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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Dissertation•
01 Jan 2017
TL;DR: In this article, the authors investigated drivers and barriers to using servicescapes in storytelling and found that authenticity, interest, knowledge, and resources are among the main barriers for using a servicescape in storytelling.
Abstract: There is a growing interest in creating positive experiences for consumers, especially in the tourism industry. Our context is farm tourism. One way to enhance the customer experience is by telling good stories (Mossberg, 2008). By linking the story to the servicescape, the stories will be even more effective at creating extraordinary experiences (Mossberg, 2008). Limited research has been conducted on the use of servicescape, and as far as we know, no study has yet investigated drivers and barriers to using servicescape in storytelling. However, these barriers and drivers might have an influence on the tourism provider’s use of the servicescape in storytelling. The research method chosen in this thesis was an explorative study with the use of in-depth interviews. Our interview guide was semi-structured. We found that there were several drivers and barrier to using the servicescape in storytelling. These were connected to authenticity, interest, knowledge, and resources. Authenticity was found to be important for the tourism provider, which is in line with research regarding this same topic from the perspective of tourists (Mossberg & Johansen, 2008). However, even though tourists demand only stories that can be perceived as authentic, it was not possible for the tourism provider to present stories connected to the servicescape that were not true. On the other hand, economy is a barrier for utilising and developing the servicescape, and will influence the way in which it can be used in storytelling. Furthermore, by using resources to develop the servicescape, economy will act as a driver for linking the latter to the stories. A link between the storytelling and the servicescape will influence the customer in a one-time purchase in a better way (Gilliam & Zablah, 2013). Furthermore, we found that knowledge is also a driver and a barrier for using the servicescape in storytelling. As a driver, knowledge about the history of the farm makes it easier for the tourism provider to make use of the servicescape. Lack of knowledge, on the other hand, will be a barrier to integrating the servicescape in storytelling. The tourism provider’s interest in the story is a driver for using the servicescape in storytelling. Knowledge and interest are important to tell a story in an effective way. The results of our research can help tourism providers to identify which of the drivers and barriers affect their use of the servicescape in storytelling. These providers can then seek to overcome the barriers and utilise the drivers, and in the end, tell better stories using the
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Cites background from "Narrative discourse : an essay in m..."
...In the field of narratology, the story is the content, and the process of telling the story is the narrative (Genette, 1980; Richardson, 2000)....
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01 Apr 2021
TL;DR: Burns's Milkman as discussed by the authors is a novel set in Troubles-era Northern Ireland that connects a young woman's experience with gendered and sexual power to the behavior, prejudices, and tacit understandings that undergird a society locked in sectarian conflict.
Abstract: This article responds to debates about the “big, ambitious novel” and “hysterical realism” by challenging several prevailing scholarly orthodoxies about large‐scale fiction: that whole world‐building precludes the rendering of a single, feeling human; that mimesis and “hysterical” traits, like absurdity, are mutually exclusive; or that a whole‐world view requires third‐person narrative omniscience. The analysis centers on Anna Burns's Milkman (2018), a novel set in Troubles‐era Northern Ireland that connects a young woman's experience with gendered and sexual power to the behavior, prejudices, and tacit understandings that undergird a society locked in sectarian conflict. The article argues that the novel's form—a first‐person, past‐tense narration—lends the character‐narrator unique credibility as a teller because she has both firsthand experience and the critical distance of hindsight. To avoid postures of certainty and authority that come with both political power and narrative omniscience, the narrator uses irony and self‐consciousness to critique storyworld power dynamics and expectations of literary realism. Burns's big, ambitious novel reveals that conveying a whole world and portraying a single, feeling human are in fact mutually constitutive aims. Moreover, the digressive and often absurd narration is precisely what makes the storyworld a persuasively plausible, if not verisimilar, rendering of Troubles‐era Northern Ireland. By linking nationalism to problems of gender and sexual politics at the time, Burns's novel issues a warning about the reactionary postures and polarization in the contemporary moment surrounding Brexit, the #MeToo movement, and surging violence in Northern Ireland.
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TL;DR: In the first half of the twentieth century, and perhaps still today, one of Canada's most recognizable cultural exports was the Royal Canadian Mounted Police (RCMP) officer, wearing the signature red coat of his dress uniform and sitting astride his trusty steed as mentioned in this paper.
Abstract: In the first half of the twentieth century, and perhaps still today, one of Canada's most recognizable cultural exports was the Mountie, the Royal Canadian Mounted Police (RCMP) officer, wearing the signature red coat of his dress uniform and sitting astride his trusty steed. From its founding as the North West Mounted Police (NWMP) in 1873, to its 1920 re-formation as the RCMP, and through to the present, the Canadian federal police force has assumed in literary and popular culture the symbolic weight of national icon and the image has circulated widely, across media and around the world. Starting with the late nineteenth-century colonial press and continuing through the turn-of-the-century fiction market, interwar radio and film, and postwar television and commodity culture, the Mountie has appeared, both earnestly and satirically, at the centre of national mythologies about Canadian liberal democracy. At his most typical, the Mountie is an officer of the law who is part of a rational organization but also a refined gentleman and a unique, special individual. He represents a physically, intellectually, and morally upright and seductive, yet civilized, male hero distinct from the wilder masculinities of American popular culture heroes. Indeed, the fictional Mountie is at the centre of some persistent English-Canadian nationalist mythologies, notably that the West was conquered by a central authority whose "decency and paternalism" is also registered in Canada's "careful and fair treatment of Aboriginal peoples, particularly in comparison with the treatment meted out by the law and order forces of the United States" (Dawson 25). Across a range of twentieth-century cultural forms, from novels to radio to film and television, the Mountie therefore functioned at home and abroad as a metonym for the narrativization of Canada as the "Great White North" settler colony: he is at the vanguard of white civility, in the sense of both a pan-British set of "manners and behaviours that must be learned and performed" in the settler territory (Coleman 21) and a transimperial masculinity disseminated throughout the empire, much like late nineteenth-century immigration handbooks, "to appeal to the imperial imaginations of men [and boys] in the metropole and to guide their gendered performances as the masculine colonizers of the Canadian North West once they arrived" (Henderson 18). This romanticization of invadersettler colonialism and the violent annexation of indigenous territories achieved widespread dissemination in early twentieth-century popular and pulp Northwesterns, adventure stories of a frozen northern territory in which Mounties replace the heroic sheriffs of American Westerns, and exoticized locales such as the Yukon offer the local colour of dogsleds, mad trappers, drunk gamblers, and foolish gold prospectors. Laurie York Erskine's eight Renfrew of the Mounted novels (1922 to 1941) and their adaptation into eight Renfrew B films (1937 to 1940) are relatively late arrivals in this popular genre that proliferated in the early twentieth century. Northwesterns, of which Mountie fictions are a significant part, often took serial form, whether as novels first serialized in magazines or as a series of novels featuring the same protagonist. As well, by the 1930s Mountie fiction was being adapted into Hollywood films and American network radio serials, a multimedia saturation of Mountie narratives across Canada, the United States, and Britain, lasting for at least three generations, in which Renfrew of the Mounted featured prominently. Erskine, an American who published his Mountie novels simultaneously in the United States, Canada, and Britain, is a good example of an enormously popular writer who has fallen through the cracks of Canadian literary criticism for a variety of predictable reasons: he was neither Canadian nor did he live in Canada; he produced Mountie novels at the tail end of that genre's literary golden age and respectability; and he published first in adventure pulp magazines and then in serial novels marketed as genre fiction for men and boys. …
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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