Identitats ???queer', cossos i sexualitat en les narratives f??lmiques de la inf??ncia de Kore-eda Hirokazu

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Structural analysis of narratives produced by normal-hearing and deaf children

This dissertation presents two experiments investigating the structural analysis of narratives produced by normal-hearing and hearing-impaired children. The results suggest that the evaluation of deaf children’s language at a discourse level is both possible and more relevant to academic achievement than traditional assessment procedures that focus on assessing language at a word, phrase or sentence level.

The Totalizing and Silencing Features of Meta‐Narratives and Master Concepts

This paper is organized in the following way. First I deal with Hardt’s and Negri’s Empire; the second section of the paper focuses on Beck´s World Risk Society; the third main section of this paper tackles the functional differentiation argument posed by Buzan and Albert. By way of conclusion, the final section of this paper briefly discusses alternatives to grand-narratives and master concepts.

The Dark Monarch: magic and modernity in British art

This major curated exhibition, publication and events builds on Rowlands’ curatorial research. Working in collaboration with co-curators Martin Clark, Artistic Director, Tate St Ives and Michael Bracewell, cultural historian, the exhibition sought to explore new narratives within British art. The innovative curatorial methodology developed from a fiction found in the infamous novel, The Dark Monarch by Sven Berlin, Gallery Press 1962. The research sought specific archival and collection work that allowed thematic strands to emerge that represented influences across generations. The exhibition features two-hundred artworks, from the Tate Collection, archives and other significant British public and private collections. It examines the development of early Modernism, in the UK, as well as the reappearance of esoteric and arcane references in a significant strand of contemporary art practice. Historical works from Samuel Palmer, Graham Sutherland, Henry Moore and Paul Nash are shown alongside contemporary artists including Derek Jarman, Cerith Wyn Evans, Eva Rothschild, Linder and John Russell. The exhibition includes a key work by Damien Hirst ¬ the first time he has been shown at Tate St Ives and a number of contemporary commissions. The Dark Monarch publication extended the discourse of the research critically examining the tension between progressive modernity and romantic knowledge, the book focuses on the way that artworks are encoded with various histories - geological, mythical and magical. Essays examine magic as a counterpoint to modernity’s transparency and rational progress, but also draw out the links modernity has with notions such as fetishism, mana, totem, and the taboo. Often viewed as counter to Modernism, this collection of essays suggest that these products of illusion and delusion in fact belong to modernity. Drawing together 15 different writers commissioned to explore magic as a counterpoint of liberal understanding of modernity, drawing out links that modernity has with notions of fetish, taboo and occult philosophy. Including essays by Marina Warner, Ilsa Colsell, Philip Hoare, Chris Stephens, Jennifer Higgie and Morrissey.

Medusa, Antaeus, and Caesar Libycus

Although it is well known that Lucan’s Libya is a wild and threatening place, its threat is not restricted to indigenous people, places and things, such as Hannibal, Cleopatra, the Syrtes, or the desert with its catalogue of horrifying snakes. He also associates Libya with anti-Republican Romans, above all Julius Caesar, who endangers the Republic with his excessive, animalistic energy and resembles the continent where he is trapped in the final book. Although the gods as characters are removed from the world of the Bellum Civile, Lucan allows supernatural traces to linger in particular locations such as the Gallic grove in Book 3 or Thessaly in Book 6. Libya is by far the greatest of these reservoirs of frightening myth and fantasy, which do violence to the historical credibility of the narrative, just as Libya itself is presented as the origin or conduit of a number of historical characters who assault Italy and Europe. Lucan’s two mythic narratives (Antaeus in Book 4 and Medusa in Book 9) are essential parts of the hostile Libyan landscape, but in very different ways. The male Antaeus, associated with lions, is connected with a region of solid rock where he was destroyed. The female Medusa, associated with snakes, is connected with a region of shifting sands where she left a deadly, everlasting legacy. To complicate matters further, even though Medusa’s snakes represent the annihilation of the Republican self, the logic of the narrative is undermined and there is even a sympathetic subtext. As part of Libya’s historical and mythical legacy, these stories reveal that for Lucan, historical epic is linked with Republicanism, but mythical epic is in the service of dictatorship.

Improving educational functions in botanic gardens by employing landscape narratives

Landscape narrative, combining landscape and narrative, has been employed to create storytelling layouts and interpretive information in some famous botanic gardens. In order to assess the educational effectiveness of using "landscape narrative" in landscape design, the Heng-Chun Tropical Botanical Garden in Taiwan was chosen as research target for an empirical study. Based on cognitive theory and the affective responses of environmental psychology, computer simulations and video recordings were used to create five themed display areas with landscape narrative elements. Two groups of pupils watched simulated films. The pupils were then given an evaluation test and questionnaire, to determine the effectiveness of the landscape narrative. When the content was well associated and matched with the narrative landscape, the comprehension and retention of content was increased significantly. The results also indicated that visual preference of narrative landscape scenes was increased. This empirical study can be regarded as a successful model of integrating landscape narrative and interpretation practice that can be applied to the design of new theme displays in botanic gardens to improve both the effectiveness of interpretation plans and the visual preference of visitors. (c) 2008 Elsevier B.V. All rights reserved.