Academic literature on the topic 'Seymour Chatman'
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Journal articles on the topic "Seymour Chatman"
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Wijaya, Boy Sandy Surya, Laurencia Steffanie Mega Wijaya Kurniawan, Rustono Farady Marta, Dindin Dimyati, and Endik Hidayat. "MENARASIKAN PENCAK SILAT PADA IKLAN MARJAN 2011 DAN 2018 DARI PERSPEKTIF CHATMAN." Interaksi: Jurnal Ilmu Komunikasi 9, no. 2 (January 21, 2021): 130–40. http://dx.doi.org/10.14710/interaksi.9.2.130-140.
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Indonesia is a country that is rich in culture, so it provides many ideas, ideas, and even insights for creative agencies, one of which is the Marjan Syrup Ad in 2011 and 2018 which successfully combines Indonesian local culture with Western culture. This study will examine the advertisement using Seymour Chatman's Narrative Structure Theory, which in-depth explains the plot, setting, characters, and main ideas in advertising using the Stories and Discourse components by showing the objectives of making 2011 and 2018 Marjan Ads. The results of the study show two things, in terms of story and discourse. First, the narratives in the two advertisements show the richness of Indonesian culture juxtaposed with Western cultures, such as pencak silat with hip-hop as well as puppet robotics. Second, in the flow of discourse, there is an atmosphere of togetherness, and the right moment of celebration to consume the product.
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Sasaki, Toru. "Towards a Systematic Description of Narrative ‘Point of View’: An Examination of Chatman's theory with an Analysis of ‘The Blind Man’ by D.H. Lawrence." Language and Literature: International Journal of Stylistics 3, no. 2 (May 1994): 125–38. http://dx.doi.org/10.1177/096394709400300203.
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‘Point of view’ in fiction has been a much debated concept ever since the time of Henry James, but unfortunately this term has never been defined with the required precision. As a result, there has always been some confusion in the critical discussion of this subject. Seymour Chatman (1990), however, has recently addressed himself to the difficult task of clarifying the issue.2 His theory, in my view, offers an excellent model for a systematic description of narrative ‘point of view’. By way of demonstration, I will test the effectiveness of this model through a detailed analysis of the narration of D.H. Lawrence's short story ‘The blind man’.
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SMITH, MURRAY. "Chatman, Seymour. Coming To Terms: The Rhetoric of Narrative in Fiction and Film." Journal of Aesthetics and Art Criticism 50, no. 3 (June 1, 1992): 253. http://dx.doi.org/10.1111/1540_6245.jaac50.3.0253.
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Resseguie, James. "A Glossary of New Testament Narrative Criticism with Illustrations." Religions 10, no. 3 (March 21, 2019): 217. http://dx.doi.org/10.3390/rel10030217.
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This is the first stand-alone glossary of New Testament narrative-critical terms in the English language. It is an alphabetical listing of prominent terms, concepts, and techniques of narrative criticism with illustrations and cross-references. Commonly used terms are defined and illustrated, these include character, characterization, double entendre, misunderstanding, implied author, implied reader, irony, narrator, point of view, plot, rhetoric, and other constitutive elements of a narrative. Lesser-known terms and concepts are also defined, such as carnivalesque, composite character, defamiliarization, fabula, syuzhet, hybrid character, MacGuffin, masterplot, primacy/recency effect, and type-scene. Major disciplines—for example, narratology, New Criticism, and reader-response criticism—are explained with glances at prominent literary critics/theorists, such as Aristotle, Mikhail Bakhtin, Wayne Booth, Seymour Chatman, Stanley Fish, E. M. Forster, Gérard Genette, Wolfgang Iser, and Susan Sniader Lanser.
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Twose, Gareth. "What's in a clause?" Language and Literature: International Journal of Stylistics 17, no. 1 (February 2008): 77–96. http://dx.doi.org/10.1177/0963947007085056.
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In this article, I aim to identify and explicate stylistic distinctiveness in the use of - ed clauses in parts of Milton's Paradise Lost, in the process testing findings outlined in a 1968 article by Seymour Chatman. I compare the frequency of occurrence of the clause type in the Milton texts with that in a constructed corpus of Early Modern English poetry, and with that in the Helsinki corpus. I measure differences in usage of the clause type by focusing on the use of -ed clauses in stretched chains of control, and on the way adverbially functioning -ed clauses map onto conceptual semantic space. I demonstrate how literary effects are conditioned and enabled by the clause type's properties as outlined in cross-linguistic studies. I prove that in the data analysed Milton's use of -ed clauses is a distinctive feature of his style.
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Ng, Michael H. M. "Is Julian Barnes Reliable in Narrating the Noise of Time?" English Language and Literature Studies 9, no. 1 (January 28, 2019): 114. http://dx.doi.org/10.5539/ells.v9n1p114.
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Wayne C. Booth says that a novelist creates an implied author that is an ideal, literary, and created version of the real author. Seymour Chatman has emphasized the implied author is a principle that invents the narrator who has the direct means of communicating. Chatman says it is important distinguish among narrator, implied author, and real author.
Booth originally says that unreliable narrators vary on how far and in what direction they depart from the author’s norms. The concept of Booth’s term ‘unreliable narrator’ has been a subject to debate. In Ansgar Nunning’s perspective, the reader has a role in detecting narrational unreliability. There are four forms of unreliable narration: intranarrational unreliability, internarrational unreliability, intertextual unreliability, and extratextual unreliability.
Julian Barnes’ novel The Noise of Time is a fictional biography of a real Russian composer named Dmitri Shostakovich whose work of art flourishes even under the oppression of the Soviet government. According to a review in The Guardian, the novel is mainly on Shostakovich’s battle with his conscience when living under the rule of Joseph Stalin. It is possible that the real author, implied author, and narrator are the same person in Barnes’ case. The objective of this article is to examine whether Barnes is reliable in telling the story of Shostakovich or not.
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Wardana, Wisnu Putra. "DURATION IN HARRY POTTER AND THE DEATHLY HALLOWS." Apollo Project: Jurnal Ilmiah Program Studi Sastra Inggris 7, no. 2 (August 14, 2018): 67–73. http://dx.doi.org/10.34010/apollo.v7i2.2102.
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This research is regarding narrative in Harry Potter and The Deathly Hallows. Narrative has many ways to develop the narrative. One of them is duration. There are five possibilities, which suggest themselves. They are summary, ellipsis, scene, stretch and pause. In each possibility, they have different use of time. Qualitative method and descriptive analysis are used to analyze the data. The data are taken from Harry Potter and The Deathly Hallows. The theory used in this research is from Seymour Chatman (1978). Summary occurs when the time is cut short in story-time, complemented with durative verb and adverb. Ellipsis is happened when the discourse in the story is stopped yet the story-time keeps on going, abridging the story-time to the period which is already determined. Scene happens when the story-time and discourse-time run together using dialogue and overt physical actions of relatively short duration. Stretch is happened when discourse-time runs longer than story-time, using imagination to cut short the story-time and enter the discourse time. Pause is occurred when the story-time stops completely and discourse-time takes over, describing the event or characters.
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Hansen, Per Krogh. "Tiden ødelægger alt. Om episodisk bagvendte fortællinger illustreret ved hjælp af Gaspar Noés Irréversible." K&K - Kultur og Klasse 39, no. 112 (December 25, 2011): 93–106. http://dx.doi.org/10.7146/kok.v39i112.15746.
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TIME DESTROYS EVERYTHING | This article focuses on what Seymour Chatman calls ‘sustained episodic reversal’ of narrative progressionR– that is, narratives in which the sequential, chronological order of the events is reversed and thereby ‘de-’ or ‘unnaturalized’. The article opens with a short discussion of the project of ‘unnatural narratology,’ and it is claimed that if our experience of a given narrative as ‘natural’ is grounded on its confirmation of the conventions for the mode or genre the narrative belongs to, then the task for an ‘unnatural narratology’ is to investigate the exceptions, that is, cases where conventions are broken and perhaps reformulated. Sustained episodic reversals of event sequences belong to this field of interest insofar as one of the basic features of ‘natural narrative’ is that the sequence of clauses (or more generally, the sjuzhet or discourse) is typically matched to the sequence of the events being narrated (the fabulaor story). The denaturalizing function and effect of the sustained reversal is illustrated through analysis of Gaspar Noé’s Irréversible (2002). It is shown that the reversal has radical consequencesfor the spectator’s (re)construction of the narrative’s fabula, and that it engages the reader in a game of post hoc ergo propter hoc and of narrative construction and deconstruction.
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Klepper, Martin. "Book review: WILLIE VAN PEER AND SEYMOUR CHATMAN (eds), New Perspectives on Narrative Perspective. Albany: State University of New York Press, 2001. xiii + 398 pp. $73.50 (hbk), $24,95 (pbk)." Discourse Studies 4, no. 4 (August 2002): 552–53. http://dx.doi.org/10.1177/14614456020040041103.
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Hegel, Robert E. "Traditional Chinese Fiction—The State of the Field." Journal of Asian Studies 53, no. 2 (May 1994): 394–426. http://dx.doi.org/10.2307/2059840.
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The field of traditional chinese fiction studiesis as diverse in its approaches and findings as the body of material included in the termxiaoshuo, with which the modern field imprecisely corresponds. As a term for classifying writings in early China,xiaoshuoseemingly meant “other” works that did not fit into the major category of narrative, i.e., history. In the bibliographical section of Ban Gu's (c.e. 32–92)Han shu, theYiwen zhi, titles identified asxiaoshuoapparently were miscellaneous writings of no uniform characteristics or content. In theHan shubibliography,xiaoshuowere classified under thezhuzior “miscellaneous philosophers”; during the Six Dynasties period these writings were grouped in thezior “philosophers” section of thesibu, the durable four-fold bibliographic division of all writing originated in the third century and still in use. ThisHan shudesignation reflected the assumption thatxiaoshuoare or should be generally “discursive,” even if they are of less significance than formal philosophical works. The clear discrimination between verifiable narrative works (hence historical) and fanciful (or fictitious) writings was a product of the Tang period; however, the assignment of fictionalxiaoshuoto the same category as philosophy continued then as well. Like Aristotle, early Chinese bibliographers saw general truth, rather than the specific truth of history, as the operative criterion in fiction, despite the origins of many fictional narrative conventions in historiography (see K. J. DeWoskin, “Six DynastiesChih-kuai,” esp. p. 46). Twentieth-century scholarly attempts to see the term as synonymous with the modern concept of fiction are frustrated by its original lack of specificity and the fact that patently fictitious (from the modern rationalist perspective) elements appear in all other forms of early literature, both philosophical works (as parables or the flights of imaginative fancy inZhuang zi) and history (in fabricated conversations and fantastic events). While it may be argued that a term like “narrative,” with its coincident concern for story, discourse, and conventions (using distinctions drawn by Seymour Chatman,Coming to Terms[Ithaca: Cornell University Press, 1990], pp. 9, 83, 117, etc.), would more adequately serve to describe the range of materials modern scholars might address, because the termxiaoshuostill delineates the field for its specialists, narratives in philosophy and history are usually disallowed, and there is no general agreement on criteria by which to identify its earliest examples (see Hou Zongyi,Liuchao xiaoshuo shi, pp. 1–4, for a history of the term).
Dissertations / Theses on the topic "Seymour Chatman"
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Hustad, Jonas Langset. "Film som forteller : Fight Club som litterær adapsjon." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for kunst og medievitenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-24960.
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På papiret virker Fight Club [1999] som et sikkert stikk. En litterær adapsjon utført av en kjent regissør (David Fincher) med solide stjernenavn på plakaten(Brad Pitt, Edward Norton). Men Chuck Palahniuks debutroman fra 1996 er et vanskelig verk, preget av mørk satire, flere lag med ironi og radikal subjektivitet. For å oversette en slik fortelling til film trengs ikke bare dristigheten til å fortelle om kontroversielle tema, men også oppfinnsomheten til å oversette en utpreget psykologisk roman til et audiovisuelt språk. Det er nettopp oversettelsen jeg skal undersøke i denne oppgaven, hvordan romanens kildemateriale har blitt gjenskapt i filmmediet. For å gjøre dette så konkret som mulig, snevrer jeg først inn undersøkelsen til filmens voice-over, som er basert på romanens tekst. Hvordan har bokas fortellerstemme blitt adaptert til en fortellende voice-over i filmen? Jeg skal ta for meg denne prosessen i tre deler, basert på tre stadier i adapsjonsprosessen hvor filmskaperne har hatt anledning til å kreativt bearbeide romanens tekst. Første del er voice-overen sett som skriftlig tekst, manusstadiet. Hva er kuttet, forandret og lagt til romanens tekst? Andre del er voice-overen som stemme, innspillingsstadiet. Hvordan forandres skriften i manus, og dermed også romanens tekst, idet en den blir til uttalte ord? Hvilke virkemidler har filmskaperne her benyttet seg av? Tredje del er fortellerstemmen i møte med resten av filmspråket, klippestadiet. Hvordan påvirker bildene og den øvrige lyddesignen vår opplevelse av fortellerstemmen, og hvordan er påvirkningen den andre veien? Deretter skal jeg utvide perspektivet igjen, og undersøke hvilke implikasjoner bruken av voice-over har for filmen som helhet. Hva kan en film kommuniserer Fight Club på denne måten? Tema blir ironi, upålitelighet, subjektivitet, karakterengasjement og kronologi. Anvendte teoretikere inkluderer Linda Hutcheon, Sarah Kozloff, Thomas Elsaesser, Gerard Genette, Seymour Chatman, André Bazin, Murray Smith og Lars Thomas Braaten.
Book chapters on the topic "Seymour Chatman"
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Hammond, Marlé. "The Narrative, Its Components and Its ‘Novelisation’." In The Tale of al-Barrāq Son of Rawḥān and Laylā the Chaste, 152–88. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266687.003.0003.
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This chapter represents a narratological breakdown of the tale. Drawing on the theory of Seymour Chatman, Mikhail Bakhtin and Georg Lukács, I discuss the tale and its relationship to the ʿUdhrī love tale, the popular epic and the novel in terms of its discourse, setting, characters and events. I argue that the tale has a plot with a ‘homophonic’ texture, whereby a ‘melody’ of singular events (such as the abduction, torture and rescue of Laylā) overlays a ‘drone’ of repeated events (namely battle scenes). I conclude with a comparison of the tale with its twentieth-century novelistic adaptation and a discussion of what the comparison reveals about the pre-history of the Arabic novel.