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.    

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

scholarly journals Genre Problematik Cinta Tak Pernah Tua Karya Benny Arnas

ATAVISME ◽  
2020 ◽  
Vol 23 (1) ◽  
pp. 17-32
Author(s):  
Eggy Fajar Andalas
Keyword(s):  
Short Stories ◽  
Mass Media ◽  
Narrative Structure ◽  
Literary Work ◽  
Close Reading ◽  
Literary Works ◽  
The Public ◽  
The Creation ◽  
Gerard Genette

Pada September 2014, Gramedia memperkenalkan karya Benny Arnas yang berjudul Cinta Tak Pernah Tua ke publik sebagai kumpulan cerita pendek. Meskipun kedua belas judul cerita yang ada di dalam karya ini ditulis dan telah dimuat sebelumnya dalam berbagai media massa nasional pada rentang tahun 2010-2014, pembaca akan menemukan keterjalinan kisah antarjudul cerita di dalamnya. Hal ini menyiratkan adanya problematik naratif sekaligus genre yang menyertai kelahiran karya ini. Penelitian ini bertujuan menjawab pertanyaan apakah Cinta Tak Pernah Tua merupakan sebuah karya sastra bergenre kumpulan cerita pendek, seperti yang dilabelkan oleh penerbitnya, atau sebuah novel? Mengapa karya ini menjadi problematik jika dilihat berdasarkan genrenya? Dengan melakukan pembacaan dekat dengan perspektif naratologi Gerard Genette, penelitian ini menghasilkan temuan bahwa Cinta Tak Pernah Tua bukanlah kumpulan cerita pendek, tetapi novel meskipun secara genealogis kelahiran kedua belas kisah sebagai satuan cerita yang terpisah. Pemahaman terhadap dimensi genre sebuah karya sastra tidak dapat disandarkan pada faktor-faktor yang berasal dari luar dimensi naratif karya.[Poblematic Genre of Benny Arnas Cinta Tak Pernah Tua] In September 2014, Gramedia introduced Cinta Tak Pernah Tua written by Benny Arnas to the public as a collection of short stories. Although the twelve story-titles in this work have been written and previously published in various national mass media in the range of 2010-2014, readers will find that the stories intertwine. This implies "problematic" narrative as well as a genre that accompanied the creation of this work. This article aims to answer the question of whether Cinta Tak Pernah Tua is a literary work collection of short stories, as labeled by the publisher, or a novel? Moreover, considering its genre, why is this work so problematic? By doing a close reading with Gerard Genette's narratology perspective, this research argues that Cinta Tak Pernah Tua is not a collection of short stories, but was actually a novel although genealogically the twelve stories were produced asseparate storiess. The understanding of a literary works genre dimension cannot rely on factors external to the narrative dimension of the work.Keywords: Cinta Tak Pernah Tua; genre problems; narratology; narrative structure

„Raps“

POETICA ◽  
2020 ◽  
Vol 50 (3-4) ◽  
pp. 282-313
Author(s):  
Robert Stockhammer
Keyword(s):  
Climate Change ◽  
Present Article ◽  
Subject Matter ◽  
Literary Studies ◽  
Close Reading ◽  
Literary Traditions ◽  
Man And Nature ◽  
Cultivated Plant ◽  
Materiality Of Language

Abstract The recent controversy about the possibility of defining a new geological era called ‘Anthropocene’ has far-ranging consequences. The new notion forces us to rethink the dichotomy between the entities formerly referred to as men and nature and to conceive of their relation as an interrelation. The relevance of these considerations for literary studies is not limited to the anthropocene as a subject matter of literature, or to the possible use of literature as a means of enhancing the reader’s awareness of climate change. Rather, what is at stake is the relation of language to the new interrelation between man and nature, including the poetical and metalinguistic functions that emphasize the materiality of language. The present article explores the relation between the materiality of language and the materiality of things by way of a close reading of a single poem written by Marcel Beyer. Devoted to the cultivated plant rape, the literary traditions which this poem invokes reach beyond nature lyrics into georgic. An excursus recalls this genre of agriculture poetry and distinguishes it from pastoral, especially with regard to its use of language.

scholarly journals Fern von Aleppo: Narrative Themenentfaltung im interkulturellen Kontext

2020 ◽  
Vol 46 (1) ◽  
pp. 108-129
Author(s):  
Eman Mohamed Abdelfattah Said
Keyword(s):  
Intercultural Communication ◽  
Present Article ◽  
Narrative Structure ◽  
Point Of View ◽  
Narrative Text ◽  
Narrative Development ◽  
Analysis Model ◽  
Communicative Function ◽  
Communicative Functions ◽  
German Reader

Abstract In “Fern von Aleppo”, the Syrian author Faisal Hamdo, who left his home in 2014 and sought refuge in Germany, tells of his very personal integration experiences. The book represents a kind of intercultural communication. In his book, Faisal Hamdo, who sees himself as a “mediator between the worlds”, tries to give the German reader answers to many questions regarding Syrian culture. From a text linguistic point of view, this book identifies the narrative development that seems to be tailored to the intercultural context. Accordingly, the present article raises the following questions: Does the structure of classic narration differ from the structure of narration in an intercultural context? Which intercultural information units are presented in the text? How are they embedded in the narrative text? Which constituents of the narrative structure are suitable for realizing intercultural communication? Which communicative functions do the constituents of the narrative structure fulfill in an intercultural context? The contribution sets itself the goal of analyzing the narrative structure to investigate how intercultural communication comes about through narration, how the intercultural information units are integrated into the constituents of the classic narrative structure so that they fulfill their communicative function, and to developa suitable analysis model.

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.

‘Till the whisper…You know…When you can't hear the words’: Narrated Memory and the ‘Fragmented’ Body in Samuel Beckett's Late Drama

2021 ◽  
Vol 30 (2) ◽  
pp. 139-155
Author(s):  
Michelle Charalambous
Keyword(s):  
Present Article ◽  
The Body ◽  
Narrative Form ◽  
Close Reading ◽  
The Past ◽  
The Relationship ◽  
Late Works

Samuel Beckett's interest in the experience of memory and the central role the body plays in the re-experience of the past has been most evident since the time he composed Krapp's Last Tape (1958), one of his most famous memory plays where the body can actually ‘touch’ its voice of memory. In this context, the present article provides a close reading of two of Beckett's late works for the theatre, namely That Time (1976) and Ohio Impromptu (1981), where the author once again addresses the relationship between the body and memory. Unlike his earlier drama, however, in That Time and Ohio Impromptu Beckett creates a ‘distance’, as it were, between memory and the body on stage by presenting the former as a narrative and by reducing the latter to an isolated part or by restricting it to limited movements. Looking closely at this ‘distance’ in these late plays, the article underlines that the body does not lose its authority or remains passive in its re-experience of the past. Rather – the article argues – the body essentially plays a determining role in these stripped-down forms as is shown in its ability to ‘interrupt’ and somatically punctuate the fixity of the narrative form memory takes in these works.

Voiceless ends: Melville’s Benito Cereno and the translator in narrative discourse

2014 ◽  
Vol 23 (3) ◽  
pp. 255-269 ◽  
Author(s):  
Michael Boyden
Keyword(s):  
New World ◽  
Narrative Structure ◽  
Narrative Discourse ◽  
Narrative Texts ◽  
Benito Cereno

The first part of this article confronts the ways in which translation scholars have drawn on insights from narratology to make sense of the translator’s involvement in narrative texts. It first considers competing metaphors for conceptualizing the translator’s involvement, arguing for a clearer differentiation between modes of framing and telling. Next, it evaluates the ways in which translation scholars have attempted to integrate the translator as a separate textual agent in governing models of narrative communication, concluding that the conceptual gains to be reaped from positing the translator as a separate enunciator or agent in narrative transactions are limited. The second part of the article analyzes two Dutch translations of Herman Melville’s novella Benito Cereno, by Johan Palm (1950) and Jean Schalekamp (1977) respectively. Rather than striving to isolate the translators as separate tellers or co-producers of narrative structure, the analysis reveals that their agency shows foremost in the ways the ‘voiceless’ narrative of New World slavery is perspectivized in view of changing readerly expectations.

Narrative Discourse Markers in Malory’s Morte D’Arthur

2000 ◽  
Vol 1 (2) ◽  
pp. 231-262 ◽  
Author(s):  
Monika Fludernik
Keyword(s):  
Narrative Structure ◽  
Discourse Markers ◽  
Narrative Discourse ◽  
Oral Narrative ◽  
King Arthur ◽  
Morte D'arthur ◽  
Narrative Prose ◽  
Line Analysis

On the basis of the model of narrative structure proposed in Fludernik (1996b) this paper presents the results of an investigation of discourse markers in Thomas Malory’s Morte D’Arthur, with a complete line-by-line analysis of The Tale of King Arthur, Books I to III (“Merlin”; “Balin”; “Torre and Pellinor”), A Noble Tale of Sir Launcelot du Lake, and The Book of Sir Tristram de Lyones (Book XIV: “Launcelot and Elaine”). The paper argues that the inflation of discourse markers in Malory is a sign of their imminent disappearance from narrative prose and that other features that indicate a dissolution of the oral narrative episode pattern are also visible in the text.

Japanese Preschool Children's and Adults' Narrative Discourse Competence and Narrative Structure

1996 ◽  
Vol 6 (4) ◽  
pp. 349-373 ◽  
Author(s):  
Masahiko Minami
Keyword(s):  
Empirical Evidence ◽  
Personal Narratives ◽  
Narrative Structure ◽  
Narrative Discourse ◽  
Narrative Development ◽  
Final Phase ◽  
High Point ◽  
Children's Narratives ◽  
Point Analysis ◽  
Discourse Competence

Abstract This study presents empirical evidence o f Japanese preschool children's (a) narrative discourse competence and narrative structure and (b) rhetorical/expressive flexibility, compared to adults. With data on oral personal narratives told by Japanese preschoolers and adults, and with verse/stanza analysis (Gee, 1985; Hymes, 1981) and high point analysis based on the Labovian approach (Labov, 1972; Peterson & McCabe, 1983), it was discovered that children's and adults' narratives are similar in terms o f structure in that they both tend to have three verses per stanza, and that children and adults tend to tell about multiple experiences. By contrast, there are some clear differences in terms o f content and delivery. Whereas children tend to tell their stories in a sequential style, adults emphasize nonsequential information. Specifically, compared to children's narratives, adults' narratives place considerably more weight on feelings and emotions. The findings of this study strongly suggest that oral personal narratives told by Japanese preschoolers do not represent the final phase o f development. Rather, they still have a long way to go. (Narrative Development; Narrative Structure)

Meaning Generation

2019 ◽  
Vol 15 (3) ◽  
pp. 429-447
Author(s):  
Hongbing Yu
Keyword(s):  
Present Article ◽  
Cultural Memory ◽  
Human Agency ◽  
Close Reading

Abstract Meaning generation reaches beyond the convenient code-based distinction between the encoding versus the decoding of information. What we need is a more comprehensive perspective that can encompass code-based communication and agency-oriented interpretation, both of which are treated as two subordinate mechanisms of meaning generation or signification. Based on a close reading of Saussure, there are only forms in signification; signs and signification are one. Given the complexity of its usage over the years, the term sign should be reevaluated. In its stead, the present article proposes using Sebeok and Danesi’s term model, although with some modifications, in order to shed a new light on meaning generation. The present article also demonstrates that cultural memory, or culture understood in the sense proposed by Lotman and Uspensky, coupled with emotions and human agency, act as three determinants of the process of meaning generation and make it a semi-autonomous process.

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