Noites alienígenas: entre o fantástico e o ordinário na antropologia especulativa do cinema acreano

Narratology, an interdisciplinary study of narrative texts, integrates literary studies, linguistics, philosophy, and psychology. It examines narrative structures, delivery, and reader interpretation. The film "The Fallen Angel," adapted from Dazai Osamu's novel "No Longer Human," exemplifies a literary work with a psychological narrative linked to human life. This study classifies the types of Todorov's five stages used in the film and assesses the implementation of these narrative structures from Tzvetan Todorov's perspective in "The Fallen Angel" by Genjiro Arato. This qualitative research employs narrative analysis using Tzvetan Todorov's narrative structure theory. Data are categorized into primary and secondary. Information is gathered through documentation and observation, with the author serving as a human instrument. The interactive analysis model guides the process, which includes information collection, reduction, presentation, and conclusion. The research shows that the plot idea consists of five stages: Equilibrium, Disruption, Recognition, Repair the Damage, and New Equilibrium. As well as the plot in Todorov's five-stage structure is then classified into a description of the form of results percent (17%) Equilibrium; (25%) Disruption; (33%) Recognition; (17%) Repair the damage; and (8%) New Equilibrium. This study carries important implications for film analysis, serving as a versatile tool for storytellers and educators, offering a deeper understanding of cinematic narrative construction, and demonstrating its broader applicability across various field

This chapter begins by examining theoretical models for the study of narrative provided by anthropologist Claude Lévi-Strauss and Tzvetan Todorov. For a period from the early 1930s until the mid-1950s, Hollywood films were subject to regulation by censors who had the power to alter the cause–effect logic of the narrative in order to make it comply with their patriarchal moral ideology. This included the rule of ‘compensating moral values’, which assured that a character who committed an immoral action had to be either punished or redeemed within the narrative. Melodramas position the central female character as a victim, and are narrated from her perspective. The melodrama narrates a female predicament and offers female viewers a lesson in how (or how not) to behave. Meanwhile, films noir are typically narrated from the male perspective and position the male detective/hero as a victim of female manipulation or betrayal. The ‘femme fatale’ is a male construct; she represents male anxieties about women's changing roles in society, especially her sexual and economic independence. Neo-noir films deliberately subvert the rule of ‘compensating moral values’ and offer female viewers a rare opportunity to derive pleasure from narcissistic identification with the femme fatale.

This study aims to examine the character transformation of the main character in the film Budi Pekerti (2023) through Tzvetan Todorov's structural narrative approach and the concept of personality in Islamic psychology (nafs). The study was conducted using an interpretive qualitative method based on multimodal discourse analysis, emphasizing the relationship between changes in narrative flow, visual symbolism, and the inner dynamics of the main character, Bu Prani. The results of the study show that the character's journey follows Todorov's five-stage pattern—from equilibrium to new equilibrium—which reflects the process of spiritualization of the soul from nafs ammarah to nafs muṭma'innah. The semiotic and linguistic approaches also reveal the depth of emotional expression and inner control in dealing with a reputation crisis due to cyberbullying. This study shows that film narrative can be an educational medium that represents the process of psychological healing and ethical resilience in the digital era.

This study aims to reveal heteronormativity in the Lovely Man movie by director Teddy Soeriaatmadja by using narrative structure theory from Tzvetan Todorov and the concept initiated by Judith Butler. Heteronormative values that appear in the film directed by Teddy Soeriaatmadja are seen through dialogue between characters in each scene that are divided into three; (1) equilibrium/plenitude, (2) disruption, disequilibrium/disrupting force, and (3) opposing force. This research uses qualitative method by using approach of narrative analysis of model Tzvetan Todorov. The data used for this research is the film of Lovely Man by director Teddy Soeriaatmadja itself. This study uses data collection techniques with observation and literature study, as well as using data collection techniques with data reduction, interpretation, and conclusions. The results of this study indicate that there is a concept of heteronormative values reflected through heterosexuals who are considered to damage the stability of transvestite life, so that heterosexuals are considered as 'the other' heteronormative.
 
 Keywords: Film, Lovely Man, Heteronormativity, Other.

This study aims to find out how the values of patriotism carried out by Sultan Agung when fighting for Mataram Islam at that time. This study used a qualitative method through acritical analysis approach and used an interpretive paradigm with Tzvetan Todorov's theory as a story and fact at that time. Starting from the fun at the beginning of the film that is told then a problem arises that solves a relationship, then at the end comes recovery due to the problems that occur. From the results, it is stated that there are many positivism values carried out by Sultan Agung. Viewed from the side of the struggle of a leader who fights for good and society, it is an attitude that illustrates that being a king cannot only attach importance to personal interests, but also the people who are the subject of his life which is the heart of a leader's life. Starting from the value of hard work, as well as cultural values in films that are depicted a lot through scenes. It can be said that Sultan Agung at that time was a wise and just person in carrying out his responsibilities to become a king. Because he loves his people very much and always protects his people from the Dutch colonizers who have controlled the land of Java. Until finally Sultan Agung found the title Khalifatullah Panotogomo given by King Murad, because of his wisdom in being a just and wise leade

Reviewed by: Blues for folkhemmet: Næranalyse af Arne Dahls Europa Blues by Peter Kirkegaard Benjamin Mier-Cruz Peter Kirkegaard. Blues for folkhemmet: Næranalyse af Arne Dahls Europa Blues. Aalborg: Aalborg Universitetsforlag, 2013. Pp. vii + 238. Peter Kirkegaard’s analysis of Arne Dahl’s (Jan Arnald’s) novel Europa Blues (Månpocket, 2001) is a valuable addition to the growing inventory of theoretical studies in Nordic crime fiction. Divided into three parts, the study effectively navigates Dahl’s rich novel in a way that offers the reader a comprehensive and critical overview of the genre as well as a meticulous, close analysis of the novel’s narrative structure that puts the theories of Tzvetan Todorov, Peter Brooks, and Roland Barthes to the test. The book’s middle section, however, is an ambitious, if not tedious, chapter-by-chapter analysis of the entire thirty-nine-chapter novel that is less accessible than its inspiration, Barthes’s poststructuralist analysis of Honoré de Balzac’s novella Sarrasine (S/Z, Basil Blackwell, 1970). Fortunately, Kirkegaard’s work, as a whole, offers sufficient variations and critiques of long-standing and recent studies of crime fiction alike. Blues for folkhemmet is particularly beneficial in its exploration of Sweden’s historically nuanced take on the genre, especially with regard to the nation’s unique ideology of folkhemmet (the people’s home). The following is a brief review of the book’s three main sections. Part 1, “Teori, krimi-plotologi” (Theory and Crime Fiction Plotting), is a keen overview of structuralist and poststructuralist accounts of story, plotting, fabula, and sjuzhet. More specifically, this chapter devotes subsections to introductions and semi-critical analyses of Todorov’s “The Typology of Detective Fiction” (in The Poetics of Prose, Cornell University Press, 1977), Dennis Porter’s The Pursuit of Crime (Yale University Press, 1981), and Brooks’s Reading for the Plot (Vintage Books, 1984). With clarity, Kirkegaard guides his reader along Todorov’s and Brooks’s theoretical discussions of plotting and suspense in a way that aptly prepares the reader for the chapter-by-chapter analysis to come. Indeed, Kirkegaard is critical in his assessment of these texts with regard to Dahl’s writing, yet much of his original criticism is postponed until the second and third parts of the book. Still, Kirkegaard disagrees early on with Todorov’s historical understanding of the genre, and he convincingly demonstrates how Todorov’s typology is especially limited in today’s socio-politically saturated crime [End Page 312] fiction. In Part 1, Kirkegaard admirably maintains a conscious balance of theoretical reflection and pragmatic review of the genre, and he ends the chapter with a study of the historical and literary distinctions of mystery, detective, and crime fiction. This final section is a brief yet handy primer of the genre; however, it is less potent than his preceding discussions of Barthes and company. Kirkegaard introduces Part 2, “Analyse af Europa Blues” (Analysis of Europa Blues), by warning us that it’s “time to face the beast” (p. 47). Clearly aware of the arduous endeavor at hand, Kirkegaard plunges into his meticulous chapter-by-chapter (though some chapters are fortunately grouped) analysis that weaves in and out of Todorov’s, Brooks’s, and Barthes’s respective approaches to the narrative. Under the heading “Plotologi, skridt-for-skridt” (Plotology, Step-by-Step), he begins with a concise yet detailed analysis of the first eighteen chapters of Europa Blues. Kirkegaard deconstructs Dahl’s diverse police force, the A-Group, as he unpacks the story’s plot, red herrings, and the novel’s manipulation of narrative time, tense, intertextuality, focalization, and construction of suspense. Indeed, it is evident by the first eighteen analyses that Kirkegaard is well versed in S/Z; but there is also an unshakable sense of being spoon-fed the text, a risk that any such pedantic analysis might induce, no matter how gifted the writer. The mere length of Dahl’s novel makes this method of close reading ostensibly contradictory to the suspenseful nature of the genre, even as it simultaneously illuminates it. Happily, chapters 18–29 are grouped and critiqued according to characters (Paul Helm, Kerstin Holm, Arto Söderstedt, Shtayf, etc.). The latter...

In recent years, television dramas featuring the "Revenge of the Wife" narrative have become popular on streaming platforms and social media. The emergence of this narrative in the drama "Marry My Husband" signifies a new trend that has captured widespread audience interest. This qualitative study aims to analyze the narrative construction and the discourse of gender equality in "Marry My Husband" by applying Tzvetan Todorov's model of narrative theory. The findings indicate that all of Todorov's structural stages such as initial equilibrium, disruption, recognition of disruption, attempt to repair, and new equilibrium are present, with a dominant emphasis on the "attempt to repair" phase. The finding shows that "attempt to repair" phase not only forms the core of the story's tension but also functions as a medium for resisting gender stratification, depicting the female protagonist's transformation from a passive victim into a powerful agent in control of her own life. The drama's success has subsequently stimulated the creation of various similar series, indicating a significant shift in the representation of women in television and streaming media.

The article examines the importance of studying dramatism in contemporary Kazakh prose. In today's global literature, the influence of modern times has been recognized in order to maintain the continuity of Kazakh literature. The problem of revealing the nature of dramatism in prose has been resolved. Dramatism in prose not only reflects societal values but also shapes the national literary worldview. Contemporary Kazakh writers are faced with various responsibilities. One of them is the effective use of dramatism in their works. It is clear that the nature of dramatism in prose is closely related to historical events, which underscores the diverse nature of its manifestation. While the debate on dramatism in prose can be divided into open and hidden, the particularity of the debate in contemporary Kazakh prose offers answers to questions about its essence. Exploring the inner struggles of characters in short novels sheds light on the social and cultural norms of Kazakh society. The analytical approach in contemporary literary studies often utilizes interpretative methods to examine the text. The development of the postmodern literary worldview is related to updating the interpretive approach. For instance, short novels with plots and actions but no central character. Interpreting such short novels necessitates the assistance of various humanities sciences such as psychology, sociology, and anthropology. The deduction method has been employed in interpreting dramatism to emphasize the significance of the debate in contemporary prose. Key words: dramatism, literary studies, globalization, psychology, postmodernism, conflict, society, destiny.

This article aims to analyze the myth of Sawerigading. The analysis approach is Structural Leivist analysis used to reveal the Structure in the myth of Sawerigading as a socio-cultural transformation and kinship structure to gain an understanding about the position of Sawerigading in the lagaligos epoch. The results show that the structure of Bugis-Makassar culture is always based on a divided binary opposition structure in three vertical parts, namely, upper structure, middle structure, and bottom. this structure originating from the cosmogini division transformed unconsciously and automatically into natural objects, house shape, and social stratification. Then, the existence of Sawerigading as a central character in the middle world is the result of the transformation of a limited exchange structure to the upper and the underworld kinship group through a marriage described as the foundation of the culture of Buginese and Makassarese people on earth. Liminal position on the myth of Sawerigading is a firm position to explain the reality of culture of the Buginese-Makassarese people. That is why the Buginese-Makassarese people have a strong and firm character.

Scientific interest in human beings’ ability and propensity to construe reality through narrative constructions has increased since the 1970s. Although narrative processes have been addressed in the organizational literature, little research attention has yet been given to the role and function of narratives in organizational efforts to develop, implement, and apply information technology. An analytic approach drawn from Mishler (1986b) for the analysis of project history narratives found in research interviews is described. Three project history narratives collected during a field study of systems development are analyzed using this approach. Differences in sensemaking and interpretation revealed in the analysis of each informant’s story and comparison of the analysis of multiple stories are discussed. Insights that narrative analysis may provide into the social cognitive worlds of participants in IS development and its applications in IS research are then considered.KeywordsProject ManagerInformation SystemInteraction ContextResearch InterviewNarrative AnalysisThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Drama is an artistic genre that requires organized structure and deliberate planning,wherein the writer’s conceived story takes on a dramatic form. Within this structure, theplot holds central importance because it provides order, meaning, and purpose toevents, presenting them in a coherent sequence. The plot is the element that createscuriosity, t ension, and dramatic movement in the story, keeping the audienceemotionally engaged until the climax. Every event in a drama is organized through theplot in terms of its cause and effect, while characters, dialogue, and setting playessential roles in co mpleting its framework. A strong plot is one in which events unfoldnaturally, logically, and with consistent progression. According to classical theory, eachplot consists of a beginning, development, climax, conflict, and resolution, whichcollectively g ive the drama its complete form. Drawing material from real lifeexperiences, the writer reshapes it through artistic selection, arrangement, andcreativity, thus giving it a fictional and expressive dimension. The significance of the plotlies in the fact that it not only propels the story forward but also imparts depth andmeaning to the drama through conflict, struggle, and emotional intensification.The study examines the artistic construction of plot, its components, and their influence on narrative development. It explores how plot stages affect coherence and audience engagement, highlighting the roles of conflict, climax, and resolution in maintaining dramatic intensity. The research also differentiates between simple and complex plots, analyzing how event arrangement and selection enhance narrative effectiveness.A descriptive and analytical approach with quantitative analysis was employed, reviewing literary and theoretical sources on narrative construction and plot development. Data on event frequency, sequence, and arrangement were synthesized to identify key characteristics, functions, and stages of well structured plots, emphasizing the relationship between plot organization, pacing, and audience engagement.Findings show that effective plots, simple or complex, rely on logical sequencing, conflict, emotional continuity, and coherent resolution. Structured event arrangement and pacing significantly enhance audience engagement and narrative impact, ensuring thematic and artistic unity.

A global perspective? Framing analysis of U.S. textbooks’ discussion of Nigeria

The present study is designed to explore the identity construction/reconstruction in Sea of Poppies. It is investigated in the backdrop of postcolonial theory. Norman Faircloughs Three-dimensional approach of critical discourse analysis is used to examine the construction and reconstruction of different types of (us/them) identities in the colonial era reflected in Sea of Poppies. The analysis deals with the descriptive dimension of Critical Discourse Analysis and discusses discourse as a text that investigates the functional linguistic elements of the overall narrative construction (identity construction/reconstruction) as a counter-discourse to power. It analyzes the identity construction on two levels of representation that is the relation between conversational participant/reader and text/discourse and the expressive which unveils attitudes and ideologies the study sheds light on the way the colonizers defined the other subjects just to define themselves as superior by associating the positive attributes to “us” and negative attributes to “them” thus made them peripheral other subjects.

This study aims to show the effectiveness of the communication styles of Ustadz Abdul Somad (UAS) and Ustadz Adi Hidayat (UAH) through the lens of Aristotle’s persuasion theory, as well as to compare both based on the concepts of ethos, pathos, and logos. Adopting a constructivist paradigm, the study employs a communication and sermon science approach, utilizing a case study method. Data was collected through a review of digital media documentation and analyzed inductively using a thematic approach, including data coding, theme identification, and narrative construction. The findings reveal that UAS is more straightforward and simple in terms of logos in delivering its message, while UAH adopts a more analytical and comprehensive approach. Regarding pathos, UAS engages the audience emotionally through humor and light-hearted stories, while UAH encourages deeper reflection with real-life examples. Regarding ethos, both Ustadz holds high credibility, with UAS being perceived as more approachable, while UAH is seen as more academic. UAS’s communication style is more effective for a broad audience, utilizing an interactive and simple approach. In contrast, UAH’s style is more effective for an audience seeking in-depth understanding through an academic and introspective approach.

The general purpose of this paper is to provide an educational proposal that contributes to generate new forms of literacy through the construction of multimodal narratives. We adopt a qualitative approach (Lacasa, Martinez-Borda, and Mendez, 2013) adapted to audiovisual environments (Brennen, 2013) in combination with the practices of virtual ethnography (Pink, 2013; Delgado, 2015). On approach to data, we combine a narrative and analytical approach from two aspects, virtual, from the social network Facebook used in the classroom, and narrative and multimodal content created by students in this space using different languages. The data analysis is organized around two themes which will guide the discussion. First, we look at the characteristics that define an environment of digital literacy in the classroom, with particular attention to dialogue and shared reflection emerged in a double stage, classroom and social network. And second, we explore the productions made by students, analyzing their content, structure and use of different languages ​​(written, oral, multimedia) in creating narratives. The results of this research show progress along the educational intervention, which we interpret paying particular attention to the role in the construction of the stories, the technological instrument (apps and social networks) and multimedia resources used (photos, audio or video).