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Andrea Volterrani

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Communication for blood donation between narrations and innovations. by. Andrea Volterrani ... What are we going to talk about? Stereotypes and media ... – PowerPoint PPT presentation

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Title: Andrea Volterrani


1
Communication waves
  • Communication for blood donation between
    narrations and innovations

by Andrea Volterrani (University of Siena)
2
What are we going to talk about?
? Stereotypes and media narrations ? Media
narrations ? Multidimensional imaginary on blood
and donation ? Narration and blood donation
3
The problem of three worlds
? Thinking world ? Language world ? Real world

4

5

6
? Stereotypes
7
Different stereotypes
  • In attending to media accounts and narratives,
    viewers, listeners and readers interpret them in
    different ways, depending on who they are, where
    they are, and when, in and across historical time
    they engage with texts and images.

8
? Media narrations
9
Different narrations
  • "The novel the narration, nda puts on stage not
    only what it is, but also what it could be and
    therefore all possible worlds that continuously
    graze us and that, despite everything, we do not
    see except through the literary imagination. ()
    ' Paradoxically only through fiction ideas,
    concepts and categories acquire concreteness,
    they become flesh and blood through literary
    characters. (.) The novel narration nda is a
    method of knowledge because it shows us the
    interconnection of everyone with everybody, of
    everybody with everything "(Turnaturi, 2003
    19-20)

10
Narrations
  • What do we communicate?
  • Symbols
  • More or less shared meanings
  • Narrations
  • Beliefs
  • Daily examples
  • In practical terms, we communicate also
    through

11
? Multidimensional imaginary on blood
donation ? Social scapes
12
Imaginary
  • Collective imaginary
  • The imaginary is that set of stories, symbolic
    representations, dreams, fantasies, fears,
    desires, expectations which help us to understand
    and to build the reality we live in.
  • The imaginary is realer than real
  • And sometimesthe imaginary is one of the many
    realities that we experiment
  • (Schutz, the structure of the vital worlds)

13
Imaginary
  • Who feeds the imaginary?
  • - Daily life
  • - Archetypes of our unconsciousness
  • - Narrations
  • - Other people
  • - Myths and legends
  • - Media

14
Social scapes analysis
Players
Staff on the sideline (volunteers, security,
journalists)
People at the stadium
Coach
Game (blood)
Players on the bench
15
Different social scapes
  • If for social scapes we both mean a
    representation of social needs, individual and
    collective patterns, an organization that act on
    social needs and the transformations of the
    welfare state, an analysis of the solidarity
    produced by media, then its necessary to better
    understand relations between narrations of
    territories ,of media and of single individuals
    (individuals, groups and organizations)

16
Different social scapes
  • Which are the sources that create the social
    scapes that need to be explored in order to
    recreate them?
  • Narrations of important media in particular the
    daily press, fiction and cinema
  • Novels
  • life patterns, perceptions , interpretations and
    in part also individual imaginaries.
  • Narrations of organizations that act on
    territories (public institutions, companies and
    non-profit organizations)
  • Analyses of stories and experiences of people who
    work for the social world

17
Different social scapes
  • Passions, motivations and behaviors can be
    understood and can be told through a certain
    character. Events, passions, characters are known
    to everyone through narrations. All this can be
    understood because it can be read through
    concepts or anlithycal categories. (Turnaturi
    2003 25)

18
? Partecipated social communication on
blood donation
19
Participated social communication on blood
donation
20
  • A journey never ends. Only travellers do. And
    they can stay alive through memories and
    narrations. When the traveller seated on a beach
    and said theres nothing else to see he knew it
    was not true. We need to see what we didnt see,
    to see again what was already seen, to see in
    spring what was seen during the summer, to see
    during the day what was seen at night. We need to
    see in a sunny day what was seen in a rainy day,
    to see the green harvest, the ripe fruit, the
    stone that has changed its place, a new shady
    place. We should go back to walk in our footsteps
    again and to trace new patterns. We need to
    start over our trip. Always. The traveller comes
    back soon.
  • J. Saramago, Journey to Portugal

21
Le narrazioni
  • " We do not know how would be a culture which
    does not know anymore what it means to tell a
    story" (Paul Ricoeur, Time and story)
  • (If we lost the skills of narrating) we would
    never be able to live inside ourselves life
    would become a chaos, a big schizophrenia where
    the pieces of our existences explode like a
    firework, because in order to sort out and
    understand who we are, we have to tell our
    stories
  • (Antonio Tabucchi, Where does the novel go?)

22
Le narrazioni
  • Telling stories means building a network that
    allows the subject to see the development of life
    over time and therefore, to a certain extent, to
    master it"
  • (P. Jedloswki, common stories)

23
narrations
  • Imaginary or reality?
  • the narration is in both kingdoms. As it tells a
    story, creates a world where the imagination
    unfolds itself as it is said by someone to
    someone else who listens, taking place in the
    world of action and relations " (P. Jedlowski,
    Common Stories)
  • ..But this is why we need stories to multiply
    life, to put it in connection with its infinity.
    They are ships passing through borders "
  • (P. Jedloswki, Common stories)

24
narrations
  • Role of media
  • Symbolic mediation
  • A never-ending work of the nature which transform
    the natural universe into a universe of sense.
  • Narrated worlds are simulations, but simulation
    is an imaginary experiment
  • Each story is a world that let the imagination
    in symmetrically the imaginary of everyone
    nourishes and expands through the exploration of
    the Worlds that the stories give us. Diving into
    a story is entering into a reality which is
    parallel to the one we live in anyway, we do it
    for the pleasure of multiplying life
  • (P. Jedloswki, common stories)

25
Narrations
  • When we dive into a narration we take a trip.
  • Travel
  • Departure
  • Transit
  • Arrival
  • We are in transit, we are on the borders, we are
    in a liminal area of our culture, we are into the
    imaginary

26
Le narrazioni
  • Functions of narrations
  • Community function
  • (sense of belonging , imagined community)
  • playful
  • Identity function
  • Mnemic function
  • (link between generations)
  • Cognitive function
  • (knowing stories and other plots to generalize
    them)

27
When voluntary work can promote new symbols and
new solidarity stories through social
communication?
28
Which are the important elements to communicate
in the voluntary work of blood donation? Are
there any possible connections? Which are the
opportunities and which are the problems?
29
  • Some characteristics of voluntary work
  • -Strong relational trait
  • Imagination
  • Voluntary work trait
  • Listening
  • Integrating
  • Communicating
  • Ethics and responsability

30
Some characteristics of narrative communication
  • Some characteristics of narrative communication
  • Strong relational aspect
  • Protagonism
  • Innovating trait
  • Convergent
  • Daily
  • Participative
  • Generational skip
  • Not equal from a symbolic point of view

31
  • Strengthening new characteristics
  • 2) It strongly helps the innovation
  • 3) Including those who are far away (not only in
    terms of digital divide, but also to have access
    to symbolic sources) through the development of
    strong participating processes
  • 4) Developing relations between subjects, people,
    themes and context

32
  • Which is the purpose of the voluntary work?
  • Back to the origins compared to the development
    of relational aspect and of people promotion
  • Promoting inter-generational and
    inter-territorial solidarity to fill symbolic and
    cultural gaps
  • Developing new communicative spaces for people
    who are at risk
  • Building real processes of participation

33
  • This suggestion is mine now its your turn to
    find that excitement youd feel if creating your
    heuristics and changing your image of social
    world.
  • Andrew Abbott, methods of discovery

34
  • Experience is never limited, and it is never
    complete it is an immense sensibility, a kind of
    huge spider-web, of the finest silken threads,
    suspended in the chamber of consciousness and
    catching every air-borne particle in its tissue.
    Its a state of mind and when the mind is
    sketchy, it attracts the thinnest traces of life,
    changing the most unperceivable variations of air
    into big revelations
  • Henry James, The art of the novel

35
  • teaching the skills needed to produce contents
    is more crucial than ever. Indeed, given the
    current trend to duplicate, or even to replace
    online our social and political institutions, not
    doing it would mean removing power to citizens, "
    Sonia Livingstone, Understanding new media
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