|
Showing 1 - 7 of
7 matches in All Departments
The Routledge Companion to Narrative Theory brings together top
scholars in the field to explore the significance of narrative to
pressing social, cultural, and theoretical issues. How does
narrative both inform and limit the way we think today? From
conspiracy theories and social media movements to racial politics
and climate change future scenarios, the reach is broad. This
volume is distinctive for addressing the complicated relations
between the interdisciplinary narrative turn in the academy and the
contemporary boom of instrumental storytelling in the public
sphere. The scholars collected here explore new theories of
causality, experientiality, and fictionality; challenge normative
modes of storytelling; and offer polemical accounts of narrative
fiction, nonfiction, and video games. Drawing upon the latest
research in areas from cognitive sciences to complexity theory, the
volume provides an accessible entry point for those new to the
myriad applications of narrative theory and a point of departure
for new scholarship.
Offering an interdisciplinary approach to narrative, this book
investigates storyworlds and minds in narratives across media, from
literature to digital games and reality TV, from online
sadomasochism to oral history databases, and from horror to
hallucinations. It addresses two core questions of contemporary
narrative theory, inspired by recent cognitive-scientific
developments: what kind of a construction is a storyworld, and what
kind of mental functioning can be embedded in it? Minds and worlds
become essential facets of making sense and interpreting narratives
as the book asks how story-internal minds relate to the mind
external to the storyworld, that is, the mind processing the story.
With essays from social scientists, literary scholars, linguists,
and scholars from interactive media studies answering these topical
questions, the collection brings diverse disciplines into dialogue,
providing new openings for genuinely transdisciplinary narrative
theory. The wide-ranging selection of materials analyzed in the
book promotes knowledge on the latest forms of cultural and social
meaning-making through narrative, necessary for navigating the
contemporary, mediatized cultural landscape. The combination of
theoretical reflection and empirical analysis makes this book an
invaluable resource for scholars and advanced students in fields
including literary studies, social sciences, art, media, and
communication.
Offering an interdisciplinary approach to narrative, this book
investigates storyworlds and minds in narratives across media, from
literature to digital games and reality TV, from online
sadomasochism to oral history databases, and from horror to
hallucinations. It addresses two core questions of contemporary
narrative theory, inspired by recent cognitive-scientific
developments: what kind of a construction is a storyworld, and what
kind of mental functioning can be embedded in it? Minds and worlds
become essential facets of making sense and interpreting narratives
as the book asks how story-internal minds relate to the mind
external to the storyworld, that is, the mind processing the story.
With essays from social scientists, literary scholars, linguists,
and scholars from interactive media studies answering these topical
questions, the collection brings diverse disciplines into dialogue,
providing new openings for genuinely transdisciplinary narrative
theory. The wide-ranging selection of materials analyzed in the
book promotes knowledge on the latest forms of cultural and social
meaning-making through narrative, necessary for navigating the
contemporary, mediatized cultural landscape. The combination of
theoretical reflection and empirical analysis makes this book an
invaluable resource for scholars and advanced students in fields
including literary studies, social sciences, art, media, and
communication.
In this special issue, contributors argue that narrative studies
can challenge the late capitalist storytelling industry to direct
instrumental storytelling toward more ethically and rhetorically
sustainable directions. Given this, the authors suggest, narrative
studies should take a more prominent role in contemporary
discourses of the storytelling boom. Seeking to redefine the role
of narrative theorists and analysts in that boom, the authors
address its critically different aspects while also showing how
narrative studies can be made compelling, engaging, and societally
relevant.
Recent postclassical narratology has constructed top-down reading
models that often remain blind to the frame-breaking potential of
individual literary narratives. Narrative, Interrupted goes beyond
the macro framing typical of postclassical narratology and sets out
to sketch approaches more sensitive to generic specificities,
disturbing details and authorial interference. Unlike the
mainstream cognitive approaches or even the emergent unnatural
narratology, the articles collected here explore the artifice
involved in presenting something ordinary and realistic in
literature. The first section of the book deals with anti-dynamic
elements such as dialogue, details, private events and literary
boredom. The second section, devoted to extensions of cognitive
narratology, addresses spatiotemporal oddities and the possibility
of non-human narratives. The third section focuses on
frame-breaking, fragmentarity and problems of authorship in the
works of Vladimir Nabokov. The book presents readings of texts
ranging from the novels of Don DeLillo and Thomas Pynchon to the
Animal Man comics. The common denominator for the texts discussed
is the interruption of the chain of events or of the experiential
flow of human-like narrative agents.
Material Modernity explores creative innovation in German art,
design, and architecture during the Weimar Republic, charting both
the rise of new media and the re-fashioning of old media. Weimar
became famous for the explosion of creative ingenuity across the
arts in Germany, due to experiments with new techniques (including
the move towards abstraction in painting and sculpture) and
inventive work in such new media as paper and plastic, which
utilized both new and old methods of art production. Individual
chapters in this book consider inventions such as the camera and
materials like celluloid, examine the role of new materials
including concrete composites in opening up fresh avenues in the
plastic arts, and relate advances in the understanding of color
perception and psychology to an increased interest in visual
perception and the latent potential of color as both architectural
ornament and carrier of emotional force in space. While art
historians usually argue that experimentation in the Weimar
Republic was the result of an intentional rejection of traditional
modes of expression in the conscious attempt to invent a modern art
and architecture unshackled from historic media and methods, this
volume shows that the drivers for innovation were often far more
complex and nuanced. It first of all describes how the material
shortages precipitated by the First World War, along with the
devastation to industrial infrastructure and disruption of historic
trade routes, affected art, as did a spirit of experimentation that
permeated interwar German culture. It then analyzes new challenges
in the 1920s to artistic conventions in traditional art modes like
painting, sculpture, drawing, architecture, textiles, and
print-making and simultaneously probes the likely causes of
innovative new methods of artistic production that appeared, such
as photomontage, assemblage, mechanical art, and multi-media art.
In doing so, Material Modernity fills a significant gap in Weimar
scholarship and art history literature.
Material Modernity explores creative innovation in German art,
design, and architecture during the Weimar Republic, charting both
the rise of new media and the re-fashioning of old media. Weimar
became famous for the explosion of creative ingenuity across the
arts in Germany, due to experiments with new techniques (including
the move towards abstraction in painting and sculpture) and
inventive work in such new media as paper and plastic, which
utilized both new and old methods of art production. Individual
chapters in this book consider inventions such as the camera and
materials like celluloid, examine the role of new materials
including concrete composites in opening up fresh avenues in the
plastic arts, and relate advances in the understanding of color
perception and psychology to an increased interest in visual
perception and the latent potential of color as both architectural
ornament and carrier of emotional force in space. While art
historians usually argue that experimentation in the Weimar
Republic was the result of an intentional rejection of traditional
modes of expression in the conscious attempt to invent a modern art
and architecture unshackled from historic media and methods, this
volume shows that the drivers for innovation were often far more
complex and nuanced. It first of all describes how the material
shortages precipitated by the First World War, along with the
devastation to industrial infrastructure and disruption of historic
trade routes, affected art, as did a spirit of experimentation that
permeated interwar German culture. It then analyzes new challenges
in the 1920s to artistic conventions in traditional art modes like
painting, sculpture, drawing, architecture, textiles, and
print-making and simultaneously probes the likely causes of
innovative new methods of artistic production that appeared, such
as photomontage, assemblage, mechanical art, and multi-media art.
In doing so, Material Modernity fills a significant gap in Weimar
scholarship and art history literature.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|