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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01 Jan 1989
TL;DR: Oversize materials (e.g., maps, drawings, charts) are re-produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps as mentioned in this paper.
Abstract: Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and w hite photographic p rin t for an additional charge.
5 citations
TL;DR: In this article, the authors of The Yellow Wall-Paper and The Story of an Hour have been analyzed to find out how the gender of the author or protagonist in the narration can affect the time of narration.
Abstract: The aim of this presentation is to show how Charlotte Perkins Gilman and Kate Chopin manipulate temporality to foreground their themes in The Yellow Wall-Paper and The Story of an Hour in the light of GeIrard Genette’s theory of time. Both stories present female characters oppressed by the patriarchal authority in the marriage and their attempts to liberate themselves from this oppression. The aim is to find out how the gender of the author or protagonist in the narration can affect the time of narration. GeIrard Genette’s theory of time (order) is applied to these short stories in order to confirm that the theme of the story affects the time of narration regarding women’s status in the narration. The results are in agreement with feminist narratologists who believe that the female authors use techniques of time in the narration purposefully to resist or negotiate with patriarchy in the process of women’s liberation.
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Cites background from "Narrative discourse : an essay in m..."
...“The Yellow Wall-Paper” by Charlotte Perkins Gilman (1892) and “The Story of an Hour” by Kate Chopin (1894) have the same theme of women’s confinement in the domestic sphere and their attempt to set themselves free from this confinement....
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...Keywords: Gérard Genette, Charlotte Perkins Gilman, Kate Chopin, Temporality, Gender....
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...“The Yellow Wall-Paper” by Charlotte Perkins Gilman (1892) and “The Story of an Hour” by Kate Chopin (1894) have the same theme of women’s confinement in the domestic sphere and their attempt to set themselves free from this confinement....
[...]
...The aim of this presentation is to show how Charlotte Perkins Gilman and Kate Chopin manipulate temporality to foreground their themes in “The Yellow Wall-Paper” and “The Story of an Hour” in the light of Gérard Genette’s theory of time....
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...Charlotte Perkins Gilman's Colonial Revival....
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TL;DR: Sympathies, I believe, exist (for instance, between far-distant, longabsent, wholly estranged relatives asserting, notwithstanding their alienation, the unity of the source to which each traces his origin) whose workings baffle mortal comprehension as mentioned in this paper.
Abstract: Presentiments are strange things! and so are sympathies; and so are signs; and the three combined make one mystery to which humanity had [sic] not yet found the key. I never laughed at presentiments in my life, because I have had strange ones of my own. Sympathies, I believe, exist (for instance, between far-distant, longabsent, wholly estranged relatives asserting, notwithstanding their alienation, the unity of the source to which each traces his origin) whose workings baffle mortal comprehension. And signs, for aught we know, may be but the sympathies of Nature with man.
5 citations
TL;DR: The authors used a corpus linguistic approach for collecting random samples of dialectal terms used in Saudi novels and classified dialectal elements under the rubric of cultural markers and assessed the rendition of these cultural markers in connection with Dickins' degrees of cultural transposition and House's concept of covert translation and its criteria.
Abstract: Purpose of the study: The current study aims to assess the translation of dialectal expressions embedded in the Girls of Riyadh and whether the translation could transfer the overall effect, aesthetic values, cultural atmosphere, style, and pragmatic effect.
Methodology: The study has used a corpus linguistic approach for collecting random samples of dialectal terms used in Saudi novels and classified dialectal elements under the rubric of cultural markers and assessed the rendition of these cultural markers in connection with Dickins’ degrees of cultural transposition and House’s concept of covert translation and its criteria.
Main Findings: Following the assessment of samples from the novel, the study has found that the translators neither follow domestication nor foreignization and they rely heavily on the communicative translation strategy, and in most cases, dialectal expressions are omitted or rendered into formal English.
Applications of this study: The current study can be useful in providing a translation approach for translating dialectal terms and expressions in Saudi novels as it draws their attention to the utmost importance of translating dialect in order to maintain the overall effect of the source culture in the target language text.
Novelty/Originality of this study: This study is the first of its kind in addressing the issue of translating Saudi dialectal terms and expressions embedded in contemporary Saudi novels where there is a scarcity in the number of studies dealing with the problems of translating Saudi literature into foreign languages.
5 citations
Dissertation•
01 Dec 2012
TL;DR: In this paper, the authors argue that the more disruptive the narrative strategies are to fairy-tale patterns, the more enabled the retelling is to question gender as a concept on the level of story, and suggest that gender conceptualization and narrative structures can work in concert, in opposition, or by revealing alternate possibilities.
Abstract: This dissertation contributes to scholarship on contemporary fairy-tale retellings by exploring how gender is conceptualized, or not, as an unstable construct through specific narrative strategies. The texts I analyze are primarily American literary fiction and films, aimed at adults and young adults, from the past twenty years. I argue that narrative strategies affect the way gender is conceptualized in retellings even if they do not directly engage with gender concepts on the level of story. I suggest that gender conceptualization and narrative structures can work in concert, in opposition, or by revealing alternate possibilities, and I focus on the complexity with which retellings reenvision traditional fairy tales—paying particular attention to plot, narration, and metafiction. My purpose is to show how gender ideologies and narrative structures interact, and I conclude that the more disruptive the narrative strategies are to fairy-tale patterns, the more enabled the retelling is to question gender as a concept. Contemporary retellings engage their intertexts in intricate and complex ways that reflect contemporary theoretical work with gender by theorists such as Judith Butler and Judith Halberstam, and the resulting degeneration of fairy-tale narrative patterns opens up fairy-tale fragments to be signified in new and multifaceted ways. In each chapter I engage in both narratological and interpretative analysis in order to demonstrate the varied relationships between discursive structuring and story in fairytale retellings. I show how disruptive and destabilizing narrative strategies can reinforce thematic arguments about the construction of the wicked witch character in Robert Coover’s Stepmother, Garth Nix’s “An Unwelcome Guest,” and Catherynne M. iv Valente’s “A Delicate Architecture.” I explore how reliance on plots from source tales undercuts thematic representations of gendered identity in three films, Ever After, Sydney White, and Aquamarine. I demonstrate how destabilizing narrative strategies, most notably lack of narrative closure, enable conceptualizations of gender not present in the source tales in Kelly Link’s “Swans,” “Magic for Beginners,” and “The Cinderella Game.” I analyze how Iserian narrative gaps and blanks produce a space for conceptualizing alternative gender configurations not present in the story in Robert Coover’s Briar Rose and Jane Yolen’s Briar Rose.
5 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