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.

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.

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 Design and Narrative Structure for the Virtual Human Scenarios

2007 ◽  
Vol 6 (4) ◽  
pp. 1-10 ◽  
Author(s):  
Stefan Göbel ◽  
Ido Aharon Iurgel ◽  
Markus Rössler ◽  
Frank Hülsken ◽  
Christian Eckes
Keyword(s):  
Narrative Structure ◽  
Learning Systems ◽  
Virtual Human ◽  
Traditional Learning ◽  
Learning Effects ◽  
Story Structure ◽  
Virtual Characters ◽  
Human System ◽  
Narrative Structures ◽  
The One

This article describes the design of the two application scenarios of the Virtual Human project and its integration into the Virtual Human system. This includes overall concepts and considerations of the demonstrators for the two application scenarios (learning, edutainment) as well as underlying methodic-didactic aspects for knowledge transmission and narrative concepts for story structure and story control during run-time of the system. Hence, in contrast to traditional learning systems with virtual characters as virtual instructors, an exciting and suspenseful interactive information space has been created. On the one hand, the methodic-didactic methods and VH learning model guarantee learning effects, on the other hand narrative structures and an emotion module provide the ground for a playful and exciting story environment, whereby the users can interact and discuss with a set of virtual characters.

From comics to biology diagrams: structure and inference in visual narratives of transformation

2017 ◽  
Vol 16 (1) ◽  
pp. 85-108 ◽  
Author(s):  
Hugo Almeida
Keyword(s):  
Comic Book ◽  
Narrative Structure ◽  
Image Sequence ◽  
Visual Language ◽  
Morphological Transformation ◽  
Visual Narratives ◽  
Narrative Structures ◽  
Human Ability ◽  
Scientific Diagrams ◽  
Context Specific

It has been proposed that comics are a particular form of a fundamental human ability to produce visual narratives – a visual language. The expression of this visual language has received little attention outside comics. To address this matter, this work compares comics and scientific diagrams, focusing on representations of morphological transformation. Cohn’s Visual Narrative Grammar model, the role of dynamic knowledge structures and semiotics are considered in this analysis. A comic book and a diagram are investigated. Both reveal two kinds of transformation narratives: those that are depicted in the image sequence, and those that are inferred. In contrast to depicted narratives, inferred narratives do not depend on a narrative structure. Instead, they require context-specific instructions to organize subjects into narratives. Additionally, simultaneous events in visual narratives are proposed to generate concurrent narrative structures within a single image sequence.

On Transcription and Oral Transmission in Aseneth: A Study of the Narrative’s Conception

2016 ◽  
Vol 47 (1) ◽  
pp. 119-142
Author(s):  
Nicholas A. Elder
Keyword(s):  
Oral Tradition ◽  
Oral Transmission ◽  
Written Form ◽  
The One ◽  
Joseph And Aseneth ◽  
Romance Novel ◽  
Intonation Unit

The purpose of this article is to investigate and elucidate the oral aspects of Joseph and Aseneth. This is to suggest that Joseph and Aseneth had an oral tradition that preceded, and likely also proceeded, the written version(s) that is (are) now extant. The text is best understood using oral hermeneutics. By making this argument I do not postulate any one oral or written genre for the text, nor any argument for how it might have been composed. Instead, I seek to demonstrate that Joseph and Aseneth retains strong residual orality. Many of the oral features of the text are salient in its written form, including: the consistent use of paratactic καί; the use of the ‘intonation unit’; the one new idea constraint, which is often accomplished by the form ἦν; the visible and descriptive nature of the narrative; and the redundancy of certain words and phrases. The second half of the article offers some repercussions that an oral existence of the narrative might have on Joseph and Aseneth scholarship. The most pertinent effects relate to the assumption that Joseph and Aseneth is a Jewish Hellenistic romance novel and to the scholarly divide concerning the ‘originality’ of the longer b-family textual recension as opposed to the shorter d-family textual recension.

WAWACAN SIMBAR KANCANA NGADEG RAJA KANA NASKAH CARITA TEATER GAOK (Kajian Struktural dan Transformasi)

LOKABASA ◽  
2016 ◽  
Vol 7 (2) ◽  
pp. 145
Author(s):  
Muhammad Naoval
Keyword(s):  
Human Life ◽  
Narrative Structure ◽  
Local History ◽  
Future Generations ◽  
The Public ◽  
Narrative Structures ◽  
Written Form ◽  
Third Person ◽  
The Third Person ◽  
Descriptive Method

Sekarang ini wawacan sudah kurang dikenal lagi oleh masyarakat, karena kurangnya media informasi yang bisa memperkenalkan sastra lama kepada masyarakat. Selain itu orang yang bisa membaca dan yang mempunyai buku wawacanpun terbatas, karena tidak semua masyarakat mempunyai wawacan. Padahal banyak nilai-nilai dan filsafat hidup manusia yang terkandung didalamnya. Tujuan penelitian ini yaitu agar dapat mengetahui nilai-nilai yang terkandung dalam wawacan, juga agar eksistensi sastra dalam bentuk tulisan tetap ada untuk diwariskan ke generasi yang akan datang. Adapun analisis yang dilakukan meliputi: (1) struktur naratif Wawacan Simbar Kancana Ngadeg Raja, (2) struktur naskah cerita teater gaok, dan (3) transformasi struktur Wawacan Simbar Kancana Ngadeg Raja pada naskah cerita teater gaok. Untuk mencapai tujuan tersebut, penelitian ini menggunakan pendekatan kualitatif, metode deskriptif, dan teknik yang digunakan adalah studi pustaka. Berdasarkan pada hasil penelitian mengenai struktur, tema yang terdapat dalam Wawacan Simbar Kancana Ngadeg Raja adalah tema perjuangan. Pelakunya yaitu protagonis dan antagonis. Alurnya adalah alur maju. Latar tempat yang ditemukan yaitu di Kerajaan Talaga, Gunung Bitung, dan hutan. Sudut pandang dalam Wawacan Simbar Kancana Ngadeg Raja adalah pengarang jadi orang ketiga tidak terbatas, artinya pengarang bisa menjadi semua karakter dan menempatkan dirinya sebagai orang ketiga. Struktur naskah cerita teater gaok, tidak beda jauh dengan struktur naratif, dalam Wawacan Simbar Kancana Ngadeg Raja. Dari seluruh analisis struktur naratif, baik wawacan maupun naskah cerita teater gaok terdapat perbedaan, terutama pada alur cerita. Setelah dianalisis, Wawacan Simbar Kancana Ngadeg Raja kana Naskah Carita Teater Gaok bisa jadi media untuk melestarikan sejarah dan budaya lokal, oleh karena itu masyarakat akan lebih mengenal tentang sejarah lokal sebagai warisan budaya. ABSTRACTNowadays, wawacan is no longer known by the public due to the lack of media and information that could introduce old literature to the public. In addition, despite many values and philosophy of human life contained, neither all people can read nor have books of wawacan. The purpose of this study is to be aware of the values contained in wawacan, as well as for the existence of literature in written form remains to be passed on to the future generations. The analysis performed include: (1) the narrative structure Wawacan Simbar Kancana Ngadeg Raja, (2) the structure of gaok theater script, and (3) the transformation of the structure of Wawacan Simbar Kancana Ngadeg Raja in gaok theater script. To achieve these objectives, this study used a qualitative approach, descriptive method, and the techniques used are literature studies. Based on the results of research on the structure, themes contained in Wawacan Simbar Kancana Ngadeg Raja is the theme of the struggle. Players are protagonist and antagonist with chlorogonical plot used as its plot setting. Background places are found to be in the Kingdom Talaga, Gunung Bitung, and forests. To explain further, viewpoints used in Wawacan Simbar Kancana Ngadeg Raja is the author becomes the unlimited third person. It means that the author can be all the characters and putting himself in the third person. Moreover, the structure of gaok theater script are not much different from the narrative structure in Wawacan Simbar Kancana Ngadeg Raja. Analysis on narrative structures of wawacan and gaok theater script shows that there is a difference between them, especially in the storyline. Therefore, Wawacan Simbar Kancana Ngadeg Raja into gaok theatre script could be a means of preserving local history and culture so that the public will get to know about the local history as a cultural heritage. 

Devotional Transformation

2005 ◽  
Vol 1 (2-3) ◽  
pp. 237-257
Author(s):  
Ravi Vasudevan
Keyword(s):  
Religious Belief ◽  
Film Genre ◽  
Narrative Structures ◽  
The Status ◽  
Film Spectatorship ◽  
The Relationship

This article focuses on the specific Indian cinematic form of the Hindu devotional film genre to explore the relationship between cinema and religion. Using three important early films from the devotional oeuvre—Gopal Krishna, Sant Dnyaneshwar, and Sant Tukaram—as the primary referent, it tries to understand certain characteristic patterns in the narrative structures of these films, and the cultures of visuality and address, miraculous manifestation, and witnessing and self-transformation that they generate. These three films produced by Prabhat Studios between the years 1936 and 1940 and all directed by Vishnupant Damle and Syed Fattelal, drew upon the powerful anti-hierarchical traditions of Bhakti, devotional worship that circumvented Brahmanical forms. This article will argue that the devotional film crucially undertakes a work of transformation in the perspectives on property, and that in this engagement it particularly reviews the status of the household in its bid to generate a utopian model of unbounded community. The article will also consider the status of technologies of the miraculous that are among the central attractions of the genre, and afford a reflection on the relation between cinema technology, popular religious belief and desire, and film spectatorship.

Grimm Legacies

2014 ◽  
Author(s):  
Jack Zipes
Keyword(s):  
Fairy Tales ◽  
Oral Tradition ◽  
Fairy Tale ◽  
Folk Tales ◽  
Brothers Grimm ◽  
Folk Tale ◽  
The World ◽  
History Of ◽  
High Standards ◽  
Wilhelm Grimm

This book explores the legacy of the Brothers Grimm in Europe and North America, from the nineteenth century to the present. The book reveals how the Grimms came to play a pivotal and unusual role in the evolution of Western folklore and in the history of the most significant cultural genre in the world—the fairy tale. Folklorists Jacob and Wilhelm Grimm sought to discover and preserve a rich abundance of stories emanating from an oral tradition, and encouraged friends, colleagues, and strangers to gather and share these tales. As a result, hundreds of thousands of wonderful folk and fairy tales poured into books throughout Europe and have kept coming. The book looks at the transformation of the Grimms' tales into children's literature, the Americanization of the tales, the “Grimm” aspects of contemporary tales, and the tales' utopian impulses. It shows that the Grimms were not the first scholars to turn their attention to folk tales, but were vital in expanding readership and setting the high standards for folk-tale collecting that continue through the current era. The book concludes with a look at contemporary adaptations of the tales and raises questions about authenticity, target audience, and consumerism. The book examines the lasting universal influence of two brothers and their collected tales on today's storytelling world.

Elementy poetyki ludowej w powieści Rzeczy uprzyjemniające. Utopia T. Bołdak-Janowskiej

2020 ◽  
pp. 182-197
Author(s):  
Agnieszka Goral
Keyword(s):  
Fairy Tales ◽  
Text Analysis ◽  
Literary Text ◽  
Source Material ◽  
Human Existence ◽  
The Other ◽  
The Novel ◽  
Literary Works ◽  
The One ◽  
Cultural Features

The aim of the article is to analyse the elements of folk poetics in the novel Pleasant things. Utopia by T. Bołdak-Janowska. The category of folklore is understood in a rather narrow way, and at the same time it is most often used in critical and literary works as meaning a set of cultural features (customs and rituals, beliefs and rituals, symbols, beliefs and stereotypes) whose carrier is the rural folk. The analysis covers such elements of the work as place, plot, heroes, folk system of values, folk rituals, customs, and symbols. The description is conducted based on the analysis of source material as well as selected works in the field of literary text analysis and ethnolinguistics. The analysis shows that folk poetics was creatively associated with the elements of fairy tales and fantasy in the studied work, and its role consists of – on the one hand – presenting the folk world represented and – on the other – presenting a message about the meaning of human existence.

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