Story

Cosa succederebbe se i cristiani di varie confessioni unissero gli sforzi per soccorrere il Cristo sofferente negli oppressi? C’è un principio biblico, teologico ed antropologico capace di fornire una base solida ad un modello efficace di unità fondato sulla Carità? Forse questo è già successo in passato, anche se si è trattato di una "joint venture” senza una vera continuità.  Condivido con voi la presentazione sintetica della mia tesi di licenza in teologia ecumenica, in attesa di una sua futura pubblicazione. Chi vuole può trovare spunti per la ricerca personale ed accademica.

"Objectives: The theory of salutogenics has a basis in the empirical testing and ideas of Antonovsky, which state that health outcomes improve when a sense of coherence is fostered. A sense of coherence in turn, depends on the net resources that support meaning, comprehensibility or manageability. The reason that manageability is important for health is obvious, but why abstractions like meaning and comprehensibility are important is more difficult to understand. Methods: Current neurological models are explained with a focus on salutogenic abstractions with a view to locate the neural mechanisms that underpin the salutogenic effect. Results: Meaningfullness, comprehensibility and manageability functionally correlate with triune brain theory: meaning is managed by the neomammalian frontal cortex, comprehensibility by the paleomammalian limbic region and the association cortices, and manageability by the reptilian brain: the mesencephalon and primary perceptual cortices. In general, the slower, but more evolved functions take precedence. But when unexpected events occur, the hippocampus and amygdalae (limbic organs that moderate narrative and modulate affect) assess the comprehensibility of the situation. If the events appear to be normatively positive, the neomammalian processes are allowed to continue, but if things ‘look bad,’ instincts regulated by the reptilian brain take over, resulting in a range of automatic behaviours and the release of hormones that bypass existing somatic regulatory mechanisms. The modulation of the expectedness of stimuli (salience) is a dopaminergic process. Neurons that are rich in D1 receptors slow the brain to allow attention and deep consideration of meaning. But striatal if signals from the hippocampus and amygdala indicate that there’s no time for consideration, the activation of independent D2 receptors trigger fight and flight instincts. Conclusions: There are a number of architectural interventions that can arrest the anti-evolutionary spiral. These are the cornerstones of salutogenic design. They include support for meaning, comprehensibility and manageability. Acknowledgements: This work was supported by the Schizophrenia Research Institute, utilizing infrastructure funding from NSW Department of Health. Keywords: Salutogenics; neurological evidence; aesthetics"

Blo bzang lies in his unclean bed, looking at WeChat moments on his broken-screen phone. He sees Rab brtan's photos of traveling to Mtsho sngon po (Qinghai Lake) with his fiancé, driving a blue BMW, and eating in an opulent Western-style restaurant. They are enjoying steaks, spaghetti, and red-wine in two transparent long-stemmed goblets perched on a white cloth-covered table ...

Masallar, insanlık tarihinin ürünü olan edebiyatın içerisinde çok önemli bir yer kaplar. Binlerce yıl öncesinde saklı kalan bir olay, masallar sayesinde günümüze ulaşabilir. Bunun yanında masallar günümüze ulaşırken geçirdiği değişimlerle birçok yönden zenginleşir. Masalların en önemli unsuru içinde barındırdığı ögelerdir çünkü bizlere asıl verilmek istenen mesajı, temsil ettikleriyle onlar anlatır. Bahsedilen ögeler; masallar ütopik eserler olduğu için hayal gücüyle oluşturulan, gerçeklikle bağı mecazî hâlde bulunan unsurlardır. Önemli masal araştırmacılarımızdan Eflatun Cem Güney’in derlediği masallar arasında bulunan Zümrüdüanka masalı, ütopik ve distopik onlarca ögeye ev sahipliği yapan masallardan biridir. Distopik açıdan incelendiğinde Zümrüdüanka masalında, literatür içinde sıkça kullanılan, keskin çizgilerle ayrılmış “Dev”, “Karanlıklar Ülkesi”, “Ejderha”, “Kara Yılan” olarak isimlendirilen dört farklı ögeye yer verilmiştir. Zümrüdüanka masalında geçen distopik kavramların detaylı bir biçimde sunulması masalların yapı taşı olan ögeleri anlamamızda büyük fayda sağlar. Nitekim, folklor araştırmacısı Pertev Naili Boratav da masalların işlevini “öğretir, eğitir ve özellikle tanıklık eder, bilgi verir” şeklinde açıklar (Boratav, 1982, s. 276). Bahsedilen kavramlar, temsil ettikleri noktaları açıklamakla kalmayıp masalı okuyucusunun gözünde somutlaştırır, onları tanık olduğu olaylara ortak eder. Zümrüdüanka masalı ise okuyucusuna öğrettiği ve tanıklık ettirdiği distopik ögeler ile distopyaların masallardaki yerini parçadan bütüne doğru açıklar.

When we are asked who we are, we often answer in stories. Let us take a look at an example, namely at the answer given to that very question by John the Baptist as told to us by the John the Evangelist 1. The Evangelist has the Baptist answer the question posed by the Jewish priests and Levites "Who art thou?"-"Σὺ τíς εἶ;" as follows: I am not the Christ [Ἐγὼ οὐκ εἰμὶ ὁ χριστóς] (John 1:20). The learned men do not understand this cryptic reply. They continue to interrogate John the Baptist: What then? Art thou Elias? (John 1:21) John the Baptist responds: I am not [Οὐκ εἰμί] (John 1:21). And a third question follows: Art thou that prophet? (John 1:21) John responds and, for the third time, only provides a negative confession: "No [Οὔ]" (John 1:21). The inquisitors become impatient: Who art thou? […] What sayest thou of thyself? (John 1:22) "What sayest thou of thyself?"-"τí λέγεις περὶ σεαυτοῦ;" That is a wonderful explication of the initial question "Who art thou?". Who John the Baptist is, είναι, is what he has to say, λέγειν, about himself. One could argue that at times the same can hold true for us: Who we are is what we have to say about ourselves and, of course, what others have to say about us. We are our stories.

19 ottobre alle ore 17:52 · 6 minuti per la lettura · Modifica nota Estratto della recente delibera di Giunta n.27/2020 L'immagine che vedete all'inizio di questa nota riporta un particolare dell'ultima delibera di Giunta del Comune di Vibo Valentia, la n.127/24.07.2020 in cui all'unanimità degli assessore presenti "si concede" la Tonnara di Bivona ad un'associazione (per la verità l'unica meritevole) per effettuarvi all'interno una mostra per qualche settimana d'agosto in cui si esprimono in premessa queste parole: "Preso atto che il Comune, titolare del diritto di proprietà della Tonnara ubicata nella frazione di Bivona e che tale area, allocata al patrimonio disponibile, non è attualmente utilizzata per fini istituzionali e che quindi si rifà allo strumento giudico di affidamento del bene in oggetto, (volendo la pubblica amministrazione attribuirlo a titolo non oneroso) in ragione della sua natura di bene del patrimonio disponibile, come più volte sottolineato dalla giurisprudenza (Corte dei Conti, Sezione Sardegna, Parere 4/2008; Corte di Cassazione, Sez. Unite Civili, 30 novembre 2006, n. 25514; Consiglio di Stato, Sez. V, 6 dicembre 2007, n. 6265; Corte di Cassazione, Sez. V, 31 agosto 2007, n. 18345; Corte di Cassazione, Sez. III, 19 maggio 2000, n. 6482)" Ora, quanti seguono con interesse le sorti della Tonnara, sanno che il nodo della valorizzazione del Bene Vincolato dal MIBACT per le sue ragioni storiche e strutturali, rimane quello di essere proprietà del Demanio Marittimo settore Mercantile, per come più volte ribadito dall'ente sovraordinato: il Comune, dopo le leggi delega del settore 85/2005 ne è "gestore" amministrativo, delegato appunto verificarne le condizioni e provvedere a concederlo in uso secondo le leggi e le modalità relative alle "concessioni demaniali" ai terzi, siano essi privati o pubblici. In forza di ciò anche l'uso del bene demaniale da parte dell'ente comunale non può sottrarsi dall'obbligo concessorio, che va richiesto delle forme e nei modi previsti al Demanio Marittimo. Avutala in concessione, va ricordato però che le clausole concessorie escludono comunque, anche a titolo gratuito, una concessione d'uso a terzi, perchè prefigura per il legislatore un possibile un possibile "indebito arricchimento", quando non un "danno 383 9+ 1

De redacteuren van deze bundel organiseerden een op 16/17 maart 1989 gehouden internationaal colloquium over Literatuur en psychoanalyse aan de Rijksuniversiteit Groningen. Daarmee werd een begin gemaakt met de intensivering van de interdisciplinaire beoefening van de psychoanalytische literatuurpsychologie. In het onderhavige boek zijn de bijdragen van dit colloquium alsmede de forumdiscussie, op leesbaarheid bewerkt, overzichtelijk samengebracht.

RECENSIES
Jaap van Heerden: Het verband tussen psychologie en literatuur. Kennisoverdracht van hart tot hart, in: NRC Handelsblad, 27.10.1995, CS Literair, p. 3
A.W.M. Mooij in: Tijdschrift voor Psychotherapie 18 (1992), 1, p.50-51
Nico Laan: Freud en Multatuli, in: Literatuur 8 (Nov/dec.1991), 6. 400-401
Kees 't Hart: Saïdjah en Adinda op de divan, in: de Volkskrant, Kunst & Cultuur, 22.02.1991, p. 6.
Em. Kummer: Multatuli tussen fallus en vagijn, in: over Multatuli 24 (1990), p. 16-25.
Michel Thys, in: Boekengids april 1991, p. 26.
Solange Leibovici: Over literatuur en psychoanalyse. In: Maatstaf 1991, 8/9, p.145-150.

Mark Russell is the author of two books, God Is Disappointed in You and Apocrypha Now, as well as several comic book series including The Flintstones, Exit Stage Left: The Snagglepuss Chronicles, Second Coming, and Wonder Twins. He lives and works in Portland, Oregon. This interview, undertaken in January 2020, explores his career in comics to date.

Olivia Wood is a video game writer, narrative designer, and editor, specializing in interactive narrative. She works for Failbetter Games in London, UK. Her credits include Sunless Skies (writer, narrative designer and editor), Sunless Sea: Zubmariner (writer, narrative designer and editor), Sunless Sea (writer and editor), Fallen London (writer, narrative designer and editor), Where the Water Tastes Like Wine (contributing writer), The Mystery of Kalkomey Isle (design consultant and editor), Cheaper than Therapy (writer, designer and developer), and Lethophobia (writer and designer). She first worked in the video game industry at the age of 18 as a quality assurance technician for games including Legacy of Kain: Soul Reaver and Timesplitters 2.  Her work in writing and editing (narrative) in the video game industry was recognised by the British Academy of Film and Television Arts in 2017. She strives to share her knowledge of video game writing, narrative design and interactive narrative through giving talks and interviews and also via narrative consultancy and writing services.

This interview features conversation about her favorite adventure games, narrative, and writing.

At the closing of last year's international meeting of our community of practice (the Un/ Told Unconference in London, 2017) we were issued the challenge to ask ourselves difficult questions and to seek more ways to bring more diverse voices into our community. This plenary presentation proposes that we may strategically address both aims by digging more deeply into the stories behind the stories we co-create. A symbol familiar to digital storytelling facilitators, the audio wave form, can remind us to look beyond the foreground and into the background-the contexts, noise, disturbances, and disruptions behind the storytelling-so that we may continue to make new meaning through our work.

FEVER DREAMS, volume one of possibly more, cheaply bound and even more cheaply produced, an outlet for graduate students & bored assistant or adjunct professors & wordplay enthusi-asts & peripheral dilettantes, an exercise in type layout & readership & experimen-tal publications immediately sent down the memory hole, catering to an audience of one or possibly fewer, academic (read: "serious") in tone but absolutely not peer-reviewed, unplayful and archive-minded, a total bruise on the C.V., is looking for contributions.

FEVER DREAMS is an experiment in publication tactics as well as the reach & pull of the online "Calls for Works" da-tabase. Not a zine, not an exhibition, and not quite a journal, FEVER DREAMS wants writings about, against, ignoring, embracing, or undoing the fever dream, hallucinogenic image, or psychic kaleido-scope in all its forms.

FEVER DREAMS is not a chickenshit "outsider comix" outfit. FEVER DREAMS is looking for serious writing talent and discipline, though it understands that it isn'tgoing to be a high priority in anybody's life. FEVER DREAMS is edited and produced by a single graduate student in English Literature and Language somewhere in Canada, and is meant entirely as an exercise in alternative research methods.

In short:

YES: Personal essays, research essays, transcriptions of dreams past and present, in-depth explorations of per-sonal trauma, sickness, illness, journeys, visions, shaman isms, etc., inclusive of loose definitions of these terms.

NO: Critical theory, seminar papers, poetry, fiction, artwork, "creative writing" as it is commonly known.

این مقاله، نقدی است بر آخرین مجموعه داستانیِ صمد طاهری با نام «زخم شیر». در این مقاله سعی کرده‌ام که همانطور که در عنوان آن نوشته بودم تنها به مقوله «بررسی امر وجدانی»  و مضمون تکرار شونده عذاب وجدان در آن بپردازم.
بنظر نگارنده این مجموعه جای نقد و نظر بسیاری دارد و به همین دلیل، محدود شدن قلم به یک ساحت آن دشوار بود. امید که این نقد، به کار شخص نویسنده، علاقه‌مندان اثر و مخالفان آن بیاید.

The given article deals with the comparative study of well-known Kirgiz writer Chinghiz Aytmatov`s
story “Oq Kema” (White ship) and famous Uzbek writer Erkin A’zam`s “Javob” (Answer). In the article the
typological similarities and individualism of above mentioned stories are studied.

This thesis an epistemological experiment in knowing the past atmospherically. It seeks to address the question of how we might go about recovering, from the historical record, something as hazy, fleeting and potentially intangible as an atmosphere. The thesis tells a story of smoking at four key moments in twentieth century British history: the turn of the 20th century, the Second World War, the 1980s, and lastly, the mid-2000s. The story is narrated through the lens of atmosphere to tease out and foreground the feelings, emotions, senses, rhythms and affects that otherwise remain a backdrop in conventional historical accounts.
The thesis adapts Sumartojo and Pink’s (2018) tripartite approach of knowing about, through and in atmosphere to archival research, and draws on a wide range of material, from newspaper articles, magazines, etiquette guides and diaries to letters, film, photography and material culture. It re-visits sources already considered by historians of smoking, while also introducing as yet unexamined material. The thesis then proposes four specific modes of attunement, materiality, time, conviviality and space, through which the four moments of the smoking past are examined, and past atmospheres conjured. Finally, the thesis makes the case for storytelling as a form of narration that has the unique capacity to compel an atmospheric attunement between the reader and the text, an experiential closeness and intimacy not always required or evoked by academic work, but one that has the potential to regain and hold a past atmosphere in the present.

Contents:

ABSTRACT  | i
ILLUSTRATIONS | iii
ACKNOWLEDGEMENTS | iv
AUTHOR’S DECLARATION | vi
1. Lighting up | 1
2. In the air | 12
3. Smoking out atmosphere | 38
4. Desiring atmosphere | 79
5. Wartime atmospheres | 117
6. Toxic atmospheres | 152
7. Purifying atmospheres | 185
8. Stubbing out | 213
BIBLIOGRAPHY | 222

Oleh @sorayawahaha Aku mulai lebih sering memakai kerudung sejak memasuki bangku sekolah menengah pertama. Itupun karena aku masuk sekolah Tsanawiyah, jadi mau bagaimana pun ya memang harus memakai kerudung. Aku berpikir perempuan memang memakai kerudung apalagi kalau sudah besar. Saat itu aku masih berpikiran seperti itu. Karena melihat beberapa orang yang sudah besar memakai kerudung dan ibuku sendiri juga memakai kerudung. Tapi saat keluar rumah-bukan untuk pergi sekolah-misalnya seperti main ke rumah teman, atau pergi ke kedai dekat rumah membeli sesuatu, aku masih bebas bebas saja tidak memakai kerudung. Masih memakai pakaian biasa seperti yang aku pakai saat di dalam rumah. Namun terkadang entah mengapa aku iseng, saat hendak kumpul dengan teman aku memakai baju lengan panjang dan celana panjang serta dilengkapi kerudung sorong yang tidak terlalu panjang. Temanku akan langsung senyum-senyum bahkan keluarlah mantra-mantra ciye-ciye-ciye. "ciyeee…. Ada apa nih? Tobat nih? Pakai kerudung, ciyeee.." Mungkin bila saat itu ada cermin, aku bisa melihat pipi ku memerah tomat. Aku pun hanya bisa tersenyum seadanya, tidak mungkin melepas kerudung saat itu juga karena akan lebih memalukan lagi. Saat di Tsanawiyah, kami belajar mengenai banyak pelajaran agama. Seperti fiqh, hadist nabi, sirah nabi, agama islam dan pelajaran agama lainnya. Aku tau, bahkan dari sejak sekolah dasar pun aku tau. Perempuan dan laki-laki harus menutup aurat. Aku pun tau batas menutup aurat. Perempuan seluruh badan kecuali muka dan kedua telapak tangan sedangkan laki-laki batas auratnya adalah dari pusarnya hingga lutut kaki. Aku sempat memikirkan, apa yang dimaksud menutup aurat bagi perempuan seluruh tubuh kecuali muka dan telapak tangan? Cuma aku tak terlalu memusingkan itu, karena toh aku pikir, kita pun solat pakai mukenah yang panjang dan besar banget. Seiring dengan hari hari ku yang biasa. Lepas jilbab tidak terlalu menjadi hal yang terlalu memusingkan bagiku.

2 Stories To Read [The Need and Desires] [The Pot of the WIt]
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On the face of it Jim Steinman’s Bat Out of Hell The Musical (BOOHTM) is the love story of Strat and Raven, who fall in love, are separated by tragedy and misunderstanding and who ultimately reunite in a classic ‘they lived happily ever after’ ending to the show. But the dysfunctional relationship of Raven’s parents, Falco and Sloane, appears to be of greater significance to many fans. This paper is rooted in the idea that creative fan engagement offers a source of personal religioning, as fans use their object of fandom to engage with ultimate and/or profound questions in ways which contribute to their personal processes of world-, meaning- and/or story-making. Building on this foundation the paper will explore how fans view, interpret and ascribe personal meaning to Falco and Sloane’s relationship. It will suggest that through engagement with their initial journey from shared passion to mutual rage and loathing (which takes place before the stories told in BOOHTM begins) and the questions raised by their continuing relationship and the impact on it of events depicted in the show fans are enabled both to play with the idealised romantic relationship while simultaneously protesting the conceit that a simplistic ‘happily ever after’ is an achievable (or even a desirable) outcome.

Anecdotal accounts and human behaviour have always fascinated the author from an early age.The book is a compilation of such stories, having diverse backdrops and complexity in terms of various characters. Life, as we know it, in neither black nor white. It has an array of grey shades, dwelling in between the 'right' and the 'wrong'. The dichotomy of situations and responses of common people are the essence of this compilation.
Available in
Amazon. in - https://www.amazon.in/Lady-White-Sanchita-Bhattacharya/dp/1645871703/ref=sr_1_2?keywords=the+lady+in+white&qid=1563092309&s=gateway&sr=8-2

Amazon.com- https://www.amazon.com/Lady-White-Sanchita-Bhattacharya/dp/1645871703/ref=sr_1_1?keywords=the+lady+in+white+sanchita&qid=1563093152&s=gateway&sr=8-1

Amazon.uk- https://www.amazon.co.uk/Lady-White-Sanchita-Bhattacharya/dp/1645871703/ref=sr_1_3?keywords=the+lady+in+white+sanchita&qid=1563093006&s=gateway&sr=8-3

Until Galileo said that the book of nature is written in the language of mathematics, human knowledge was considered to be something that was stored and captured by words . Today it is  an assumption of both scientific and popular common sense that science provides knowledge about the world because it uses mathematical formulae to make predictions about the future. However, an understanding of neurocomputational algorithms can justify the claim that there is genuine knowledge which utilizes these algorithms without analyzing them or rationally understanding them. This is why it is possible for us to learn from stories and metaphors, even without learning algorithms.

Nel 1612, il Governatore spagnolo dello Stato di Milano, Marchese Mendoza della Hionosa, riceve da sua maestà ispanica l'ordine di invadere il Piemonte, per anticipare l'avanzata del Duca di Savoia e diffidarlo dalle sue pretese sul Monferrato.
Tutta la popolazione viene obbligata a prendere parte militarmente alla contesa attraverso la costituzione delle Milizie delle Terre, nelle quali vengono costretti ad arruolarsi tutti gli uomini dai 18 ai 50 anni. La Milizia ossolana, che conta 1452 soldati tra i quali 390 provenienti dalla Valle Anzasca1, riceve il compito di presidiare i confini e i passi alpini dalle invasioni esterne.
Ma l'ordine imposto dal dominatore ispanico non viene esaudito in silenzio. I futuri soldati, arruolandosi cercano la benedizione della loro stessa terra. Non combatteranno per lo straniero, ma per la loro valle. I militi di Bannio si rivolgono alla Madonna della Neve e del Gelo, occupandosi di  ristrutturarla con il permesso del Vescovo di Novara. Quelli di Calasca scelgono la remota cappelletta della Gurva.
Mentre i lavori fervono, però...

The current social and economic uncertainties have posed particular challenges for students and lecturers in contemporary Higher Education (HE). Academics and students in universities have responded to the challenges by reconceptualising what learning and teaching encompasses in the twenty-first century. This study proffers an interdisciplinary solution through the development of a new methodology: journey-mapping in the Landscapes of Learning (J-MapLL). This empirical study analyses the multi-modal methodology through three case study groups and demonstrates its efficacy in unfolding thinking through individual journey-maps and collective ‘big picture’ maps in the Landscapes of Learning that are personal and professional, within a given context.

Aristotelian Time, in terms of both its important role in dramatic Tragedy (Poetics) and its definition as a linear process in relation to movement between one space and another (Physics), has long been a significant basis for everyday notions of dramatically (re)presented and personally experienced time.  In his first novel, Almayer's Folly, Joseph Conrad provides readers with, arguably, a temporally sophisticated work which subverts these Aristotelian notions of Time while, at the same time, clearly acknowledging their influence.  Rather than presenting as unidirectionally linear and associated merely with movement, Time, in Almayer's Folly, is multilayered, overlapping, and associated more with states of being than movement.  It is from this perspective that I speak of Conrad's (ab)use of time, that is, as a “positioning away from” established norms of textual presentations of time.  In doing so, Conrad creates an impressionistic image of the simultaneity of converging and intersecting character and action trajectories which underlie and underline the tragedy of Almayer’s Folly.  The effect on the reader, as has been noted by some Conradian scholars, can be initially one of temporal confusion, losing the thread of the story in the many temporal shifts among a regretted past, a dreamt for future, and a hated present.  I argue that these shifts, while dislocating both Almayer and the reader in time, focus the reader on and give added depth to the developing tragedy.  My reading of Conrad’s (ab)use of narrated time in these terms is an extension into and application of my notion of narrative focus and narrative depth of field introduced and developed in previous papers at Narrative 2005 (“Circles of Confusion/Planes of Focus: Toward a Theory of Narrative Depth of Field”) and NARRATIVE 2007 (“only as a glow brings out a haze”:  Conradian Simile and Narrative Depth of Field).  In engaging the text from this perspective, I am continuing a discussion of temporal depth of field initiated with David FitzSimmons at last year’s conference following his paper, “Visual Representations of Narrative Order: Graphing Layers of Time in William Faulkner’s Fiction.”  The theoretically relevant works of Acheraiou (2001), Dry (1983), Gokulsing (2004), Kertzer (1979), and Stein (1968) provide my critical frame.

A call for expansion of the definition of information design begs consideration in light of a plethora of inadequate definitions already in existence for this complex discipline of identifiable transdisciplinarity. For exploration of the controversy surrounding the elusive defining of the term, see Content and Complexity, where Michael Albers in the Introduction contends “it is ironic that defining information design is a major problem facing the information design discipline” (Albers & Mazur, 2003, p. 2). Surely irony cannot stand as serious resolution.

Yet what is ironic is the vast number of professionals who avail themselves to this term in defining their own occupations and practices. How is it possible that, in an information age, entire careers and business entities can be formulated successfully on a discipline that defies definition? While expansion towards a universal definition may have ample temerity, due to widespread disparity for over 30 years regarding a substantive, cohesive, and comprehensive definition for information design, an effort must be put underway to succor irony with a contraction of the term to a robust, yet all-encompassing, transdisciplinary definitive for information design.

This research concerns itself with the theoretical and practical definitions associated with information design. It takes a reductionary approach of synthesis and analysis, considering five overlapping areas of interactive mechanics between the disciplines of rhetorics, communication, engineering, psychology, and architecture.

As educators, we write about how we teach and how our students learn, but often there are some things missing from these accounts. These ‘somethings’ are the animations and agitations that attend most deep learning. These are not easy to describe, particularly because they are often only visible in passing moments. I argue that story-telling is one way in which these animations and agitations can be seen, and that story telling therefore plays a part in discovering and communicating some of the more subtle aspects of the teaching and learning experience. In this article, therefore, I tell a story about a teacher and some of his students, in an attempt to identify some of these subtle aspects, and then provide a commentary on what I think the story tells us.

« Sempre a dire “mafia qua”, “mafia là”… Ma che cos’è questa mafia ? Dov’è ? » Cette réplique du personnage de don Cesare Manzella dans le film I cento passi, reflète le flou – savamment entretenu – qui existait dans l’après-guerre autour de la mafia. Si le terme était connu de tous, on ne savait pas pour autant à quoi il correspondait précisément. Le sujet va s’imposer dans le débat politique à la suite de l’impact de certains épisodes de violence mafieuse auprès de l’opinion publique. Nous ..

International audienceMalgré l'intérêt croissant dont il a fait l'objet ces vingt dernières années, le roman du XVIe siècle n'occupe qu'une petite place dans le panorama actuel de la recherche. La variété et le nombre de ses manifestations peuvent de prime abord dérouter, voire dissuader d'aller plus loin. Le développement d'enquêtes à moyenne échelle, qui se proposent d'examiner les productions d'un champ géographique et chronologique restreint, paraît au contraire adapté à un tel objet. La ville de Lyon, la seconde du royaume pour l'activité de ses presses, est en l'occurrence à même de fournir un aperçu révélateur du genre à cette époque.Tout en présentant un projet d'établissement d'une base de données en ligne sur les éditions lyonnaises de romans (ELR), le numéro thématique de la revue Réforme, Humanisme, Renaissance montre ainsi l'intérêt de rassembler ou d'établir des renseignements fiables du point de vue de l'hist...

Many philosophers are very sanguine about the cognitive contributions of fiction to science and philosophy. I focus on a case study: Ichikawa and Jarvis\u2019s account of thought experiments in terms of everyday fictional stories. As far as the contribution of fiction is not sui generis, processing fiction often will be parasitic on cognitive capacities which may replace it; as far as it is sui generis, nothing guarantees that fiction is sufficiently well-behaved to abide by the constraints of scientific and philosophical discourse, not even by the minimum requirements of conceptual and logical coherence.Muchos fil\uf3sofos son muy optimistas respecto de la contribuci\uf3n cognitiva de la ficci\uf3n a la ciencia y a la filosof\ueda. Aqu\ued, me concentro en un caso de estudio: la explica-ci\uf3n que dan Ichikawa y Jarvis de los experimentos de pensamiento en t\ue9rminos de las historias de ficci\uf3n ordinarias. En la medida en que la contribuci\uf3n de la ficci\uf3n no es al-go sui generis, el procesamiento de la ficci\uf3n ser\ue1 a menudo par\ue1sito de la las capacidades cognitivasque pueden reemplazarla; en la medida en que es sui generis, nada garantiza que la ficci\uf3n se comporta suficientemente bien para acatar las constricciones del discurso del discurso cient\uedfico y filos\uf3fico, por no hablar de los requisitos m\uednimos de coherencia conceptual y l\uf3gica

While frequent readers are often stereotyped as socially awkward, this may only be true of non-Wction readers and not readers of Wction. Comprehending characters in a narrative Wction appears to parallel the comprehension of peers in the actual world, while the comprehension of expository non-Wction shares no such parallels. Frequent Wction readers may thus bolster or maintain their social abilities unlike frequent readers of non-Wction. Lifetime exposure to Wction and non-Wction texts was examined along with performance on empathy/social-acumen measures. In general, Wction print-exposure positively predicted measures of social ability, while non-Wction print-exposure was a negative predictor. The tendency to become absorbed in a story also predicted empathy scores. Participant age, experience with English, and intelligence (g) were statistically controlled.