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: Sara met me at the train station wearing black, well-tailored clothing inspired by the turn of the last century as mentioned in this paper, and the conversation circled around the allure of steampunk, it has to do with a passion for alternate history and do-it-yourself practices.
Abstract: Sara met me at the train station. Dressed in black, well-tailored clothing inspired by the turn of the last century. At the house in the Swedish countryside, I got a quick tour. Upstairs a sewing room with mannequins and big closets, a four-poster bed with parts of the latest LARP (live action role-playing) project all spread out. Downstairs the living room with all kinds of flea market finds, among them an old gramophone. The conversation circled around the allure of steampunk. For Sara, it has to do with a passion for alternate history and do-it-yourself practices. “Steampunk is very forgiving”, she said, “there’s not just one way of doing it. You can bend it, make things up, fantasize.” For her husband Pierre, steampunk is a relatively abstract attribute that can be added to other things, but the specific combinations are important, so that “it feels and tastes steampunk.” Steampunk needs to be in touch with the era of steam-powered technologies, they argued, and the materials and fabrics need to have the right “feel”. It is difficult to put brass, cogs and cogwheels next to plastic and rubber and still call it steampunk. This is something I’ve heard repeatedly since; “it needs to have the right feel.”
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Cites background or methods from "Narrative discourse : an essay in m..."
...Do I really want to put on a costume that represents the people that have completely exploited and fetishized my ancestors?([13])...
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...The term anachrony was used by Gérard Genette (1980) to designate a non-chronological narrative order....
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01 Jan 2008
TL;DR: This article analyzed Oedipus' appearance during Odysseus' tale in book 11 of Homer's Odyssey in order to outline and test a methodology for appreciating the poetic and thematic implications of moments when ‘extraneous’ narratives or traditions appear in the Homeric poems.
Abstract: In this paper we analyse Oedipus’ appearance during Odysseus’ tale in book 11 of Homer’s Odyssey in order to outline and test a methodology for appreciating the poetic and thematic implications of moments when ‘extraneous’ narratives or traditions appear in the Homeric poems. Our analysis, which draws on oral-formulaic theory, is offered partly as a re-evaluation of standard scholarly approaches that tend to over-rely on the assumed pre-eminence of Homeric narratives over other traditions in their original contexts or approaches that reduce such moments to instances of allusions to or parallels with fixed texts. In conjunction with perspectives grounded in orality, we emphasise the agonistic character of Greek poetry to explore the ways in which Odysseus’ articulation of his Oedipus narrative exemplifies an attempt to appropriate and manipulate a rival tradition in the service of a particular narrative’s ends. We focus specifically on the resonance of the phrases algea polla and mega ergon used by Odysseus as a narrator to draw a web of interconnections throughout Homeric and Archaic Greek poetry. Such an approach, in turn, suggests to what extent the Homeric Oedipus passage speaks to the themes and concerns of Homeric poetry rather than some lost Oedipal epic tradition and illustrates the importance of recognizing the deeply competitive nature of Homeric narratives vis-a-vis other narrative traditions.
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Cites background from "Narrative discourse : an essay in m..."
...On the theory of narratology: Genette (1980) 172-3....
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TL;DR: The authors studied the array of functions assigned to the textual Coda in the novel Atonement, also turned into a successful movie, which follows two diverging narrative discourses (the Text and its Paratext) that overtly compete over the understanding of the story and over its reading transaction.
Abstract: Our study draws on the array of functions assigned to the textual Coda in Ian McEwan’s novel Atonement, also turned into a successful movie It follows two diverging narrative discourses—the Text and its Paratext—that overtly compete over the understanding of the story and over its reading transaction In McEwan’s novel, the closing Paratext provides genre patterns and alternative reading strategies to the Text Turning back upon the story itself and upon its process of writing, its understanding and its genre expectations in a particular cultural context, Coda is being assigned by the British novelist an overt meta-narrative task
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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