scholarly journals TEORI NARATOLOGI GÉRARD GENETTE (TINJAUAN KONSEPTUAL)

TELAGA BAHASA ◽  
2020 ◽  
Vol 7 (2) ◽  
pp. 163-172
Author(s):  
Herman Didipu
Keyword(s):  
Subject Matter ◽  
Main Idea ◽  
Narrative Structure ◽  
Narrative Text ◽  
Narrative Discourse ◽  
Real Situation ◽  
Conceptual Thinking ◽  
The Subject ◽  
Gerard Genette

Artikel ini bertujuan menguraikan pokok pemikiran konseptual teori naratologi Gérard Genette. Pokok pemikiran teori naratologi Gérard Genette dituangkan dalam bukunya yang berjudul Narrative Discourse: An Essay in Method. Genette mengusulkan untuk menggunakan tiga istilah yang berbeda. Pertama, kata story ‘cerita’ yang menjadi signified ‘petanda’ atau konten narasi. Istilah story ini sepadan dengan kata histoire (Prancis) dan geschichte (Jerman). Kedua, kata narrative ‘naratif atau penceritaan’ sebagai signifier atau penanda, pernyataan, wacana atau sebagai teks naratif itu sendiri. Istilah narrative sejajar dengan kata récit (Prancis) dan discourse (Inggris). Ketiga, istilah narrating ‘menceritakan‘sebagai aksi atau tindakan memproduksi naratif, atau dalam pengertian yang lebih luas, sebagai keseluruhan situasi nyata atau fiksi di mana aksi terjadi. Genette mengemukakan tiga kategori struktur naratif sebagai dasar pemikirannya, yaitu tense, mood, dan voice. Dalam pembahasan bukunya, selanjutnya Genette membagi unsur tense menjadi tiga bagian, yaitu order, duration, dan frequency. Dengan demikian, pokok bahasan struktur naratif/penceritaan Gérard Genette terdiri atas lima kategori utama, yaitu (1) urutan naratif (order), (2) durasi naratif (duration), (3) frekuensi naratif (frequency), (4) modus naratif (mood), dan (5) suara naratif (voice).Kata kunci: naratologi, Gérard Genette, urutan, durasi, frekuensi, modus, suara naratif                         Gérard Genette Narratology Theory (Conceptual Review)                                                                                      Abstract This article aims to describe the main conceptual thinking of the narratology theory of Gerard Genette. The main idea of the Gérard Genette narratology theory is outlined in his book entitled Narrative Discourse: An Essay in Method. Genette proposed to use three different terms. First, said the 'story' which became signified or narrative content. The term story is commensurate with the words histoire (French) and geschichte (Germany). Second, the narrative word as a signifier, statement, discourse or narrative text itself. The term narrative is parallel to the word récit (French) and discourse (English). Third, the term narrating as an action or action to produce a narrative, or in a broader sense, as a whole real situation or fiction where the action takes place. Genette presents three categories of narrative structure as the basis for thinking, namely tense, mood, and voice. In the discussion of his book, Genette then divides tense elements into three parts, namely order, duration, and frequency. Thus, the subject matter of the Gérard Genette narrative structure consists of five main categories, namely (1) order, (2) duration, (3) frequency, (4) mood, and (5) voice. Keywords: narratology, Gérard Genette, order, duration, frequency, mood, voice

Auf der Suche nach der Zeit als narratologische Analysekategorie. Mit Beispielen aus der setsuwa-Literatur

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Sebastian Balmes
Keyword(s):  
Classical Theory ◽  
Historical Development ◽  
Textual Analysis ◽  
Cognitive Theory ◽  
Temporal Dynamics ◽  
Narrative Text ◽  
Narrative Discourse ◽  
Time Concepts ◽  
The Relationship ◽  
Gerard Genette

Abstract There are three levels on which time is constitutive for narrative discourse: a) without time events as well as the story world cannot be conceived; b) time is needed to tell a story; c) the recipient of a narrative text makes temporal connections by recalling something that happened earlier in the story or the way in which something has been told, or by wondering how the narrative will continue. An examination of these levels shows, however, that the underlying time concepts or temporalities differ significantly. In most narratological studies, the focus lies on the relationship between ‘narrated time’ and ‘narrating time’ (Günther Müller, “Die Bedeutung der Zeit in der Erzählkunst,” 1947), pertaining to what Gérard Genette (“Discours du récit,” 1972) has systematized under the categories of ‘order,’ ‘duration,’ and ‘frequency.’ While a textual analysis based on these concepts may lead to promising results, there are also limitations to this approach. Using examples from Japanese twelfth- to thirteenth-century setsuwa literature, I demonstrate that Meir Sternberg’s (“Telling in Time (II): Chronology, Teleology, Narrativity,” 1992) cognitive theory based on reception and centered around the temporal dynamics of suspense, curiosity, and surprise provides a useful toolkit to make sense of narratives where ‘classical’ theory fails. The application on a tale from Konjaku monogatari shū (24:11) has implications for our understanding of the transmission of the story and allows us to reject one existing theory of the historical development of the tale.

scholarly journals Ten simple rules for structuring papers

2016 ◽  
Author(s):  
Brett Mensh ◽  
Konrad Kording
Keyword(s):  
Career Development ◽  
Subject Matter ◽  
Main Idea ◽  
Scientific Writing ◽  
High Quality ◽  
Simple Rules ◽  
The Subject

AbstractGood scientific writing is essential to career development and to the progress of science. A well-structured manuscript allows readers and reviewers to get excited about the subject matter, to understand and verify the paper’s contributions, and to integrate these contributions into a broader context. However, many scientists struggle with producing high-quality manuscripts and typically get little training in paper writing. Focusing on how readers consume information, we present a set of 10 simple rules to help you get across the main idea of your paper. These rules are designed to make your paper more influential and the process of writing more efficient and pleasurable.

scholarly journals The Semantic Structure of narrative discourse in the novel " The Alley of Mudaq " by Naguib Mahfouz: التشكلات الدلالية للخطاب السردي في رواية "زقاق المدق" لنجيب محفوظ

2019 ◽  
Vol 5 (4) ◽  
Author(s):  
Laila Othman Abdalla
Keyword(s):  
Discourse Analysis ◽  
Deep Structure ◽  
Narrative Structure ◽  
Narrative Text ◽  
Narrative Discourse ◽  
Semantic Structure ◽  
The Novel ◽  
Semiotic Analysis ◽  
Fiction Writing ◽  
Semiotic Approach

  Understanding the textual structure of the narrative construct in novels is essential in order to explore the aesthetics of fiction writing, which is also a basic factor for reading and criticism in its interpretation and hermeneutic aspects. Accordingly, this study aims to uncover the underlying principles of the narrative structure in the novel ‘The Alleys of Mudaqq’ from the perspective of viewpoint, style, description, rhetoric and language as well as the functions served by the aforementioned discourse modules semantically, formally or pragmatically depending on the semiotic approach. One of the main motives behind this study is the importance of the semantic structure in semiological studies and is considered an important aspect of discourse analysis of narrative text. Even though it goes beyond its role as analyzing the intrinsic and extrinsic meanings of discourse to occasionally serve as description and sometimes as symbolism and at other times in the form of artistic imagery. One of the consequences of semiotics in fiction analysis is that it views fiction as a narrative structure, i. e. , a larger network of relations that underlie the superstructure of a text. Thus, the approach which the semiotic analysis of the narrative discourse suggests is based on linguistic samples that determine the surface and deep structure of the narrative path. Moreover, the narrative system in ‘The Alleys of Mudaqq’ is an objective correlative the framework of which is related to an invitation to the high values and ethics of the humans, i. e. , the value of humans is not measured by the skills or the appearance he/she possesses, rather a human being’s ambitions should be built upon the skills and faculties he/she has and what he/she can actually perform.    

scholarly journals Parametric status of the subject of utterance

2020 ◽  
Vol 26 (4) ◽  
pp. 88-94
Author(s):  
N. K. Danilova
Keyword(s):  
Interpersonal Relations ◽  
Point Of View ◽  
Narrative Text ◽  
Narrative Discourse ◽  
Grammatical Subject ◽  
Zero Position ◽  
The World ◽  
The Subject ◽  
The Moment ◽  
The Relationship

The article proposes a possible solution to the problem of the poly-subjectness of narrative discourse, associated with the hybrid nature of artistic communication, in which not only the world of narration is modeled, but also the communicative situation of communication. As one of the parameters of the discursive process, the analysis of which makes it possible to observe the intensive interaction of a number of systems participating in modeling the imaginary world of a work of art, the subject of the statement is considered, in M. Foucault's terminology, an empty position in discourse. The narrative text can be viewed as a complex of a number of communicative phenomena, as a special type of social interaction. A speech act, in which the text becomes an integral component, represents, according to this point of view, a two-unit complex of events, the process of the speaker's production of an utterance and the process of interpretive perception of the finished speech product. The interaction of the author and the reader takes place at the point I here now (Origo), in which an event takes place, which in the theory of the speaking subject of Yu. Kristeva is defined as passing the zero position subject of evocation-process and statement-result. In a complexly structured artistic message, the dynamics of the subject of utterance is expressed in the alternation of pronoun forms. In the structure of discourse, the subject of utterance forms a position, filling which the grammatical subject realizes the relationship between the grammatical and the communicative system, which represents a complex perspective of communication. The observer's area, which determines the communicative situation of narrative discourse, completely excluding interpersonal relations (this is what Bakhtin means when he speaks of the absence of dramatic relations between the author and the reader). The introduction of the observer category makes it possible to describe the position of out-of-access, according to which the author is on the border of fiction. The perspective of the observer explains another feature of literary communication, described by M.M. Bakhtin as the birth of meanings at the moment of meeting (dialogue) of the consciousnesses of both participants.

scholarly journals Rupert Goold’s Macbeth (2010): Surveillance society and society of control

Sederi ◽  
2017 ◽  
pp. 81-103
Author(s):  
Víctor Huertas Martín
Keyword(s):  
Subject Matter ◽  
Power Relations ◽  
Narrative Structure ◽  
Film Version ◽  
The Subject ◽  
Hybrid Recording ◽  
Surveillance Society ◽  
Society Of Control

This article deals with Rupert Goold’s film version of Macbeth (2010). Based on a stage production, this film is set in an unspecified Soviet country. I will analyze Goold’s creation of a stage-to-screen hybrid recording framed as a surveillance film. Relying on Michel Foucault’s and Gilles Deleuze’s works as well as various contributions made by Cultural Materialist and New Historicist critics, I intend to explore the power relations in this surveillance film. I will also examine how the surveillance film conventions deployed by Goold turn the narrative into a meta-filmic event. This allows the viewer to perceive surveillance as part of the subject matter of the story and as inseparable from its narrative structure. Eventually, this will serve to explore how surveillance entirely transforms the filmscape. What begins as a film set in a surveillance society ends up as an environment dominated by a society of control.

scholarly journals Pengembangan Teks Anekdot sebagai Bahan Ajar Siswa Kelas X MAN Pematangsiantar

2020 ◽  
Vol 13 (1) ◽  
pp. 21
Author(s):  
Tri Wahyuni Lubis ◽  
Sri Gusmiati ◽  
Ikhwanuddin Nasution
Keyword(s):  
Language Learning ◽  
Narrative Structure ◽  
Narrative Text ◽  
Teaching Material ◽  
Teaching Materials ◽  
Material Test ◽  
The Subject

ABSTRAKPenelitian ini bertujuan untuk mengetahui pengembangan teks anekdot berdasarkan struktur narasi sebagai bahan ajar pada siswa kelas X MAN Pematangsiantar. Penelitian ini menggunakan metode R&D. Subjek penelitian ini adalah siswa kelas X MAN Pematangsiantar. Langkah-langkah yang digunakan dalam penelitian ini adalah merekontruksi teks anekdot menjadi karangan narasi sesuai dengan struktur, menyeleksi karangan narasi berdasarkan struktur narasi karya siswa, merevisi beberapa karangan narasi menjadi antologi narasi, dan validasi para ahli. Berdasarkan uji keefektifan materi, bahan ajar efektif 88,9% dengan kategori sangat baik. Dari beberapa hasil karangan narasi karya siswa, peneliti mengambil sampel untuk dijadikan sebuah antologi sebagai bahan ajar siswa. Dari hasil para ahli, kelayakan isi dapat mendapatkan persentase sebesar 82,5% dengan kategori sangat baik, penyajian pembelajaran mendapatkan persentase sebesar 90% dengan kategori sangat baik, dan kebahasaan pembelajaran mendapatkan persentase 80% dengan kategori baik. Dari hasil validasi tersebut antologi pengembangan teks anekdot menjadi karangan narasi dapat dikatakan layak digunakan sebagai bahan ajar.Kata kunci: pengembangan, anekdot, narasi, antologi ABSTRACTThe objective of the research was to determine the development of anecdote text based on the narrative structure as teaching material on grade X MAN Pematangsiantar. This research applied R&D method. The subject chosen was grade X MAN Pematangsiantar. There were some stages carried out, namely; reconstructing anecdote text to narrative essay in accordance with the structure, selecting narrative essays based on the narrative structure in students' work, revising some narrative essays to be narrative anthologies, and validating by experts. Based on the effectiveness of the material test, it showed that effectiveness was 88.9% with very good category. Then, from students' written narrative work, the researcher selected samples to be used as a students anthologies and used as students teaching materials. From experts validation, the worthiness of validity was 82,5% with a very good category, presentation of learning reached 90% with a very good category, and language learning gets a percentage of 80% with a good category. Based on the validation, the development of anecdote text as a narrative text can be used as teaching material.Keywords: development, anecdote, narrative, anthology

scholarly journals HACIA UNA TEORÍA DEL FUNCIONAMIENTO SEMIÓTICO DEL PERSONAJE EN EL TEXTO NARRATIVO. PAPELES Y FACETAS DEL PERSONAJE NARRATIVO EN TIRANO BANDERAS DE VALLE-INCLÁN

2021 ◽  
Vol 30 ◽  
pp. 731
Author(s):  
José R. VALLES CALATRAVA
Keyword(s):  
Narrative Text ◽  
Narrative Discourse ◽  
The Subject ◽  
Narrative Characters ◽  
Theoretical Proposal

Resumen: Este artículo repasa primero las principales contribuciones teóricas al tema del personaje narrativo. Presenta luego una nueva propuesta teórica distinguiendo dos papeles (actantes / actores) y facetas (individuos / tipos) dentro de la categoría del personaje y en relación con los tres estratos del texto narrativo (fábula-función, trama-acción y relatodiscurso). Por último, esta propuesta teórica es verificada mediante el análisis del funcionamiento de tales papeles y facetas en los personajes narrativos de Tirano Banderas de Valle-Inclán.Abstract: This article first reviews the main theoretical contributions to the subject of the narrative character. It then presents a new theoretical proposal that differentiates two roles (actants / actors) and facets (individuals / types) within the category of character in relation to the three levels of the narrative text (story-function, plot-action and narrative discourse). Finally, this theoretical proposal is subsequently verified trough the analysis of the functioning of the narrative characters in Valle-Inclán’s Tirano Banderas. 

scholarly journals Story Story Time and Narrative Time to Generate Tension in Abu Gatiʿ

2018 ◽  
Vol 6 (2) ◽  
pp. 599
Author(s):  
Amel A Mahmoud
Keyword(s):  
Present Article ◽  
Temporal Order ◽  
Narrative Structure ◽  
Narrative Discourse ◽  
Close Reading ◽  
Story Time ◽  
Narrative Time ◽  
Chronological Sequence ◽  
And Inversion ◽  
Gerard Genette

The present article scrutinizes two narrative aspects: story time (erzählte Zeit[1]) and narrative time (Erzähltzeit) in Shamran al-Yasery's tetralogy Abu Gatiʿ [2] examining their functions in generating atmosphere of tension and suspense. Gerard Genette in Narrative Discourse (1980) clarifies that ‘story time’ points to the chronological sequence of the events and incidents in a story. While ‘narrative time’ refers to the ‘pseudo-temporal order’ of the incidents and their arrangement in the narrative.[3] Examining the narrative ‘anachronies’[4] of Abu Gatiʿ   entails inspecting different sorts of discordance in the narrative structure of the scenes which are diagnosed, in the present article, in three kinds: reversion, ellipsis and inversion. Through following a close reading and a textual analysis specific scenes, events and incidents are examined and their connections to story time and narrative time are accentuated pinpointing within the process their thematic reference. While measuring forms of anachronies, selected letters and numbers are given to the addressed incidents in order to establish ample connections between them and to render the analysis lucid and comprehensible.   [1] -Gérard Genette in Narrative Discourse (1980) cites the terms ‘erzählte Zeit’ and ‘Erzähltzeit’ from Gunther Muller, ‘Erzählzeit und erzählte Zeit’, Festschrift fur P. kluckhohn und Hermann Schneider,1948. Morphologische Poetik (Tubingen, 1968). [2] -Shamran  al-Yasery, Abu Gatiʿ (Baghdad: Dar Babel,1989) [3]- Gerard Genette, Narrative Discourse, trans. Jane E. Lewin (Oxford:  Basil Blackwell, 1980), 35. [4] -According to Genette, the word ‘anachrony’ refers to all forms of discordance between the two temporal orders of story and narrative. See Gerard Genette’s Narrative Discourse, 40.    

Words

PMLA ◽  
1935 ◽  
Vol 50 (4) ◽  
pp. 1320-1327
Author(s):  
Colbert Searles
Keyword(s):  
Subject Matter ◽  
Assistant Professor ◽  
The Subject

THE germ of that which follows came into being many years ago in the days of my youth as a university instructor and assistant professor. It was generated by the then quite outspoken attitude of colleagues in the “exact sciences”; the sciences of which the subject-matter can be exactly weighed and measured and the force of its movements mathematically demonstrated. They assured us that the study of languages and literature had little or nothing scientific about it because: “It had no domain of concrete fact in which to work.” Ergo, the scientific spirit was theirs by a stroke of “efficacious grace” as it were. Ours was at best only a kind of “sufficient grace,” pleasant and even necessary to have, but which could, by no means ensure a reception among the elected.

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