Cross-Media as a Multi-Platform Narrative Interaction Form

Cinema often uses the novels in the scenarios it creates while constructing the audiovisual narrative structure. After the cinema, on television, many television movies and television series get the subject of adapting novels. Today, a story and a novel are opened in many media platforms, and each new text that emerged with this expansion adds its own value to the narrative. In the ideal form, which is also referred to as the concept of cross-media narrative, the presentation of the same work in different formats in multiple media can be seen. The study tries to analyze the narrative in the context of the transformation of the media between the media, narrative characteristics, the use of time and space in the context of each narrative's unique contributions and deficiencies. In this context, the installation of “cross-media” narrative platforms within the scope of multi-media usage is examined.

The continuum of identities in immigrant students’ narratives in Greece

Our study draws on the interaction between the micro-level of individual discursive choices and the macro-level of discourses. Having at our disposal narratives by immigrant students in Greece, we highlight the continuum of identities observed. For the investigation of immigrant students’ identity construction in their narratives, we mainly employ an enriched version of Bamberg’s model (1997) on narrative analysis. This model includes the micro-levels of narrative world and narrative interaction in the context of which narrators position themselves towards the discourses of the macro-level – in our data, towards the discourse of Greek national homogenization. We distinguish among three types of identities forming a continuum from legitimization to resistance with in between hybrid stages. Our analysis shows that, despite the catalytic effect of the Greek national homogenizing discourse on the construction of immigrant students’ identities, some students find ways to resist it.

Recontextualizing racialized stories on YouTube

When stories (re)appear in YouTube videos, they are recontextualized not only by their titling and editing, but especially by chains of online comments. This article explores how a Northern Italian politician’s racialized story, which was first recontextualized by a TV news reporter on a YouTube video, is further recontextualized for different ends by commenters on that video. I show how these commenters negotiate and reframe the racial aspects of digital discourse and its sociocultural meanings through their various responses and across different temporal and spatial scales. By applying linguistic anthropological and sociolinguistic theories and narrative analytical tools to digital storytelling, this study emphasizes how racialized language is neither stable nor unidirectional, but is rather constantly negotiated discursively among various groups of virtual audience members. Besides investigating the pragmatics of narrative interaction in the digital realm, this article speaks to methodological challenges that surround the study of online storytelling.

La narrativa hipermedia en el museo. El presente del futuro

La narrativa hipermedia aleja el museo del templo de las musas y contribuye a acercarlo a todas las personas. Gracias a esta narrativa, el museo in situ se hace virtual y ubicuo, y, por medio de los dispositivos móviles, nos acompaña siempre. Pero el museo no utiliza adecuadamente la distintas estructuras que cobijan la narrativa hipermedia, ya que privilegia, casi exclusivamente, la informativa. Por otra parte, no potencia la interactividad con interacción orientada a la participación y la cooperación de todas las personas. Esta investigación plantea el presente de la narrativa hipermedia en el museo y apunta algunas claves para su necesaria evolución. Hypermedia narratives in museums. The present of the futureAbstractHypermedia narratives take museums away from the Temple of the Muses and bring them closer to people. Thanks to these narratives, in situ museums can become virtual and ubiquitous and, by means of mobile devices, they are always available. However, museums tend not to use hypermedia narrative structures appropriately, because they almost exclusively favor information structures. Furthermore, museums do not encourage interactivity with interaction oriented to participation and cooperation. Our research questions the current role of hypermedia narratives in museums and points to the need for change.Keywords: Hypermedia museography, hypermedia narrative, interaction, interactivity, mobile hipermedia, transmedia narrativepp. 101-121