Mv narrative pres-ss0309
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Marie Laure Ryan is a literary scholar and critic whose work focuses on narratology, fiction, and cyberculture. She is currently working on an encyclopedia of digital textuality. Her research examines the historical development of narrative through four ages - oral, chirographic, print, and digital. She defines digital text as replicable, editable, and able to reach a global audience. Ryan also analyzes aspects of digital narratives such as their interactive, performative, and networked qualities. She explores how digital narratives can utilize variable discourse, points of view, and plots.
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1. Narrative is defined as a chain of events in a cause-effect relationship that occurs over time, with a beginning, middle, and end.
2. Theorists have identified common narrative structures and elements across different texts, including character archetypes and codes that help audiences understand and interpret narratives.
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Mv narrative pres-ss0309
- 1. Marie Laure Ryan, 2004 Summary by Suzanne Stebbings
- 2. Marie-Laure Ryan Literary scholar & critic Scholar in residence, University of Colorado Themes: narratology, fiction and cyber- culture Latest venture Encyclopaedia of Digital Textuality – due out 2012
- 4. Narrative - historical perspective The four ages of narrative Durability of narrative Definitions Digital text Narrative The literary context Aspects of digital narrative Variable discourse Variable points of view Variable plot Where next?
- 5. Restricted Oral Unique audience Less Able to be Chirographic copied restricted audience Broad Print Replicable audience Replicable Global Digital and editable audience
- 6. Evanescent Durable
- 7. Algorithm driven Reactive and interactive Perfomantial aspect Multiple sensory and semiotic channels Networking capabilities Volatile signs Modularity
- 8. ‘Narrative is a type of meaning, or mental image generated in response to certain stimuli. A narrative text is an artefact designed to bring this meaning to mind.’
- 9. Epistemological crisis – challenging text as a ‘given’ – classical text is blind to ‘the complexity of the problem of truth’ Aesthetic crisis – desire to break out of the limitations imposed by print – the ‘dream of the text that keeps on giving’
- 10. Variable discourse Variable point of view Variable plot
- 11. Hypertext – ‘multiple pathways through a document’ The jigsaw metaphor and incomplete narrative meaning Success of hypertext dependent on the author’s skill in placing it in a ‘unique textual idea which gives meaning to the activity’
- 12. Interactive television Interactive film Variable points of view in print Interactive digital environment
- 13. Interactive fiction – limitations First person shooter – monotonous diversity Simulation – the ‘god game’
- 14. Stereotyped The Anti narrative narratives of middle experimental ground? popular culture text
- 16. Murray, Janet (1997). ‘Hamlet on the Holodeck: the future of narrative in cyberspace’, New York: Free P. Ryan, Marie Laure (2009). ‘From narrative games to playable stories toward a poetics of interactive narrative’, StoryWorlds: A journal of narrative studies, vol 1, 43-59 Murray, Janet (2004). ‘From game story to cyberdrama’, http://scholar.google.com.au/scholar?start=10&q=Janet+Murray&hl=en&as_sdt= 1,5 http:www.jawbone.tv/articles/item/485-sufferosa-neo-noir-interactive-film- tackles-cult-of-beauty.html Choose a different ending (2009) http://www.youtube.com/watch?v=JFVkzYDNJqo http:www.guardian.co.uk/film/filmblog/2011/aug/04/twixt-trailer-francis-ford- coppola Motte, Warren F. (1986). ‘Oulipo: A primer of potential literature’, University of Nebraska Press Atkinson, Sarah (2007). ‘Crossed Lines: the creation of a multiform, multi-screen interactive film’, Nebula 4.3 79-99 http:www.clickz.com/clickz/column/1697492/interactive-tv-ads-real-life- examples