1. Michael A PetersBeijing Normal UniversityChatGPT is an AI chatbot released by OpenAI on November 30, 2022 and a ‘stable release’ on February 13, 2023. It belongs to OpenAI’s GPT-3 family (genera...

In this paper, we address the problematic of film narration and its narrator from a re-reading of Émile Benveniste’s theory of enunciation in open discussion with both the theories of film enunciation that have derived from it, and the cognitive theories that, by discarding it, have tried to take its place. This has led us to a differentiation between two dimensions of the problem of enunciation that are usually ignored: that which separates the act of enunciation and the subject who (...) performs it from that of the textual subjects who inscribe that act in the text. An erroneous understanding of the modes of enunciation of story and discourse has derived from their ignorance, which has led to reducing the former to a kind of form that derives from the latter, constituting no more than a form of discourse that would hide its basis. A precise enunciative definition of the lie is derived from their conscience. Certainly, there is always a subject of the act of enunciation whose traces can be recognized in the materiality of the statement. But there is a properly ontological distance that separates them – as material traces – from the enunciator, as a purely formal textual figure that, by being that, may or may not be present in the text. In this way, the Benveniste’s affirmation can be sustained according to which the story, the pure mode of the narrative, so to speak, is characterized by the absence – not the erasure, nor the invisibility – of any enunciator. (shrink)

This paper offers a brand storytelling, that is a narratological account of Covid-19 pandemic’s emergence phase. By adopting a fictional ontological standpoint, the virus’ deploying media story-world is identified with a process of narrative spacing. Subsequently, the brand’s personality is analyzed as a narrative place brand. The narrative model that is put forward aims at outlining the main episodes that make up the virus’ brand personality as process and structural components (actors, settings, actions, relationships). A series of deep or ontological (...) metaphors are singled out as the core DNA of this place brand, by applying metaphorical modeling to the tropical articulation of Covid-19’s narrative. The virus’ kernel is identified with terror, as a menacing force that wipes out existing regimes of signification due to its uncertain motives, origins and operational mode. In this context, familiar urban spaces, cultural practices and intersubjective communications are redefined, repurposed and reprogrammed. This process is called terrorealization, as the desertification and metaphorical sublation of all prior territorial significations. This study contributes to the narrative sub-stream of place branding by approaching a globally relevant sociocultural phenomenon from a brand storytelling perspective. (shrink)

The analysis method and paradigm of film have become a controversial topic in the data-driven era. Film, is not only an attractive industry that can achieve filmmakers’ imagination but has become a perfect stimulus to understand human being’s mental activity. The core research in this study is to examine the impact of filmmaking experience and the role of narrative denoters from filmmakers’ construction to audiences’ interpretation. Based on previous studies and integrating cognitive approaches, the thesis re-explores the nature and essence (...) of film and proposes an alternative term - narrative denoter - which can be used as the indication of message exchanging between filmmakers and audiences. Using a released film that has a complete story to do the experiment, this study investigates the relationship between major, film interpretations, event segmentation, and audience’s preference. The result showed that filmmaking experience does not impact the interpretation of film; however the identification of the narrative denoter played an important role in film perception and cognition; apart from these, the audience’s preference did not correlate with film interpretation. With respect to this result, the narrative denoter can be indicator to demonstrate the message transitions from filmmaker to audience. Suggestions were made for future cognitive film studies on using the narrative denoters as a new analysis unit. (shrink)

Emotions are Janus-faced: their focus may switch from how a person is feeling deep inside her, to the busy world of actions, words, or gestures whose perception currently affects her. The intimate relation between the ‘inside’ and the ‘outside’ seems to call for a redrawing of the traditional distinction of mental states between those that can look out to the world, and those that are, supposedly, irredeemably blind.

This thesis sets out a theoretical premise for design research into the space of the designer, working inside the design system or context. The designer is understood as actor, as active agency looking inwards in a comprehensive way to examine where ideas are located and then, how these new insights or perspective might be meaningfully introduced. In order to develop this research, personal journal writing is employed as to develop an understanding about how the designer/actor can actively engage with being (...) at once participant, and observer, of their own design practice. A series of design case studies are carried out, where the role of the designer as actor is critically examined through forms of personal journal writing. What this entails is the establishment of a form of autopoetic system for writing in several voices of the self, and self-as-other working in, and through as design project case studies. I critically evaluate these journal case studies to inform my understanding about the design of dialogic visual communication, where multiple perspectives of self, and self-as-other may be interwoven into the visual design artifact. As a result of conducting this research, I propose the existence of what I term the 'conversational self' as a means for developing new knowledge and knowing through conversational story-telling as design research. My research introduces the 'conversational self' as a generalisable theory for design research which addresses the ways in which the designer might effectively engage with the workings of personal tools and patterns of practice, thus building greater objectivity through recognition of local contexts, and the role of the designer as actor and as a situated self within the design process. My research findings describe a space for the 'conversational self' as the coming together of three linked knowledge systems for creation and learning. I describe this theory as 'agency-centred' design for research about design and experiential knowledge contexts through research into the development of project case studies where individual styles and approaches to learning and thinking which are recognised and valued as implicit tools of and for design practice. Firstly, the conversational journal writing format which I develop situates the designer/ researcher as both participant and observer within their design decision-making. As a result of the uses of the journal format as a practice-based research methodology through case studies, I observe the effect of producing what I term an 'autopoetic' (Maturana and Varela) self-producing system, which enables me to introduce both rational and intuitive content that works in my journal through a range of thinking styles and journal forms. My research strategy involves the writing of several concurrent and interacting levels of internal conversation across 'I', 'You', 'Me' and 'We' as parallel and interactive experiential voices of self through uses of a journal format where a range of experiences are documented as design project narratives. The conversational contexts which this approach offers provide a means for introducing multiple perspectives from self, and selfas- other (as designer, author, subject, agent, person) to explore topics and social knowledge themes through a range of creative conversational learning contexts (Pask, Glanville). In the course of developing this approach I draw on theories about personal constructs (Kelly, Thomas and Harri-Augustein); the self as forms as agency (Archer); about experiential learning and knowledge creation through learning conversations (Baker, Jensen and Kolb) ; and social knowledge as networks, flows and exchange processes (Boisot). Secondly, as a finding from my usage of this journal format, I propose the workings of what I describe as my 'unity of self' system construct as an enabling and generative system for working with social knowledge and the 'self' as forms of agency through internal conversations. Margaret Archer's theory describes the social self as forms of causal agency active in everyday social and experiential contexts. In my case studies I trace the internal dynamics and interactions of 'voices' of self in the journal text, which I evaluate as the workings of conversational levels and layers which engage with a range of details and perspectives for each project using written and non-verbal forms. The design case study projects each describes a particular context for design practice; including institutional, corporate, experimental, and personal design projects. In using this methodology for journal writing, I show how I am able to explore the social interplays of personal/public and individual/collective frameworks for design practice contexts. Thirdly, through my evaluations of the design project case study journals, I observe the emergence of topics and themes in each project around my understanding of the role of context for defining the social and experiential 'materials' (Schon) of the situation. The topics noted from conversations in design case inform what I term my 'contextual field' as the third learning system in my findings from this research. This 'contextual field' is a kind of topical map which provides signposts for working with social and experiential contexts, to design 'ecological narratives' (Krippendorff) as forms of language which are crafted as intentional and strategic design approaches, as responses to the research process of internal reflection about the materials of the situation (Schon) Through usage with my journal format, and unity of self construct, my contextual field topical map provides a framework for developing topics and themes for internal conversations to inform my design production in both 'service' and 'hand' craft project contexts. What results are rich use case studies documented as forms of conversational story-telling where new knowledge emerges as questions and possibilities around the design of visual artifacts and service contexts. (shrink)

Abstract Narrative thinking has a very important role in our ordinary everyday lives?in our thinking about fiction, about the historical past, about how things might have been, and about our own past and our plans for the future. In this paper, which is part of a larger project, I will be focusing on just one kind of narrative thinking: the kind that we sometimes engage in when we think about, evaluate, and respond emotionally to, our own past lives from a (...) perspective that is external to the remembered events. Being able to do this is an essential part of what it is to have a narrative sense of self. Sometimes, I will suggest, we fail to have such responses?we are not able to think and feel as we should about an episode in our lives. On such occasions, there is a gap in our narrative sense of self?a gap which opens up especially where the past is in some sense tragic or traumatic. The desire to close this gap is what I will call a desire for emotional closure. (shrink)

The theoretical debate on the nature of narrative has been mainly concerned with literary narratives, whereas forms of non-literary and especially pictorial narrativity have been somewhat neglected. In this paper, however, I shall discuss narrativity specifically with regard to pictorial objects in order to clarify how pictorial storytelling may be based on the activation of mentally stored action and scene schemas. Approaches from cognitive psychology, such as the work of Schank, Roger C. & Robert P. Abelson. 1977. Scripts, plans, goals (...) and understanding. Hillsdale, NJ: Lawrence Erlbaum; Mandler, Jean Matter. 1984. Stories, scripts, and scenes: Aspects of schema theory. London/hillsdale, NJ: Lawrence Erlbaum; Schank, Roger C. 1995. Tell me a story: Narrative and intelligence. Evanston, IL: Northwestern University Press, suggest that cognition crucially depends on the storage and retrieval of action scripts or schemata, that is, narrative structures, which may occur at various levels of abstraction. These schemas incorporate generalized knowledge about event sequences, such as the order in which specific events will take place; causal, enabling, or conventionalized relations between these events, and what kind of events occur in certain action sequences. There also are scene schemas that are characterized by spatial rather than temporal relations. Further kinds of schemas seem also to play a decisive role. Drawing upon considerations from schema and script theory, I will focus on some concrete examples of pictorial narration, more specifically depictions of the Annunciation of the Virgin Mary, where narrative schema structures become involved and, indeed, the comprehensibility of the pictures as such presuppose mental script representations. (shrink)

In 2004 The New York Times launched a weekly Times Supplement with Taiwan’s United Daily News. This article aims to explore non-lexicalized allusion variation between TS headlines and NYT headlines as a discourse strategy. A textual survey was conducted on a corpus comprising 605 TS news articles and their corresponding NYT articles. Non-lexicalized allusions were identified and explored within a reader-oriented approach. And a stylistic analysis was performed to explore cognitive, pragmatic, and rhetorical roles of non-lexicalized allusions in the corpus. (...) The results show that non-lexicalized allusions occur in far fewer TS than NYT headlines. The allusion downsizing increases the accessibility of TS headlines to general TS readers at the cost of cultural diverseness and stylistic expressiveness in the headline language, making the language of TS headlines stylistically more restricted and culturally less Western. NYT headline language exemplifies English as a native language, whereas TS headline language is a specific genre of English as an international language. This article also discusses cultural implications of non-lexicalized allusions for EIL learning. It is pointed out that EIL is an integration of elements of all varieties of English involved in international or intercultural discourse. The cultural knowledge behind non-lexicalized allusions dealt with in this article represents one such element of EIL. (shrink)

Can literature make it possible to represent histories that are otherwise ineffable? Making use of the Deleuzian concept of “the powers of the false,” Doro Wiese offers readings of three novels that deal with the Shoah, with colonialism, and with racialized identities. She argues that Jonathan Safran Foer’s Everything Is Illuminated, Richard Flanagan’s Gould’s Book of Fish, and Richard Powers’s The Time of Our Singing are novels in which a space for unvoiced, silent, or silenced difference is created. Seen through (...) the lens of Deleuze and his collaborators’ philosophy, literature is a means for mediating knowledge and affects about historical events. Going beyond any simple dichotomy between true and untrue accounts of what “really” happened in the past, literature’s powers of the false incite readers to long for a narrative space in which painful or shameful stories can be included. (shrink)

Michel Foucault’s understanding of painting oriented him and his readers to an alternative history of art through a means or an approach well known to philosophers and literary critics, that of irony. A close reading of the first chapter of The Order of Things shows that Foucault rejected the traditional interpretations of art history generated by a focus on the intentions of the individual artist, the identification of the subjects portrayed, and the expectations of a genre, relying instead on a (...) synthesis of the approaches to painting given by Merleau-Ponty and Jacques Lacan, which converged with his ironic approach. (shrink)

In the cognitivist paradigm, metaphor's conceptual nature is investigated almost exclusively in its verbal manifestations. Research on nonverbal expressions of conceptual metaphors is still surprisingly scarce. Although some pioneering work has been done in the area of pictorial metaphor, the work has hitherto focused on specific instances of isolated metaphors. For better insight into the nature of conceptual metaphors, it is necessary to examine if they can be rendered pictorially and mixed-medially, and if so, what forms they could take. In (...) this case study, a structural metaphor from Ian McEwan's novel The Comfort of Strangers is analyzed and compared to its counterpart in the film that Paul Schrader based on the book. The article ends with suggestions for generalizations across different media, including a distinction between explicitly and implicitly signaled metaphors. (shrink)

Science-fiction (SF) has become a reference point in the discourse on the ethics and risks surrounding artificial intelligence (AI). Thus, AI in SF—science-fictional AI—is considered part of a larger corpus of ‘AI narratives’ that are analysed as shaping the fears and hopes of the technology. SF, however, is not a foresight or technology assessment, but tells dramas for a human audience. To make the drama work, AI is often portrayed as human-like or autonomous, regardless of the actual technological limitations. Taking (...) science-fictional AI too literally, and even applying it to science communication, paints a distorted image of the technology's current potential and distracts from the real-world implications and risks of AI. These risks are not about humanoid robots or conscious machines, but about the scoring, nudging, discrimination, exploitation, and surveillance of humans by AI technologies through governments and corporations. AI in SF, on the other hand, is a trope as part of a genre-specific mega-text that is better understood as a dramatic means and metaphor to reflect on the human condition and socio-political issues beyond technology. (shrink)

Critical discourse analysts are being pulled in two directions. On one side, in the age of validity, inter-rater reliability and evidence-based research, it can seem subversive when researchers ‘tell stories’ (rather than ‘write reports’, ‘produce findings’ or ‘demonstrate effectiveness’). On the other side, public relations departments encourage researchers to use ‘storytelling’ techniques to engage public audiences. In this paper, I draw on social and cultural theory to assume that critical discourse analyses are always already narrative. I propose that we embrace (...) (rather than hide) the storytelling qualities of our research. Using similar strategies for all audiences, we undermine traditional power hierarchies between researchers and ‘the public’. Critical discourse analysis then performs its own critical approach. The paper also explores the potential of adopting a ‘carrier bag theory’ of storytelling (Le Guin) rather than telling ‘hero’ stories and reflects on the epistemological, relational and political work done by storytellers in critical discourse studies. (shrink)

The idea of narrative has been widely discussed in the recent health care literature, including nursing, and has been portrayed as a resource for both clinical work and research studies. However, the use of the term 'narrative' is inconsistent, and various assumptions are made about the nature (and functions) of narrative: narrative as a naive account of events; narrative as the source of 'subjective truth'; narrative as intrinsically fictional; and narrative as a mode of explanation. All these assumptions have left (...) their mark on the nursing literature, and all of them (in our view) are misconceived. Here, we argue that a failure to distinguish between 'narrative' and 'story' is partly responsible for these misconceptions, and we offer an analysis that shows why the distinction between them is essential. In doing so, we borrow the concept of 'narrativity' from literary criticism. Narrativity is something that a text has degrees of, and our proposal is that the elements of narrativity can be 'sorted' roughly into a continuum, at the 'high narrativity' end of which we find 'story'. On our account, 'story' is an interweaving of plot and character, whose organization is designed to elicit a certain emotional response from the reader, while 'narrative' refers to the sequence of events and the (claimed) causal connections between them. We suggest that it is important not to confuse the emotional persuasiveness of the 'story' with the objective accuracy of the 'narrative', and to this end we recommend what might be called 'narrative vigilance'. There is nothing intrinsically authentic, or sacrosanct, or emancipatory, or paradigmatic about narrative itself, even though the recent health care literature has had a marked tendency to romanticize it. (shrink)

Within the framework of Viewpoint Spaces (Dancygier, Barbara. 2012. The language of stories: A cognitive approach. Cambridge: Cambridge University Press), this paper investigates viewpoint interactions in a mobile game’s plot to show how the game’s structural framing leads to meaning construction, specifically the construal of irony. The notion of (meta-)Ground Viewpoint Space is proposed not only to provide a generalized account of a global mental space where local spaces and viewpoints relate to one another, but also to elucidate how the (...) invoked genre-specific expectation makes a significant meaning contribution to the player’s overall construal of the game. This study presents a case study of the mobile game Liyla and the Shadows of War (Abueideh, Rasheed. 2016. Liyla and the Shadows of War) as a viewpoint phenomenon whose construal involves the interaction of multiple viewpoints. The game depicts the consequences of the 2014 Gaza conflict from the perspective of an unnamed Palestinian father struggling to escape the war zone with his daughter Liyla. It deviates from prototypical games in that it is impossible to complete the expected narrative, regardless of the player’s skill, although its ostensible goal is to let the protagonists survive and escape to a safer place. The mismatch between the player’s goal to clear all the stages, the character’s goal to survive, and the developer’s goal to convey a message is a source of ironic meaning, and this study focuses on how the network of multiple viewpoints – of the game developer, the character, and the player – constructs the intended meaning for players. (shrink)

For Aristotle, virtues are neither transcendent nor universal, but socially interdependent; they need to be understood chronologically and with respect to character and context. This paper uses an Aristotelian lens to analyse an especially interesting context in which to study virtue—the state’s response when social order breaks down. During such periods, questions relating to right action by citizens, the state, and state agents are pronounced. To study this, we analyse data from interviews, observation, and documents gathered during a 3-year study (...) of riot policing in the U.K. In doing so, we contribute by joining a number of other conversations within JBE, suggesting detailed empirical examination of this context is useful in opening up considerations relevant to ‘virtue’ elsewhere. This extreme context helps us raise interesting and empirically informed questions that can encourage future theoretical and empirical contributions to virtue in business ethics. One such question is on the role of habituation in virtue, which is not just the inculcation of a reflex or automaticity, but can also refer to a trained and developed tendency to behave in the right way, for the right reasons, at the right time. Whilst we stop short of a simplistic alignment of habituation and virtue, we show ways in which it can inform understanding of both courage and phronēsis. (shrink)

The paper studies Livy's account in Book 45 of the aftermath of Aemilius Paullus' conquest of Macedon employing two interpretative methods, both common in recent studies of historians. The first is “metahistory,” in other words interpreting events within a historical narrative as commenting covertly on the genre of history and on the work as an example of that genre. The second is seeing how internal audiences provide a guide for the reader's interpretation. These, though theoretically independent, are in practice often (...) related, with internal audiences being used as a trigger for wider reflections on the text and the genre. Four linked passages from Livy 45 are discussed in detail. One invites a systematic metahistorical reading without the use of an internal audience, partly to endorse Livy's own manner of “secondary” history, partly to promote a moral reading of the text. The other three employ internal audiences to similar effect: first, Aemilius' meeting with the defeated Perseus, and the lesson which he draws about the mutability of fortune; second, the spectacular games he organizes at Amphipolis; and third, his eventual triumph in Rome, along with the speech that Servilius gives in its support. The understanding of the genre of history that Livy promotes through these passages is, however, astonishingly narrow and didactic, ignoring even central aspects of his own work which do not conform to that understanding. The paper concludes by considering why Livy would wish to present himself and his genre as single-mindedly moralistic when neither he nor it actually was. (shrink)

This article examines the pedagogic vision of audiovisual archives in Ici et ailleurs ( Here and Elsewhere, 1974/1978) (shot by Sonimage and drawn from the abandoned project Jusqu’à la Victoire [1970]) in terms of the stratification of images and sounds. Drawing on Gilles Deleuze and Michel Foucault, Tom Conley writes that a diagram that depends upon the division between the visible and the enunciable may be comprehended in terms of a map and as a line of forces. Such strata can (...) act as signposts for diverse and multilateral readings of film, as viewers “read” cinematic landscapes and time-images. In Ici et ailleurs, stratigraphic shots juxtapose the Western, static home life of a family in France with the nomadic life of Fedayeen troops in Jordan and Palestine. This article argues that Sonimage’s narrative specificity relies upon an “in-between” method that defines an inter-space between semantic orders. (shrink)

Zusammenfassung: Der folgende Beitrag handelt vom Rückgriff auf den Körper an der Grenze und will einige der besonderen Problematiken skizzieren, die sich durch eine kontrollpolitisch begründete Ontologie des Körpers und seine weitere Verarbeitung als datenbankgestützte Identität im Kontext der europäischen Migrationspolitik ergeben. Er will damit einen Beitrag zur Politisierung der konstitutiven Instabilität einer verkörperten Identität leisten, d. h. einer Identität und vor allem auch eines Körpers, wie sie – gewissermaßen gegen das somatische Identitätskriterium, demgemäß „wir“ unser Körper „sind“ – von (...) Feminist*innen wie etwa Elizabeth Grosz oder Niamh Stephenson und Dimitris Papadopoulos und, für den Bereich der Surveillance Studies, etwa von Kirstie Ball postuliert wurde. Im ersten Teil des Textes greifen wir drei Fälle auf. Sie haben sich infolge der Flüchtlingsbewegungen nach Europa ab 2015 ereignet und sind ihrerseits – wie wir zeigen werden, ganz und gar nicht rational begründet – zu Skandalen beschworen und anschließend als Argumente angeführt worden, um sowohl für die gesellschaftliche und politische Akzeptanz als auch für die Zweckmäßigkeit einer zunehmenden Daten-Interoperabilität und einer Ausweitung der Geltungsbereiche zu werben, wie sie sich anhand der EURODAC-Novellierung erkennen lassen, die sich gegenwärtig vollzieht. Im zweiten Teil fassen wir den EURODAC-Recast zusammen – und skizzieren damit eine neue Entwicklungsphase der soziotechnischen Assemblage, durch die in den europäischen Entwicklungs- und Forschungseinrichtungen der biometrischen Identifikation und der Kontrolle der Mobilität eine verkörperte Identität der Migration produziert wird. (shrink)

Ex-Machina and Morgan, two recent science-fiction films that deal with the creation of humanoids, also explored the relationship between artificial intelligence, spatiality and the lingering question mark regarding artificial consciousness. In both narratives, the creators of the humanoids have tried to mimic human consciousness as closely as possible, which has resulted in the imprisonment of the humanoids due to proprietary concerns in Ex-Machina and due to the violent behavior of the humanoid in Morgan. This article addresses the dilemma of whether (...) or not the humanoids in both films possess high levels of artificial consciousness and its possible consequences regarding focalization, a narrative term that presupposes subjectivity, as well as offer two new categories of posthuman focalization—X-focalization and A-focalization. The issue of captivity also has far-reaching ethical implications when considering the underlying assumption of artificial consciousness—if humanoids are indeed endowed with a subjective inner life, then they are entitled to be treated as moral agents, equivalent to humans rather than animals. (shrink)

This article analyzes the representational strategies Vergil uses in the description of the shield of Aeneas to shape the reception of his text. Three aspects of the ekphrasis highlight its ambiguous status as a literary representation figuring itself as a material presence that can become part of history as well as depicting it. First, descriptions of rivers frame narrative units within book 8 as though the text were a visual image, while failing to perform such a function in the case (...) of the shield itself. Rivers also symbolize both the linear progression of the narrative and its static visual surface. Second, the presence of multiple levels of internal spectators simultaneously reminds Vergil's audience of the differences between poem and image and image and reality and provides focalizing perspectives from which each represented image can be perceived as real. Finally, intertextual references to defining features of historiography as a literary genre provide a model for how literary accounts of the past can influence events. But the comparison with historiography also draws attention to what Vergil does differently, particularly his direct representation of divine action and his refashioning of history's linear order into a circular, spatial image that can be viewed synchronically. (shrink)

Brand Equity Planning with Structuralist Rhetorical Semiotics furnishes an innovative conceptual model and methodology for brand equity planning, with view to addressing a crucial gap in the marketing and semiotic literatures concerning how advertising multimodal textual elements may be transformed into brand associations, with an emphasis on rhetorical relata as modes of connectivity between a brand’s surface and depth grammar. The scope of this project is inter-disciplinary, spanning research areas such as brand equity, structuralist semiotics, textual semiotics, visual and film (...) semiotics, multimodal rhetoric, film theory, psychoanalysis. The proposed connectionist conceptual model of the brand trajectory of signification is operationalized through a methodological framework that encompasses a structuralist semiotic interpretative approach to the textual formation of brand equity, supported by quantitative content analysis with the aid of the software Atlas.ti and the application of multivariate mapping techniques. (shrink)

To the realists.—You sober people who feel well armed against passion and fantasies and would like to turn your emptiness into a matter of pride and ornament: you call yourselves realists and hint that the world really is the way it appears to you. As if reality stood unveiled before you only, and you yourselves were perhaps the best part of it … But in your unveiled state are not even you still very passionate and dark creatures compared to fish, (...) and still far too similar to an artist in love? And what is ‘reality’ for an artist in love? You are still burdened with those estimates of things that have their origin in the passions and loves of former centuries. Your sobriety still contains a secret and inextinguishable drunkenness. Your love of ‘reality’, for example-—oh, that is a primeval ‘love’ … Subtract the phantasm and every human contribution from it, my sober friends! If you can! If you can forget your descent, your past, your training—all of your humanity and animality. (F. Nietzsche,The Gay Science, Book Two, extract from Section 57). (shrink)

This paper proposes an understanding of literary narrative as a form of social cognition and situates the study of such narratives in relation to the new comprehensive approach to human cognition, enaction. The particular form of enactive cognition that narrative understanding is proposed to depend on is that of participatory sense-making, as developed in the work of Di Paolo and De Jaegher. Currently there is no consensus as to what makes a good literary narrative, how it is understood, and why (...) it plays such an irreplaceable role in human experience. The proposal thus identifies a gap in the existing research on narrative by describing narrative as a form of intersubjective process of sense-making between two agents, a teller and a reader. It argues that making sense of narrative literature is an interactional process of co-constructing a story-world with a narrator. Such an understanding of narrative makes a decisive break with both text-centered approaches that have dominated both structuralist and early cognitivist study of narrative, as well as pragmatic communicative ones that view narrative as a form of linguistic implicature. The interactive experience that narrative affords and necessitates at the same time, I argue, serves to highlight the active yet cooperative and communal nature of human sociality, expressed in the many forms than human beings interact in, including literary ones. (shrink)

Storytelling is a pervasive part of our daily lives and culture. The task of creating stories for the purposes of entertaining, educating, and training has traditionally been the purview of humans. This sets up the conditions for a creative authoring bottleneck where the consumption of stories outpaces the production of stories by human professional creators. The automation of story creation may scale up the ability to produce and deliver novel, meaningful story artifacts. From this practical perspective, story generation systems replicate (...) the creative abilities of humans and can thus be considered instances of computational creativity. Computational systems that are purported to be creative typically utilize one of three general approaches: exploration of a space of concepts, combination of concepts, and transformation of concepts. In this article we present an approach to story generation that utilize exploration, combination, and transformation. Our approach, implemented in the Vignette Based Partial Order Causal Link story planner, is an algorithm that searches through a space of possible story solutions, guided by combinations of existing story fragments called vignettes. The vignettes are made relevant to novel story generation contexts through an automated transformation pre-process. Through these processes, we show that story generation can incorporate multiple perspectives on computational creativity. Our approach is presented at both the theoretical and technical levels. (shrink)

I first ask what it is to make up a story. In order to answer that question, I give existence and identity conditions for stories. I argue that a story exists whenever there is some narrative content that has intentionally been made accessible. I argue that stories are abstract types, individuated by the conditions that must be met by something in order to be a properly formed token of the type. However, I also argue that the truth of our story (...) identity attributions---sentences like, "Peter Jackson's Lord of the Rings is the same story as JRR Tolkien's Lord of the Rings''---are relative to their context of use, so that the same attribution of identity might be true in one context or false in another because of a change in what's being said about the works in the differing contexts. From those existence and identity conditions, I draw the conclusions that story is best understood to be a phase sortal of some abstract types, and that what it is to make up a story is to identify a type of narrative representation and its content, such that the content is neither based on actual events nor on the content of other stories to an objectionable degree. In chapter 2, I ask what it is for a story to be complete. I argue for the general meta-thesis I call "Completion Pluralism", viz. that there are many kinds of artwork completeness, many corresponding senses of 'complete', and no kind of artwork completeness is objectively more important than any other. I give a pair of arguments against those who would deny Completion Pluralism, endorsing Completion Monism instead. First, I show how Monistic analyses of the one (or one most important) kind of artwork completeness fail. I also show that each Monistic theory's failure is contingent on the assumption of Completion Monism: the denial of Completion Monism dissolves each argument against the extensional adequacy of extant theories of artwork completeness. I argue that this is all best explained by the idea that Completion Pluralism is true. Second, I argue that Completion Pluralism fits best with the variety of interests that we bring to questions about artwork completeness: there is no single or overriding concern we have when we want to know whether an artwork is complete. We shouldn't expect completeness to be a single sort of thing, then. I show how to put Completion Pluralism to work by identifying different kinds of artwork completeness in artworks. Finally, I introduce a new kind of completeness particular to stories, what I call "narrative completion", and show how it's distinct from other kinds of completeness discussed. In chapter 3, I argue that the distinction between fictional and non-fictional stories is the degree to which stories are made-up. In short, a fictional story is a made-up story. I first provide a couple desiderata for thinking about theories of fiction, then show how the two most popular extant theories of fiction---the prop theory and the genre theory---fall short in meeting one or more of those desiderata to some extent. I then show how the theory that fictions are made-up stories better meets the desiderata, using my account of what it is to make up a story from chapter 1. I turn to explicitly ontological matters in chapter 4. Addressing the question of what stories are, I show that both the theses that they are eternal and immutable and that they are created and historical seem plausible for independent reasons. I discuss a schema of an argument some philosophers who hold to the latter view (those I call "Creationists") attempt to give for their view. However, I show how those who hold to the view that stories are eternal and immutable ("Platonists") can account for all the same appearances as the Creationists, usually at least as well and sometimes with a better accounting. Similar, deductive arguments for Platonism will give rise to similar responses from the Creationist, however. In the end, then, the style of argument in particular is unlikely to advance the discussion much. Finally, I attempt to advance the discussion by building an abductive case for Platonism. First, I vindicate a particular metaontological methodology for the debate at hand, a methodology that allows for "revisionary" outcomes in our ontologies of art objects. Second, I build a case for Platonism by arguing that it best explains a number of features of stories discussed in the previous chapters. Moreover, I argue that Creationism is committed to an implausible account of how some abstract objects come into existence. Given the combination of those facts, I argue that we should prefer Platonism to Creationism. (shrink)

Critical discourse analysts are being pulled in two directions. On one side, in the age of validity, inter-rater reliability and evidence-based research, it can seem subversive when researchers ‘tell stories’ (rather than ‘write reports’, ‘produce findings’ or ‘demonstrate effectiveness’). On the other side, public relations departments encourage researchers to use ‘storytelling’ techniques to engage public audiences. In this paper, I draw on social and cultural theory to assume that critical discourse analyses are always already narrative. I propose that we embrace (...) (rather than hide) the storytelling qualities of our research. Using similar strategies for all audiences, we undermine traditional power hierarchies between researchers and ‘the public’. Critical discourse analysis then performs its own critical approach. The paper also explores the potential of adopting a ‘carrier bag theory’ of storytelling (Le Guin) rather than telling ‘hero’ stories and reflects on the epistemological, relational and political work done by storytellers in critical discourse studies. (shrink)

In a world where meaning has been deconstructed and reconstructed, where centers have lost their hegemony and notions such as truth, knowledge or history have been rendered relative by the ongoing ontological enquiry of the postmodern ideology, it is baffling to remark that not only in literature, but also in other fields that make use of discourses, there has been a return to and a reconsideration of the narrative. Nowadays, one can easily observe the narrative drive that enlivens various discourses, (...) from the medical one to the one used in the academe or in official governmental documents. Brian McHale has even referred to the „narrative turn” in literary theory which, according to him, seems to answer to the loss of the metaphysical. (shrink)

The purpose of this article is to analyze the connections of spatial relations and settings with narrative, and the presentation of these relations in Jüri Ehlvest’s texts. Distinctions are made between textual space (as designation, description, or rhetorical presentation) and fictional space (the space in which narrative action takes place and the site of the denouement of events). Fictional space can be expressed as textual space in one of the four following ways: (a) perceived space (b) experienced space (c) logical (...) space (d) alogical space. The multilayeredness of Ehlvest’s texts, their fragmentariness and dislocated reality, entail a complicated reception. In contrast, however, the geographical space represented in the texts is generally quite clear and accessible, with the effect of seeming real and humanly possible. Indeed, specific spatial elements are one of the sources of the verisimilitude and plausibility of Ehlvest’s texts. For the most part, the place where ehlvestian narrative plays itself out is a clear topographical environment, usually an interior; the textual representation of spaces is minimalist, avoiding descriptions, and with practically no impression of movement. In addition to representation of places, rooms, houses, and open space using ordinary, direct, (yet very minimalist) means, several more indirect strategies of creating space can be found in Ehlvest’s texts. This article calls attention to some characteristic devices from this indirect repertoire, grouping them as follows: things; window and picture; repetition, fragment, and mirror; body and emptiness. Of the four types of textual space mentioned above, the one most characteristic of Ehlvest’s stories is experienced space, which could also be described as haptic space of experience. However, due to the fragmentariness and bricolage typical of Ehlvest, there are certainly also plenty of examples of the other types, particularly perceived and alogical space. Many transformations can be noted when comparing Ehlvest’s earlier and later texts. First, many earlier images disappear (tree, mill, bridge). Second, the first-person protagonist’s bodily experience becomes more important (eating, illness, pain). Third, the borders between consciousness and the world become nebulous, yet the boundary between the protagonist and his environment does not disappear completely. Neither does the text become a meandering between consciousness and the world. Indeed, narrative emphasis shifts to this very boundary, and to the possibility of its erasure. As such, however, the plausibility of the space where action takes place is maintained, much as in Ehlvest’s earlier stories. (shrink)

The account of the conversation between King Janaka and the Ṛṣi Pañcaśikha on the fate of the individual after death is one of the philosophical texts that are included in the Mokṣadharmaparvan of the Mahābhārata. There are different scholarly views on the history and composition of the text as well as the philosophical teachings propagated by Pañcaśikha. In contrast to earlier studies this paper not only analyzes the whole text, but also pays attention to the narrative framework in which the (...) philosophical discourse is embedded. In the text Bhīṣma functions as an external narrator, who relates and interprets the conversation as well as characterizes the protagonists and thereby influences the ways in which text is received by the audience. It is argued that it is important to deal with the interplay between the narrative and the philosophical discourse that is narrated, when analysing the philosophical positions that are either refuted or accepted in the text. 12.211–12 is not only a philosophical text, but also a tale about philosophical discourse in general and about how Sāṃkhya philosophy is taught to a non-expert audience. Seen from this perspective the text is significant for the way in which philosophical terms and issues are dealt with in the epic and adjacent non-expert texts, such as the Purāṇas. (shrink)

Citizen science projects have started to utilize Machine Learning to sort through large datasets generated in fields like astronomy, ecology and biodiversity, biology, and neuroimaging. Human–machine systems have been created to take advantage of the complementary strengths of humans and machines and have been optimized for efficiency and speed. We conducted qualitative content analysis on meta-summaries of documents reporting the results of 12 citizen science projects that used machine learning to optimize classification tasks. We examined the distribution of tasks between (...) citizen scientists, experts, and algorithms, and how epistemic agency was enacted in terms of whose knowledge shapes the distribution of tasks, who decides what knowledge is relevant to the classification, and who validates it. In our descriptive results, we found that experts, who include professional scientists and algorithm developers, are involved in every aspect of a project, from annotating or labelling data to giving data to algorithms to train them to make decisions from predictions. Experts also test and validate models to improve their accuracy by scoring their outputs when algorithms fail to make correct decisions. Experts are mostly the humans involved in a loop, but when algorithms encounter problems, citizens are also involved at several stages. In this paper, we present three main examples of citizens-in-the-loop: when algorithms provide incorrect suggestions; when algorithms fail to know how to perform classification; and when algorithms pose queries. We consider the implications of the emphasis on optimization on the ideal of science and the role of citizen scientists from a perspective informed by Science and Technology Studies and Information Systems. Based on our findings, we conclude that ML in CS classification projects, far from being deterministic in its nature and effects, may be open to question. There is no guarantee that these technologies can replace citizen scientists, nor any guarantee that they can provide citizens with opportunities for more interesting tasks. (shrink)

Engages and extends the feminist philosopher Lorraine Code's groundbreaking work on epistemology and ethics.

Pelkey’s anchoring of the semiotic square in embodiment is excellent news for cognitive literary theory, a dynamic field still in search of itself. However, his validation of the square, though theoretically unexceptionable, suffers in the execution, for his interpretation of the country song “Follow your Arrow” is less successful. The present article benefits from Pelkey’s validation as it organizes a tool of cultural-semantic analysis (CS-tool) as a ‘deviant’ semiotic square. The article then shows how this particular semiotic square allows us (...) to analyze the song in terms which build on Pelkey’s analysis, but also arrive at more satisfying results. Where Pelkey sees liberation in the song and the square, the tool uncovers manipulation in the former and closure in the latter. The article then assesses the complementarity of and differences between the two squares: Pelkey works on a local sentence-level through direct implicature, thus following the narrative/authorial voice of the poem. The CS-tool starts from a position of higher abstraction requiring a less defined, but still sufficient and more wide-ranging, three-step implicature. This allows the tool to step back from the song’s authorial voice and uncover its manipulations. The article closes by discussing the deviant features of the present square. (shrink)

Coordinating different viewpoints is an essential part of human interaction. Languages have evolved conventional ways of supporting this process: many linguistic items are somehow involved in viewpoint management, ranging from morphological elements and lexical units to grammatical constructions and narrative patterns. In this paper we propose a conceptual model for analysing how particular instances of such linguistic items can be used to coordinate the viewpoints of signallers, addressees, and third parties involved in an interaction event. In essence, our model augments (...) Langacker’s “viewing arrangement” through the addition of a third dimension to the existing two. We discuss the details of our model using a range of examples from spoken discourse, newspaper articles, and literary fiction, and end by placing it in broader discussions on human social cognition. (shrink)

Pasirinktas žiūros taškas pasakojime formuoja vertybinius, pasaulėžiūrinius, veikėjų vidaus planus, dialoguojančius tarpusavyje ir taip kuriančius prasmę. Straipsnyje aptariamos galimos žiūros taško teorinės apibrėžtys. Vienas pirmųjų, teoriškai pagrindęs ir aprašęs žiūros tašką, yra rusų mokslininkas Borisas Uspenskis. Pagal pasakotojo santykį su pasakojama istorija jis skiria ideologinį, frazeologinį, psichologinį, erdvinį ir laikinį žiūros taškus. Ši Uspenskio žiūros taško klasifikacija padarė stiprią įtaką visam tarptautiniam naratologijos mokslui. Gérardo Genette‘o pavadintas fokusuote, terminas tapo pamatine naratologijos sąvoka. Straipsnyje aptariamos naratologų Genette‘o, Wolfo Schmido, Mike Ball, (...) Shlomith Rimon-Kenan žiūros taško sampratos, pagrindiniai teoriniai šių sampratų skirtumai. (shrink)

Literary narratology has rightly devoted much attention to analysing the source(s) of verbal information about the story world, usually discussed under the label “narration”, and to any agent(s) that present(s) non-verbalized perspectives on it, usually discussed under the label “focalization”. Assessing the identity of narrators and focalizers is crucial for understanding what is going on in the story world. Which narrative agent is in charge? Is the narration and/or focalization layered? If the latter, is there any “colouring” by the higher-level (...) narrative agent of anything said, thought, or experienced by the lower-level agent? Is the information provided trustworthy? Nuanced? Prejudiced? Narration and focalization have supra-medial as well as medium-specific dimensions. Over the past years, the issue of how these concepts function in the medium of comics, which combines visuals and language, has begun to be systematically addressed. This paper aims to show how the visual mode can, on its own or combined with the written-language mode, signal the sources of narration, focalization, and joint narration-and-focalization, as well as distinguish between different levels at which these take place. (shrink)

This article aims to discuss conceptual levels of narrative representations of utterances based on reported speech frames employed in presidential speeches. It adopts some assumptions from Chilton’s Deictic Space Theory and Cap’s Proximisation Theory, both primarily used to indicate exclusive reference, a clash of interests and threat-oriented conceptualisation of events. This article, however, extends their scope to include strategies for inclusion and positive image construction and makes a distinction between primary, secondary and tertiary embedding as discursive means that contribute to (...) presentation of self and legitimisation. Data for this research comprise a corpus of 125 presidential speeches divided into three subcorpora: JKC – John Kennedy Corpus, BCC – Bill Clinton Corpus, and BOC – Barrack Obama Corpus. A total of 1251 instances of narrative reports have been analysed to investigate primary and multilevel embedding, which constitute the basis for this study. (shrink)

While there are interesting connections between literature and evil, there is as of yet no systematic collection of models of evil to study literature. This is problematic, since literature is among other things an evaluative discourse and the most basic evaluative category is the polarity of good versus evil. In addition, evil shows important affinities with basic narratological principles. To initiate a discussion of models of evil for the analysis of literature, this article organizes a dozen models of evil into (...) four groups. The first consists of a core model which coincides with basic narratological elements in character analysis and narrative tension. The second group contains two pre-modern models of evil, defilement and moral-natural evil. The third group takes its cue from personality theory and proposes the five-factor model of personality and an enriched “dark triad,” and, to balance description against narration, a model which categorizes kinds of murder. The last group organizes six models around the thematic opposition between nature and society, an opposition which forms the backbone of Western philosophy and narrative. To test their validity, the models are applied to a series of literary examples/characters, above all Grendel, Browning’s “My Last Duchess,” and Carol Oates’ short story “Heat.”. (shrink)

This study examines the discourse of resistance constructed in the 2008 Wenchuan earthquake coverage by Chinese state media. It tries to explore how media discourse can be constructed to facilitate crisis control in natural disaster situations. Set in a context of nationalistic culture in contemporary China, this paper dissects how state media in China frame narratives and represent meanings to construct national cultural identity in earthquake coverage. In analysing this discursive process, this research adopts the methodology of critical discourse analysis (...) and cluster criticism; the findings indicate that the discourse of resistance deals with the disorderly information flow in a crisis by differentiating the messages, framing media stories and engaging with the broad nationalistic culture, to construct positive representations of disaster relief. Specifically, a strong sense of belonging to a national community is constructed for people trapped in uncertainty, anxiety and trauma. This study concludes that, in doing so, discourse of resistance enhances disaster relief by controlling the meaning of the crisis. (shrink)

Geraldas Prince’as remiasi tokiu naratyvo apibrėžimu: objektas yra naratyvas, jei jis yra logiškai nuosekli bent dviejų asinchroninių įvykių, kurie nesuponuoja arba nenumano vienas kito, reprezentacija. Atkreipdamas dėmesį į svarbius klausimus apie naratyvo pobūdį, jo formą ir funkcionavimą, Prince’as pastebi, jog reikia mėginti aiškintis ir kokia yra mūsų suvokimą veikianti santykių sistema, galinti paaiškinti naratyvo semiozės pobūdį ir jos bruožus, naratyvų ir atskirų naratyvinių momentų reikšmę bei prasmingumą. Kalbėdamas apie naratologijos ateitį ir aptardamas įvairias jos šiuolaikines atmainas, jis iškelia keletą uždavinių (...) būsimiems naratologams. Pirmasis jų yra, pasitelkus naujus įrankius, įtraukiant naują tyrimų medžiagą ir naujausias pasakojimo moduliacijas, mėginti atpažinti arba ištirti kuo įvairesnius naratyvo aspektus, juos apibrėžiant, aprašant ir užbėgant už akių galimiems nenuoseklumams teorijoje. Antrasis uždavinys įpareigoja imtis naratyvo tyrimų ir naratologijos empirinių pagrindų. Prince’o nuomone, pats svarbiausias, trečiasis, naratologijos uždavinys yra aiškaus, išsamaus ir realistinio naratyvinės kompetencijos modelio plėtra. (shrink)

From princesses who free princes to journalists who tell stories about natural catastrophes and, most generally, individual and collective actors who make sense of the world, narratives are everywh...