Utopian social media

Inspired by the work on utopia of Ruth Levitas, and drawing on narrative inquiry and arts-based research methods, this paper presents the result of a series of social media utopia-making workshops where regular users of social media were invited to discuss the things that bother them and propose alternatives to the visions of control and manipulation that fill our reality and the research horizon. The paper is a combination of academic/methodological discourse and creative writing fuelled by the workshop results.     

科普教育电视节目创作中的思维模式和叙事结构——以大型系列节目《身边的奥秘》为例

以大型科普教育电视系列片《身边的奥秘》为典型材料,分析研究科普教育电视节目创作中的思维模式和叙事结构。从理论和实践的结合上论述了在创作中要坚持感性思维与理性思维结合、形象思维与抽象思维结合、科学思维与艺术思维结合的整体思维模式,并探讨了适合科普教育电视节目创作的叙事结构,用语言式、构图式、图像式、故事化、娱乐化、诗意化等方式进行流畅的表情达意,以提高科普教育电视节目的创作水平。     

试论空间文本结构的非线性转向

以对文本结构的剖析为切入点,通过比较阅读叙事文本从卡尔维诺“时间零”理论到超文本结构中“超链接”运用的发展转变,对建筑空间组织结构进行关联性的对比分析,探讨了空间文本结构从线性到非线性的历史转向。     

展示设计与设计展示：维多利亚-阿尔伯特博物馆“创意中国”当代中国设计展

探讨了一次展览的展览设计和内容之间的关系。根据在V＆A“创意中国”当代中国设计展的工作经历,概述了从挑选设计师到展览开幕的展览设计过程,讨论了展览的叙述如何与空间设计的主题相互适应,细述了策展人和设计师的想法如何升华成最后的结果。目的在于梳理出展览叙事、展品与空间设计之间复杂而协调的关系,厘清展览背后的精细思考的层次,这对于有效地传达展览的主题和关键信息来说是至关重要的。希望阐明的是,展览设计对于历史上的和当代的设计作品的展示尤其不可或缺,并指出了其与美术作品展示（通常在白色的方盒子空间里）之间的不同。     

Wish and overgeneralization model for psychotherapy integration.

This article introduces a clinical Wish and Overgeneralization (W&O) Model for dynamic, cognitive and narrative procedures, supported by a metasynthetic study linking cognitive overgeneralization and psychodynamic transference and determining it to be the antithesis of wish – a Luborsky (1988a) transference component. The model emphasizes symptoms and patient core themes: The therapist interprets the conflict between wish and overgeneralization, indicating how it confirms the overgeneralization and sabotages the wish. He helps the patient identify unique outcomes (White & Epston, 1990) for formulation of positive self-statements (Meichenbaum, 1994, 1985, 1977) and proposes an alternative narrative based on a coherent experience. This integrative therapy thus combines insight-oriented and coping strategies. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

博物馆空间设计的叙事方法研究

以文学领域的叙事理论为基础,分析了文学叙事的方式,并结合博物馆空间设计的需求,提出了在博物馆空间中运用叙事手法的叙述人称、叙述顺序、叙述视角、叙事方法进行设计,通过此方法设计的博物馆空间具有一定的感染力,同时也能加深观者的理解与记忆,并以此来改进和完善博物馆的社会教育功能,使其更好更快地可持续发展。     

四福音书的叙事和谐研究

《马太福音》、《马可福音》、《路加福音》以及《约翰福音》是位于《新约》之首的四部福音书。这四部福音书在某些细节的描写上存在这样或那样的差异,以至读者经常质疑其和谐性质。然而本文作者将四部福音书视作普通的叙事文本并对其进行文本细读发现,这四部福音书在叙述者、核心人物以及母题这三个叙事方面存在高度和谐。     

《呼啸山庄》闪回叙事文体功能探析

情节悬疑紧张、内容新颖的《呼啸山庄》讲述了横跨三代人的复仇故事,一代人实施的复仇计划对其他家庭和下代人造成了悲惨后果。故事的讲述由两个叙事者完成,以核心主角希刺克厉夫和凯瑟琳的爱情故事为主要情节展开,尤其以前者对不公平对待的抵抗和复仇为重要描述。《呼啸山庄》成为西方乃至世界文学宝库中璀璨的明珠,取得巨大的文学成就主要归因于作者别具匠心的时间结构安排。艾米莉·勃朗特没有让故事按照自然时间顺序发生,而是依据哥特式奇异古怪的小说特点采用了闪回的叙事方法。     

Audio-based narratives for the trenches of World War I: Intertwining stories,places and interaction for an evocative experience

We report in detail the co-design, setup and evaluation of a technological intervention for a complex outdoor heritage site: a World War I fortified camp and trenches located in the natural setting of the Italian Alps. Sound was used as the only means of content delivery as it was considered particularly effective in engaging visitors at an emotional level and had the potential to enhance the physical experience of being at an historical place. The implemented prototype is visitor-aware personalised multi-point auditory narrative system that automatically plays sounds and stories depending on a combination of features such as physical location, visitor proximity and visitor preferences. The curators created for the trail multiple narratives to capture the different voices of the War. The stories are all personal accounts (as opposed to objective and detached reporting of the facts); they were designed to trigger empathy and understanding while leaving the visitors free to interpret the content and the place on the bases of their own understanding and sensitivity. The result is an evocative embodied experience that does not describe the place in a traditional sense, but leaves its interpretation open. It takes visitors beyond the traditional view of heritage as a source of information toward a sensorial experience of feeling the past. A prototype was set up and tested with a group of volunteers showing that a design that carefully combines content design, sound design, tangible and embodied interaction can bring archaeological remains, with very little to see, back to life.