Journal articles on the topic 'Seymour Chatman'

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.

‘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’.

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.

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.

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.

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.

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.

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).

"Narrative Language and Possible Worlds in Postmodern Fiction. A Borderline Study of Ian McEwan’s The Child in Time. The present paper is a study of more traditional hermeneutics combined with a tinge of possible world modality, with the purpose of creating a thorough picture of narrative worlds and balancing it against the possible world system, with practical applications onto postmodern fiction, in Ian McEwan’s novel The Child in Time. The article focuses on exposing narrative language, worlds and characters, viewing them through Seymour Chatman’s perspective and slightly counterbalancing this approach with the possible world semantics system (as envisioned by Kripke, Lewis, Nolan, Putnam) for a diverse understanding of the inner structure and functioning of narrative text and fictional worlds. Keywords: possible worlds, possible-world semantics, narrative worlds, fictional worlds, narrative language, fiction, postmodern fiction, fictional characters "

After changing its city branding several times, Semarang now has a new city branding, namely "Semarang Variety of Culture." However, the city branding reaped contra from academics and cultural figures because Semarang was considered not sufficient yet in terms of representing its cultural diversity. Responding to this, the Semarang City Government and the Semarang City Public Works Department created a public service advertisement on CCTV socialization for flood control in the city of Semarang with a transgender figure as the ad star. This research was qualitative research designed with Seymour Chatman's Narrative Analysis. The research found a commodification and objectification of transgender people who imitated the feminine style of women in the advertisement. In other words, the public service announcement of Semarang CCTV socialization lowered the femininity, which is synonymous with women.The public service advertisement also violated the moral codes adopted by the majority of the Indonesian people.

The present article falls within a number of papers about research on specification of philosophical novels. The aim of this article is to analyze author’s function as a narrative category in classical philosophical novels (Franz Kafka "The Trial" (1925) ”The Castle”(1926), Jean-Paul Sartre "Nausea" (1938), Hermann Hesse "The Glass Bead Game" (1943), Albert Camus ”The Plague” (1947)) and a novel of Latvian prose writer Ilze Šķipsna „Neapsolītās zemes” [Un-Promised Lands](1970)). The analysis is based on theoretical ideas of structural narratologists Gerard Genette, William Labov, Seymuor Chatman, Wolf Schmid, as well as philosophers Edmund Husserl, Jean-Paul Sartre, Paul Ricouer and semioticians Yuri Lotman (Юрий Лотман) and Umberto Eco.The real author can ”enter” the text only indirectly—as an image, with the help of the storyteller, and the way how this ”entry” happens is determined by the narration of the real author or narrative (communication) skills of the author. Thus, the author and implied author are functionally different concepts: author as a real person develops the concept idea, his intention is to define the concept under his original vision; narrator, in its turn, communicates with the reader, representing the concept, and his aim is to select appropriate means of communication with regard to reader’s perceptual abilities.

Abstract The positioning in space and time of performed narration in theater poses a specific challenge to classical narratological categories of structuralist descent (developed, for example, by Gérard Genette or Wolf Schmid, for the analysis of narrative fiction). Time is the phenomenon which connects narratology and theater studies: on the one hand, it provides the basis for nearly every definition of narrativity; on the other, it grounds a number of different methodologies for the analysis of theater stagings, as well as theories of performance – with their emphasis on transience, the ephemeral, and the unrepeatable, singular or transitory nature of the technically unreproducible art of theater (e. g. by Erika Fischer-Lichte). This turn towards temporality is also present in theories of postdramatic theater (by Hans-Thies Lehman) and performance art. Narrating always takes place in time; likewise, every performance is a handling of and an encounter with time. Furthermore, performed narration gains a concrete spatial setting by virtue of its location on a stage or comparable performance area, so that the spatial structures contained in this setting exist in relation to the temporal structures of the act of theatrical telling, as well as the content of what is told. Both temporal and spatial structures of theater stagings can be systematically described and analyzed with a narratological vocabulary. With references to Seymour Chatman, Käte Hamburger and Markus Kuhn among others, the contribution discusses how narratological parameters for the analysis of temporal and spatial relations can be productively expanded in relation to theater and performance analysis. For exemplary purposes, it refers to Dimiter Gotscheff’s staging of Peter Handke’s Immer noch Sturm (which premiered in 2011 at the Thalia Theater Hamburg in cooperation with the Salzburger Festspiele), focusing on its transmedial broadening of temporal categories like order, duration, and frequency, and subsequent, prior, or simultaneous narration. The broadening itself proves feasible since all categories of temporal narration can be applied to performative narration in the theater – at times even more fruitfully than in written language, as is the case, for example, with the concept of ›duration‹. The concept of ›time of narration‹ too can be productively applied to theater. Whilst a subsequent narration is frequently considered the standard case in written-language narratives on the one hand – a conclusion that is, however, only correct if the narrator figure and narrative stand in spatiotemporal relation to one another, i. e. if a homodiegetic narrator figure is present – it is commonly held that in scenic-performed narration, on the other hand, the telling and the told take place simultaneously. The present contribution argues against this interpretation, as it stems from a misguided understanding of the ›liveness‹ of performance. ›Liveness‹ refers only to the relationship between viewers and performers and their respective presence, but not to their temporal and spatial relationship to the told. Rather, the following will argue that the time of narration in theater (as well as in film) stays unmarked in most cases. It is possible, however, to stage subsequent, prior, or simultaneous narration, too. Immer noch Sturm is one example for a performed subsequent narration. For audiovisual narration, then, a special case of iterative narration (telling once what happened n times) can be identified, which is to tell a few times (n minus x) what happened n times. As an additional category for the analysis of narrative temporality in audiovisual narrative media, I propose what I venture to call ›synchronized narration‹, in order to describe the specificity of spatiotemporal relations in performance. In synchronized narration, two or more events (that happen at different places or times in the narrative world) are shown at the same time on stage. This synchronized performance of several events is only realizable within the audiovisual dimension of spatial narration and not in written-language based narration. Furthermore, for narrative space relations the categories ›space covering‹, ›space extending‹, and ›space reducing narration‹ are suggested in order to analyze the relationships between discourse space and story space(s). Discourse space emerges in the concrete physical space of the performance when narrativity is present. Within this discourse space any amount of story spaces (with any expansion) can emerge. However, whilst in time-extending narration the time of the telling is longer than the time of the told, in space-extending narration the told space is bigger than the space of the telling. This principle is analogously valid for time-reducing or space-reducing narration. The transmission and media-specific broadening of temporal and spatial narratological parameters reveals how time and space form a continuum and should thus be linked and discussed alongside one another in analytical approaches to narrative artifacts. The staging of Immer noch Sturm actualizes a metaleptic structure, in which temporal borders are systematically dissolved and the overstepping of spatial borders becomes an indicator for the merging of different temporal levels. Referring back to established narratological parameters and developing analogous conceptual tools for narrative space facilitates a comparative analysis both of specific narratives and of narrative media and thus not only offers a productive challenge of classical narratological parameters, but allows to investigate and construct a holistic – if culture-specific – overall view of narration.

This research discusses discourse of nationalism in Garin Nugroho’s Soegija, a biopic which premiered in 2012. The film is chosen because it presents the story of Soegijapranata, an intellectual who is not from dominant nationalist groups, during the era of independence movement; he is neither a prominent military figure nor a figure from the largest religious group in Indonesia. This film is analyzed to investigate its position in ideological contestations emerging after the Reformation, particularly after the 2000s. Seymour Chatman’s postulates regarding story and discourse in narrative structure of fiction and film (1978) is used as a theoretical framework for this research. The results show that discourse of nationalism is presented in the narrative structure of the film in the form of arguing the idea of universal humanity in the context of Indonesia as a nation. This effort is portrayed by the main character’s intellectual struggles against shallow primordialism that influences both Indonesian people’s perspectives during independence movement era and foreign people’s point of views, the colonizers, which are represented by subversive actions of the Dutch and Japanese in Indonesia. The values of universal humanity that have been adopted into the spirit of nationalism are stated through the main characters’ statements and actions. It can be concluded that the concept of nationalism in Indonesia is said to be born from a long struggle against oppression and injustice. This concept has become a dominant ideology which remains relevant, as implied in Soegija.

The research is entitled Hempasan Gelombang of Taufik Ikram Jamil: A Study of Narrative Structure of Seymore Chatman. The material object of this research is Hempasan Gelombang written by Taufik Ikram Jamil and the formal object is the narrative structure of Seymour Chatman. This research aims to describe narrative structure of Seymore Chatman in Hempasan Gelombang, by identifying units of the story, analyzing the level of core function and connecting function, analyzing level of action and analyzing level of narrative.

Abstract: Reviewing a news text narrative has strategic value due to mass media role to construct an empirical understanding and lead to collective memory reproduction of the reality constructed. This study analyzes the dramatic aspects related to human rights issues in the Trisakti tragedy of 1998 in the GATRA magazine using Seymour Chatman’s structural narative. The result shows that the dramatic intention is formed through the composition of story (plot, contingency, anachronistic narrative sequence, sequence repetition, omission events) and discourse (detail, coherence, active-passive sentence, lexicon, metaphor). News containing drama could create incomplete understanding of the reported reality. Abstrak: Meninjau-ulang narasi teks berita mempuyai nilai strategis karena media massa memiliki peran mengonstruksi pemahaman masyarakat atas realitas empirik peristiwa yang diberitakan dan mengarahkan reproduksi memori kolektif realitas bentukannya. Studi ini menganalisis aspek dramatis berita terkait masalah HAM dalam peristiwa Trisakti 1998 di majalah GATRA dengan menggunakan naratologi struktural Seymour Chatman. Hasil kajian menunjukkan bahwa intensi dramatik dibentuk melalui susunan story (plot, kontingensi, urutan cerita anakronis, repetisi sekuen, penghilangan peristiwa) dan discourse (detil, koherensi, kalimat pasif-aktif, leksikon, metafora). Drama dalam pemberitaan dapat menciptakan ketidakutuhan pemahaman atas realitas acuan yang diberitakan.

Artikkelin tutkimuskohteena on Helsingin Sanomien Kuukausiliitteessä julkaistu henkilöjuttu ”Takapiru”, jonka kertoja on kautta jutun voimakkaasti läsnäoleva siitä huolimatta, että tekstissä ei ole käytetty minämuotoa. Kertojan havaittavuuden asteita puretaan narratologisesti Seymour Chatmanin klassisen jaottelun avulla, ja tekstistä löydetäänkin yhtä lukuun ottamatta kaikki kertojan läsnäolon asteet. Samalla tulee testatuksi Chatmanin alun perin fiktiotekstejä varten tarkoittaman mallin sopivuus faktatekstin tutkimiseen. Lajityyppien raja-alueella liikkuminen edellyttää artikkelin aluksi hiukan tarkempaa määrittelyä siitä, viitataanko käsitteillä fakta ja fiktio lajityypille ominaisiin esitystekniikoihin vai tekstin epistemologiseen todellisuussuhteeseen