wearying of témoignage .
Different conceptions of témoignage among the various MSF
operational sections, anxieties about blurring of its medical identity as well as
concerns around instrumentalisation of its voice and the risk of losing operational
access have all combined to remove the moral and political edge of
témoignage . With limited appetite for sweeping political
statements, témoignage has been recast as a storytelling
trope, where carefully
The Visual Politics and Narratives of Red Cross Museums in Europe and the
United States, 1920s to 2010s
Professional museum critics frequently registered their enthusiasm for the
museum’s exhibits. As one critic put it, Givenwilson had made the museum a
‘thing of wonder’ and told ‘a story that is most effective
because it appeals to the heart throughout the story-telling picture’ ( Rainey, 1926 ). The National Association of
American Museums, admitting the museum in 1923, praised it as an ‘important
link in museum work, because it represented the practical bond between the public
( 2019 ), ‘ Healing through Storytelling:
Indigenising Social Work with Stories , The British
Journal of Social Work , 49 : 6 ,
1472 – 90 .
( 2009 ), ‘ Nobody is Immune: Gender against
Men ’, press release, 3
June , for premier of Refugee Law Project
documentary , Gender against
Writing about Personal Experiences of Humanitarianism
appear like a vengeful act, but really it was to aid the storytelling. To add to the ambiguity around this, I’ve also used the real names of a few people, where fictionalising them didn’t feel necessary or appropriate.
RR: Were their parts of your story/experience that you couldn’t write about and/or chose not to include? And, without asking you to write them here, could you say anything about the choices you made about what not to include and why?
TR: Yes, there were things I didn’t write about. I have kept confidences. I have written fairly graphically about
Healthcare aims to be patient-centred but a large gap remains between the fine words and the reality. Care often feels designed for the convenience of the organisations that deliver it, and not enough around patients and their families, or even around the frontline staff who provide it. Why does this happen? What does it feel like? What can be done about it? This book stimulates reflection on these questions by listening closely to those at the frontline. It provides accounts from patients, carers and healthcare professionals who are patients about what it’s like when services get it right, and wrong, from birth up to the end of life. Quite simply, we want to draw upon the power of storytelling – which is increasingly valued as a tool for learning – to help policymakers and practitioners to understand how to deliver better care. We also hope to enlighten the general reader about how they might go about navigating “the system” while it remains imperfect. There is a growing literature of first-person accounts from patients and from healthcare professionals. This book differs by providing a collection of narratives of experiences of the NHS in England to paint a rich and varied picture. Alongside these narratives we provide some international context, and an overview of the history of moves towards a more patient-centred approach to care. We present the theory and practice of storytelling in the context of healthcare. We also seek to help the reader to draw out the practical learning from the individual accounts.
This book is dedicated to the study of computer games in terms of the stories they tell and the manner of their telling. It applies practices of reading texts from literary and cultural studies to consider the computer game as an emerging mode of contemporary storytelling. The book contains detailed discussion of narrative and realism in four of the most significant games of the last decade: ‘Tomb Raider’, ‘Half-Life’, ‘Close Combat’, and ‘Sim City’. It recognises the excitement and pleasure that has made the computer game such a massive global phenomenon.
culture – that one is missing the irony,
has failed to note the knowing nudge and wink, and should approach the text on its own terms.
And yet Half-Life has been seen as setting something of a
benchmark in game-fiction history, setting a gold standard of both
‘storytelling’ and ‘realism’ that subsequent game-fictions have been
measured against. The game’s developers have certainly
foregrounded this aspect of the experience, as the following promotional text taken from the publisher’s website demonstrates:
Throughout the game, both friends and foes behave in
the end of life. Quite simply, we want to draw on the power of storytelling – increasingly valued as a tool for learning – to help practitioners understand how to deliver better care.
There is a growing literature of first-person accounts both from patients and from healthcare professionals. This book differs by providing a collection of narratives, from a variety of viewpoints and stages in life, to paint a rich and varied picture. Alongside these narratives we provide some context: an overview of the history, theory and evidential underpinnings
9/6/04, 4:15 pm
intrinsic concern with the Parsi community, it is nevertheless
clearly continuing the investigation of the interconnected spaces
of a multitudinous nation, and the intersubjective processes of
storytelling that lies at the heart of Mistry’s oeuvre. Its cast of
characters includes a secular Hindu who holds out against the
excesses of the zealots in his own religion, a Muslim shop
worker who drinks beer with his employer, and – for a while at
least – a Parsi who is determined to do his best for his family
that Tomb Raider can be ‘read’ as fiction,
More than a game
and as self-conscious fiction in which serious play is made not just
in game terms, but in terms that literary critics would recognise as
play with the possibilities and limitations of storytelling. Some aspects of this self-consciousness, it is demonstrated here, are the
result of what might be termed deliberate ‘authorial’ intention or
design, and include (but sometimes go beyond) mere parody and
pastiche. Potentially more interesting formal characteristics emerge