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Vom Tod in Venedig zur Candy Crush Saga?: Joachim Friedmanns Transmediales Erzählen
Full text linkJoachim Friedmann: Transmediales Erzählen. Narrative Gestaltung in Literatur, Film, Graphic Novel und Game Köln: Herbert von Halem Verlag 2016. 222 S. EUR 29,00. ISBN 978-3-7445-1149-
From Geography to Narratology, and Back.: Ryan, Foote and Azaryahu’s Narrating Space / Spatializing Narrative
Full text linkMarie-Laure Ryan / Kenneth Foote / Maoz Azaryahu: Narrating Space / Spatializing Narrative. Where Narrative Theory and Geography Meet. Columbus: The Ohio State University Press 2016, 254 pp., USD 39.95, ISBN 978-0-8142-5263-5</p>
Patricia Lay-Dorsey’s Visual Narrative of Chaos and Quest
Full text linkPublished in 2013, Falling into Place: Self-Portraits documents Patricia Lay-Dorsey’s daily journey of living with Multiple Sclerosis. Twenty years after her diagnosis, this American artist decided to take photos of herself so as to come to terms with her aging and disabled body, weaving a visual narrative that is both intimate and powerful. In this article, I look at Lay-Dorsey’s visual pathography in light of Arthur W. Frank’s narrative types of chaos and quest, exploring how her work combines traits of both categories as a way to eschew common (mis)representations of disabled people as “pitiable” and “inspiring.” On the one hand, the narrative outlined by Falling into Place is chaotic, giving an account of one’s lack of control in the face of a disease such as MS. Though Lay-Dorsey finds it uncomfortable to share these private moments of vulnerability, she takes her illness as a journey where chaos “falls into place,” a quest that allows the photographer/subject to accept and celebrate her body and where a disabling illness is taken as a possibility of growth
Interactive Digital Narrative: What’s the Story?
Full text linkHartmut Koenitz / Gabriele Ferri / Mads Haahr / Digdem Sezen / Tonguc Ibrahim Sezen (Eds.): Interactive Digital Narrative: History, Theory and Practice. New York: Routledge 2015 (= Routledge Studies in European Communication Research and Design 7). Pp. 286. GPB 90.00. ISBN 978-1-138-78239-
Ethische Dimensionen des pikturalen und textuellen Erzählens.: Nora Bernings Propädeutik einer ‚ethischen‘ Narratologie
Full text linkNora Berning: Towards a Critical Ethical Narratology. Analyzing Value Construction in Literary Non-Fiction across Media. Trier: Wissenschaftlicher Verlag Trier 2013 (= WVT-Handbücher und Studien zur Medienkulturwissenschaft, Bd. 9). 191 S. EUR 25,00. ISBN 978-3-86821-455-
Narrativität vs. Interaktivität: Zur Gattungsdifferenzierung von Hyperfiction und Computergames
Full text linkThis article explores the relationship between games and narratives by analyzing electronic texts (Elfriede Jelinek: Neid, Privatroman [2007-2008]; Michael Joyce: Afternoon, A Story [1987]), but also video games (Zork [Infocom 1980-1982]; Mass Effect [BioWare 2007-2012]) with respect to interactivity and narrativity. The analysis suggests that interactivity and narrativity are not mutually exclusive, but that the relationship between the two gradable categories is inversely reciprocal in such a way that an increase of interactivity is possible only at the expense of narrativity. My hypothesis is that this relationship may be explained if we consider eventfulness to be a part of narrativity: Eventfulness in narratives presupposes that events have consequences for the characters; such consequences, however, tend to limit the scope of interactivity
Internarrativität: Überlegungen zum Zusammenspiel von Interaktivität und Narrativität in digitalen Spielen
Full text linkThis essay introduces a new theoretical approach for the analysis of digital games with a hybrid structure between interactivity and narrativity called “internarrativity”. The aim of this model is to enable an appropriate examination of the synergies of what may be characterized as “symbiotic internarrative digital games”. Internarrativity as a theoretical concept is derived from sociology, media and communication studies, literary studies and digital game studies. The model consists of three interconnected and progressively concertizing planes: internarrativity, internarrative and internarration. Following explication of the model, a short example is discussed, rendering the presence and function of internarratives in current digital games visible through focusing on the zombie apocalypse and the superhero story and their use in internarrative digital games. The argumentation closes with a glimpse of the potential as well as some possible limitations of the model of internarrativity
Wie Comics erzählen: Jakob F. Dittmars Versuch einer Systematisierung der Comic-Analyse
Full text linkJakob F. Dittmar (2008): Comic-Analyse. 2., überarb. Aufl. Konstanz: UVK Verlagsgesellschaft 2011. 220 S. EUR 34,00. ISBN 978-3-86764-301-6 Die Comic-Forschung hat in den letzten Jahren einen regelrechten ‚Boom‘ erlebt. Galt der Comic lange Zeit als triviales Massenmedium, das noch vor einer Generation bestenfalls zähneknirschend in Kinder- und Jugendzimmern (und nur dort) geduldet wurde, hat sich sein Ansehen mit dem Aufkommen anspruchsvoller, komplex erzählter ‚Graphic Novels‘ stark verändert. Zu den Meilensteinen auf diesem Weg zählt zweifellos Art Spiegelmans in Comicform verfasste Erzählung von den Holocaust-Erfahrungen seiner Familie, als erster Comic überhaupt wurde Maus. A Survivor’s Tale 1992 mit dem renommierten Pulitzer-Preis ausgezeichnet. Inzwischen werden Comics und speziell ‚Graphic Novels‘ regelmäßig in den Feuilletons deutschsprachiger Zeitungen rezensiert, und auch die deutsche Forschung hat, wenn auch im internationalen Vergleich verzögert, den Comic mittlerweile für sich entdeckt; seit 2005 erscheint das Jahrbuch Deutsche Comicforschung, parallel dazu sind in diesem Zeitraum eine Reihe von grundlegenden Monographien und Sammelbänden erschienen, und seit 2008 liegt mit Jakob F. Dittmars Comic-Analyse nun auch im deutsch¬sprachigen Raum ein ‚Baukasten‘ zur Strukturanalyse von Comics vor – wie gut sich mit ihm arbeiten lässt und ob es nicht geeignetere gibt, ist allerdings die Frage
Immersive Media in Quiroga, Borges, and Cortázar: What Allegories Tell about Transportation Experience
Full text linkIn the short stories of Horacio Quiroga, Jorge Luis Borges and Julio Cortázar, immersive media are frequently staged as allegories of immersion. They are as-sociated with a specific type of plot which is about the access to diegetic worlds or exit from them, and which provides more information about historical contracts on fiction than do the frozen metaphors of being “lost in a text”. Media frames that are represented as fictional frames come with a variety of functions, including not only re-centring, but also disorientation (Quiroga); they refer to existing discourse rather than to existing technology and raise the question how experience can be narrated (Borges); and they tend to cross the line between allegoric representation and intermedial enactment of immersion (Cortázar). The methodological conclusion from this corpus would be to reconsider what fiction says about immersive media. As this would help understand how fictional frames change throughout history, it would also allow discussion of the cultural horizons of interview-based studies on immersive experience
Ist Erzählen graduierbar?: Zur Problematik transmedialer Narrativitätsvergleiche
Full text linkComparing the narrativity of different texts within a given medium usually implies a focus on the narrated and how the story is structured by the discourse. Comparing the narrativity of different media, on the other hand, requires both an examination of the way the story is presented as well as of questions of mediacy and narrative agency. Addressing the second topic, this paper seeks to classify transmedial comparisons according to their criteria for evaluating narrativity and to examine positions which regard literature as a medium possessing a higher degree of narrativity or in a stricter sense than film and drama. Wolf Schmid’s model of narrative constitution serves as a theoretical framework for the critical review of this claim, and the exceptional case of backward narration is discussed in exemplifying central points of the argument put forth here