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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Journal Article•
TL;DR: The plant's speech without voice is the positive limit of expression, promising to enrich our own sense of articulation and to rescue our theories of signification from their idealist impasse.
Abstract: “Who” speaks always limits the range, content, form, tone, rhythm, and modulations of the speaking that ensues. But in the absence of this enabling limitation there is no speech whatsoever. We should thus not hear in the vegetal logos without logos the deficiency and privation it has been linked to throughout the history of Western thought. The plant’s speech without voice is the positive limit of expression, promising to enrich our own sense of articulation and to rescue our theories of signification from their idealist impasse.
6 citations
19 Oct 2020
TL;DR: The authors compared passages from four novels by the renowned Albanian author Ismail Kadare with their English translations: Prilli i thyer (Broken April, 1990 [1980]), Kronika ne gur (Chronicle in Stone, 2007 [1971]), Vajza e Agamemnonit (The Daughter of Agamen, 2006 [2003]) and Pallati i endrrave (The Palace of Dreams, 2011 [1999]).
Abstract: This study compares passages from four novels by the renowned Albanian author Ismail Kadare with their English translations: Prilli i thyer (Broken April, 1990 [1980]), Kronika ne gur (Chronicle in Stone, 2007 [1971]), Vajza e Agamemnonit (The Daughter of Agamemnon, 2006 [2003]) and Pallati i endrrave (The Palace of Dreams, 2011 [1999]). It uses the linguistic analysis of style in the source and the target languages aiming to identify the modification of narrative perspectives during the translation process. The stylistic comparison of the original with translated versions demonstrates the shift from the internal perspective to the narratorial perspective of narration, which may be the result of the translator’s inclination to explain. In Kadare’s novels which have been translated from French, the tendency to make a clear borderline between narrative voices is evident. The translator’s lack of ability to pick out stylistic features indicating the internal perspective of the character impacts the mental representation produced by the reader of the translated text. The shift from the character’s to the narrator’s perspective influences not only the reader’s attitude towards the culture narrated in the text but also the way how the identity of the narrator is construted. Consequently, the imposed narratorial voice in the translated Kadare’s novels gives a different impression from the non-intrusive narration that the author managed to create in the communist regime.
6 citations
01 Apr 2007
TL;DR: In this article, Proust's A la recherche du temps perdu and Kafka's Der Bau, the author shows how thematic material that, on the surface, seems to deal, in one case with jealousy and in the other with an animal's attempt to secure his burrow, is used to form anxiety as an attempt to anticipate the author's imminent death.
Abstract: Drawing on Walter Benjamin's and Sigmund Freud's scattered reflections, the author eleborates a psychic immunology that serves to counteract trauma. In Modernity, he claims, immunity as described by psychoanalysis is a vital property. In rhetorical terms, the textual figure immunity can be described as analeptic prolepsis. The term immunity can make a crucial contribution to literary theory, as textual strategies of paradigmatic Modern narrations are shown to provide antigenes against imminent threats. In his reading of Marcel Proust's A la recherche du temps perdu and Kafka's Der Bau—authors from the French and the German literary tradition—the author shows how thematic material that, on the surface, seems to deal, in one case with jealousy and in the other with an animal's attempt to secure his burrow, is used to form anxiety as an attempt to anticipate the author's imminent death.
6 citations
Dissertation•
01 Jan 1989
TL;DR: Good Morning, Midnight and Virginia Woolf's Mrs. Dalloway as mentioned in this paper explore subjectivity and the sexual/textual politics of cultural resistance in a way similar to ours.
Abstract: Written during the turbulent years between the World Wars, Jean Rhys7s Good Morning, Midnight and Virginia Woolf s Mrs. Dalloway, different though they may be, can be discussed in terms of their exploration of subjectivity and the sexual/textual politics of cultural resistance. Both writers envision female subjectivity as fundamentally alienated. Defined by the traditions of patriarchy as the masculine subject's objectlother, woman, a cultural commodity, is presented as other even to her self. But beyond this point of shared concern, the texts articulate a divergent understanding of oppression and the possibilities of resistance. In Good Morning, Midnight, Rhys traces the struggle of a woman to locate herself a s a subject within an oppressive and objectifying social order. While there is an implied criticism of the ideologies which frame the narrator Sasha Jensen's experience, the expression of anger in the novel is undercut by Rhys's manipulation of the narrative structure, and consequently the voice of cultural resistance is silenced. Rhys relies on the techniques of modernism to represent Sasha's inability to position herself as a speakingldesiring subject. Truly subjected to a system which occludes her claim to speaklact a s a subject in her own right, Sasha speaks from her position as alienated other. Her fragmentary, disjointed narration signals chaos, hysteria and the threat of madness. The novel moves toward a final acquiescence which affirms Sasha7s loss of subjectivity a t the hands of the Father's silencing Law. In Mrs. Dalloway, on the other hand, Woolf confronts woman's place as objectlother with the suggestion that resistance is possible. Through the character, memory and experience of Clarissa Dalloway, Woolf creates an alternative vision/version of woman's subjectivity, one that implies a way out of the oppressive order within which Rhys7s narrator is trapped. The convergence (and divergence) of different voices in Mrs. Dalloway enables Woolf to deconstruct the unified masculine subject and inscribe the novel with a heterogeneous vision. For Woolf, modernist technique is not simply the vehicle of story but essential to the story itself. Her writing inaugurates a deconstruction of the phallogocentrism of traditional realist conventions and celebrates the possibilities of making a space for the feminine. While in Good Morning, Midnight madness is contextualized as the anguished but passive fate of the objectified female subject, in Mrs. Dalloway it signifies the very processes of marginalization and is used to question patriarchal values and authority. Where Rhys sculpts a nightmare of entrapment, Woolf conceives strategies of sexual/textual resistance.
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