This article aims to compare the narrative techniques employed through the combination of text and image in Tardi's adaptations of Le Der des ders and Voyage au bout de la nuit . Le Der des ders is a classic format bande dessinée, and Voyage is a cross-media work where Tardi's uncaptioned illustrations are juxtaposed with Céline's text. We argue that both Le Der des ders and Voyage constitute successful adaptations in their use of the specificity of the media, respectively comic book and illustration. We will look at the narrative use of text and image in Le Der des ders in terms of complementarity, and in terms of fragmentation with regard to Voyage. In Le Der des ders, text and image form one narrative; in Voyage, on the other hand, there is a binary narrative: the text, and, juxtaposed with it, confronting it, its visual version.
Representations of Gender-Nonconforming Identities in Argentinian Telenovelas
the medium that narrativizes trans subjectivities. Since the advent of television in Latin America, telenovelas have become the staple of television programing. The success of serialized storytelling sustains Latin America's participation within a
Breea C. Willingham
The purpose of this article is to describe the meaning of incarceration for African American women as depicted in the narratives of incarcerated and formerly incarcerated African American women. This article uses black feminist thought as the primary theoretical framework to provide the relevant context for understanding the race, sexual, and gender oppressions that contribute to African American women's experiences with imprisonment. I argue that black women's prison narratives offer a unique insight into interlocking patterns of oppression that contribute to their incarceration, and how discrimination based on race, gender, and sexuality extends into prison.
Katalin Bálint and Ed S. Tan
Narrative absorption is a spontaneous temporary change in the state of consciousness due to an exceptionally intense awareness of a fictional narrative. This article investigates the experiential level of narrative absorption, namely what it is like to be absorbed in a cinematic or printed narrative. Following a cognitive linguistic approach the article assumes that in order to establish understanding of the experiential level of narrative absorption it is necessary to examine how people express their experience. The article proposes that the concept of image schema is a fruitful way to represent the content of viewers' and readers' consciousness so as to identify relevant mental schemata of absorbed narrative experiences. To generate rich descriptions of narrative absorption an interview study was conducted. The interviews qualitatively employing the image schemas as the system of the thematic analysis were examined for this research. The Centre-Periphery, Container, and the Source-Path-Goal schemas provide deeper insight into the nature and structure of recurring embodied patterns of absorption with fictional narratives.
Globalisation and Literary Studies
One of post-colonialism’s enduring projects has been the attempt to describe or understand the discursive component of Empire. Founding texts such as Edward Said’s Orientalism, argued that a complementary and necessary culture of imperialism existed alongside the economic and political structures of colonisation. The claim of such work was that this culture discursively produced ideas about difference that justified the European subjugation of other races and made possible the political expansion of the European states. The attempts to extend this analysis to describe a current culture of globalisation have been limited and in some ways unsuccessful. Without repudiating the methods of post-colonialism, it is necessary to recognise that changes to the structures of international relations have seen an attendant shift in the accompanying patterns of discourse. While, undoubtedly, many of the discourses that animated colonisation remain in place, the disavowal of a continuity between globalisation and earlier imperialist or colonising phases of modernity is one of globalisation’s characteristic movements. It is, therefore, insufficient to simply identify the persistence of imperialist discourses, ‘without significant challenge’, in ways that are insensitive to new cultural formulations brought about by structural changes in international relations.
This article uses a narrative approach to investigate the learning experiences of third-year medical students in a transnational higher educational setting, specifically during an elective period abroad. The students evaluate their learning experiences in an unfamiliar environment both in relation to previous learning and in relation to their possible or imagined future professional identities. Through this process, these students demonstrate how learning may take place through participation outside or alongside the formal curriculum, in the informal and the hidden curriculum (Leask and Bridge 2013). These narrative evaluations represent a reflective resource for the learners and their peers. They may also provide other stakeholders in transnational higher educational settings, including teachers, programme coordinators, educational managers and policy-makers, with an understanding of the experiences of mobile students in the informal curriculum.
This article investigates the effects of films on an audience, using an interdisciplinary empirical approach connecting film analysis and psychophysiological measurement. It discusses the animated short film Father and Daughter (2000) directed by Michael Dudok de Wit. The features of the film that are relevant to the reception process, the so-called moments of narrative impact, are determined on the basis of Wuss's analytical film model. The model postulates that films can be described as a combination of different kinds of narrative structures that predetermine the reception, which is conceptualized as a process of problem solving. This article defines five moments of narrative impact. Three of these moments establish the main conflict and its possible solution while the other two combine reoccurring motives, the so-called topic lines. Heart rate and skin conductance reactions were examined for thirty participants. The results of heart rate measurements demonstrate a clear significance for a combination of topic lines. The establishment of the central conflict also evokes significant reactions.
This article examines how middle school history textbooks published between 1951 and 1995 explain the origins of the Japanese as an ethnic group (minzoku). The analysis shows that despite the relatively long period from which the sample of textbooks was taken, these texts continue to emphasize two categories of Japanese identity: a biologically heterogeneous people through prehistoric immigration and a unified language. Building on the latter theme, the textbooks continued to treat the innovation of the kana as a quintessential development underlying the Japanese cultural achievement. The analysis reveals that the narrative tone shifted from being emotive in the early 1950s texts to somewhat muted in later decades.
Narratives of living in Serbia's 1990s
This article, based on ethnographic research in Serbia, analyzes the topics of identity, memory and urban resistance in Serbia through an analysis of forty interviews with young Serbian intellectuals aged 23 to 35. I focus on the themes that recur in my informants' discourses on (national) spaces of belonging of the 1990s. My concern here is with making links between questions of memory, identity, belonging, resistance and space.
Rafael Guendelman Hales
“Objects Removed for Study” is a creative remaking of a fraction of the Library of Ashurbanipal (part of the Assyrian collection of the British Museum) by a group of women from the Iraqi Community Association in London. Inspired by the main role of the library as a guide for the Assyrian king Ashurbanipal, and considering the current situation in Iraq, the women were invited to rewrite and re-create a series of ceramic books and artifacts. This project aims to critically rethink both the identity and the role of these old artifacts in the articulation of new sensitivities and possibilities in today's context of displacement.