Narrative discourse : an essay in method
TL;DR: Cutler as mentioned in this paper presents a Translator's Preface Preface and Preface for English-to-Arabic Translating Translators (TSPT) with a preface by Jonathan Cutler.
Abstract: Foreword by Jonathan Cutler Translator's Preface PrefaceIntroduction 1. Order 2. Duration 3. Frequency 4. Mood 5. VoiceAfterword Bibliography Index
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TL;DR: In this paper, the authors argue that picture is a more natural mode of representation than text, since there is no similarity between words, sentences, texts and the objects represented by them.
Abstract: There are two basic modes to re-present things, events, persons and deeds that are absent because they have already passed: by text and by picture. What is the difference between them? The default answer to this question according to classical tradition says that representation by text is conventional: there is no similarity between words, sentences, texts and the objects represented by them. Representation by picture is based on the similarity between the picture and the objects depicted. Therefore, picture is a more “natural” mode of representation than text. The history of aesthetics, semiotics and art studies in the twentiethcentury is a history of criticism of this classical common place.1 The leitmotiv of this criticism can be expressed by the thesis: pictures are texts. Texts belong to some specific language and are part of some specific discourse. They are produced and understood via application of some specific code. So, if a researcher looks at pictures following the Leitmetapher “pictures are texts,” then she looks for rules and conventions that constitute the language of some specific visual art or its style. Accordingly, she considers knowledge of these conventions a precondition of “reading” and un-
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Dissertation•
01 Jan 2013
TL;DR: Sentimental Manipulations: Duty and Desire in the Novels of Sophie Cottin by Brenna K. Heitzman as mentioned in this paper is an abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2013.
Abstract: Sentimental Manipulations: Duty and Desire in the Novels of Sophie Cottin by Brenna K. Heitzman Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Philip Stewart, Supervisor ___________________________ Michèle Longino ___________________________ Toril Moi ___________________________ Laurent Dubois An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2013 Copyright by Brenna K. Heitzman 2013
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TL;DR: The authors examines the Hindi Nayī Kahane Movement of the 1950s and 1960s, which was influential for the short stories, criticism, and literary history that its writers produced, and shows how the movement inaugurated a modernist realism characterized by attention to genre, rhetoric, and style on one hand, and commitment to social reality on the other.
Abstract: This essay examines the Hindi Nayī Kahānī, or New Story, Movement of the 1950s and 1960s, which was influential for the short stories, criticism, and literary history that its writers produced. Incorporating a view toward the larger “metaliterary” corpus in relation to which properly “literary” nayī kahānī texts were written, the essay shows how the movement inaugurated a modernist realism characterized by attention to genre, rhetoric, and style on one hand, and commitment to social reality on the other. Combining rhetorical strategies—such as shifting narrative voice, allegorical descriptions of landscape, and implicit reference to authorship and the condition of postcolonial literary production—with structural and thematic tensions between form and content, this mode developed an interchangeability between author, reader, and character, which did not previously exist in Hindi literature and which reconfigured the category of the middle class in the universally recognizable terms of alienation. Using the case of the nayī kahānī, the essay offers a new literary historical approach that moves beyond sweeping accounts of a single postcolonial mode to attend to regional realisms and modernisms.
8 citations
01 Jan 2013
TL;DR: The authors compare T. S. Eliot's modernist colonial wasteland and J.S. Anand's post-colonial post-modernist wretched land portrait, and show how the comparison aims at showing how the relationship between modernism and postmodernism has always been a moot point.
Abstract: The interrelationship between modernism and postmodernism has always been a moot point, hence evasive. Many postmodern thinkers and theorists have viewed this issue from a wide variety of angles. While, for Jean-Francoise Lyotard, "postmodernism is modernism at its nascent", Linda Hutcheon and Ihab Hassan vote for an ironic and ambivalent relationship between these two. Some theorists dispense with the contextual aspects and accentuate solely the aesthetic traits; whereas some poststructuralists like Michel Foucault historicize and thereby politicize this controversial interrelationship at the cost of marginalizing the stylistic dimension. The present paper compares T. S. Eliot's modernist colonial wasteland and J. S. Anand's postcolonial postmodernist wretched land portrait. This comparison aims at showing how the
8 citations
01 May 2005
TL;DR: Civility, as its name implies, denotes a quality or social form characteristic of a particular kind of human association: a civil society as mentioned in this paper, which can be discussed in any number of ways, depending on what one understands to be taken in by the notion of civil society.
Abstract: Civility, as its name implies, denotes a quality or social form characteristic of a particular kind of human association: a civil society. In its idealized form, civility can be said to be the distinctive virtue or excellence of the civil association, in the way that courage is for military associations or industriousness for enterprise associations. This means that the topic of civility can be discussed in any number of ways, depending on what one understands to be taken in by the notion of civil society. Minimally, a civil society can simply designate the rule of law, and civility would then mean law-abidingness or an enduring, stable disposition toward law-abidingness, together with various manifestations of such a disposition. Any fuller understanding of the meaning and various dimensions of civil virtues and their relation to civility (virtues such as public-spiritedness, civic responsibility, and patriotism) will then depend on one's theory of the modern polity itself – the civitas , its origins, social purpose, and authority – all in order to define the nature of a civis and the various virtues of such a human type. Here the original or fundamental question would be: What makes a human association a civil one (or to use our more familiar but now quite complex and confusing term, a “political” one)? and such a question leads one quickly to the land of philosophical giants, to the likes of Aristotle, Hobbes, and Hegel and to very daunting, intimidating issues.
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Book•
01 Jan 1954
TL;DR: Deuxieme tirage de cet essai critique de Georges Blin sur Stendhal, publie aux editions Jose Corti en 1954 as mentioned in this paper, et les images, une description a completer, une bibliotheque
Abstract: Deuxieme tirage de cet essai critique de Georges Blin sur Stendhal, publie aux editions Jose Corti en 1954.Deux images, une description a completer, une bibliotheque.
22 citations