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 argued that Tanty Bessy and Man Ya generate laughter at their own expense for the purposes of "correcting" the negative cultural perceptions of the Caribbean migrant population in 1950s and 1960s Europe.
Abstract: This study challenges the common misconception of laughter as simply light-hearted entertainment by exploring its strategic use and subversive effects in two Caribbean novels: Sam Selvon’s The Lonely Londoners and Gisele Pineau’s L’Exil selon Julia. Selvon’s and Pineau’s humorous depictions of the migration to the metropolitan centres of London and Paris after World War II of two elderly female figures, Tanty Bessy and Man Ya, both bring to light and lighten the serious subject matter of Britain’s and France’s practices of exclusion toward their former colonized subjects. In examining Selvon’s and Pineau’s use of humour in light of Henri Bergson’s theory on the social significance of laughter as a corrective to man’s vices and impertinences toward society, this article argues that Tanty Bessy and Man Ya generate laughter at their own expense for the purposes of “correcting” the negative cultural perceptions of the Caribbean migrant population in 1950s and 1960s Europe. This reading of humour uncovers the ...
7 citations
Dissertation•
01 Dec 2014
6 citations
TL;DR: In this article, the authors present a general theory of microfiction that focuses on the formal elements of the genre's poetics, arguing that a symmetry exists between microfiction's contracted spatialization, and the compression-and hence violation-of the reader's anticipation.
Abstract: This article presents a general theory of microfiction that focuses on the formal elements of the genre's poetics. My analysis argues that a symmetry exists between microfiction's contracted spatialization, and the compression-and hence violation-of temporal norms of the reader's anticipation. The violation of conventional reading anticipation makes microfiction seem not only to be new but also transgressive. Indeed, much microfiction is transgressive of prevailing ideologies of time that are premised on the existence of contingency and the efficacy of human agency. This article takes the work of Israeli microfiction author Alex Epstein as its touchstone while advancing a framework for a theory of the genre.(ProQuest: ... denotes non-US-ASCII text omitted.)INTRODUCTIONThis article offers a conception of microfiction that attempts to redress critical indifference to the genre in the United States and Israel by focusing on the work of Alex Epstein, contemporary Hebrew literature's major figure in the art of minimal narratives. Microfiction assumes many aliases in the United States, including minifiction, sudden fiction, minute stories, and flash fiction, among others.1 In Israel the prevailing term is ktsartsarim ("short-shorts" ...), following the use of the word in the title of a pioneering anthology (1999) edited by scholars Hanan Hever and Moshe Ron, 50 Yisraelim Ktsartsarim2 )50 ...). Recent decades have witnessed an abundance of ktsartsarim in Hebrew letters, including work by authors such as Yosl Birstein, Orly Castel-Bloom, Etgar Keret, Reuven Miran, and Alex Epstein, all of whom Hever and Ron include in their volume. While modern Hebrew literature contains scattered feuilletonist short-shorts and other ktsartsarim variants that predate the appearance of Hever and Ron's collection, the form can only properly be said to have emerged in the last two decades of the twentieth century.3 Despite the growing familiarity of the term ktsartsarim in Israel, I exclusively use the term "microfiction" to avoid terminological profusion, even at the risk of repetition and marginalizing the Hebrew.Alex Epstein was born in St. Petersburg in 1971 and immigrated with his family to Israel as a young boy. He began publishing poetry and prose in the early 1990s, but it took more than a decade for him to find his niche as a writer of microfiction. Since the early twenty-first century, Epstein has occupied a curious position in contemporary Hebrew literature. His work has received both popular and critical acclaim and been published by some of the leading houses in Israel. Yet Epstein's work resists-both formally and thematically-the realism and political engagement of the country's more celebrated authors. Epstein likewise remains somewhat aloof from the Tel Aviv literary scene, though he is even more distant from the Russian emigre community. His work cannot fairly be said to be marked by the concerns of the latter. However, there is a certain affinity of form between Epstein's microfiction and some pieces by Felix Krivin, a well-known author from the former Soviet Union who writes solely in Russian and who has resided in Israel since the late 1990s. While Epstein speaks Russian, he cannot read Russian literature with ease and has reported that he is unfamiliar with Krivin's work.4Several critics have noted that Epstein's work is more profoundly influenced by Hebrew translations of Latin American writers-especially Jorge Luis Borges, Julio Cortazar, Augusto Monterroso-than by Israeli or Russian literary traditions.5 In several important ways, Epstein may be considered an idiosyncratic Israeli talent. If his output can be said to be indicative of any wider trend in Hebrew letters, it would be in his rejection of the parochial in favor of a vibrant cosmopolitanism. This paper follows Epstein's creative lead by avoiding the inward-looking parameters-the sociopolitical and sociocultural-of much critical discourse on Hebrew literature. …
6 citations
01 Jan 2005
6 citations
Dissertation•
01 May 2017
6 citations
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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