Readings in spatial patterns in space of “Bibi Fatima and the King’s sons” novel By Sheikh Dr. Sultan bin Mohammed Al Qasimi: قراءات في الأنماط المكانية في فضاء رواية: (بيبي فاطمة وأبناء الملك) للشيخ الدكتور سلطان بن محمد القاسمي

This research sought to read the spatial patterns in the novel of Bibi Fatima and the sons of the king, where I began the research by defining my theory of the term space, as a general concept that includes several spatial patterns that form its general structure. Thereafter I reviewed the features of the general space in the novel, to clarify the particles that constitute it, and I was able to monitor seven spatial patterns that define the features of this space, namely: (1) voluntary places of residence- (2) places of forced residence – (3) public places of movement- (4) private places of movement- (5) movable places (6) religious place and (7) the symbolism of the place. The aim of the study is to reveal the aesthetics of geographical space in the novel, as a narrative element that contributed with other narrative elements in construction of the novel. In this study, I adhered to the technical- analytical approach, which enabled me to monitor the small particles that resemble the space of the novel, and then classify and display these spatial particles according to the importance of its contribution to the formation and progress of the events of the novel. Perhaps the most important findings I have reached was the clear susceptibility shown by the text on technical analysis; Due to the diversity of spatial forms that resemble its geographical space. I recommend more research that deals with other elements of narration in the novel, such as separation of research about the structure of time, or about the status of the narrator and the nature of his correlations.

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.

Agreement and Trust: in Narratives or Narrators?

Narratives concerning the working class and their relationship to climate change are important. In particular, how the narrative constructs the relationship and, within this, who communicates a narrative (the narrator) is key. That said, this is a less studied element; the Narrative Policy Framework (NPF) has limited research on narrators. Subsequently, this work examines individuals’ support of narratives and narrators using an Amazon Mechanical Turk (MTurk) survey of 435 participants. After pretesting for climate change views, the subjects chose which narrator they expected to agree with: Mechanic Pat or Organic Farmer Chris. Through randomization, subjects joined either a congruent treatment group (Mechanic Pat tells the anti-climate change narrative and Organic Farmer Chris tells the pro-climate change narrative) or an incongruent treatment group (Mechanic Pat tells the pro-climate change narrative and Organic Farmer Pat tells the anti-climate change narrative). Results indicate that before reading the narratives, climate change “devotees” (those who agree that climate change is occurring and is human-caused) thought they would agree with Organic Farmer Chris over Mechanic Pat. Whereas there was division in the climate change “skeptics” (those who disagree that climate change is real and human-caused) on the question of what narrator they thought they would agree with. Devotees significantly supported the pro-climate change working-class narrative when told by Organic Farmer Chris as compared to when Mechanic Pat told the same narrative. Further showing the power of a narrator, devotees supported the anti-working class climate change narrative more when told by Organic Farmer Chris rather than when Mechanic Pat told the same narrative. Our findings demonstrate that narrators matter and suggest that the NPF needs to consider narrators as a narrative element worthy of further study.

The narrative element of philosophy

A narrative element is essential to philosophy, because nothing gets going in it without some vision, some story about what the world, or the subject, is like. The argumentative element can only structure the story from the inside; it can never prove it true. And, whatever clarification arguments provide for the story, the latter remains in all its ambiguous glory, ready to originate new arguments and to spawn new visions.

No Story Without a Storyteller: The Impact of the Storyteller as a Narrative Element in Online Destination Marketing

Storytelling constitutes a promising tool in destination brand communication. Yet, although it also emerged as an important research field, studies on how individual story elements impact story persuasiveness are scant. This study investigates the impact of the storyteller as a narrative element (third person vs. first person) on tourist response. Findings show that first-person compared to third-person storytellers significantly increase engagement on social media, destination brand image, and tourist visit intentions. They further foster narrativity and social tone of text as well as tourist perceptions of narrative transportation and social presence. Processes of narrative transportation and social presence explain the effects of the storyteller on destination brand image and tourist visit intentions. Overall, the study expands our theoretical knowledge about organizational storytelling and supports destination managers in the design of effective destination brand stories.

Il personaggio delle Grandi Parodie Disney tra intertestualità e serialità

ABSTRACT: Le Grandi Parodie Disney dei classici della letteratura costituiscono un’originale e intensa impresa creativa, cominciata nel 1949 con L’Inferno di Topolino e ancora oggi portata avanti con successo dagli autori Disney italiani. L’articolo si concentra sui procedimenti adattivi alla base delle Parodie, privilegiando quelli che investono in prima battuta l’elemento narrativo del personaggio. Il close reading condotto sull’Inferno di Topolino, parodia antesignana e manifesto dell’intero corpus, permette di osservare come sul personaggio della parodia si giochi in larga misura il mix di intertestualità e serialità che, con una considerevole prevalenza della seconda sulla prima, caratterizza questi adattamenti. In conclusione, si mostra come le risorse espressive e semantiche del personaggio seriale non solo comportino l’immediata riconoscibilità della parodia, ma sostengano significative innovazioni di ordine tematico-ideologico rispetto all’opera dantesca e coraggiose prese di posizione sull’importanza del fumetto seriale nel sistema culturale contemporaneo.Parole chiave: Grandi Parodie Disney. personaggio seriale. Intertestualità. Divina Commedia. Topolino. Resumo: Le Grandi Parodie Disney dos clássicos da literatura constituem um trabalho criativo original e intenso, que começou em 1949 com o Inferno de Mickey e ainda hoje é apresentado com sucesso por autores italianos da Disney. O artigo enfoca os procedimentos adaptativos subjacentes às paródias, privilegiando aquelas que envolvem, principalmente, o elemento narrativo do personagem. A leitura atenta realizada em O Inferno de Mickey, precursor da paródia e presente em todo o corpus, permite-nos observar como a mistura de intertextualidade e serialidade desempenha, em grande medida, o caráter da paródia que, com uma prevalência considerável do segundo sobre o primeiro, caracteriza essas adaptações. Desse modo, observa-se como os recursos expressivos e semânticos do personagem serial não só levam ao reconhecimento imediato da paródia, mas também sustentam significativas inovações temático-ideológicas no que diz respeito à obra de Dante e às posturas corajosas sobre a importância dos quadrinhos seriados no sistema cultural contemporâneo.Palavras-chave: Grandi Parodie Disney. Personagem serial. Intertextualidade. Divina Commedia. Mickey Mouse. ABSTRACT: The Great Disney Parodies of the classics of literature are a major creative enterprise, begun in 1949 with L’Inferno di Topolino and still successfully carried out by Italian Disney authors today. The article investigates the adaptive procedures of the Parodies, with a special focus on those involving the pivotal narrative element of the character. From the close reading of L’Inferno di Topolino, the first parody to be written and a manifesto of the entire corpus, it is possible to observe how the mix of intertextuality and seriality which distinguishes these adaptations hinges largely on the expressive and semantic resources of Disney serial characters. In the conclusion, the main effects of the prevailing of seriality over intertextuality are discussed, showing how it makes for the immediate recognizability of the parody, supports significant thematic-ideological innovations with respect to Dante's work, and allows for courageous metaliterary assertion on the importance of serial comics in the contemporary cultural system.Keywords: Grandi Parodie Disney. Serial character. Intertextuality. Divine Comedy. Mickey Mouse.

Memaknai Unsur Naratif Dalam Film Parasite Melalui Perspektif Filsafat Kebebasan Manusia

Human beings essentially have social freedom inherent in themselves. Parasite (2019), a film which raises social issues in South Korea, has a close relationship with the reality of social stratification in society. Using the film Parasite as a case study, this article attempts to trace the tendency of meaning production regarding the philosophy of human freedom. In the process, this article draws the conclusion that the depiction of a person within the social structure in the narrative element of the Parasite film can represent the meaning of social freedom which is also limited by other human freedoms. Keywords: Communication; Philosophy; Social Freedom; Social Structure; Parasite

AI for interactive performance: Challenges and techniques

AI techniques and systems are pervasive to the media and entertainment industry, with application ranging from chatbots and characters to games and virtual environments. A common feature characterising these applications is given by the intent to introduce a narrative element in the user experience, often conveyed through some type of performance. In this paper, we analyse the contribution of AI techniques in the design and realization of a dramatic performance, an interactive system participated by human performers and audiences through some type of enactment. Drawing on real applications developed for innovative performances, we propose an architectural model that forms the technical platform of the system, and discuss how it can be deployed using Artificial Intelligence techniques with reference to real, experimental applications created in the last two decades.

The Voice as a Narrative Element in Documentary Films

Modern documentary filmmakers use fiction-influenced narrative styles that blur the boundaries between fact and fiction, stretching the limits and rules of the genre set by what is referred to as classic or expository documentary. Another major change in the documentary form and narrative style is the inclusion of the filmmaker in the film. As a result of filmmakers starring in their own films, interacting with the subjects, and narrating the story themselves, documentaries have become more personality driven. In these modern methods, the voices of the narrators and/or the filmmakers carry a significant importance as narrative elements. Taking five music-related documentary films into account—Lot 63, Grave C (Sam Green); Crossing the Bridge: The Sound of Istanbul (Fatih Akin); Metal: A Headbanger's Journey (Sam Dunn, Scot McFadyen, and Jessica Joywise); The Decline of Western Civilization Part II: Metal Years (Penelope Spheeris); and Searching for Sugar Man (Malik Bendjelloul)—this paper analyzes how the voices of the narrators and/or the filmmakers are used as narrative elements, and what effects these voices have on the narrative styles and the modes of these documentaries.

Incomplete mimesis, or when Indian dance started to narrate stories

It has become customary to refer to traditional Indian performance genres as “dance-theatre” in cases where they patently display techniques of narration or storytelling, carried out through the codified and controlled use of the body in time with the music of instruments and sung lyrics. The Indic vocabulary dedicates a specific term, nṛtya, to those forms in which the narrative element clearly prevails over the abstract dance movements—where gestures and facial expressions are used to communicate emotions but the dialogues or poetic lines are assigned to a singer and not recited by the actor/dancer. However, if we look at the way in which Sanskrit theoreticians have divided the spectacular object into specific genres, things get fuzzy. The ancient theory of Indian theatre (Nāṭyaśāstra, 2nd century BC–4th century AD?), in fact, acknowledges only a binary distinction between “theatre” (nāṭya)—the conjunction of a dramatic text and its representation on stage—and “dance” (nṛtta)—movements set to a rhythm with the sole aim of producing beauty and devoid of a narrative-cum-representational function. From this perspective, the recognition of a narrative capacity in dance looks more like the fruit of great theoretical effort rather than a natural development, which has posed a number of significant challenges to literary critics, who must painstakingly negotiate between the constantly evolving genres of performance, the binding categories reiterated in the śāstras (authoritative treatises), and the newly developed aesthetic theories of drama, requiring an ever more specialized concept of dramatic mimesis. Apart from giving an overview of how the performance genres are divided and classified in the Sanskrit treatises, with an explanation of the relevant vocabulary, this article will focus on some of the theoretical problems that emerge when dance starts to narrate stories, in particular in the work of Abhinavagupta, a prominent Kashmirian philosopher writing at the turn of the first millennium.