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: This paper analyzed the role of the narrator in several of Machado's novels and short stories and found that the author simultaneously makes full use of his authorial power while still allowing the reader plenty of opportunities for creatively filling in the gaps of the text, helping to bring it to life, and on several occasions Machado also leads the reader to make conclusions about the text only to deconstruct them afterwards.
Abstract: This essay discusses an aspect of the narrative of Machado de Assis that I call "entreabertura" (the state of being half-way open). This "in-betweenness" is examined by analyzing the role of the narrator in several of Machado's novels and short stories. In these works, the Brazilian author simultaneously makes full use of his authorial power while still allowing the reader plenty of opportunities for creatively filling in the gaps of the text, helping to bring it to life. Moreover, on several occasions Machado also leads the reader to make conclusions about the text only to deconstruct them afterwards. Machado's narrative is analyzed in the light of works by contemporary authors such as Umberto Eco, Roland Barthes, Jacques Derrida, and Linda Hutcheon, as well as those of Machado scholars such as Paul Dixon, Roberto Schwarz, John Gledson, and Enylton de Sa Rego.
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TL;DR: In the very last canto of The Divine Comedy, Dante finally comes to unite his gaze with that of God as mentioned in this paper, and the reader along with him, sees reflected in the revolving circle of God is his own image; God is a circle "with our image within itself," and Christ being man, man is both reflected and contained in God.
Abstract: In the very last canto of The Divine Comedy, Dante finally comes to unite his gaze with that of God. God is an eternally moving circle of light, and as Dante looks into it he finds at its center the image of Christ?or, literally, "la nostra effige," our image.1 This is a decisive moment: what Dante, and the reader along with him, sees reflected in the revolving circle of God is his own image; God is a circle "with our image within itself," and Christ being man, man is both reflected and contained in God: through the image of Christ we see not only God, but ourselves in God. Dante is unable to find words for this moment of unsurpassed transcendence, "se non che la mia mente fu percossa / da un fulgore in che sua voglia venne" [save that my mind was smitten by a flash wherein its wish came to it] (DC 140-41). There follow merely four lines: "A l'alta fantasia qui manco possa; / ma gi? volgeva il mio disio e'l velle, / si come rota ch'igualmente ? mossa, / l'amor che move il sole e l'altre stelle" [Here power failed the lofty phantasy; but already my desire and my will were revolved, like a wheel that is evenly moved, by the Love which moves the sun and the other stars] (DC 142-45). Through this moment of unprecedented translucence, then, the desire of the poet is ultimately brought into harmony with that of the Creator, becoming itself a revolving wheel moving towards its fulfilment in God. Coinciding, as it does, with the end of the Comedy, this moment of transcendent inspiration is itself all times: a reference to a future already accomplished, which has nevertheless still to be begun, as this end in truth marks the moment which enables the beginning of the writing of the Comedy, the greatest of all allegories. The translucence with which this final scene of the Comedy is marked allows us to look upon Divina Commedia as a transubstantiation, as it were, of allegory into symbol and vice versa. In Coleridge's famous distinction between allegory and symbol, however, translucence is taken to be the defining characteristic only of the latter:
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TL;DR: The authors examines how Nicholson Baker's The Mezzanine shifts engagement with the details of the material world consistently onto the axis of temporality and how, in so doing, it fashions a theory of periodization in which historical and social trends and events are relegated in importance.
Abstract: This essay examines how Nicholson Baker’s The Mezzanine shifts engagement with the details of the material world consistently onto the axis of temporality and how, in so doing, it fashions a theory of periodization in which historical and social trends and events are relegated in importance. Asking how the detail or moment might both alter an understanding of the general and spread time to infinite proportions, The Mezzanine casts doubt on the process of periodizing by way of metonymy and synecdoche and offers instead a contingent and improvised version of the 1980s.
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TL;DR: In this article, the authors depict Barth's employment of the frame narrative and embedding structure which are the main devices of Scheherazade's mystifying narratives and demonstrate how traditional technique can bridge post-modernist aesthetics to recreate and replenish the exhausted materials in writings.
Abstract: During the fifties he was considered to be an existentialist, and absurdist and later a Black Humorist, yet, John Barth proved that he would never subscribe to any specific theory and would make his own world of/about fiction by himself. A traditional postmodernist as some of the critics calls him; he was obsessed with Scheherazade the narrator of the Thousand and one Nights and her art of storytelling. This essay aims to depict Barth’s employment of the frame narrative and embedding structure which are the main devices of Scheherazade’s mystifying narratives. Revealing the architectonic structure of his writing, we would demonstrate how traditional technique can bridge postmodernist aesthetics to recreate and replenish the exhausted materials in writings.
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TL;DR: The relation between narrative and fiction in a short story by Mario Benedetti, "Five Years of Life", is discussed in this article, where it is interpreted as a return to Kuroda's and Banfield's theories.
Abstract: This article deals with the relations between narrative (more precisely, narration) and fiction in a short story by Mario Benedetti, “Five Years of Life.”2 Its theoretical frame of reference is S.-Y. Kuroda and Ann Banfield’s non-communicational or poetic theory of narrative, seen as an alternative to communicational narrative theory, which has occupied a dominant position since narratology came into being. Given that the terms narrative theory, communicational theory (or theory of narrative communication), and narratology are all often used and often used ambiguously, I would like to clarify what I understand by narratology and communicational theory of narrative as well as the context of what might be interpreted as a “return” to Kuroda’s and Banfield’s theories.3 By narratology, I understand first a school of literary theory or, more precisely, of the theory of literary narrative, which was first formed in the mid 1960s and based at the École Pratique des Hautes Études, then at the École des Hautes Études en Science Sociales in Paris (its socio-institutional heritage is not indifferent but determines the meaning of the adjective structuralist in the term structuralist narratology). Gérard Genette swiftly became its leading figure. For historical reasons which deserve closer
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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