scholarly journals Análise da Narrativa do Jogo Eletrônico: Estrutura, Imaginário e Mito em Super Mário Bros

REVISTA PLURI ◽  
2019 ◽  
Vol 1 (2) ◽  
pp. 46
Author(s):  
Érico Fernando De Oliveira ◽  
André Campos De Carvalho
Keyword(s):  
Fairy Tales ◽  
Narrative Structure ◽  
Narrative Structures ◽  
Existential Distress ◽  
Detective Stories

Este artigo investiga a narrativa da franquia de jogos eletrônicos Super Mário Bros. a partir dos trabalhos de Campbell (2005), que nos fala da função dos mitos e da jornada do herói; Durand (2001), que trata do Imaginário como ferramenta para lidar com a angústia existencial (o tempo que passa e a morte que se aproxima inexoravelmente); Propp (1984), que executa extensa catalogação das estruturas narrativas existentes nos contos maravilhosos; e Todorov (2003), que se debruça sobre a questão da narrativa à partir da intriga e que investiga as variações possíveis à época para os romances do tipo policial. O corpus de trabalho são os títulos Super Mario Bros.(1985); Super Mario Bros. 3 (1988); Super Mario World (1990); Super Mario 64 (1996) e Super Mario Galaxy (2006).Palavras-chave: Super Mário Bros; Mito; Estruturas narrativas; percurso do herói; imaginário.AbstractThis article investigate the narrative in the Super Mario Bros. videogame franchising, since the works of Campbell (2005), about the functions of the myths and the journey of the hero; Durand (2001), about the Imaginarium as a tool to deal with human existential distress (the time passing by, and the approaching death, inexorable); Propp (1984), who makes an extense cataloguing of the narrative structures in the fairy tales; and Todorov (2003), on the matter of the narrative from the intrigue, and investigates the variations possibles at his time in the detective stories. Our corpus include the following titles: Super Mario Bros. (1985); Super Mario Bros. 3 (1988); Super Mario World (1990); Super Mario 64 (1996), and Super Mario Galaxy (2006).Keywords: Super Mário Bros; Myth; Narrative structure; Journey of the hero; imaginarium.

scholarly journals Anlatı İçinde Anlatı: “Into The Woods (Sihirli Orman)” Filminin Peri Masalı Anlatıları İçindeki Gezintisi

Etkileşim ◽  
2021 ◽  
Vol 4 (7) ◽  
pp. 128-149
Author(s):  
Mustafa Algül
Keyword(s):  
Fairy Tales ◽  
Oral Tradition ◽  
Narrative Structure ◽  
Visual Narratives ◽  
Narrative Structures ◽  
The Status ◽  
Cinematic Narratives ◽  
Written Form ◽  
Oral Expression ◽  
The One

Myths, epics, and tales have survived for centuries in the oral expression tradition and have been permanently transcribed from oral tradition into written form. They are the most frequently recreated narratives in the cinema with their fantastic narrative structures. Hollywood cinema has been using tales as visual narratives for years. Tales, which have been turned into a structure open to the interpretation in accordance with the changing world, on the one hand is being reediting continuously. On the other hand, they gain new appearances along with intertwined narrative structures. In Into the Woods (Rob Marshall, 2014), four different fairy tales were used together. In this study, it is aimed to determine what kind of changes has been carried out in the film in terms of the different stages of the fairy tales. For this purpose, while collecting the data by examining the narrative structure of the fairy tales, the action areas are identified in terms of the “five components” in the Greimas’ ‘canonical narrative’. Briefly, the main object in this paper is to explicate the status of the film within the types of the cinematic narratives.

Being Serious: Modiano’s Use of History

2016 ◽  
pp. 69-90
Author(s):  
Akane Kawakami
Keyword(s):  
Narrative Structure ◽  
French History ◽  
The Real ◽  
Narrative Structures ◽  
Moral Choices

Modiano is still often thought of as a novelist of the Occupation, although he famously did not live through the period; nevertheless, his descriptions of les années noires are startling in their authenticity. This chapter examines what Modiano is doing by resurrecting – and appropriating – this particularly problematic period of French history in his novels. It suggests that, by placing the (French) reader within the period through the use of the empty narrator, the disorderly narrative structure and the unreal mode of representation, Modiano makes sure that s/he is deeply implicated in it. The narrative structures (analysed in the preceding chapters) ensure that the act of reading involves the making of moral choices for the reader, drawing him/her into the period which is brought alive by the ‘real’ names of places and people which refer back to history and reality.

Narrative Structure of Storytelling in Kelantanese Dialect

2018 ◽  
Vol 4 (2) ◽  
Author(s):  
Siti Norashikin Azmi ◽  
Hanita Hassan
Keyword(s):  
Data Collection ◽  
Native Speakers ◽  
Narrative Structure ◽  
Structured Interview ◽  
Young Female ◽  
Human Interaction ◽  
Audio Recording ◽  
Narrative Structures ◽  
Interview Session ◽  
Systematic Structure

Human interaction involves a process of sharing experiences, telling stories, and retelling stories in a form of narration. While telling story, the narration is structured in a way to make sense to the audiences.This study examined the narrative structures in Kelantanese dialect used by young female native speakers. The participants were two (2) female Kelantanese students, aged 25 and 27 years old, who have completed their undergraduate studies in local universities. Audio recording and semi-structured interview were two types of instruments used for the data collection. Interview session of 1012 words was analyzed using a combination of the theory of Malay sentence classifications and the theory of narrative structure. The findings of this study reveal that the narration in Kelantanese dialect has a systematic structure which consists of title and elaboration. The title consists of the abstract and orientation, while elaboration includes the four stages of narrative structure which are complication, evaluation, resolution and coda. The findings show that the story is unfolded in a structural manner-which means it has the idea and the elaboration of the idea (the story).

scholarly journals The Narrative Structures of Glory and Glorification in the Fourth Gospel

2010 ◽  
Vol 56 (3) ◽  
pp. 343-366 ◽  
Author(s):  
Jesper Tang Nielsen
Keyword(s):  
Narrative Structure ◽  
Fourth Gospel ◽  
Son Of God ◽  
Main Structure ◽  
Narrative Structures ◽  
Definition Of ◽  
Divine Identity

This article takes part in the reopened discussion of the Johannine δόξα/δοξάζϵιν by interpreting the concept in light of the narrative structures in the Fourth Gospel. On the basis of Aristotle's definition of a whole and complete μῦθος and his distinction between πϵριπϵ́τϵια and ἀναγνώρισις it is shown that the main structure in the Johannine narrative concerns humans' recognition of Jesus' identity as son of God. As a consequence of being firmly integrated in this narrative structure, the Johannine concept δόξα/δοξάζϵιν basically denotes divine identity and recognition. Opposing a contemporary trend in Johannine studies it is finally argued that δόξα/δοξάζϵιν in the Fourth Gospel should be understood within the normal narrative sequence.

scholarly journals KABA BONSU PINANG SIBARIBUIK: FUNGSI PELAKU YANG CUKUP LENGKAP DENGAN PENYIGIAN MORFOLOGI VLADIMIR PROPP The Narratives of Folktale Bonsu Pinang Sibaribuik: Almost Complete in Number of its Function of Action According to Vladimir Propps’s Narratology

Kadera Bahasa ◽  
2020 ◽  
Vol 12 (1) ◽  
pp. 58-76
Author(s):  
Mulyadi Mulyadi
Keyword(s):  
Fairy Tales ◽  
Qualitative Method ◽  
Narrative Structure ◽  
Story Telling ◽  
Universal Structure ◽  
Vladimir Propp

AbstrakArtikel ini menganalisis genre sastra tradisional Minangkabau, Kaba Bonsu Pinang Sibaribuik (KBPS), dengan menggunakan pendekatan naratologi morfologi Valdimir Propp. Dengan menggunakan metode kualitatif dan teori fungsi pelaku morfologi cerita rakyat dari Propp, penelitan ini membuktikan bahwa fungsi pelaku dalam kaba ini sangat relevan dengan teori Propp. Terdapat sebanyak 29 fungsi dalam kaba KBPS dari 31 yang dikemukakan Propp, dengan tiga pergerakan cerita atau tiga pengulangan pola fungsi tindakan pelaku, dengan tujuh persebaran fungsi pelaku yang sesuai/lengkap dengan Propp (lingkungan aksi: penjarah; pemberi (donor); pembantu/penolong; seorang putri (yang dicari) dan ayahnya; perantara/utusan; pahlawan/wira; dan pahlawan palsu. Narasi kaba ini membuktian relevasi dan equivalensi struktur kesejagadannya dengan pola-pola cerita peri Rusia yang diteliti Propp. Fungsi-fungsi tindakan dikemukakan Propp itu pada kaba KBPS bukan semata sebuah hasil rekayasa dan kejeniusan tukang cerita, hal itu juga keajaiban universalitasnya dalam penciptaan struktur naratif tradisional yang unik.Kata-kata kunci: Bonsu Pinang Sibaribuik, fungsi, morfologi cerita rakyat, struktur naratif, universal, Vladimir Propp  AbstractThis article analyses a traditional Minangkabau epic narrative entitled Kaba Bonsu Pinang Sibaribuik (KBPS) by using Vladimir Propp’s morphology of folktale. By using qualitative method and the theory of the function of action in Propp’s theory, this research proves that the function of action of the narrative is very relevant to the Propp’s pattern. From the analysis it was found that there are 29 functions (act of actions) in the narrative compared with 31 functions stated by Propp, with three movements of the story or three repetition of the functions of action with seven extent of function of acts that are fit to Propp invented (the circle of action: villain; donor; helper; a princess and her father; dispatcher; hero; and false hero). This narrative has proved its pattern has a universal structure as the pattern of fairy tales studied by Propp. The function of action proposed by Propp as revealed in the narrative of BPS is not a mere story telling intelligence, it is also as wonderful of the universality pattern in the making of unique traditional narrative structure.Keywords: Bonsu Pinang Sibaribuik; function, morphology of folktale, narrative structure; universal, Vladimir Propp.

scholarly journals Lingual Aspects of Mystical Narration in V. Shevchuk’s Novel “The Beginning of Horror”

2020 ◽  
pp. 109-125
Author(s):  
Florij Batsevych
Keyword(s):  
Narrative Analysis ◽  
Narrative Structure ◽  
Point Of View ◽  
The Novel ◽  
Unreliable Narrator ◽  
Narrative Structures ◽  
Christian View ◽  
Flow Of Time ◽  
The Individual

In recent decades, the researchers of artistic stories have paid their attention to the narrative analysis of a set of weird texts of mystical and absurd content, works of “black humour”, fantastic (khymerna) prose created by a non-anthropic narrator or by an author in a changed state of consciousness. These texts serve the field of actualizing atypical and non-usual narrative structures, the sphere of meaningful changes within the bounds of narrative categories and, which is important, of forming special communicative senses of aesthetic nature. The basic problems of the linguistic analysis of “unnatural” stories are identifying the types of changes in the narration constituents, reasons of these changes and narrative categories (first of all, events, participants, objects, chronotope characteristics, points of view, moduses, modalities, etc.). The article analyses one of the texts of mystical content aiming at the revealing of some specificities of the structure and functioning of the so-called “unnatural artistic narrations”. The object of the research is V. Shevchuk’s novel “The Beginning of Horror”. The subject of the analysis is lingual means of the narrative structure formation, the author’s objectification of the mystical artistic sense and lingual “signals” of a reader’s perception of these senses. The most important semantic means of creating mystical atmosphere of the story are predicates that ascribe the names of their referents atypical dynamic and static features connected with the Christian view of the infernal world. It helps to form narrative events that root in weird situations, which cannot take place in reality. Non-dispositional nature of these situations correlates with the reference to the mystery that goes far beyond the bounds of a usual perceptive and psycho-mental background. Among the pragmatic means of creating mystical atmosphere of the main hero’s story as well as of the novel in general, we specify the individual inimitative perception of the flow of time and modality of “real unreality” formed by the role of an unreliable narrator and a vague point of view of the described event with its perceptive, ideological and time planes of objectification. Due to the increasing interest to various expressions of the esoteric, the increase of the number of artistic works of such content and growth of their popularity, we consider it topical to proceed in further investigations of lingual-narrative aspects of “unnatural” stories, in particular, the ones with the modus of mystical in them.

Emotions, Activism and Documentary Storytelling: A Biographical Production-Based Case Study

2021 ◽  
Vol 5 (1) ◽  
pp. 103-123
Author(s):  
Tom Murray
Keyword(s):  
Documentary Film ◽  
Life Story ◽  
Narrative Structure ◽  
Popular Media ◽  
Film Production ◽  
Cultural Productions ◽  
Narrative Structures

Abstract The biography of Douglas Grant (c.1885–1951) has been publicly and popularly told in media since 1916. Interestingly, Grant’s unusual life-story has consistently been deployed to serve various political agendas. This essay examines the role of popular-media biographies of Douglas Grant and the emotions embedded in them, and utilises a documentary-film production as a case study to examine relations between these emotions, activist agendas and documentary-film storytelling. Additionally, given the consistent use of tragedy as a formal narrative structure employed in tellings of Douglas Grant’s story, this essay also describes how narrative structures are not culturally neutral, but are themselves emotionally suggestive cultural productions. Analysing a century of tellings of the Douglas Grant biography, this essay also offers insights into how conquest-colonial ideology is manifest in these often ‘tragic’ tales. As an attempt at decolonising scholarship, this essay also responds to insights by Indigenous commentators within the case-study text to reflect on Indigenous ontologies and the role of Country and Indigenous futurism as places/sites/histories of hope.

Of Windmills and Rope Dancing: The Instructional Value of Narrative Structures

1987 ◽  
Vol 14 (4) ◽  
pp. 214-216 ◽  
Author(s):  
L. Dodge Fernald
Keyword(s):  
Cognitive Psychology ◽  
Narrative Structure ◽  
College Level ◽  
Introductory Textbook ◽  
Narrative Structures ◽  
Organizational Framework ◽  
Narrative Mode ◽  
Psychological Concepts

Rationale for the instructional value of narrative structures has been emerging steadily in cognitive psychology. The organizational framework that narrative structures offer may be useful for college-level instruction. Introductory textbook chapters were prepared in three modes: traditional, using successive examples to illustrate psychological concepts; intermediate, using a brief sequence of related events; and narrative, using an extended narrative structure. Undergraduates preferred the narrative mode and considered it more enjoyable and more useful for learning.

scholarly journals A Picture is Worth More Words Over Time: Multimodality and Narrative Structure Across Eight Decades of American Superhero Comics

2017 ◽  
Vol 6 (1) ◽  
Author(s):  
Neil Cohn ◽  
Ryan Taylor ◽  
Kaitlin Pederson
Keyword(s):  
Narrative Structure ◽  
Written Language ◽  
Visual Language ◽  
Corpus Analysis ◽  
Publication Date ◽  
Visual Narrative ◽  
Visual Narratives ◽  
Multimodal Interactions ◽  
Narrative Structures ◽  
Over Time

AbstractThe visual narratives of comics involve complex multimodal interactions between written language and the visual language of images, where one or the other may guide the meaning and/or narrative structure. We investigated this interaction in a corpus analysis across eight decades of American superhero comics (1940–2010s). No change across publication date was found for multimodal interactions that weighted meaning towards text or across both text and images, where narrative structures were present across images. However, we found an increase over time of narrative sequences with meaning weighted to the visuals, and an increase of sequences without text at all. These changes coincided with an overall reduction in the number of words per panel, a shift towards panel framing with single characters and close-ups rather than whole scenes, and an increase in shifts between temporal states between panels. These findings suggest that storytelling has shifted towards investing more information in the images, along with an increasing complexity and maturity of the visual narrative structures. This has shifted American comics from being textual stories with illustrations to being visual narratives that use text.

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