Pembentukan Persuasif Dalam Struktur Naratif Pada Iklan Gopay Indonesia Versi Bumbu Rahasia Dari Bu Sisca Yang Bikin #Lebihenak

The concept of an advertisement aimed at modern society can no longer rely solely on the description of a product. Because basically people can find their own info from a product using their smartphone. Therefore, an advertisement must be designed in such a way that it really attracts potential consumers. Persuasive messages need to be packaged well in order to achieve the target to influence consumers to use the company's products. The research "Pembentukan Persuasif Dalam Struktur Naratif Pada Iklan Gopay Indonesia Versi Bumbu Rahasia Dari Bu Sisca Yang Bikin #LebihEnak " aims to find a persuasive formation of a product advertisement used by modern society, namely Gopay Indonesia e-money through narrative analysis of one of the advertising versions, namely Bumbu Rahasia dari Bu Sisca yang Bikin #Lebihenak. The research method used is descriptive qualitative by collecting data through documentation, observation, and literature study. This research uses narrative theory from Bordwell-Thompson which sees the narrative elements consist of plot and story, space, time, characters, and narrative. The results showed that the formation of persuasion to grow awareness and product introduction was formed from each narrative element.

Crossing Borders in Film Theory and Adaptation Studies

The history of film theory is full of what we might call migrating concepts. From the Russian Formalists which, in their Poetica Kino (Poetics of cinema) adapt concepts initially created as part of literary theory (fabula vs. syuzhet, film as language, cine-stylistics) to David Bordwell and Kristin Thompson and their formalist inspired approach to film studies, from André Bazin and his theory of realism, inspired by phenomenological concepts, the history of film theory can be thought of as a genealogy of crossing borders. The circulation of concepts from literary theory to film theory is also quite astonishing in the theory of adaptation. In the study of the adaptation of literary works for cinema, the travel of concepts (the crossing of borders) can be observed and analysed especially in narrative theory and adaption theory.

Narratives in conflict and the limits on the interpreter’s agency: A case study from the UN Peacekeeping mission in Lebanon

This article presents a socio-linguistic analysis of interpreting in conflict zones and paints a picture of the limits on the interpreter’s agency when working in the field. It focuses on the interpreter’s behaviour towards cultural and linguistic barriers in communication between foreign military personnel and the civilian population in Lebanon. The aim is to analyse the level of agency that the interpreter has when working in a military deployment, taking into account the context and the narrative features that require mediation. Data were gathered through interviews with interpreters in Lebanon and analysed by applying narrative theory. Knowing and appreciating both the theoretical context and the linguistic and cultural barriers identified through the analysis are fundamental to understanding the difficult role that the interpreter-mediator plays in conflict settings and to reflecting on interpreter training that is appropriate to this context.

Butoh: Granting Art Status to an Indefinable Form

<p>Butoh is a kind of art, but exactly what kind of art is not so easy to see. While traditionally considered a type of dance, there are a number of butoh works that are not readily identifiable as dance works, if in fact they count as dance at all. Through the use of Noël Carroll’s narrative theory of art, I will show how butoh comes to be thought of as art even if it fails to match up exactly with any one pre-existing art form. I will show how the context in which butoh came into being is sufficient for granting butoh art status due to its relation to existing art forms. I compare butoh to its two most similar analogues, dance and performance art, and examine how it resembles and differs from each of them. I also show how the reason categorising butoh as only one kind of art form is problematic due to its being part of a non- Western aesthetic tradition that does not break the world up into such easily separable pieces.</p>

Butoh: Granting Art Status to an Indefinable Form

<p>Butoh is a kind of art, but exactly what kind of art is not so easy to see. While traditionally considered a type of dance, there are a number of butoh works that are not readily identifiable as dance works, if in fact they count as dance at all. Through the use of Noël Carroll’s narrative theory of art, I will show how butoh comes to be thought of as art even if it fails to match up exactly with any one pre-existing art form. I will show how the context in which butoh came into being is sufficient for granting butoh art status due to its relation to existing art forms. I compare butoh to its two most similar analogues, dance and performance art, and examine how it resembles and differs from each of them. I also show how the reason categorising butoh as only one kind of art form is problematic due to its being part of a non- Western aesthetic tradition that does not break the world up into such easily separable pieces.</p>

Literature Review on Unnatural Narrative Theory

Unnatural narrative becomes a popular theory in literary criticism. In 2016, No. 4 issue of Style is a special issue on Brian Richardson’s Target Essay “Unnatural Narrative Theory”. Narratologists such as Marie-Laure Ryan, Shen Dan, James Phelan have responded actively to this new paradigm in narrative theory. In spite of its popularity, unnatural narrative remains controversial because of its diversified definitions, the hard-to-identified manifestations of unnaturalness, and its various interpretive strategies. Accordingly, this paper tries to comb the existing literature and provide a systematic review on the definitions, the manifestations, and the interpretive strategies of unnatural narrative theory.

Slow motion ethics: Narrative responsibility in clinical care

Narrative theory is a dynamic and evolving field of inquiry that has made tremendous inroads in the medical humanities over the past 40 years. Numerous authors have popularized the idea that “thinking narratively” can produce important insights about the illness experience for physician and patient alike. This paper draws on aspects of narrative theory to emphasize the moral responsibilities that arise when we step into another person's life narrative, becoming a character in her or his story. This has especially significant ethical implications for the physician–patient encounter in that each character in this shared story experiences time somewhat differently. This gives rise to the notion of “slow motion ethics” and a somewhat unique perspective on the moral responsibilities clinicians bear toward their patients.

Between Form and Content: Narrative Typology, Metafiction and Ideology in The Thousand and One Nights

With few exceptions, narrative theory does not ordinarily consider the self-reflexive capacity of The Thousand and One Nights beyond its canonical instance of framing, and Arabic literary scholarship does not ordinarily engage with its narratological aspects. This article proposes a narratological approach for a systematic breakdown of story cycles through abstraction, partly by making use of computer programming language, in order to demonstrate the narrative typology in the Nights. It argues that repetitions, transpositions, substitutions, and reversals testify to tensions between the overt ideology of the text and the counter discourse that unsettles this logic, concealed in its poetics. The article thereby aims to bring some of the core concepts of narrative theory into dialogue with the Nights scholarship, and to contribute to a theoretical conversation about ideological critique in narrative analysis, particularly within the pre-modern storytelling tradition.