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: The Neverending Story (1979, translated in 1983 by Ralph Manheim) and Cornelia Funke's Inkworld trilogy (Inkheart (2003), Inkspell (2005), and Inkdeath (2008) as mentioned in this paper ) were written more than two decades apart, yet we may discern fundamental philosophical similarities between these two sets of children's fantasy novels.
Abstract: Michael Ende’s The Neverending Story (1979, translated in 1983 by Ralph Manheim) and Cornelia Funke’s Inkworld trilogy—Inkheart (2003), Inkspell (2005), and Inkdeath (2008) (translated by Anthea Bell)—were written more than two decades apart, yet we may discern fundamental philosophical similarities between these two sets of children’s fantasy novels, beyond the fact that both are texts originally written in German and then translated into English to become children’s fantasy bestsellers. Apart from their common national origin, they both belong to the class of “children’s books whose protagonists are bookworms” (Nelson 223) and are, therefore, prime examples of novels that showcase the complex relationship between books and their readers. More significant, however, is the fact that they are works of children’s metafiction as well. In her 1984 book-length study, Patricia Waugh proposes one of the most influential definitions of “metafiction”:
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TL;DR: In this paper, an analytic framework for studying how people use time to communicate meaning in stories that express their evolving sense of identity is presented. But it is not a taxonomy of time use in their stories.
Abstract: Presented here is an analytic framework for studying how people use time to communicate meaning in stories that express their evolving sense of identity. In interviews, 21 emerging adult men narrated their life-stories. Content Analysis (Leedy & Ormrod, 2001; Schwandt, 2001) was used to generate a taxonomy of time use in their stories. Among other techniques, time maps, a device invented for this study, illustrated ways individuals arranged story events in time. One finding was that temporal order was interlinked with the meaningfulness of the story; another was that time was used to maintain coherence in the stories.
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01 Nov 2018
TL;DR: This article explored the modernist aesthetic involved in creating a fictive, nostalgic, childhood experience, and argued that evoking the experience of childhood through fiction is as close to actually reliving childhood as we can get.
Abstract: This essay explores the modernist aesthetic involved in creating a fictive, nostalgic, childhood experience. Evoking the experience of childhood through fiction is as close to actually reliving childhood as we can get. The author argues that it is possible to actually transport the reader into not only the idealized world of childhood, but more so into an embodied experience of childhood through the use of different kinds of narrative and stylistic configurations. In a stylistic and narratological analysis of three modernist novels, Virginia Woolf’s The Waves (1931), Tarjei Vesaas’ The Ice Palace [ Is-slottet ] (1963) and William Faulkner’s The Sound and the Fury (1929), the author explores the different ways that literature can create (or re-create) the very experience of childhood through literary style. The strategies involved in establishing a fictive experience of childhood extend from narratological choices such as free indirect style, strict focalization through a child in the narrative (which implies limitations in perception and cognitive abilities, as well as in linguistic terms) to the use of a child-like temporality, the hyperbolic use of phenomena, and an emphasis of the sensorial aspects of perception.
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03 Dec 2007
TL;DR: Taking four scenes from the children's story The Tale of Peter Rabbit, it is argued that in order to model narrative at three levels of abstraction, in terms of physics, characters and plot, there needs to be a "story-sense reasoning" level of abstraction.
Abstract: The telling and understanding of stories is a universal part of human experience. If we could reproduce even part of the process inside a computer, it could expand the possibilities for human-computer interaction enormously. We argue that in order to do so, we need to model narrative at three levels of abstraction, in terms of physics, characters and plot. Taking four scenes from the children's story The Tale of Peter Rabbit, we describe some of the challenges they present for modeling this kind of "story-sense reasoning".
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Cites background from "Narrative discourse : an essay in m..."
...We are not referring to the often-quoted division between story and discourse (Genette 1980), but a more basic division between story and plot....
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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