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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TL;DR: The authors examine how rural Maya-speakers in the Mexican state of Yucatan ground the experience of identity politics in quotidian engagements with pre-Hispanic objects and utterances in the Maya language.
Abstract: This article draws on ethnographic examples to examine how rural Maya-speakers in the Mexican state of Yucatan ground the experience of identity politics in quotidian engagements with pre-Hispanic objects and utterances in the Maya language. My argument is intended as a revision of models of critical scholarship that have been influenced by poststructuralism and that place an overwhelming emphasis on discourse as a modality through which politically viable identities are created and performed. Specific examples show how vernacular multiculturalism is shaped by the agency of forms of language use and physical objects that have been a part of local life-worlds long before the popularization of Mayan identity politics. This offers some potentials for collaborative work that have not been fully explored in poststructural critiques of representation.
Resume
L’auteur s’appuie sur des exemples ethnographiques pour etudier la maniere dont les locuteurs du maya vivant dans les zones rurales de l’etat mexicain du Yucatan fondent leur experience de la politique identitaire sur une interaction quotidienne avec les objets et enonces prehispaniques de la langue maya. Son argumentation se veut une remise en cause des modeles universitaires critiques influences par le poststructuralisme, qui mettent lourdement l’accent sur le discours en tant que modalite permettant de creer et de realiser des identites politiquement viables. Des exemples concrets montrent comme un multiculturalisme vernaculaire se constitue par l’action des formes d’usage du langage et des objets materiels qui faisaient partie de la vie locale longtemps avant que la politique identitaire maya se popularise. Cette approche offre un potentiel de travail en collaboration qui n’a pas ete completement explore par les critiques poststructuralistes de la representation.
18 citations
01 Jan 2012
TL;DR: The authors define postcolonial poetry as poetry written by non-European peoples in the shadow of colonialism, both after independence and in the immediate period leading up to it, particularly works that engage, however obliquely, issues of living in the interstices between Western colonialism and non-foreign cultures.
Abstract: What is postcolonial poetry? How is it like or unlike the postcolonial novel, postcolonial theory, and other related genres? What paradigms are most fruitful for interpreting it? To approach these questions, a bald synopsis of models for the analysis of, and recurrent themes within, postcolonial poetry may be a useful place to begin, before embarking on a more extended discussion of postcolonial poetry in the context of other genres with which it fuses, and against which its specificities can be tracked. For the purposes of this chapter, ‘postcolonial poetry’ means poetry written by non-European peoples in the shadow of colonialism, both after independence and in the immediate period leading up to it, particularly works that engage, however obliquely, issues of living in the interstices between Western colonialism and non-European cultures. Decolonization has been a primary paradigm for conceptualizing postcolonial poetry, as made possible by critical works such as Edward Said’s Orientalism (1978) and Culture and Imperialism (1993), Chinweizu, Onwuchekwu Jemie and Ihechukwu Madibuike’s Toward the Decolonization of African Literature (1980), Kamau Brathwaite‘s History of the Voice (1984), and Robert Young’s Postcolonialism (2001). Decolonization movements swept across much of Asia, Africa, Oceania, the Caribbean and elsewhere, particularly from the time of Indian and Pakistani independence in 1947 through the 1970s, the period when British, French, Belgian, Portuguese, Italian, Spanish and other modern European colonial powers relinquished control over most of the earth’s surface.
18 citations
01 Jan 1989
TL;DR: In this article, a catalogue of embedded tales in Ovid's Metamorphoses is presented, including those which the poet does not narrate in propria persona, but instead attributes to a fictional character.
Abstract: Scholars have yet to recognize fully the significance of the great number of stories which Ovid puts in the mouths of fictional characters. This omission is regrettable, since these embedded tales in Ovid's Metamorphoses shed much light on Ovidian narrative techniques and aesthetics. The hypothesis underlying such an assumption has been cogently articulated by John J. Winkler, at the beginning of his very fine narratological reading of that other Metamorphoses, the Asinus Aureus of Apuleius. Winkler asks: "What are the cases of reading and interpreting that are displayed in the AA itself, and what significance can these have as models for our reading and interpretation of the whole book?"1 Winkler notes that what he calls the "interpolated tales" of the Golden Ass not only account for about 60% of the text, but also form a group of themes and motifs which is possibly the most important in the novel (26-27). As a prolegomenon to a thorough narratological reading of Ovid's Metamorphoses, I now offer a catalogue, with narratological commentary, of the embedded tales.2 I include as embedded tales those which the poet does not narrate in propria persona, but instead attributes to a fictional character (including his ecphrases of characters' nonverbal, usually woven, narratives). In this I follow Tzvetan Todorov's definition of embedding ("le récit enchâssant") as "the narrative of a narrative"; also useful is Shlomith Rimmon-Kenan's distinction between "narration of
18 citations
29 Jun 2016
TL;DR: The Dooce brand core value: honesty as discussed by the authors has been defined as "the representation of the everyday and the online reality effect", which is the opposite of what we consider in this paper.
Abstract: ............................................................................................................................... 4 Chapter 1. "Why do I daydream about Rod Stewart in inappropriate posit ions?" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 1.1 Rationale for the study ................................................................................... 11 1.2 Methodology ................................................................................................... 18 Chapter 2. Dooce.com a "piece of selfloathing, selfindulgent, narcissist ic crap” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 2.1 A definition of key terms: blog, personal blog, mommy blog .................... 57 2.2 Dooce.com – the blog’s early stages ............................................................ 77 Chapter 3. “But they didn't have to hire me. I hired myself.” . . . . . . . . . . . . 104 3.1 Interpellation and second-person narration: from writing technique to product attribute ................................................................................................. 113 3.2 Zany, abject, interesting and cute aesthetics: from writing style to product attribute ............................................................................................................... 123 3.3 Constructing a human brand: the representation of the everyday and the online reality effect ............................................................................................. 139 Chapter 4. “Thank you for catching me, Internet” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 4.1 The Dooce brand core value: honesty ........................................................ 159 4.2 Audience engagement and loyalty ............................................................. 193 Chapter 5. “These posts keep me in business and allow me to continue to tel l stories” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 5.1 Mitigating brand identity, consumer loyalty and blog monetisation ....... 210 5.2 Additional monetisation strategies ............................................................. 222 5.3 Brand awareness strategies ......................................................................... 246 Chapter 6 .“So, what wil l happen to dooce®?! Wil l you shut it down? What is your last post going to say?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
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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