Abstract: Given the intertwining of story and science, this article argues that science communication is always already an act of storytelling making it suitable for narrative analysis. However, among the extensive vocabulary from narrative theories across a variety of disciplines and practices, it can be overwhelming to synthesize this information into a manageable heuristic to apply to specific stories. To rectify this gap in intention and application, this article evaluates the utility of a tool called “narrative webs” that translates narrative theory and concepts to easily accessible choices that science communicators can use to tell scientific stories.
Abstract: The themes presented in children’s television episodes frequently embody values that are often mirrored or shaped by how these episodes conclude, especially through the incorporation of happy endings. This research centers on the Spanish preschool series Momonster , aired on Clan TV and designed for all audiences. Adopting a textual analysis framework, this study classifies ending types and values, scrutinizing them within the context of the narrative structure with the aim of elucidating the narrative traits that characterize children’s series on public television.
Abstract: The late 2010s saw the revitalization of the Twilight fandom, known as the “Twilight Renaissance,” during which it revisited the heteronormative vampires of Stephenie Meyer’s Twilight saga with a sapphic and de-sanitized lens. The Twilight Renaissance, especially on Tumblr, is one example of how fandom retellings facilitate queer reclamation and representation. These points are supported by scholarship on literary vampires and queer theory as well as by examples from the Twilight Renaissance. This article aims to expand the conversation on how queer communities create their own narratives in response to the lack of desired representation in mainstream culture.
Abstract: The emergence of the British Empire in India saw the rise and fall of nabobs, merchants-turned-officers who returned to Britain with unexplained wealth and threatened to disrupt social order. This article explores the nabob as it was imagined in fiction and performed on stage. The nabob as a character provides a lens through which to explore the emergence of the empire. The essay also suggests that these imaginaries spilled over into other contexts, including the trial of Warren Hastings. The failure of the trial, it is suggested, marked the end of the nabob’s career as a villain on and off stage.
