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Relevant bibliographies by topics / Autodiegetics

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Journal articles

Academic literature on the topic 'Autodiegetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Autodiegetics"

1

Duyck, Mathijs. "Guerra e narrazione autodiegetica nel primo Gadda." Incontri. Rivista europea di studi italiani 28, no. 1 (2013): 83. http://dx.doi.org/10.18352/incontri.9146.

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2

Maltz, Harold P. "Narratorial memory in the autodiegetic (first‐person) retrospective novel." Journal of Literary Studies 6, no. 4 (1990): 304–13. http://dx.doi.org/10.1080/02564719008529957.

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3

Quinn, Katrina. "Narratologies of Autodiegetic Undercover Reportage: Albert Deane Richardson’s The Secret Service." Journal of Narrative Theory 49, no. 1 (2019): 1–26. http://dx.doi.org/10.1353/jnt.2019.0000.

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4

Arias-García, Elisa. "La figura del narrador en la ficción radiofónica seriada: el caso de ´Taxi Key´." INDEX COMUNICACION 9, no. 2 (2019): 101–34. http://dx.doi.org/10.33732/ixc/09/02lafigu.

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In spite of the prominence acquired by dialogues among characters in creating a series, we cannot ignore that radio speech can be represented in turn by the narrators’s presence. For this reason, in the present article the emblematic Taxi Key detective series has been selected as an object of study, in order to determine the narrators’s appearance percentage in the series episodes, the narrator’s typology that prevails and the main functions that plays in this fictional product. It is an exploratory study in which descriptive and inferential analyzes have been made from Taxi Key original radio scripts. The results of the study reveal that narrator’s presence reaches the most significant prevalence in the episodes of the sample, being the autodiegetic narrator who stands as the most frequent type of narrator. Providing contextual information, acting as a nexus and transition device between scenes and assessing the characters or incorporating them on stage are the narrator’s functions that prevail in this series that remained almost twenty years on Radio Barcelona network. Keywords: Series; Taxi Key; Radio Script; Detective Fiction Genre; Storyteller; Autodiegetic.

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5

Suri, Intan. "menyelisik peran narator dalam novel Noruwei no Mori karya Haruki Murakami." Jurnal Ilmiah Langue and Parole 3, no. 1 (2019): 28–33. http://dx.doi.org/10.36057/jilp.v3i1.379.

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Penelitian ini ditujukan untuk mendeskripsikan bagaimana peran narator ditampilkan dalam karya haruki murakami yang berjudul noruwei no mori (1991). dalam karya itu, narator ditampilkan melalui "boku/aku" yang sekaligus berperan sebagai tokoh utama. Teori yang digunakan dalam penelitian ini adalah persona dan fokalisasi dari Gerard Genette. hasil penelitian atas novel ini adalah membuktikan peran narator dengan persona homodiegetik dan narator autodiegetik.

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6

Mora-Rioja, Arturo. "Metalepses and Shoelaces: Advanced Narrative Resources in Nicholson Baker’s The Mezzanine." ES Review. Spanish Journal of English Studies, no. 40 (December 2, 2019): 57–75. http://dx.doi.org/10.24197/ersjes.40.2019.57-75.

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Nicholson Baker’s The Mezzanine (1988) bends narrative boundaries to the extreme. This article analyses the novel’s postmodern metatextuality, its confrontation of high culture and mass culture, its exploration of recursive thought processes, its inclusion of constantly shifting time references, and the function of its autodiegetic narrator. Special attention is given to the use of the footnote as a narrative device as it allows Baker to develop Gérard Genette’s concept of narrative metalepsis. Because of the unique way these advanced narrative resources are interwoven, the novel deserves wider academic attention as a milestone in contemporary literature in English.

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7

Tunca, Daria. "Ideology in Chimamanda Ngozi Adichie’s Purple Hibiscus (2003)." English Text Construction 2, no. 1 (2009): 121–31. http://dx.doi.org/10.1075/etc.2.1.07tun.

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This article focuses on the first novel by Nigerian writer Chimamanda Ngozi Adichie, Purple Hibiscus (2003). It examines how religious prejudice is encoded in the account of the book’s autodiegetic narrator, a fifteen-year-old girl whose father is a violent, extremist Igbo Catholic. Based on a close reading of the text, the essay argues that an analysis of the novel’s use of speech and thought presentation may contribute to the assessment of the main character’s evolving ideological stance. It is suggested that the resulting appraisal of the narrator’s development provides key insights into the interpretation of the book.

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8

Cairns, Lucille. "Gendered genealogies in North African Jewish women’s writing: The case of Paule Darmon’s Baisse les yeux, Sarah." Journal of European Studies 47, no. 3 (2017): 290–308. http://dx.doi.org/10.1177/0047244117713160.

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This article analyses gendered genealogies in an example of North African Jewish women’s writing in French: Paule Darmon’s Baisse les yeux, Sarah (1980), which draws heavily on the author’s personal experience. This autofictional novel recounts the chequered personal history of autodiegetic narrator Sarah Lévy, born to an Algerian father and a Moroccan mother, and raised in Morocco until the age of 17 when her family leave for France. The articles focuses on a three-generational female genealogy of Moroccan-Jewish women, and its problematic relationship with the stereotypical Eastern model of woman. Sarah’s ambivalence towards her matrilineal heritage throws into relief the fault lines that can occur in lines of descent. Although allied with her mother in the latter’s partial rejection of female oppression, she is also sensitive to her mother’s always already subaltern and therefore undesirable status as doubly stigmatized object – female and Oriental – within the French colonial discourses internalized by her father.

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9

Beaulieu, Steve. "Re-imagining first-person narrative as a collective voice in John Edgar Wideman’s Sent for you yesterday." Frontiers of Narrative Studies 4, no. 1 (2018): 82–95. http://dx.doi.org/10.1515/fns-2018-0006.

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AbstractThis article considers the “narrating-I” in African American fiction, reexamining its significance for narratological and sociopolitical theorizations of literature. First-person narratives can normally be understood as autodiegetic, in which the narrators present their experiences from their own perspectives at the expense of access to the viewpoints of other characters. However, African American narratives sometimes present their readers with first-person narrators who are seemingly more omniscient. Able to slip across the boundaries that demarcate their experience from that of others, these narrators can adopt the subject positions of other characters, shifting narrative focalization in ways that would normatively be impossible. Unlike “we” narratives that rely on the first-person plural to evoke collective storytelling, these works pluralize an otherwise singular narrator into a different sort of collective multiplicity. This paper argues that this plurality and multiplicity problematize the limitations of first-person narration, and in so doing resonate with issues surrounding the sociopolitical imagining of community. Through an investigation into the innovative narrative structures of John Edgar Wideman’s Sent for you yesterday, this paper thus hopes to contribute to ongoing conversations in narrative studies by reassessing its standard narrative frameworks, as well as argue for the applicability of narratology to contemporary sociopolitical thought.

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10

G.C., Saroj. "Reclamation of the Narrative for the Silenced Voice in Margaret Atwood’s The Penelopiad." Literary Studies 34, no. 01 (2021): 177–91. http://dx.doi.org/10.3126/litstud.v34i01.39538.

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This article analyzes Margaret Atwood’s The Penelopiad, a rewriting of Homeric epic, The Odyssey. Atwood rewrites the story — the saga of gallantry and triumphalism of Odysseus, with narrative shift that brings postmodern irony and parody, self-reflexivity and metafiction, and intertextuality and paratextuality into play. The article tries explore if Atwood’s shifting of narrative orientation of the Homeric epic yields any different and substantial reception and interpretation of the epic in the recent context.Moreover, I demonstrate how Atwood’s reconstruction and subsequently the empowerment of the minor characters unfolds the incompatibilities and discrepancies the official version of Homer’s epic, and brings the marginal voice to the front by granting a variety of narrative access.I argue, giving subject positions to silent agents and using various genres of expression, for instance, history and myth, Atwood, through the deployment of an autodiegetic narrative, brings together gender, genre and language in such a way that results in a decisive shift in conceptualizing the narrative structure for the marginal voice and agency female characters. The article concludes that why rereading of classical and canonical text is crucial to bring the marginals’ claim to a subject position, and produce a different language and literature that allows space for expression subjectivity of characters on the margins

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