshet continues to offer concrete proposals to change the Jewish character of the state as well as its internal and external relations. One of the primary goals of this study was to examine the rise of the Mizrahi narrative over the last two decades and the new Mizrahi discourse in Israeli society. More specifically, the study sought to attain an in-depth understanding of the central narrative created and represented by The Keshet. An additional goal was to investigate the influence of The Keshet's activity and the narrative it constructed in regard to other narratives. In particular, the study focused on The Keshet's opposition to the central Zionist narrative that infuses civic, political, and academic frameworks in Israel. Accordingly, the primary research questions investigated in the study sought to determine: What has been the influence of the Mizrahi Democratic Rainbow on the Mizrahi narrative in Israel? And, what are implications of such influence for the central Zionist narrative? Methodologically, the study was based on narrative and comparative analyses of texts from different periods of the older and newer Mizrahi narratives. The corpus included two types of texts: First, academic texts and opinion pieces, both philosophical and programmatic in nature, published in magazines, journals, books, as well as position papers; second, all of the texts published by prominent and influential figures who charted the path of The Keshet or led it organizationally and/or intellectually over the last twenty years (e. g., Yehudah Shenhav, Yossi Yona, Moshe Krief among others). All texts were examined by means of philosophical, historical and critical hermeneutic tools. This analysis revealed different levels of Mizrahi and civic discourse in Israel as well as among The Keshet's founders and leading ideologues. The study was based on a three stage process model, developed for purposes of this study, for investigation and analysis of the new Mizrahi narrative as well as other oppositional narratives, in particular opposition to the hegemonic meta-narrative. The stages are: issuing the challenge, dissolution and, liberation; that is, liberation is the measure of the ultimate success of the struggle for narrative change. Such change is not based on success in the field, but rather on a radical, fundamental reversal of thought, discourse patterns, stylistic structures, as well as forms of questioning - in this case of taken-for-granted racist mechanisms. However, the principal change is in achieving a deep, inner de-legitimization of the signifiers, categories, and reproductions of all manner of mockery that are based on immoral colonialist processes that are reinforced by regimes of fear and intimidation whose self-destruction began upon their very creation. This three stage model charts the course of the oppositional Mizrahi narrative from: accounting for the past (passing judgment on the so-called historic colonialist Zionism) to writing a new (pure Mizrahi) history and creation of a Mizrahi-Arab identity separate from the Ashkenazic, identified as Zionist. Contemporary post-colonialist discourse is integral in these stages. Such a perspective has been transformed by transitions from - binarism to hybridity, Orientalism to Occidentalism, the politics of "liberation" to "constructive" politics, from the history of consciousness to the history of change, as well as from nationalist to post-nationalist questions. Fundamentally, according to this approach, political and other struggles for the emerging narrative of Mizrahi (or Arab) history seek to centralize it in society and weave it amidst the models of multiculturalism. Undertaken in parallel, the central characteristics of all these stages are borrowed from countries in which the need for national reconciliation led to renunciation of apartheid and racist policies and historical judgment of the hegemony supported by racist leaders. In addition, these three moves were undertaken in Keshet and its ideologues by means of substantive symbolic violence directed at the hegemonic Ashkenazic discourse, which included creation of hatred of it, use of stereotypes the opposite of oppressive discourse, and adoption of an arrogant point of view toward it. This stands in stark contrast to the claims of the self-proclaimed new Mizrahi stance of a discourse established on purely ethical grounds that sought to cleanse itself of these very same oppressive elements. The model developed for and demonstrated in this study allows for analysis of oppositional narratives in which the libratory stage evolves into a form of entrapment, as appears to be occurring to the new Mizrahi discourse. This conclusion is based on the observations shared by many Keshet proponents including leading intellectuals who worked on the manifestos that were the subject of criticism from the Zionist camp. The study identified and defined the following six interwoven strata, which for purposes of explication are each discussed in a separate chapter: The first chapter presents a general theoretical discussion of the issue of the narrative and the inter-narrative struggle that has become central and applicable in various ways in the latest generation (e. g., anthropologically, hermeneutically, and philosophically). The analysis surveys different discussions in the inter-narrative struggle and locates them in the contexts, relations, and meanings derived from, representing, and indeed reproducing the narrative of national identity. The second chapter includes a historical survey of the older Mizrahi struggle that existed prior to the ascendance of the new Mizrahi narrative. Initially, Mizrahi discourse focused on expressing the ethnic protest that grew in years to follow. These feelings of discrimination and social distancing of the immigrants from Islamic countries gave birth to expressions of protest, the most prominent of which were Wadi Salib and the Black Panther Movement's various activities. The research literature contains many explanations for the exacerbation of the ethnic problem and creation of a situation that could not be ignored. The consensus academic view reached at the end of the 1970s identified a number of primary factors for this situation: the existence and extensive numbers of different ethnic groups; the relative or absolute segregation of frameworks within which members of these ethnic groups lived and acted; and the significant overlap between socio-economic status and feelings of discrimination retained by members of the Mizrahi group due years of neglect by the Ashkenazic establishment, the strengthening of Mizrahi social, cultural, and political power, as well as the emergence of a Mizrahi elite that identified with Mizrahi problems. The severe consequences of feelings of discrimination were expressed in a long series of events, such as: rioting by residents of the Rehovot Sharayim neighborhood in 1956; events of Wadi Salib in Haifa in 1959; and a chain of activities involving the Black Panthers in the 1970s. Protest was also an aspect of the "tent movement" in the 1970s and 1980s. Political activities were advanced by the Tami Movement that competed in the election for the 10th Knesset in 1981 and the Shas Movement that has continued to garner political power since being found in 1984. The 1980s and 1990s were characterized as the era of radical consciousness of Mizrahi discourse as well as by the rise to power, in consecutive order, of the political parties – Tami, Shas, and the Mizrahim HaHadashim [the New Mizrahi]. The latter party laid the foundations of the new radical Mizrahi discourse from which emerged such cultural activities as: Iton Aher [A Different Newspaper]; Bimat Kivon Aher [Another Direction Forum]; Efir'yon journal; the Halah Organization for Education in Neighborhoods, Development Towns, and Villages; Kedma; the newspaper – Patish [Hammer]; and, eventually the establishment of Keshet. The third chapter presents an examination of the materialization of the inter-narrative struggle in the case of Israel, with a specific focus on The Keshet and the new Mizrahi narrative advanced by it and intellectuals. The Keshet ideology is examined in the context of its grounding in post-colonial thought, especially that of Edward Said; the directions proposed by Ella Shohat and her followers; the central thinkers of the narrative in Israel in the last decade; and the harsh critique leveled at the Ashkenazic-Zionist narrative. The practical steps proposed for implementation within the multicultural model are also examined. Here the effort to reduce the centrality of Zionism while revealing its oppressive mechanisms was undertaken in parallel with use of these mechanisms in order to create a Mizrahi space with broad margins inclusive of alternative forms of Israeli identity in the Middle East and in conjunction with Arabs within and beyond Israel. Mizrahi traditionalism is examined in the fourth chapter in two particular respects. First, the criticism of the new Mizrahi narrative leveled by the renewed view and, second, the implications of the alternative in terms of creating a Mizrahi space that does not oppose Zionism. Rather, in opposing the post-colonialist perspective, this renewed traditionalist perspective criticizes as well as values Zionism. This space seeks to be both Jewish and Mizrahi. It does not detach itself from nationalist Zionism but rather views itself as a continuation of this tradition and, accordingly, is an effort to develop a next stage in its development. For example, an essential dimension of the traditionalist perspective, "commitment," is considered in this stage to be a fertile basis for dialogue with the past and as an anchor for contemporary interpretation of Mizrahi and other Jews' identities in Israel. The fifth and sixth chapters deal with all of the vectors of criticism directed at the new Mizrahi narrative, including its ideological foundations, philosophical stance, as well as intellectual and practical basis in the Israeli sphere in the face of Palestinian nationalism. These vectors of criticism from within and beyond The Keshet deal with issues, such as, the meaning of the movement's activities and the narrative that it offers regarding questions of Israeli identity, Israeli collective memory, and Mizrahi self-perception. At the same time, it must confront the capitalist neo-liberal narrative in a global world and thrive in a context in which it must make itself manifest amidst oppositional narratives. The final chapter presents a comprehensive, critical analysis of the new Mizrahi narrative. It does so by means of a theoretical model that examines it as an oppositional narrative – one that seeks to challenge the hegemonic meta-narrative, to dissolve the boundaries of the narrative discourse, and to propose liberation and redemption that may led to entrapment amidst a changing, a-dichotomous realities (e. g., global economic development in the face of Zionist nationalisms that display ideological strength as well as development of the sense of being an Israeli that maintains its vitality and continuity while being constituted by sectors that challenge being a Mizrahi, such as co-ethnic subjects. The Keshet's influence is dramatic and extends in a number of central directions. Its political activity and non-entry into the domains of the Israeli parliament granted the movement significant power in civic discourse and contributed to changing the persona of the Mizrahi discourse; for example, from political-party struggles over budgets and obtaining shares of the regime to changing the face of Israeli society and the centrality of the Mizrahi narrative. This change included deconstructing the Ashkenazic narrative and constructing comprehensive Ashkenazic-Zionist guilt, as evident in the Ehud Barak's request for collective forgiveness. This was accomplished through the participation of leading members of Keshet who appeared in prominent intellectual forums and engaged in lively discourse - principally in academic, social, and media domains. Such participation gave new meaning to various aspects of Israeli society while establishing different models of multiculturalism. The rise of the new Mizrahi narrative is a significant marker in the inter-narrative struggle as it represents a desire for separate or hybrid identities. And, the deep probing of the narrative constructed by leaders of The Keshet and those who identify with the movement produced a number of clear ways to distinguish it from the old Mizrahi struggle, whose history was portrayed through social protests, in a manner similar to linear vectors marked with wars and elections. The old Mizrahi struggle selected the traditional tactical struggle identified usually with social and political movements that seek to change political, social, and economic reality - from the bottom up. Their primary demand was to change decisions as well as the division of social goods and resources. Hence, this older period of struggle was not aimed at opposing the ideological foundations of the hegemonic narrative nor did it seek to undermine in a radical manner the unique nature of the state of Israel as a revolutionary solution for the problems of the Jews according to the Zionist approach, as a national home for the Jewish people, and recognition of the right to an preferred and meta-definition of Jewish nationalism. In contrast, the top down struggle advanced by the new narrative is part of an ideological movement led by the educated that is assertive and ground in post-colonialist theory. Accordingly, it was critical of the techniques and mechanisms of oppression as well as sought to attack the Zionist ideological foundations and to reveal its racist operations and the regimes that have preserved it so efficiently for many years. The uniqueness of this narrative is the intellectual offensive that continues to be advanced and, in parallel, development of the discourse struggle in Israel concerning the justification for Zionism and the concrete political proposal that Jews reject the taken-for-granted status of it as an ideology. This new narrative recognizes the historic difficulties of subversion as an emancipatory and, principally, moral effort. In addition, the new Mizrahi narrative shares the foundations and narrative of Palestinian victimization. In its radical version, the new Mizrahi narrative seeks to connect to the Palestinian narrative in order to create a new space here. According to this version, this action will take place gradually. The first stage will be characterized by opposition to Western European, Ashkenazic Zionism. The Eurocentric Zionism will surrender in the second stage, to be followed in the last stage by creation of a coalition of Jews and Arabs that will be establish through concrete actualization of the refugee status and victimization that is shared by both Palestinians and Mizrahim (whether as Mizrahim or Jewish-Arab). Not a speculative academic exercise, the goal sought by this narrative is delineate and to achieve a multicultural model in which equality, liberty, and social justice will overcome the nationalism and colonialism of either side; that is it will be neither Zionist nor Jewish. Thus, this approach stresses what is shared (e.g., acceptance of the Arab space and not a rejection of it; the legitimacy of the Arab language and culture). This is part of detachment from and historic judgment of the colonialist Zionist enterprise. This possibility includes moral elements that remove the evil and harm caused by Zionism for many years as well as inner cleansing – primarily among Ashkenazim – of attitudes towards Jews and non-Jews. Though, in this regard, it should be noted that, to date, the new narrative has not made similar claims that Palestinians undergo a similar process. The assumption seems to be that this should be tested, that the coalition proposed is a possibility that will be recognized by the Palestinians, and that they are prepared to undergo a similar, shared moral process that involves negating the state of Israel as a Jewish, Western state, a state of the Jewish people, and not only for those who live within it. These Mizrahi thinkers conducted a significant move through deconstruction and substitution of the Eurocentric narrative with a multi-cultural proposal that is optimistic and even attractively naïve. Today, they acknowledge that they did not take into account Palestinian nationalist violence directed to citizens, the traditionalist alternative, and widespread opposition within the Mizrahi community toward what is perceived to be Mizrahi seclusion. They also did not take into account the harsh criticism rendered by young and educated Mizrahim who claim that they were born into a complex, multi-dimensional, multi-layered identity that includes internalization of the language of the West and rules of the game of this complex identity. And, though they are critical of some of its values, this makes it difficult to mount internal emotional opposition to the West and to the globalization contained within this world. Hence, this more familiar world is preferred over the values of the Mizrahi-Arab alternative, particularly in regard to problems in the domains of democratic citizenship, stance taken toward women, and freedom of speech. Further, educated Mizrachim reject the post-colonialist perspective and are stridently critical of its dichotomization. They claim that such a division is irrelevant in a world in which older ideologies have collapsed and new spheres – such as cyberspace and others – are open to them in which they can present themselves with an Israeli identity that is not categorized as necessarily Mizrahi. (shrink)

The ArgumentIn this paper three canonical studies of the scientific revolution are subjected to narratological analysis. Underlying this analysis is the assumption that in any single product of historical writing it is possible to distinguish, for analytical purposes, between three levels of reference: the object of the text — the events; the representation of the events — the narrative; and the text in which a story is represented by means of narrative. Through texts one learns about historical events, (...) but also about the process of producing the texts. Techniques of representation are means of production of texts that represent, in addition to the events, also the producer and his or her authority. The distinction made for any specific text allows the reader to play the two levels against each other in order to create a space within which historical writing should be criticized. Such criticism may draw attention to the difficulty of controlling the meaning of historical stories, and to the need to analyze narrative structures in order to appreciate the ideological changes of historical texts. (shrink)

Contemporary African American and Black British Women Writers: Narrative, Race, Ethics brings together British and American scholars to explore how, in texts by contemporary black women writers in the U. S. and Britain, formal narrative techniques express new understandings of race or stimulate ethical thinking about race in a reader. Taken together, the essays also demonstrate that black women writers from both sides of the Atlantic borrow formal structures and literary techniques from one another to describe (...) the workings of structural racism in the daily lives of black subjects and to provoke readers to think anew about race. Narratology has only recently begun to use race as a category of narrative theory. This collection seeks both to show the ethical effects of narrative form on individual readers and to foster reconceptualizations of narrative theory that account for the workings of race within literature and culture. (shrink)

Summary The developmental age is often characterized by problems of somatization of psychological problems and conflicts: Anorexia, enuresis, encopresis and persistent constipation. The Drawn-Story (DS) technique presented in this article was developed to enhance and support the narrative-dialogic relationship in the psychodiagnostic and psychotherapeutic context – initially primarily for work with children of developmental age, but later also for other patient groups. It is a projective drawing technique that was developed by Giancarlo Trombini in the 1970s based on his (...) training in Gestalt psychology and psychoanalysis at the University of Bologna and has since been further developed by him, Elena Trombini and their colleagues and also used in other fields of application. This article uses an early case history of DS to explore central aspects of this technique in greater depth. It also explores the question of whether the Concluding Therapeutic Turn observed in therapies with adults can also be observed in developmental age therapy according to the criterion of reconciliation of time perspectives. (shrink)

At several places in this paper we have made use of a well-known rhetorical device: an argument was made; a character —dubbed “fictional reader” — was then evoked who voiced some objections against that particular argument; and finally, we answered those objections, thus bringing to a close, at least temporarily, our argument. The use of this device raises a question: “How is the presence of the ‘fictional reader” to be understood?” Is it a “mere” rhetorical tool, or does this character (...) designate some particular target? For instance, depending on the context, it could be seen as aimed at different straw men: traditionally minded sociologists, Whiggish historians, well-intentioned philosophers of science. Actually, none of these characters is behind the “fictional reader”. Rather, it refers, potentially, to any of the scientific actors (Milstein, Schwaber, Koprowski, Cohn, and so on) who inhabit our set of narratives. In other words, the “fictional reader” is an icon for the “native” reader/writer who simultaneously produces and questions the products of that particular literary activity known as scientific texts, by explicitly and implicitly raising the issue of the distinction between fact and technique.By following actors in their disputes about the novelty of K & M's contribution, it became apparent that it is not exactly clear which of the different elements of “hybridoma technology” should be regarded as “novel.” Was it the use of the P3 myeloma line? Was it the theoretical framework related to the notion of allelic exclusion? Was it ...? In each and every case, arguments can be made for or against the existence of a certain continuity or discontinuity with previous work. And in each case, the determination of novelty, as translated through the continuity/discontinuity issue, appeared to be hanging on the previous attribution of an epistemological status to the object that had allegedly been discovered: was it a fact or a technique?If one focuses on the relatively narrow network of immunogenetics, it could be argued that within that particular evidential context a series of “facts” had been established which, when transferred to other fields, such as the virological research being pursued in Koprowski's institute, were translated into a technique. However, as we have seen, even from an immunogenetic point of view the production of monoclonal antibodies can be viewed as being simultaneously a fact and a technique to establish that fact. Not only, as he himself noted,139 was Milstein not seeking to develop a technique for the production of monoclonal antibodies when the original experiments were carried out, but the significance later imputed to those experiments was not immediately attributed to them. The paper was seen as one among other papers that used cell fusion techniques to dissect the genetic control of antibody diversity. Distinctions that now appear crucial (e.g.: were the fusion partners two myelomas or a myeloma and a spleen cell?) were easily overlooked. At some point, around 1977, the production of monoclonal antibodies became a goal in itself, no longer linked to the initial immunogenetic network. The transformation of [MILSTEIN 75] into the foundational event of “hybridoma technology” was thus achieved. This transformation did not flow naturally from the original experiments. Rather, it involved specific investments which mobilized the activity of a large number of other scientific and industrial actors.140A tentative generalization can be deduced from our case study. The dichotomy between fact and technique that underlines much of contemporary science studies seem to be fundamentally misconceived, insofar as the determination of what counts as a fact and what counts as a technique is not possible on a priori grounds. Historians and sociologists of science are confronted with a field of heterogeneous interventions where particular pieces of work are constituted as discrete entities and simultaneously attributed a technical or a factual identity. “Novelty” and “innovation” are precisely the result of such polymorphic attributional processes. (shrink)

The author searches past ages to trace the development of a specific women’s memory. She attempts to show how this memory is made up, describing the female memory in the Bible, in Greek and Roman history and mythology, and its hidden trajectory behind the scenes of conventional (male) history. She suggests that social exile made female memory a matrix from which narrative thread was woven: a powerful store of metaphor and oral technique.