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
Citations
More filters
TL;DR: For instance, Naylor and Smith as mentioned in this paper argue that personal narratives belong to the tellers because they are the ones responsible for recognizing in their own experiences something that is ''story worthy'' ("Personal" 268-69).
Abstract: In Southern communities the compelling need "to talk, to tell"(1) can inspire numerous -- if not untold -- types of oral performances. As with almost any folk community, Southern stories can range from trickster tales to personal experience narratives to exogamous accounts.(2) From among these various oral genres available for performance, Gloria Naylor in Mama Day and Lee Smith in Oral History have strategically manipulated the personal narrative -- an oral story which recounts an individual's life experiences in the voice of first person -- in order to problematize story-listening in racially separate Southern communities.(3) In her model of Cocoa Day as story-listener, Naylor evokes Southern African American traditions of storytelling, compelling us to hear and believe the personal narratives of a "dead" man. Lee Smith also invites her readers into distinctive racial and cultural territory, manipulating us -- through the effacement of Jennifer Bingham as listener -- into hearing the singular narratives of White ethnic ghosts from Appalachia. Naylor and Smith ultimately reveal their distrust of "the American reader," whose historical reluctance to hear stories of difference compels the authors' use of narrative ploys. Storytellers, faced with the threat of having their personal narratives either dismissed or appropriated, recount their experiences in order to secure ownership of events that belong to them. Indeed, as folklorist Sandra Dolby Stahl has said, personal narratives "`belong' to the tellers because they are the ones responsible for recognizing in their own experiences something that is `story worthy'" ("Personal" 268-69). But while personal-experience narratives "belong" to individual tellers and substantiate what is "story worthy" in their lives, tellers are not lone agents in the storytelling enterprise: Oral performances of personal narratives command real, warm-blooded listeners to enthusiastically receive, value, and confirm the experiences of the teller. In this recurring cycle of telling and listening, the speaking subject tends to be venerated as one who asserts an identity. The position, however, of this "somebody else" -- this listener in Southern culture -- invites our closer attention. One African (San) storyteller has said of his story-listening habits, "I simply listen, watching for a story that I want to hear" (qtd. in Scheub 2). Clearly, listeners will vary in enthusiasm, occasionally choosing to "watch for" a more satisfying story than the one being told. Moreover, degrees of competence can differ among listeners, perhaps forcing a desperate storyteller to survive a telling event with a wooden, unreceptive listener. For a felicitous moment in storytelling, however, the listener must deliberately collaborate with the teller, jointly shaping the production of the story.4 In fact, the proficiency for telling personal narratives emerges from having habitually and actively listened to the experiences of others. The American South endures as a culture that empowers such practices of listening and telling. While the celebration of personal narratives is, of course, not the exclusive province of Southerners, storytelling and listening events nonetheless thrive in the South because of the self-conscious privileging of orality, community, and intimacy in the region: through storytelling, members of a Southern community vigorously reaffirm their connection to each other. This desire to connect has motivated Alice Walker to write that "what the Black Southern writer inherits as a natural right is a sense of community" (1). Indeed, a Southern identity -- Black or White -- very much depends on gaining the competence to hear the personal-experience narratives of others in order to willfully cultivate intimacy in a community, as is clear in the works of Naylor and Smith. Stahl recognizes that "the knowledge one gains as a listener when personal narratives are told brings with it the sensation of intimacy" (Literary x). …
19 citations
01 Jan 2012
TL;DR: This paper examined the role and representation of Christianity in the context of post-colonization, focusing on the role of individual clerics and ecclesiastical institutions in the representation and misrepresentation of identity and power in encounters, conflicts and occasional accommodations between colonizer and colonized.
Abstract: Introduction Scholars working at the interstices of the religious, the literary and the postcolonial have concerned themselves almost exclusively with the role and representation of Christianity. Occasionally confessional in tone, historians of various stripes have detailed the religion’s global dispersion and assessed the continental, regional and local impact of different Christian denominations, focusing upon their evangelizing agendas and missionary wings. Some accounts examine the work of individual clerics and ecclesiastical institutions, while others analyse vying forms of scriptural interpretation and understanding during and after empire and colonization, as well as the innovative Christian critiques of Europe’s overseas legacy that constitute so-called ‘liberation’ and ‘local’ theologies. A few commentators have subjected Christian scriptures, literary classics and theological categories, as well as church publications and missionary writings, to critical interrogation from decidedly nontheological perspectives and for expressly non-theological ends. And still others have explored the ways in which the Christian figures in the representation and misrepresentation of identity and power in encounters, conflicts and occasional accommodations between colonizer and colonized. In addition, drawing variously upon such resources, a handful of critics writing under the banner ‘postcolonial’ have gathered close readings of particular plays, poems, novels and instances of other literary genres into collections of scholarly essays focused upon particular theological or religious themes, tropes or topoi.
19 citations
TL;DR: The authors argue that the nineteenth-century novel is anomalous using as an example an anomalous novel, Catharine Parr Traill's Canadian Crusoes (1852), which is not well-known now, although it was well reviewed and popular in its time and for about fifty years thereafter.
Abstract: am going to argue that the nineteenth-century novel is anomalous using as an example an anomalous nineteenth-century novel. The anomalous novel, Catharine Parr Traill's Canadian Crusoes (1852), is not well-known now, although it was well reviewed and popular in its time, and for about fifty years thereafter. A genre fiction in at least two ways—as a young adult novel and as an adven- ture fiction—it is also an emigration novel, which may or may not be a genre. It was written in Canada by a pioneer who is often described as "British-Canadian" and who began writing children's books at the age of sixteen to support herself and her family after her father died. The field, in Pierre Bourdieu's sense, might best be described as that of "colonial letters." 1 I mean "letters" in both the sense of belles lettres and in the sense of epistles written home. 2 Anglophone Canadian fic- tion and travel writing of the nineteenth century was not usually read by Canadians, but rather by Britons in Britain, who might or might not be prospective Canadians. The writers in the field of colonial letters who imagined and constructed fictional settlements such as the ones proposed in Canadian Crusoes "participate in domination, but as domi- nated agents; they are neither dominant, plain and simple, nor are they dominated." Parr Traill, as the wife of a British army officer, is mildly privileged in the colonial social hierarchy, but just by virtue of having to participate in emigration, she is among the dominated citizens of nineteenth-century Britain. Her participation in the representation of empire is accordingly complex: her writing encourages emigration to Canada's forested "north" and also depicts the intense hardship and tragedy that so often attends it. Bourdieu has argued that "literary fiction is . . . a way of making known that which one does not wish to know." We can bear novelistic revelations because they remain "veiled." 3 It is this figure that I wish to amplify and revise in what follows. I want to suggest a specifically "colo- nial effect." The idea of the "colonial" in this effect must be understood both literally and figuratively. It refers both to the way in which the
19 citations
TL;DR: In this article, a transmedial conceptualization of storyworlds as intersubjective communicative constructs is presented, and the question to what extent spectators of films, readers of comics, and players of video games may choose to apply variations of the principle of charity in cases where default assumptions about the relation between a narrative representation and the storyworld(s) it represents become problematic or even collapse entirely.
Abstract: Located within the more encompassing project of a genuinely transmedial narratology, this article's focus is twofold: on the one hand, it aims to further our understanding of strategies of narrative representation and processes of narrative comprehension across media by developing a transmedial conceptualization of storyworlds as intersubjective communicative constructs; on the other hand, it will zoom in on transmedial as well as medium-specific forms of representational correspondence ( sensu Currie), examining the question to what extent spectators of films, readers of comics, and players of video games may choose to apply variations of the principle of charity ( sensu Walton) in cases where default assumptions about the relation between a narrative representation and the storyworld(s) it represents become problematic or even collapse entirely.
19 citations
References
More filters
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