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: The authors argue for a rhetorical view of narrative communication as an author's deployment of particular resources in order to generate certain responses in readers, and then examine the nature and possible functions of voice as a resource.
Abstract: The essay argues for a rhetorical view of narrative communication as an author’s deployment of particular resources in order to generate certain responses in readers, and then examines the nature and possible functions of voice as a resource. It defines voice as the synthesis of style (diction and syntax), tone (a speaker’s attitude toward an utterance) and values (ideological and ethical), and then turns to analyzing the role of voice—and more particularly, the role of tone—in narrative communication. With George V Higgins’s The Friends of Eddie Coyle as Exhibit A, the essay examines the functions of voice and tone in fictional dialogue, and with Joan Didion’s The Year of Magical Thinking as Exhibit B, it examines their role in nonfictional narration. The essay concludes with a call for further analyses of voice and tone, even as it cautions that their roles may be more or less important as we move from one narrative to another.
15 citations
01 Jan 2005
TL;DR: This paper examines diagrams as academic and theoretical tools and introduces Vannevar Bush (1945) and follows his idea of associative trails through more recent attempts at modeling semantic associations and the use of “trails” in the sequential art of comics.
Abstract: This paper examines diagrams as academic and theoretical tools. Drawing upon the work of Gilles Deleuze and Felix Guattari (1987), a diagram is defined as an abstract machine for constructing arguments. The theoretical diagram provides neither a direct representation of the natural world nor a representation of a natural data set, but a suggested theoretical walk through a landscape of data. It is a tool for learning how to see, how to reason, and how to narrate. The paper begins with a closer examination of diagrammatic thought and the ways in which diagrams differ from other visual representations. It then introduces Vannevar Bush (1945) and follows his idea of associative trails through more recent attempts at modeling semantic associations (Semantica Inc., 2005) and the use of “trails” as narrative markers in the sequential art of comics (McCloud, 1993). These trails, in turn, lead to a discussion of academic work practices, trajectory (Strauss, 1993), and the means of navigating information ecologies (Hutchins, 1996; Bowker & Star,
15 citations
TL;DR: The first three-quarters of D. H. Lawrence's "Things" (1928) and two chapters of Mary McCarthy's The Group (1963, see Fludernik 224-25); Georges Perec's Les Choses (1965) and Maxine Swann's Flower Children (2007) as discussed by the authors.
Abstract: The representation of social minds can be done in many ways, including the familiar group perspective in nineteenth century fiction that Alan Palmer has documented so thoroughly. In many cases, however, authors feel a need to present collective experience in an unusual or innovative form. This has led to the rise of first-person plural or “we” narratives, prominent examples of which can be found throughout the twentieth century, as I have discussed at some length in Unnatural voices (37–60). “We” narration easily slides into distortions of ordinary usage and readily becomes nonrealistic or what I have called “unnatural,” as we will see in the accounts below. “They” narration, by contrast, is much more rare; it is found in only a few works, such as the first three-quarters of D. H. Lawrence’s “Things” (1928); two chapters of Mary McCarthy’s The Group (1963, see Fludernik 224–25); Georges Perec’s Les Choses (1965), and two chapters of Maxine Swann’s Flower Children (2007). “They” narration rarely loses its basis in realism, though as such a narration continues it seems odder and odder that the narrator doesn’t refer to the characters individually; in the case of D. H. Lawrence, the shift from an insistent “they” reference to the more conventional
15 citations
TL;DR: The authors track relations between Laurence Sterne's sonorous prose and his discussions of time in Tristram Shandy (1759-67), identifying a novelistic technique of rhythmic narration geared to represent experiential temporality.
Abstract: This essay tracks relations between Laurence Sterne's sonorous prose and his discussions of time in Tristram Shandy (1759-67), identifying a novelistic technique of rhythmic narration geared to represent experiential temporality. I call this technique sonorous duration, and I demonstrate how it conveys a pulsating embodied experience shared by intradiegetic communities as well as by readers. After giving a brief account of early musicology and eighteenth-century elocutionary treatises to indicate the cultural context in which Sterne develops his notions of rhythm and duration, I offer close readings of key scenes in Tristram Shandy that exemplify a novelistic interest in sonority as a means for representing shared and embodied temporal experience. In conclusion I consider the implications these durational readings have for formalist discussions by critics such as Gerard Genette and Garrett Stewart.
15 citations
Dissertation•
15 Dec 2015
TL;DR: In this article, the authors propose a 3.3-approximation algorithm for the 3.1-GHz bandit-16.3 GHz frequency bandit model, and
Abstract: 3
15 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