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Revised papers originally presented at the "International Conference on Narrative Revisited: Telling a Story in the Age of New Media," held in July 2007, and sponsored by the Department of English Linguistics at the University of Augsburg, in honor of WolframBublitz .
In Narrative Discourse Revisited Genette both answers critics of the earlier work and provides a better-defined, richer, and more systematic view of narrative form and functioning. This book not only clarifies some of the more complex issues in the study of narrative but also provides a vivid tableau of the development of narratology over the decade between the two works.
From Nobel Prize–winning economist and New York Times bestselling author Robert Shiller, a groundbreaking account of how stories help drive economic events—and why financial panics can spread like epidemic viruses Stories people tell—about financial confidence or panic, housing booms, or Bitcoin—can go viral and powerfully affect economies, but such narratives have traditionally been ignored in economics and finance because they seem anecdotal and unscientific. In this groundbreaking book, Robert Shiller explains why we ignore these stories at our peril—and how we can begin to take them seriously. Using a rich array of examples and data, Shiller argues that studying popular stories that influence individual and collective economic behavior—what he calls "narrative economics"—may vastly improve our ability to predict, prepare for, and lessen the damage of financial crises and other major economic events. The result is nothing less than a new way to think about the economy, economic change, and economics. In a new preface, Shiller reflects on some of the challenges facing narrative economics, discusses the connection between disease epidemics and economic epidemics, and suggests why epidemiology may hold lessons for fighting economic contagions.
Many academic libraries across the country have developed and maintained library diversity residency programs in support of a larger campaign to diversify librarianship as a profession. Library diversity residencies strive to provide early-career librarians of color with the experience and toolkit necessary to pursue a successful lifelong career in academic librarianship. Beyond the residents themselves, there are various stakeholders involved in every residency program: residency coordinators, library administrators, and the professional organizations that back them. This book provides a space for the perspectives of all types of residency stakeholders to intersect, thereby producing a holistic narrative of library diversity residencies. The intended audience for this narrative is all academic librarians and administrators currently involved or interested in library diversity residency programs or generally interested in diversity initiatives. On paper, diversity residencies have the potential to do so much good: jump-start someone's career, offer much-needed entry-level employment for recent graduates, and even offer the (false) promise of diversifying a predominantly and problematically white field. This collection will leave everyone asking: who do these programs really help? Preethi Gorecki is the Communications Librarian at MacEwan University. In 2018, she started her career in librarianship as a Library Faculty Diversity Fellow at Grand Valley State University. Preethi holds a Bachelor of Arts degree in Sociology from Concordia University in Montréal, Québec, Canada and a Master of Library and Information Science (MLIS) degree from the University of Western Ontario in London, Ontario, Canada. Her research interests include practices for diversifying librarianship, project and task management tools and techniques for everyday academic librarianship, and student engagement as related to student wellness. Arielle Petrovich is the College Archivist at Beloit College. She holds an MS in Library and Information Science from Simmons College and a BA in American Studies from Smith College. Her research interests include strategies for diversifying the archival profession, de-mystifying the archives, and fostering historical empathy in the archival classroom.
This book investigates how social media are reconfiguring dying, death, and mourning. Taking a narrative approach, it argues that dying, death, and mourning are shared online as small stories of the moment, which are organized around transgressive moments and events with motivational, participatory, or connective scope. Through the different case studies discussed, this book presents an empirical framework for analyzing small stories of dying, death and mourning as practices of sharing which become associated with specific modes of affective positioning, i.e. modulations of different degrees of distance or proximity to the death event and the dead, the networked audience(s), and the affective self. The book calls for the study of affect as integral to narrative activity and opens up broader questions about how stories and emotion are mobilized in digital cultures for accruing audiences, value (social or economic), and visibility. It will be of interest to researchers in narrative analysis, the anthropology and sociology of emotion, digital communication, media and cultural studies, and (digital) death and dying.
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.
The past several decades have seen an explosion of interest in narrative, with this multifaceted object of inquiry becoming a central concern in a wide range of disciplinary fields and research contexts. As accounts of what happened to particular people in particular circumstances and with specific consequences, stories have come to be viewed as a basic human strategy for coming to terms with time, process, and change. However, the very predominance of narrative as a focus of interest across multiple disciplines makes it imperative for scholars, teachers, and students to have access to a comprehensive reference resource.
This book proposes the concept of "fictional contamination" to capture the fact that fictionalization and literary complexity can be found across different kinds of narrative. Exploring conversational storytelling in oral history and other interviews from socionarratological perspectives, the book systematically discusses key narrative features such as story templates, dialogue, double deixis, focalization or perspective-taking and mind representation as well as special narrative forms including second-person narration and narratives of vicarious experience. These features and forms attest to storytellers’ linguistic creativity and serve the function of involving listeners by making stories more interesting. Shared by fictional and conversational narratives at a basic level, they can bring conversational stories closer to fiction and potentially compromise their credibility if used extensively. Detailed analyses of broad-ranging examples are undertaken against a rich narrative-theoretical background drawn from the fields of narratology, linguistics, oral history, life storytelling, psychology and philosophy. The book is of interest to scholars and students working in these fields and anyone fascinated by the richness of conversational storytelling.
This book is a result of the 2013 CLAVIER Conference held in Modena in November 2013, and includes a selection of the papers presented on that occasion. As the title suggests, this volume encourages cross-generic and cross-disciplinary investigations, in order to advocate integrated approaches to the study of media discourse regarding both theoretical background and practical applications. Bringing together a wide range of case studies, the book fosters debate on a variety of aspects related to the representation of specialised discourse in and through the media, including, for example, voice and point of view, argumentative practices, knowledge construction, multimodality, the re-contextualization and re-conceptualization of knowledge, opinion formation and peer-to-peer communication, and popularization in and through traditional, digital and social media. Taken together, the contributions to this volume provide extensive exemplification of the type of research currently being conducted on these issues. The variety of the questions posed and the wide array of methods used here therefore represent a substantial contribution to sharpening existing knowledge and furthering the ongoing debate among scholars in the field.
This book is about three sets of etudes by Liszt: the Etude en douze exercices (1826), its reworking as Douzes grandes études (1837), and their reworking as Douzes études d'exécution transcendante (1851). At the same time it is a book about nineteenth-century instrumental music in general, in that the three works invite the exploration of features characteristic of the early Romantic era in music. These include: a composer-performer culture, the concept of virtuosity, the significance of recomposition, music and the poetic, and the consolidation of a musical work-concept. A central concern is to illuminate the relationship between the work-concept and a performance- and genre-orientated musical culture. At the same time the book reflects on how we might make judgements of the 'Transcendentals', of the Symphonic Poem Mazeppa (based on the fourth etude), and of Liszt's music in general.