Laure Humbert explores how humanitarian aid in occupied Germany was influenced by French politics of national recovery and Cold War rivalries. She examines the everyday encounters between French officials, members of new international organizations, relief workers, defeated Germans and Displaced Persons, who remained in the territory of the French zone prior to their repatriation or emigration. By rendering relief workers and Displaced Persons visible, she sheds lights on their role in shaping relief practices and addresses the neglected issue of the gendering of rehabilitation. In doing so, Humbert highlights different cultures of rehabilitation, in part rooted in pre-war ideas about 'overcoming' poverty and war-induced injuries and, crucially, she unearths the active and bottom-up nature of the restoration of France's prestige. Not only were relief workers concerned about the image of France circulating in DP camps, but they also drew DP artists into the orbit of French cultural diplomacy in Germany.
The digital economy is now expanding rapidly, and is starting to overturn the past achievements of the Industrial Revolution. Initially engaging in the world of services, it is now turning to the manufacture of objects. Just as microcomputing evolved from large scale computing to more personal use, and as the Internet left behind the world of armies and universities to become universal, industrial production is gradually becoming directly controlled by individuals. This appropriation is being done either on a personal level, or, more significantly, within local or planetary communities: Fab Labs. These digital fabrication laboratories offer workshops to members of the public where all sorts of tools are available (including 3D printers, laser cutters and sanders) for the design and creation of personalized objects. The bringing together of various users (amateurs, designers, artists, “dabblers”, etc.) and possibilities for collaboration lies at the heart of these open-access productive spaces. This book covers a range of advances in this new personal fabrication and various issues that it has raised, especially in terms of the alternatives to salaried work, intellectual property, ecological openings and the hitherto unseen structuring of societies.
In a kind of sequel to her book Camino Walk: Where Inner & Outer Paths Meet, the following year, Marie-Laure Valandro walked and wrote about her experiences on the French section of the Via Podiensis, or the Le Puy Route, one of four routes through France on the pilgrimage to Santiago de Compostela in northwest Spain and the tomb of St. James. She again encountered a steadfast though fleeting international community on the route through southern France, while connecting her personal experiences with the many significant historical events of that area, especially those of the ninth century in connection with key political and spiritual figures, the Grail mysteries, and the struggles of women of that time and region. The book brings to life words of Rudolf Steiner and other writers, as well as the memoirs of historical personalities. In this day-by-day, step-by-step account, the author reveals her struggles along the way and considers the true purpose of such a journey—or, indeed, any journey—which is self-transformation. As with her book Camino Walk, the reader is inspired—if not to walk the physical Camino, to find one’s own path to the inner challenge of change.
The proliferation of media and their ever-increasing role in our daily life has produced a strong sense that understanding mediaOCoeverything from oral storytelling, literary narrative, newspapers, and comics to radio, film, TV, and video gamesOCois key to understanding the dynamics of culture and society. "Storyworlds across Media" explores how media, old and new, give birth to various types of storyworlds and provide different ways of experiencing them, inviting readers to join an ongoing theoretical conversation focused on the question: how can narratology achieve media-consciousness?a The first part of the volume critically assesses the cross- and transmedial validity of narratological concepts such as storyworld, narrator, representation of subjectivity, and fictionality. The second part deals with issues of multimodality and intermediality across media. The third part explores the relation between media convergence and transmedial storyworlds, examining emergent forms of storytelling based on multiple media platforms. Taken together, these essays build the foundation for a media-conscious narratology that acknowledges both similarities and differences in the ways media narrate. aa
The quick spread of posthumanism and of critiques of anthropomorphism in the past few decades has resulted in greater attention to concrete objects in critical theories and in philosophy. This new materialism or new object philosophy marks a renewal of interest in the existence of objects. Yet while their mode of existence is independent of human cognition, it cannot erase the relation of subject to object and the foundational role of our experience of things in our mental activity. These developments have important implications for narratology. Traditional conceptions of narrative define its core components as setting, characters, and plot, but nonhuman entities play a crucial role in characterizing the setting, in enabling or impeding the actions of characters, and thus in determining plot. Marie-Laure Ryan and Tang Weisheng combine a theoretical approach that defines the basic narrative functions of objects with interpretive studies of narrative texts that rely more closely on ideas advanced by proponents of new object philosophy. Object-Oriented Narratology opens new theoretical horizons for narratology and offers individual case studies that demonstrate the richness and diversity of the ways in which narrative, both Western and non-Western, deals with humans’ relationships to their material environment and with the otherness of objects.
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