Pub Date : 2023-06-16DOI: 10.26887/style.v2i2.3721
Andini Putri, Katiah Katiah
The Nightbooks is a film that carries the fantasy horror genre made by Netflix. Directed by David Yarovesky, this kid-friendly horror film was released on September 2021, to welcome the arrival of Halloween celebrations in the United States. The Nightbooks revolves around Alex, a boy who is obsessed with horror stories and is framed by an eccentric-looking evil witch named Natacha. This study aims to produce fashion creations by representing Alex's horror book. The research was conducted through a qualitative descriptive method that describes ideas in the form of exploration, inspiration, and literature studies related to Alex's horror book and fashion design creations that are studied in more depth in terms of decorative design and fashion design elements. The result of research related to inspiration is a fashion design in the form of a wrinkled tube top, paired with a mini tutu skirt, equipped with a back decoration that adapts the monster contained on the cover of Alex's horror book.
{"title":"KREASI BENTUK BUSANA MONSTER THE NIGHTBOOKS UNTUK KESEMPATAN KARNAVAL","authors":"Andini Putri, Katiah Katiah","doi":"10.26887/style.v2i2.3721","DOIUrl":"https://doi.org/10.26887/style.v2i2.3721","url":null,"abstract":"The Nightbooks is a film that carries the fantasy horror genre made by Netflix. Directed by David Yarovesky, this kid-friendly horror film was released on September 2021, to welcome the arrival of Halloween celebrations in the United States. The Nightbooks revolves around Alex, a boy who is obsessed with horror stories and is framed by an eccentric-looking evil witch named Natacha. This study aims to produce fashion creations by representing Alex's horror book. The research was conducted through a qualitative descriptive method that describes ideas in the form of exploration, inspiration, and literature studies related to Alex's horror book and fashion design creations that are studied in more depth in terms of decorative design and fashion design elements. The result of research related to inspiration is a fashion design in the form of a wrinkled tube top, paired with a mini tutu skirt, equipped with a back decoration that adapts the monster contained on the cover of Alex's horror book.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135673174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.26887/style.v2i2.3830
Habibatush Shofiah, Deny Arifiana
This research focuses on the process of making and the results of applying tassels to evening party dresses. The research method used consisted of four stages, namely pre-design, design, embodiment, and presentation. The process of creating an evening party dress with a tassel decoration begins with designing a design inspired by the aloe vera plant. The application of tassels to clothing is carried out using the tools and materials prepared, and involves spreading techniques in placing the tassels on clothing. The final results of this study indicate that the evening party dress with tassel decoration using sage green and light gray materials looks elegant and luxurious, in accordance with the inspiration from the aloe vera plant.
{"title":"PEMBUATAN BUSANA PESTA MALAM DENGAN HIASAN TASSEL","authors":"Habibatush Shofiah, Deny Arifiana","doi":"10.26887/style.v2i2.3830","DOIUrl":"https://doi.org/10.26887/style.v2i2.3830","url":null,"abstract":"This research focuses on the process of making and the results of applying tassels to evening party dresses. The research method used consisted of four stages, namely pre-design, design, embodiment, and presentation. The process of creating an evening party dress with a tassel decoration begins with designing a design inspired by the aloe vera plant. The application of tassels to clothing is carried out using the tools and materials prepared, and involves spreading techniques in placing the tassels on clothing. The final results of this study indicate that the evening party dress with tassel decoration using sage green and light gray materials looks elegant and luxurious, in accordance with the inspiration from the aloe vera plant.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135145295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.26887/style.v2i2.3831
Rifana Putri Amanda, Deny Arifiana
Evening gown is a luxurious and elegant evening party dress, the length of the ball gown is ankle-length or almost touching the floor. The aim of the researcher is to now the process of making an Evening Gown with sequin decoration and to find out the finished Evening Gown with sequin decoration. The process of making an Evening Gown with sequin decoration is done by the method of creating works, there are four stages. The first stage is the pre-design stage. The second stage is the clothing design stage. The third stage is the stage of clothing embodiment. The fourth stage is the clothing presentation stage. The results of the researchers are: The process of making an Evening Gown with sequin decoration using tile and satin wrapped around the waist with draping. The first is making a design that fits the form of the source of the researcher's idea, namely twilight. The process of applying sequin decorations with wire and string threads on balen which is made according to the pattern. The finished result of making an Evening Gown with sequin decoration is in accordance with the source of the twilight idea. The selection of material characteristics using champagne color with sequin decoration makes the Evening Gown look elegant and glamorous.
{"title":"PEMBUATAN EVENING GOWN DENGAN HIASAN PAYET","authors":"Rifana Putri Amanda, Deny Arifiana","doi":"10.26887/style.v2i2.3831","DOIUrl":"https://doi.org/10.26887/style.v2i2.3831","url":null,"abstract":"Evening gown is a luxurious and elegant evening party dress, the length of the ball gown is ankle-length or almost touching the floor. The aim of the researcher is to now the process of making an Evening Gown with sequin decoration and to find out the finished Evening Gown with sequin decoration. The process of making an Evening Gown with sequin decoration is done by the method of creating works, there are four stages. The first stage is the pre-design stage. The second stage is the clothing design stage. The third stage is the stage of clothing embodiment. The fourth stage is the clothing presentation stage. The results of the researchers are: The process of making an Evening Gown with sequin decoration using tile and satin wrapped around the waist with draping. The first is making a design that fits the form of the source of the researcher's idea, namely twilight. The process of applying sequin decorations with wire and string threads on balen which is made according to the pattern. The finished result of making an Evening Gown with sequin decoration is in accordance with the source of the twilight idea. The selection of material characteristics using champagne color with sequin decoration makes the Evening Gown look elegant and glamorous.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135145294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.26887/style.v2i2.3740
Lidia Gustira Annisa, Yulimarni Yulimarni, Taufik Akbar
One of the decorative plants that many people in Indonesia like is the jasmine blossom. Jasmine blooms feature a simple, white, fragrant crown that is of a pleasing shape. The primary motif in these pieces is the jasmine flower. On Baju Kurung Basiba, jasmine blooms are designed as motifs and given supporting motifs in the form of leaves and twigs. The jasmine flower has many advantages for human existence, and because of its straightforward meaning and design, it is intriguing to use it as a motif on the Baju Kurung Basiba. The creation of jasmine flowers aims to increase the variety of the flower's shape. The investigation phase of this piece's creation is followed by the design and embodiment phases. Primetime cotton fabric, wax (night), remazol dye, and water glass were used to construct the piece utilizing written batik procedures. Seven pieces were made to resemble Baju Kurung Basiba. They include two works in the form of drawings and five completed works with the titles symmetrical, jasmine blossoms, combination, jasmine fall, flower arrangement of jasmine, bouquets, and bunch.
{"title":"BUNGA MELATI SEBAGAI MOTIF PADA BAJU KURUANG BASIBA","authors":"Lidia Gustira Annisa, Yulimarni Yulimarni, Taufik Akbar","doi":"10.26887/style.v2i2.3740","DOIUrl":"https://doi.org/10.26887/style.v2i2.3740","url":null,"abstract":"One of the decorative plants that many people in Indonesia like is the jasmine blossom. Jasmine blooms feature a simple, white, fragrant crown that is of a pleasing shape. The primary motif in these pieces is the jasmine flower. On Baju Kurung Basiba, jasmine blooms are designed as motifs and given supporting motifs in the form of leaves and twigs. The jasmine flower has many advantages for human existence, and because of its straightforward meaning and design, it is intriguing to use it as a motif on the Baju Kurung Basiba. The creation of jasmine flowers aims to increase the variety of the flower's shape. The investigation phase of this piece's creation is followed by the design and embodiment phases. Primetime cotton fabric, wax (night), remazol dye, and water glass were used to construct the piece utilizing written batik procedures. Seven pieces were made to resemble Baju Kurung Basiba. They include two works in the form of drawings and five completed works with the titles symmetrical, jasmine blossoms, combination, jasmine fall, flower arrangement of jasmine, bouquets, and bunch.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135145296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Pragmatics of Fiction: Literature, Stage and Screen Discourse by Miriam A. Locher and Andreas H. Jucker (review)","authors":"Urszula Kizelbach","doi":"10.5325/style.57.2.0230","DOIUrl":"https://doi.org/10.5325/style.57.2.0230","url":null,"abstract":"","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"57 1","pages":"230 - 240"},"PeriodicalIF":0.8,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42862131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article uses Philip Roth's final novel Nemesis to explore and challenge long-held assumptions about the incommensurability of the Bakhtinian concept of the "dialogic" and didactic storytelling. Many critics have traditionally dismissed didacticism as an unproductive "monologic" or "univocal" discourse in which one voice—the author's—is dominant. In this dismissal, critics contend that didacticism silences all other perspectives and restricts interpretive possibilities to craft a single moral truth. But this dismissal fails to account for the complexity and ambiguity of Bakhtin's idea of dialogism and for works like Roth's, in which the ultimate moral commitments in fact arise out of, rather in spite of, layered dialogic exchanges. Roth's narrative of a polio outbreak in 1940s New Jersey therefore not only functions effectively on its own terms but also opens up new possibilities for understanding didacticism and the unexplored formal variety of dialogism.
{"title":"Philip Roth, Mikhail Bakhtin, and the Dialogic Didactic","authors":"Antonio J. Ferraro","doi":"10.5325/style.57.2.0141","DOIUrl":"https://doi.org/10.5325/style.57.2.0141","url":null,"abstract":"abstract:This article uses Philip Roth's final novel Nemesis to explore and challenge long-held assumptions about the incommensurability of the Bakhtinian concept of the \"dialogic\" and didactic storytelling. Many critics have traditionally dismissed didacticism as an unproductive \"monologic\" or \"univocal\" discourse in which one voice—the author's—is dominant. In this dismissal, critics contend that didacticism silences all other perspectives and restricts interpretive possibilities to craft a single moral truth. But this dismissal fails to account for the complexity and ambiguity of Bakhtin's idea of dialogism and for works like Roth's, in which the ultimate moral commitments in fact arise out of, rather in spite of, layered dialogic exchanges. Roth's narrative of a polio outbreak in 1940s New Jersey therefore not only functions effectively on its own terms but also opens up new possibilities for understanding didacticism and the unexplored formal variety of dialogism.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"57 1","pages":"141 - 162"},"PeriodicalIF":0.8,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43177894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:Narratologists have not paid much systematic attention to the under-narrated and the overnarrated, which have several different acceptations. In particular, undernarrated can mean "not narrated in sufficient detail" and overnarrated can mean "narrated in an overly detailed manner." The article focuses on the latter acceptations because they are quite pertinent for narratological analysis. Using examples from Marcel Proust, Annie Ernaux, and Kamel Daoud, it explores the ways in which undernarration and overnarration can be signaled, their affinities with other narrative features (e.g., speed or focalization), their possible function, and their link with the very nature of narrative.
{"title":"The Undernarrated and the Overnarrated","authors":"G. Prince","doi":"10.5325/style.57.2.0131","DOIUrl":"https://doi.org/10.5325/style.57.2.0131","url":null,"abstract":"abstract:Narratologists have not paid much systematic attention to the under-narrated and the overnarrated, which have several different acceptations. In particular, undernarrated can mean \"not narrated in sufficient detail\" and overnarrated can mean \"narrated in an overly detailed manner.\" The article focuses on the latter acceptations because they are quite pertinent for narratological analysis. Using examples from Marcel Proust, Annie Ernaux, and Kamel Daoud, it explores the ways in which undernarration and overnarration can be signaled, their affinities with other narrative features (e.g., speed or focalization), their possible function, and their link with the very nature of narrative.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"57 1","pages":"131 - 140"},"PeriodicalIF":0.8,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44074985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article explores narrator reconstrual, and its stylistic forms and functions, in contemporary fiction. Previous research in narrative retellings historically has focused on how stories are retold at the site of text production: by writers or speakers making edits or amendments to their work, or by adapting, translating, or rewriting the stories of others. This article begins by outlining the different types of narrative retelling that occur across all levels of the text and argues that the construal model provides a stylistic framework to examine how retellings as told by the same narrator, in particular, are created and represented in stories. Through analysis of four reconstrued scenes from different text types and genres, this article suggests that narrator reconstrual is a pervasive phenomenon in contemporary fiction, and that its occurrence gives rise to meaningful interpretive effects through conceptual comparison and readers' characterization of the storyteller.
{"title":"99 Ways to Retell a Story: The Styles and Functions of Narrator Reconstrual","authors":"C. Harrison","doi":"10.5325/style.57.2.0163","DOIUrl":"https://doi.org/10.5325/style.57.2.0163","url":null,"abstract":"abstract:This article explores narrator reconstrual, and its stylistic forms and functions, in contemporary fiction. Previous research in narrative retellings historically has focused on how stories are retold at the site of text production: by writers or speakers making edits or amendments to their work, or by adapting, translating, or rewriting the stories of others. This article begins by outlining the different types of narrative retelling that occur across all levels of the text and argues that the construal model provides a stylistic framework to examine how retellings as told by the same narrator, in particular, are created and represented in stories. Through analysis of four reconstrued scenes from different text types and genres, this article suggests that narrator reconstrual is a pervasive phenomenon in contemporary fiction, and that its occurrence gives rise to meaningful interpretive effects through conceptual comparison and readers' characterization of the storyteller.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"57 1","pages":"163 - 186"},"PeriodicalIF":0.8,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45503712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article provides a twofold reading of Toni Morrison's novel Home. In the first instance, the stylistic representation of post-traumatic stress disorder (PTSD) is explored in relation to Frank's mind style; this is done through a focused examination on passages related to Frank's misremembered murder of a girl during his time as a soldier in the Korean War. Frank's guilt and faulty memories, and his lingering experience of PTSD, lead to the issue of narrative unreliability. This article shows how not just Frank himself but also the unspecified third-person narrator is just as unreliable as Frank, if not more so. The seemingly contentious relationship between Frank and the other narrator ultimately leads to Frank's realization about his hand in the murder of the Korean girl, and hence to a coming to terms with and recovery from war-induced PTSD.
{"title":"Trauma, Mind Style, and Unreliable Narration in Toni Morrison's Home","authors":"R. Whitt","doi":"10.5325/style.57.2.0187","DOIUrl":"https://doi.org/10.5325/style.57.2.0187","url":null,"abstract":"abstract:This article provides a twofold reading of Toni Morrison's novel Home. In the first instance, the stylistic representation of post-traumatic stress disorder (PTSD) is explored in relation to Frank's mind style; this is done through a focused examination on passages related to Frank's misremembered murder of a girl during his time as a soldier in the Korean War. Frank's guilt and faulty memories, and his lingering experience of PTSD, lead to the issue of narrative unreliability. This article shows how not just Frank himself but also the unspecified third-person narrator is just as unreliable as Frank, if not more so. The seemingly contentious relationship between Frank and the other narrator ultimately leads to Frank's realization about his hand in the murder of the Korean girl, and hence to a coming to terms with and recovery from war-induced PTSD.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"57 1","pages":"187 - 204"},"PeriodicalIF":0.8,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48601176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:Carmen Maria Machado's experimental memoir In the Dream House—a haunting account of domestic abuse between partners who share a gender identity—lays out in both explicit and nontraditional ways the problems faced when representing aspects of experience that are deemed culturally unintelligible. Telling her story in this way opens her narrative up to an understanding that could not be had without the fragmentation of form that constitutes both a rejection of and dependence on conventional representations. This article will analyze Machado's engagement with the specifically narrative and representational obstacles she faces. Ultimately, this article argues that her story gains its power by speaking to the larger issues of violence outside of stereotypically "accepted" cultural narratives, but also that it is only by refracting her story through these framings that she is able to make her narrative of self cohere out the jumble of forces at play.
{"title":"Representational Intelligibility and the Confines of Framing the Self: Carmen Maria Machado's In the Dream House","authors":"Annjeanette Wiese","doi":"10.5325/style.57.2.0205","DOIUrl":"https://doi.org/10.5325/style.57.2.0205","url":null,"abstract":"abstract:Carmen Maria Machado's experimental memoir In the Dream House—a haunting account of domestic abuse between partners who share a gender identity—lays out in both explicit and nontraditional ways the problems faced when representing aspects of experience that are deemed culturally unintelligible. Telling her story in this way opens her narrative up to an understanding that could not be had without the fragmentation of form that constitutes both a rejection of and dependence on conventional representations. This article will analyze Machado's engagement with the specifically narrative and representational obstacles she faces. Ultimately, this article argues that her story gains its power by speaking to the larger issues of violence outside of stereotypically \"accepted\" cultural narratives, but also that it is only by refracting her story through these framings that she is able to make her narrative of self cohere out the jumble of forces at play.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"57 1","pages":"205 - 224"},"PeriodicalIF":0.8,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44473225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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