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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4 citations
01 Jan 2003
TL;DR: In this paper, an estudio mostrar el aspecto literario del relato, asi como aportar ciertas ideas for their utilización in the ensenanza de la lengua inglesa como lengua extranjera.
Abstract: Este estudio pretende mostrar el aspecto literario del relato, asi como aportar ciertas ideas para su utilizacion en la ensenanza de la lengua inglesa como lengua extranjera. Por una parte muestra al lector a las caracteristicas y desarrollo de este genero, profundizando en aquellos aspectos que se consideran especialmente distintivos de la narracion breve (personajes, titulo, ?). Por otro lado aporta ideas de como utilizar la literatura, y especialmente la narracion breve, en la ensenanza-aprendizaje de la lengua inglesa.
4 citations
Book Chapter•
01 Dec 2005
TL;DR: Enter The Matrix’s borders between the game and the film trilogy are permeable, blurred by the inclusion of filmed sequences into the game, and by ‘game like’ qualities in the feature films, as well as by the memories and associations carried by users as they move between these texts.
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TL;DR: Andrea Levy as discussed by the authors argued that Englishness must never be allowed to attach itself to ethnicity, and argued that the shared culture of daily life is the element that makes one feel connected to a national community.
Abstract: Andrea Levy’s fiction calls for a way of thinking, concisely put into words in her essay “This is My England” (2000): “Englishness must never be allowed to attach itself to ethnicity.” Her early novels, Every Light in the House Burnin’ (1994) and Never Far From Nowhere (1996), contest the hegemonic link between nationality and ethnicity by foregrounding the shared culture of daily life as the element that makes one feel connected to a national community. Starting from her third novel, Fruit of the Lemon (1999), onward, the notions of “Englishness” and “home” in Levy’s fiction become imbued with a postcolonial and transnational perspective, as clearly seen in one symbolic scene when Faith, the young black British protagonist, visits a house in Jamaica whose “windows were tall and elegantly glazed with squares of glass like fine Georgian houses in England” (324). At the back of this house is a tiny wooden shed, which was home for slaves. Faith enters the shed and “looked out and [saw] the pretty pink slave-owner’s house and beyond that the sky and the panoramic view of one of the most beautiful islands on earth” (325). This scene allegorizes Faith’s looking at England and Jamaica through the window of their shared colonial past, the kind of vision that shapes Fruit of the Lemon and Levy’s subsequent novels. Moving from a “rooted” engagement with the nation and national identity to a more “routed” one, in Paul Gilroy’s words (19),
4 citations
01 Jan 2021
TL;DR: This chapter argues that fine-tuning the model of media functioning presented in Ellestrom’s “The Modalities of Media” for this specific phenomenon enables a more precise description of the process along which the three presemiotic media modalities morph into the semiotic one.
Abstract: The proliferation of television screens, video monitors and computer or mobile screens in film diegetic worlds is an apparently simple numeric increase of certain objects within the filmed space, conditioned by, and thus mirroring, contemporary technological changes. However, one should consider this intermediary screenic formation as a complex and versatile audiovisual and narrative method that could have emerged in this frequency only in our current post-digital era. This chapter argues that fine-tuning the model of media functioning presented in Ellestrom’s “The Modalities of Media” for this specific phenomenon enables a more precise description of the process along which the three presemiotic media modalities morph into the semiotic one. By presenting a systematic description of electronic screens in film diegetic worlds, and a general assessment of the intermedial processes at work, the chapter examines Euro-American films influenced by the video, respectively, the digital era and technology.
4 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