基于统计的记叙文语句焦点的分布特点研究

该文通过20人对30篇汉语记叙文中语句焦点的标定结果,结合文本标注和统计分析,对焦点在词类和语义角色中的分布规律进行了探讨。结果主要发现,记叙文语篇中焦点词大约占实词总数的五分之一。形容词成为焦点的概率远高于其他词类。焦点在语义角色中分布的总体趋势是 客体论元的焦点化倾向最高,其次是外围论元,最低的是主体论元和谓词部分。     

Postmodern sandplay: An introduction for play therapists.

In this article we apply postmodern insights to sandplay therapy. In doing so, we seek to move sandplay therapy from its traditional base of an endeavor at problem solving: a therapeutic method to aid one's diagnosis and address concerns over functioning. Rather, we offer an approach to sandplay therapy from a base of postmodern thought. As has been done in the field of family therapy with solution-building therapy (De Jong & Berg, 2002) and narrative therapy (White, 2007), postmodern insights transform this therapeutic method into a narrative endeavor concerned with the articulation of identity as the means to foster change in the client. Sandplay offers a safe and secure site where the articulation of this new, empowered identity begins to get crafted. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

Review of Memory, war and trauma.

Reviews the book, Memory, war and trauma by Nigel C. Hunt (see record 2010-17048-000). Hunt’s book presents a very different perspective on how memory, war, and trauma interface, drawing upon a variety of sources not frequently accessed by psychologists. He promotes an interdisciplinary approach to studying memory and war; however, rather than drawing upon the usual fields, such as biology or sociology, Dr. Hunt suggests that a careful examination of history and literature are also integral to developing a complete understanding of memory and war. This book is not designed for individuals unfamiliar with the field of trauma and war. Memory, war and trauma highlights the limitations of current empirical approaches to studying war trauma and presents a narrative methodology that he argues will better capture the unique individual experience of trauma. Hunt rightly demonstrates weaknesses of current methods, and suggests that the narrative method may be the solution to some of the problems with current methods. Though his argument is likely that the narrative method should supplement rather than replace current experimental method, one is left feeling that he believes current methods are wholly inadequate and his method is better. Despite this central weakness, this book will be a benefit to psychologists who study and treat individuals touched by war because it will encourage them to think beyond traditional approaches to research and treatment. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

基于景观叙事的杭州云栖竹径景观表达研究

云栖竹径是杭州最具诗情画意的地方,也是杭州景观叙事的典范之一.文章通过现场调研、文献整理等研究方法,简述景观叙事的来源.借鉴叙事语言总结得出景观叙事的表达机制,并从艺术形式与文化内涵2个角度分析云栖竹径的景观叙事表达,得出线性点状的景观叙事艺术形式与自然情、生活情、人文情3方面的文化内涵,探索景观叙事表达的理论依据,使...     

数字博物馆的角色代入类叙事设计研究

目的 用讲故事的设计方法讲述博物馆文物背后的故事,引发用户的情景体验和情感共鸣,提升数字博物馆的文化体验。方法 以叙事学理论和方法为基础,运用文献研究、逻辑论证等研究方法,分析了用户、博物馆文物资源和叙事设计三者间的内在联系,在此基础上构建了角色代入类叙事设计模型,并以西汉南越王博物馆为个案展开设计实践。结果 角色代入类叙事设计通过博物馆文物故事来确定叙事主题,用视觉元素和多元形式内容来搭建叙事空间,由用户通过界面交互主导故事情节设计,从而建立用户对文化情境的深度感知。角色代入类叙事设计能从用户的感知层面和情感层面提升数字博物馆的文化体验。结论 角色代入类叙事设计能实现数字博物馆文化体验在感知深度和参与效度上的拓展,其核心是对用户的感官认知和情感体验的洞察和满足,为当下数字博物馆的开发与优化提供新的设计路径。     

故事性元素在包装设计中的融合与创新

目的 探索包装设计中的故事性元素所呈现的特征及融合创新的有效策略。方法 受当前消费环境的影响,产品包装开始越来越强调一种意境,以增强艺术性和感染力,满足消费者的情感诉求。对包装设计的这一趋势进行分析,并对包装设计的视觉效果和情感表现进行重点关注,引出故事性元素与包装设计融合创新的几方面优势;对故事与故事性设计的具体内涵进行分析,并从整体视角审视其融于包装设计的可行性;基于这一基础,提出了故事性元素在多元形式、多元叙事和多元互动三方面的创新实践路径,论证故事性元素在包装精神厚度上所存在的价值与现实意义。结论 故事性元素是包装设计的一种心理引线,既可以促就与众不同的包装风格,又可以在视觉层面展现产品的深层内涵与价值,促成包装与消费者的情感交流,激发消费者的购买欲望。     

叙事教学法视域下大学生叙事能力的培养

叙事能力即话语能力,培养学生的叙事能力是大学英语教学重要目标之一。叙事教学法以叙事为中心,强调学生叙事能力发展,注重叙事对学生的认知作用及其个性化学习。针对叙事教学法的特点和大学英语教学的要求,探寻大学生叙事能力的培养的途径,以期提高教学实际质量。     

基于叙事模型的校园文创设计研究

目的 探索叙事理论在校园文创产品设计中的应用价值与方法,提出基于叙事的校园文创设计模型,设计开发凝聚校园文化特色的产品,从而丰富校园文创产品的种类,传递校园文化的价值与影响力。方法 对叙事理念引入校园文创进行可行性分析,对高校的文化资源进行深层次梳理,进而探索出校园文创叙事设计流程,从叙事主题的确立、叙事情节的表达、叙事修辞的运用、叙事途径的选择与叙事目的的实现五个方面构建校园文创叙事模型,并进行校园文创产品设计实践。结论 将叙事学引入校园文创设计,应用叙事模型指导的校园文创产品可以更好地引发用户情感,传播与交流校园文化,成为诠释校园文化的重要媒介,为校园文创产品设计中的应用提供新的步骤参考与实践路径。     

Towards a narrative theory of virtual reality

Virtual Reality (VR), by its nature and characteristics, is of specific interest to the AI community, particularly in the domains of Storytelling and Intelligent Characters. We argue that VR must be considered a particular narrative medium alongside Theatre, Literature or Cinema. This paper reviews relevant work in narrative theory from Plato onwards, including the work and theories of literary critics [1], cinema critics [2–4] and theatrical dramaturges [5], and analyses the specific characteristics of VR relevant to this theory. Less studied media such as Live Role Playing Games, improvisational drama and participatory drama are also considered. Finally, this document argues for a participatoryprocess-oriented narrative, with particular attention to the specificities and particularities of stories and their possible representation, adapted to the narrative medium Virtual Reality.