Striving to achieve it all: men and work-family-life balance in Sweden and the UK

Although there is a vast literature on issues of work-life balance, most of the research is grounded on the traditional view of work-life balance as a female-oriented entitlement. So far little attention has been paid to how men balance their work-life situations, especially the ‘new men’ who are keen to share the family care. We contribute to filling this gap by critically examining how male academics in construction-related departments at universities in Sweden and the UK construct their relationships with family and work. Narrative analysis was applied on in-depth interviews with seven academics from each country, who were at different phases in their careers. Three core narratives emerged from the data: family connected with partner; work as key priority; and desire to pursue personal projects, all of which competed for the narrators’ sparse time. The narrative that by far received most space and most storylines in all the interviews was ‘work as priority’, implying that in spite of gender equality policies and campaigns, work-life balance remains a female-oriented concern. Both Swedish and British men in our sample found juggling family and life most challenging. This work-family-life triad left many feeling that they had no time to do a good job in any sphere and in Sweden in particular combination pressure was intense. Curiously, despite these tensions and increasing demands for many of our respondents work remains a positive construct, possibly because of the strong conceptual identification of ‘self’ as an academic.     

Multimedia Phase-Spaces

Dynamic phase-spaces are suggested as a way of designing and implementing interactive multimedia systems. A dynamic phase-space is a space of properties overlayed with dynamics. The space is “decorated” with multimedia resources such as pictures, music, sound-effects, speech, and movies. This architecture may help resolve the basic problem of interactive systems, namely that both user and author need to influence the system. If the user is passive, the system is not interactive, but if the author has no power, no interesting narratives can be told. But how can two or more people influence the same system at the same time? The solution presented in the paper is that the system objects are controlled by a global dynamics and neither party is allowed to influence the objects directly; they may only influence objects indirectly by perturbing the global dynamics. In this way, contradictory inputs from user and author have a well-defined solution. The paper describes an experimental museum installation that implements these ideas. In addition, a set of interactive rhetorical patterns are defined and exemplified. The main theoretical inspiration of the system is Thom's catastrophe theory, although it is not used in a literal sense.     

叙事与空间——南粤古驿道遗产网络构建研究

南粤古驿道是不同历史时期岭南地区内外交流联系的通道,可称作是人口迁徙的走廊、商品交换的渠道以及文明文化传播的古道。针对以往古驿道研究中侧重空间而忽视叙事的局限性,引入叙事空间结构分析方法,基于南粤古驿道承载的邮驿往来、军事战争、商业贸易、宦游羁旅等四大主体功能,对南粤古驿道进行整体性、系统性的叙事空间研究,以期构建较为完整的遗产廊道网络叙事空间结构。研究表明,四大功能性叙事点均依托于廊道,其空间结构以广州为主要核心,粤西雷州、阳江以及粤东潮州为次核心,形成了以水路为主,陆路为辅的网络系统;驿道由最初的军事功能为主转移到以经济功能为主,经历了与中原内部交流到与沿海区域交流、再到通过海上丝绸之路走向世界的发展历程,成为岭南地区历史发展过程的缩影。叙事空间结构分析方法能够深入挖掘遗产廊道中的历史特色及文化内涵,促进对于驿道的整体认知,分析结果对南粤古驿道遗产廊道网络的构建与保护具有一定的指导意义,也可为其他学者开展类似遗产廊道的研究提供借鉴。     

当代景观中的叙事性探索——从一种审美体验到根植于人们日常生活的现实体验

景观作为人类干预自然进程的滤镜,以文化叙事的方式展现了各个时期、不同地域居民的生产及生活方式.然而,在今天这样一个新的历史时期,一些先锋理论家和设计师对当代景观中布景式的文化叙事以及符号化的认知提出了质疑,认为景观(landschaft),作为人类栖居的环境,是一种社会认知和生动的过程,在人类的生产使用和生活体验的过程...     

城市工业遗产转型公园景观叙事策略研究

景观叙事学是当代景观设计学的独立学科,在城市工业遗产转型公园的众多实践中具有相关诠释和应用。本文对叙事与景观叙事之间的关联进行概述分析,结合典型案例,从主体与客体、主题与情节两方面,阐释景观叙事结构;从撰写语义—隐性信息呈现、构建空间—传播文化记忆、演进时空—强化场所精神三个层面,提出城市工业遗产转型公园的景观叙事策略;对景观叙事理论在工业遗产转型公园中的应用进行系统论证和研究,为工业遗产保护提供新的视角和途径。     

New Material as New Media: The Fabric Workshop and Museum Marion Boulton Stroud

Abstract

This article investigates the relationship between people and their things when the consumer or owner is also, potentially, the maker. By analyzing the ways in which people construct personal narratives and/or identities through the construction of specific items intended for themselves or others, this article aims to uncover intimate forms of object relations. Knitting is a relatively simple activity and is frequently done by hand. Stigmatized as old-fashioned, ugly, thrifty, domestic, and inherently feminine, both knitting and the objects resulting from its practice seemingly occupy a space that is neither craft nor design, yet the practice of knitting remains widespread and its objects, coveted, loved, accepted, rejected, and so on, as any object would be. Knitting has historically been associated with both familial and romantic love: of time spent thinking of someone whilst making, with the made object an expression of the sacrifice of time, of thoughtfulness, and the embodiment of feminine “virtues” of caring and nurturing. Equally, one can see the knitted object, when it is a garment or a toy, as close to the body, touching and being touched by the body, further extending its potential for intimacy. Yet, the communication of these values are only recognized if the object is received and used as the maker intended, and this article aims to highlight, through example, the ways in which such objects do not solely represent “love,” but also signify possessiveness, control, and domination. Referencing literature, magazine articles, objects, and makers’ testimony, this article utilizes a design history and material culture methodology, which enables the discussion of both object and practice, as well as creating a model from which the object's biography can be evaluated.     

音乐节奏对短篇动画叙事节奏的启发

在制作手段越来越简便的今天,制作动画短片成为学生、动漫爱好者尝试动画创作的必由之路。对动画短片叙事节奏的把握通常是感性的,没有标准化模式的,使动画的叙事节奏不容易被控制。通过分析音乐节奏的规律,将音乐节奏的调式、节拍等概念引入动画短片中,可以借助音乐创作的思维,为动画创作者提供一种新的思考方式。     

交互叙事视角下智慧博物馆沉浸式体验设计研究

目的 在交互叙事视角下,研究城市智慧博物馆的沉浸式体验设计方法及设计实践。方法 通过案例研究等方法分析智慧博物馆交互叙述的构成要素和特点,进一步探索交互叙事与智慧博物馆沉浸式体验的关系,从构建跨数字媒介的多感官沉浸体验、重构交互叙事要素与关联叙事内容、营造情境感知的叙事空间与互动式故事体验三个方面提出基于交互叙事的智慧博物馆沉浸式体验设计方法,并设计基于交互叙事的智慧博物馆沉浸式体验设计的流程,从实践良渚博物馆沉浸体验项目的角度验证方法的可行性和有效性。结论 设计者通过编码叙事空间和叙事内容,运用跨数字媒介助力多感官沉浸,提取智慧博物馆文化作为叙事主题,优化沉浸交互体验空间,使参观者超越时空限制,与所在城市的历史脉络和文化内涵进行深度互动,从而对城市文化产生更强烈的认同。     

试论新闻报道的叙事人称

本文运用叙事学的基本原理分析人称和记叙文、论说文的基本关系,探析因为二度封闭性而形成的新闻报道稳定和不稳定的基本格局,即新闻报道的第一叙事人称无变,第二叙事人称、第三叙事人称则随新闻报道话语交流场域的变化而有易位。本文证实新闻报道不仅存在第一人称叙述、第三人称叙述,而且存在第二人称叙述;其判断的关键,第一人称叙述在同源叙事,第三人称叙述在异源叙事;第二人称叙述仅适合正面报道或中性报道,而不适用于负面新闻报道。新闻报道叙事人称的关键不在叙事主体,而在叙事客体,尤其是第一叙事客体。