NARRATIVES AULA 6 SLIDES

Prévia do material em texto

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Profª Liane von Mühlen
CONTEMPORARY NARRATIVES 
- LANGUAGE, CINEMA, AND 
LITERATURE
Aula 6
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A glance into the future - narratives 
in educational praxis and 
reinventing the way stories are told
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Shaping our present and future
Life as narrative: selves
Narrative to create power
Pedagogical praxis: strategies and tools
Final thoughts
Today’s focus
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Possibilities of narratology in educational 
contexts now and then
Narratology has always had a great deal with 
creative writing in the education context
Narratives have changed along times is a 
fact, and that they are in constant movement 
Shaping our present and future
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Amon (2020, p. 2) on the evolution of 
narratives in the teaching learning process:
“The narratives that can be created in the 
context of a teaching-learning process have 
evolved alongside the technical means 
today available.
(…)
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(…)
Narratives are no longer restricted to a textual 
form and could be transmitted and received as 
an audiovisual product and have a significantly 
wide palette of forms appealing to a larger 
portion of the senses and allowing a better 
immersion in the world they present while 
requiring less effort on behalf of the audience.
However, narrations are a communicative 
process, and as such it depends on the 
audience and its reaction.”
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Among the technical means to which the author 
refers are the narratives produced and seen in 
multiplatform 
It is so that we have heard of and seen more and 
more on the topic of transmedia narratives
From the traditional forms and ways of 
producing, reading, listening, and watching 
narratives, what seems to have caught the 
students’ attention more recently is related to 
their senses. Besides that, what young people 
look for is having experiences
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Amon (2020, p. 2): students expect to be 
able to deal with interpretation, negotiation, 
and meaning making in the future:
”Teaching and learning experiences are a 
complex formed at least by visual, auditory, 
and verbal stimuli combined in specific 
modes, stimulating multilayered sensitive 
emotional experiences.
(…)
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These experiences should be 
conceptualized as one interconnected 
complex as far as students, as stated 
before, need to develop tools for 
interpretation, negotiation, and meaning-
making of the information they are 
constantly exposed to.
(…)
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Taking into account that in a rapidly 
changing world it is not possible to 
conjecture what kind of knowledge will 
students need in their future lives, these 
experiences are highly relevant in any 
educational process.
They need to be given tools for future 
interpretation of facts. Bare facts are 
meaningless for them.”
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From oral and written narratives to a new 
concept of producing narratives, there is no way 
to deny how technology has changed and will 
modify even more the way we conceived the 
teaching-learning process
The combination of modes and means has taken 
narrative production to a new level and there is 
no going back to the old times and no way out of 
this digital reality
A combination of digitality aligned with students’ 
perceptions are promoting changes in the 
classroom
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Amon (2020, p. 2) reflects on education and 
technological development:
“In the field of art education it is worth noting 
in today’s school the fact that the majority of 
the pupils is in daily contact with digital media 
with its colorful, fast-moving sequences of 
images and, of course, computer programs that 
provide a wide range of possible uses and 
experimental experiences.”
(…)
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Scanning and combining images, exploring 
the possibility of multiple printings, and the 
divergence between printed and screen 
images are only a few possible areas to 
consider
(…)
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Numerous images are produced with widely 
available, highly interactive, and user-
friendly software
(…)
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These experiences do not only imply increasing 
speed of changing images, mechanical simplicity, 
and wide possibilities in the resolution of 
different technical processes but, perhaps most 
of all, a specific experience of space perception 
and representation, which every student carries 
with himself or herself to the classroom and is 
essential to education in general and to art 
education in particular, not to mention the fact 
that artworks can be easily shown in digital 
social media as Facebook, Instagram, YouTube, 
and others, creating new forms of artistic dialogs 
that were unimaginable two decades ago
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(…)
Digital media is also making new and unique 
aesthetic experiences possible and changing 
the way in which art is conceived, created, 
and perceived
A new world has opened for artists as well as 
educators
(…)
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Technological development requires the 
teaching profession to make changes at an 
unprecedented rate and opens a wide 
number of questions
Those connected with the impact of 
transmedia narratives via multimedia 
technologies on students are relevant to 
teaching as well as to artistic practice.”
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By conceiving, creating, and perceiving art, 
including narratives, this way, has promoted an 
outnumber of experiences, not only for students, 
but also for teachers
Contemporary narratives are made of several 
styles and forms
Diverse, multimodal, intercultural, multimedia, 
produced by and for people dealing with stories, 
from the past or present 
There is also criticality in the search of 
understanding text and context, as well as acting 
for a future with more possibilities 
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Narratives are contextual
Van Der Mieroop, Clifton and Schnurr (2022), in 
research on narratives as social practice in 
organizational contexts, bring a definition of context 
related to narratives: 
“’context’ is a multi-layered concept, and while it 
is thus possible that narrators make relevant a 
multiplicity of contextual layers in the stories they 
tell, often the exploration of the relation between 
narratives and ‘only’ one or two contextual layers 
in capitalized on” (Van Der Mieroop; Clifton; 
Schnurr, 2022, p. 3)
(…)
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How often we have perceived or analyzed 
basically one, at most two, layers?
Are we aware of the multiplicity of 
contextual layers? 
In which contextual layers do narratives 
occur? 
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Education – Access to the documents and 
norms which regulate the system
Brazil – Base Nacional Comum Curricular 
(BNCC) (Brasil, 2018)
Section dedicated to high school education, 
the document mentions that in all fields of 
social action, certain abilities should the 
contemplated
(…)
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Portuguese language, with the so-called 
practices of reading, listening, texts 
production (oral, written, multi-semiotic) and 
linguistic/semiotic analyzes - abilities: the 
recommendation involving narratives is that 
students should be conducted to:
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“Prepare scripts for the production of various 
videos (vlog, video clip, video short, 
documentary etc.), theatrical presentations, 
multimedia and transmedia narratives, 
podcasts, commented playlists, etc., to 
expand the possibilities of meaning 
production and engage reflexively in 
authorial and collective practices.” (Brasil, 
2018, p. 499, own translation)
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Narratives as the orientation brings it refers to 
multimedia and transmedia narratives, which 
implies using technology. 
Key words listed as aim are meaning, 
engagement, and reflexivity during and after the 
practices.
Apart from abilities, BNCC also orientates for 
competencies to be developed by students. 
Section on applied humanities and social 
sciences, still in high school, the guide brings as 
competence to be achieved:
(...)
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(...)
“Operationalize concepts such as 
temporality, memory, identity, society, 
territoriality, spatiality, etc. and different 
languages and narratives that express 
knowledge, beliefs,values, and practices 
that allow accessing information, solving 
problems, and, especially, favoring the 
necessary protagonism both at the 
individual and collective level.” (Brasil, 
2018, p. 559, own translation)
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Language and narratives as means for 
students to be able to express not only their 
knowledge, but also beliefs and values
Individual or collective practices will enable 
learners to both access information and solve 
problems, besides making them protagonists 
of their own lives
(…)
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Narratives in BNCC appear twice again as 
abilities expected to be under students’ domains: 
“1) Analyze and compare different sources and 
narratives expressed in various languages, 
with a view to understanding and critiquing 
philosophical ideas and historical, 
geographical, political, economic, social, 
environmental, and cultural processes and 
events (…)
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(…)
2) Identify, analyze, and discuss the historical, 
geographical political, economic, social, 
environmental, and cultural circumstances of the 
emergence of conceptual hegemonic matrices 
(ethnocentrism, evolution, modernity, etc.), 
comparing them to narratives that include other 
agents and discourses.” (Brasil, 2018, p. 560, own 
translation)
(…)
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(…)
Abilities described refer to, even if not in 
such as obvious way, criticality, linguistic and 
cultural diversity, agency, and discourse
BNCC orientations signify an advance in 
terms of multiple issues related to education 
in Brazil
Lack of improvement in aspects concerning 
linguistic policies and interculturality, among 
others
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Life as narrative: selves
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Reflections on the idea of life as narrative, 
making things personal and bringing them closer 
to students 
Paraphrasing philosopher René descartes - “I 
narrate, therefore I am.”
Bruner (2004, p. 692), on autobiography and 
culture, presented two theses. In the first one, 
he mentions narrative as the most well-
succeeded form of telling how one lived:
Life as narrative: selves
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“We seem to have no other way of describing 
"lived time" save in the form of a narrative. 
Which is not to say that there are not other 
temporal forms that can be imposed on the 
experience of time, but none of them 
succeeds in capturing the sense of lived time: 
not clock or calendrical time forms, not serial 
or cyclical orders, not any of these.” (Bruner, 
2004, p. 692)
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Second thesis: reflections on relations between 
life and narrative
The same way we construct life, we also 
construct narratives
Into scene the psychological understanding that 
what we do is recall memories and interpret 
facts:
“The mimesis between life so-called and 
narrative is a two-way affair: that is to say, just 
as art imitates life in Aristotle's sense, so, in 
Oscar Wilde's, life imitates art”
(…) 
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Narrative imitates life, life imitates narrative 
“Life” in this sense is the same kind of 
construction of the human imagination as “a 
narrative” is
It is constructed by human beings through 
active ratiocination, by the same kind of 
ratiocination through which we construct 
narratives […]
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When somebody tells you his life—and that is 
principally what we shall be talking about—it 
is always a cognitive achievement rather 
than a through-the-clear-crystal recital of 
something univocally given
(…)
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In the end, it is a narrative achievement. 
There is no such thing psychologically as ‘life 
itself’. At very least, it is a selective 
achievement of memory recall; beyond that, 
recounting one's life is an interpretive feat. 
Philosophically speaking, it is hard to 
imagine being a naive realist about ‘life 
itself’.” (Bruner, 2004, p. 692)
(…)
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When somebody tells you his life—and that is 
principally what we shall be talking about—it is 
always a cognitive achievement rather than a 
through-the-clear-crystal recital of something 
univocally given
In the end, it is a narrative achievement. There is 
no such thing psychologically as ‘life itself’. At 
very least, it is a selective achievement of 
memory recall; beyond that, recounting one's life 
is an interpretive feat. Philosophically speaking, 
it is hard to imagine being a naive realist about 
‘life itself’.” (Bruner, 2004, p. 692)
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(…)
Selection of what to narrate
It is not every single memory that we narrate
Narratives are purposeful and intended
Make choices on how telling our stories
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Ely et al. (2007, p. 160), on the development of 
the concept of self, describe the aging process of 
dealing with the sense of self in the Western 
cultures:
“There is a general consensus that young 
children (less than 6 years of age) have an 
appreciation of the self that is more physical 
than psychological, often focus on routine 
activities and momentary moods, and rarely 
locate the self in a social context. 
(…)
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(…)
As children move into the school years (6 
years and older), the importance of 
psychological attributes increases. 
Older children have a sense of self that is 
embedded in more enduring activities and 
moods and in a larger social world […]
(…)
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(…)
Older children are also more likely to be 
aware of the multidimensional nature of 
the self. As such, they may be more 
sensitive to the notion of multiple selves 
(the varying selves they can be in varying 
contexts), and possible selves (the selves 
they might wish to be, or feel they ought to 
be).”
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Selve: psychological attributes, related to the 
social contexts one is inserted or temporarily 
transits through
The older one grows, the more conscious the 
person becomes of their selves
Bruner (2003, p. 210) claims that “we constantly 
construct and reconstruct a self to meet the 
needs of the situations we encounter, and do so 
with the guidance of our memories of the past 
and our hopes for the future” (…)
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Guo (2007, p. 182) points out that “the self is 
one of the most important aspects of one’s 
identity”
In the theoretical positions concerning self 
identity, Guo (2007, p. 182) ads that “it is 
the self-system that provides meaning to 
people’s experiences”
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The sense of self (as well as identity) cannot 
be achieved solely
It happens with the participation of others: 
“the others may serve as co-producers of 
self-feeling and self-understanding, as 
bearers of the standards, as active monitors, 
or as partners in ongoing internal dialogues.” 
(Guo, 2007, p. 182)
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Bamberg, De Fina and Schiffrin (2007, p. 1) –
Definition of self “as-speaker/narrator”
There are different views of self and that 
those varied perspectives may cause conflict 
sometimes
(…) 
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View self and identity: “not as essential 
properties of the person but as constituted in 
talk and particularly in social practice. 
Moreover, since self and identity are held to 
be the phenomena that are contextually 
shaped, they are defined and viewed in the 
plural, as selves and identities.” (Bamberg; 
De Fina; Schiffrin, 2007, p. 1)
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On narrative approaches to selves and 
identities, Bamberg, De Fina and Schiffrin
(2007) describe some of the different 
assumptions which they consider to be 
fundamental to narrative studies
(…)
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Initial point deals with life, biography, and story: 
“While narratives can be said to be just one 
kind of discourse genre among others, they 
have moved into the privileged mode for tying 
together existent analogies between life, 
biography, and story. And although lives are 
lived and stories told, and although there is a 
general openness to lived lives, ‘narrative 
coherence’ is seen as the guiding post for how 
lives are actually lived and made sense of in 
meaningful ways.” (Bamberg; De Fina; 
Schiffrin, 2007, p. 5)
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Such coherence is essential to the process of 
making meaning
Otherwise, narratives would probably be bits and 
piecesrather than life stories, and, therefore, 
any sense would be lost
Narrative coherence works as glue:
“Coherence serves as the structural glue that 
is added on to life and history, or even the 
‘fabric’ with which life is imaginable, enabling 
to locate a self with a beginning, a middle and 
an end […]” 
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While there are different assumptions as to 
where this glue is ‘located’, either before the 
story-telling activity (as an internal, 
experiential, and basically cognitive, attempt 
to plot raw events into meaningful patterns) 
or in the actual act of plotting, i.e., the 
situated telling of ‘the experience’, narrative 
is the ordering principle that gives meaning 
to an otherwise meaningless life
(…)
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(…)
In short, narrative functions as the glue that 
enables human life to transcend the natural 
incoherence and discontinuity of the unruly 
everyday […] by imposing a point of origin 
and an orientation toward closure, and 
thereby structuring the otherwise 
meaningless into a meaningful life.” 
(Bamberg; De Fina; Schiffrin, 2007, p. 5)
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Narratives bring meaning to our lives
They structure what was once meaningless, 
what was once incoherent and discontinuous
Through narratives possibilities of 
establishing origin and closure seem to be 
infinite
Should take narrative as a mode of 
understanding: our stories and stories of the 
others
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Narrative to create power
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Distinct projects have multiplied actions on 
having people working with narratives
Aim: to connect future and narratives to 
empower people
Proposal: understand how narratives can 
create a different future and empower people
Narrative Initiative is one of those projects 
which work with children, focusing mainly on 
bringing imagination into their creations
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(…)
Fickes (2020): having this kind of public 
involved in the project facilitates things, 
since young children do not have such a long 
history of precedents in narratives
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“Young children bring unlimited possibility to 
stories about their future. Children don’t have 
narratives bounded by history and precedent. 
Nor do children have deep political and social 
narratives defining their view of what’s possible. 
Simply put – they can access imagination. We 
find imagination to be both a necessary and 
strategic component to change. Futures work 
provides tools for bringing imagination to 
narrative in productive and tangible ways” 
(Fickes, 2020, p. 1)
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Children are free of that kind of boundaries in 
terms of policies and politics – they have the 
potential to create new narratives for the 
future
Otherwise, narratives that were created in 
the past will influence and control power in 
the present
Transmedia collage project held in 2017 and 
2018, in which teenagers living in Chicago 
took part
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“The project provided them with the freedom, 
guidance and resources needed to imagine new 
possible futures. 
They began by looking at community history. In 
these histories they found narratives defined by 
the past and still holding power. These old 
narratives weren’t just influencing the present. 
They defined the future’s field of vision. 
Dominant narratives, the teens discovered, force 
people into a future based on histories, not 
imagination.” (Fickes, 2020, p. 1)
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Key elements integrated the project: freedom, 
guidance, resources, imagination community 
history, dominant narratives
Looking at and analyzing the stories created in 
the past, on can build new narratives, and 
change their future
Past histories cannot define future narratives
Fickes (2020) proposes is reverse engineering 
the future, a process which takes some time and 
investment, but that brings different 
perspectives on narrative and power:
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“The essence of the process is to first name 
and describe the future. 
With that future in our vision we can talk 
about, write down and even draw the 
narratives that surround that future.
Those narratives describe a history that 
hasn’t been created – a history that isn’t 
dependent on today’s dominant narrative and 
its power. 
(…)
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By reverse engineering the future we create 
new stories. 
Those stories have people, groups and 
cultural objects in them. 
Those stories have a feel. They even have 
smells and tastes.” (Fickes, 2020, p. 1)
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Initiative Narrative (Fickes, 2020) uses a 
“futures cone” (Voros, 2003) to work with the 
representations of potentials for future 
narratives
The reading of the cone is made starting from 
the right, with what is possible in the future, 
contrary to what is probable now, which is on 
the left
“We use narrative tools give people language to 
define actions that let us work with the possible, 
not just the probable.” (Fickes, 2020, p. 1)
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PAST
POSSIBLE
PLAUSIBLE
TIME
POTENTIAL
POTENTIAL
NOW
PROBABLE
Futures cone
FONTE: ARTE UT
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Squire (2012, p. 69) on narratives, future, 
responsibilities, and selves:
“Understanding narratives as embedded in 
changing contexts is also a way of 
conceptualizing their placement in relation to 
the future - and in relation to a responsibility 
that calls subjects themselves into being.”
Only by locating and understanding the selves 
we can take our responsibilities in changing 
future narratives
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Derrida (2001): meaning within context as 
relevant in making such changes
“A simple phrase takes its meaning from a 
given context, and already makes its appeal 
to another one in which it will be understood; 
but, of course, to be understood it has to 
transform the context in which it is inscribed. 
(…)
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(…)
As a result, this appeal, this promise of the 
future, will necessarily open up the production of 
a new context, wherever it may happen. 
The future is not present, but there is an opening 
onto it; and because there is a future, a context 
is always open. What we call opening of the 
context is another name for what is still to 
come.” (Derrida, 2001, p. 19)
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Even though the future is not now, we can 
think of it, plan it, work for it 
The idea of opening of context provides 
primarily certainty that the future can be 
changed since the very moment we are living 
now
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Pedagogical praxis: strategies 
and tools
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Introduce possible strategies and tools to work 
with narratives
There are countless possibilities
Some strategies/tools which can help to develop 
narrative initiatives in varied and multiple 
contexts, more specifically the pedagogical ones
To work with narratives, strategies, and tools 
refers to involving mostly sound, image, text, 
and audiovisual
(...)
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(...)
Narrating with sound, possibilities are to do 
it by creating podcasts, web radio or audio-
drama
Podcasts have become a popular tool
Living the so-called golden age of podcasting
Depending on the purposes, working with 
podcasts can be a great strategy
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Backtracks (2022, p. 1) defines a narrative 
podcast:
“A narrative podcast is one in which the 
content creator tells a story over the course 
of the podcast. This could be simply an 
audio book reading podcast, or a specific 
original story, or simply self-narration, 
such as an autobiographical podcast or 
“day in the life” style podcast, where the 
content creator tells stories about events in 
their life.”
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Narrative podcasts can be hosted by channels 
on the internet or by digital streaming 
services providers 
Advantages of working with narrative 
podcasts – go from low costs to the fact that 
they are portable
Web radio, also called internet radio, is 
another alternative. It is audio service 
transmitted via internet
(…)
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(…)
Some web radios are connected to traditional 
radio stations, with simultaneous 
transmission, while others are independent. 
Web radio can reach any place around the 
globe if there is internet access
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Third possibility is audio-dramas
Some people might say they are like 
audiobooks, that is no true at all
Audio-dramas are much more than an audio 
version of a text
Audio-dramas are characterized by 
dramatization, with a cast of voices and 
soundtrack music
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Narratives with images present a wider range 
of options: photographs, infographics, 
illustrations, drawings, comics, and memes
Photographs have been used for over a 
century to tell stories. It all started with 
illustrations and drawings, which are still 
around, but photographs took the visual arts 
to another level
(…)
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Taking photos of people, places, and objects 
has helped us to create and tell stories about 
the most diverse themes
More recently infographics have also got 
their space in narration 
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Huffpost (2017, p. 1) explain how the process of 
working with infographics works:
“The best infographics are created when a 
story comes first. In a completed piece, every 
data point, piece of copy, and design element 
should support the story. This does not mean, 
however, that the story an individual or 
organization wants to tell will intuitively 
translate to the infographic medium.”
(...)
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(...)
The story comes before the infographic 
creation, but it does not mean at all that 
transporting the narrative to the 
infographic is an easy task
Narrative elements are not always available 
on infographics 
Such medium can be used, for instance, in 
presenting research data
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Comics, or comic books, is a medium which 
combines text and other visual information to 
express ideas and tell stories
Comics are formed by juxtaposing sequences 
of panels with images
Among comics we also find graphic novels, 
comic strips, cartoons, caricatures, and so on
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Comic strip
humphrey/Shutterstock
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Cartoon
Ellagrin/Shutterstock
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Caricature
thongyhod/Shutterstock
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There is not any other more popular 
nowadays than memes 
Meme is “an idea, image, video, etc. that is 
spread very quickly on the internet.” 
(Cambridge, 2022)
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Meme
T
u
p
u
n
g
at
o
/
S
h
u
tt
er
st
o
ck
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Text – the most well-known tools are blogs, 
hypertexts, e-zines, and fanfics
A blog is more likely an online journal
Hypertexts are methods of organizing 
information, such as words, sentences, pages, 
articles, chapters, books, and libraries. It works 
with a linkage system
E-zines are electronic magazines, which 
sometimes are simply the traditional magazine 
transported to the online world 
(…)
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(…)
Fanfics (also called fan fictions) are “stories 
written about TV, film or book characters by 
their fans (people who admire them), or an 
example of such a story” (Cambridge, 2022)
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Audiovisual – possibilities of working with 
narratives
Documentaries, interactive videos, animation 
videos, and video-minute
While documentary is a non-fictional film, the 
others are shorter productions
All of them with the purpose of narrating 
something
(...)
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(...)
Other several possibilities of working with 
narratives, mainly on social media and by 
making use of apps 
It is just a matter of thinking of a strategy 
and finding a proper tool to narrate whatever 
one feels like saying or showing 
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Narratives do not need to be in one format or 
mode only. They can and should be diverse, 
multimodal, and meaning making, changing 
lives, and opening new horizons, 
contemplating people of all ages and 
lifestyles, anywhere around the globe, at any 
time
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Final thoughts
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Summarizing the main ideas developed through 
the course
1. Narratives as a contextual and 
interdisciplinary theory and the inseparability 
between form and ideology (or form and 
content)
2. The cultural aspects of narratives, as well as 
multiple identities and contexts, together with 
discursive ideologies involving narratives
3. Locus of enunciation and on being and acting 
in society as social actors, including the role 
of emotions in our narratives
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4. Interrelated modes and ethics in narrating our 
stories and the stories of the others
5. Languaging, language as discourse, 
multilingual and plurilingual contexts
6. Translingual practices and the development of 
language through narratives
7. Language together with literature and cinema, 
seeing concepts of verbality and iconicity, and 
adaption to cinema and literature
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8. Elements which compose narratives and 
the narrative genre
9. Narratives from different times, the main 
aspects of art and AI in narratives, and the 
role of authorship
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10. Criticality within narratives and the role 
of interculturality in narratology
11. A glance into the future of narratology, 
narratives in relation to educational 
contexts, and life as narrative
12. How to create a different future and 
empower people and strategies and tools 
to work with narratives
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Quote by Jonathan Gottschall (2012, p. 13):
“We are, as a species, addicted to story. 
Even when the body goes to sleep, the 
mind stays up all night, telling itself 
stories.” 
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