Words Worlds And Narratives

Words, Worlds, and Narratives: Transmedia and Immersion offers an interdisciplinary discussion of the way in which narrative is transmitted, transformed and translated through the wide variety of technologies and media platforms available in the 21st century. This volume critically engages with the field of transmedia studies and addresses the significance of media to narrative and authorship to immersion. What emerges is a unique look at collaborative scholarship and storytelling which is both disruptive and immersive. Using a diverse archive of narrative forms, including video games, fan fiction, film adaptation and social media, the chapters in this volume explore the narratological, social, political and economic implications of transmedia narrative in the public and private spaces of the digital and the immersive media communities.

This book argues that literary features and ritual dynamics within the book of Leviticus enlighten each other. The first two chapters establish that one may read Leviticus as a coherent literary work and define the genre of Leviticus as "narrativized ritual," a complex blending of descriptive narrative and prescriptive ritual. In conversation with Catherine Bell, they present several aspects of the text that are ritualized and show how this ritualization implies a negotiation of power relations among participants. The third and fourth chapters examine the first half of Leviticus, both the legal sections in Lev. 1-7 and 11-15 and the narratives in Lev. 8-10 and 16. These sections alternate between establishing the ritual system and exposing gaps and ambiguities in that system.Chapter 5 turns to the second half of Leviticus, traditionally called the Holiness Code. The ritual language found in this section is less formal and precise, mirroring the way in which the concept of holiness is expanded and extended to the whole people. As this material concludes the book, it relativizes and democratizes the strict ritual system contained in the first half.

“You don’t have to use the exact same words.... But it has to mean exactly what I said.” Thus began the ten-year collaboration between Innu elder and activist Tshaukuesh Elizabeth Penashue and Memorial University professor Elizabeth Yeoman that produced the celebrated Nitinikiau Innusi: I Keep the Land Alive, an English-language edition of Penashue’s journals, originally written in Innu-aimun during her decades of struggle for Innu sovereignty. Exactly What I Said: Translating Words and Worlds reflects on that collaboration and what Yeoman learned from it. It is about naming, mapping, and storytelling; about photographs, collaborative authorship, and voice; about walking together on the land and what can be learned along the way. Combining theory with personal narrative, Yeoman weaves together ideas, memories, and experiences––of home and place, of stories and songs, of looking and listening––to interrogate the challenges and ethics of translation. Examining what it means to relate whole worlds across the boundaries of language, culture, and history, Exactly What I Said offers an accessible, engaging reflection on respectful and responsible translation and collaboration.

In current digital games, classic fictional worlds are transformed into ludofictional worlds, spaces rich in characters and emotions that are especially affected by the intervention of a player. In this book, we propose a model, inspired by the Semantics of Fiction and Possible Worlds, which is oriented to the analysis of video games as integrated systems.

This study of dream accounts in the Bible and in ancient Near Eastern literature suggests two main lines of interpretation: on the one hand it defines the function of dream accounts from a literary, social, political and religious point of view on the basis of literary genre (practitioners' manuals, royal inscriptions, prophetic texts, etc.). On the other hand, in adopting a rather larger typology than is usual (message dreams, symbolic dreams, but also prophetic, premonitory and judgment dreams), it seeks to clarify both the relationship between the fiction implied by the literary form and the actual dream experience of individuals, as well as the different ritual practices related to this experience (interpretation, conjuration, incubation, etc.).