Course detail
Creative Naratology 2
FaVU-1TVNA2Acad. year: 2023/2024
Storytelling tools are, by their nature, strongly intertwined with particular ideological concepts, and are thus unsuitable for presenting worlds (and the imaginative thinking associated with them) other than those in which these rules are created and often used. In contrast to the winter semester, which presents established narrative methodologies as facts to learners, the summer semester introduces* participants to the ways in which the rules of storytelling are made, and the conditions under which they can be broken or how one can construct one's own narrative strategies. Compared to the winter semester, the summer part of the course places more emphasis on the relationship between the exercises and the students' other artistic practice. Thus, individual exercises do not have to personify the final product, but can instead serve as preparatory work for their thesis or other artistic practice.
Language of instruction
Number of ECTS credits
Mode of study
Guarantor
Entry knowledge
Rules for evaluation and completion of the course
The condition for successful completion of the course is active participation in class and completion of assignments. 3 unexcused absences are allowed. Missed classes can be made up by doing homework.
Aims
The graduate of the course is able to understand the narrative process as a system and is able to analyse and edit individual elements of narration. For the needs of her own artistic practice, she is able to create her own authorial concepts of how to tell stories.
Study aids
Prerequisites and corequisites
- recommended co-requisite
Creative Naratology 1
Basic literature
Recommended reading
Avanessian, Armen. Miamification. New York: Sternberg Press, 2017. (EN)
Berger, John. Způsoby vidění. Praha: Labyrint. 2016 (CS)
Easterling, Keller. Medium Design. Londýn: Verso, 2021. (EN)
Fisher, Mark. K-punk: The Collected and Unpublished Writings of Mark Fisher. Londýn: Repeater, 2018. (EN)
Hutcheon, Linda. 2006. Theory of adaptation. Londýn: Routledge, 2012. (EN)
Kokeš, Radomír D. Rozbor filmu. Brno: Masarykova univerzita, 2015. (CS)
Meadows H., Donella. Thinking in Systems. Chelsea: Chelsea Green Publishing Co, 2015 (EN)
Mirzoeff, Nicolas. Visualizing the Anthropocene. New York, článek v časopise Public Culutre. 2014. (EN)
Trávníček, Jiří. Příběh je mrtev? Schizmata a dilemata moderní prózy. Brno: Host, 2003. (CS)
Classification of course in study plans
- Programme VUB Bachelor's
branch VU-IDT , 2 year of study, summer semester, elective
branch VU-IDT , 3 year of study, summer semester, elective
branch VU-IDT , 2 year of study, summer semester, elective
branch VU-IDT , 3 year of study, summer semester, elective
branch VU-IDT , 2 year of study, summer semester, elective
branch VU-IDT , 3 year of study, summer semester, elective
branch VU-IDT , 2 year of study, summer semester, elective
branch VU-IDT , 3 year of study, summer semester, elective
branch VU-VT , 2 year of study, summer semester, elective
branch VU-VT , 3 year of study, summer semester, elective
branch VU-VT , 2 year of study, summer semester, elective
branch VU-VT , 3 year of study, summer semester, elective
branch VU-VT , 2 year of study, summer semester, elective
branch VU-VT , 3 year of study, summer semester, elective
branch VU-VT , 2 year of study, summer semester, elective
branch VU-VT , 3 year of study, summer semester, elective
branch VU-VT , 2 year of study, summer semester, elective
branch VU-VT , 3 year of study, summer semester, elective
branch VU-IDT , 2 year of study, summer semester, elective
branch VU-IDT , 3 year of study, summer semester, elective
branch VU-VT , 2 year of study, summer semester, elective
branch VU-VT , 3 year of study, summer semester, elective
branch VU-IDT , 2 year of study, summer semester, elective
branch VU-IDT , 3 year of study, summer semester, elective
branch VU-IDT , 2 year of study, summer semester, elective
branch VU-IDT , 3 year of study, summer semester, elective
Type of course unit
Creative seminar
Teacher / Lecturer
Syllabus
2. Neoformalist analysis
3. Postmodern narratives
4. Audience experience
5. Open form
6. Collective stories
7. Stories of crisis
8. Stories of the future
9. Fake news
10. Reconstructing reality
11. Documentary and truth
12. Archives and analogue media
13. The Story of Art