... iconicity pictorial narrative visual storytelling temporal arts spatial arts The research for this publication was made possible through a grant from the Austrian Science Fund within the scope of the two-year project “M1944: Towards an Experimental Narratology of the Image” at the Lab...

...Emma Kafalenos Ekphrastic texts are usually published separately from the visual representations they re-represent. The relation between the text and the image is one of substitution: the text replaces the image. But when an ekphrastic response and the image that inspires it are placed next to each...

..., and the “narrative” of these stories consists of the sequence of actions implied by this imagery.) This type of corre- spondence between “storytelling” and “narrative” suggests that artists sometimes, if not always, connect visual “narratives” with written or spo- ken narratives, just...

...Loren Kruger; Patricia Watson Shariff This article examines the ways comics contribute to nonformal education in contemporary South Africa, especially the Heart to Heart project,produced by the Storyteller Group, and Body and Soul , by the Soul City project. While Soul City follows the urban bias...

... if the similarity on the level of plot were reinforced by, for example, visual clues or related names. Ryan † Transmedial Storytelling and Transfictionality 371 Figure 2 Relations between storyworlds in the Star Wars system (3) Apocryphal documents produced by the fans. Here...

...Eyal Segal Meretoja Hanna , The Narrative Turn in Fiction and Theory: The Crisis and Return of Storytelling from Robbe-Grillet to Tournier . Basingstoke, UK : Palgrave Macmillan , 2014 . xviii + 282 pp. © 2016 by Porter Institute for Poetics and Semiotics 2016 New Books...

... . Oxford : Oxford University Press . Meretoja Hanna Davis Colin . 2017 . “ Introduction: Intersections of Storytelling and Ethics .” In Storytelling and Ethics: Literature, Visual Arts, and the Power of Narrative , edited by Meretoja Hanna Davis Colin , 1 – 20 . London...

... teleology) and to the favoring of “presentism” (190) over retrospection. This tendency may find expression in the very visual format of the storytelling practice discussed: Facebook or Twitter updates thus appear in reverse, hence “presentist,” chronological order (i.e., latest ones first...

... narrative ambiguity and thematic complexity, for instance — while exploiting cinema’s visual and aural devices. Christine Geraghty focus- es on the interplay of media in Atonement as rival storytelling techniques. The film’s first part is dominated by writing (of letters and a play), the second, wartime...

... teleology) and to the favoring of “presentism” (190) over retrospection. This tendency may find expression in the very visual format of the storytelling practice discussed: Facebook or Twitter updates thus appear in reverse, hence “presentist,” chronological order (i.e., latest ones first...

... narrative ambiguity and thematic complexity, for instance — while exploiting cinema’s visual and aural devices. Christine Geraghty focus- es on the interplay of media in Atonement as rival storytelling techniques. The film’s first part is dominated by writing (of letters and a play), the second, wartime...

... teleology) and to the favoring of “presentism” (190) over retrospection. This tendency may find expression in the very visual format of the storytelling practice discussed: Facebook or Twitter updates thus appear in reverse, hence “presentist,” chronological order (i.e., latest ones first...

... “run,” or branching story strand, to the next, leading to the happy ending of the third and final branch in the film (as against the bleak endings of the first two branches, in which either Lola or her boyfriend dies). Schenk suggests here an analogy (supported by the film’s visual style...

... visual style) to a video game, which allows the users to gain expertise through repeated play until they manage to complete it successfully or at least reach a more advanced stage. Schenk’s discussions of the remaining five films are shorter, focusing on differences and variations displayed...

... (supported by the film’s visual style) to a video game, which allows the users to gain expertise through repeated play until they manage to complete it successfully or at least reach a more advanced stage. Schenk’s discussions of the remaining five films are shorter, focusing on differences...

... story strand, to the next, leading to the happy ending of the third and final branch in the film (as against the bleak endings of the first two branches, in which either Lola or her boyfriend dies). Schenk suggests here an analogy (supported by the film’s visual style) to a video game, which allows...

... visual style) to a video game, which allows the users to gain expertise through repeated play until they manage to complete it successfully or at least reach a more advanced stage. Schenk’s discussions of the remaining five films are shorter, focusing on differences and variations displayed...

... (supported by the film’s visual style) to a video game, which allows the users to gain expertise through repeated play until they manage to complete it successfully or at least reach a more advanced stage. Schenk’s discussions of the remaining five films are shorter, focusing on differences...

... disagree with Robert Coover who thinks that the golden age of digital lit- erature came to an end when hypertext ceased to be purely verbal. To me the future of digital narrative—or more broadly, the future of digital textu- ality—lies in the enhancement of verbal storytelling with visual and audio...

... of integrating and transforming oral traditions, such as public debate, oral poetry and song,storytelling and oral narrative, all received sources of African“cultural capital,” into literate modes of print culture and“urban ways of knowing,” consumer magazines for black South Africans also operate...