Narrative medicine explores the stories that patients tell; this paper, conversely, looks at some of the stories that patients are told. The paper starts by examining the ‘story’ told by the Shambaa people of Tanzania to explain the bubonic plague and contrasts this with the stories told by Ghanaian communities to explain lymphatic filariasis. By harnessing insights from memory studies, these stories’ memorability is claimed to be due to their use mnemonic devices woven into stories. The paper suggests that stories (...) can be unpatronising, informative, and appropriate vehicles for communicating medical information to all age groups across all cultures. (shrink)

The article discusses the role and importance of storytelling in the context of creating and maintaining organisational culture in the healthcare sector. Medical institutions are constantly solving complex tasks related to the provision of high-quality medical care and interaction with patients and staff. In this regard, storytelling is an important tool, aimed at strengthening cultural values and adjusting goals. The study examines the nature of organisational culture, its main components and culture, its main components and the peculiarities of (...) its formation and maintenance in medical institutions. Organisational culture affects all aspects of business processes and is an important element of corporate identity, in particular in the healthcare sector. healthcare. The authors determine that storytelling as a communication tool has become an important part of business communication and management in recent decades part of business communication and management practice in recent decades. Storytelling can be used to form common values and create meaningful narratives that promote cultural change and support the organisational organisational identity of healthcare facilities. Stories in healthcare facilities reveal the specifics and uniqueness of the organisation, help to distinguish it from competitors from competitors and create a competitive advantage in the market. They form the organisation’s identity and the loyalty of employees and customers. Storytelling has an impact on on the organisational culture of a medical institution, promotes stability and highlights the unique character of the organisation character of the organisation; it allows to form values, beliefs and needs of of employees based on the institution’s mission. Storytelling is important for understanding medical discourse and the system of narratives in healthcare organisations. It supports or discredits official narratives or discredit them, depending on the perception of stakeholders. It is important that storytelling in healthcare facilities is accessible to all stakeholders and promote internal identification and loyalty to the institution. Thus, storytelling is an essential tool for building and maintaining organisational culture in healthcare facilities, helping to create a unique identity and competitive advantage. The article aims to stimulating discussion of the experience of using storytelling and further research of this important aspect of management in the healthcare sector. of healthcare enterprises. (shrink)

What can make storytelling “evil” in the sense that the storytelling leads to accepting a view for no good reason, thus allowing ill-reasoned action? I mean the storytelling can be argumentatively evil, not trivially that (e.g.) the overt speeches of characters can include bad arguments. The storytelling can be argumentatively evil in that it purveys false premises, or purveys reasoning that is formally or informally fallacious. My main thesis is that as a rule, the shorter the (...) fictional narrative, the greater the potential for argumentative evil. Here, the notion of length is to be understood such that it is generally a proxy for more abstract features such as how complex and nuanced the piece is. In other argumentative contexts, length generally appears to make no comparable difference. This feature would put fictional narrative arguments in a special class beyond what is determined by obvious features, such as the definitional fact that they in some way(s) collapse two of the four traditional types of discourse: exposition, description, narration, and argument. The nonobvious features that distinguish this class have been a source of puzzlement and inquiry. (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)

In the last decade there has been a movement towards facilitating Open Access to academic outputs via the World Wide Web. This movement has been characterised as one that embodies corporate citizenship because such sharing has the potential to benefit all stakeholders: academics, policy makers, charitable sectors and the wider public. In the UK, the Economic and Social Research Council are implementing Open Access compliance guidelines for research that they fund, which is interpreted by individual institutions in their school regulations. (...) In the case of doctoral theses, there is now a requirement for students to provide an electronic format of their final work to be included in their school's online digital repository. In a number of UK institutions, University Awards and Progress Committees will only consider awarding the doctoral degree once these requirements have been satisfied. Although this move to Open Access can be considered as an egalitarian endeavour, this paper argues that an important stakeholder may have been overlooked in the march towards progressive dissemination. The temporal space between gaining informed consent from research participants and the changing nature of the accessibility of outputs can both engender a breach of ethics in terms of the initial agreements negotiated with participants and raise issues around representation in the ongoing dissemination and reformulation of the original work, particularly where visual images are central to research outputs. The paper utilises autoethnography and poetry to reflect on my own encounter with the requirement for Open Access and the ways in which this brings up concerns around ethics, obligations and integrity. (shrink)

Researchers and activists are increasingly drawing on the practice of collecting, archiving, and sharing stories to advance social justice, especially given the low cost and accessibility of digital technologies. These practices differ in their aims and scope yet they share a common conviction: that digital storytelling is empowering especially when curating and disseminating life stories of marginalized groups. In this paper, I question this conviction and ask: is it possible that such practices take away from what is found to (...) be meaningful and worthwhile in practices of storytelling and listening, and, if so, how? To answer this question, I argue for a renewed attentiveness to story scenes, highlighting the inherently relational nature of storytelling and listening. I examine this relational nature through a fictional account that exemplifies storied encounters and demonstrates the ethical issues they entail through three themes—reciprocity, responsiveness, and communion—borne out of the plurality of philosophical positions on what it means to relate to another. I explain each of these themes as a starting point for thinking through how digital storytelling may be just, with implications for participatory methods in science and technology studies, design studies, and human-computer interaction inclusive of participatory design, co-design, ethnographic research, and participatory action research. (shrink)

Amazon Book Review Series of “Wild Wise Weird”.

Amazon Book Review Series of “Wild Wise Weird”.

In 'Literature Suspends Death: Sacrifice and Storytelling in Kierkegaard, Kafka and Blanchot' Chris Danta takes Genesis 22 as the starting point for an investigation of the role of literary imagination. His aim is to read the Genesis story from a literary-theoretical perspective in order to show how it can 'illuminate the secular situation of the literary writer.' To do this, Danta stages a fruitful confrontation between Søren Kierkegaard as defender of religion and inwardness and Franz Kafka and Maurice Blanchot (...) as defenders of literature. In this review, three important points in this confrontation are highlighted. 1. The problem of identification. 2. The moment of substitution. 3. The spectrality of the writer. (shrink)

Gamification can be a useful tool when engaging young students with science. When designing a new game, it is pivotal that a featured storytelling element can draw students' attention while providing an enjoyable experience. However, building such an insightful science dissemination narrative from scratch is often challenging. As real-life situations are frequently more appealing to students, adding alternative history elements can be helpful when designing such a game. In this paper, we present a novel educational framework to design an (...) educational, science-based storytelling activity using the history of science and alternative hypothesis as ground tools for its inception. By analysing student's feedback when playing a science-based game with a historic episode outline, they report that their learning experience was fun and relatable, matching their scientific performance during the game. (shrink)

Designing a virtual environment within a digital game occupies a large part of the design procedure, requiring holistic attention and a broad arrangement of the game constituents. Considering other design disciplines, they occupy a unified design methodology; however, a comprehensive literature review reveals the lack of the intended design methodology in the digital game domain's virtual environment development, despite a currently proposed theoretical methodology trying to dissolve the issue. Hence, this research aims to determine the industry's requirements and provide a (...) set of assets included in current digital games as an initial step of providing such a design methodology for the domain. In this regard, the researchers reverse-engineered ten selected digital games, understanding the current condition of digital games via adopting the mentioned currently available design methodology. This dataset reveals a lack in the assets of the story layer in the recent digital games, despite their focus on being story-based. This dilemma leads to long text or speech conversations between game characters, disrupting the players while following the game. The current design focuses on environmental resources only, however, as a virtual landscape, the story needs to be reinforced to be a balanced and well-designed game. Hence, increasing the ratio of the assets in this layer will advance the games' interactivity. Also, as future work, this data set could pave the way for a digital game industry design tool regarding the virtual environment. (shrink)

The rapidly growing transdisciplinary enthusiasm about developing new kinds of Anthropocene stories is based on the shared assumption that the Anthropocene predicament is best made sense of by narrative means. Against this assumption, this article argues that the challenge we are facing today does not merely lie in telling either scientific, socio-political, or entangled Anthropocene narratives to come to terms with our current condition. Instead, the challenge lies in coming to grips with how the stories we can tell in the (...) Anthropocene relate to the radical novelty of the Anthropocene condition about which no stories can be told. What we need to find are meaningful ways to reconcile an inherited commitment to narrativization and the collapse of storytelling as a vehicle of understanding the Anthropocene as our current predicament. (shrink)

While drawing from the philosophy of Bernard Stiegler throughout the paper, I commence by highlighting Zoltan Istvan’s representation of transhumanism in the light of its role in politics. I continue by elaborating on the notion of the promise of eternal life. After that I differentiate between subjects that are proper for philosophy (such as the mind or whether life is worth living) and science (measurable and replicable). The arguments mostly concern mind-uploading and at the same time I elaborate on a (...) simple critique of mind-body dualism, which is one of the key imagined orders exploitable by technologies in the narratives of transhumanism present in popular culture. This is reframed as a problem of action. The focus of this article is on the claim that certain transhumanisms are dangerous forms of Neo-Darwinism. It comes from a critical assessment of capital and the exploitation of bodies through market forces. Entropy is a process of growing disorder, while neganthropy is an anthropological struggle against exploitation, not only of bodies, but of all ecosystems of the Earth. The arguments of Stiegler from a collection of lectures are recapitulated, and his claims are presented through the prism of transhuman narrative, with a particular focus on Christian Salmon's position in the book Storytelling: Bewitching the Modern Mind. (shrink)

The paper classifies euthanasia and discusses its typological presence in storytelling video games. It aims to illustrate the importance of experiencing simulated moral challenges in the context of gameworlds as a significantly influential, exponentially growing form of interactive media. In contrast to older works of art and media, such as film and literature, the difference should be emphasized in light of the player’s ability to make choices in video games. Although the influence of gameworld content depends on the player, (...) the experiences and knowledge gained from playing storytelling video games may influence the player’s problem-solving orientation in the landscape of difficult moral dilemmas they may encounter throughout their lives. (shrink)

As they make their way through Louis Althusser’s and Jacques Derrida’s texts, readers will cross innumerable curtains – ‘the words and things’, as Derrida says, as many fabrics of traces. These curtains open onto a multiplicity of scenes and mises en scène, performances, roles, rituals, actors, plays – thus unfolding the space of a certain theatricality. This essay traces Althusser’s and Derrida’s respective deployments of the theatrical motif. In his theoretical writings, Althusser’s theatrical dispositive aims to designate the practical and (...) material dimension of the scenes of ideology, materially enacted through roleplays, performances, acts, or discourses. At the horizon: a scientific discourse on ideology or, later, a strategic intervention in the class struggle. This scientific and/or strategic orientation echoes Althusser’s definition of materialism: ‘no more storytelling’. But Derrida’s ‘closure of representation’ reminds us that there’s no presence – even the most ‘material’ – no ‘truth’ or ‘correctness’ – in theoretical or strategic terms – without effects of re-presentation, differential repetition, narrative reconstruction: theatricality and materiality suppose a force of resistance, a secret heterogeneity, curtain foldings. Hence the irreducible necessity of reading, storytelling, transformative interpretation. What are the implications for thinking inheritance and debt – for example, the one binding Althusser and Derrida, and us to them? (shrink)

This edited volume brings together authors from a wide variety of disciplines in the social sciences and humanities. A historian first investigates understudied samizdat literature, a film critic then analyzes Balkan cinema via psychoanalysis, a psychologist examines contemporary European border policies, and a political scientist analyzes the Confederate-memorial debate. Philosophers consider the space of those memorials, ethno-national narratives in India, the Anthropocene and the mind’s historical imaginary, and the notion of home. Literary critics examine recent developments in modes of (...) class='Hi'>storytelling and images of Orientalism. What emerges is a new understanding of history, memory, and time. (shrink)

The rapidly evolving space tourism industry faces significant challenges in building consumer trust and balancing emotional appeal with factual accuracy—both essential for reducing uncertainty and fostering long-term public engagement in this high-risk sector. This study examines the key factors shaping individuals’ intentions to participate in space tourism, with a focus on their perceived trustworthiness, usefulness, and immersiveness of information on social media. Applying Mindsponge Theory, we explore the interplay between trust evaluation and subjective cost-benefit judegement of individuals in high-risk tourism (...) context. The findings reveal that while trustworthiness positively influences participation intention, its role diminishes when usefulness and immersiveness are particularly strong. This suggests that space tourists, who are naturally inclined toward risk-taking, prioritize experiential rewards—such as novelty, prestige, and emotional engagement—over concerns about information reliability. These insights offer practical implications for marketing in high-risk industries, highlighting the importance of immersive storytelling, exclusivity, and transformative experiences over conventional trust-building measures. Future research should investigate how personal risk tolerance, prior experience, and cognitive biases shape thought processes, decision-making, and behaviors in extreme tourism contexts. (shrink)

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)

Her heart shared between Iran and Italy, while Asma Mehan makes peace with lockdown in her current home in Porto, Portugal, her thoughts stray to those familiar places. In those distant horizons there is heartache, but also the unexpected promise of different futures.

What is realism in film? Focusing on a test case of HFR high-definition movies, I discuss in this article various types of realism as well as their interrelations. Precision, recessiveness of the medium, transparency, and 'Collapse' are discussed and compared. At the end of the day, I defend the claim that 'less is more' in the sense that more image precision can actually have a negative impact on storytelling.

The paper explores the potential of using narrative centered pedagogies in Engineering Ethics Education (EEE), drawing insights from their successful application in nursing and business ethics education. While traditional methods in EEE focus on fostering moral reasoning through case study analysis and teaching ethical theories, increasingly, there is a need for fostering soft ethical skills, such as moral sensitivity and creativity, which, in turn, demand new teaching approaches. Initially developed for nursing ethics, narrative pedagogy emphasises understanding experiences through storytelling (...) and dialogue, contrasting with the decision oriented focus of EEE. While narrative pedagogy allows for understanding stakeholders’ motivations, there is a gap in translating this understanding into ethical decisions, which engineering students must make. Drawing from a literature survey of the existing research in ethics education, the paper describes three kinds of narrative pedagogy to be used for EEE. Despite its theoretical potential, narrative pedagogy has not been deployed in EEE due to a lack of systematic research on its effectiveness. The paper calls for more experimentation and documented case studies in teaching to explore the potential narrative pedagogy in EEE. Without such experiments, the theoretical potential of narrative pedagogy in EEE may remain unproven. (shrink)

While it is still a relatively new work, "Wild Wise Weird" has the potential to become a classic for readers interested in literary fiction and social allegory. Its timeless themes and engaging storytelling make it a book that is likely to be enjoyed and appreciated for years to come.

Our ability to tell stories about ourselves has captivated many theorists, and some have taken these developments for an opportunity to answer long-standing questions about the nature of personhood. In this essay I employ two skeptical arguments to show that this move was a mistake. The first argument rests on the observation that storytelling is revisionary. The second implies that our stories about ourselves are biased in regard to our existing self-image. These arguments undercut narrative theories of identity, but (...) they leave room for a theory of narrative self-knowledge. The theory accommodates the first skeptical argument because there are event descriptions with retrospective assertibility conditions, and it accommodates the second argument by denying us epistemic privilege in regard to our own past. The result is that we do know our past through storytelling, but that it is a contingent feature of some of our stories that they are about ourselves. (shrink)

Wild Wise Weird emerges as a distinctive work that merges humor, satire, and social critique into a collection of 42 fables featuring birds, especially the character Mr. Kingfisher, as guides to explore themes of wisdom, human behavior, and environmental awareness. Set in a whimsical bird village, the book offers readers a satirical reflection on society, encouraging contemplation on contemporary issues such as environmental sustainability and human-nature relationships. With wit and depth, Vuong’s storytelling demonstrates remarkable versatility, making Wild Wise Weird (...) a potential classic for readers interested in literary fiction and social allegory, reminiscent of Lewis Carroll’s Alice’s Adventures in Wonderland, George Orwell’s Animal Farm, and Aziz Nesin’s Laugh or lament? (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)

Games, play and gamification are essential for all ages because they allow players to develop useful 21st century skills such as digital literacy, critical and scientific thinking, problem solving, comprehension and communication skills, storytelling skills, etc. The new generation of digital natives requires a different approach in learning new things and libraries could take advantage of that by using gamification on learning content. In this way, libraries could become more welcoming spaces, more open to the public and much more (...) interested in what the public wants. To find out what people think about the idea of playing games at the library, the idea of libraries using gamified activities or if the public would like to use gamified apps on the library websites, a questionnaire-based survey was administered on Facebook and WhatsApp between February 2 and February 8, 2024. Analysis of the answers obtained shows that the Romanian public is open to the idea of libraries where reading, communicating, socializing, acquiring knowledge in various fields such as literature, history, geography can be combined in a fun and enjoyable way with play, games and gamification. Respondents would also like to use gamification on library websites such as a book lending app. (shrink)

For centuries, fiction—particularly fables—has seamlessly combined storytelling, moral lessons, and societal reflections to engage readers on both emotional and intellectual levels. Despite extensive research on the benefits of reading and the emotional responses it evokes, a critical gap remains in understanding what drives readers to form deep emotional connections with specific works. This study seeks to identify the characteristics of a book that foster such connections. Using Bayesian Mindsponge Framework analytics, we analyzed a dataset of 129 Amazon reviews of (...) Wild Wise Weird, a collection of 42 fables that intertwine traditional storytelling with contemporary sensibilities, offering life lessons, humor, and social commentary. Of these reviews, approximately 66% expressed love for the book. The findings reveal that readers who describe the book as unique, whimsical, quirky, or innovative are more likely to express affection for it. Similarly, readers who are drawn to the book’s illustrations and characters tend to form stronger emotional connections. The cultural richness and representativeness of the book also emerged as significant factors in fostering readers’ love. The book successfully captures and conveys the depth, charm, and moral essence of Vietnamese culture to a global audience. Readers have expressed heartfelt gratitude after engaging with the book, underscoring its success in fostering meaningful emotional connections. Thus, insights from this analysis offer actionable recommendations for stakeholders in the literary ecosystem, from authors and publishers to marketers, to enhance readers’ emotional attachment and commitment to books. (shrink)

Raymond Carver's stories have received many labels: minimalism, K-mart fiction, low-rent tragedy, neo-realism. Paring language, plot, and characterization to the bone, Carver concentrates his stories on instances of judgment and choice. These climactic moments affect not only the characters, but also the reader, who is called to fill the gaps in the text. The gaps generally show the unrelatedness of the characters' responses to the situations in which they find themselves. Relying on formulae, concepts, and rules taken for granted as (...) common knowledge, Carver's characters make choices and judgments which reveal the displacement of their consciousness of themselves and of the world. In trying to fill the gaps, the reader finds himself/herself in the same stance of making judgments and choices, and of looking at his/her own displacement. This predicament is more poignantly conveyed in the early stories, collected in Will You Please Be Quiet, Please?, Furious Seasons, and What We Talk About When We Talk About Love, since Carver writes about people "on the other side of the tracks," that is, on the edges of the sites of power and decisions. Bartenders, wage workers, and salespeople, Carver's characters in these early stories see their lives always threatened by joblessness, bankruptcy, and homelessness. In the later stories, collected in Cathedral and Where I'm Calling From, Carver explores possibilities in conversation, storytelling, and rituals that celebrate the here and now of each occasion and allow the merging of voices and feelings that places the individual's consciousness in the world. (shrink)

Semiotics has been making progressively inroads into marketing research over the past thirty years. Despite the amply demonstrated conceptual appeal and empirical pertinence of semiotic perspectives in various marketing research streams, spanning consumer research, brand communications, branding and consumer cultural studies, there has been a marked deficit in terms of consolidating semiotic brand-related research under a coherent disciplinary umbrella with identifiable boundaries and research agenda. -/- The Handbook of Brand Semiotics furnishes a compass for the perplexed, a set of anchors (...) for the inquisitive and a solid corpus for scholars, while highlighting the conceptual richness and methodological diversity of semiotic perspectives. -/- Written by a team of expert scholars in various semiotics and branding related fields, such as John A. Bateman, David Machin, Xavier Ruiz Collantes, Kay L. O’Halloran, Dario Mangano, George Rossolatos, Merce Oliva, Per Ledin, Gianfranco Marrone, Francesco Mangiapane, Jennie Mazur, Carlos Scolari, Ilaria Ventura, and edited by George Rossolatos, Chief Editor of the International Journal of Marketing Semiotics, the Handbook is intended as a point of reference for researchers who wish to enter the ‘House of Brand Semiotics’ and explore its marvels. -/- The Handbook of Brand Semiotics, actively geared towards an inter-disciplinary dialogue between perspectives from marketing and semiotics, features the state-of-the-art, but also offers directions for future research in key streams, such as: -/- · Analyzing and designing brand language across media · Brand image, brand symbols, brand icons vs. iconicity · The contribution of semiotics to transmedia storytelling · Narrativity and rhetorical approaches to branding · Semiotic roadmap for designing brand identity · Semiotic roadmap for designing logos and packaging · Sociosemiotic accounts of building brand identity online · Multimodality and Multimodal critical discourse analysis · Challenging the omnipotence of cognitivism in brand- related research · Semiotics and (inter)cultural branding · Brand equity semiotics Comparative readings of structuralist, Peircean and sociosemiotic approaches to brandcomms . (shrink)

In Greek mythology the Muses –patron goddesses of fine arts, history, humanities, and sciences– are tellingly portrayed as the daughters of Zeus and Mnemosyne, the goddess Memory, who is of the race of Titans, older still than Zeus and other Olympian deities. The relationship between memory and such fields as epic poetry, history, music and dance is easily recognizable to moderns. But bards/poets like Homer and Hesiod, who began oral storytelling by “invoking the Muses” with their audience, knew well (...) that remembering, forgetting, and imagining are each to be esteemed as, in Hesiod’s words, “gifts of the goddesses.” The economy of memory is an important concern for moral psychology, philosophy of emotions, and philosophy of imagination. This chapter examines ways that amusements, both classically and today, can function to educate moral emotions in and though their multi-faceted engagements with the economy of memory. (shrink)

This data collection comprises of Amazon reviews of the book titled “Wild Wise Weird.” These reviews will be analyzed and updated to identify factors driving people to love a fiction book. Wild Wise Weird is a collection of 42 fables that blends traditional storytelling with modern sensibilities, weaving together life lessons, humor, and social commentary.

Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used in environmental humanities (...) to complement – or challenge – text-based research. The filmmakers in the arts, sciences and humanities see potential in using the moving images within political philosophy, environmental politics, postcolonial studies, human geography, urban ecology, postcolonial studies, design and literature. An example of this is the film One Table Two Elephants. It is a cinematic ethnography created by two Swedish researchers and filmmakers Jacob von Heland and Henrik Ernstson. Based on years of research in Cape Town, it was filmed in 2015 as part of a longer-term research and film-project . The documentary deals with race, nature and knowledge politics in Cape Town as part of the ways of knowing urban ecologies research project. -/- . (shrink)

This chapter first gives a rough outline of the reasoning behind the division of this collection of essays, one part focused on particular issues and the second on more universal ones. It then works out that reasoning in more detail through an examination of the historical development of the relationship between storytelling, as represented by myth and poetry, and history in the Western tradition from Hesiod through Hegel. The thesis is that Aristotle’s philosophical preference for poetry over history is (...) overturned in modernity, an overturning that culminates in Hegel in such a way that the pre-Aristotelian difficulties of determining the differences between stories and histories return. With that in mind, the introduction then summarizes and links the two parts of the collection and the essays collected. Finally, it defends the range of topics in and the multidisciplinary nature of the collection by thinking through the meaning of juxtaposition in relation to Aristotle’s differentiation of luck and chance, concluding with an attempt to show the connections between the topics covered made possible by their respective positions within the collection. (shrink)

Kirjasymposioartikkeli esittelee Hanna Meretojan teoksen The Ethics of Storytelling: Narrative Hermeneutics, History, and the Possible (Oxford University Press, 2018) keskeisimmät ajatukset ja kytkee ne laajempaan hermeneuttiseen ja jälkistrukturalistiseen ajatteluperinteeseen, etenkin Jean-François Lyotardin luonnehdintaan jälkimodernista aikakaudesta suurten modernien historiallisten metakertomusten horjumisen ja pienten paikallisten kertomusten moneuden aikakautena. Tässä valossa Meretojan hermeneuttista kertomusetiikkaa voidaan lukea ennen muuta pienten, ei-totalisoivien kertomusten etiikkana. Artikkeli esittää, että tällaiselle etiikalle löytyy hedelmällinen vertailukohta Hannah Arendtin totalitarismiteoriasta, joka sijoittaa ideologiset metakertomukset totalitaarisen hallinnan ja sen tuottaman ”banaalin (...) pahuuden” ytimeen; niin Arendtin kuin Meretojankin kertomusetiikan keskeisenä viitekohtana on holokausti moderniteetin eettisenä nollapisteenä. Nämä yhteydet tuovat esiin Meretojan hahmotteleman hermeneuttisen etiikan laajan teoreettisen kaikupohjan myöhäismodernissa ajatteluperinteessä. Lopuksi pohditaan kysymystä hermeneuttisen pienten kertomusten etiikan jatkuvasta ajankohtaisuudesta sosiaalisen median ja sen ”kuplien” aikakaudella. (shrink)

Introduction. The development of online marketing in social networks creates unique opportunities for personal selling. Especially these opportunities are manifested in online education when they buy a brand of an expert with experience in a particular field. That is why a competitive space is being formed in the Instagram social network, where a personal brand acts as a product or service. -/- Materials and methods. Studying the effectiveness of promoting a personal brand in social networks based on the Instagram platform (...) was chosen to have great visual opportunities for self-presentation. As part of the collection of empirical material, two methods were used: a survey (N-200) and content analysis of three blogger accounts with high rates of activity and popularity. -/- Results and discussion. Content analysis of bloggers showed that an algorithmic feed on a social network allows bloggers to control the content. To help them, Instagram provides statistical data on user reach, thereby capturing trends in the movement of the blogger’s audience. The main task of a blogger is to combine real and “virtual” images so as not to lose consumer confidence. A survey of social network users confirmed the importance of a personal brand for them. The survey also made it possible to identify the most popular audience requests that they expect from bloggers and their accounts: valuable reviews and recommendations, case studies and author’s solutions, storytelling, blogger’s reflections and motivating messages, live broadcasts, and stories are important. -/- Conclusions. The results obtained underline followers’ high level of interest in the bloggers’ personal brand on Instagram. The study results show that the most significant number of those involved (those who give feedback and are constantly involved in interaction with the account) is where the formation of a personal brand is built to a greater extent on the emotional level of perception of the individual. (shrink)

This article is about an intervention or approach in mental health care that has been developed from hermeneutics, more specifically the hermeneutics of Ricoeur. In this intervention photography is used as a means to assist patients in a process of meaning making from experiences in their life world. It aims at empowerment and strengthening the agency of patients. It does so by facilitating storytelling. Mimesis, as interpreted by Ricoeur, was found to be a central concept with which we could (...) explain the therapeutic working of the approach and legitimize its ethical claims of empowerment and recovery. Another aspect is the concordance between narrative and action, as described by Ricoeur, which has a pendant in the goal orientation of the photography intervention. At the same time demonstrations and experiences from professional practice (nurses applying the intervention) will give us feedback on the theory and enrich it with new insights, e.g. on ‘iconic representation’. (shrink)

The paper suggests that Samuel Taylor Coleridge’s arguments against sympathy after the French Revolution, Walter Benjamin’s claims against empathy following the traumatic shock of Modernity and the First World War, and Hannah Arendt’s critical take on compassion. after the Holocaust are similar responses to singular historical crises. Reconsidering Arendt’s On Revolution (1963) and its evocation of Hermann Melville’s novella Billy Budd (1891), I show first that the novella bears the traces of an essay by Samuel Taylor Coleridge, “The Appeal to (...) Law” (1809). Then, drawing on Walter Benjamin’s writings on trauma in Illuminations (1968, edited by Arendt), I discuss the political importance Arendt attaches to the proper way of telling a story, at a time when “the communicability of experience is decreasing” (Benjamin, Illuminations, 86). Through the analysis of Benjamin’s “The Storyteller” and Arendt’s “heartless” report on the Eichmann trial (1963), I equally show that, according to Arendt, testimonies must be narrated, or rather performed, in a dispassionate, dry, and compact manner so that they can be historically and politically relevant. (shrink)

In this essay, I review one of my beloved fictional titles, Wild Wise Weird: The Kingfisher Story collection. The minimal sense of humor and satire in storytelling of Wild Wise Weird are sure to bring readers smiles, better yet, moments of quiet reflection, a much under-appreciated remedy in the world driven almost insane with the abundance of information co-created with AI technologies. I hope to deliver justice to the book.

Some of Dave Chappelle’s uses of storytelling about seemingly mundane events, like his experiences with his “white friend Chip” and the police, are examples of what W.E.B. Du Bois calls “Positive Propaganda.” This is in contrast to “Demagoguery,” the sort of propaganda described by Jason Stanley that obstructs empathic recognition of others, and undermines reasonable debate among citizens regarding policies that matter: the justice system, welfare, inequality, and race, for example. Some of Chappelle’s humor, especially in his most recent (...) Netflix specials, but also in his earlier standup performances and his series The Chappelle Show, is akin to art that appeals to emotion in the ways suggested by Du Bois in “Criteria of Negro Art” (1926). Beauty is essential to art, but, “I do not care a damn for any art that is not used for propaganda. But I do care when propaganda is confined to one side while the other is stripped and silent” (p. 22). The “one side” is that which appears to extoll American ideals, but in reality undermines them, perpetuating the subordinate status of “the other”--black citizens. Replace “beauty” with “humor” or “funny”, and we see striking parallels between Chappelle’s socio-political performances and Du Bois’ call for positive propaganda, each of which constitute “civic rhetoric” broadly construed. We no longer live in Du Bois’ America of explicit denial of rights. In many ways our situation is worse, as the mechanisms of exclusion are implicit, difficult to dislodge, because they are invisible. Chappelles’ humor draws attention to subtle undermining-propaganda in our liberal democracy, transforming it through his counter-propaganda into the spectacle that it should be; ubiquitous democracy-denying propaganda should be as obvious to whites as it is to minorities. In his words, we should all see that “that shit is fucking incredible” (Killin’ Them Softly). (shrink)

What is a philosophy class like? What roles do teachers and students play? Questions like these have been answered time and again by philosophers using images and metaphors. As philosophers continue to develop pedagogical approaches in a more conscious way, it is worth evaluating traditional metaphors used to understand and structure philosophy classes. In this article, we examine two common metaphors—the sage on the stage, and philosophy as combat—and show why they fail pedagogically. Then we propose five metaphors—teaching philosophy as (...) world-traveling, wondering, conducting an orchestra, storytelling, and coaching—that can better respond to the needs of increasingly diverse student bodies. Further, these metaphors find their ground in long-standing beliefs about what philosophy is, how it is done, and what it can do for those willing to engage in it. While no single one of them is comprehensive, we think that these models can help us enliven our own thinking about our teaching and the roles we and our students play in our classrooms. (shrink)

Wild Wise Weird presents a compelling collection of narratives that use anthropomorphised birds to explore significant themes relevant to contemporary global societies. Through allegorical storytelling, the chapters address critical issues such as community dynamics, resource management, health awareness, leadership challenges, and environmental stewardship. Each narrative, particularly those featuring Kingfisher, reflects the socio-economic complexities many communities face, highlighting the urgent need for effective governance and informed decision-making.

Hannah Arendt is often--but somehow not unfailingly--credited, together with Alasdair MacIntyre, Paul Ricoeur and Charles Taylor, as being one of the central voices in the philosophical turn to the concept of narrative of a generation or more ago. Some have even cited her 1958 The Human Condition as providing a particular impetus for later accounts of narrative. This essay examines what contemporary philosophical accounts of narrative might still owe Arendt, exploring her approach to narrative in theory as well as practice. (...) The first part looks at Arendt's use of philosophical sources from the tradition--Aristotle, Augustine and Hegel--with an eye to how her appropriation of these figures differs from that of contemporary philosophers of narrative. Three of Arendt's typically bold and rich claims about narrative action emerge as important: the notion of action as revealing an agent's own daimon: the condition that such action be revealable within a world or shared public space which has resilience yet vulnerability; and the potential for agents revealed within such a world to discover some form of narrative rebirth in their efforts at storytelling. The second section examines the extent to which Arendt herself allowed those claims to be tested and thought through in her own attempts (in Men in Dark Times, Rahel Varnhagen and elsewhere) at constructing biographical narratives. (shrink)

The undead have been evoked in philosophical hypotheses regarding consciousness, but such discussions often come across as abstract academic exercises, inapplicable to personal experience. Movie zombies illuminate these somewhat opaque philosophical debates via storytelling devices – narrative, characterization, dialogue and so forth – which approach experience and consciousness in an instinctively accessible manner. This chapter focuses on a particular strand of the subgenre: transition narratives, in which human protagonists gradually turn into zombies. Transition stories typically centralize social relationships; affiliations (...) and interactions with other beings that give her (human) life meaning. These narratives routinely posit that consciousness and sociosexuality are intertwined aspects of experience that distinguish human from zombie, foregrounding a core romantic coupling and charting its decline as the protagonist transforms into a flesh-eating monster. These notions are explored via an indicative case study: Pretty Dead (2013). The film brings two views on the self – intuitive and empirical – into direct conflict, questioning their compatibility. The protagonist’s sociosexual decline is employed to illustrate that a) there is a troubling disjuncture between rationalist-theoretical conceptions of selfhood and selfhood as it is experienced in the real, social realm, and b) there is a natural bridge between personal, introspective self-knowledge and external social selfhood. By depicting a form of selfhood that defies rationalist logic (zom-being), transitional zombie films not only animate philosophical debates about consciousness, but also challenge their viewers to develop new conceptual (theoretical and imaginative) vocabularies via which to describe and engage with both selfhood and sociosexuality. (shrink)

This chapter explores narrativism and performativity in David Lynch's short films Darkened Room and Absurda, focusing on how personal identity is constructed through storytelling. Lynch's films often blur the boundaries of identity, with narrativist theories suggesting that identity is shaped by the stories characters and others tell about themselves. The chapter examines Lynch's use of performative utterances, where speech acts alter reality, and how narrative power is central to identity formation. By analyzing these works, the chapter highlights the unique (...) way Lynch manipulates narrative to challenge traditional concepts of self and continuity. (shrink)

The question of how the university can relate to the world is centuries old. The poles of the debate can be characterized by the plea for an increasing instrumentalization of the university as a producer and provider of useful knowledge on the one hand (cf. the knowledge factory), and the defense of the university as an autonomous space for free inquiry and the pursuit of knowledge for knowledge’s sake on the other hand (cf. the ivory tower). Our current global predicament, (...) however, forces us to rethink the relation between university and world. Indeed, an easy nstrumentalization of the university for the purposes of society is no longer possible in troubled times when the future of society itself seems to be at stake. Nevertheless, urgent societal concerns do need to be addressed by the university. Hence, the disinterested position seems a highly irresponsible option. The aim of this dissertation is to reconsider the relation between the university and the world from an educational perspective by addressing the question “How to situate study in the relation between university and society?” The dissertation consists of three parts. In Part One, the existing literature on the relation between university and society will be discussed. The first chapter discerns two main approaches to this issue, namely the transcendental-philosophical approach (cf. the idea of the university) and the critical-sociological approach (cf. academic capitalism) that conceive of the university, respectively, as an idea and as an organization. By means of an excursus on the emergence of the university in the Middle Ages, the case is made for an ecological approach to the university. In the second chapter, the work of two authors who have recently adopted such an ecological approach is briefly presented. Whereas Ronald Barnett’s theory of the ecological university is situated more in the transcendental-philosophical tradition, Susan Wright’s investigations of the university in the knowledge ecology can be placed in the critical-sociological tradition. Both conceptions, however, are hinged on an institutional understanding of the university. In line with recent developments in social theory, namely the focus on practices, it is proposed to work towards an ecology of study practices. Part Two presents Isabelle Stengers’ idea of the ecology of practices. The third chapter elucidates Stengers’ work on scientific practices by first situating it within the so-called Science Wars, which provided the impetus to elaborate a theoretical framework for a civilized dialogue between scientists and the broader public. The basic tenets and concepts of her approach, such as the understanding of practice as a set of requirements and obligations, are presented, explained, and discussed. In the fourth chapter, the focus shifts from scientific practices to study practices. Assisted by Stengers’ writings on Whitehead’s speculative philosophy, this chapter aims to flesh out Whitehead’s description of the university as a ‘home of adventures’ in order to come to an educational understanding of the study practices of the university. A conceptual inquiry into how study practices activate certain worldly problems and turn them into matters of study is presented. Part Three develops the conceptual work on study practices further in relation to the activities of the Palestinian experimental university Campus in Camps. Chapter Five presents the work of Campus in Camps and explains how it relates to the theoretical discussion offered in the second part. On the basis of Stengers’ conception of practice, which discerns requirements and obligations as vital ingredients, this chapter argues that life in exile is what drives the study practices of Campus in Camps, and hence, that it is the issue of life in exile that participants are obligated to when they study. Whereas Chapter Five is focused on what is being studied in Campus in Camps, Chapter Six inquires in to the specific requirements its activities need to fulfill in order to be study practices; in other words, how the participants study. Four requirements are discerned that, taken together, seem indispensable to understand the study practices of Campus in Camps; namely, storytelling, comparing, mapmaking, and using. The concluding chapter returns to the research question and again takes up the main ideas developed in the dissertation, such as the adventure of study and the cohabitation of scientific and study practices in the university. The last two sections of the conclusion deal with two remaining issues of a more practical nature; namely, how to relate to institutionalization when working from a practice-theoretical point of view, and lastly the question of what can be done. In all, and returning to the initial problem, the dissertation asks what it means to conceive of the university as situated by and engaged with worldly questions. (shrink)

In recent years, narrative accounts of the self have gained increasing attention. It is widely accepted that humans are storytelling creatures, that stories shape our self-conception, and that we fail to be agents without a narrative framework. While there is less agreement on what constitutes a narrative, it is generally understood to be more than a chronological listing of life events; it is also an account of the explanatory relationships among these events—a story of how events lead to other (...) events. However, specifying the nature of this explanatory relationship has proven difficult. As critics have pointed out, narrativists often resort to simplistic notions of narrative when faced with criticism. The concept of narrative explanation needs to be elaborated in a way that is both substantive enough to exclude trivial behaviours from being considered narratives and nonrestrictive enough to accommodate ordinary lives that may not be particularly story-like. In this paper, I review existing accounts of narrative explanation and propose a teleological account, according to which narratives consist of goal-directed explanations of a sequence of events. I argue that a teleological account of narrative explanation can be a fruitful way to clarify the concept of “narrative” in the context of the narrative self by addressing the most common objections. (shrink)

One of the still unsolved problems in liberal anarchism is a definition of social constituency in positive terms. Partially, this had been solved by the advancements of liberal discourse ethics. These approaches, built on praxeology as a universal framework for social formation, are detached from the need of any previous or external authority or rule for the discursive partners. However, the relationship between action, personal identity, and liberty within the process of a community becoming solely generated from the praxeological a (...) priori remains largely disputed. In order to develop a testable constitutional model, this study revises how the “ontological turn” was introduced into liberal theories and redefines the concept of liberty. Liberty is usually understood as a moral goal or measurement for just actions, as the generative principle of all social existence - individual and interpersonal. For this purpose, the function of performative contradiction within the mechanism of interpersonal “encounter”, as part of the co-generative process of the individual becoming and social formation was explored through the production of a game-based narrative historiography grounded on 19th century life writings. This narrative historiography was developed in the context of Swiss history, with a “design-based” research approach, and resulted in a prototype for networked storytelling through which the transformative learning process could be visible and the negotiation of competing individual visions of the future could be re-enacted. (shrink)

Modern scientific communication traditionally uses visual narratives, such as comics, for education, presentation of scientific achievements to a mass audience, and as an object of research. The article offers a three-level characterization of the interaction of comic culture and science in a diachronic aspect. Attention is focused not only on the chronological stages of these intersections, the expression of the specifics of the interaction is offered against the background of scientific and public discussions that accompany the comics–science dialogue to this (...) day. Within the framework of the first stage (the appearance and distribution of popular science and educational comics), the characteristics of comics content necessary for the different genesis are highlighted: documentary storytelling, educational practices of learning through drawing, active cooperation with well-known companies and institutions, informativeness and empathic involvement of the young reader in a heroico-romantic narrative of scientific discoveries and mastering nature. With the intensification of interdisciplinary approaches (the second stage), comics are increasingly involved in presenting scientific results within the most diverse fields. Comics-based research is becoming an interdisciplinary method and a widespread practical area with the corresponding formation of scientific tools (applied comics, data comics), forms of interdisciplinary interaction (graphic medicine, ethnography, narrative geography, urban comics, comics journalism, etc.), and scientific publications (“The Comics Grid: Journal of Comics Scholarship”, “Sequentials”). The national format of comics-based research is presented on the example of Ukrainian comics projects (historical, feminist comics). In the genesis of development, Comics Studies have gone from a field of research to disciplinary definitions. In the creation of the metadiscourse of the scientific direction (the third stage), the authors focused on scientific discussions, the formation of academic directions and approaches, and markers of disciplinary self-identification. Emphasis is placed on the unique phenomenon of the simultaneous concordance of various stages of the dialogue between comics and science, on the prolonged replication of successful inventions into modern experience, and the active testing of known narratives at new levels of a scientific presentation. (shrink)