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: Danielewski's House of Leaves can be read as a representation of the symbolic and the real as mentioned in this paper. But the relationship between what can be signified and what cannot is not.
Abstract: In this article, I examine the ways in which the figures of the labyrinth and the lacuna organize Mark Z Danielewski's House of Leaves The novel's labyrinths appear in a variety of forms, and yet each has at its center a lacuna in which signification is problematized I argue that these labyrinths and lacunae can be read as representations of, respectively, the Symbolic and the Real, and, as such, they suggest that the book's metafictional nature allows it to engage critically with the dynamic between what can be signified and what cannot
6 citations
TL;DR: The interactive collaboration of image, sound and word is a novel combination of elements in a web browser, offering a wealth of information, freedom of choice and practice of creativity.
Abstract: At the beginning of the 21st century graphic novels faced a challenge. The appearance of comic strips on the internet creates more freedom. New features are provided to the creator and the reader. The remarkable form of graphic novels with the required choice of images and words is familiar to students of all levels due to their engagement with new technologies. Interactive graphic novels expand the boundaries of the novel with the particularity of using the audio-visual and verbal modes of expression. Interactive graphic novels immerse users into the storylines in an exciting way and allow them to become active participants in the content. They are not printed on good quality paper; interactive graphic novels are not books (not at least in the traditional, physical sense), but they maintain the same way of production and methodology. They are a hybrid type, with panels, visualisation and sound that resemble digital comics, videogames, but there is the "fell/sense" of reading. They have developed a complex vocabulary, visual, acoustic and verbal which has a significant influence on the understanding of the story. Larger narratives achieve the complexity and density of story. It is not just a "scrolling" process, that is it does not restrict the reader to a dull / restrictive navigation. It is especially important that they offer the user the freedom to navigate. The interactive collaboration of image, sound and word is a novel combination of elements in a web browser, offering a wealth of information, freedom of choice and practice of creativity. The subject matter is varied and the illustration does not depict the plot, but it is an integral part of the medium, as does the audio investment. Enrichment acts as a challenge that does not lead the reader to a surface reading. https://doi.org/10.26803/ijlter.17.6.10
6 citations
TL;DR: Schneidau as discussed by the authors suggested that the nameless narrator is not telling the events to someone later in the evening, but is actually offering a running commentary on them, so to speak, the point is that the Nameless One cannot even experience the events without having his consciousness prepare them for later performance.
Abstract: James Joyce's Ulysses--the episode in which Leopold Bloom has an altercation with an anti-Semitic "citizen"--flared up in the nineteenseventies. David Hayman put forward an argument about the Erzdihlzeit of the episode-the time of its telling-that projected it forward from the Erzahlte Zeit, the time of the occurrence. "In order to find out what occurred in Barney Kiernan's at 5 on 16 June, the reader is transported at an unspecified hour to an unnamed pub where he listens silently to the porterous voice of an insistent and self-assertive clown" (242). Four years later, in 1979, Herbert Schneidau disputed Hayman's notion that the telling of the events in the pub occurs later that night in yet another pub. Instead, Schneidau suggests that the nameless narrator is not telling the events to someone later in the evening, but is actually offering a running commentary on them. Instead of telling the story, the narrator "'rehearses' it, so to speak... the point is that the Nameless One cannot even experience the events without having his consciousness prepare them for later performance (100). In a rebuttal in the same James Joyce Quarterly issue, Hayman cedes the potential plausibility of this alternative formulation but without relinquishing his own point, that a past tense retrospective narra-
6 citations
TL;DR: The authors examines the different forms of speech representation in the Iliad and the Odyssey using both linguistics and narratological theory, showing that the linguistic speech act type of a given speech plays a prominent role in how that speech is represented.
Abstract: This paper examines the different forms of speech representation in the Iliad and the Odyssey using both linguistics and narratological theory. Heretofore, narratologists working on Homeric poetry have paid little attention to non-direct modes of speech representation, which this paper argues can best be understood as complementary to direct speech with their own distinct functions in the overall structure of the poems. The linguistic speech act type of a given speech plays a prominent role in how that speech is represented. We understand both non-direct speech and direct speech more fully if we explain how these techniques work alongside one another. Moreover, we will see that the Iliad and the Odyssey share a broadly consistent approach to speech representation, but each poem uses the speech representational spectrum to depict different types of speech.
6 citations
TL;DR: In this article, the authors focus on pastoral care concerning people who have been victimised by others and highlight the theological dilemma created for such people by the Christian imperative to forgive, and argue that pastoral care goes beyond this imperative.
Abstract: This article focuses on pastoral care concerning people who have been victimised by others. The aim is to highlight the theological dilemma created for such people by the Christian imperative to forgive. The article argues that pastoral care goes beyond this imperative. The focus is rather on healing and wholeness. After this has been achieved, true compassion toward others who are down-trodden and have been hurt, becomes possible. In this way forgiveness can be internalised. This pastoral approach is theoretically substantiated by the philosophy of Paul Ricoeur and the practical theology of Donald Capps.
6 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