7. A Non-Linear Intellectual Trajectory: My Diverse Engagements of the “Self ” and “Others” in Knowledge Production

Author(s):  
Celine (Ha-Young) Song

A common question asked about the web 2.0 by the offline population is:  "What do people do there?" The paper addresses this question with respect to Paul Ricoeur's narrative theory of the self. According to his essay Life in Quest of Narrative, a person drifts through time experiencing events happening to them, but none of it is actually lived when it is not "recounted" or "storied". In this light, "storytelling may be said to humanise time by transforming it from an impersonal passing of fragmented moments into a patter, a plot ,a mythos". Blogs and sites like Facebook represent the most recent development in the human attempt to weave this "mythos". A profile page and a tweet are first and foremost stories that appear to its critics "truncated or parodied" by design "to the point of being called micro-narratives or post-narratives", and to it s advocates"multi-plotted, multi-vocal and multi-media". The paper introduces notions of e-Self and e-Narrative, examines their dangers and benefits, and concludes that "the advent of cyber-culture should be seen not as a threat to storytelling but as a catalyst for new possibilities of interactive, non-linear narration".


2020 ◽  
Vol 11 ◽  
Author(s):  
Charles C. Benight ◽  
Kotaro Shoji ◽  
Aaron Harwell ◽  
Erika Felix

2020 ◽  
Vol 14 (4) ◽  
pp. 431-446 ◽  
Author(s):  
Xymena Kurowska

Abstract This paper develops what I call “the ethics of opaqueness” as a response to conceptual impasses concerning the uninterpretability of intersubjective knowledge production in narrative practice. The ethics of opaqueness sees the other as inscrutable and radically heterogenous, and confronts interpretations of the other by the self as suspicious projections. Thus, such an ethics addresses the self, not the other, as the object of the “hermeneutics of suspicion.” In order to conceptualize the ethics of opaqueness, I look to relational psychoanalysis, which understands the unconscious as being inherently intersubjective. This results in a reformulation of the process of recognition, and deeper acknowledgment of countertransference—that is, the partly unconscious conflicts activated in the researcher through the research encounter, which may lead to imposing meaning on the other. The apparatus of relational psychoanalysis concretizes the limits of knowing either the other or the self and supplies a vocabulary to crystallize the double quality of “uninterpretable moments” in narrative practice. They may trigger an imposition of a frame and therefore an interpretive closure; however, they also supply a potentially transformative space for the contentious co-construction of meaning, often in the form of metaphors, which subverts any claim to interpretive mastery.


1980 ◽  
Vol 17 (1) ◽  
pp. 77-84
Author(s):  
K. F. Browne ◽  
I. Kirkland

The solution of first-order differential equations with non-linear coefficients is assisted by a computer programme which generates sets of curves and their slopes from experimental data. An example predicts the self-excitation curves of a d.c. shunt-generator.


1994 ◽  
Vol 08 (24) ◽  
pp. 1511-1516
Author(s):  
CANGTAO ZHOU

The route from the coherent structures to the spatiotemporal complicated patterns is numerically investigated in terms of a continuum Hamiltonian system, that is, the non-linear Schrödinger equation with the self-focusing nonlinearity, where the quasiperiodic route is first observed.


1982 ◽  
Vol 4 (3) ◽  
pp. 7-10
Author(s):  
Nguyen Van Dao

In this article the influence of friction R1, R2 on Van der Pol oscillator is considered. It turned out that the mentioned frictions decrease the amplitude of self – excited oscillations and they stabilize the equilibrium position of the self – excited system.


2021 ◽  
Vol 119 (22) ◽  
pp. 224101
Author(s):  
Xiangwei Huang ◽  
Chunyu Guo ◽  
Carsten Putzke ◽  
Jonas Diaz ◽  
Kaustuv Manna ◽  
...  

Author(s):  
Maaike Bleeker

The “lecture performance” is a key genre in the field of Konzepttanz. Prominently present in the early twenty-first-century scene of experimental dance, this genre is not limited to dance only, nor is it exclusively German. Lecture performances give expression to an understanding of dance as a form of knowledge production—knowledge not (or not only) about dance but also dance as a specific form of knowledge that raises questions about the nature of knowledge and about practices of doing research. This chapter situates this trend within a genealogy of bodily knowledge and its academic dissemination that had reached its first high point in the dance conventions during the Weimar years. By analyzing particular examples of lecture performances, it demonstrates the self-reflexive structures that emerge between scientific paper and corporeal act. It explains in which ways lecture performances redefine what it means to be a dancer, seeing it as an attitude rather than a profession.


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