Ancient Greek Ekphrasis: Between Description and Narration Niels Koopman offers a thorough linguistic and narratological analysis of five canonical ancient Greek ekphraseis from the archaic to the Hellenistic period: Achilles’ shield in Homer’s
Iliad (18.478-608), Heracles’ shield in pseudo-Hesiod’s
Shield (139-320), the goatherd’s cup in Theocritus’ first
Idyll (27-60), Jason’s cloak in Apollonius Rhodius’
Argonautica (1.721-68) and Europa’s basket in Moschus’
Europa (37-62). Ekphrasis, as the verbal representation of visual representation, is both text and image, which makes it a complex yet fascinating phenomenon. By investigating its descriptive and narrative properties, this study sheds light on the interplay between text and image at work in ekphrasis.
The roots of our reflection about such a modern invention as videogame lie in the philosophy of Aristotle, mainly in Poetics, 1450b25-35, where he stated that ‘A whole is that which has a beginning, a middle, and an end.’ This chapter aims to show how videogames challenge the very definitions of the middle and the end and how those redefinitions affect its storytelling. The interactive nature of videogames involves a spatial turn in narration that prevents us from speaking of middle the way Aristotle, or today’s literature, does. Electronic media have been previously categorised as ‘rhizomatic’ medias (Deleuze, Murray). However, drawing upon our play through of the Mass Effect franchise, this statement remains a theoretical one because the common equivalence between the ‘good ending’ and ‘the ending-where-you-played-the-most’ seems us to be problematic and anti-rhizomatic. Linking this to the emergence of capitalism, and its ideology of engagement, in storytelling, we would like to open a discussion on new and creative forms of game completion. Even the ‘perfect’ ending of Mass Effect 3 was a disappointment, which prompted Bioware to change it a few months later. Changing the ending because of the audience is nothing new (see A. Conan Doyle), but erasing the previous one is and should be questioned. Moreover, over these couples of months, one could ask: what became of the end of Mass Effect? What transpired during this time, mainly over the Internet, was the so called ‘indoctrination theory’: a conspiracy-theory-like interpretation of the previous ending stating that the future one would be entirely reversed. By retracing this idea’s history, we would like to show the artistic and creative potentials of such moments of suspicion that Mass Effect 3 has unwittingly created and encourage the authors and editors to use these moments as an artful resource.
knowledge for his readers, knowledge that sometimes contradicts the facts that provide the basis of the narration.
Thus, the question remains whether this way of narrating can be related to Schnabel’s tetralogy Insel Felsenburg . It has long been noted that the world described in Insel Felsenburg
Education is a dance of complexity and struggle. Unfortunately, our educational system is tied to the observable and the verifiable, not the randomness of human beings and their diverse forms of expression. The reality of the contemporary classroom is a context of multifaceted diversity, with each classroom reflecting unique combinations of ideology, culture, and language, played out in numerous forms and permutations of multi-textual discourses. The influence of each contextual space is only limited by one’s ability to understand its complexity and to acknowledge it.
Teachers and learners are roommates of sorts, connected by the web of discourse and praxis, woven inside the global community. We live in a world where common understanding is desperately sought, yet one where language is often not tied to common understanding. Exploring the need for shared community within this context, Griffith provides a path in which the diverse ways of knowing can interlace to form pedagogical moments in which teachers and learners can deconstruct and construct alternatives.
Cultural narration is based on a series of social relationships, which can be compared to reading the world as a series of texts. As readers become a part of the reconstruction process, the educational system can be visualized as a series of cautionary tales about possibilities, about ways to live and build community in this modern/postmodern world. The author focuses on the nature of discourse and the importance of engaging in dialogue about what it means to be other-conscious, what it means to address questions about who we are and how we came to be who we are.
This path is continuously “under construction;” it is always in the process of becoming what is appearing on the horizon. As teachers learn to commit themselves to the gaps revealed by the narratives of their students, classrooms become discourse communities and contact zones, co-constructing contextual discourses which acknowledge ritual and gesture manifested in various forms of text.
Literarische Texte hinterfragen nicht nur die Souveränität moralischen Handelns, sondern auch die Souverä-nität von Sprachhandlungen. Kultur und Kulturwissenschaften haben in jüngster Zeit ein erneutes Interesse an literarisch-ästhetischen Reflexionen ethischen Denkens und Handelns bekundet. Fast ließe sich von einem „ethical turn“ sprechen. Der Band Narration und Ethik fragt nach dem jeweils historischen und kulturellen Stellenwert solcher Reflexionen, nach der Kasuistik von Handlungen und deren Valorisierung in der europäi-schen, außereuropäischen Literatur und in der Philosophie. Einzelne Fall-studien stellen unter Beweis, dass literarische Erzählungen und Erzähl-strukturen normativen Vorgaben nicht einfach folgen, sondern dass sie viel-mehr das Konfliktpotential möglicher Handlungsweisen zur Diskussion stel-len, Handlungsentwürfe modellieren oder gar suspendieren.
man is the only animal who is able to laugh. My canine friend helps me take a critical look at the “translation” of dog speech into verbal signs, into the symbolic language of a literary text, after all, the dog-subject narration in literature occurs via language. The objects of my critical
with journalists and representatives of religious organisations) in order to find out how different religions are represented differently in the media and to identify potential causes and effects of these media representations.
2. Narration and Framing
We were relying on two related, but
geographical narration of interwar Yugoslavia as a polycentric enterprise, and to geography as a politically pertinent field and discourse where, despite many similarities, competing narratives of the new common state—the Kingdom of Serbs, Croats, and Slovenes—were developed. Whereas toward the Second World
Another Place: Identity, Space, and Transcultural Signification in Goli Taraqqi's Fiction, Goulia Ghardashkhani examines the narrative process of the struggle for identification in the short stories of one of the well-established figures of Iranian contemporary prose literature. Goli Taraqqi's narratives of displacement and emigration are approached through a theoretical lens that foregrounds the significance of space and the role of retrospective self-narration in acts of cultural representation.
Ghardashkhani studies Taraqqi's autobiographical narratives with an emphasis on the unstable meanings of homeland and Farang (a culturally constructed term signifying the West) and, thereby, accounts for Taraqqi's ironical style of narration in her memories of homeland recollected in exile.