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 authors analyze what boundaries Nathan Zuckerman draws between life and literature, with particular emphasis on the American Trilogy and Exit Ghost, and contrast Zuckermans's methods with those of the character of Richard Kliman in the latter novel.
Abstract: This paper aims to analyze what boundaries Nathan Zuckerman draws between life and literature, with particular emphasis on the American Trilogy and Exit Ghost , and contrasts Zuckerman's methods with those of the character of Richard Kliman in the latter novel. The essence of Zuckerman's modus operandi seems to be that literature can tell us something about life — but only if life is first turned into literature. Kliman operates in the opposite way: By digging up "dirty" secrets about E.I. Lonoff, he hopes that he can somehow bring to light in Lonoff's work hitherto unknown truths about Lonoff's life . The "cultural journalism" that Kliman and his generation represent is partly what prompts Zuckerman's exit as a literary character. His way of working is no longer relevant in the world of the tell-all scandal.
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TL;DR: The role of the real reader was not central to narratology until its constructivist phase, which started about a decade ago as discussed by the authors, and the role of real reader has not yet become central to narrative processing.
Abstract: If only because they are very often interested in interpretations that turn detailed formal aspects into meaning, theorists of literary narrative have always considered their object of investigation in terms of its effect on an ideal reader. Even reception aesthetics, as practiced byWolfgang Iser (, ), boiled down to a hermeneutics in which this ideal audience took the form of a readerly role determined by the text. Despite early studies into the cognitive dynamics of the reading process byMeir Sternberg () and Menakhem Perry (), the role of the real reader did not become central to narratology until its constructivist phase, which started about a decade ago. There is, however, a serious problem with this approach. Although constructivist narratologists, such asAnsgarNünning, investigate ‘‘the cognitive activity through which observers create subjective models of the world they regard as actual’’ (), they mostly refrain from empirical testing, perhaps because they simply have not been trained for this kind of research. As a consequence, the empirical study of narrative processing has largely been left to social psychologists, whose interest in the specific workings of literary narrative has been very limited. Representative contributions to the field, such as by Gordon H. Bower and Daniel G. Morrow () and Richard Gerrig (), indicate that studies of narrative in social psychology are mainly concerned with relatively short and ‘‘simple narra-
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TL;DR: The authors trace the sequence of these invitations throughout the poem and find an increasingly tight organization around the thane's perspective, and a special interest in Wiglaf's point of view at a crucial moment in the poem.
Abstract: The Beowulf-poet manipulates a small repertory off linguistic devices, especially motion and perception verbs, to establish distinct points of view from which we view the action in the poem. As in the modern horror film (to which Beowulf is frequently compared), the first half of the poem invites us to adopt a number of different perspectives, including Grendel's. If we trace the sequence of these invitations throughout the poem, however, we find an increasingly tight organization around the thane's perspective, and a special interest in Wiglaf's point of view at a crucial moment in the poem.
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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