Just as the explosive growth of digital media has led to ever-expanding narrative possibilities and practices, so these new electronic modes of storytelling have, in their own turn, demanded a rapid and radical rethinking of narrative theory. This timely volume takes up the challenge, deeply and broadly considering the relationship between digital technology and narrative theory in the face of the changing landscape of computer-mediated communication. New Narratives reflects the diversity of its subject by bringing together some of the foremost practitioners and theorists of digital narratives. It extends the range of digital subgenres examined by narrative theorists to include forms that have become increasingly prominent, new examples of experimental hypertext, and contemporary video games. The collection also explicitly draws connections between the development of narrative theory, technological innovation, and the use of narratives in particular social and cultural contexts. Finally, New Narratives focuses on how the tools provided by new technologies may be harnessed to provide new ways of both producing and theorizing narrative. Truly interdisciplinary, the book offers broad coverage of contemporary narrative theory, including frameworks that draw from classical and postclassical narratology, linguistics, and media studies.

This book surveys the many ways of telling stories with digital technology, including blogging, gaming, social media, podcasts, and Web video. Digital storytelling uses new media tools and platforms to tell stories. The second wave of digital storytelling started in the 1990s with the rise of popular video production, then progressed in the new century to encompass newer, social media technologies. The New Digital Storytelling: Creating Narratives with New Media is the first book that gathers these new, old, and emergent practices in one place, and provides a historical context for these methods. Author Bryan Alexander explains the modern expression of the ancient art of storytelling, weaving images, text, audio, video, and music together. Alexander draws upon the latest technologies, insights from the latest scholarship, and his own extensive experience to describe the narrative creation process with personal video, blogs, podcasts, digital imagery, multimedia games, social media, and augmented reality—all platforms that offer new pathways for creativity, interactivity, and self-expression.

Communication is central to how we understand international affairs. Political leaders, diplomats, and citizens recognize that communication shapes global politics. This has only been amplified in a new media environment characterized by Internet access to information, social media, and the transformation of who can communicate and how. Soft power, public diplomacy 2.0, network power – scholars and policymakers are concerned with understanding what is happening. This book is the first to develop a systematic framework to understand how political actors seek to shape order through narrative projection in this new environment. To explain the changing world order – the rise of the BRICS, the dilemmas of climate change, poverty and terrorism, the intractability of conflict – the authors explore how actors form and project narratives and how third parties interpret and interact with these narratives. The concept of strategic narrative draws together the most salient of international relations concepts, including the links between power and ideas; international and domestic; and state and non-state actors. The book is anchored around four themes: order, actors, uncertainty, and contestation. Through these, Strategic Narratives shows both the possibilities and the limits of communication and power, and makes an important contribution to theorizing and studying empirically contemporary international relations. International Studies Association: International Communication Best Book Award

Guilds and conferences have grown up around historical theology, yet no volume has ever been dedicated to the definition and illustration of the method undergirding historical theology. This volume both defines and illustrates the methodology of historical theology, especially as it relates to the study of early Christianity, and situates historical theology among other methodological approaches to early Christianity, including confessional apologetics, constructive theology, and socio-cultural history. Historical theology as a discipline stands in contrast to these other approaches to the study of early Christianity. In contrast to systematic or constructive approaches, it remains essentially historical, with a desire to elucidate the past rather than speak to the present. In contrast to socio-historical approaches, it remains essentially theological, with a concern to value and understand the full complexity of the abstract thought world that stands behind the textual tradition of early Christian theology. Moreover, historical theology is characterized by the methodological presupposition that, unless good reason exists to think otherwise, the theological accounts of the ancient church articulate the genuine beliefs of their authors. The significance of this volume lies in the methodological definition it offers. The strength of this volume lies in the fact that its definition of the historical method of studying theology is not the work of a single mind but that of over twenty respected scholars, many of whom are leaders in the field. The volume begins with an introductory essay that orients readers to various approaches to early Christian literature, it moves to two technical essays that define the historical method of studying early Christian theology, and then it illustrates the practice of this method with more than twenty essays that cover a period stretching from the first century to the dawn of the seventh.

A century and a half after the abolition of slavery in the United States, survivors of contemporary forms of enslavement from around the world have revived a powerful tool of the abolitionist movement: first-person narratives of slavery and freedom. Just as Frederick Douglass, Harriet Jacobs, and others used autobiographical testimonies in the fight to eradicate slavery, today’s new slave narrators play a crucial role in shaping an antislavery agenda. Their writings unveil the systemic underpinnings of global slavery while critiquing the precarity of their hard-fought freedom. At the same time, the demands of antislavery organizations, religious groups, and book publishers circumscribe the voices of the enslaved, coopting their narratives in support of alternative agendas. In this pathbreaking interdisciplinary study, Laura T. Murphy argues that the slave narrative has reemerged as a twenty-first-century genre that has gained new currency in the context of the memoir boom, post-9/11 anti-Islamic sentiment, and conservative family-values politics. She analyzes a diverse range of dozens of book-length accounts of modern slavery from Africa, Asia, the United States, the United Kingdom, and Europe, examining the narrative strategies that survivors of slavery employ to make their experiences legible and to promote a reinvigorated antislavery agenda. By putting these stories into conversation with one another, The New Slave Narrative reveals an emergent survivor-centered counterdiscourse of collaboration and systemic change that offers an urgent critique of the systems that maintain contemporary slavery, as well as of the human rights industry and the antislavery movement.

Winner of the Haitian Studies Association Excellence in Scholarship Award (2015) Mainstream news coverage of the catastrophic earthquake of January 12, 2010, reproduced longstanding narratives of Haiti and stereotypes of Haitians. Cognizant that this Haiti, as it exists in the public sphere, is a rhetorically and graphically incarcerated one, the feminist anthropologist and performance artist Gina Athena Ulysse embarked on a writing spree that lasted over two years. As an ethnographer and a member of the diaspora, Ulysse delivers critical cultural analysis of geopolitics and daily life in a series of dispatches, op-eds and articles on post-quake Haiti. Her complex yet singular aim is to make sense of how the nation and its subjects continue to negotiate sovereignty and being in a world where, according to a Haitian saying, tout moun se moun, men tout moun pa menm (All people are human, but all humans are not the same). This collection contains thirty pieces, most of which were previously published in and on Haitian Times, Huffington Post, Ms Magazine, Ms Blog, NACLA, and other print and online venues. The book is trilingual (English, Kreyòl, and French) and includes a foreword by award-winning author and historian Robin D.G. Kelley.

For decades, we’ve been warned that video killed the radio star, and, more recently, that social media has replaced reading. Nerdfighteria, a first-of-its-kind online literary community with nearly three million members, challenges these assumptions. It is the brainchild of brothers Hank and John Green, who provide literary themed programming on their website and YouTube channel, including video clips from John, a best-selling author most famous for his young adult book, The Fault in Our Stars. These clips not only give fans personal insights into his works and the writing process writ large, they also provide unique access to the author, inspiring fans to create their own fan art and make connections with one another. In the twenty-first century, reading and watching videos are related activities that allow people to engage with authors and other readers. Whether they turn to The Fault in Our Stars or titles by lesser-known authors, Nerdfighters are readers. Incorporating thousands of testimonials about what they read and why, Jennifer Burek Pierce not only sheds light on this particular online community, she also reveals what it tells us about the changing nature of reading in the digital age. In Nerdfighteria, we find a community who shows us that being online doesn’t mean disinterest in books.