This study aims to design a new kind of interactive drama, where the user interacts in depth with the course of the narrative, while the dramatic intensity is retained. Based on various theoretical sources on narrative and drama, a model is put forward. This model is used to build a computer system of interactive drama.

This paper argues for a robust notion of collective identity which is not reduced to a psychological conception of identity. In a first part the debate on the concept of identity raised by several authors is taken up critically with the intention to defend a strong sociological conception of identity which by definition is a collective identity. The basic assumption is that collective identitie...

We describe the N2 (Narrative Networks) Corpus, a new language resource. The corpus is unique in three important ways. First, every text in the corpus is a story, which is in contrast to other language resources that may contain stories or story-like texts, but are not specifically curated to contain only stories. Second, the unifying theme of the corpus is material relevant to Islamist Extremi...

B.S. Johnson’s The Unfortunates (1969) is British fiction’s predominant attempt to embrace aleatorism and to subvert linear causality: the chapters are unbound, and the text invites the reader to shuffle them before reading. Narrative can be understood as a means of containing the ever-present risk of death, of disease, of loss, and has as its impetus a curative trajectory: recuperation is, per...

David Vogan gave programmatic conjectures about the Dixmier's map and he made two conjectures that induction may be independent of the choice of parabolic group used and the sheets of orbit data are conjugated or disjointed. In our previous paper, we gave a geometric version of the parabolic induction of the geometric orbit datum (i.e. orbit covers), and proved Vogan's rst conjecture for geomet...

This thesis examines several aspects of narrative in video games, in order to construct a detailed image of the characteristics that separate video game narrative from other, noninteractive narrative forms. These findings are subsequently used to identify and define three basic models of video game narrative. Since it has also been argued that video games should not have narrative in the first ...