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: In this article, the authors argue that a narrative approach to expatriation and cultural encounters may enlighten us to the ways in which these phenomena are understood and constructed as part of the social reality of those who experience them.
55 citations
TL;DR: The authors investigates the formal mechanics of autobiographical graphic novels to show how mirror scenes and their self-conscious play with pictorial identity forge autobiographical subjects, concluding that in frequency and function these mirror moments mark failed encounters with the real.
Abstract: Why are so many of the most critically acclaimed graphic novels autobiographical? Why do so many of these works contain scenes of mirroring or the trope of mise en abyme , in which the picture has within it an identical miniature picture? This essay probes the formal mechanics of autobiographical graphic novels to show how mirror scenes and their self-conscious play with pictorial identity forge autobiographical subjects. This essay, therefore, analyzes not simply the form of autobiographical graphic novels but their formal unconscious as well. Drawing on comics scholarship, autobiography studies, and psychoanalysis, it investigates Marjane Satrapi’s Persepolis (2003) and James Kochalka’s American Elf: The Collected Sketchbook Diaries (2004) to show that in frequency and function these mirror moments mark “failed encounters with the real.”
55 citations
TL;DR: This paper argued that the text-as-communication model is inappropriate for many forms of written discourse and for fictional narrative in particular, and that it is more productive simply to view the text simply as a stimulus.
Abstract: In much of the theoretical analyses of text processing, it is assumed that text should be thought of as a form of communication between the author and the reader. This conception is analogous to the communicative model used for analyzing conversation. We argue that this text-as-communication model is inappropriate for many forms of written discourse and for fictional narrative in particular. Unlike oral communication, the author is not physically present, the author is usually not the implied speaker of the text, and recovering the author's intended message can be problematic. Consequently, we feel it is more productive simply to view the text simply as a stimulus. In trying to understand how readers process that textual stimulus, it is important to specify the features and characteristics that can be objectively found in the text, but it is not important to know what the author may or may not have intended.
54 citations
01 Jan 1999
TL;DR: An algorithm for generating appropriate anaphoric expressions which takes the tent+ poral structure of texts and knowledge about ambiguous contexts into account is presented, back up with some empirical results indicating that the algorithm chooses the right referring expression in 85% of the cases.
Abstract: In order to produce coherent text. natural language generation systems must have the ability to generate pronouns in the appropriate places. In the past, pronoun usage was primarily investigated with respect to the accessibility of referents. We.argue that generating appropriate referring expressions requires looking at factors beyond accessibility. Also important are sentence boundaries, distance from last mention, discourse structure and ambiguity. We present an algorithm for generating appropriate anaphoric expressions which takes the tent+ poral structure of texts and knowledge about ambiguous contexts into account. We back up our hypotheses with some empirical results indicating that our algorithm chooses the right referring expression in 85% of the cases.
54 citations
TL;DR: The idea of point-of-view in the dramal is certain to strike many as a strange or even contradictory notion as discussed by the authors, and it is conventionally assumed that, because plays are non-narrative, the complex issues associated with theories of point of view can have nothing to do with the stage.
Abstract: The idea of point of view in the dramal is certain to strike many as a strange or even contradictory notion. It is conventionally assumed that, because plays are non-narrative, the complex issues associated with theories of point of view can have nothing to do with the stage. Furthermore, major theorists of both narrative discourse and the semiotics of theater generally agree that drama is exclusively a mimetic genre, while fiction combines mimesis and diegesis. Scholes and Kellogg assert: "By narrative we mean all those literary works which are distinguished by two characteristics: the presence of a story and a story-teller. A drama is a story without a story-teller; in it characters act out directly what Aristotle called an Imitation' of such action as we find in life"; Keir Elam similarly states that drama is "without narratorial mediation" and that it is "mimetic rather than strictly diegetic acted rather than narrated."2 The same position is also affirmed by Franz Stanzel, Lubomir Doležel, Dornt Cohn, and Jiri Veltrusky.3
52 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