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
Citations
More filters
TL;DR: The main contours of Matthew's eschatology are relatively uncontested, including the apparent tension between what has been called his realized and future eschatologies, while Matthew himself seems to be remarkably relaxed about it.
Abstract: The main contours of Matthew's eschatology are relatively uncontested, including the apparent tension between what has been called his 'realized' eschatology and his 'future' eschatology. However, there is less agreement on whether or how this tension can be resolved, while Matthew himself seems to be remarkably relaxed about it. This article attempts to explain this surprising fact, and offers a new approach to reconciling the tension. The eschatological data in the Gospel are analysed by a process of 'adaptive inference' in order to build progressively its 'implied temporal framework'. The article concludes with a claim that the temporal framework implied by the Gospel is a relatively simple threefold division of history in which, after the period prior to the coming of Jesus, the central pattern of tribulation and vindication experienced by Jesus in his life, death and resurrection inaugurates an age in which a derivative pattern of tribulation and vindication is to be experienced by his followers.
7 citations
Dissertation•
10 Dec 2018
TL;DR: Exotericising through translation: Style and its Effects on Arabic Readers as discussed by the authors ) is a book about style and its effects on Arabic readers, which is translated from Arabic into English.
Abstract: Exotericising through Translation: Style and its Effects on Arabic Readers
7 citations
25 Mar 2021
TL;DR: In this paper, the authors present Story CreatAR, the first locative AR/VR authoring tool that integrates spatial analysis techniques to help authors think about, experiment with and reflect upon spatial relationships between story elements, and between their story and the environment.
Abstract: Headworn Augmented Reality (AR) and Virtual Reality (VR) displays are an exciting new medium for locative storytelling. Authors face challenges planning and testing the placement of story elements when the story is experienced in multiple locations or the environment is large or complex. We present Story CreatAR, the first locative AR/VR authoring tool that integrates spatial analysis techniques. Story CreatAR is designed to help authors think about, experiment with, and reflect upon spatial relationships between story elements, and between their story and the environment. We motivate and validate our design through developing different locative AR/VR stories with several authors.
7 citations
TL;DR: Snyder discusses the trope of disappearance in Blood Meridian as a key aspect of McCarthy's revisionist version of the West according to Paul Virilio's notion that we observe the world only as it is in the process of disappearing and Jacques Derrida's notion of writing as if under erasure, as well as the poststructural notion of language as spectral, a ghostly presence that actually marks an absence as discussed by the authors.
Abstract: Snyder discusses the trope of disappearance in Blood Meridian as a key aspect of McCarthy's revisionist version of the West according to (1) Paul Virilio's notion that we observe the world only as it is in the process of disappearing and (2) Jacques Derrida's notion that we always write as if under erasure, as well as the poststructural notion of language as spectral, that is, a ghostly presence that actually marks an absence. The textual analysis is focused especially on (1) the metacritical frame (narrator, glosser, and epilogue), (2) the Glanton gang as agents of disappearance, and (3) the search for the signified, both past and future, in the trace or artifact. The main argument is that everything in the novel seems to disappear.
7 citations
TL;DR: Henson as discussed by the authors argues that the order of reappropriative and be-longing signification is that of Mrs. Wakefield, rather than that of Mr. Waverley, who is not even made to feel properly guilty and apologetic.
Abstract: Although "Wakefield" opens as a leisurely mnemonic act, it turns into an intensely emotional affair. However, the stance of moral indignation and, indeed, condemnation adopted in many readings of this classic tale seems to be a monological trap, an interpretive ride along Einbahnstrasse. The present close re-reading draws on the combined appreciation of perversity as (i) formal figuration in which the bearings of the original are reversed, (ii) attitudinal disposition to proceed against the weight of evidence (the so-called 'being stubborn in error'). Building on this logic, the paper offers a transcriptive anti-type response to Hawthorne's title. It is meant as a detour of understanding and a reclamation of a seemingly obvious relational and denotative proposition. Inasmuch as "Wakefield" is a distinctive rhetorical performance, foundationally a story about story-telling, its title can be naturalized as identifying the story-teller. Even if this does not come across as lucius ordo, it is argued that the order of reappropriative and be-longing signification is that of Mrs. rather than--as is commonly believed--that of Mr. Wakefield. Informed by object permanence and a peculiar looking bias, "Wakefield" proves to be her-tale rather than his-story. As a secret sharer and a would be-speaking gaze, the wife turns out to be a structural and existential pivot of the narrative. More broadly, Mrs. Wakefield can be appreciated as coarticulator of a ventriloquistic logos and choreographer of a telescopic parallactic vision. Unintentional challenge to both the heresy of paraphrase and the aesthetics of astonishment, this is ultimately to proffer a radical Shakespearean/Kantian re-cognition that in certain spheres there obtains nothing absolutely 'moral' or 'immoral', and it is only a particular perspectival discourse that ma make it so. Keywords: narrative framing--phenomenology--female gaze--motivated irrationality--Prodigal Son --Penelope [So] fixed a gaze, that ... the visible world seemed to vanish, leaving only him and her. (Hawthorne [1850] 1983c: 171-172) For a woman to be called a Jezebel is every bit as bad as for a man to be called Ahab. (Henson 2009: 9) Nobody needs convincing that it makes a world of difference whether one leaves another for a day, a week, a month or presumably/apparently ad aeternum, which is to say 'forever'. "Wakefield" is an exceedingly poignant story about an unwarranted and potentially interminable aorist transaction of marital severance and separation, one that happens overwhelmingly at the expense of the wife. This "sketch of singular power" (Poe [1842] 1984a: 574) may be a disturbing experience to read on account of how the ignoble husband is not really subjected to any sustained pressure and how in the end he is not in any way punished for his transgression. What is more, he is not even really made to feel properly guilty and apologetic (let alone repentant) and the wife's anguish and trauma are not adequately (let alone fully) acknowledged. The wedded couple lived in London. The man, under pretence of going a journey," "took lodgings in the next street to his own house, and there, unheard of by his wife" ... dwelt upwards of twenty years.... [A]fter so great a gap in his matrimonial felicity ... he entered the door one evening, quietly, as from a day's absence, and became a loving spouse till death. (Hawthorne [1835] 1982a: 298) (2) As author Daniel Stem (1996: 65) transcribes the story's non-ethical dimension, it is admittedly one of the "cruelest" and "ugliest" narratives on record. As such, it seems to excite conversational indignation across the board. (3) In simplest terms, the self-congratulatory ease with which readers can rectify for themselves the ostensible underempathic shortcomings--finally, the frustrated sense of common justice--goes some way towards explaining the story's hold on popular imagination and its enduring resonance. …
7 citations
References
More filters
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