Gris: metáfora, símbolo y relato en (inter)acción.

Gris, an independent Spanish video game, explores the expressive possibilities of this creative medium through a story that is, on one hand, a symbolic representation of the psychological process of the protagonist, and, on the other hand, a foundational narrative about the loss and recovery of identity. This title employs the expressive tools of the history of art to build its aesthetic proposal; in particular, it is categorically placed in the line of surrealism as an artistic current. The analysis of this elements is realized through fundamental notions of rhetoric and poetics, referencing authors such as Helena Beristáin and Carmen Bobes, and the narrative hermeneutics of Paul Ricoeur, as well as theoretical perspectives that allow building bridges of analysis between literature and the visual arts.

Narrating a Sacred Universe. A Study of The Universe Story through the Hermeneutics of Paul Ricoeur

This essay examines the use of language in narrating a sacred universe, focusing specifically on the text of The Universe Story by Thomas Berry and Brian Swimme. It applies the narrative hermeneutics of Paul Ricoeur, who argued for the role of narrative in influencing a life through its creation of a world, to the text. It focuses specifically on Ricoeur’s five traits of a phenomenology of the sacred. This step in Ricoeur’s hermeneutics is a reminder that religious language has been shaped by demythologisation, and this in turn impacts any attempt to articulate in language what is interpreted as an experience of the sacred. In designating the universe as sacred, The Universe Story is confronted with the task of narrating such an experience. In examining the language of the text, this essay analyses how this is preformed and the effectiveness of such an approach.

Beyond sameness and difference: Narrative sense-making in life and literature

This article analyses two major problems in the dichotomous framing of the question of whether narratives in fiction and “real life” are the same or different. The dichotomy prevents us from seeing, first, that there are both crucial similarities and differences between them and, second, that there are important similarities between variants of the “similarity approach” and the “difference approach”, both of which tend to rely on ahistorical, universalizing and empiricist-positivistic assumptions concerning factuality, raw experience and the non-referentiality of narrative fiction. The article presents as an alternative to both approaches narrative hermeneutics, which sees all narratives as culturally mediated and historically changing interpretative practices but approaches literary narratives as specific modes of making sense of the world – as ones that have truth-value on a different level than non-literary narratives. Narrative hermeneutics shares with (at least some forms of) unnatural narratology and the Örebro School a passion for the uniqueness of literary narratives, but it places the emphasis on the ability of literature to disclose the world to us in existentially charged ways that would not be otherwise culturally available – in ways that open up new possibilities of thought, action and affect.

The author is the meaning: narrative in Augustine's hermeneutics

The parallel between Augustine's preoccupation with language and the ‘linguistic turn’ of the last century has made him a valuable figure in recent discussions on hermeneutics and meaning. Still, he has yet to be brought into serious conversation with contemporary narrative hermeneutics. In this essay, I contend that narrative hermeneutics provides a lens through which we can appreciate the important role narrative plays in Augustine's hermeneutics and, in particular, how it shapes his account of meaning. Rather than casting his perception of meaning as a static reality that lies completely beyond the text, recognising the place of narrative in his thought allows us to appreciate the dynamic and personal aspects of meaning which it produces.