That expressive writing can be a beneficial response to trauma or grief is well-established in the literature. Grief research also shows that the majority of people are resilient in the face of the death of loved ones. That said, traditional rituals around loss are no longer ubiquitous, well-known phase models of bereavement are contested, and ‘unfinished business’ can create difficulties in the face of loss. Increasingly, bereavement scholars speak of a need for individuals in western society to make meaning of their own grief through narrative construction, though little is said about what constitutes a beneficial story. The author takes an autoethnographic approach to write and reflect on her spouse’s illness and death and explores through a multi-voiced expressive dialogue a personal issue around her bereavement. In an analysis of her writing, using Dialogical Self Theory, she identifies markers which may be indicative of the development of a beneficially constructed narrative. The model of writing-for-transformation is used to describe the overall intent of the process, while the dialogical markers show how progress may be identified. Reinekke Lengelle (2020) Writing the Self and Bereavement: Dialogical Means and Markers of Moving Through Grief, Life Writing, 17:1, 103-122, DOI: 10.1080/14484528.2020.1710796
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This paper argues that there is a need for a dialogical learning space because soft skills are becoming increasingly important in an ever more unstable labour market. Where once a monological form of education worked to prepare youth for the future, now a dialogue is required. This dialogue, by definition or in the first place seek consensus, but assumes pluralism and even conflict and is thereby intended to be a true departure from the monological nature of education.
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Over the past decade, journalists have created in-depth interactive narratives to provide an alternative to the relentless 24-hour news cycle. Combining different media forms, such as text, audio, video, and data visualisation with the interactive possibilities of digital media, these narratives involve users in the narrative in new ways. In journalism studies, the convergence of different media forms in this manner has gained significant attention. However, interactivity as part of this form has been left underappreciated. In this study, we scrutinise how navigational structure, expressed as navigational cues, shapes user agency in their individual explorations of the narrative. By approaching interactive narratives as story spaces with unique interactive architectures, in this article, we reconstruct the architecture of five Dutch interactive narratives using the walkthrough method. We find that the extensiveness of the interactive architectures can be described on a continuum between closed and open navigational structures that predetermine and thus shape users’ trajectories in diverse ways.
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