Telling stories with fragments

Sadler, Neil

doi:10.4324/9780429020889-3

Cited by 8 publications

(13 citation statements)

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“…Yet, there are also sub-genres evident within the Twitter thread itself. Sadler (2021), in his discussion of Twitter as a platform of Fragmented Narrative, refers to "narratives which are built up through sequentially posted fragments" which he sees as a type of "vertical storytelling" as the fragments -the threaded Tweets -are presented vertically on the screen (p. 51). However, how one views such threads on the screen is not necessarily uniform and they may be read differently, as they may appear structurally differently on your screen.…”

Section: Lifewide Learning and Cosmopolitanismmentioning

confidence: 99%

“…It was taken on a beach in Holland by Igor Borisov & the children are Dutch (Hogan, 2019)." Thus, the Twitter thread examined here by Liam Hogan may be seen as an individually-created and open and/or open to collectivization thread, which is explicitly unbounded and "may be added to at any time" (Sadler, 2021). It may also be viewed as a lifewide textual offer with a cosmopolitan potentiality for a "transformation in self-understanding as the result of engagement with others over issues of global significance" (Delanty, 2008, p. 218), including the potentiality for "perspective transformation" (Reischmann, 2014, p. 297).…”

Section: Fig 1: Initial Tweet From the Indigenousx Accountmentioning

confidence: 99%

“…The accounts were initially analyzed due to their educational content and, subsequently, conceptualizations of digital textual genre were formulated. The accounts were analyzed from the methodological and literary-oriented perspective of digital hermeneutics (Gerbaudo, 2016;Sadler, 2021) and aphorism as literary form, as well as digital communicative genre as part of emerging online norms (Blommaert, 2018).…”

Section: Introductionmentioning

confidence: 99%

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Lifewide Learning in Postdigital Societies

2024

Studies in Digital Interculturality

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The Internet has penetrated material reality to such an extent that it is now often impossible to disentangle the material from the virtual. In this postdigital scenario, the encounter with ›newness‹ becomes accessible at the touch of a button, 24/7. Learning becomes a lifewide experience which allows for the emergence of new culturalities. The contributors to this volume engage with cultural changes brought about by an intensified digitalization process in the context of formal education but also shed light on unexpected contexts in which informal learning experiences take place every day, strengthening diasporas, creating new connections and transforming ourselves and our societies.

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Section: Lifewide Learning and Cosmopolitanismmentioning

confidence: 99%

Section: Fig 1: Initial Tweet From the Indigenousx Accountmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Lifewide Learning in Postdigital Societies

2024

Studies in Digital Interculturality

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“…My own stance is largely in align ment with the narrat ivist camp (Sadler, 2018(Sadler, , 2019(Sadler, , 2021, and it seems indis put able that the narrative approach-in both vari ants described above-has proven extremely productive over many years and across many different discip lines.…”

Section: Textmentioning

confidence: 99%

Temporality and translation: Thematic and non-thematic narrative

Sadler

2024

Encounters in Translation

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Narrative theorists broadly agree that stories are important to both being and knowing. There is less agreement, however, as to exactly how deep narrative goes. The strongest narrativists—such as David Carr and Alisdair MacIntyre—argue that story is so fundamental that human existence itself has an intrinsic narrative structure. The strongest anti-narrativists—such as Galen Strawson and Peter Lamarque—suggest that narrative is merely one way of knowing among others and enjoys no privileged ontological or epistemological status. A closely related question concerns how seemingly diverse forms of narration such as fiction, history, the small stories of daily interaction and storied (or story-like) modes of cognition relate to one another. The crux of the issue, I suggest, lies in the relationship between narrative and the human experience of time. The central argument, drawing on the existential hermeneutics of Martin Heidegger and Paul Ricœur, is that narrative and the human experience of time are non-identical but intimately connected through a continuous process of existential translation. It proceeds in four stages: (1) we should distinguish between explicit, thematic storytelling and the everyday, non-thematic experience of time; (2) narration is a type of translation which thematizes and allows some interpretive possibilities to be recognized while masking others; (3) this type of translation produces narratives which are, to some extent, object-like; (4) this allows the operation of distanciation, opening the possibility of new understanding through ‘second-order disclosure’. I suggest that this existential approach can usefully inform and expand our understanding of both narrative and translation. A synopsis of this article can be found here.

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“…Some quarantine stories' structures are more complete and coherent, resembling prototypical narratives, as they are more well-planned. Contrarily, Facebook or Twitter updates emphasise immediacy (Sadler, 2021). Tellers used the platform to share their feelings and thoughts about the lockdown and the changes they experienced.…”

Section: Quasi-prototypical Narrativesmentioning

confidence: 99%

Small stories of a key moment: Exploring discursive construction in digital quarantine stories

Ho¹,

Gu²

2023

Discourse Studies

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This study examines the narratives presented on Quarantine Stories, an online platform where users posted their home-quarantine experiences amid the COVID-19 pandemic. It investigates the recurrent themes in quarantine stories and how tellers constructed their lives in isolation. Quarantine stories submitted worldwide were examined via semantic tag and concordance analyses to identify their recurrent themes and narrative elements. The results reveal that digital storytelling allowed tellers and readers to form a community of shared support beyond spatiotemporal boundaries. Most quarantine stories were characterised by fragmentation and simultaneity, whereas others had Labovian narrative structures. The recurrent themes found (quarantine duration, favourite quarantine spots and self-healing) demonstrated how tellers used time stamps to create meaning. The present study contributes to social media research by suggesting the further categorisation of breaking stories into major and minor and by regarding self-reflection as a sub-type of evaluation.

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Telling stories with fragments

Cited by 8 publications

References 0 publications

Lifewide Learning in Postdigital Societies

Lifewide Learning in Postdigital Societies

Temporality and translation: Thematic and non-thematic narrative

Small stories of a key moment: Exploring discursive construction in digital quarantine stories

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