In this chapter, the author writes at the urging of a number of friends and with some trepidation, revisiting the themes and arguments of an essay written some sixteen years ago. The “under” of Western eyes is now much more an “inside” in terms of my own location in the US academy. The author writes “Under Western Eyes” to discover and articulate a critique of “Western feminist” scholarship on Third World women via the discursive colonization of Third World women’s lives and struggles. She wants to expose the power–knowledge nexus of feminist cross-cultural scholarship expressed through Eurocentric, falsely universalizing methodologies that serve the narrow self-interest of Western feminism. “Under Western Eyes” sought to make the operations of discursive power visible, to draw attention to what was left out of feminist theorizing, namely, the material complexity, reality, and agency of Third World women’s bodies and lives.

https://www.jstor.org/stable/10.1086/342914

Under Western Eyes revisited: Feminist solidarity through anticapitalist struggles

Metadiscourse refers to writers' discourse about their discourse—their directions for how readers should read, react to, and evaluate what they have written about the subject matter. In this study the authors divided metadiscourse into textual metadiscourse (text markers and interpretive markers) and interpersonal metadiscourse (hedges, certainty markers, attributors, attitude markers, and commentary). The purpose was to investigate cultural and gender variations in the use of metadiscourse in the United States and Finland by asking whether U.S. and Finnish writers use the same amounts and types and whether gender makes any difference. The analyses revealed that students in both countries used all categories and subcategories, but that there were some cultural and gender differences in the amounts and types used. Finnish students and male students used more metadiscourse than U.S. students and female students. Students in both countries used much more interpersonal than textual metadiscourse with Finnish ...

Metadiscourse in Persuasive Writing A Study of Texts Written by American and Finnish University Students

List of Illustrations. The Elements. Preface . The Scope and Aims of This Book. Storytelling Media and Modes of Narration. Acknowledgments . 1. Getting Started: A Thumbnail Sketch of the Approach Developed in This Book. Toward a Working Definition of Narrative. Profiles of Narrative. Narrative: Basic Elements. 2. Background and Context: Framing the Approach. Interdisciplinary Perspectives on Narrative and Narrative Theory. Major Trends in Recent Scholarship on Narrative. 3. Back to the Elements: Narrative Occasions . Situating Stories. Sociolinguistic Approaches. Positioning Theory. The Narrative Communication Model. Conclusion. 4. Temporality, Particularity, and Narrative: An Excursion into the Theory of Text Types. From Contexts of Narration to Narrative as a Type of Text. Text Types and Categorization Processes. Narrative as a Text-Type Category: Descriptions vs. Stories vs. Explanations. Summing up: Text Types, Communicative Competence, and the Role of Stories in Science. 5. The Third Element: Or, How to Build a Storyworld . Narratives as Blueprints for Worldmaking. Narrative Ways of Worldmaking. Narrative Worlds: A Survey of Approaches. Configuring Narrative Worlds: The WHAT, WHERE, and WHEN Dimensions of Storyworlds. Worlds Disrupted: Narrativity and Noncanonical Events. 6. The Nexus of Narrative and Mind . The Consciousness Factor. Consciousness Across Narrative Genres. Experiencing Minds: What It's Like, Qualia, Raw Feels. Storied Minds: Narrative Foundations of Consciousness?. Appendix . Reproduction of Ernest Hemingway's "Hills Like White Elephants" (1927). Transcript of a Story Told during Face-to-Face Interaction: UFO or the Devil. Pages from Daniel's Clowes's Graphic Novel Ghost World (1997). Screenshots from Terry Zwigoff's Film Version of Ghost World (2001). Glossary . References. Index

/pdf/basic-elements-of-narrative-20tcb2kjzl.pdf

Basic elements of narrative

An Introduction to Narratology is an accessible, practical guide to narratological theory and terminology and its application to literature. 
In this book, Monika Fludernik outlines: 



the key concepts of style, metaphor and metonymy, and the history of narrative forms 
narratological approaches to interpretation and the linguistic aspects of texts, including new cognitive developments in the field
how students can use narratological theory to work with texts, incorporating detailed practical examples
a glossary of useful narrative terms, and suggestions for further reading.
This textbook offers a comprehensive overview of the key aspects of narratology by a leading practitioner in the field. It demystifies the subject in a way that is accessible to beginners, but also reflects recent theoretical developments and narratology’s increasing popularity as a critical tool.

An Introduction to Narratology

We are living in a time when the activation of mirror neurons in the brains of onlookers can be recorded as they witness another’s actions and emotional reactions. 1 Contemporary neuroscience has brought us much closer to an understanding of the neural basis for human mind reading and emotion sharing abilities—the mechanisms underlying empathy. The activation of onlookers’ mirror neurons by a coach’s demonstration of technique or an internal visualization of proper form and by representations in television, film, visual art, and pornography has already been recorded. 2 Simply hearing a description of an absent other’s actions lights up mirror neuron areas during fMRI imaging of the human brain. 3 The possibility that novel reading stimulates mirror neurons’ activation can now, as never before, undergo neuroscientific investigation. Neuroscientists have already declared that people scoring high on empathy tests have especially busy mirror neuron systems in their brains. 4 Fiction writers are likely to be among these high empathy individuals. For the first time we might investigate whether human differences in mirror neuron activity can be altered by exposure to art, to teaching, to literature. This newly enabled capacity to study empathy at the cellular level encourages speculation about human empathy’s positive consequences. These speculations are not new, as any student of eighteenth-century moral sentimentalism will affirm, but they dovetail with efforts on the part of contemporary virtue ethicists, political philosophers, educators, theologians, librarians, and interested parties such as authors and publishers to connect the experience of empathy, including its literary

/pdf/a-theory-of-narrative-empathy-i8uwyzkmt8.pdf

A Theory of Narrative Empathy

The 1991 landmark edition of "Feminisms" presented the most comprehensive collection of American and British feminist literary criticism ever published. By 1997, realizing the need to update the work to remain within the expanded parameters of feminist literary discourse, the volume was revised to include more than two dozen new essays. Now, at the dawn of a new century of thought and action, it is important once again to revisit the canon of feminist literary criticism and theory and re-establish the measure for representing the latest developments in the field. Robyn Warhol-Down and Diane Price Herndl have joined together once more to provide academics and general readers with a newly revised and indispensable collection of essays representing the range of feminist literary criticism. "Feminisms Redux", presented in a concise format, includes many essays from the second edition that continue to speak to current concerns and also provides readers with new contributions that address work in postcolonial studies, queer theory, and disability studies. As in the earlier volumes, the editors have gathered the full text of original articles and book chapters, with no edited excerpts. The range of essays focuses not only on gender and sex, but also on sexuality, race, class, nationality, and (dis)ability, and the intersections among these categories as they play out in writing by and about women. More than a revision of archetypal work, "Feminisms Redux" represents the dawning of a new classic.

Feminisms: An Anthology of Literary Theory and Criticism

Gendered Interventions: Narrative Discourse in the Victorian Novel

Gendered Victorians@@@Sisters in Time: Imagining Gender in Nineteenth-Century British Fiction@@@Gendered Interventions: Narrative Discourse in the Victorian Novel

Having a good cry : effeminate feelings and pop-culture forms

This paper discusses the ways to render the unnarratable in realist fiction and contemporary film.It classifies the unnarratable and demonstrates the ground on which the classifications are made.According to the author,there are four kinds of the unnarratable:the subnarratable the supranarratable,the antinarratable and the paranarratable.Then by making use of examples from contemporary films,the paper expounds “the neonarrative”,and it holds that the devices used in those films broaden the horizon for the presentation of the unnarratable.

Robyn Warhol

Papers

Feminisms: An Anthology of Literary Theory and Criticism

Gendered Interventions: Narrative Discourse in the Victorian Novel

Gendered Victorians@@@Sisters in Time: Imagining Gender in Nineteenth-Century British Fiction@@@Gendered Interventions: Narrative Discourse in the Victorian Novel

Having a good cry : effeminate feelings and pop-culture forms

Neonarrative; or, How to Render the Unnarratable in Realist Fiction and Contemporary Film