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1
Schloder, Julian J. "Unreliable Narration and Dual Perspective." Epistemology & Philosophy of Science 59, no. 2 (2022): 66–71. http://dx.doi.org/10.5840/eps202259222.
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In Unreliability and Point of View in Filmic Narration, Emar Maier makes a distinction between reliable and unreliable narrators. The latter, Maier claims, must be a first-person narrator, as an impersonal, third-person narrator lacks an individual perspective that can be unreliable (with some exceptions he sets aside). He concludes that most film adaptations of unreliably narrated novels are not themselves unreliably narrated, for they feature third person perspectives (not through the novel’s narrator’s eyes). I take Maier’s major claims to be (1) that there is a strict distinction between reliable and unreliable narration; and (2) that film shots displaying both a character and that character's hallucinations are not unreliable narration. I will challenge both.
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Bareis, J. Alexander. "The Implied Fictional Narrator." Journal of Literary Theory 14, no. 1 (March 1, 2020): 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.
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AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular during the heyday of classical literary narratology. For scholars like Genette (1988) and Cohn (1999), the category of the fictional narrator was at the centre of theoretical debates about the demarcation of fiction and non-fiction. Arguably, theorising about the fictional narrator necessitates theorising about fiction in general. From this, it follows that any account on which the fictional narrator is built ideally would be a theory of fiction compatible with all types of fictional narrative media – not just narrative fiction like novels and short stories.In this vein, this paper applies a transmedial approach to the question of fictional narrators in different media based on the transmedial theory of fiction in terms of make-believe by Kendall Walton (1990). Although the article shares roughly the same theoretical point of departure as Köppe and Stühring, that is, an analytical-philosophical theory of fiction as make-believe, it offers a diametrically different solution. Building on the distinction between direct and indirect fictional truths as developed by Kendall Walton in his seminal theory of fiction as make-believe (1990), this paper proposes the fictional presence of a narrator in all fictional narratives. Importantly, ›presence‹ in terms of being part of a work of fiction needs to be understood as exactly that: fictional presence, meaning that the question of what counts as a fictional truth is of great importance. Here, the distinction between direct and indirect fictional truths is crucial since not every fictional narrative – not even every literary fictional narrative – makes it directly fictionally true that it is narrated. To exemplify: not every novel begins with words like »Call me Ishmael«, i. e., stating direct fictional truths about its narrator. Indirect, implied fictional truths can also be part of the generation of the fictional truth of a fictional narrator. Therefore, the paper argues that every fictional narrative makes it (at least indirectly) fictionally true that it is narrated.More specifically, the argument is made that any theory of fictional narrative that accepts fictional narrators in some cases (as e. g. suggested by proponents of the so-called optional narrator theory, such as Currie [2010]), has to accept fictional narrators in all cases of fictional narratives. The only other option is to remove the category of fictional narrators altogether. Since the category of the fictional narrator has proved to be extremely useful in the history of narratology, such removal would be unfortunate, however. Instead, a solution is suggested that emphasizes the active role of recipients in the generation of fictional truths, and in particular in the generation of implied fictional truths.Once the narratological category of the fictional narrator is understood in terms of fictional truth, the methodological consequences can be fully grasped: without the generation of fictional truths in a game of make-believe, there are no fictional narratives – and no fictional narrators. The fictionality of narratives depends entirely on the fact that they are used as props in a game of make-believe. If they are not used in this manner, they are nothing but black dots on paper, the oxidation of silver through light, or any other technical description of artefacts containing representations. Fictional narrators are always based on fictional truths, they are the result of a game of make-believe, and hence the only evidence for a fictional narrator is always merely fictional. If it is impossible to imagine that the fictional work is narrated, then the work is not a narrative.In the first part of the paper, common arguments for and against the fictional narrator are discussed, such as the analytical, realist, transmedial, and the so-called evidence argument; in addition, unreliable narration in fictional film will be an important part in the defence of the ubiquitous fictional narrator in fictional narrative. If the category of unreliable narration relies on the interplay of both author, narration, and reader, the question of unreliable narration within narrative fiction that is not traditionally verbal, such as fiction films, becomes highly problematic. Based on Walton’s theory of make-believe, part two of the paper presents a number of reasons why at least implied fictional narrators are necessary for the definition of fictional narrative in different media and discusses the methodological consequences of this theoretical choice.
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Ur Rehman, Habib. "جہالت ِ راوی کے مصداق اور حکم میں محدثین و اصولیین کا منہج و اسلوب Method and Style of Muḥaddithīn and Uṣūliyyīn regarding the Meaning and Ruling of Obscurity of the Narrator." Al-Wifaq, no. 4.2 (December 31, 2021): 21–44. http://dx.doi.org/10.55603/alwifaq.v4i2.u2.
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The obscurity of the narrator is one of the reasons for defamation in the narrator, on the basis of which the narrator is deprived of the status of acceptance. There is a difference of opinion among Muḥaddithīn and Uṣūliyyīn as to its meaning and there is also a difference in ruling on the basis of this. According to the Muḥaddithīn, obscurity depends on the number of narrators narrating from a narrator, and according to the Ḥanafī Uṣūliyyīn, it depends on the number of narrations. Therefore, if two or more narrators narrate from a narrator, he will go out of obscurity, while according to the Ḥanafī Uṣūliyyīn, if only one or two narrators narrate from him, it is a sign that he is not associated with this science. In the rule of obscure narrator’s narration, Ḥanafī Uṣūliyyīn consider the era, so basically, the narration of an obscure narrator at an early age is acceptable except that there is another reason for not considering it. On the contrary, the obscure narrator is unreliable from the point of view of the Muḥaddithīn unless there is some evidence to dispel his obscurity. The point of view of Mutakallimīn is close to that of the Muḥaddithīn in this regard.
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Castro, Netanias Mateus De Souza. "Narrar e ser: a pessoalidade do narrador de Eu receberia as piores notícias de seus lindos lábios / Narrating and Being: The Us Narrator’s Personality Eu receberia as piores notícias de seus lindos lábios." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 1 (March 30, 2021): 170. http://dx.doi.org/10.17851/2358-9787.30.1.170-188.
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Resumo: A história do romance viu, diante de si, formas diversas de narrar, conforme aponta os escritos de Theodor W. Adorno, por exemplo. Desde narradores impessoais, mantendo a distância segura que lhe confere a narrativa em terceira pessoa até os casos em que o que se narra é algo diretamente relacionado ao próprio narrador. Esse parece ser o caso do romance de Marçal Aquino, Eu receberia as piores notícias de seus lindos lábios, que conta o envolvimento amoroso de Cauby e Lavínia a partir do olhar do próprio Cauby. Esse narra de um modo cuja relação de si mesmo com a narrativa fica explícita, tamanha é sua passionalidade em relação às suas vivências e ao ato de narrar. Isso se manifesta tanto na linguagem, em termos de escolhas narrativas, quanto nas ações do narrador-personagem-protagonista que narra e vive aquilo que narra. Suas características mais notáveis são a passionalidade, a capacidade de registrar fotograficamente detalhes da narrativa e o rompimento com técnicas narrativas tradicionais.Palavras-chave: narrador; primeira pessoa; romance brasileiro contemporâneo; Eu receberia as piores notícias de seus lindos lábios.Abstract: The history of the novel saw, before it, different ways of narrating, as pointed out by the writings of Theodor W. Adorno, for example. From impersonal narrators, maintaining the safe distance that the third person narrative gives him until the cases in which what is narrated is something directly related to the narrator himself. This seems to be the case with Marçal Aquino’s novel I would receive the worst news from his beautiful lips, which tells of Cauby and Lavínia’s loving involvement from the point of view of Cauby himself. He narrates in a way whose relationship with himself and the narrative is explicit, such is his passion for his experiences and the act of narrating. This manifests itself both in language, in terms of narrative choices, and in the actions of the narrator-character-protagonist who narrates and experiences what he narrates. Its most notable characteristics are passionality, the ability to photographically record details of the narrative and break with traditional narrative techniques.Keywords: narrator; first person; contemporary Brazilian romance; Eu receberia as piores notícias de seus lindos lábios.
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ORUÇ, Sinem. "Narrative Cracks: Reconsidering Intentionality in Unreliable Narration in The Remains of the Day and The Moonstone." Cankaya University Journal of Humanities and Social Sciences, Special Issue: Wilkie Collins (January 28, 2024): 42–56. http://dx.doi.org/10.47777/cankujhss.1418446.
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Since Wayne Booth’s coinage of the term “unreliable narrator,” much critical ink has been spilled over the instances where the reliability of a narrator’s account is compromised, though without exploring the effects of the narrator’s intentional agency on unreliability. This study introduces the narratorial intent across the three levels of unreliable narration offered by Olson as a factor designating the disposition of a narrator and the gap between the implied reader and the narrator. With a rhetorical narratological approach that is in dialogue with cognitivist/constructivist approaches, the butler-narrators Stevens and Betteredge, from Kazuo Ishiguro’s The Remains of the Day (1989) and from Wilkie Collins’s The Moonstone (1868) respectively, will be analyzed in terms of how the difference in their narratorial intent pertains to their being diametrically opposed unreliable narrators. It is claimed that the lack of intrinsic motivation distances Betteredge from the implied reader and makes him an untrustworthy narrator while strong narratorial intent and agency bonds Stevens’s audience to his narration and shows him as an unreliable, yet fallible, narrator.
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Löwe, Matthias. "Unzuverlässigkeit bei heterodiegetischen Erzählern: Konturierung eines Konzepts an Beispielen von Thomas Mann und Goethe." Journal of Literary Theory 12, no. 1 (March 26, 2018): 77–92. http://dx.doi.org/10.1515/jlt-2018-0005.
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Abstract Heterodiegetic narrators are not present in the story they tell. That is how Gérard Genette has defined heterodiegesis. But this definition of heterodiegesis leaves open what ›absence‹ of the narrator really means: If a friend of the protagonist tells the story but does not appear in it, is he therefore heterodiegetic? Or if a narrator tells something that happened before his lifetime, is he therefore heterodiegetic? These open questions reveal the vagueness of Genette’s definition. However, Simone Elisabeth Lang has recently made a clearer proposal to define heterodiegesis. She argues that narrators should be called heterodiegetic only if they are fundamentally distinguished from the ontological status of the fictional characters: Heterodiegetic narrators are not part of the story for logical reasons, because they are presented as inventors of the story. This is, for example, the case in Johann Wolfgang Goethe’s novel Elective Affinities (1809): In the beginning of this novel the narrator presents himself as inventor of the character’s names (»Edward – so we shall call a wealthy nobleman in the prime of life – had been spending several hours of a fine April morning in his nursery-garden«). Based on that recent definition of heterodiegesis my article deals with the question whether such heterodiegetic narrators can be unreliable. My question is: How could you indicate that the inventor of a fictitious story tells something which is not correct or incomplete? In answering this question, I refer to some proposals of Janina Jacke’s article in this journal. Jacke shows that the distinction between homodiegetic and heterodiegetic narrators should not be confused with the distinction between personal and non-personal narrators or with the distinction between restricted and all-knowing narrators. If you make such differentiations, then of course heterodiegetic narrators can be unreliable: They can omit some essential information or interpret the story inappropriately. Heterodiegetic narrators of an invented story can even lie to the reader or deceive themselves about some elements of the invention. That means: A heterodiegetic narration cannot only be value-related unreliable (›discordant narration‹), but also fact-related unreliable. My article delves especially into this type of unreliability and shows that heterodiegetic narrators of a fictitious story can be fact-related unreliable, if they tell something which was not invented by themselves. In that case, the narrator himself sometimes does not really know whether he tells a true or a fictitious story. Such narrators are unreliable if they assert that the story is true, although they are suggesting at the same time that it is not. I call this type of unreliable narrator a ›fabulating chronicler‹ (›fabulierender Chronist‹): On the one hand, such narrators present themselves as chroniclers of historical facts but, on the other hand, they seem to be fabulists who tell a fairy tale. This type of unreliability occurs especially if a narrator tells a legend or a story from the Bible. My article demonstrates this case in detail with two examples, namely two novels by Thomas Mann: The Holy Sinner (1951) and Joseph and His Brothers (1933–1943). My article also discusses some cases where it is not appropriate or counter-intuitive to call a heterodiegetic narrator ›unreliable‹: i. e. the narrator of Thomas Mann’s novel The Magic Mountain (1924) and the narrator of Johann Wolfgang Goethe’s novel Wilhelm Meister’s Apprenticeship (1795/1796). On the one hand, these narrators show some characteristics of unreliability, because they omit essential pieces of information. On the other hand, these narrators are barely shaped as characters, they are nearly non-personal. However, in order to describe a narrator as unreliable, it is – in my opinion – indispensable to refer to some traces of a narrative personality: Figural traits of a narrator provoke the reader to identify all depicting, describing and commenting sentences of a narration as utterances of one and the same ›psychic system‹ (Niklas Luhmann). Only narrators who can be interpreted as such a ›psychic system‹, provoke the reader to assume the role of an analyst or ›detective‹, who perhaps identifies the narrator’s discordance or unreliability. In my article the unreliability of a narration is understood as part of the composition and meaning of a literary work. I argue that a narrator cannot be described as unreliable without designating a semantic motivation for this composition by an act of interpretation. Therefore, my suggestion is that a narration should be merely called unreliable if it encourages the reader not only to imagine the told story, but also to imagine a discordant or unreliable storyteller.
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Al-Harbi, Jamila. "The Term (Marrada Alqawla Fihi, Literally: Discredited Him) and Its Significance According To Ibn Hibban, An Applied Study." Journal of Human and Administrative Sciences, no. 28 (September 1, 2022): 182–206. http://dx.doi.org/10.56760/10.5676/przv7949.
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The research tackles the study of the term "Marrada Alqawla Fihi, literally: discredited him" by Imam Ibn Hibban by collecting the narrators whom he challenged their authenticity in narration, comparing his words to the words of other critics, and weighing them, with a brief account of what Imam Ibn Hibban transmitted about the narrator. The number of narrators reached ten narrators, and the study concluded that the term: “Marrada Alqawla Fihi, literally: discredited him” is a description that Imam Ibn Hibban gives to the weak, whether those who have reached the limit of being abandoned, or the weak whose narrations are accepted, and it is absolutely not intended to weaken the narrator by the critic, but he meant other indications by it; failure of the critic to authenticate the statement of the narrator, or assertion of his weakness, the critic’s disagreement with those who authenticate the statement of the narrator, or deviation from the correct judgment regarding the narrator, and not to exaggerate his weakness. And God knows better.
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Del Moro, Renata. "Aproximações entre literatura e cinema: narradores não confiáveis de 'Dom Casmurro' e 'Anticristo'." Jangada: crítica | literatura | artes, no. 11 (November 13, 2018): 95–109. http://dx.doi.org/10.35921/jangada.v0i11.164.
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RESUMO: Este estudo visa à análise da utilização de um recurso literário no cinema: o narrador não confiável. A apropriação cinematográfica do narrador – elemento épico por excelência – engendrou algumas mudanças significativas desse recurso, haja vista as diferenças entre a sétima arte e a literatura, e as necessidades de adequação aos gêneros. No entanto, essa apropriação também manteve traços essenciais das diversas espécies de narrador tão estudadas na ficção escrita. Isto posto, propõe-se uma investigação do narrador não confiável no filme Anticristo, de Lars von Trier, à luz de um narrador literário: Bento Santiago, do romance Dom Casmurro, de Machado de Assis. Não obstante a distância temporal, espacial e genérica (no sentido de gêneros literário e cinematográfico), a aproximação desses narradores elucida questões interessantes, como por exemplo a crítica proposta pelas obras e o modo com o qual ela se relaciona com os seus respectivos públicos.
PALAVRAS-CHAVE: narrador não confiável, ponto de vista, foco narrativo.
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ABSTRACT: This study aims to analyze the use of a literary mechanism in cinema: the unreliable narrator. The cinematic appropriation of the narrator – an epic element par excellence – produced significant changes of this narrative resource, as there are differences between literature and the seventh art, and there is a need of adjustment according to each genre. Nonetheless, this appropriation also has maintained essential aspects of the multiple sorts of narrators, which are studied in writing fiction. Therefore, it is proposed an investigation of the unreliable narrator of the movie Antichrist, by Lars von Trier, in the light of a literary narrator: Bento Santiago, from the novel Dom Casmurro, by Machado de Assis. Despite the temporal, spatial and generic (in the sense of different genres, the literary and the cinematographic) distance between the movie and the novel, the comparison of these two narrators clarifies interesting issues, such as the critique proposed by these works and the way in which it relates to their respective audiences.
KEYWORDS: unreliable narrator, point of view, perspective.
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Gerasimenko, E. V. "THE SEMANTICS OF THE TYPE OF NARRATION IN THE NOVEL “GONE GIRL” BY G. FLYNN." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (June 25, 2019): 529–33. http://dx.doi.org/10.35634/2412-9534-2019-29-3-529-533.
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This article reveals the definition of “narration”, which is closely related to such categories as “narrator” and “types of narration”. The characteristics that influence the types of narration are analyzed. Scientists pay attention to the narrator’s awareness, his/her presence in the novel, his/her attitude to other characters, and according to that identify the types of the narrator. The form and type of narration of the modern American novel “Gone Girl” by G. Flynn influences the creation and revealing of heros’ images. The narrators describe the same events from their own points of view. The first person narrative, as a rule, creates an atmosphere of confidential conversation; however, the opposite perception is formed through the type of narration chosen by the author from the first person of two unreliable narrators.
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Kuhn-Treichel, Thomas. "Wie mobil ist der Erzähler? Beobachtungen zu metaleptischen Szenenwechseln in Antike, Mittelalter und Renaissance." Poetica 54, no. 3-4 (February 2, 2024): 207–25. http://dx.doi.org/10.30965/25890530-05434001.
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Abstract In a type of metalepsis common from antiquity to modern times, the narrator puts himself in direct contact with the narrated world by visualising the change of scene as a movement between two places or (groups of) characters. This article concentrates on the spatial aspect of this contact and investigates the question to what extent the narrator claims mobility in the narrated space. As the examples discussed show, there are striking differences between the epochs, which are significant for a historicised understanding of storytelling in general. While ancient (i.e., Greek and Latin) narrators sometimes transfer themselves to specific places, medieval vernacular scene shift formulae usually refer to characters, who are envisaged in a performative co-presence with the narrator and the addressees. This situation changes in the Italian Renaissance (Boccaccio, Ariosto), when narrators start to emphasise their mobility again, which they simultaneously enrich with new implications.
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Hardy, Donald E. "Narrating knowledge: presupposition and background in Flannery O'Connor's fiction." Language and Literature: International Journal of Stylistics 6, no. 1 (February 1997): 29–41. http://dx.doi.org/10.1177/096394709700600102.
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Clausal presupposition in Flannery O'Connor's fiction is examined and shown to contribute stylistically to O'Connor's explorations of the fallibility of human knowledge. Marked presuppositional constructions - those in which the narrator and narratee do not share the background knowledge of the presupposition - are analysed as attempts on the part of the narrator to put into a shared gestalt background contested knowledge. These attempts have three main effects: (1) an ironic comment on false knowledge held by a character; (2) a displacement of knowledge from a character's awareness; (3) an empathetic response to a character's knowledge of mystery or destiny. A call is made to develop a typology of literary uses of marked presuppositional constructions making reference not only to the quality of knowledge among the narrator, narratee, and character(s), but also to the specific literary effect of marked presupposition, e.g. irony, narrative suspense, empathy. If it is true that marked presupposition is a fundamental characteristic of literary enjoyment (Kock, 1976), a typology of a narrator's use of contested presuppositions tells us much about a particular author's characteristic strategies of engaging a reader's interest. It is left an open question whether all authors whose narrators use contested presuppositions are as concerned as O'Connor was with the fallibility of human knowledge.
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YAAKOB, MOHD AIZUL. "PERIWAYATAN AL-TAFARRUD DAN IMPLIKASINYA KEPADA PENILAIAN SARJANA HADIS DALAM DISIPLIN AL-JARH WA AL-TA‘DIL." HADIS 13, no. 25 (May 23, 2023): 10–17. http://dx.doi.org/10.53840/hadis.v13i25.198.
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Hadith scholars have utilised a variety of approaches to determine the status al-jarh wa al-ta‘dil of a hadith narrator. One of these is by analysing the style of hadith narration he used. As a result, the occurrence of al-tafarrud narration is one of the types of hadith narration that influences the judgement of a narrator’s status of al-jarh wa al-ta‘dil. However, the impact of this part does not appear to have been discussed in contemporary hadith scholarly discussions. Even, the presence of this element is sometimes thought to have no influence on the narrator’s status or the narration itself. Therefore, this article will emphasise the impact of al-tafarrud factors in determining the credibility of hadith narrators. In order to achieve these objectives, a qualitative study was conducted to procure the data through library research. The data was then analyzed based on deductive methods. The study's results demonstrated that the frequency of the narrator's narrative, whether it be al-muwafaqah, al-mukhalafah, or al-tafarrud, is what determines the level of al-dabt of the narrator. The study also found that the rating of hadith scholars is influenced by how frequently an individual uses al-tafarrud in his or her narration. The terms commonly used for narrators who narrate hadith in al-tafarrud are such as munkar al-hadith, matruk al-hadith, la yutaba ‘alayh and la yahttaju bih idha infarada.
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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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Maier, Emar. "Unreliability and Point of View in Filmic Narration." Epistemology & Philosophy of Science 59, no. 2 (2022): 23–37. http://dx.doi.org/10.5840/eps202259217.
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Novels like Fight Club or American Psycho are said to be instances of unreliable narration: the first person narrator presents an evidently distorted picture of the fictional world. The film adaptations of these novels are likewise said to involve unreliable narration. I resist this extension of the term ‘unreliable narration’ to film. My argument for this rests on the observation that unreliable narration requires a personal narrator while film typically involves an impersonal narrator (corresponding to the camera viewpoint). The kind of ambiguous story-telling that we find in literary fiction with unreliable narrators, where for certain descriptions it is unclear whether what we’re told is an accurate account of what’s happening in the story world or not, can instead be achieved by conventionalized filmmaking techniques for reporting the contents of mental states, like the point of view shot, but especially the more ambiguous blended perspective shot.
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Amrulloh, Amrulloh. "THE NARRATION ANALYSIS OF ‘ABBÂD B. YA‘QÛB AS A SYIAH RÂFIḌAH NARRATOR IN THE MAIN HADITH BOOK OF SUNNI." Jurnal Ushuluddin 27, no. 1 (July 30, 2019): 44. http://dx.doi.org/10.24014/jush.v27i1.6392.
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Many scholars, both Muslim and Western, modern and contemporary, draw erroneous conclusions about the differences in theological flow in the context of the narration of hadith. One of the most crucial wrong conclusions is that the validity of the hadith is questioned because of ideological bias and political interest bias in the narration of the hadith. Whereas, a narrator widely labeled “Shafi’ah Rafi’ah”, an ideology that is claimed to be “extreme bid’ah” (al-ghuluw fi al-bid‘ah) by the Sunnis, namely ʻAbbâd b. Ya’qûb (w. 250 H), adorns many books of Sunni’s main hadith book. By applying the descriptive-analytical method and jarḥ wa ta‘dîl approach, the author is interested in exposing evidence that ‘Abbâd b. Ya‘qûb is a Shî’ah-Râfiḍah. The author is also interested in exploring the existence of ʻAbbâd in the Sunni main hadith books and analyzing the value of the hadith narrated by ‘Abbâd and the substance of the hadith narrated by ʻAbbâd in the books of the Sunni main hadith. This study proves that ‘Abbâd b. Ya‘qûb was a Hadith narrator of Syiah-Râfiḍah ideological. However, the existence of the ‘Abbâd as narrators calculated in the compilation Sunni’s Hadith main books (ummahât kutub al-ḥadîth) cannot be negated
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Dr. Hafiz Rizwan Abdullah, Dr. Iftikhar Alam, and Dr. Nisar Ahmad. "Nature of Sense-Reporting in Difference of the Text of Hadith; A Research Study." International Research Journal on Islamic Studies (IRJIS) 3, no. 02 (December 13, 2021): 43–60. http://dx.doi.org/10.54262/irjis.03.02.e04.
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Among different methods of narrating hadith, there is a method which is called Riwayat bil-ma’na (sense-reporting). It means that a narrator narrates a hadith in his own words without uttering the actual words he listened originally from the Prophet (PBUH). The actual rule of narrating hadith was that it was narrated uttering the original wording of the Holy Prophet (PBUH). Whereas it was allowed in utmost circumstances. If some narrator had to make sense-reporting of a Hadith, he needed to use such words which clearly explain that the words being used are not the words of the Holy Prophet (PBUH) but those of the narrator. Sense-reporting was allowed only in specific circumstances. Moreover, only those narrators were allowed to make sense-reporting who had the real sense of the words and their reasoning and were aware of language skills and Sharia, and the sense-reporting of whom would not add or subtract something in hadith and its exact order. In this research article, various kinds of sense-reporting are being analyzed which exist in hadith text. And it is proved here in this article that no kind of amendment occurred due to sense-reporting.
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Jacke, Janina. "Unreliability and Narrator Types. On the Application Area of ›Unreliable Narration‹." Journal of Literary Theory 12, no. 1 (March 26, 2018): 3–28. http://dx.doi.org/10.1515/jlt-2018-0002.
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Abstract The narratological concept of unreliable narration is subject to constant debate. While this debate affects different kinds of problems associated with unreliability, one of the central issues concerns the application area of ›unreliable narration‹. Here, theorists discuss, for example, whether there are certain types of narrators that cannot be unreliable, whether some kinds of narrators are necessarily unreliable, or in which way other characters apart from narrators can also be unreliable. It is the first one of these questions that I am addressing in this paper: Are there types of narrators that cannot be unreliable? As I lay out in the first section of my paper, my argumentative starting point is the observation that previous contributions to the application area discussion neglect two basic theoretical distinctions that are necessary to find robust and detailed answers to the relevant questions. The first of these theoretical distinctions will be addressed in the second section of the paper. It concerns the narrative phenomena that are usually referred to as »unreliable narration«. As I will argue, these phenomena are very heterogeneous, and we must distinguish at least five basic types of unreliability whose application areas partially differ:(1) fact-related utterance unreliability: the narrator’s claims about story world facts are false or in a relevant sense incomplete,(2) fact-related cognitive unreliability: the narrator’s beliefs about story world facts are false or in a relevant sense incomplete,(3) value-related utterance unreliability: the narrator’s evaluative utterances are in conflict with a relevant value system,(4) value-related cognitive unreliability: the narrator’s evaluative opinions are in conflict with a relevant value system, and(5) value-related actional unreliability: the narrator’s actions are in conflict with a relevant value system. In the third section of the paper, I will then proceed to show that four kinds of narrator types have been conflated or confused in the application area debate:(a) heterodiegetic narrators: narrators who are not part of the narrated story world,(b) non-personal narrators: narrators of whom we know no features apart from them telling a story, or narrators whom we are not invited to picture,(c) all-knowing narrators: narrators who have complete knowledge of the story world facts, and(d) stipulating narrators: narrators who generate the story world facts by narrating them. In discussions concerning the question of whether one or more of these narrator types cannot be unreliable, some theorists seem to assume that some or all of these types are necessarily connected. I will show, however, that there are hardly any necessary connections between them. After this preparatory work, I am showing in a step-by-step analysis in section four which of these narrators types can or cannot be unreliable in which way – and why. The results are as follows: Both heterodiegetic and stipulating narrators can be unreliable in all of the five ways outlined in section two. This outcome may seem surprising for the case of stipulating narrators. It becomes more comprehensible, however, if we bear in mind that only fact-related utterance unreliability is really impugned by a narrator’s ability to create facts by narrating them – and even here we can find a case where unreliability is very likely possible: the case of narratorial self-correction. All-knowing narrators, however, can only be unreliable in four of the five ways: It is, for conceptual reasons, impossible that all-knowing narrators are unreliable on the cognitive level with regards to the story world facts. Since they have complete knowledge of the story world facts, they cannot be wrong or ignorant about them. The case of non-personal narrators, finally, is the most complex. Here, it may first seem that non-personal narrators can never be unreliable – because as soon as a narrator is unreliable, we would know one significant feature of theirs, namely their being unreliable, which makes them personal. However, I will argue that, according to one reading of the non-personality concept, this type of narrator can in fact be unreliable on the utterance level both with regards to facts and values. This is because neither two conflicting reports by the same narrator nor the occurrence of problematic evaluative utterances in a narration – while often being sufficient for fact-related or value-related utterance unreliability respectively – necessarily invite us to picture a narrator. I am closing my paper in section five by summarizing the results and pointing to some possibly debatable theoretical assumptions on which my analyses are based.
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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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Al Kubaisi, AbdelAziz Shaker Hamdan. "توثيق الرواة في حالات مخصوصة عند الإمام أحمد بن حنبل وأثره في الحكم على مروياتهم." Al-Bayan: Journal of Qur’an and Hadith Studies 20, no. 1 (March 17, 2022): 123–56. http://dx.doi.org/10.1163/22321969-12340111.
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Abstract This research tackles the documentation of a weak narrator in certain cases and specific bodies, and its impact on judging the narrator, determining his rank, knowing the degree of hadiths authenticity, distinguishing hadiths, and investigating all that in the light of Imam Ahmad’s extrapolation of sayings and rulings, which are among the oldest sources on hadith weaknesses and narrators. These compilations are a major reference for those who came after him, and for the classifications that adopted collecting his sayings, questions of his students to him, the analysis of those sayings and conclusions drawn from his sayings, highlighting its implications, and comparing that with that of other hadith narrators and critics. This matter is one of the most majestic issues of hadith sciences that should be well taken care of and singled out for classification, due to the need for it in weighing hadith authenticity and its narrators. The research has showed the need to take care of relative documentation that is associated with a sheikh, student, place, time, or others, because of its great impact on the narrator and the narrative, what is narrated. It is imperative to consider these aspects when judging narrators and hadiths. Some narrators according to Imam Ahmad may be in a different situation as their sheikh’s circumstances are different, or different place of their narrative, or time difference of narration. The author has tracked down these aspects and has compared them with other opinions of hadith critics who may agree or disagree with him. The research has also showed that Imam Ahmad had done relative documentation of some narrators comparing himself to other narrators. The researcher has concluded that most of these relative documenters are peers in terms of age and hadith memorization, and that their authenticity ranks are similar to each other. Hadith narrators and critics may differ with Imam Ahmad in this comparison, or agree with him.
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Yaakob, Mohd Aizul, and Roshimah Shamsudin. "Analisis Kewujudan al-Mutaba‘at dalam Periwayatan Hadith secara al-Tafarrud." Maʿālim al-Qurʾān wa al-Sunnah 15, no. 2 (December 1, 2019): 15–27. http://dx.doi.org/10.33102/jmqs.v15i2.179.
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Hadith narrated by way of al-tafarrud means a hadith which is narrated solely by one narrator, devoid of any other hadiths to substantiate the ealier hadith, thus indicating that there does not exist a hadith narrated carrying similar meaning. In other words, hadith of al-tafarrud narration has no corroborative hadith in the form of al-mutaba‘at which means common narration by one narrator to the other. However there are a number of hadiths of this kind deemed by some hadith scholars as al-tafarrud while there are other scholars who opine to the contrary by which they believe that there exist al-mutaba‘at in the particular hadith in question. As such, this article aims to analyze the factors that lead to this phenomenon. This study is wholly qualitative involving data collection through library research. The data are analyzed based on inductive methods. The findings of this study show that there are three factors that contribute to this phenomenon. One of which is the status of the narrator when he attempts to narrate al-mutaba‘ah hadith whereby his status stands at weak mark that renders his narrated hadith incapable of authority.
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Lang, Simone Elisabeth. "Unzuverlässigkeit und Heterodiegese: Überlegungen zu den Möglichkeiten und Bedingungen unzuverlässigen Erzählens in heterodiegetischen Texten." Journal of Literary Theory 12, no. 1 (March 26, 2018): 55–76. http://dx.doi.org/10.1515/jlt-2018-0004.
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Abstract It has long been insisted that there is no actual heterodiegetic unreliability, since heterodiegetic narrators first stipulate the fictive world through their speech and hence are omniscient (see Martínez-Bonati 1973, 186; Ryan 1981, 531; Jahn 1998, 101; Fludernik 2003, 213; Cohn 2000, above all 312; Petterson 2005, 73). Moreover, as a consequence of this assumption about what is meant by heterodiegesis, it has been deduced that heterodiegetic narrators cannot make false statements – for whatever reasons – about the composition of the fictive world. In the present article, I would like to discuss the conditions which make heterodiegetic unreliability possible – with particular reference to the definition of heterodiegesis I have proposed (see Lang 2014a). First, I explain (expanding on my essay from 2014) in part one, under the heading »What Heterodiegesis Is Not«, why the concepts of »omniscience« and »auctoriality« only have possible but not necessary connections to heterodiegesis. The fundamental reason for this is that there are heterodiegetic texts whose narrative instances neither (a) are omniscient nor (b) exhibit auctorial narrative behavior. In particular, the reasons are as follows: a) Heterodiegetic texts can feature changing internal focalizations, and hence can withhold, in sections, knowledge they should in fact possess, if we consider the text as a whole. Whoever does not acknowledge that such heterodiegetic narrators are not omniscient would need to explain why it is that those narrators withhold their knowledge. However, that would only be possible on the basis of speculation. b) If, following Petersen (1993), auctoriality is understood as a narrator intervening with subjective evaluation into his or her narrative, then this can or cannot be the case as much for heterodiegetic texts as for homodiegetic texts. The refined consideration of these two terms leads, after a brief presentation of the theory of unreliable narration (2. What Is Unreliable Narration in the First Place?), according to which a two-pronged differentiation between mimetic and axiological unreliability is deemed sufficient, to the question of how these considerations can be connected to narrative unreliability and to what extent narrative stance and focalization are linked to narrative unreliability or even provide the conditions for it (3. Narrative Unreliability and Heterodiegesis). In this section, I demonstrate why both axiological and mimetic unreliability are possible in all forms of heterodiegesis. Through the strict separation of narrative standpoint (heterodiegetic or not), narrative behavior (subjectively evaluating or not) and focalization (epistemically limited or not), I argue that the parameter of narrative standpoint is mostly overestimated in the attribution of narrative unreliability. In the case of axiologically unreliable narration, the reason is that normative judgments can be passed on the behavior of both fictive and real persons and that – for reasons elaborated in the first section – these judgments (or evaluating stances) can be put forward by a homodiegetic narrator as much as by a heterodiegetic narrator. In both cases, the evaluations can either be consonant with the norms of the work as a whole, in which case the narrators are reliable, or not, in which case they are unreliable. What distinguishes heterodiegetic and homodiegetic narrators in relation to axiological unreliability, is the fact that only homodiegetic narrators can prove to be axiologically unreliable through their actions in the narrated world, when these actions do not conform to their own norms; owing to their standpoint outside of the narrated world, this is not possible for heterodiegetic narrators. Whereas axiological unreliability in heterodiegetic texts is partly accepted in existing research, mimetic unreliability in heterodiegetic texts is much more strongly contested. It is true that not every internally focalized heterodiegetic narrative is unreliable in which information about the narrated world is withheld, marking the limited perspective of the focalized figure. Yet there are cases in which the introduction of internal focalization runs counter to the abundance of detail previously depicted and in this way amounts to a withholding of information that is not provided by a heterodiegetic narrator. He or she thereby keeps silent about the relevant information and can therefore be characterized as unreliable. Additionally, heterodiegetic narrators can also make contradictory statements, rendering them, at least temporarily, unreliable. The reasons for rejecting a connection between unreliability and heterodiegetic narrators lie in the observation that heterodiegetic narrators are inventors of their stories, but also in the suggestion that heterodiegetic narrators are the only ones who afford access to the narrated world. Against this view, we can argue that the invention of a story also leaves open the possibility of not telling relevant facts for a sufficient understanding, in other words, of keeping silent; and, in just the same way, the privileging of a heterodiegetic narrator can be suspended. To conclude, in the fourth section, I will use the short story »The Flight Simulator« by Christian Hardinghaus to substantiate my theoretical discussion and present a narrative that, first, is narrated heterodiegetically and, secondly, is mimetically unreliable in a twofold sense.
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Klimek, Sonja. "Unzuverlässiges Erzählen als werkübergreifende Kategorie. Personale und impersonale Erzählinstanzen im phantastischen Kriminalroman." Journal of Literary Theory 12, no. 1 (March 26, 2018): 29–54. http://dx.doi.org/10.1515/jlt-2018-0003.
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Abstract This paper explores why unreliable narration should be considered as a concept not only applying to single works of fiction, but also to whole series of fiction, and why impersonal (›omniscient‹) narration can also be suspected of unreliability. Some literary genres show a great affinity to unreliable narration. In fantastic literature (in the narrower sense of the term), for instance, the reader’s »hesitation« towards which reality system rules within the fictive world often is due to the narration of an autodiegetic narrator whose credibility is not beyond doubt. Detective stories, in contrast, are usually set in a purely realistic world (in conflict with no other reality system) and typically do not foster any doubts regarding the reliability of their narrators. The only unreliable narrators we frequently meet in most detective stories are suspects who, in second level narrations, tell lies in order to misdirect the detective’s enquiries. Their untruthfulness is usually being uncovered at the end of the story, in the final resolution of the criminalistics riddle (›Whodunnit‹?), as part of the genre-typical ›narrative closure‹. As the new genre of detective novels emerged at the turn from the 19th to the 20th century, its specific genre conventions got more and more well-established. This made it possible for writers to playfully change some of these readers’ genre expectations – in order to better fulfil others. Agatha Christie, for example, in 1926 dared to undermine the »principle of charity« (Walton) that readers give to the reliability of first person narrators in detective stories – especially when such a narrator shows himself as being a close friend to the detective at work, as it was the case with Sir Arthur Conan Doyle’s famous Dr. Watson, friend to Sherlock Holmes. Christie dared to break this principle by establishing a first-person narrator who, at the end, turns out to be the murderer himself. Thus, she evades the »principle of charity«, but is not being penalised by readers and critics for having broken this one genre convention because she achieves a very astonishing resolution at the end of the case and thus reaches to fulfil another and even more crucial genre convention, that of a surprising ›narrative closure‹, in a very new and satisfying way. Fantastic literature and detective novels are usually two clearly distinct genres of narrative fiction with partly incommensurate genre conventions. Whereas in fantastic literature (in the narrower sense of the term), two reality systems collide, leaving the reader in uncertainty about which one of the two finally rules within the fictive world, detective novels usually are settled in a ›simply realistic‹ universe. Taking a closer look at a contemporary series of detective fiction, that is, the Dublin stories of Tana French (2007–), I will turn to an example in which the genre convention of ›intraserial coherence‹ provides evidence for the unreliability of the different narrators – whereas with regard only to each single volume of the series, each narrator could be perceived as being completely reliable. As soon as we have several narrators telling stories that take place within the same fictive world, unreliable narration can result from inconsistencies between the statements of the different narrators about what is fictionally true within this universe. Additionally, the Tana French example is of special interest for narratology because in one of the volumes, an impersonal and seemingly omniscient narrator appears. Omniscient narration is usually being regarded as incompatible with unreliability, but, as Janine Jacke has already shown, in fact is not: Also impersonal narration can mire in contradictions and thus turn out to be unreliable. With regard to Tana French’s novel, I would add that it can also be mistrusted because the utterances of this narration can conflict with those of other narrators in other volumes of the same series. So in the light of serial narration, the old question of whether impersonal narration (or an omniscient narrator) can be unreliable at all should be reconsidered. In the case of narrative seriality, the evidence for ascribing unreliability to one of its alternating narrators need not be found in the particular sequel narrated by her/him but in other sequels narrating about events within the same story world. Once again, narrative unreliability turns out to be a category rather of interpretation than of pure text analysis and description. Again, Tana French like previously Agatha Christie is not being penalised by readers and critics for having broken this one genre convention of letting her detective stories take place in a purely ›realistic‹ universe because today, genre conventions are merging more and more. Tana French achieves an even more tempting ›narrative tension‹ by keeping her readers in continuous uncertainty about whether a little bit of magic might be possible in the otherwise so quotidian world of her fictive detectives. Thus, the author metafictionally (and, later also overtly) flirts with the genre of »urban fantasy«, practicing a typical postmodern merging of well-established, hitherto distinct popular genres.
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Bieliekhova, Larysa, and Alla Tsapiv. "Cognitive Play Model of Narration “Quest” in Roald Dahl’s Fairy Tale Charlie and the Chocolate Factory." PSYCHOLINGUISTICS 25, no. 2 (April 18, 2019): 11–30. http://dx.doi.org/10.31470/2309-1797-2019-25-2-11-30.
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The article focuses on reconstruction and analysis of the model of narration “Quest” in Roald Dahl’s fairy tale Charlie and the Сhocolate Factory. A narrative text is considered as a unit with semantic and communicative completeness. It is claimed that the elements of the narrative structure are narrator, narratee, the story (which includes the plot and its composition, fiction characters) and the model of narration. It is assumed that model of narration is a cognitive and linguistic construal, inbuilt into the narrative structure of the text. It is believed that play tenet forms the background of the model of narration of the fairy tale Charlie and the Сhocolate Factory. The model of narration determines a definite plot and composition, a certain type of narrator and narratee. The semantics of search is realized in the plot – the search of the Golden ticket, the search of the secrets of the chocolate factory, overcoming the obstacles. Characters of the fairy tale are quest participants. Four of them personify simulacrums of modern society (Bodriyar) – greed and gluttony (Augustus Gloop), parent’s permissiveness (Veruca Salt), uncontrolled TV watching (Mike Teavee), vanity (Violet Beauregarde). The fifth quest participant Charlie Bucket embodies modesty and honesty. The narrator of the fairy tale tells the story from the point of view a didactic adult, who criticizes pseudo values of the characters and supports honesty of the main hero Charlie. The narrator as if teaches the implied child reader through the quest-game what is true and what is simulacrum. The winner of the quest becomes Charlie and other participants fail the quest because of their uncontrolled behavior.
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Aumüller, Matthias. "Offenheit und Geschlossenheit als Funktionen des unzuverlässigen Erzählens. Mit Interpretationsbeispielen anhand von Texten von Ernst Weiß, Paul Zech und Stefan Zweig." Journal of Literary Theory 12, no. 1 (March 26, 2018): 127–50. http://dx.doi.org/10.1515/jlt-2018-0008.
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Abstract The paper surveys two different functions that may be ascribed to unreliable narratives. Derived from the notion of technique (Russian »priëm«, German »Verfahren«), function is a key concept of literary theory, which relates textual properties to effects. One of the functions, in recent time related to unreliable narration, is deception. In order to appreciate the literary effect of deception, the reader must finally understand that s/he has been deceived for a certain time. In other words, in order to recognize that s/he has been deceived, the reader must find out what is the case in the narrated world, i. e. fiction, and distinguish it from what was told without being the case. Another effect will be introduced. It is related to narratives in which it is impossible to find out what is true in the fiction. In those cases, readers will be perplex or helpless. In the next step, these effects – that of deception and that of helplessness – being effects of reception shall be substituted by their hermeneutic counterparts. If one is deceived by an unreliable narration, one finally finds out what is the case in the fiction (with regard to the reason for the deception); if one is left helpless by an unreliable narration, one cannot find out what is the case in the fiction (with regard to the unexplained fact that is the reason for the helplessness). The first one of these hermeneutic counterparts of the reception functions will be called the closed function of unreliability, since a gap of explanation can be closed by an interpretation; the second one will be called the open function of unreliability, since a gap of explanation is left open and cannot be closed. The remaining parts of the paper deal with literary examples which show different cases fulfilling those functions. The first two examples are taken from stories by Stefan Zweig. In »The Fowler Snared« (»Sommernovellette«, 1911), the closed function is fulfilled because the trustworthy extradiegetic narrator finally corrects the unreliable intradiegetic narrator. The next example of Zweig, »The Woman and the Landscape« (»Die Frau und die Landschaft«, 1922), lacks an explicit correction, since the narrator deceives not only the reader but also himself. A thorough interpretation, however, shows that it is more plausible to assume that the narrator’s account referring to certain facts is not true than to assume that it is correct. In this case, the gap can be closed, too, although there are more assumptions required than in the first case as the second text gives no explicit trustworthy evidence. The evidence must be inferred by hermeneutic conclusions. In contrast to the closed function, the open function of unreliability is much more complicated to ascribe. The first case, the (very) short novel The Castle of the Brothers Zanowsky (Das Schloß der Brüder Zanowsky, 1933) by Paul Zech presents several contradicting versions of a fact of the fiction (narrated world). The narrator renders them without preferring one of them. He is even unable to account for, let alone to recognize the fact that these versions are contradicting each other. So, it seems impossible to determine which one of these versions is true in the fiction. The version the narrator believes to be true may be true or not. On the one hand, the narrator can be considered to be plainly unreliable; on the other hand, his unreliability is not the point of the story. It is its point that what the narrator tells us is inevitably vague; it is not its point that he lies or is not able to find out what is true in his world. – The last example stems from the novel The Poor Squanderer (Der arme Verschwender, 1936) by Ernst Weiß. In this case, the narrator’s discourse is full of single contradictions and omissions. Some of the gaps can be closed, some of them not. However, there is no explanation which accounts for the narrator’s misreporting and underreporting tout court. The overall setting of the narrator’s putative unreliability is left open due to the lack of self-awareness the narrator reveals in his discourse. – The paper closes with a short outlook on the literary/poetical difference between the closed and the open function of unreliable narration. Texts that close the gaps caused by the unreliability of their narrators display other literary properties than texts that leave the gaps, caused by the unreliability of their narrators, open. Additionally, the difference between texts whose open gaps are caused by unreliable narration and texts with similar gaps, which are not unreliably narrated, is hard to explain.
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Fares, Qudamah, and Uday Hamadeh. "Al-Mubhamoon in the Musnad of Imam Ahmad, the Meccans and the Civilians." Islamic Sciences Journal 12, no. 10 (March 17, 2023): 247–72. http://dx.doi.org/10.25130/jis.21.12.10.1.11.
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ABSTRACT
After completing each study, the researcher must begin to draw up the results of what he drew from that study, which are as follows:
- The mysterious narrator was revealed by searching for him in another authorized narration, or by the sayings of scholars and other imams of hadith if the methods agreed to identify the ambiguous narrator.
-The ambiguity in the narration is one of the reasons for the weakness of the hadith, because the condition of the rejected narrator is unknown in terms of correctness and accuracy.
- If the mysterious narrator is a companion, his lack of knowledge does not affect the correct one.
- Ancient and modern,scientists were interested in the Musnad and devoted themselves to studying it, teaching it, refining it, and researching its men and their circumstances.
- Most of the vague hadiths are allowed to mention their ambiguous narrators in the Musnad.
-The hadith books are not free from ambiguity, whether the ambiguity is from what is mentioned in the novel or its presence does not affect the authenticity of the hadith.
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Aminah, Shobichatul. "Mengungkap Narasi Sejarah yang Disangkal dalam M/T to Morino Fushigi No Monogatari Karya Oe Kenzaburo." Lingua Cultura 7, no. 2 (November 30, 2013): 57. http://dx.doi.org/10.21512/lc.v7i2.419.
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M/T to Morino Fushigi no Monogatari, a novel by Oe Kenzaburo, offered a different history narration with legitimate history narration of Japan. In Oe’s perspective, the legitimate history of Japan was central to the Emperor. By the novel he attempted to narrate a history from another perspective that was from the perspective of a society of a hidden village in the basin of rural Shikoku forest who were culturally marginalized. The narrator in this novel had a responsibility to continue the narrative tradition to construct village history. The narrator constructed it by taking up history sources from that represent various perspectives. A history constructed by the narrator tended to inverse Japan’s official history, and narrated what is being disclaimed in Japan’s official history. That village history also pointed out that there was not any single version in history narration. Those various history versions coexist and are placed in equality in the novel.
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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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CHEPURINA, VERA. "VARIABILITY OF THE NARRATOR'S IMAGE IN SPEECH PERFORMANCE ART." Культурный код, no. 2022-3 (2022): 100–112. http://dx.doi.org/10.36945/2658-3852-2022-3-100-112.
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The article is devoted to the phenomenon of the narrator, who is considered as the subject of action in the speech performing art. The author of the article believes that the problem of the variability of the narrator's image deserves close attention. The answer to the question of who the performer feels in the story being told is of fundamental importance. The typology of the narrator's image revealed in the article is based on the research of specialists in the field of the language of Russian fiction. The degree of involvement of the narrator in the story he is broadcasting is used as the basis for the typology. Special attention is paid to the correlation of the narrator's image with the author of the literary work. At the same time, the author of the article argues that the variety of unique variants of the narrator's image in oral narration is determined not only by the main characteristics set by the author-creator, but also provided by the concept of the performer. The position of the narrator in the depicted world is due to the originality and uniqueness of the storytelling situation. The variability of the image, the dynamic relationship between the author, the narrator and the characters correspond to the principle of a pluralistic model of the world as one of the fundamental features of postmodern art.
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Wagaa, Muthana. "The Narrators who were Mentioned by Al-Dahabi in his Book Al-Kashif (Youjhal): A Critical Study." Islamic Sciences Journal 13, no. 1 (March 17, 2023): 161–83. http://dx.doi.org/10.25130/jis.22.13.1.2.6.
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This paper: the narrators whom Al-Dhahabi said in Al-Kashef (ignoring them) a critical study), contains the study of a group of (13) narrators who studied the life of Imam Al-Dhahabi in brief, in terms of his name, ancestry, surname, birth, death, and books, and scholars who had praised him. It also included the study of the narrators arranged according to the letters of the dictionary; the study tackles the narrators by mentioning the full name of the narrator and mentioning his surname and title, if any, as well as his description and whoever narrated it. Then the speech of Imam Al-Dhahabi about him, followed by a study of the status of that narrator with criticism and the modification. Then the most prior and proper statement in his case is stated. The results are mentioned the main sources and references that the researcher referred to (get benefit from it in the search), and God guide to the straight path.
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Al Hadi, Abu Azam. "Hadis sebagai Sumber Hukum Islam." Al-Qanun: Jurnal Pemikiran dan Pembaharuan Hukum Islam 23, no. 2 (December 19, 2020): 316–39. http://dx.doi.org/10.15642/alqanun.2020.23.2.316-339.
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Hadith as the basis of Islamic law does not consist of all forms of hadith, even though its veracity has been shown by the Koran. The scholars' from among Muhaddithin, Usuliyyin, and Fuqaha', have formulated the basics of hadith hujjahan, namely al-hadith al-maqbulah (hadith accepted as a source of Islamic law) and al-hadith al-mardudah (a hadith that is rejected as a source of Islamic law). According to them, the hadith of al-Maqbul must be based on the principle of rejecting or accepting a hadith narration, that is, it must be narrated by a narrator who is 'adil and dabit, and in that hadith status there is no' illah al-qadihah (severe disability) and the narrator does not experience shudud (peculiar). Muhaddithi n takes the stance to accept all hadiths, both sahih, hasan and da'if to be practiced, except in a position that is not too weak (da'if). But that is not the attitude of Usuliyyin ', and Fuqaha', they took the basis of istinbat to the hadith that has the value of sahih or hasan which are both ma'mul bih (which can practice), although al-hadi th ghayr al-mutawatirah (a hadith not narrated by many narrators) and give benefits yaqin, and if ghayr ma'mul bih (cannot be practiced), then according to they are rejected as the basis of legal terms.
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Nakao, Masayuki. "Thackeray-type narrator revisited: portrayal of characters’ minds as narratorial performance in Vanity Fair." Journal of Literary Semantics 53, no. 1 (April 1, 2024): 19–38. http://dx.doi.org/10.1515/jls-2024-2002.
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Abstract The traditional authoritative, obtrusive narrator, also known as the Thackeray-type narrator, has been excluded from the narratological study of consciousness representations, partly because scholars have a stereotypical view that such a narrator avoids descriptions of a character’s inside view, and partly because they dislike narratorial presence in the representations of figural consciousness. Taking Thackeray’s Vanity Fair as a typical example, this paper revisits these views and reconsiders the presentation of consciousness in terms of narratorial performance of narrative authority. With attention to the degrees of the reader’s involvement, it investigates how the narrator modulates various narrative techniques (psycho-narration, free indirect thought, narrated perception) to present the minds of the worldly male characters, how each technique functions in different narrative contexts through the interaction between the narratorial voice and figural consciousness, and how the narrator’s internal evaluation is subtly embedded in the immediate representations of consciousness to create intentional ambiguity.
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Jang Nohyun. "Multiple Narration and Soul Narrator." Journal of Popular Narrative ll, no. 17 (June 2007): 187–218. http://dx.doi.org/10.18856/jpn.2007..17.006.
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Mutaqin, Rizal Samsul, Zulfa Nurpadilah, and Husen Zaenal Muttaqin. "PERAWI MUDALLIS DALAM SHAHIH BUKHARI: Studi al-Jarh wa al-Ta’dil pada ‘Umar bin ‘Ali bin ‘Atha’ bin Muqaddam." Riwayah : Jurnal Studi Hadis 7, no. 2 (December 30, 2021): 241. http://dx.doi.org/10.21043/riwayah.v7i2.10651.
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<p>‘Umar bin ‘Ali bin ‘Athā` bin Muqaddam merupakan seorang rawi yang dipandang telah melakukan <em>tadlīs </em>yang berat dalam meriwayat hadis-hadisnya oleh ulama <em>Jarh ta’dil</em>. Namun, riwayatnya masih dimasukan oleh Imam Bukhārī yang dikenal sangat selektif memasukan riwayat seorang rawi kedalam kitab <em>Shahīh-</em>nya. Penelitian ini bertujuan untuk mengetahui kualitas seorang rawi yang dipandang daif oleh para ulama, dan menemukan alasan dimasukannya riwayat rawi tersebut dalam kitab <em>Shahīh</em> <em>Bukhārī </em>disertai dengan kehujjahan hadis-hadisnya. Metode yang digunakan dalam penelitian ini adalah historis dan deskriptif analisis dengan pendekatan kualitatif. Penelitian ini difokuskan pada penerapan ilmu <em>Jarh ta’dil</em>, dengan melewati tahapan <em>orientasi, eksplorasi</em>, dan <em>analisis</em>. Hasil penelitian menunjukan bahwa Umar bin ‘Ali dipandang sebagai seorang rawi yang berada pada tingkatan <em>ta’dil</em> ketiga dan <em>Jarh </em>kedua. Adapun ke<em>tadlīs</em>annya, beliau dikelompokkan kedalam tingkatan <em>tadlīs </em>keempat, yang ditolak oleh para ulama untuk dijadikan hujjah kecuali jika diriwayatkan dengan <em>sigat sima’. </em>Didalam <em>Shahīh</em> <em>Bukhārī</em> ditemukan terdapat lima haris yang beliau riwayatkan dan semuanya bisa diterima diterima dikarenakan; pertama, hadis-hadisnya diriwayatkan dengan menggunakan lafaz <em>sima’</em> yang jelas. Kedua, riwayatnya hanya sebagai <em>tābi’</em> dan bukan menjadi hadis pokok; ketiga, terdapat <em>tabi’</em> yang memperkuat riwayatnya dan keempat hanya merupakan hadis <em>mauqūf</em>.</p><p>[<strong><em>Mudallis</em> Narrators in Shahih Bukhari: Study of <em>al-Jarh wa al-Ta'dil</em> on 'Umar bin 'Ali bin 'Atha' bin Muqaddam. </strong>'Umar bin 'Ali bin' Athā` bin Muqaddam is a narrator who is considered to have done tadlīs heavy in narrating his hadiths by the scholars of Jarh ta'dil. However, his narration was still included by Imam Bukhārī who was known to be very selective in inserting the narration of a narrator into his Shahīh. This study aims to determine the quality of a narrator who is considered weak by the scholars, and find the reason for the inclusion of the narrator's narration in the book of Shahīh Bukhārī is accompanied by the argumentation of his hadiths. The method used in this study is historical and descriptive analysis with a qualitative approach. This research is focused on the application of the science of Jarh ta'dil, by going through the stages of orientation, exploration, and analysis. The results show that Umar bin 'Ali is seen as a narrator who is at the level of the ta'dil thirdand the Jarh second. As fortadlīshis, he is grouped into thelevel of tadlīs fourth, which is rejected by the scholars to be used as an argument unless it is narrated with sigat sima '. InShahīh Bukhārī found that there were five haris that he narrated and all of them were acceptable because of them; firstly, the hadiths are narrated usingword sima ' the clear; secondly, the narration is only as tābi' and not the main hadith; thirdly, there is a tabi ' which strengthens the narration; and Fourthly, it is only a hadith mauqūf.]</p>
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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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Л. В. ВАРЧУК. "THE TYPOLOGY OF THE NARRATORS IN MODERN ENGLISH AMERINDIAN PROSE." MESSENGER of Kyiv National Linguistic University. Series Philology 22, no. 2 (December 26, 2019): 129–39. http://dx.doi.org/10.32589/2311-0821.2.2019.192453.
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Introduction. After the era of the pre-Renaissance period, which characterized the development of Amerindian fiction, was changed by the Renaissance era of Amerindian culture, creativity of Amerindian writers of the XX - XXI centuries was widely recognized and attracted the attention of literary critics, ethnologists, culturologists and linguists. As the worksof contemporary Amerindian writers reflect the peculiarities of Amerindian worldview, the national color of mythopoetics, knowledge of the culture and traditions of ethnicity conveyed in the text through the image of narrator, who is the representative of Amerindian culture.The issues of narrative organization, as well as the typology of narrators in prosaic texts, have not been fully studied at present, but more and more attaract the attention of researchers throughout the world (U. Margulini, W. Schmid, D. Shen, M.-L. Ryan, I. Behta, O. Tkachuk, S. Volkova andothers) and are taken as the theoretical ground in our work.Purpose. The paper aims at identification and linguistic description of the types of narrators in contemporary Amerindian prose.Methods. A combination of methods, such as linguoculturological, linguosemiotic and narrative approaches to the study of literary image in prosaic text, is applied in the work for realization its tasks.Results. In identifying the types of narrators in Amerindian prosaic texts we singled out: a narrator-mask, a narrator-ornamentalist, a narrator-skatcher. The paper presents the interpretation of lingual means, which characterize and identify the distinguished types of narrators.Conclusion. Based on the integrity of complex of methods, such as linguoculturological, linguosemiotic and narrative analyses, it is concluded that the type of narrator in Amerindian prosaic text is based on ethnical identity of the author which is realized by interpretation of the lingual means, which express ethnocultural worldview and his perception of the events and objects of literary world. The paper gives the typology of the narrators in the analyzed texts.So, such types of narrators as narrator-mask, narrator-ornamentalist and narrator-sketcher are interpreted and characterized. The perspective of our work is in linguocultural, linguosemiotic and narrative modelling of the types of narrators in contemporary Amerindian prose.
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Mahmoud, Somaia, Omar Saif, Emad Nabil, Mohammad Abdeen, Mustafa ElNainay, and Marwan Torki. "AR-Sanad 280K: A Novel 280K Artificial Sanads Dataset for Hadith Narrator Disambiguation." Information 13, no. 2 (January 23, 2022): 55. http://dx.doi.org/10.3390/info13020055.
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Determining hadith authenticity is vitally important in the Islamic religion because hadiths record the sayings and actions of Prophet Muhammad (PBUH), and they are the second source of Islamic teachings following the Quran. When authenticating a hadith, the reliability of the hadith narrators is a big factor that hadith scholars consider. However, many narrators share similar names, and the narrators’ full names are not usually included in the narration chains of hadiths. Thus, first, ambiguous narrators need to be identified. Then, their reliability level can be determined. There are no available datasets that could help address this problem of identifying narrators. Here, we present a new dataset that contains narration chains (sanads) with identified narrators. The AR-Sanad 280K dataset has around 280K artificial sanads and could be used to identify 18,298 narrators. After creating the AR-Sanad 280K dataset, we address the narrator disambiguation in several experimental setups. The hadith narrator disambiguation is modeled as a multiclass classification problem with 18,298 class labels. We test different representations and models in our experiments. The best results were achieved by finetuning BERT-Based deep learning model (AraBERT). We obtained a 92.9 Micro F1 score and 30.2 sanad error rate (SER) on the validation set of our artificial sanads AR-Sanad 280K dataset. Furthermore, we extracted a real test set from the sanads of the famous six books in Islamic hadith. We evaluated the best model on the real test data, and we achieved 83.5 Micro F1 score and 60.6 sanad error rate.
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Duc Tan, Nguyen. "Narrator in the novel “Village Ghost” by Trinh Thanh Phong." International Journal of Multidisciplinary Research and Growth Evaluation 4, no. 2 (2023): 474–79. http://dx.doi.org/10.54660/.ijmrge.2023.4.2.474-479.
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In Vietnamese literature, the role of the narrator in novels written about the countryside during the renovation period is usually the narrator in the third person and the narrator in the first person. The article studies the character of the narrator in the novel "Ma làng" (village ghost) by Trinh Thanh Phong. Research results show that there are two narrators: the latent third-person narrator and the first-person narrator. The narrator is the one who leads and guides the reader to better understand the background or events in the character's life. To be able to cover the reality reflected in the work, the narrator must choose for himself an authentic point of view.
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McCloskey, Benjamin. "Finding a New Sophist: On Polyphony and Xenophon's Cyropaedia." Illinois Classical Studies 47, no. 2 (October 1, 2022): 269–92. http://dx.doi.org/10.5406/23285265.47.2.04.
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Abstract In this article, I read Xenophon's Cyropaedia alongside one passage of his Cynegeticus. In doing so, I argue three things: first, the narrator of the Cyropaedia is a Sophist—at least according to the definition offered by the narrator of the Cynegeticus; second, the narrator of the Cynegeticus is not the same character as the narrator of the Cyropaedia; and third, the perspective of at least one of these narrators cannot represent Xenophon's own perspective. To mitigate the awkwardness of this anonymity, I refer to the narrator of the Cynegeticus as “the Hunter,” the narrator of the Cyropaedia as “the Historian,” and the narrator of the Memorabilia as “the Memoirist.”
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Mohammed, Mushtaq A., and May H. Abd Alhadi. "Child Narration in Harper Lee’s “To Kill a Mockingbird”." Koya University Journal of Humanities and Social Sciences 3, no. 1 (June 27, 2020): 150–55. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp150-155.
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Children's stories have a significant role in American literature. Such a role is regarded as both instructive and entertaining. A child narration, to Harper Lee (1926–2016), the American novelist, reveals some hidden messages about how a child can develop and can succeed to conform to society. A narrator, to her, could or could not be a character in the events. If a child narrates the events of a novel, he/she will definitely simplify the topics he/she narrates. Hence, Lee’s To Kill a Mockingbird portrays a world that is exotic to the reader. The present paper aims to explore how the novel introduces the struggles and the disadvantages of Western society through a child’s narration, which includes the point of view and language. It also tackles how the capacity of childhood innocence shows people’ behavior clearly. This study tries to find some answers to the following questions: Why did Lee use child narration? What is the aim of using first-person narration? Was the narrator successful in reflecting the truth of events as adults did? The paper also aims at shedding light on the western problems through the child’s eyes. It attempts through child narration to expose people’s deceptive appearances, racism, and class distinction.
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Vujošević, Vladimir. "MOBY-DICK, MODERNISM AND THE “POST-DEATH” NARRATION." Folia linguistica et litteraria XIII, no. 45 (September 2023): 197–212. http://dx.doi.org/10.31902/fll.45.2023.11.
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There is a peculiar tendency among many first-person Modernist narrators to simulate the narrative perspective of “posthumousness” (as if these accounts were somehow narrated by the dead). The procedure (that could be termed the “post-death narration”) seems to be present in various proto-modernist and Modernist works such as Conrad's Heart of Darkness, Faulkner's The Sound and the Fury and Absalom, Absalom!, T.S. Eliot's The Waste Land, etc. This narrative perspective is entwined with the trauma discourse, and the article argues that some of the best-known Modernist techniques (like the stream of consciousness) are based on the Gothic model of spectral narration. In the works of the genre, ghosts are often portrayed as traumatized, incommunicative, and disoriented “shattered selves” eternally entrapped in the closed space of a single, repetitive traumatic memory. This also seems to be the case with many Modernist narrators. The article shows various ways this genre convention of the Gothic has been (re)used in Modernist storytelling. Furthermore, the “post-death narration” could also be interpreted as a “symptom” of extreme subjectivity and epistemic frustration (which are typical features of Modernist narration in general). It is also claimed that the narrative perspective of “posthumousness” was first employed in Melville's Moby-Dick and that Ishmael, the narrator of the novel, could be seen as the “prototype” of this kind of Modernist “post-death” narration.
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Hawwa Hamza and Abd al-Samee M. al-Aniess. "حديث علي بن أبي طالب في النهي عن قراءة الجنب القرآن." Maʿālim al-Qurʾān wa al-Sunnah 18, no. 1 (June 1, 2022): 71–89. http://dx.doi.org/10.33102/jmqs.v18i1.346.
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This research deals with the study of a hadith narrated by Ali, the companion of Prophet Muhammad (PBUH): “Allah’s Messenger would recite the Qur’an in all conditions, as long as he was not in the state of sexual impurity.” In determining the correct ruling for this hadith, different chains of the same narration were collected pertaining to the companions who narrated this hadith. The key narrator and other significant narrators of the hadith were identified, and their details were collected. The hidden defects, if any, were discussed by quoting contemporary hadith critics and scholars. The reason for considering the hadith was explained, supported by the most correct views, and opinions of scholars on the issue of reciting the Qur’an while one is in the state of janaba (sexually impure) were discussed. The research also clarified the overall meaning of this hadith and some rulings that were deduced from it. It was found that the hadith has other chains of narration with varying degrees of validity and weakness and that there are some differences in its wording. After studying the chains of transmission, evaluating the narrators of the hadith, and explaining the hidden defects in the narration, it became clear that this hadith lies between acceptance and rejection. Some imams see it permissible to recite the Qur’an while one is in the state of janaba while others think that it is prohibited, and each group has their evidence, which is presented and discussed in this research.
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Bazemol, Ahmed. "Narratives of Salem bin Zarir Abi Yunus Al-Atari in the Books of the Sunnah, Collection and Study." Islamic Sciences Journal 12, no. 6 (March 17, 2023): 333–59. http://dx.doi.org/10.25130/jis.21.12.6.15.
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This is a research in which I collected, what I found, from the translation and narrations of Salm bin Zarir Abi Yunus al-Atari Al-Basri, t. 160 AH.
1- I did not find the year of the birth of Salam bin Zarir, but it appears that he was born before the year one hundred, and his death was in the year one hundred sixty.
2- He narrated seven traces, which are in the degree of acceptance, except for one trace that is weak and the weakness of it is from others, and another trace that I did not find its sustenance.
3- The ranks and divisions of the speakers in the narrators should be taken into account. When studying a questionable narrator.
4- One of the aims of the modernists in classification is to collect the narration of someone whose narration is characterized by a smile; such as, scarcity and shortage.
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Cahayani Fatimah, Ana, and Sampara Palili. "Assembly Priorities in the Era of modernization of Education Reminisce (Review of quality, commentary and Hadith text content assemblies dhikr)." International Journal on Advanced Science, Education, and Religion 1, no. 3 (November 3, 2018): 42–53. http://dx.doi.org/10.33648/ijoaser.v1i3.19.
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This article examines the priority focus of discussion in the Council Dhikr with anyone who narrated about Dhikr Majlis virtue , How takhrij and i'tibar sanad hadith about the virtues Dhikr Majlis And How content (sermon) Hadith about Dhikr Majlis virtue. The method used to answer the focus of the study is a library with researcusing a normative approach that emphasizes the descriptive analysis of the data sources were found. The results showed that the hadith is narrated by (1)al-Bukhariy (2) Muslims and (3) Ahmad Bin Hanbal. The chain of 3 mukharrij through five lanes of chains with all four met in tabaqah to behold from the Bahz of Suhail of facet of Abu Huraira. takhrij activities and I'tibar of Ahmad bin Hanbal path carefully, found the transmitters of the chain as follows: (1) Abu Huraira as the last chain of narrators first (2) facet as both narrator chain V, (3) Suhail as a third narrator chain IV, (4) behold a fourth chain of narrators III (5) Affan as the fifth chain of narrators II and (6) Ahmad bin Hanbal as well as the last narrator al-Mukharrij al-Hadith. secar implicit when observed honor traditions of Ahmad ibn Hanbal, coming from Yahya ibn Sa'id from 'Abdallah ibn Sa'eed Mawla of Abi Ziyad Abu Ayyash from Darda' that the Prophet it to my question as to the content of the question is the Messenger of Allah said: "Shall I show you do the best, the most holy in the sight of your king (God), and the lifting derajatmu; be better for you than gold or silver, and better for you than meeting your enemies-in, and then you cut off his head or they cut your throat". The Companions who were present said: "What this is Ya Allah!". He said: "Remembrance of Allah, the most Exalted, the Most Great".
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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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Petraschka, Thomas. "Warum die Aussage »Text T ist unzuverlässig erzählt« nicht immer interpretationsabhängig ist. Zwei Argumente." Journal of Literary Theory 12, no. 1 (March 26, 2018): 113–26. http://dx.doi.org/10.1515/jlt-2018-0007.
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Abstract This essay asks whether the attribution of unreliability to the narrator of a literary text is always dependent upon interpretation. The bulk of narratological research answers with »yes«. Yet the content of the term »interpretation-dependent« is understood in radically different ways. As a minimal consensus, it is commonly accepted that the attribution of unreliability cannot be described as »interpretation-neutral«, in the way that, for instance, the statement »The narrator in text T is a homodiegetic narrator« is interpretation-neutral. Following a few preliminary explanatory remarks on terminology, I propose two arguments for why this majority opinion is false. I argue that the statement »Text T is unreliably narrated« is not always interpretation-dependent. Within the framework of the first argument, I attempt to show that the criterion of »interpretation neutrality« depends upon some meta-theoretical assumptions. If one assumes that basic linguistic characteristics are valid independent of their interpretation and argues that a sentence such as »Call me Ishmael« establishes a homodiegetic narrator because the word »me« signals that he belongs to the narrated story, then one implicitly excludes as inadequate certain idiosyncratic theories of meaning that would ascribe a different meaning to »me«. That is not problematic in and of itself. But it shows that there are conditions of adequacy for theories of meaning that are fundamentally negotiable. And the set of statements which can be attributed the attribute of being »interpretation-neutral« can vary depending upon how these conditions of adequacy are defined. In a corresponding adaptation of the conditions of adequacy for theories of meaning and interpretation, it is therefore inherently possible that even statements about the reliability of a narrator could be granted the status of being interpretation-neutral. The second argument focuses on the praxis of interpretation. I seek to reconstruct how exactly the qualification of a narrator as homodiegetic (an attribute that is usually considered as interpretation-neutral) and as unreliable (an attribute that is usually not considered as interpretation-neutral) can come about in a process of interpretation. There appear to be cases in which criteria commonly cited to qualify a statement as an interpretation-neutral description of a text are also applicable for the attribution of narrative unreliability. Such cases are literary texts like Agatha Christie’s The Murder of Roger Ackroyd or Ambrose Bierce’s An Occurrence at Owl Creek Bridge, in which the unreliability of the narrator is apparent. The knowledge that the narrators in these texts at least temporarily withhold facts relevant to the plot, tell lies, make mistakes, hallucinate, etc. can just as much be attained on the basis of an unreflective understanding of the linguistic meanings of words as can the knowledge that the narrators are part of the stories they tell. If one wishes to not relinquish the interpretation-neutral status of statements about the ontology of a narrator (the qualification, that is, of a narrator as homo- or heterodiegetic) to a relativism that includes linguistic interpretations, then one is forced in principle to also retain the status of interpretation neutrality for statements about the reliability of a narrator. Both arguments lead me to conclude that the universal quantification that all determinations of the reliability of a narrator are dependent upon interpretation is false. I propose that we limit ourselves to more modest existential quantifications and that we do not attribute the attributes »interpretation-dependent« and »interpretation-neutral« to entire literary categories or types of statements in general, but rather to individual statements. Moreover, I give a short and tentative definition of the criterion »interpretation neutrality« that follows from these considerations.
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Al – Leheabi, Saleh Muhammad Zeki Mahmood. "The ability of AlBukhari to preserve the harmony between the Principles of the Science of History and the Science of Hadith in his book AlTarikh AlKabir “the Grand History”." Al-Adab Journal 1, no. 135 (December 12, 2020): 53–66. http://dx.doi.org/10.31973/aj.v1i135.662.
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This research deals with a very important subject: the ability of AlBukhari to preserve the harmony between the science of history and the science of Hadith in his book AlTarikh AlKabir “The Grand History”. In addition to explaining the nature of criteria of Hadith collection adopted by AlBukhari in the mentioned book.
For example, AlBukhari used to incorporate in each biography one chain of narration to refer through it or through the Matn (text) to the narrator. He may mention one chain of narration which is the most common. Sometimes he may use a group of chains of narration. He may increase them to reach ten which is very few in his book. Using such Hadith approach by AlBukhari has certain objectives: some are related to the biography of the narrator, others related to the persons mentioned in the chain of narration, and others related to the text, using relevant terminology etc.
AlBukhari didn’t only report the chain of narration without knowledge. He was a critique in most cases and gives his opinion. Sometimes he says, “the chain of narration isn’t acceptable” or “not strong”, or “there is something wrong with the chain of narration”. AlBukhari may have doubt about the authenticity and correctness of the narration, or may have a doubt about the Shaikh’s meeting the student. Sometimes, he says “I do not know of he heard from Abi Al Zinad or not “. This means that Al Bukhari as a Hadith scholar used his incredible skills to add a lot to the science of history, through the process of criticism, assessment, analysis of content of texts and the scrutiny of chains of narration. Such basics transfer History from its general narrative context to an established science.
The aim of this research is to clarify the scientific approach of AlBukari, with regards to texts he used in his book, AlTarikh AlKabir “The Grand History”. Sometimes he used to use the text in full, sometimes in parts, and then he repeats it with same chain of narration or with another chain, or uses many chains of narrations, and may only refer to the text, saying:(Thus, meaning, so forth, so on…).
Also, we aim to show the scientific approach of AlBukhari in mentioning the names of Shaikhs from whom the Hadith narrated, saying “It was heard from, from, it was heard, heard from”. Also, mentioning the names of narrators, saying “It was heard from him, it was narrated from him, from him”.
In addition to that AlBukhari used a group of words on amendment and documentation when mentioning the biography of narrators, such as saying “Trustworthy, his Hadith is well known, sincere”.
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Teske, Joanna Klara, and Jan Jankowski. "Dissonant and consonant narrators : Dorrit Cohn's concepts, narratorial Stance theory and cognitive literary studies." Brno studies in English, no. 2 (2022): 189–206. http://dx.doi.org/10.5817/bse2022-2-10.
Full textAbstract:
Our paper reconsiders the notions of dissonance and consonance introduced in Dorrit Cohn's Transparent Minds (1978). Cohn applies the terms to psycho- and self-narration and defines them with reference to the narrator's prominence, distance/intimacy as well as moral and cognitive privilege with reference to the character. Taking advantage of stance theory, we argue that dissonance and consonance are best taken as dimensions of the narrator's attitude towards the character and/or the narratee, we relate aspects of consonance/dissonance to the basic facets of focalization – emotional, interpretive, and evaluative – and we analyze them in terms of convergence or divergence and further, in the case of divergence, in terms of superiority or inferiority. We claim that there is no automatic correlation between narratorial consonance/dissonance and reliability. Overall, we believe that narratorial consonance/dissonance deserves much attention because it has great impact on the reader's reception of the narrator and characters.
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Smolenskaya, M. A. "THE PROBLEM OF POINT OF VIEW IN TEXT WITH AN «UNRELIABLE» NARRATOR (BASED ON THE MATERIAL OF V. NABOKOV'S STORY «THE EYE»)." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 79(1) (2021): 151–54. http://dx.doi.org/10.37313/2413-9645-2021-23-79(1)-151-154.
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The subject of the article: The article raises several urgent problems of narratology - the question of the «unreliable» narrator in the text, his point of view on the events underlying the history. This paper examines the internal and external point of view in a work with an «unreliable» narrator. A work with an «unreliable» narrator organizes a special point of view on the event hypothesis is put forward. The material is the narrator of V. Nabokov`s story «The Eye». In this text, the narrator's point of view on events, himself in these events and the characters reveals a split into external and internal. The narrator's play with the point of view forms a special type of «unreliable» narrator, which allows the author not only to create an experimental narrative, but also to raise the philosophical problems of memory, self-identification, and consciousness.
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Bokus, Barbara. "Peer Co-Narration: Changes in Structure of Preschoolers' Participation." Journal of Narrative and Life History 2, no. 3 (January 1, 1992): 253–75. http://dx.doi.org/10.1075/jnlh.2.3.05pee.
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Abstract This article represents the interactional approach to the study of child narration. The analyses reveal the process of story creation by children in the roles of narrator and co-narrator. In building a narrative text alone (solo narration) or together with another child (co-narration), the child transmits new information to the peer listener about the adventures of storybook heroes. Nine hundred and sixty children ranging in age from 3 to 7 years took part in the investigation (384 in narrator and co-narrator roles and 576 in listener roles). A modified version of Peterson and McCabe's (1983) method of narrative analysis was used. The results showed that co-constructed narratives underwent change with age in reference complexity (greater change than in solo constructed ones). Co-narrator contributions were analyzed in terms of (a) new reference content (introducing new reference situations), and (b) operations upon the partner's text (in various categories mainly confirmational and supplementary). The dominant partner in introducing new content was the initiator of the dis-course, whereas the dominant one in performing text operations was the con-tinuer. Changes across the age span were found in both types of co-narrator contribution. These results showed the changing structure of preschoolers' par-ticipation in co-narrative discourse. (Psycholinguistics)
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Bennett, Philip E. "The Mirage of Fiction: Narration, Narrator, and Narratee in Froissart's Lyrico-Narrative Dits." Modern Language Review 86, no. 2 (April 1991): 285. http://dx.doi.org/10.2307/3730530.
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