Ancient narrative theory after Aristotle—Horace

Narratology ◽  
2019 ◽  
pp. 63-74
Author(s):  
Genevieve Liveley

This chapter argues that there is little evidence to show that Aristotle’s Poetics was influential to any significant degree in antiquity. Modern theorists and critics who insist upon seeing an Aristotelian influence on the proto-narratological precepts found in Horace’s Ars poetica have therefore produced somewhat skewed readings of the Ars poetica. This chapter focuses instead upon the distinctively Roman and rhetorical character of Horace’s ideas on narrative, and examines the marked affinities between Plato’s Socrates and Horace’s own narratological persona on the subjects of poetry and storytelling. It argues that Horace may even be the first literary critic formally to condense Plato’s (Socrates’) proto-narratological precepts into a narrower distinction between showing and telling.


Author(s):  
Katie Chenoweth

This chapter proposes that the print shop emerges in the sixteenth century as a key site for the production of literary criticism. Of particular interest is the figure of the printer’s corrector, an expert in error and artisan of precision whose task is to discover and amend faults before a text goes into print. Taking as an exemplary case the French poet, literary critic, and orthographic reformer Jacques Peletier du Mans (1517–1582/3)—who maintained close relationships with his printers and was employed as a corrector in the workshop of Jean de Tournes in Lyon—the chapter examines how the practice of correction and the mechanical ethos of printing inform early meta-poetic work in France, including Peletier’s seminal translation of Horace’s Ars poetica and his own Art Poëtiquɇ of 1555.



Moreana ◽  
1983 ◽  
Vol 20 (Number 78) (2) ◽  
pp. 25-28
Author(s):  
Arthur F. Kinney
Keyword(s):  


2019 ◽  
Vol 64 (1) ◽  
pp. 103-116
Author(s):  
ЛЕСЯ МУШКЕТИК

The oral folk prose of Transcarpathia is a valuable source of history and culture of the region. Supplementing the written sources, it has maintained popular attitudes towards events, giving assessments and interpretations that are often different from the official one. In the Ukrainian oral tradition, we find many words borrowed from other languages, in particular Hungarian, which reflects the long period of cohabitation as well as shared historical events and contacts. They also occur in local toponymic legends, which in their own way explain the origin of the local names and are closely linked with the life and culture of the region, contain a lot of ethnographic, historical, mythological, and other information. They are represented mainly by lexical borrowings, Hungarian proper names and realities, which were transformed, absorbed and modified in another system, and, among other things, has served the originality of the Transcarpathian folklore. The process of borrowing the Hungarianisms is marked by heterochronology and a significant degree of assimilation in the receiving environment. It is known about the long-lasting contacts of the Hungarians with Rus at the time of birth of the homeland - the Honfoglalás, as evidenced by the current geographical names associated with the heroes of the events of that time - the leaders of uprisings Attila, Almash, Prince Latorets (the legends Almashivka, About the Laborets and the White Horse Mukachevo Castle). In the names of toponymic legends and writings there are mentions of the famous Hungarian leaders, the leaders of the uprisings - King Matthias Corvinus, Prince Ferenc Rákóczi II, Lajos Kossuth (the legends Matyashivka, Bovtsar, Koshutova riberiya). Many names of villages, castles and rivers originate from Hungarian lexemes and are their derivatives, explaining the name itself (narratives Sevlyuskyy castle, Gotar, village Gedfork). The times of the Tatar invasion were reflected in the legends The Great Ravine Bovdogovanya and The village Goronda. Sometimes, the nomination is made up of two words - Ukrainian and Hungarian (Mount Goverla, Canyon Grobtedie). In legends, one can find mythological and legendary elements. The process of borrowing Hungarianisms into Ukrainian is marked by heterochronology, meanwhile borrowings remain unchanged only partially, and in general, they are assimilated in accordance with the phonetic and morphological rules of the Ukrainian language. Consequently, this is a creative process, caused by a number of different factors - social, ethnocultural, aesthetic, etc. In the course of time, events and characters in oral narratives are erased from human memory, so they can be mixed, modified and updated, adapting to new realities.





1970 ◽  
Vol 2 (2) ◽  
pp. 194-203
Author(s):  
Abdul Wachid

Journalistic influence, originally only at actuality and space limit of newspaper literary rubric that affect the lengthof short story, poem, and literary critic. However, because intense state hegemony on every line, include press, literarypositioning itself to participate on social problem. Journalistic still important for literary development in Indonesia, but its formulahas been questioned by literary. Therefore, literary will attract “crowd”, by doing sublimation again, by transcend humanproblems from “crowd” view to human Reality.



Panggung ◽  
2013 ◽  
Vol 23 (3) ◽  
Author(s):  
Rajab Ritonga

ABSTRACT ‘Tanda Tanya (?)’ movie has become an Indonesian cinematic work with some controversies complement with it. The controversies lie on how the movie constructed their messages related to the description of Islamic image. The Islamic image which is depicted in this movie contains several sym- bols which created a demonization on the construction of Islam and Moslem. The narrative theory that has been employed focuses on greimas actantial analysis models which emphasizes on how the narrative creates a story and how the story becomes a narrative discourse. The semiotic analysis used on this research is in term of constructivist perspective which aims at constructing the phenomena as a whole answer. The result of the research is that demonization of Islam has been constructed through the narrative sequences of ‘Tanda Tanya’. The movie depicted Islam in an image of traditional, un- civilized, terrorism, destructive, and aggressive community. This created a meaning of Islam as a negative and demonic community, religion, and value. Keywords: demonization, Islam, narrative  ABSTRAK Film ‘Tanda Tanya (?)’ merupakan sebuah karya cinema Indonesia yang mengundang banyak kontroversi. Kontroversi terletak pada bagaimana film ini mengkonstruksikan pesan-pesannya terkait penggambaran citra Islam. Citra Islam yang digambarkan dalam film ini mengandung simbol-simbol yang menciptakan sebuah demonisasi pada kon- struksi Islam dan muslim. Dalam penelitian ini teori naratif digunakan sebagai alat un- tuk memberikan gambaran tentang fenomena demonisasi. Teori naratif yang digunakan berfokus pada model analisis aktansial greimas yang menitikberatkan bagaimana naratif menciptakan sebuah cerita dan bagaimana cerita menjadi sebuah wacana naratif. Analisis semiotik yang digunakan dalam penelitian ini berdasarkan penggunaan dalam paradigma konstruktivis yang bertujuan mengkonstruksi fenomena sebagai sebuah jawaban. Temuan penelitian ini ialah demonisasi umat Islam dikonstruksikan melalui sekuen/babakan nara- tif dalam film ‘Tanda Tanya’. Film ini menggambarkan Islam dalam sebuah citra masyara- kat yang tradisional, tidak beradab, teroris, merusak, dan agresif. Ini menciptakan suatu pemaknaan Islam sebagai masyarakat, agama, dan nilai yang demonik dan negatif. Kata kunci: demonisasi, Islam, naratif



Panggung ◽  
2013 ◽  
Vol 23 (3) ◽  
Author(s):  
Rajab Ritonga

ABSTRACT ‘Tanda Tanya (?)’ movie has become an Indonesian cinematic work with some controversies complement with it. The controversies lie on how the movie constructed their messages related to the description of Islamic image. The Islamic image which is depicted in this movie contains several sym- bols which created a demonization on the construction of Islam and Moslem. The narrative theory that has been employed focuses on greimas actantial analysis models which emphasizes on how the narrative creates a story and how the story becomes a narrative discourse. The semiotic analysis used on this research is in term of constructivist perspective which aims at constructing the phenomena as a whole answer. The result of the research is that demonization of Islam has been constructed through the narrative sequences of ‘Tanda Tanya’. The movie depicted Islam in an image of traditional, un- civilized, terrorism, destructive, and aggressive community. This created a meaning of Islam as a negative and demonic community, religion, and value. Keywords: demonization, Islam, narrative  ABSTRAK Film ‘Tanda Tanya (?)’ merupakan sebuah karya cinema Indonesia yang mengundang banyak kontroversi. Kontroversi terletak pada bagaimana film ini mengkonstruksikan pesan-pesannya terkait penggambaran citra Islam. Citra Islam yang digambarkan dalam film ini mengandung simbol-simbol yang menciptakan sebuah demonisasi pada kon- struksi Islam dan muslim. Dalam penelitian ini teori naratif digunakan sebagai alat un- tuk memberikan gambaran tentang fenomena demonisasi. Teori naratif yang digunakan berfokus pada model analisis aktansial greimas yang menitikberatkan bagaimana naratif menciptakan sebuah cerita dan bagaimana cerita menjadi sebuah wacana naratif. Analisis semiotik yang digunakan dalam penelitian ini berdasarkan penggunaan dalam paradigma konstruktivis yang bertujuan mengkonstruksi fenomena sebagai sebuah jawaban. Temuan penelitian ini ialah demonisasi umat Islam dikonstruksikan melalui sekuen/babakan nara- tif dalam film ‘Tanda Tanya’. Film ini menggambarkan Islam dalam sebuah citra masyara- kat yang tradisional, tidak beradab, teroris, merusak, dan agresif. Ini menciptakan suatu pemaknaan Islam sebagai masyarakat, agama, dan nilai yang demonik dan negatif. Kata kunci: demonisasi, Islam, naratif



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