“The journey (the [filmic] narrative) is made by the traveler (the viewer) step by step, pebble by pebble, cue by cue.”Flashbacks in Film: A Cognitive and Multimodal Analysis is devoted to explaini...

Der soziotechnische Wandel bringt neue Phänomene des Zufalls hervor, die sich den üblichen Strategien des Umgangs mit Risiken und Unsicherheit entziehen. Diese Akzidenzphänomene sind prinzipiell unvorhersehbar und in ihrer komplexen Effektgesamtheit jenseits von Kalkulation und Antizipation. Eine allgemeine Verzukünftigung unseres Weltbezuges mit spezifischen weitreichenden Problemen ist die Folge und lässt klassische Agenturen des Risikomanagements und der Unsicherheitsbewältigung an ihre Leistungsgrenzen stoßen. Bruno Gransche zeigt, dass Philosophie und Zukunftsforschung gemeinsam großes Potenzial aufweisen, hier zu helfen.

This text explores four books produced by one of the most prominent semioticians of the previous century, Umberto Eco, in order to create a semiotic meta-theory which enhances a multifarious way of â oereadabilityâ and scientifically justifies the dichotomy between the creation of a work of art and its being read, visualized and experienced by the audience. It begins by treating the â oenarrationâ component as one of the main theoretical challenges of Ecoâ s theory, specifically focusing on the concept (...) of time, seen from the linguistic and semiotic viewpoints. The book also explores Ecoâ s text theory, as well as â oesemiotics properâ, representing an analysis of the â oeencodingâ and â oedecodingâ theories. In addition, it exemplifies the â oeopennessâ and â oecollaborationâ between the writer and the reader, as well as relationships between the creator and audience in all forms of art. The book will appeal to scholars, students, and intellectuals who want to have a detailed knowledge of Ecoâ s overall contribution to semiotics, and seek a â oeformulaâ which would inter-connect informational and code theories with the narration method, so as to create what we call â oeinterpretative semioticsâ today. (shrink)

This article presents a novel social-scientific approach to the Gospel of Matthew, one of the most influential texts in the history of Christianity. This approach combines social-psychological and narrative-critical methodology. The aim is to demonstrate how the gospel narrative functions to transform the social identity of its audience and stimulate group commitment via the social-psychological phenomenon of vicarious cognitive dissonance.

In this article, we describe an ontology aimed at the representation of the relevant entities and relations in the philosophical world. We will guide the reader through our modeling choices, so to highlight the ontology’s practical purpose: to enable an annotation of philosophical resources which is capable of supporting pedagogical navigation mechanisms. The ontology covers all the aspects of philosophy, thus including characterizations of entities such as people, events, documents, and ideas. In particular, here we will present a detailed exposition (...) of the entities belonging to the idea branch of the ontology, for they have a crucial role in the world of philosophy. Moreover, as an example of the type of applications made possible by the ontology we will introduce PhiloSurfical, a prototype tool we created to navigate contextually a classic work in twentieth century philosophy, Wittgenstein’s Tractatus Logico-Philosophicus. We discuss the potential usage of such navigation mechanisms in educational and scholarly contexts, which aim to enhance the learning process through the serendipitous discovery of relevant resources. (shrink)

: Although philosophers often focus on the essays of Leopold's Sand County Almanac, especially "The Land Ethic," there is also a normative argument present in the stories that comprise most of the book. In fact the shack stories may be more persuasive, with a subtlety and complexity not available in his prose piece. This paper develops a narrative ethics methodology gleaned from rhetoric theory, and current interest in narrative ethics among literary theorists, in order to discern the normative underpinnings of (...) the stories in Part 1. The narrative ethics approach sidesteps the need to ground the land ethic in ethical theory—which has been a reconstructive and problematic task for the philosophical interpreters of Leopold—and suggests, instead, that it emerges in Leopold's very effort to narrate his, professional, personal, and practical experience with nature. The involves examining the stories in terms of their emotional, logical and performative aspects. The result is an analysis that shows not only how these stories express normative claims, but also justify them. One conclusion of the analyses is that, in the narratives, there is less emphasis on the problematic notion of an over-arching "community" than in the prose pieces, and more emphasis on the metaphor of other living things as "fellow travelers" in the "odyssey of evolution." Second, the narratives take on an ironic attitude toward the ecological order, less discernable in the prose essays. The order itself may not be ethically admirable, but should be preserved since it makes possible any ethical relations within it. Thus, the narrative reading suggests some temperance to the usual holistic interpretation of his land ethic and its concomitant criticisms especially the charge of ecofacism. We should not take the land ethic imperative at its face value, in the sense that the good of the order itself is an intrinsic good. In the narratives, individuals are shown not merely to be means to the ecological whole, but the focus of sympathy and concern, in a manner that demands their good should also be an object of moral consideration. (shrink)

Although philosophers often focus on the essays of Leopold's Sand County Almanac, especially "The Land Ethic," there is also a normative argument present in the stories that comprise most of the book. In fact the shack stories may be more persuasive, with a subtlety and complexity not available in his prose piece. This paper develops a narrative ethics methodology gleaned from rhetoric theory, and current interest in narrative ethics among literary theorists, in order to discern the normative underpinnings of the (...) stories in Part 1. The narrative ethics approach sidesteps the need to ground the land ethic in ethical theory—which has been a reconstructive and problematic task for the philosophical interpreters of Leopold—and suggests, instead, that it emerges in Leopold's very effort to narrate his, professional, personal, and practical experience with nature. The involves examining the stories in terms of their emotional, logical and performative aspects. The result is an analysis that shows not only how these stories express normative claims, but also justify them. One conclusion of the analyses is that, in the narratives, there is less emphasis on the problematic notion of an over-arching "community" than in the prose pieces, and more emphasis on the metaphor of other living things as "fellow travelers" in the "odyssey of evolution." Second, the narratives take on an ironic attitude toward the ecological order, less discernable in the prose essays. The order itself may not be ethically admirable, but should be preserved since it makes possible any ethical relations within it. Thus, the narrative reading suggests some temperance to the usual holistic interpretation of his land ethic and its concomitant criticisms especially the charge of ecofacism. We should not take the land ethic imperative at its face value, in the sense that the good of the order itself is an intrinsic good. In the narratives, individuals are shown not merely to be means to the ecological whole, but the focus of sympathy and concern, in a manner that demands their good should also be an object of moral consideration. (shrink)

With the notable exceptions of Jan Bazˇant and Paul Harvey, most scholars subscribe to the idea that the representational scenes on Greek vases fall into one of two main categories: either myth or "genre," whose frame of reference is everyday life. This article challenges this distinction and makes a plea for its abandonment.

This project continues our interdisciplinary research into computational and cognitive aspects of narrative comprehension. Our ultimate goal is the development of a computational theory of how humans understand narrative texts. The theory will be informed by joint research from the viewpoints of linguistics, cognitive psychology, the study of language acquisition, literary theory, geography, philosophy, and artificial intelligence. The linguists, literary theorists, and geographers in our group are developing theories of narrative language and spatial understanding that are being tested by the (...) cognitive psychologists and language researchers in our group, and a computational model of a reader of narrative text is being developed by the AI researchers, based in part on these theories and results and in part on research on knowledge representation and reasoning. This proposal describes the knowledge-representation and natural-language-processing issues involved in the computational implementation of the theory; discusses a contrast between communicative and narrative uses of language and of the relation of the narrative text to the story world it describes; investigates linguistic, literary, and hermeneutic dimensions of our research; presents a computational investigation of subjective sentences and reference in narrative; studies children’s acquisition of the ability to take third-person perspective in their own storytelling; describes the psychological validation of various linguistic devices; and examines how readers develop an understanding of the geographical space of a story. This report is a longer version of a project description submitted to NSF. This document, produced in May 2007, is a L ATEX version of Technical Report 89-07 (Buffalo: SUNY Buffalo Department of Computer Science, August 1989), with slightly.. (shrink)

That the same story can be told in different media is one of the fundamental claims of narratology. Claude Bremond famously listed verbal narrative, novels, theater, movies and ballet among potential vehicles for story. He thus prepared the ground for narratology’s future as a discipline engaged in narrative research across media, in principle including single still pictures. However, narratological research concerned with pictorial narrativity generally proceeds from the assumption that although single pictures may evoke or imply stories, they are unsuitable (...) for storytelling in a strict narratological sense. Focusing on the key issue of temporality, this essay will show that a single still picture may indeed tell “a story proper” and can thus be regarded as a narrative, even according to a narrow definition. (shrink)