Narrative Theory

The essay focuses on the oral reminiscences of East Pakistani refugees who migrated to West Bengal following the 1947 Partition. It examines these narratives to construct a memory-scape which is subjective and pluralistic. By referring to Maurice Halbwachs “collective memory”, it argues that the absence of “social framework” makes it difficult for the refugees to recount their experiences. During the oral narration, however, they put forward their perspectives which underscore what Jeffrey Olick terms “collected memories”. The movement from collective to collected memory signals a drift from fixity to flux. It implies an ingenious method of comprehending historical time that concentrates not on the original significance of the historic event but how the event resuscitates in the moment of enunciation and is transmitted over time in its everyday actualization and propagation. The essay foregrounds this as a mnemohistorical reading of the past, facilitating a renewed interest in how the 1947 Partition is rehearsed and represented in memorial cultural encompassing the historical event.

Le présent texte analyse les mouvements discursifs de personnages de fiction cinématographique et propose la description de la manière dont ces variations créent une trame fictionnelle à l'écran. La recherche mentionnée ici est une étude de cas. On cherche à montrer comment l'écran de cinéma, en tant que dispositif de communication, peut s'articuler autour de divers niveaux narratifs. À cet effet, on établit le concept d'écran-échiquier, qui sert à dévoiler le sens des mobilités des protagonistes. Les analyses s'appuient sur les concepts d'ocularisation (JOST, 1983, apud SOUZA 1994) et d'iconisation (PEIRCE). Elles s'attachent à l'observation de trois films français (Dans la maison, Molière à bicyclette et Gemma Bovery), où l'acteur Fabrice Luchinni, qui est connu comme un grand défenseur de la langue française, incarne les protagonistes principaux. On étudie les passages d'un niveau de récit à un autre par le discours des personnages et on définit les dénominateurs communs de ces trois films. La démarche permet ainsi de voir que les processus langagiers spéciaux d'autoproduction et de la fonction métalinguistique sont d'importants mécanismes de la création narrative cinématographique.

HEFT 1/2 (3 i^H SONDERDRUCK lEIDELBERG 1985 ER • UNIVERSITÂTSVERLAG MICHEL BASTIAENSEN • BRUXELLES La satire antivoitairienne au théâtre: Sebastiano Caprini. Puerorum ingens multitude, velut quibusdam furiarum arcanis facibus accensa, conditum rutsus cadaver effodiunt [...] multis conviciis ac ludibriis per omnes urbis vicos raptant. Ang. Politianus Pactianae coniurationis commentarium.

O ensaio discute os deslocamentos da palavra museu na novela A invenção de Morel (1940), de Adolfo Bioy Casares. Mediante esse exame, procura cavar uma relação entre os mitos miméticos e a máquina de Morel, na ilha museu. Um dos objetivos de pensar a produção de imagens e sua circulação
ininterrupta é discutir os sentidos que podem conter o museu, enquanto edifício material e simbólico. No ensaio, esse regime imagético se aproxima dos deslocamentos da palavra museu, via a clássica interdição: proibido tocar! Por último, discutir (à deriva) os usos do museu, na novela de Bioy Casares, é uma tentativa de propor outros métodos para a escrita da história da arte que exponham, ainda que implicitamente, o colapso da representação.

Cumhuriyet dönemi Türk edebiyatının önemli yazarlarından biri olan Oğuz Atay (1934-1977), modernist romanın öncülüğünü yapmış, postmodern kurmacanın ilk örneklerini sunmuş ve gerek teknik gerek tematik açıdan getirdiği yeniliklerle 1980 sonrası Türk edebiyatına yön vermiştir. Daha ziyade romanlarıyla ön plana çıkmış olmakla birlikte, Atay’ın hikâye türünde de başarılı örnekler verdiği görülmektedir. 1975 yılında yayımlanan ve yazarın tek hikâye kitabı olan Korkuyu Beklerken, sekiz adet hikâyeden oluşmaktadır. Bu çalışmada incelenecek olan “Ne Evet Ne Hayır” adlı hikâye, kitaptaki mektup üzerine inşa edilen üç hikâyeden biridir. Biçimsel olarak hikâye içinde hikâye ya da mektup içinde mektup şeklinde adlandırabileceğimiz çift katmanlı bir görünüm arz etmektedir. Dolayısıyla çerçeve metnin anlatıcısı ve çerçevelenen metnin anlatıcısı şeklinde iki anlatıcı söz konusudur. Hikâyenin esasını oluşturan mektup, çerçeve metnin anlatıcısının giriş ve sonuç kısımlarında yaptığı açıklamalarla çerçevelenmiştir. Mektubun anlaşılmasına zemin oluşturan ve okuyucuyu yönlendiren bu açıklamalar sadece giriş ve sonuç kısımlarında değil, mektubun içerisinde de parantez içi açıklamalar ve müdahalelerle devam etmektedir. Genel olarak bakıldığında hikâye farklı açılardan değerlendirmelere ve çıkarımlara imkân tanımaktadır ancak hikâyedeki en belirgin unsurun “güvenilmez anlatma” olduğu dikkat çekmektedir. Bu çalışmada öncelikle “Ne Evet Ne Hayır” hikâyesi hakkında genel bilgilere ve değerlendirmelere yer verilecek, daha sonra da hikâyenin şimdiye kadar üzerinde pek durulmamış olan “güvenilmez anlatma” açısından tahlili yapılacaktır.

for their endless patience, knowledge, support and guidance, and to Bonnie Rowell for the stimulating discussions early on in the process. I am also very thankful to the whole of the Dance Department of the University of Roehampton for the bursaries that allowed me to work on this thesis and for the very nurturing and supportive environment. A special mention goes to Elvíra Němečková, dance researcher and archivist at the Kylián Archive in Prague for her efficiency and helpfulness. I would also like to express my gratitude to Stephanie Schroedter, Ramsay Burt, Mieke Bal and Bernhard Kuhn for their generosity and suggestions at different stages of this thesis. For their love, generosity and support I am also extremely grateful to Elisabeth and Antonio Vaghi for making this possible and for their support 'behind the scenes'; to Carla Piccone for her wise advices open ear and invaluable friendship; to Alessio Vaghi -our reciprocal support during the PhD process was immensely helpfuland to

How do fictional tactics operate in what is often simplistically termed the "factual" or referential world of autobiographical discourse? Many narratologists view the rhetorical figure of metalepsis as distinctive to metafictional texts and constitutive of "fictional" narration, which they posit in antithesis to "factual" narration. But regarding autobiographical narrative only within the realm of fact ignores its complexity. While

This artistic research article explores the application of Artificial Intelligence (AI) in the process of screenwriting, focusing on the Four Stage Story Generation method in collaborative screenwriting scenarios. The primary objective of this study is to ex- plore and analyse the dynamics between human creativity and AI capabilities in crafting screenplays. By integrating AI into the traditional screenwriting process—which involves stages of writing, feedback, and rewriting—we investigate the transformative impacts on both the process and the outcomes of screenplay development. Our research employs GPT-4 to co-create a screenplay for a short film. This collaborative approach highlights the potential of AI to act as a creative partner, contributing to the ideation and development phases of the script. The study is structured around a four-stage model: thematic conception, story world conception, character conception, and dramaturgical conception. Each stage is designed to leverage the strengths of AI in generating content that adheres to established screenwriting paradigms while also pushing the boundaries of traditional creative processes. The findings from this study reveal that while AI can significantly enhance the screenwriting process by generating innovative ideas and content, it also presents challenges such as maintaining narrative coherence and depth in character development. The interaction between human screenwriters and AI showcases a complex interplay of creativity where AI’s contributions are curated and refined by human oversight. This research contributes to the understanding of AI’s role in creative industries and sets the stage for further explorations into the capabilities and limitations of AI in artistic collaborations.

Im Folgenden möchte ich verschiedene moderne Zeitkonzepte und deren Darstellungen in Literatur und Kunst vorstellen, die hauptsächlich aus dem Zeitraum der historischen Avantgarden zwischen 1900 und 1930 stammen. Im ausgehenden 19. und beginnenden 20. Jahrhundert kommt es, wie sich anhand unterschiedlicher literarischer und ästhetischer Quellen beobachten lässt, zu einer erhöhten Aufmerksamkeit auf Zeitphänomene und, damit verbunden, zu einer verschärften Zeitwahrnehmung. 2 Das neuartige Interesse an Aspekten der Zeit als einer typischen Erscheinungsform der Moderne bleibt dabei nicht etwa national oder regional beschränkt, sondern weist eine internationale Reichweite auf. Zeitphänomene werden -besonders im Umkreis der europäischen Avantgarden um und nach 1910 -wahrgenommen als Teil einer zunehmend international vernetzten modernen Weltkultur. Dabei kristallisieren sich in der Literatur und Kunst bezeichnenderweise nicht allein neue mentale Dispositionen und Denkweisen heraus, sondern es entstehen auch modernetypische Zeitbilder und Symbole, deren Auftreten zumeist an eine spezifische, urbane Raumkonstellation gekoppelt ist. Bevorzugter Ort der Verzeitlichung ist die moderne Großstadt, die urbane Lebenswelt, in der sich auch der technologische Fortschritt am deutlichsten niederschlägt.

The thought journey of the German philosopher and jurist Wilhelm Schapp
is characterized by three moments. The first moment, the one that could be defined as strictly phenomenological, pertains to his experience of the early phenomenological circles and can be traced back to his doctoral dissertation under Husserl in 1909, published in 1910 with the title Beiträge zur Phänomenologie der Wahrnehmung. !e second moment, which could be defined as that of the “phenomenology of values,” comprises the two volumes of Die neue Wissenschaft
vom Recht (1930, 1932), along with a book from 1937 entitled Zur Metaphysik des Muttertums, which was published posthumously in 1965. Finally, the third phase is the most famous and is represented by the so-called “philosophy of stories,” a trilogy of works: In Geschichten verstrickt (1953), Philosophie der Geschichten (1959), and Metaphysik der Naturwissenscha! (1965). In this trilogy, Schapp develops a radical critique of Husserl’s phenomenology through the basic concept of the entanglement of humans in stories. On the argumentative
level of Schapp’s philosophy of stories, the deconstruction of certain classical assumptions of phenomenology and the construction of a new theoretical model of a hermeneutic-narratological character are closely interconnected, and one of the main cornerstones of this argumentative framework involves the internal evolution of the concept of “thing” (Ding).

Il "mentre" caratterizza un'azione nel suo farsi, nel suo dispiegarsi, nel suo contraddistinguersi come un passaggio di stato da una forma della sostanza (o di vita) ad un'altra: è propriamente un intervallo, che trova la sua forza nello stare nel "Ma" (direbbero nel Giappone della tradizione), ovvero nel frattempo, nel dubbio. "L'architettura nel mentre" è così un tentativo di catturare una condizione che è incerta, ambigua, e forse proprio per questo estremamente vitale: quella dell'architettura quando ha a che fare con il racconto, cioè con le storie che di essa narriamo; così come, assieme, quella dell'autore nei confronti di una disciplina, quella architettonica appunto. Si è tentato un esercizio di pensiero non tramite sostantivi – il cui compito è puntare a scovare una fatidica "essenza" di fondo delle cose, che si è rivelata essere un bersaglio fantasma –, bensì per mezzo di preposizioni, avverbi, congiunzioni, per stare così nelle relazioni, nelle mezzetinte, nei tra. E lo si è fatto alternando tre "movimenti" differenti, che caratterizzano i tre capitoli del libro: prima prendendo posizione riguardo ad un possibile modo d'intendere la disciplina del progetto; quindi, tentando di esprimersi al confine tra scritto e osservato, tra dicibile e indicibile; in ultimo, studiando e indagando l'operato di qualcuno che è stato, a suo modo, un punto di riferimento costante lungo il tragitto intrapreso.

We may consider narratology -the structural study of narratives -in two ways, each of them implying a slightly different before and after. First, this important endeavor in 20th century literary studies may be regarded as the study of a specific narrative logic, the formal structures that unite all narratives, fictional and factual, literary and non-literary. This approach points back primarily to the functionalist study of folklore: myths, baUads, folktales (V. Propp, A. loUes, C. Levi-Strauss, etc.) and to more or less formalized logico-mathematical strategies: in its most simple form the ancient stemmatic logic as summed up by Porphyry and in a more advanced version in post-Leibnizian mathematical calculus. Narratology in this strict sense, and as promoted by AJ. Greimas, T. Todorov, C. Bremond and others, seems to develop into a more and more refined mathematical and logical theory, by some seen as formalistic acrobatics. As structure is everything, context nothing, contextualization becomes a problem. Due to its logical structure, any narrative has as its context all other narratives that follow the same logic (which they all do), regardless of medium, genre, content or historical period. Narratology is gradually turned into a general theory of meaning-generating conditions -narratology suspends narratology. Secondly, narratology may be regarded as the study of specific texts with specific cultural functions -storehouses of memory on the one hand and, on the other, meaning-generating devices integrating human action with time and place, ending up in cognition, identity, values, pragmatic norms, etc. In this

Tomando como ponto de partida o estudo da obra gráfica de Luís Filipe de Abreu, pretende-se estabelecer uma aproximação a determinados princípios que remetem para o conhecimento de “sciencias e notícias”, cuja importância Francisco de Holanda destaca como fator primordial do papel ativo do artista, no seu tempo, mas que permanecem atuais no caso de alguns artistas contemporâneos. Luís Filipe de Abreu insere-se nesse grupo de artistas, pela probidade das suas qualidades criativas, que refletem a atualidade da obra literária de reflexão sobre arte e o desenho do pintor renascentista, com particular relevância para os conceitos expressos em “Do Tirar pelo Natural” e “Da Pintura Antiga”. Entre os conteúdos referidos irá ser destacada a particular atenção dedicada ao estudo das mãos, pelo seu cunho identitário, que se traduz na afirmação de Francisco de Holanda, nos diálogos com Brás Pereira, em “Do Tirar pelo Natural”, quando a propósito do retrato refere que “cada MÃO é de novo outro R...

A presente pesquisa versa a respeito de um tema que há muito instiga o pensamento e a produção filosófica: a compreensão do ser humano. A partir daí, será investigada a obra “Hamlet” (1601) de Shakespeare, buscando responder ao problema de pesquisa: o que é o ser humano para este autor? Com uma lista de mais de 800 personagens, em 38 peças, Shakespeare chama a atenção pelo número de personalidades memoráveis que criou. Segundo Harold Bloom, um dos referenciais teóricos desta pesquisa, as obras do dramaturgo de Stratford apresentam, pela primeira vez na história, a interioridade do ser humano. Nesse sentido, Bloom alega ter sido Shakespeare quem (re)inventou o humano. Com isso, justifica-se a utilização de uma de suas principais obras — “Hamlet” — para oferecer respostas à pergunta central desta pesquisa. O objetivo é mostrar que os personagens criados pelo bardo inglês são muito próximos ao homem hodierno e, a partir daí, justifica-se, também, utilizá-los para a análise do ser humano. O trabalho inicia oferecendo um prelúdio a “Hamlet”¸ como meio de inserir o leitor no contexto da peça e indicar a forma como Shakespeare aborda as questões centrais desta pesquisa. É mister indicar as nuances que fazem de um jovem — Laertes — que no primeiro ato apenas deseja voltar à Paris retomar os estudos e no quinto ato, aceitar fazer parte de um conluio contra à vida de um príncipe — Hamlet. Posteriormente, aborda-se a loucura do príncipe, expondo como Hamlet faz disto um método para identificar e atacar a origem dos males que assolam a Dinamarca. Segue-se à exposição aos enganos do mundo, isto é, apresenta-se as consequências dos males que assolam a Dinamarca e as medidas tomadas por Hamlet contra o principal responsável pela degeneração do reino dinamarquês. Por fim, realiza-se uma síntese das principais questões abordadas na pesquisa apresentando uma possível solução ao problema em análise. Para tanto, a metodologia empregada foi a leitura e a análise dos personagens da peça.

A friend is one who has the same enemies as you have' – these words of Abraham Lincoln can easily be applied to the position of Georgian Policy-makers of such post-soviet country as Georgia. Georgian policymakers actively started to search for friends by creating the image of 'shared enemy', especially in 2009- 2012. This shared enemy was the Soviet Union. States united in Soviet Union should have higher solidarity towards each other than the others. This became clearly seen during the August War 2008 when Georgian politicians underlined the influence of Soviet Union stating that opposing country could not overcome the memory of past glory. It is not the secret, that the policy-makers have big impact on society. Especially on the society which was traumatized by the war. For Georgian community political myths became the main source of belief. Policy-makers became the main storytellers. And society became the target audience. We can easily imagine the condition of society...

A tres personas que me han mostrado el mundo de las narraciones: Eduardo, con historias de vida que animaron mi infancia; Alberto, que puso en mis oídos las historias de la "secta de la tiza y el tablero", y Marcela, que me ayudó a encontrar las historias propias En la punta de un lápiz se esconden barcos, aviones y monstruos, pero también enloquecidos garabatos. Pero, ¿cuánto puede dibujar un lápiz? Un lápiz también contiene palabras; tantas, que sirven para contar las historias de la escuela, la vida de maestros y maestras, desde diversas fronteras de estos territorios amplios, difusos y dispersos que son la educación y la pedagogía.

The 11th SSPPP aims to explore the concepts of narrative and narrativity from the perspective of the phenomenological tradition. This will be done by discussing a broad set of different but interconnected themes. The concept of narrative refers to the relationship that subjectivity has with its temporal dimension, both individual and collective. What is the relationship between stories and narratives? Do stories always have a narrative nature? What does it mean to be entangled in stories? Are we always already entangled in stories, as Wilhelm Schapp systematically argues? Or must we also recognize that there is a layer in the constitution of the subject (individual and collective) and its world that cannot be reduced to the narrative dimension? Phenomenological analysis sheds light both on the narrative dimension of historical knowledge and on the function of narrativity for the constitution and/or construction of the subject's personal identity and own (surrounding) world.
The triad memory, history, oblivion, central to Paul  Ricœur’s work, finds its place here. Furthermore, narratives occupy a central place in the dimension of fiction, especially, but not only, in its specifically literary form. In this form, narratives have been the subject of the great work of Roman Ingarden, but also of the many attempts to use specifically Husserlian notions (life-world, intersubjectivity, imaginative variations) to understand the structure of literary worlds. In addition, literary fiction feeds phenomenological investigations with complex imaginary scenarios, which have the power to illuminate subtle phenomenological structures. But what is the relationship between narrative and imagination? Is there a specific form of narrative imagination, as Husserl seems to suggest?

The purpose of the article is to reinterpret the content and historical context of the inscription MVΗVΛV available in the medieval Tuscan epigraphic material. The structure of military-political and cultural contacts of Tuscany in the VIII – 1st half of the XII century, as well as a number of objections related to the Michaelic interpretation, makes it possible to reinterpret the inscription MVΗVΛV based on the Quranic substrate: as a transmission through the Latin graphics of the Quranic exclamation mā šāʾ Allāh. The inscription MVΗVΛV, as well as monuments of Islamic Arabographic epigraphy of the X–XII centuries, embedded in the urban space of Christian Pisa, acquired in this connotation an ideological, apotropaic and invocative meaning.

Most people now living in Australia's ''bread basket'', the much-degraded Murray Darling Basin, are like my family, descendants of convicts or free settlers who came to the inland in the 19th or early 20th centuries. Our legacy includes the dispossession of indigenous peoples, species extinction and the ongoing degradation of the ecological communities which now sustain us. My own family's river stories which ''begin'' with a pair of impoverished Gaels who migrated with their offspring from the Scottish Highlands, can be considered paradigmatic. I re-narrate it in this essay in response to philosopher Alasdair MacIntyre's challenge-I can only answer the question 'What am I to do?' if I can answer the prior question 'Of what story or stories do I find myself a part?' Some of these family stories I find myself part of, especially those that have been enacted within the catchment of the now-threatened Lachlan River, are very discomforting, but where do they ''truly'' begin? In seeking to understand my relationship with the river and its catchment, and with the indigenous peoples ''my mob'' displaced, I explore several possible ''beginnings'' and ask a further question: what stories do I want to be part of as co-author, co-narrator and protagonist. I then offer my own yet-to-be enacted ''truth and reconciliation'' stories about the future of the inland plains I love.

The article gives an overview of past and present intercultural communication studies based on a review of journal articles from the last decade. It also introduces a qualitative approach to studying cultural encounters and learning processes in organizations through narrative inquiry and narrative analysis. We propose that this narrative approach should be moved closer to the 1 Artykuł jest fi nansowany z programu "Mobilność Plus" (IV edycja) Ministerstwa Nauki i Szkolnictwa Wyższego (umowa nr 1310/MOB/IV/2015/0) w ramach projektu badawczego pt. "Wpływ czynników specyfi cznych kulturowo na efektywność komunikacji interkulturowej w środowisku biznesowym".

This paper explores the hypothesis that dreams function analogously to a computer's defragmentation process, organizing and optimizing mental "storage" by consolidating useful information, purging irrelevant data, and maintaining cognitive efficiency. We examine existing neuroscientific theories related to memory consolidation, reverse learning, and sleep's role in waste clearance. Additionally, we discuss the theological and historical significance of dreams, with a focus on their use in the Bible, suggesting that dreams may serve both biological and spiritual functions.

In all standard philosophical approaches to social cognition, both vision and audition play a central role; tactile and proprioceptive sensations, less central; and taste and olfaction, if they are ever mentioned in theories of social cognition, play a marginal role. This makes it difficult to think of how social cognition might work in the deafblind population. My intention is to outline three different views about social cognition, which attempt to explain intersubjective understanding and communication. I'll show how vision and audition play a central role in all of these accounts. I'll then ask what alternative resources might provide a clue to understanding social cognition in deafblindness, and finally, whether this is the right way to put the question.

In a New York Times article last month, entitled "Cells that read minds," the neuroscience reporter, Sandra Blakeslee (January 10, 2006) provided a list of all the things that mirror neurons can explain. As we know, mirror neurons, discovered by Rizzolatti's group in Parma, are neurons that are activated when we engage in action, and when we perceive intentional movement in another person. According to Blakeslee and the scientists she interviewed, mirror neurons explain not only how we are capable of understanding another person's actions, but also language, empathy, "how children learn, why people respond to certain types of sports, dance, music and art, why watching media violence may be harmful and why many men like pornography." Let me set aside the controversial questions about whether mirror neurons can explain all of these things, and accept that mirror neurons are clearly smart little cells. But let me ask whether Blakeslee and her scientists are expressing things in the right way. My worry, unlike some philosophers, is not so much about the language per se, or about how they phrase what they say, although I think this is clearly a problem. Rather I'm worried about the phenomenology, and about a categorical confusion between phenomenology and neurology. This confusion is obvious in the way Blakeslee puts it: mirror neurons can analyze scenes and read minds, they understand actions and intentions. Perhaps this is excusable as a kind of journalistic license or shorthand for the idea that mirror neurons allow the person to analyze scenes, read minds, and understand actions and intentions. Scientists are sometimes more careful, but, as I will argue, sometimes their careful language hides a similar kind of confusion. Rizzolatti, for example, tells Blakeslee that "Mirror neurons allow us to grasp the minds of others not through conceptual reasoning but through direct simulation. By feeling, not by thinking." And Marco Iacoboni is equally as careful: "When you see me perform an action -such as picking up a baseball -you automatically simulate the action in your own brain." Both of these quotations point to the close association that has grown up between the neuroscience of resonance systems (or mirror systems) and the simulation theory. This 1 This is the text of a lecture that is part of a series entitled Fondements cognitifs de l'interaction avec autrui given at the Collège de France, Amphithéâtre Marguerite de Navarre, 11, place Marcelin Berthelot, Paris (February 2006), en anglais avec traduction en français. The lecture series was organized by Professor

Lucy Fraser employs her vast knowledge of Japanese and English literature and pop culture to present an intertextural and cross-cultural analysis in her book The Pleasures of Metamorphosis: Japanese and English Fairy Tale Transformations of “The Little Mermaid.” Fraser accomplishes this daunting task by approaching the various English and Japanese interpretations that adapt and subvert Andersen’s fairy tale not only through transcultural parallel readings, but through the framework of pleasure, which Fraser argues can “bring together texts that might otherwise be separated by differences in language, background, time period, genre, and medium and by the borders of ‘high’ and ‘low’ cultural forms” (1). In reading pleasure as a framework, the audience is invited to consider not only the author’s depictions of pleasure as experienced by the characters, but also the “metatextual messages about the pleasures of fairy tales and fairy tale transformations,” thus creating an avenue for ques...

In 1966 Richard Adams decided to turn a tale he had crafted during a long car drive to amuse his daughters into his debut novel. Eighteen months later, he sent his work to some publishers and editors, but the initial feedback was unfavourable. Adams persisted nonetheless until Rex Collings agreed to print it in 2.500 copies. It was 1972. Reviews were positive and the book became an «instant classic 1 » of children's and adults' literature. As often happens to literary masterpieces, however, the «universal appeal 2 » of Watership Down was not immediately recognized, and the rejection letters (which Adams filed away) offer precious insight into the main features of a novel that, instead of falling «between two stools 3 » (as prophesied by a Longman's Young Books editor), managed to stick the landing on both, catering for children and adults alike. The work was assessed as too long, «solemn and slow-moving 4 » and it was thought that young readers would lack 1 The first to define it so was Connie Clausen in 1974, see Bridgman,

This study focuses on the historical portrayal of Hindu vs. Muslim characters in Bollywood cinema, utilising the frameworks of semiotic analysis, cinematography and the propaganda model by examining films spanning decades. Through semiotic analysis, the researcher identifies the visual signs, indices and symbols used to construct religious identity in Bollywood cinema. Historically, Hindu characters were depicted as noble, morally strong, loyal warriors, brave fighters, religiously well-framed and painted as a complete package of humanity while the Muslim characters were depicted as exotic, associated with negative attributes such as greed, power hungry, rapist, betrayal, religious fanatics and sexually predatory. This portrayal obscures the complexities of historical figures and events, further perpetuating Islamophobic viewpoints that are already prevalent. Cinematically, camera angles depict Hindu characters in a more favourable light, such as with low-angle shots that make them appear larger and more heroic. On the other hand, Muslim characters were depicted in high-angle shots, making them smaller and less powerful. These visual cues contribute to the perpetuation of stereotypes and the reinforcement of social biases. The analysis of the films revealed that the cinema aligned with patriotic accounts to predominate in dogmatic interest. These results caused heightened tension among religious clutches that often threatened religious harmony between communities.

"Happiness in marriage is entirely a matter of chance." (Pride and Prejudice) In a contemporary context, an article on Jane Austen and the theme of marriage could examine how her insights into social dynamics and relationships remain relevant today. It could discuss the significance of her observations on love, class, and societal expectations within the framework of modern marriage. Analyzing Austen's timeless perspectives can provide valuable insights into the complexities of today's relationships. Furthermore, the article could delve into the parallels between Austen's characters and current dating culture, addressing issues such as the influence of money, social status, and personal choice in selecting life partners. It might also explore how Austen's focus on character and communication aligns with contemporary relationship values and challenges. By connecting Austen's novels to present-day experiences, the article can underscore the lasting relevance of her exploration of marriage themes. Pride and Prejudice is widely regarded as one of the finest romantic novels in English literature. The way Jane Austen weaves the story, focusing on the fluctuating relationships among various characters, reveals that it is more than just a love story. In the end, both men and women become life partners through compromises they had to make. After overcoming initial conflicts, Elizabeth ultimately marries Darcy. Some characters view marriage as a matter of convenience, emphasizing that financial stability often takes precedence over the emotional connection between husband and wife in their life journey.

I write on the Oral History Project of the Virtual-Kolkata Partition Museum.
It features in the International Section of Oral History Journal (vol. 53, issue 1). Published biannually by the Oral History Society, UK, it is the oldest journal dedicated to the field of oral history in general.
I thank the editors for inviting me to contribute an essay where I succinctly summarize how we designed the project and went about securing life stories of Partition witnesses from West Bengal, Assam, Tripura, Dandakaranya, and Delhi.

The Virtual-Kolkata Partition Museum is a collaborative effort between Kolkata Partition Museum and AUR - Architecture Urbanism Research

The article develops an ontological model in relation to which the narrative is presented as an 8-element cycle, applied to
both microstructures (episode) and macrostructures of the narrative (plot). The study is conducted in the context of ancient macroalgorithmic models, which are still popular in the countries of Southeast Asia. In ongoing storytelling, there
is periodic application of the 8-element model. Three such cycles are accepted as a narrative cycle, the content of which
is a large-scale description of a certain reality. The 24th stage of the narrative is followed by the beginning of the description of a new reality at the 25th/26th stages. The author determines the properties of four levels of the 8-element episode.
The obtained characteristics are tested at the micro level of the narrative and at the macro level, represented by eight
parts of the novel "Anna Karenina" by L. Tolstoy. It was found that there is a change in socio-political reality upon completion of the 24th stage of narrative, after this stage public opinion acquires greater significance.

The importance of comparing mythologies allow us to fill in the gaps between events as well as overview previously overshadowed connections between societies and civilizations. The paper endeavors to analyze archetypes in Hindu, Greek, and Egyptian mythologies to focus on recurring themes, divine figures, and narrative structures. Prototypes like Yama, Hades, and Osiris illustrate shared views on death and the afterlife, while figures like Indra, Zeus, and Ra reflect converging mythic portrayals of cosmic power and creation. Female figures such as Sita, Helen, and Persephone reveal parallel narratives of sacrifice. By identifying these commonalities, the paper uncovers shared human experiences and potential historical cultural exchanges, enriching our understanding of global mythology.

If the field of moral philosophy had a mission statement, it might be expressed as something like “Devising strategies for increasing goodness in the world.” From Socratic yearnings for “the good life,” to Augustine’s depictions of the “City of God,” to modernist calculations aimed at “maximizing utility” within society, philosophers are continually envisioning states of goodness and thinking up pathways to them. Behind all such moral- philosophical approaches is the assumption that “good- making” is a task that is best approached with a thorough thinking-through. There is a basic optimism underlying this premise—believing that we can actively strategize our way toward ideal states, that philosophical programs, once put into action, might actually be carried out with success (“If only they would listen!”). All too frequently, however, philosophical systems struggle to find influence within the societies where they are devised. “Goodness” increases and abates in ways that are frustratingly independent of the quality of the thinking being done in book- lined offices or (depending on the tradition) by bearded sages on inaccessible mountaintops.

The goal of this chapter is not to criticize moral philosophy, still less to comprehensively summarize it. Instead, I want to review some common themes and arguments from the moral- philosophical tradition and advocate for narrative forms of their delivery. My claim is that, as carriers for moral arguments, narratives offer illustrative possibilities that are liable to make the arguments of moral philosophy more evocative and persuasive. Additionally, I argue that narrative devices can transmit moral messages and outline good- making processes in ways that philosophical argumentation can’t. These devices avoid the didacticism and elitism of much philosophical writing, while also illustrating a broader truth: that our moral sensibilities are rooted first and most deeply within sociocultural— as opposed to individual- intellective— forms of knowledge. My central claim, then, is that while philosophy approaches the problem of good- making as an intellectual exercise, storying philosophical arguments helps us to actually accomplish what they aim to do—which is to do good.

This interview with D. Venkat Rao of the English and Foreign Languages University in Hyderabad, India was conducted in January 2025 by SHC Director Roland Greene and Digital Public Fellows Utsavi Singh and Mahishan Gnanaseharan as part of his visit to the Stanford Humanities Center. A complementary portion of the interview can be read in the Future of the Public Humanities Colloquy.

Na segunda metade da década de 1970, tornaram-se populares, no Brasil, narrativas publicadas em livro por jornalistas, geralmente focadas em temas que, na organização editorial dos grandes veículos de comunicação, caberiam ao noticiário policial. Tais obras foram chamadas de romances-reportagem. Conforme Rildo Cosson (2007), a expressão foi cunhada pelo editor Ênio Silveira como título para uma coleção da Civilização Brasileira, cujo objetivo era levar ao público histórias reais, mas de contornos ficcionais. Contudo, com o sucesso comercial obtido por Lúcio Flávio, o passageiro da agonia (1975), segundo número da série, o termo passou a ser adotado por resenhistas de jornais e revistas quase como sinônimo de um novo gênero, que teria sido criado pelo repórter maranhense José Louzeiro. A "fórmula" -"conteúdo jornalístico" com "tratamento literário" -foi seguida por outros repórteres, e o próprio Louzeiro lançou diversos sucessos na esteira de Lúcio Flávio, como Aracelli, meu amor (1976) e Infância dos mortos (1977), derivados de coberturas que já havia feito para jornais como Última Hora e Folha de S. Paulo. Apesar de bem recebidos pela crítica jornalística e de terem contribuído significativamente para a movimentação do mercado editorial, os textos dos jornalistas-escritores não foram vistos de forma tão positiva pela crítica literária. Para ensaístas como Silviano Santiago, Flora Süssekind, Davi Arrigucci Jr. e Heloisa Buarque de Hollanda, que, a partir de 1979, dedicaram-se à análise da produção cultural da década, tais obras tinham uma relação mais estreita com a repressão exercida pelo regime militar do que com a literatura. Escritas e publicadas ao longo dos anos em que vigorou o Ato Institucional n o 5 (1968)(1969)(1970)(1971)(1972)(1973)(1974)(1975)(1976)(1977)(1978), quando os jornais estavam sob o jugo da censura prévia, teriam conferido à ficção do período um caráter parajornalístico , já que os noticiários, cuja função seria a de "espelhar", de maneira clara e objetiva, a realidade imediata, estavam impedidos de abordar estudos de literatura brasileira contemporânea, n. 43, p. 111-132, jan./jun. 2014. 132 journalistic genre that has no place in the mainstream press. While the former doesn't include narration, the latter develops characters and builds a plot, establishing a fictional universe as accepted by authors such as Paul Ricoeur, Mikhail Bakhtin, and Käte Hamburger.

Antonio de Assis Brasil, que orientaram minhas atividades como bolsista. À Prof.ª Dr. Maria Luiza Ritzel Remédios, por me apresentar aos teóricos da literatura e da narrativa que inspiraram esta dissertação. Às secretárias Mara Rejane Martins do Nascimento e Isabel Cristina Pereira Lemos, pela disponibilidade e simpatia. À minha família, pelo apoio, e sobretudo aos meus pais, Irineu e Carmen, pelo esforço em me proporcionar uma educação de qualidade. Ao meu pai, por despertar em mim o amor pelos livros. Ao Daniel, pela paciência e pelo incentivo nas horas de desânimo e "rebeldia". Por fim, à Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES), pela concessão da bolsa de estudos sem a qual este trabalho não seria possível. O presente estudo tem, por objetivos, analisar os pontos de aproximação entre a reportagem e a narrativa literária e discutir a ficcionalização da realidade pelo discurso jornalístico. Para isso, o livro-reportagem Abusado: o dono do morro Dona Marta, do jornalista Caco Barcellos, é examinado sob os pressupostos teóricos do jornalismo e submetido ao método de análise de enunciados ficcionais proposto por Gérard Genette, em que são contemplados a temporalidade da narrativa -efeitos de ordem, duração e freqüência -, o modo -regulação da informação através da distância e da perspectiva -e a voz -marcas deixadas no texto pelo narrador. Também são discutidos os conceitos de notícia, reportagem, literariedade, ficcionalidade e modelização, bem como as técnicas empregadas pelo new journalism.