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Journal ArticleDOI

Narrative discourse : an essay in method

23 Jan 1980-Comparative Literature (Cornell University Press)-Vol. 32, Iss: 4, pp 413
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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Book Chapter
01 Oct 2013
TL;DR: The Metalepse is a narratologische Kategorie fur the Analyse literarischer Texte entwickelt worden as mentioned in this paper, i.e., a klare Korporalisierung of narrativen Ebenen innerhalb der Geschichte.
Abstract: Die Metalepse ist als narratologische Kategorie fur die Analyse literarischer Texte entwickelt worden.1 Doch schliest dies ihre Anwendung im Bereich der Bildwissenschaften keineswegs aus – ganz im Gegenteil, denn gerade metaleptische Formen der Inhaltsubermittlung haben in Texten haufi g eindeutig visuellen Charakter. Und so scheint es im Umkehrschluss deshalb auch durchaus angebracht, Bilder im Blick auf metaleptische Funktionsweisen zu analysieren. Wesentliches Merkmal der Metalepse ist die Uberwindung bzw. die Dekonstruktion unterschiedlicher Erzahlebenen. Diese Aufl osung wird dadurch erreicht, dass einzelne Elemente bzw. Figuren einer Erzahlung ihre jeweilige Erzahlebene verlassen – entweder innerhalb der Erzahlung, oder aber auch hin zum externen Leser. Dieses Uberschreiten wird jeweils durch eine bestimmte Aktion oder durch einen Sprechakt realisiert. In der Metalepse erfahren die Erzahlebenen also eine klare Korporalisierung – im Akt des Uberschreitens materialisieren sie sich, und dieser Prozess verleiht ihnen durchaus visuelle Qualitat: Die Erzahlung erhalt Raumlichkeit und Tiefe. Zugleich ist es gerade dieses Paradoxon, dass die Leser der Erzahlebene in dem Moment gewahr werden, in dem sie uberwunden wird, zugleich aber weiterhin fassbar bleibt, das der Metalepse solche Kraft verleiht – Kraft sowohl dazu, die Rezipienten zu verwirren, im gleichen Atemzug aber auch, oder besser: gerade dadurch auch die Erzahlung ihrem Publikum naherzubringen. Metaleptisches Erzahlen ist von der Verortung der Erzahlstimme(n) und den Erzahlebene(n) abhangig. Zur Lokalisierung der Metalepse ist es deshalb notwendig, die Ausgangsebene bestimmen zu konnen, von der die Hierarchie der narrativen Ebenen innerhalb der Geschichte konstruiert

4 citations

Journal ArticleDOI
TL;DR: In this paper, the authors show that the role played by visual thinking even in the more'respectable' hard sciences like physics can be traced back to the role of visual thinking in narrative theory.
Abstract: Narrative theory has a long tradition of borrowing its models from linguistics. This borrowing goes on in two senses of the word; one kind of borrowing involves modeling narrative on a linguistic phenomenon. An example is Genette's (1981) use of the verb and its secondary categories (aspect, mood, voice, etc.) as an analogue for the story and its elements (point of view, narrator, etc.). Other examples of the first kind of borrowing include Todorov's (1977) and Kristeva's (1970) analogy between the parts of a story and the parts of a sentence, with events as verbs, characters as nouns, attributes of characters as adjectives. The second type of borrowing, which is the type that I am concerned with here, involves modeling narrative on a linguistic theory. We find, for example, Dundes' (1965) motifeme and Dorfman's (1969) narreme, which borrow the paradigm — to use Thomas Kuhn's term — of structural linguistics; and Colby's (1973) and Prince's (1973, 1980) theories, which borrow the paradigm of transformational-generative grammar. The models employed by linguistic theory tend to be visual. As I have demonstrated elsewhere, linguistic models generally take the form of twodimensional representations, 'diagrams' (Stewart 1976). This is not surprising in view of the role played by visual thinking even in the more 'respectable' hard sciences like physics. Everyone knows the story of Kekule's formulation of the structure of the benzene ring — falling asleep in front of the fire, dreaming of a snake with its tail in its mouth, and waking up with the Aha! response that Koestler talks about, knowing that the molecular structure must be circular. Einstein himself said that he thought in visual terms until a problem had been solved; its translation into a verbal formulation came at the end. Models taken from linguistics and used in narrative theory fall into two groups: constituent analysis models and flowchart models. Models for the constituent analysis (or 'parsing') of individual stories take the form of the 'tree' diagrams used by both structural and transformational linguistics to represent a variety of concepts (Stewart

4 citations

01 Jan 1993
TL;DR: A brief reflection on the values that determine both the moral horizons of the epics and the typology of characters that inhabit and are controlled by those horizons can be found in this article.
Abstract: At first glance, two traits uniquely characterize Nestor in the Homeric poems: longevity and the command of persuasive speech.1 That these features are in no way peculiar to him, but instead common to the type of figure Nestor represents within the narrative tradition, will be clear from a brief reflection on the values that determine both the moral horizons of the epics and the typology of characters that inhabit and are controlled by those horizons. Especially within the society of warrior elite in the Iliad, in which the highest premium is put on physical strength, the weak either die ingloriously—the stuff of which others’ klevo" [fame] is made—or else

4 citations

Journal ArticleDOI
TL;DR: In this article, the authors studied how two lexical entries (i.e., Biblical soul and Qur’anic ruħ) are defined in religious discourses, namely, the Holy Book of Quran and the Holy Bible, from which data necessary for this study were collected.
Abstract: The purpose of this paper is to see how two lexical entries (i.e., Biblical soul , and Qur’anic ruħ) are defined in religious discourses, namely, the Holy Book of Quran and the Holy Bible, from which data necessary for this study were collected. Several verses were cited throughout this paper mainly from two corpora: 1) the Qur’anic Arabic Corpus and 2) King James Bible Online. As for machinery, the researcher carried a three-level analysis. In the first level, the detonational and connotational meanings of these lemmas (dictionary entries) in major English and Arabic dictionaries were provided. English dictionaries were Oxford English Dictionary and the American Heritage Dictionary of the English Language. Arabic dictionaries were lisaan al ʕ arab (Lit: the Tongue of The Arabs) and al muћeet (Lit: The Ocean). In the second level of analysis, the meanings of these words were sought in the interpretations of major Muslim and Christian scholars. The final level of analysis was an attempt to provide detailed definitions of the words in study from within the Quran and the Bible through invoking what these words mean. The results of this study indicated that each of the studied words has differently distinctive meanings in terms of scope, dimensions, and implications. Accordingly, the study recommends (1) adopting such meanings when interpreting religious discourses (2) accepting intertextuality as an invaluable approach to understanding the meaning of words in the Holy Book of Quran and the Holy Bible.

4 citations


Cites background from "Narrative discourse : an essay in m..."

  • ...Genette (1983) proposed the term 'transtextuality' as a more inclusive term than 'intertextuality'....

    [...]

Journal ArticleDOI
TL;DR: This article used a narrative analysis to contribute to the discourse on the characterisation of Jesus in the Matthean Gospel, focusing on what God the Father says in support of the character of Jesus.
Abstract: This article uses a narrative analysis to contribute to the discourse on the characterisation of Jesus in the Matthean Gospel. Characterisation can be achieved in various ways. Much is revealed about characters through their actions and words, and how other role-players in the text respond to them. Sometimes there is a narrator who tells the reader about a character. The kind of character depends on the traits or personal qualities of that character and how that character performs during specific incidents. Along with God himself, Jesus forms the principal character in the First Gospel. His teachings and actions are central to the text and the actions of other characters are directed towards him. The article focuses on one aspect of characterisation, namely, on what characters say about Jesus. Such words can come from supporters or antagonists. The article concentrates on what God the Father says in support of Jesus. The Father’s point of view is normative in this narrative. The evangelist utilises the utterances of God the Father as a narrative strategy to gradually assure the prominence and authority of the character of Jesus. Matthew’s narrative clearly recounts Jesus’ authority – an authority that comes from God and not only points towards him but also finally becomes his own. The Father attests that Jesus is greater and more authoritative than any previous messenger of God. It is Jesus who ultimately states that all authority has been bestowed upon him and therefore he can send out the disciples with his Great Commission. God’s heavenly voice expresses the significant status of Jesus as the main character and exposes the malignity of his antagonists.

4 citations

References
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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.

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