The QUEST model of question answering is a computational-cognitive model designed to describe a person’s mental narrative comprehension process, which predicts behavioral responses to openended questions about the narrative. The model is based around a QUEST knowledge structure, a directed graph that captures the story’s events and the causal and goal-oriented relationships between them. We pre...

Empirical research supporting computational models of narrative is often constrained by the lack of large-scale corpora with deep annotation. In this paper, we report on our annotation and analysis of a dataset of 283 individual narrations of the events in two short video clips. The utterances in the narrative transcripts were annotated to align with known events in the source videos, offering ...

We investigate the understanding of landmarks using a model of embedding procedures that sees affordances established on three levels. On the first level there are landmark experience and direct communication process as distinct affordance structures. On the second level the initial landmark experience has become part of the speech act thus establishing direct wayfinding communication. On the t...

To better support the creation of narrative-centered tools, developers need a flexible framework to integrate, catalog, select, and reuse narrative models. Computational models of narrative enable the creation of software tools to aid narrative processing, analysis, and generation. Narrativecentered tools explicitly or implicitly embody one or more models of narrative by their definition. Howev...

In this paper, I present a narratological approach to the BioShock trilogy of games. I look at three narratological levels as they relate to space. At the level of the storyline, a large part of the game revolves around the piecemeal construction of the narrative of the game space – the narrative of the player's avatar is developed alongside the narrative of what happened to the space he is mov...

abstract: myth is as old as mankind; it has transformed and lasted in the form of stories, and anecdotes, together with literary and artistic works. one cannot ignore the presence of myths in culture, literature and art (especially cinema) every era ranging from the age of aeschylus, euripides and aristophanes to the contemporary age of cinema has a firm attachment with myth- of all historical ...

Narrative structures can only be defined in terms of some internal memory representation, but narrative complexity is more properly characterized by information processing requirements. Story grammars, plan and goal hierarchies, and causal chain representations a l l provide a sense of structure which is largely removed from the processes that produce or access that memory representation. In th...

This paper addresses the prosodic feature of pause and its distribution in spontaneous narrative in relation to the role it plays in signaling narrative structure. Pause duration and pause occurrence were taken as variables for the present analysis. The results indicate that both variables consistently mark narrative section boundaries, suggesting thus that pause is a very important structuring...

Interactive narrative is a form of storytelling that adapts to actions performed by users who assume the roles of story characters. To date, interactive narratives are built by hand. In this paper, we introduce SCHEHERAZADE, an intelligent system that automatically creates an interactive narrative about any topic from crowdsourced narratives. Our system leverages the experience and creativity o...

history - narrative interaction is one of the most important issues have being discussed in critical philosophy of history. a historian normally compiles the historical events, as the essential parts of history recording, and imports them besides some connectors through a narrative structure.  the existing relation between such a narrative and the reality is of considerable concerns which are e...