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Journal articles on the topic 'Narrator (voice)'
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1
Cui, Zhenhua, Yanping Yang, and Yanping Yang. "THE NARRATOR IN DORIS LESSING’S THE FIFTH CHILD." Advances in Social Sciences Research Journal 7, no. 9 (September 14, 2020): 174–82. http://dx.doi.org/10.14738/assrj.79.8823.
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This paper reviewed the theoretic classification on narrator of fictions. The narrator of THE FIFTH CHILD was described according to voice and point of view. The conclusion is the narrator in the famous fiction of Doris Lessing’s was omniscient, heterodiegetic/non-character, overt and reliable in its voice. While the fiction was narrated with the shift of multifocalizers in the point of view both from a character, Harriet, who witnessed the events, and from a heterodiegetic narrator, who made comments and questions to focus the readers’ attention on what he narrates.
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Gonçalves, Lívia Bueloni. ""É preciso continuar" - Caminhos da ficção de Beckett em sua tentativa de seguir adiante." Eutomia 1, no. 20 (February 19, 2018): 58. http://dx.doi.org/10.19134/eutomia-v1i20p58-72.
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A prosa de Beckett caracteriza-se por um embate entre a insatisfação com o ato de narrar e a necessidade de seguir adiante. Concentrando-se principalmente na passagem da segunda para a terceira fase da ficção do autor, o artigo reflete sobre as mutações do narrador beckettiano. Entre elas, destaca-se o desenvolvimento do expediente da voz – de instância perturbadora em O inominável e nos Textos para nada a narradora assumida em Companhia.Palavras-chave: Samuel Beckett; prosa beckettiana; narrador; voz; Companhia Abstract: Beckett’s fiction is characterized by a struggle between the dissatisfaction with the act of narrating and the need to move on. Focusing mainly in the passage from the second to the third phase of his fiction, this article reflects upon Beckettian narrator’s mutations. Among them, the development of “the voice” is highlighted – from a disturbing device in The Unnamable and Texts for nothing to a recognized narrator in Company.Keywords: Samuel Beckett; Beckettian fiction; narrator; voice; Company.
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Orlić, Milan. "Borislav Pekić’s New textuality in the light of Bakhtin's concept of the open text of the polyphonic novel." Dostoevsky Journal 16, no. 1 (April 25, 2015): 92–107. http://dx.doi.org/10.1163/23752122-01601011.
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In this paper I analyze two of Pekić’s novels in the light of Bakhtin’s concept of the open text of the polyphonic novel which Pekić develops by means of a new Narrator Figure and a new poetics based on an encyclopedic embedded text structure. Among several literary techniques developed from the beginnings of Pekić’s writing, crucial importance belongs to what I call the Explicit Narrator Figure (for instance, in The Time of Miracles, 1965), who speaks in his own voice as interpreter of found texts, and the Implicit Narrator Figure, who adopts the literary and non-literary voices of (many) others, to whose diction and style he assimilates his own voice (for example, in Pilgrimage of Arsenije Njegovan, 1970). This new (postmodern) narrator figure, both explicit and implicit, acts as an interpreter of «found» texts. What connects these two types of Narrator Figures is the document and related Embedded Narration: both narrators thus deal with the pre-texts as well as texts-in-texts, levels and layers of texts, proto-texts and meta-texts – various types of Framed/Embedded Narratives. The Implicit Narrator Figure deals with Biblical witnessed texts and the Explicit Narrator Figure uses personal testamentary texts. In such a way, both Implicit and Explicit Narrator Figures become the researchers of different types of literary and non-literary documents. These complex inter-textual explorations of the “library” of culture are “encyclopedic” in magnitude and reveal, in combination with the new Narrator Figure’s status as Editor and Interpreter, a new type of narrative text, constituted in the encyclopedic open novel structure. Pekić thus introduces a new form of inter-textuality into Serbian literature, implicitly extending Bakhtin’s (and Dostoevsky’s) legacy by drawing on the Serbian national literary canon and the entire Western cultural “library”.
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Đerić-Dragičević, Borjanka. "Family history rewritten: How to narrate the life happening 'Tomorrow'." Reci Beograd 12, no. 13 (2020): 116–33. http://dx.doi.org/10.5937/reci2013116d.
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This paper is dedicated to exploring the narrative points and strategies in the novel Tomorrow, written by Graham Swift, a prominent English postmodern writer, with the main objective to draw attention to the nature of narration and narrators. The aim of the research is to give answers to the questions of choices made by the novelist when it comes to narrators, narration, narrative methods and techniques, and whether the narrators are (un)reliable, etc. The author of this paper tries to determine to which extent the 2nd person narration has become influential in postmodern literature - by being mysterious, ambiguous and unknown. We often do not know to whom a narrator is speaking, nor whose voice is being heard by readers. Contemporary narratological theories deny the existence of this clear, precise and uniformed narratological voice, whether it is an author, a narrator or a reader. These days, numerous avant-garde narratological strategies are being emphasized, most notably the "wandering" second person, used by the main character of the novel Tomorrow as well. The inseparable part of the research is also questioning the postmodern premises such as the final doubt considering the (re)presentation of a story, the truth and the past (both individual and collective) which influence the choices made while forming the narration in the novel. The narratological analysis has shown the nature of psychological, moral, as well as ethical competence of the narrator, Paula Hook - a successful woman of the 21st century - a professor, a mother, a wife, living an ideal life threatened by a profound family secret. She acts as a representative of the 21st century wandering narrator - she doubts, questions, rethinks - because the history, past and truth are being constantly questioned in contemporary societies and literature as well.
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Oberman, Rachel Provenzano. "Fused Voices: Narrated Monologue in Jane Austen's Emma." Nineteenth-Century Literature 64, no. 1 (June 1, 2009): 1–15. http://dx.doi.org/10.1525/ncl.2009.64.1.1.
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The question of whose voice is speaking, the narrator's or the heroine's, is central in Jane Austen's Emma (1814), for although the two voices sound similar at points, the story that the heroine tells is but an incomplete part of the narrator's larger story. While Emma tells the story of her perceptions as they occur to her at the time, the narrator is telling the story of the gradual growth of Emma's consciousness. As the novel progresses, Emma's voice begins to resemble the narrator's in its ability to mix with another's consciousness. Her narrated monologues begin to incorporate others' voices, almost as if she has learned the narrative technique that Austen herself uses. Emma's voice, likes the narrator's, displays by the novel's end the ability to mix others' voices into her own; she gains the ability to "see" herself both from the inside and the outside. Emma's ability to learn narrative "skills" such as the fusing of other voices into her own represents the true mark of her maturity. In a sense, Emma learns what every good novel reader ultimately learns: how to see beyond her own mental confines by imitating the narrator's ability to incorporate others' consciousnesses into her own.
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Miller, Charles William. "READING VOICES: PERSONIFICATION, DIALOGISM, AND THE READER OF LAMENTATIONS 1." Biblical Interpretation 9, no. 4 (2001): 393–408. http://dx.doi.org/10.1163/15685150152695290.
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AbstractMost interpretations of the first chapter of Lamentations recognize the existence of two different speakers who alternate speeches throughout the poem. The first speaker is characterized by third person discourse and often identified as a narrator. Critics unanimously equate the second speaker, who employs first person discourse, with the voice of the personified Jerusalem. One of the often overlooked elements in this standard reading of Lamentations 1, however, is the fact that, like the personified Jerusalem, the so-called narrator exists within the created world of the poem. In other words, both speakers are literary constructs (personifications) given their existence by the poet. This apparently mundane observation carries serious consequences for the reading of Lamentations 1, as it raises questions regarding the commonly held notion that the narrator stands outside of the poem and thereby offers the reader an "objective" perspective. In this essay I have chosen not to privilege the narrator's voice, but to read the poem as a polyphonic text composed of two "unmerged … consciousnesses." The poem is no longer read as a monological description of Jerusalem's many egregious sins and the justification of her cruel punishment, in which Jerusalem's voice ultimately retreats into insignificance. Lamentations 1 becomes, instead, the locus of conflict and struggle between two equally weighted voices, where one observes both speakers using "double-voiced" discourse to provoke an ongoing dialogue, not only between the two voices, but among the speakers within the poem and the reader who stand outside of it.
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Beehler, Brianna. "The Doll’s Gift." Nineteenth-Century Literature 75, no. 1 (June 2020): 24–49. http://dx.doi.org/10.1525/ncl.2020.75.1.24.
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Brianna Beehler, “The Doll’s Gift: Ventriloquizing Bleak House” (pp. 24–49) This essay offers a new reading of the split narrative in Charles Dickens’s Bleak House (1852–53). Previous critics of the novel’s split narrative have primarily focused on the unequal knowledge and authority positions of the all-knowing third-person narrator and the unknowing first-person narrator, Esther Summerson. This division, however, does not fully account for the apparent slips and narrative exchanges between the two narrators, in which one narrator takes on the voice or knowledge position of the other. This essay takes up Robert Newsom’s suggestion that the only way to explain these “slips” is to conclude that Esther Summerson writes not only her own narration, but also that of the third-person narrator. However, the essay further argues that Esther uses the third-person narration to ventriloquize the voice of her mother, Lady Dedlock, in an effort to provide herself with the emotional support otherwise denied her. Readers may better understand Esther’s ventriloquism of the third-person narration by tracing how it mirrors her early daily ritual with her doll, in which she assumed both narrative positions at once. Object relations and gift theory further show how this dialogue creates a bond between the two narrations. Thus, characters and family structures that appear in the third-person narration and that may appear distant from Esther are actually her meditations on alternative maternal and familial relationships.
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Narration Council, Outstanding Audiobook. "From Committees of RUSA: The Listen List 2015." Reference & User Services Quarterly 54, no. 4 (June 19, 2015): 66. http://dx.doi.org/10.5860/rusq.54n4.66.
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The Listen List highlights extraordinary narrators and listening experiences that merit special attention by a general adult audience and the librarians who advise them. Recordings are selected because they are engaging and make one reluctant to stop listening. Titles are also named to the list because the narration creates a new experience, offering listeners something they could not create by their own visual reading and because the narrator achieves an outstanding performance in terms of voice, accents, pitch, tone, inflection, rhythm and pace. This juried list, designed for avid listeners and those new to the pleasures of stories read aloud, includes fiction and nonfiction and features voices that enthrall, delight, and inspire.
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Martin, Thomas W. "The Silence of God: A Literary Study of Voice and Violence in the Book of Revelation." Journal for the Study of the New Testament 41, no. 2 (November 6, 2018): 246–60. http://dx.doi.org/10.1177/0142064x18804435.
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The violence of Revelation remains problematic. This study offers a literary-critical analysis of the text with postcolonial theory and an intertextual foray into 1 Kgs 19. It argues that God does not speak in direct voice as a character in the story until 21.5. Places where commentators understand a voice to be God’s are undercut by an underdetermined text. Since the implied author avoids bringing God onto the stage to authorize events, the narrator assumes that a proliferation of loud heavenly voices provides authorization of the visions and their violence. The narrator is demonstrably unreliable. At the end of the visions and in the epilogue the ‘still small voice’ of God and Jesus’ quiet voice speak. Both undercut the narrator’s interpretation of the visions. And by speaking quietly in present tense and without decibel adjectives it forces us to go back and reread the whole for how God is now renewing all creation and Jesus is now offering the water of the River of Life. The violence will need to be read as something other than it at first appeared.
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Tollance, Pascale. "Voices from nowhere." English Text Construction 1, no. 1 (March 7, 2008): 141–53. http://dx.doi.org/10.1075/etc.1.1.11tol.
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Graham Swift’s oeuvre reflects a fascination with voice which appears most clearly in two of his novels, Waterland and Last Orders, but in seemingly diametrically opposed ways. Whilst Waterland foregrounds the act of narration through a voluble and chatty narrator, Last Orders is deprived of any central narrating agency and consists of a collage of different voices. In spite of this, in both novels, voice is a factor of instability as it no longer speaks with authority but proceeds erratically and repetitively, constantly echoing other voices. Voice unsettles the narrative by imposing multiplicity and fragmentation against the fantasy of a stable origin and a single meaning. But more importantly, our perception of the novel is transformed once we start ‘hearing voices’ instead of (or as well as) characters: by its ability to detach words from any clear origin, place or time, Swift turns those who speak into ghosts whose ‘presence’ is a mere illusion. Beyond similarities, the two novels also help us reflect on a diverging use of voice: in Waterland the narrator’s multiple voices reflect a sense of loss and alienation coupled with the impression that there is no getting away from oneself; by contrast, in Last Orders, the echoes which form themselves through the various voices have a liberating effect, allowing the characters to exist in a realm where they can be more than themselves.
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Gribble, David. "Narrator Interventions in Thucydides." Journal of Hellenic Studies 118 (November 1998): 41–67. http://dx.doi.org/10.2307/632230.
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The main narrative of Thucydides is characterised by a third person ‘objective’ style where signs of the narrator are concealed. But this predominant narrative mode is punctuated by passages (2. 65, 6. 15, etc.) where the narrator interrupts the main account, referring to himself in the first person and/or to time outside that of the main narrative. These rare intrusions of the voice of the narrator-historian—‘narrator interventions’—are the most quoted and discussed in the whole History. Reaction to them has been of two sorts. They have either been seen as later additions and used as the centrepiece of analyst interpretations of the History, or they have been treated as expressions of the ‘judgement’ of the historian, providing the key to the History's meaning. The result of these approaches is unsatisfactory. The interventions are either bracketed as foreign to the original plan of the historian, or given special status as the exclusive source of his meaning. The effect is to cut them loose from the reading of the rest of the work, as intrusions of another stage of composition or of another voice which no longer narrates, but gives judgement. Worse still, such interpretation compares the decontextualised ‘judgements’ it has isolated from the narrative and declares them inconsistent with each other. Such ‘extrinsic’ approaches to the interventions risk reducing Thucydides’ text to a patchwork of differing and competing voices and opinions.
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Audiobook Narration Council, Outstanding. "From Committees of RUSA: The 2016 Listen List." Reference & User Services Quarterly 55, no. 4 (July 1, 2016): 313. http://dx.doi.org/10.5860/rusq.55n4.313.
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The Listen List highlights extraordinary narrators and listening experiences that merit special attention by a general adult audience and the librarians who advise them. Adhering to established criteria, committee members select twelve recordings that are benchmarks of excellence and are available for purchase by libraries. Titles are named to the list because the narration creates a new experience, offering listeners something they could not create by their own visual reading; and because the narrator achieves an outstanding performance in terms of voice, accents, pitch, tone, inflection, rhythm and pace. This juried list, designed for both avid listeners and those new to the pleasures of stories read aloud, includes fiction and nonfiction and features voices that enthrall, delight, and inspire, making one reluctant to stop listening.
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Tahiri, Lindita. "Lost in Translation: Narrative Perspective Silenced by the Voice of the Translator." Respectus Philologicus, no. 38(43) (October 19, 2020): 202–13. http://dx.doi.org/10.15388/respectus.2020.38.43.68.
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This study compares passages from four novels by the renowned Albanian author Ismail Kadare with their English translations: Prilli i thyer (Broken April, 1990 [1980]), Kronika në gur (Chronicle in Stone, 2007 [1971]), Vajza e Agamemnonit (The Daughter of Agamemnon, 2006 [2003]) and Pallati i ëndrrave (The Palace of Dreams, 2011 [1999]). It uses the linguistic analysis of style in the source and the target languages aiming to identify the modification of narrative perspectives during the translation process. The stylistic comparison of the original with translated versions demonstrates the shift from the internal perspective to the narratorial perspective of narration, which may be the result of the translator’s inclination to explain. In Kadare’s novels which have been translated from French, the tendency to make a clear borderline between narrative voices is evident. The translator’s lack of ability to pick out stylistic features indicating the internal perspective of the character impacts the mental representation produced by the reader of the translated text. The shift from the character’s to the narrator’s perspective influences not only the reader’s attitude towards the culture narrated in the text but also the way how the identity of the narrator is construted. Consequently, the imposed narratorial voice in the translated Kadare’s novels gives a different impression from the non-intrusive narration that the author managed to create in the communist regime.
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Biti, Marina, and Iva Rosanda Žigo. "The Silenced Narrator and the Notion of “Proto-Narrative”." SAGE Open 11, no. 1 (January 2021): 215824402098852. http://dx.doi.org/10.1177/2158244020988522.
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Narrative voices in Ismet Prcić’s memoir/novel “Shards” are many; this article primarily focuses on what we refer to as the voice of the “silenced narrator” that appears to speak from a deep (“s ubdiegetic”) narrative level shaped by the unconscious workings of traumatic experience. Starting from psychological insights into traumatic states (Elbert and Schauer, Hunt, Crossley, etc.) and tracing the encoded symptoms of this illness across the text, the discussion moves on to a theoretical level to investigate notions proposed by authors such as Genette (to discuss narrative levels), Ricœur (in examining the construction of self), Caruth (in evaluating narrative implications of the literary voicing of trauma), Antonio Damasio (in exploring the source and the nature of the trauma-related destruction of the narratively voiced “I”), and others. These are used to establish the concept of a narrative subject whose voice emerges from the deep zone of their “proto-self” (Damasio), to be weaved into a distinctive narrative form that we will refer to as “proto-narrative.”
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Oktavia, Dini, Rahmadsyah Rangkuti, and Nuhammad Yusuf. "ELEMENTS OF NARRATIVE AND FUNCTION OF NARRATOR IN JUN CHIU’S CROP CIRCLES." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 4, no. 2 (December 28, 2020): 368–74. http://dx.doi.org/10.30743/ll.v4i2.2774.
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The purposes of this study are to find out the elements of narrative and the function of narrator in Jun Chiu’s silent comic Crop Circles. This research applied qualitative design. The data of this study were in the form of 20 pictures taken from the silent comic. The data were collected through stages: finding out and determining, classifying and separating the pictures conveying illustration of a narrative. The analysis of the data was done qualitatively by using the theory of phase analysis by Miles, Huberman and Saldana covering condensation, display and verification. The research results show that the elements of narrative found in Jun Chiu’s comic pictures Crop Circles narrative mood (transposed speech-indirect style); narrative instance (narrative voice: heterodiegetic narrator, time of narration: simultaneous narration; narrative perspective: external focalization), narrative levels (embedded narrative, metalepsis) and narrative time (order: analepsis, narrative speed: ellipsis, frequency of events: singulative narration). The narrator carried ideological function because the narrator illustrates the pictures to introduce public policy.
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Ahmad, Ahmad. "THE NARRATOR’S MOTIVES CONCERNING JULIANA’S LETTERS IN HENRY JAMES’S THE ASPERN PAPERS." Elite English and Literature Journal 7, no. 2 (December 10, 2020): 200. http://dx.doi.org/10.24252/10.24252/elite.v7i2a8.
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This study questions how the narrative voice of Henry James’s The Aspern Papers shapes the reader's understanding of the narrator’s motives concerning Juliana’s letters received from Jeffrey Aspern. This is qualitative analytical research in which ‘unreliable narrator’ theory was used to analyze and discuss the data from primary and secondary resources. This paper also links Booth’s idea to Schneider’s critics about unreliable narrator theory. Although The Aspern Papers’ narrator is unreliable due to his unpredictable and unstable actions, the researcher argues that The Aspern Papers’ narrator who also becomes the main character of the story wants to possess Juliana’s letters for his benefits. Should he get the letters, he would be able to “sell” Aspern’s life to the public, and thus he could get financial profit or personal profit for his career as a journalist, a writer, or a publisher.
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Weigold, Matthias. "One Voice or Many? The Identity of the Narrators in Noah’s Birth Story (1QapGen 1–5.27) and in the ‘Book of the Words of Noah’ (1QapGen 5.29–18.23)." Aramaic Studies 8, no. 1-2 (2010): 89–105. http://dx.doi.org/10.1163/147783510x571605.
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The present article explores the puzzling variety of narrative voices in the so-called Genesis Apocryphon from Qumran Cave 1. Lamech, Noah, and Abram in turn act as first person narrator, and all three of these stories also include third person narration. Focusing on the columns preceding the Abram story, it is shown that both the account of Noah’s birth (1–5.27) and the ‘Book of the Words of Noah’ (5.29–18.23) are basically narrated in the first person by Lamech and Noah, respectively. It is concluded that the rare shifts to third person narration are not unusual in ancient Jewish literature.
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Klein, Michael L. "Chopin Fragments: Narrative Voice in the First Ballade." 19th-Century Music 42, no. 1 (2018): 30–52. http://dx.doi.org/10.1525/ncm.2018.42.1.30.
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This article considers the problem of narration in a collection of works gathered around Chopin's Ballade in G Minor, op. 23: Guillermo del Toro's Crimson Peak, Poe's “The Raven,” Mickiewicz's Konrad Wallenrod, Dickens's The Chimes, and Władysław Szpilman's The Pianist along with its cinematic adaptation by Roman Polanski. Chopin's Ballade is featured prominently in the two movies under consideration, while the remaining works are either influential for the composer (Konrad Wallenrod) or develop themes common to the Ballade. Study of narration in these works reveals that the narrator can be just as unstable in literary texts as in musical ones. The problems of narration that have been imputed to music are problems of narration itself. Regarding the era of Chopin's Ballade, these problems also point to unstable models of subjectivity, which the logic of narrative glosses over.
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Ayers, Carolyn Jursa. "AN INTERPRETIVE DIALOGUE: Beckett's "First Love" and Bakhtin's Categories of Meaning." Samuel Beckett Today / Aujourd'hui 7, no. 1 (December 8, 1998): 391–406. http://dx.doi.org/10.1163/18757405-90000109.
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From the very first sentence of "First Love", Beckett's narrator-protagonist engages the reader in an aggressive, one-sided dialogue. We might respond by bringing the voice of the narrator, and Beckett's narrative in general, into contact with the major theorizer of dialogue, Mikhail Bakhtin. Bakhtin's categories of genre suggest that Beckett's story may share strategic affinities with the menippea, while his concept of chronotope helps to clarify some of the contradictory details in the text. It is the idea of dialogue, however, with its implied surrender of power to the other that dominates the text and obsesses the narrator. In illuminating the narrator's resistance to, and regretful acknowledgement of his dialogic position in the worId, Bakhtin's words respond to and renew Beckett's.
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Rutherford, R. B. "‘Why should I mention Io?’ Aspects of choral narration in Greek tragedy." Cambridge Classical Journal 53 (2007): 1–39. http://dx.doi.org/10.1017/s1750270500000038.
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The study of narrative, narratology, has for some decades now been a well-established subdiscipline within the large field of critical methodology. Even classical scholars generally resistant to theory have found it acceptable. In part this can be explained by its classical ancestry: it was Plato who emphasised the importance of distinguishing narrator-voice and character-voice, and Aristotle who identified some of the key elements constituting plot structured as story. Part of the success of narratology is also due to the distinction of its classical practitioners. Naturally, the main emphasis among the studies of classical texts has been upon the major narrative forms, epic and the novel; but broader examination of the whole generic range has extended the scope of this method, and the first volume of an encyclopaedic study of narrator and narration in classical literature has recently appeared.
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Tahiri, Lindita, and Muhamet Hamiti. "Post-communist Interpretation of History in the Albanian Literature in Kosovo." Balkanistic Forum 29, no. 3 (November 1, 2020): 91–107. http://dx.doi.org/10.37708/bf.swu.v29i3.5.
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This article focuses on stylistic choices in the novel Im atë donte Adolfin (My father loved Adolph) by the Albanian author in Kosovo Mehmet Kraja (2005) as a strategy to generate a post-communist perspective of interpreting history. By blending first-person narration as confidentiality and third-person narration as conventionality (Barthes, 1978), the possessive construction ‘my father’ in this literary text serves both as referential label and deictic, generating dual focalization (Phelan, 2005). The heterodiegetic narrator is positioned simultaneously as a neutral eye witnessing narrator and as a signal of subjectivity. Even in cases of intradiegetic role the narrator remains detached interweaving his voice with the voice of the character. The synchronized overt and distant narratorial stances in this novel correspond with the demonstration of historical discourse as both subjective and factual narration. The relationship between fiction and truth has been widely treated in the post-modern intellectual thought, and as Borg (2010) points out in his study on Beckett and Joyce, the radical narrative innovations are “examples of a peculiarly modernist engagement with the nature of factual and fictional truth” (p. 179), suggesting that in modern literary texts “every event exists factually and fictionally at the same time” (p. 187). As a resonance to Borg’s analysis of modernist literature, in Kraja’s novel the knowledge about history consists of both factual and imaginative elements, bringing “the moment of truth in all its potential” (p. 191).
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Mrozowicki, Michał. "L’absence chez Michel Butor. L’Emploi du temps et Degrés." Quêtes littéraires, no. 2 (December 30, 2012): 66–80. http://dx.doi.org/10.31743/ql.4628.
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Michel Butor, born in 1926, one of the leaders of the French New Novel movement, has written only four novels between 1954 and 1960. The most famous of them is La Modification (Second thoughts), published in 1957. The author of the paper analyzes two other Butor’s novels: L’Emploi du temps (Passing time) – 1956, and Degrés (Degrees) – 1960. The theme of absence is crucial in both of them. In the former, the novel, presented as the diary of Jacques Revel, a young Frenchman spending a year in Bleston (a fictitious English city vaguely similar to Manchester), describes the narrator’s struggle to survive in a double – spatial and temporal – labyrinth. The first of them, formed by Bleston’s streets, squares and parks, is symbolized by the City plan. During his one year sojourn in the city, using its plan, Revel learns patiently how to move in its different districts, and in its strange labyrinth – strange because devoid any centre – that at the end stops annoying him. The other, the temporal one, symbolized by the diary itself, the labyrinth of the human memory, discovered by the narrator rather lately, somewhere in the middle of the year passed in Bleston, becomes, by contrast, more and more dense and complex, which is reflected by an increasinly complex narration used to describe the past. However, at the moment Revel is leaving the city, he is still unable to recall and to describe the events of the 29th of February 1952. This gap, this absence, symbolizes his defeat as the narrator, and, in the same time, the human memory’s limits.
In Degrees temporal and spatial structures are also very important. This time round, however, the problems of the narration itself, become predominant. Considered from this point of view, the novel announces Gerard Genette’s work Narrative Discourse and his theoretical discussion of two narratological categories: narrative voice and narrative mode. Having transgressed his narrative competences, Pierre Vernier, the narrator of the first and the second parts of the novel, who, taking as a starting point, a complete account of one hour at school, tries to describe the whole world and various aspects of the human civilization for the benefit of his nephew, Pierre Eller, must fail and disappear, as the narrator, from the third part, which is narrated by another narrator, less audacious and more credible.
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Beyvers, Sarah E. "The game of narrative authority: Subversive wandering and unreliable narration in The Stanley Parable." Journal of Gaming & Virtual Worlds 12, no. 1 (March 1, 2020): 7–21. http://dx.doi.org/10.1386/jgvw_00002_1.
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This article explores how players’ attempts at subversive wandering in The Stanley Parable (2013) render the game’s narration unreliable and thus reveal its comments on the nature of ‘agency’ in video games. Unreliability brings the act of narration itself to the fore and exposes its mechanisms of manipulation. Players of The Stanley Parable may seek to contradict the voice-over narration subversively. They must find out, however, that, even though the narrator’s authorial omniscience and power are an illusion, they cannot break away from the predetermined path the game lays out. The narrator and the player are constantly fighting over who gets to tell the story and who therefore wins the game of narrative authority. Subversive wandering, as will be theorized in this article, exposes the impossibility of true player agency in the game’s set structure and comments on how player movement and interaction construct parts of a game’s narrative.
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MORRISON, A. D. "SEXUAL AMBIGUITY AND THE IDENTITY OF THE NARRATOR IN CALLIMACHUS‘HYMN TO ATHENA." Bulletin of the Institute of Classical Studies 48, no. 1 (December 1, 2005): 27–46. http://dx.doi.org/10.1111/j.2041-5370.2005.tb00253.x.
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Abstract This paper re-examines the narratorial voice in Callimachus' ‘mimetic’ Hymn to Athena and argues that we should see it as complex and experimental (cf. the voices of his hymns to Zeus and Apollo). The portrayal of a narrator whose sex is ambiguous (with some elements pointing to a female celebrant as the narrator, others to a male scholar-poet) is in fact closely connected to the subject-matter of the myth which the narrator tells — the blinding of Teiresias for seeing Athena bathing naked, characters who are themselves sexually ambiguous. The nature and function of this myth, and its portrayal of Athena, raise important questions about the representation of the gods, for example in poetry, and about Hellenistic attitudes to the divine.
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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 (June 28, 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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Fyler, John M. "Hateful Contraries in ‘The Merchant’s Tale’." Critical Survey 30, no. 2 (June 1, 2018): 20–50. http://dx.doi.org/10.3167/cs.2018.300203.
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Whether or not we choose to identify the narrator of ‘The Merchant’s Tale’ as the Merchant described in the ‘General Prologue’, this narrative voice is certainly not Chaucer’s own, and it augments the malignity of the tale it tells. The narrator attacks a naïve fool from a disenchanted perspective, but unwittingly reveals the continuing blindness within his own knowing stance. The tale debunks all the noble, even sacred ideals it presents, and characterizes them as foolishly innocent elevations of the spiritual in a world defined by the body in its grossest aspects. The narrator’s rhetorical tropes, floridly presented and habitually misused, gesture towards a sordid reality that they pretend to gloss over. Yet despite itself, the tale implies a psychologically healthy middle ground outside the experience of the narrator or his characters, where body and soul, real and ideal, experience and innocence can meet.
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Neumark, Norie. "Voicing memories." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, no. 2 (December 21, 2017): 31–44. http://dx.doi.org/10.7146/se.v7i2.102923.
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Last night as I was falling asleep, I put in my earbuds to listen to an audiobook. To get into the Nordic mood to write for a journal coming out of Scandinavia, I scrolled to one of Henning Mankell’s famous detectives, Kurt Wallander. On the verge of sleep, somewhere between consciousness and unconsciousness – like memory itself – I listened to Wallander, through his narrator, listening to the room at the scene of the crime, waiting for it to speak to him, to voice what had happened there. Through the haze of half-sleep I wondered whose memory was being voiced in that assemblage comprised of the iPod and earbuds, the audiobook, the room, the narrator, the author and my own memories of watching Krister Henriksson play Wallander and of listening to other Wallander books? And when I woke today and slid the earbuds out of my ears, I felt ready to attend to assemblages and the memories that they voice.
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O’Hara, Daniel T. "Sovereign Dispossession." boundary 2 47, no. 2 (May 1, 2020): 29–48. http://dx.doi.org/10.1215/01903659-8193220.
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The large historical transformation from a culture of work and achievement to one of consumption and pleasure, in progressively extreme and democratically available forms, finds its expression in the finest details of fictional, literary artistry. Thomas Mann’s development of the psychological romance, the modern psychomachia, of narration amid the personae of character, narrator (and what kind of narrator), implicated author, and a newly activated and yet indulgently consuming reader, participates in a widespread game of aesthetic interpellation that leads to what contemporary theorists such as Slavoj Žižek and Robert Pfaller term the interpassive subject. As we have seen in Mann’s career and our epoch, the creative images of voice, the critical terms of self-narration, mark the phases of this movement from literature as traditionally understood to the apocalyptic expenditure of all cultural capital without return, either explosively or by playing out the string.
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Cordingley, Anthony. "Beckett and "l'ordre naturel": The Universal Grammar of." Samuel Beckett Today / Aujourd'hui 18, no. 1 (October 1, 2007): 185–99. http://dx.doi.org/10.1163/18757405-018001014.
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A foundational myth of the clarity and precision of French prose, the theory of French word order "l'ordre naturel" grew out of Aristotelian grammars and sought its justification in Cartesian metaphysics, epistemology and physiology. Ironically, Beckett's "narrator/narrated" of uses a tattered syntax to insist that his discourse is a recitation in "the natural order" (l'ordre naturel) of the voice in his head, "the other above in the light" (l'autre dans la lumière). The aspirations of the "I" below to imitate his mysterious "ancient voice" interlace with the text's allusions to Enlightenment philosophy of mind and language, producing its unique, albeit debilitated, "geometric method."
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Storey, H. Wayne. "Decameron 2.4: the Matrices of Voice." Colloquium, no. 9788879166539 (September 2013): 33–47. http://dx.doi.org/10.7359/653-2013-stor.
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Unlike many characters of the, Landolfo Rufolo is voiceless. This essay examines the transfer of narrative and rhetorical authority to the narrator of the story, Lauretta, and her appropriation and correction of mercantile ethics summed up in Boccaccio’s own narrative selection betweenandin his late holograph MS Hamilton 90.
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Doulamis, Konstantin. "All’s Well that Ends Well: Storytelling, Predictive Signs, and the Voice of the Author in Chariton’s Callirhoe." Mnemosyne 65, no. 1 (2012): 18–39. http://dx.doi.org/10.1163/156852511x547776.
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Abstract This article takes a new approach to the study of narrative technique in Chariton’s Callirhoe. Following Chariton’s self-identification at the start of the novel, considerable emphasis is placed upon the narrator, who makes his presence felt throughout the narrative and whose role is further underscored by self-reflexive comments about storytelling made by various characters. This, combined with the fact that the novelist appears to have delegated all responsibility for the shaping of the plot to personified deities, allows the author to remain ‘concealed’ for most of the narrative, thus giving him a voice independent from that of the narrator. With assistance from divine agents, author and narrator operate a suspense-generating system of forewarnings, false predictive signs, and intervention, which enhances the anticipation of the expected happy ending. In the last Book, with the finale drawing near, the narrator hints at the authorial presence behind the novel, but it is only in the last sentence and after the story has reached its dénouement that the auctor’s voice can be heard loud and clear in an undisputed authorial statement.
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Whitmarsh, Tim. "RADICAL COGNITION: METALEPSIS IN CLASSICAL GREEK DRAMA." Greece and Rome 60, no. 1 (March 12, 2013): 4–16. http://dx.doi.org/10.1017/s001738351200023x.
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The Hollywood movie Stranger than Fiction (2006) centres on a tax inspector, Harold Crick, who begins to hear a voice inside his head. This voice, he gradually realizes, belongs to the narrator of a book in which he is the central character. As the plot unfurls, the narrator begins to drop hints that Harold will die at the end of the story. Understandably disturbed by these intimations, Harold decides to confront a university professor, and between the two of them they identify the author as one Kay Eiffel. Harold then tracks down the author and begs her not to kill him off.
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Al-Ameedi, Riyadh T. K., and Sadiq M. K. Al Shamiri. "Biblical Evaluative Discourse of Speech and Thought Presentation." International Journal of English Linguistics 8, no. 3 (February 10, 2018): 223. http://dx.doi.org/10.5539/ijel.v8n3p223.
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The study aims to highlight the evaluative strategies associated with the Biblical modes of speech and thought presentation. An eclectic pragma-stylistic model of analysis is developed to test the validity of the hypotheses that the targeted modes of discourse are almost always internally and/or externally evaluated by the narrator, and that the reportive modes of speech and thought are evaluative in respect to the quotative modes. The study arrived to the conclusion that different modes of speech and thought are exploited in building narrative genres. These modes form two interrelated types of discourse: quotative and reportive. Four modes contribute to the occurrence of the quotative discourse which are direct speech, free direct speech, direct thought, and free direct thought. The reportive discourse occurs when using one of the reportive modes which include indirect speech, free indirect speech, narrative report of speech act, narrator’s representation of voice, indirect thought, free indirect thought, narrative report of thought act, and internal narration. When employed in the targeted Biblical discourse, the quotative and reportive modes are often evaluated by the Biblical narrator. Evaluations of this kind implicate additional meanings and affect reader’s interpretation of the represented speeches or thoughts. The Biblical reportive modes are often evaluative in respect to the quotative ones. The Biblical narrator’s internal, external, and interactional evaluative strategies contribute to the occurrence of the Biblical evaluative discourse of speech and thought presentation.
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Boyden, Michael, and Patrick Goethals. "Translating the Watcher’s Voice: Junot Díaz’s The Brief Wondrous Life of Oscar Wao into Spanish." Meta 56, no. 1 (May 26, 2011): 20–41. http://dx.doi.org/10.7202/1003508ar.
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This article offers an analysis of the Spanish translation of The Brief Wondrous Life of Oscar Wao by Dominican-American author Junot Díaz. We look at how the translation by Cuban author Achy Obejas affects the narrative situation, and in particular the solidarity relation between narrator and narratee. In the original, this solidarity relation depends on various forms of intra- and interlingual heteroglossia, which define the narrator’s voice as ethnically and racially marked. While the translation does to some degree neutralize this narrative voice, we argue that the Spanish version does not so much reduce as displace the solidarity effects embedded in the ST onto the relation between the implied author and reader of the TT. We further point attention to some of the differences between the two editions of the translation, directed at European and Latin American markets (Mondadori) and the North American market (Vintage Español) respectively. Surprisingly, the latter uses various paratextual insertions to construct an implied reader at some remove from the bilingual milieu in which the novel is set, and with which many Spanish-language readers in North America are highly familiar.
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Saleh, Pascoalina Bailon de Oliveira. "Afinal, quem narra na narrativa da criança?" Cadernos de Estudos Lingüísticos 47, no. 1/2 (July 17, 2011): 175–86. http://dx.doi.org/10.20396/cel.v47i1/2.8637282.
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As a rule, researches on narrative acquisition have not given sufficient attention to the narrator. Threfore some studies seem to conceive the narrator as the child him/herself that produces the text. The narrative text is essentially defined by placing a narrator on stage – a voice which assumes the perspective from which the reported events are shaped. However, the narrator is linguistically and textually constructed. The aim of this paper is to reflect about infant written narratives through this point of view. The analysis intends to show that conceiving narrator as a narrative textual element implies to exclude knowledge from the child’s relationship with language. On the other hand, the analysis shows that the child’s relationship with him/herself and with his/her experiences is only possible through language, i. e., through the tension between langue and text. Even when the text configurates the narrator as a first person, there is not a coincidence between textual and grammatical narrator.
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Moss, Yonatan. "Scholasticism, Exegesis, and the Historicization of Mosaic Authorship in Moses Bar Kepha'sOn Paradise." Harvard Theological Review 104, no. 3 (July 15, 2011): 325–48. http://dx.doi.org/10.1017/s0017816011000241.
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The author of the Pentateuch is famously unknown. There are various ancient speculations about the relative roles of God and Moses in the production of the text,1and there is a plethora of modern investigations into the Bible's constituent documents and the authors responsible for them, but the biblical text itself is silent. The biblical narrator never identifies himself or herself2and never narrates in the first person; rather he or she speaks “out of the void, in an authoritative voice that masks any authorial presence.”3
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Mcminn, Mark R., Sonja D. Brooks, Marcia A. (Hallmark) Triplett, Wesley E. Hoffman, and Paul G. Huizinga. "The Effects of God Language on Perceived Attributes of God." Journal of Psychology and Theology 21, no. 4 (December 1993): 309–14. http://dx.doi.org/10.1177/009164719302100404.
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Sixty-three participants listened to an audio-tape asking them to imagine themselves in God's presence. Half the participants listened to a script in which God was presented as female and half listened to a script in which God was presented as male. Half of those in each group listened to a male narrator and the other half listened to a female narrator. Before and after listening to the script, participants rated the attributes of God on a forced-choice questionnaire. Those to whom God was presented as female were more likely to emphasize God's mercy at posttest whereas those to whom God was presented as male were more likely to endorse God's power. Those hearing a male voice describe a female God and those hearing a female voice describe a male God reported enjoying the experiment and the audiotape more than those hearing a narrator describing a God of the same gender. Implications are discussed.
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Morton, Darrien, Kelley Bird-Naytowhow, and Andrew R. Hatala. "Silent Voices, Absent Bodies, and Quiet Methods: Revisiting the Processes and Outcomes of Personal Knowledge Production Through Body-Mapping Methodologies Among Indigenous Youth." International Journal of Qualitative Methods 20 (January 1, 2021): 160940692098793. http://dx.doi.org/10.1177/1609406920987934.
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At the interface of Western and Indigenous research methodologies, this paper revisits the place of the “personal” and “autobiographical” self in qualitative visual research. We outline a community and partnership-based evaluation of a theater program for Indigenous youth using arts-based body-mapping approaches in Saskatoon, Canada, and explore the methodological limitations of the narrator or artist’s voice and representations to translate personal visual-narratives and personal knowledges they hold. In so doing, we describe how body-mapping methods were adapted and improvised to respond to the silent voices and absent bodies within personal visual-narratives with an epistemological eclecticism handling the limitations of voice and meaningfully engaging the potentiality of quietness. Extending the conceptual and methodological boundaries of the “personal” and “autobiographical” for both narrator and interlocutor, artist and observer, we contribute to debates on the processes and outcomes of personal knowledge production by articulating a generative, ethical, and culturally-grounded project mobilizing body-mapping as a quiet method that pursues self-work—the passionate and emergent practices of working on one’s self and making self appear in non-representational and ceremonial ways.
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Leushuis, Reinier. "Speaking the Gospel." Erasmus Studies 36, no. 2 (2016): 163–85. http://dx.doi.org/10.1163/18749275-03602007.
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In his Paraphrases on the synoptic gospels, Erasmus stages the voice of the evangelist speaking in the first-person singular to address the reader in the second-person singular. Such a marked interlocutorial setting is absent in Scripture, with the exception of Luke’s brief address to a certain Theophilus. More than a strategy to forestall criticisms directed at the author of the paraphrase, this direct engagement between biblical author and reader reveals a deeper concern for the transfer of gospel faith and gospel philosophy to the minds of his contemporaries. This essay examines the ways in which the evangelist’s voice engages the implied reader in the Paraphrases on Matthew, Luke, and most notably Mark. It focuses on the reliability (fides) of narration and narrator, the emotional, sensory, and homiletic engagement between speaking voice and reader, and the role of drama and performative elements. The paraphrastic staging of the evangelist’s voice reflects each gospel’s unique challenge in conveying Philosophia Christi to the reader and in the Paraphrase on Mark illustrates in particular the literary dimension of reader-oriented imitatio.
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Garlet, Deivis Jhones. "A função dialógico-dialética do narrador em José Saramago / The Dialogical-Dialectic Function of the Narrator in José Saramago." Revista do Centro de Estudos Portugueses 40, no. 64 (February 3, 2021): 113. http://dx.doi.org/10.17851/2359-0076.40.64.113-128.
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Resumo: A obra romanesca de José Saramago é reconhecida pelo seu conteúdo de crítica social, sobretudo, ao império do capital e seus efeitos nefastos na vida dos homens e à hipocrisia das elites políticas e econômicas. Dialeticamente, afirma uma posição de valorização do humanismo e da democracia, geralmente evidenciados nos setores sociais mais desfavorecidos. Este conteúdo axiológico, seguramente, é realizado por uma composição formal singular, na qual as partes contribuem para a efetivação de um todo estruturado. Entre as partes dessa composição, salientamos a relevância do narrador e sua função decisiva para a consecução do conteúdo humanista e democrático nos romances. De fato, o narrador saramaguiano apresenta peculiaridades, como a oralidade, o recurso à ironia, os frequentes comentários, a concessão de voz a uma pluralidade de vozes, que informam de sua função alicerçada no dialogismo e na dialética, de forma que a denominamos função dialógico-dialética. Assim, com base em estudos de Bakhtin e Genette, objetivamos explicitar tal função e sua contribuição para a axiologia do universo romanesco do autor lusitano.Palavras-chave: José Saramago; narrador; função dialógico-dialética.Abstract: José Saramago’s romanesque work is recognized for its content of social criticism, especially the empire of capital and its harmful effects on the lives of men and the hypocrisy of political and economic elites. Dialectically, it affirms a position of appreciation of humanism and democracy, generally evidenced in the most disadvantaged social sectors. This axiological content, surely, is realized by a singular formal composition, in which the parts contribute to the realization of a structured whole. Among the parts of this composition, we emphasize the relevance of the narrator and his decisive role in achieving the humanist and democratic content in the novels. In fact, the Saramaguian narrator has peculiarities, such as orality, the use of irony, frequent comments, the granting of a voice to a plurality of voices, which inform of its function based on dialogism and dialectic, in a way that we call it function dialectic-dialectic. Thus, based on the studies of Bakhtin and Genette, we aim to make explicit this function and its contribution to the axiology of the Romance universe of the Lusitanian author.Keywords: José Saramago; narrator; dialogical-dialectic function.
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Vilela, Lúcia Helena De Azevedo. "Voice and choice: a study of polyphony and its relation to the problem of free will in William Goldin’s Free fall." Estudos Germânicos 8, no. 1 (December 31, 1987): 53. http://dx.doi.org/10.17851/0101-837x.8.1.53a.
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In this study of William Golding’s Free fall, the polyphonic structure of the novel is analyzed through the stylistic marks that separate different and opposing voices incorporated in the narrator's discourse: Since the narrator is also the protagonist, those voices are a reflection of the central character's perspective of events at different phases of his life, the philosophical questioning of the problem of free will is what moves the central character's retrospective examination of his life. So the present work also includes an analysis of the philosophical frame that underlies his transition from a naive to a mature viewpoint. The stilistics analysis of the mix of discourses in the central character's narrative is based on Mikhail Bakhtin's dynamic view of the polyphonic novel. Bakhtin's polyphonic structure is here associated with Sartre's existential philosophy, the central character of Free fall is analyzed as a consciousness in the process of defining itself through moral choices associated with the events narrated; it has been possible to link Bakhtin's and Sartre's ideas since both theoreticians see man in a process of becoming.
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Farina, Diego Lock. "Notas sobre (ou acordes para) o Noturno do Chile, a tormenta ruidosa de Roberto Bolaño." Scriptorium 4, no. 2 (January 25, 2019): 122. http://dx.doi.org/10.15448/2526-8848.2018.2.32539.
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Noturno do Chile, de Roberto Bolaño, funciona como uma autêntica máquina literária de denúncia, de afinada ironia e instigante trabalho estético. Tendo como narrador em primeira pessoa um padre extremamente envolvido com a ditadura de Pinochet, a obra opera uma tormenta ruidosa na forma que faz os signos estremecerem, ao passo que contra-assina a voz do próprio narrador que cria. O presente ensaio busca analisar as sutilezas formais que Bolaño desenvolve no controverso combate interno entre as memórias do narrador e a matéria narrada historicamente contextualizada, visando ainda entender como a noção de dom de ouvir, composta por Walter Benjamin e rearticulada por Jacques Derrida, é pertinente para uma leitura crítica do livro, que, por sua vez, invoca debates acerca do problema da alteridade, da afecção, da responsabilidade e, por fim, da ética ante a crueldade e a possibilidade da produção de uma poética da escuta na contemporaneidade. *** Notes about (or chords for) By night in Chile, the noisy storm of Roberto Bolaño ***By night in Chile, by Roberto Bolaño, works as an authentic literary machine of denunciation, of intoned irony and instigating aesthetic labor. Having a priest extremely involved with Pinochet’s dictatorship as a first-person narrator, the text operates a noisy storm in the form that makes the signs shake, while countersigns the voice of the narrator himself who creates. The present essay seeks to analyze the formal subtleties that Bolaño develops in the controversial internal struggle between the narrator’s memories and the historically contextualized narrative matter, in order to understand how the notion of the gift for listening, composed by Walter Benjamin and rearticulated by Jacques Derrida, is pertinent for a critical reading of the book, which, in turn, invokes debates about the problem of alterity, affection, responsibility, and finally, ethics in the face of cruelty and the possibility of producing a poetics of listening in contemporary times.Keywords: By night in Chile; gift for listening; poetics of listening; Roberto Bolaño; alterity.
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Sandanello, Franco Baptista. "Em nome do pai: autoritarismo e discurso patriarcal n’O Ateneu, de Raul Pompéia." RUA 22, no. 1 (June 16, 2016): 65. http://dx.doi.org/10.20396/rua.v22i1.8646070.
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O presente artigo discute elementos pontuais da narração do romance O Ateneu (1888), de Raul Pompéia, e interpreta as rememorações de seu narrador – Sérgio – como desenvolvimento de um discurso de poder patriarcal, que, antes de criticar imparcialmente as mazelas do ensino em um internato da época, acaba por reproduzir, através da repetição do discurso paterno, o conservadorismo paralelamente trazido de casa. Neste sentido, pretende-se relativizar o elemento puramente memorialístico da narração em face do lugar ideológico desta mesma voz narrativa, que se torna, por si só, o ponto central da crítica de Pompéia ao Brasil Monárquico.Abstract: The present article discusses specific narrative elements of O Ateneu (1888), a novel by Raul Pompeia, and interprets the recollections of its narrator – Sergio – as a development of patriarchal discourse, which, before criticizing the ills of education in a boarding school of its period, turns out to reproduce, through the repetition of his father’s speech, a parallel conservatism, brought from home. In this regard, this article aims to relativize the purely memorialistic elements of O Ateneu’s narration in face of the ideological basis of its narrative voice, here considered, in itself, the center point of Pompéia’s critique of Brazilian Monarchy.Keywords: Raul Pompéia; Ateneu; brazilian literature; narration.
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Stiepanow, Justyna. "The strange case of Francis Dolarhyde and the Dragon: Alternating narrative points of view and the source of knowledge in Thomas Harris’ 'Red Dragon'." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/4 (December 28, 2018): 47–68. http://dx.doi.org/10.26881/bp.2018.4.03.
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This paper investigates the narrative voice employed by Thomas Harris in Red Dragon as a source of knowledge about the fictional universe, more particularly about the main villain, Francis Dolarhyde. Confronting important epistemological notions (knowledge, justification and their sources) with literary theoretical concepts (narrative voice and points of view), I analyse alternating modes of representation. Harris’ narrator shifts between three modes: the quasi-perceptual one – sense-based, rich in descriptive elements; the quasi-introspective narration carried out from a close subjective angle, using free indirect speech or stream of consciousness; and the testimonial mode – telling (rather than showing) the story through exposition resting on the principle of cause and effect. Employing a vast array of inter-textual pragmatics, the narrative remains ambiguous. In consequence, any proposition about Dolarhyde can be empirically and rationally challenged and all propositional knowledge regarding the character is merely fragmentary.
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Lewis, Monica C. "Anthony Trollope and the Voicing of Victorian Fiction." Nineteenth-Century Literature 65, no. 2 (September 1, 2010): 141–65. http://dx.doi.org/10.1525/ncl.2010.65.2.141.
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Monica C. Lewis, "Anthony Trollope and the Voicing of Victorian Fiction" (pp. 141––165) Although critics have read the intrusive nature of Anthony Trollope's narrators as everything from suicidal to cordial, little to no attention has been paid to the larger context in which these intrusions would have been voiced or to Trollope's carefully constructed relationship to the interpretive community upon which his literary livelihood depended. Well aware that his novels would be read aloud to his Victorian audience, Trollope adopted a particularly "modern" approach to the questions of audience and reception. At the moment of articulation, this essay argues, the voice of Trollope's author-narrator welcomes his listeners into a critical dialogue that calls into question not only the aesthetics of fiction but also moral and ethical codes, the construction of "character," and an increasingly modern world. Trollope's novel of life in the employ of the civil service, The Three Clerks (1858), is a heretofore-neglected case in point. The novel's protagonist, Charley Tudor, is both a clerk and an aspiring novelist; the reading aloud of his manuscript to an assembled company of admirers serves as a showcase for the ways in which Trollope expected his audience to engage with his own narratives. Drawing upon theories of reading and reception, recent scholarship on nineteenth-century reading practices and Trollope's negotiation of modernity, and evidence from Trollope's own experiences as a reader and writer, this essay exposes Anthony Trollope as a novelist whose ambivalent engagement with modernity found its expression in the dialogical space he created among author-narrator, reader, and listener.
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Adhikary, Ramesh Prasad. "Gender and racial trauma in Angelou’s I Know Why The Caged Bird Sings." AFRREV LALIGENS: An International Journal of Language, Literature and Gender Studies 9, no. 1 (April 28, 2020): 1–12. http://dx.doi.org/10.4314/laligens.v9i1.1.
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This paper analyses racial and gender trauma evoking the tormented state of the narrator, Maya in I Know Why the Caged Bird Sings. Based on the cultural trauma, the researcher analyses the experiences of depressed African American women without identities. The narrator struggles to develop her dignified self and nonconformist outlook comes to block her after she was raped by her mother’s boyfriend Mr. Freeeman. The mysterious murder of her rapist creates the guilt, shame in her psychic as she thinks that she is responsible for his murder. The narrator suffering from the guilt and self-loathing results in her psychic turmoil. She stops speaking to people except her brother, Bailey. In the novel, Angelou tries to raise the voice of Black women to achieve dignified identity in the white racist and sexist America looking back on her childhood experiences. In this regard, this research aims to show reasons that cause the traumatic situation in the narrator due to several events that erupt in African American societies. Not only this, this research work explores issues related to the cause of racial and gender trauma and discusses how the narrator succeeds in working through trauma while in some cases the narrator just acts out it.
Key Words: Race, Gender, Cultural trauma, Psychic turmoil, identity, self
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Schmalfeldt, Janet. "From Literary Fiction to Music: Schumann and the Unreliable Narrative." 19th-Century Music 43, no. 3 (2020): 170–93. http://dx.doi.org/10.1525/ncm.2020.43.3.170.
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The theoretic model of the “unreliable narrative” in fiction took flight in the early 1960s; it has since become a key concept in narratology, and an indispensable one. Simply put, first-person unreliable narrators are ones about whom we as readers, in collusion with the author, learn more than they know about themselves. Romantic precursors of modernist experiments in fiction—incipient cases of narrative unreliability—arise in the works of, among others, Jean Paul Richter and Heinrich Heine, two of Robert Schumann's favorite writers. In his early solo piano cycle, Papillons, op. 2, Schumann draws inspiration from Jean Paul's novel Flegeljahre, surely capturing something of the author's unreliably quirky literary style, in part through the strategy of tonal pairing. Whereas Schumann ultimately played down the programmatic elements of Papillons that trace back to the unpredictable Jean Paul, a genuine instance of the unreliable narrator is Heine's troubled poet-persona in Schumann's Dichterliebe. Here the composer invites us to perceive a second persona through the voice of the piano—one that understands the poet better than he does, and whose music reveals from the outset that rejection in love lies ahead. The emergence of narrative unreliability in fiction may have served as an influence that drove experimentation not only for Schumann but also for some of his contemporaries and successors. Debates about musical narrativity might profit from considering the recent literary concept of a “feedback loop,” in which the author, the narrator (text), and the narratee (reader)—in our case, the composer, the performer, and the listener (including analysts, performers, and composers, who are also intensive listeners)—continually and recursively interact.
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O’Sullivan, Emer. "Narratology meets Translation Studies, or, The Voice of the Translator in Children’s Literature." Meta 48, no. 1-2 (September 24, 2003): 197–207. http://dx.doi.org/10.7202/006967ar.
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Abstract When critics identify ‘manipulations’ in translations, these are often described and analysed in terms of the differing norms governing the source and the target languages, cultures and literatures. This article focuses on the agent of the translation, the translator, and her/his presence in the translated text. It presents a theoretical and analytical tool, a communicative model of translation, using the category of the implied translator, the creator of a new text for readers of the target text. This model links the theoretical fields of narratology and translation studies and helps to identify the agent of ‘change’ and the level of communication in which the most significant modifications take place. It is a model applicable to all translated narrated literature but, as examples illustrate, due to the asymmetrical communication in and around children’s literature, the implied translator as he/she becomes visible or audible as the narrator of the translation, is particularly tangible in translated children’s literature.
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Bulić, Halid. "Voice Management In The Mawlid By Mirza Safvet-Beg Bašagić." Slavica Lodziensia 1 (November 14, 2017): 77–93. http://dx.doi.org/10.18778/2544-1795.01.07.
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Mawlid is a poetic literary work about the birth and life of the Muhammad, the Messenger of God. Mawlid by Mirza Safvet-beg Bašagić is one of the most signifi cant mawlids written in the Bosnian language. The text of the Mawlid is analyzed from the perspective of literary pragmatics. The paper takes into consideration the relationship between the author and narrator in the text and voice management in the Bašagić’s Mawlid.
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Grobler, G. MM. "The silent voice: a profile of OK Matsepe's narrator inTša ka mafuri." South African Journal of African Languages 24, no. 2 (January 2004): 140–46. http://dx.doi.org/10.1080/02572117.2004.10587231.
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