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 2009
TL;DR: Forster as discussed by the authors argues that the cultural forms of modernity become truly modern only when specific experience, as opposed to tradition or faith, is made the basis of epistemological authority by taking the primary examples of law and literature, arguing that the criminal trial and realist novel of the eighteenth and nineteenth-centuries perfectly conform to this statement.
Abstract: The cultural forms of modernity become truly modern only when specific experience, as opposed to tradition or faith, is made the basis of epistemological authority By taking the primary examples of law and literature, this thesis argues that the criminal trial and realist novel of the eighteenth and nineteenth-centuries perfectly conform to this statement But by the early twentieth-century, experience had, as Walter Benjamin put it, ‘fallen in value’ As such, the modernist novel and trial come to have foundations in a non-experience which nullifies identity, subverts repetition and supplants presence with absence The philosophical basis of experience, its fundamental basis within the novel and trial, and the theoretical manifestations of its dissolving, are outlined in the substantial Introduction to this thesis Chapter One then specifically examines EM Forster’s A Passage to India (1924) within the context of the administration of justice in British India Adela Quested’s supposed assault within the Marabar cave is argued to be a non-event which in no way conforms to the modern sense of experience outlined in the Introduction This resonates with the state of the trial in British India, in which many magistrates became convinced of the rampant perjury of the natives, turning their decisions into a matter of deciding between the less untrue of two false accounts Like the non-event in the Marabar cave, the crime that was supposedly at the heart of the trial, the experience at its core, was thus slipping from view In the second part of Chapter One, it is argued that in his theoretical work, Aspects of the Novel (1927), Forster, responding to anxieties about the novel’s experiential loss, attempted to codify the laws of the realism This project had much in common with the Acts of legal codification that took place in British India in the 1860s and ‘70s, particularly that of Sir James Fitzjames Stephen’s Indian Evidence Act 1872, which sought to retain a form of representation that was congruent with a traditional conception of experience, thus safeguarding judgment In Chapter Two, Ford Madox Ford’s The Good Soldier (1915) is analysed in the light of legal developments in expert witnessing and criminal identification One of the specific issues of Ford’s novel is the kind of identity it portrays Without commensurable experiences that can be reasonably assimilated and communicated, the identities of The Good Soldier resist the common recognition of a realist character Legal developments in the attribution of responsibility and the identification of criminals are argued to parallel the methods by which Ford’s ‘Literary Impressionism’, by contrast, provides the image of his actors In many ways, these issues were matters for expert witnesses, a growing number of whom were taking the stand in British courts By taking judgment out of the hand of the layman, expertise was supplanting experience But this was not limited to the legal forum – in the final part of Chapter Two it is suggested that Ford’s novel, itself, responds to a sense of expert reading Chapter Three discusses Marcel Proust’s In Search of Lost Time (1913-1927) in connection to two points of legal interest Firstly, the Dreyfus case, which, in its reliance upon absent evidence parallels the denigration of presence that exists in Proust’s novel Secondly, Dreyfus’ supporters, in calling for a re-trial, asked for a certain form of repetition to take place The repetitious legal forms of review, appeal, and precedent are then examined in relation to the various forms of repetition that exist within Proust’s work By utilising Platonic, Nietzschean, and Freudian theories of repetition, it is argued that experience has truly fallen in value when the origins of repetition can be only obliquely discerned In the Conclusion, the continuity of a realist tradition, and a modernist impulse of non-experience, will be traced in contemporary works – Ian McEwan’s Atonement (2001) and The Staircase (2005), a documentary film by Jean-Xavier De Lestrade about a real murder trial in North Carolina Finally, a view is offered of the future of experience in the novel and courtroom: one which, based upon John D Caputo’s reading of Jacques Derrida’s work, stresses the ethical nature of doing truth and making reality in the very act of allowing experience to slip away
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TL;DR: This article read the formal peculiarity of The Awkward age (written almost entirely in dialogue) as a document of James's ambivalence about the psychological novel of which he was shortly to become the acknowledged master.
Abstract: This article reads the formal peculiarity of The Awkward Age (written almost entirely in dialogue) as a document of James's ambivalence about the psychological novel of which he was shortly to become the acknowledged master. Approximating the form and texture of an impossible or unperformed play, The Awkward Age explores the depsychologizing possibilities of drama and shows James resisting precisely the interiorizing narrative techniques he bequeathed to the twentieth-century novel. In the process, the paper argues, James also hypothesized a community of erotic dissidence and evaded the preoccupation with sexual secrecy that dominates his later career.
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29 Jun 2011
TL;DR: The development of the Curveship system has suggested ways to refine narrative theory, offering new understandings of how narrative distance can be understood as being composed of lower-level changes in narrative and how the order of events is better represented as an ordered tree than a simple sequence.
Abstract: Curveship, a Python framework for developing interactive fiction (IF) with narrative style, is described. The system simulates a world with locations, characters, and objects, providing the typical facilities of an IF development system. To these it adds the ability to generate text and to change the telling of events and description of items using high-level narrative parameters, so that, for instance, different actors can be focalized and events can be told out of order. By assigning a character to be narrator or moving the narrator in time, the system can determine grammatical specifics and render the text in a new narrative style. Curveship offers those interested in narrative systems a way to experiment with changes in the narrative discourse; for interactive fiction authors and those who wish to use of the system as a component of their own, it is a way to create powerful new types of narrative experiences. The templates used for language generation in Curveship, the string-with-slots representation, shows that there is a compromise between highly flexible but extremely difficult-to-author abstract syntax representations and simple strings, which are easy to write but extremely inflexible. The development of the system has suggested ways to refine narrative theory, offering new understandings of how narrative distance can be understood as being composed of lower-level changes in narrative and how the order of events is better represented as an ordered tree than a simple sequence.
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Cites background from "Narrative discourse : an essay in m..."
...In particular, the narratology of Gérard Genette [6, 7] was a starting point in development of the system....
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...A passage from Marcel Proust’s Jean Santeuil provides an example [6]....
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...In particular, the narratology of Gérard Genette [6, 7] was a starting point in development of the system....
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TL;DR: McKee as discussed by the authors introduces her recent essay on Sula with the following quotation from Henry James: "What shall we call our 'Self'? Where does it begin?Where does it end? It overflows into everything that belongs to us." My own epigraph-her concluding sentence in that same essay-reworks James's concern with self and overflow so as to highlight the mingled awe and anxiety which Toni Morrison's writing tends to elicit.
Abstract: Deborah McDowell introduces her recent essay on Sula with the following quotation from Henry James: "What shall we call our 'Self'? Where does it begin? Where does it end? It overflows into everything that belongs to us." My own epigraph-her concluding sentence in that same essay-reworks James's concern with "self" and "overflow" so as to highlight the mingled awe and anxiety which Toni Morrison's writing tends to elicit. McDowell's emphasis on the mediation of knowledge touches on what is at once inspirational and unsettling in Morrison's work: the verbal abundance in which this writing glories is tinged with scepticism. Its "overflow" touches off a feeling that meanings are unstable, at once elusive and in formation. In part, this effect concerns the "readerly" stance of Morrison's writing (in Barthes's sense), in that her self-reflexive narration refracts and defers meanings. In part it also concerns political issues-notably racial and sexual. In this respect, the issues of difference which McDowell identifies as operating in Sula are political, not just literary or personal. "Difference," it turns out, is a site of struggle which involves the material as well as theoretical consequences of ideology. This converging of difference in its linguistic-philosophical sense (i.e. Derrida's endlessly displaced meanings) and "difference" as a political reading of abusively inegalitarian social institutions underlies the following discussion. On the one hand, Morrison's writing invokes a modernist concern with language, epistemology, and the constructed nature of art. In this respect, the ineffable quality Nelly McKay admires in her prose is not unrelated to the luminous evanescence that haunts the pages of Conrad and Faulkner, E. M. Forster and Virginia Woolf. Morrison, like them, foregrounds narrative indirection, and for her, too, this is traceable to yearnings checked by prohibition and to a will to utter checked by doubt. At the same time, McKay is right to set Morrison apart from the modernist tradition. As she notes, the ineffable quality of Morrison's writing is politically and culturally inflected through a specifically Afro-American tradition. The yearnings Morrison articulates and the prohibitions she faces are inscribed racially, as are the expressive modes she adapts from Afro-American oral, narrative, and musical traditions, notably women's
20 citations
TL;DR: The claim that the avant-garde literature represented a "new woman" was examined in this paper. But the claim was challenged by some critics who argued that the anti-conventional mode of this artejoven and its attempt to change the historical representation of women were expressions of deficient virility, of effeminacy (see for example Perez Firmat 37).
Abstract: twentieth century a subcategory known as vanguard or avant-garde literature emerged in the Hispanic world and most of western Europe.' Often referred to as the "new art" when it began to assert itself in Spain and Latin America in the 1920s and into the mid-1930s, it also boasted of representing a "new woman," a claim that I propose to examine here. When some critics of the time (male of course) objected that the anti-conventional mode of this artejoven and its attempt to change the historical representation of women were expressions of deficient virility, of effeminacy (see for example Perez Firmat 37), they drew attention to a gender issue central to vanguard art. These same detractors at times went so far as to charge that the new mode was guilty of emasculating the male image.' Yet today many would answer the charge of masculine emasculation by counter-charging that the
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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