Academic literature on the topic 'Polyphonic narrative'
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Journal articles on the topic "Polyphonic narrative"
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Kim, Byeong-Jung. "Building Polyphonic Narrative of." Journal of the Korea Contents Association 9, no. 10 (2009): 140–47. http://dx.doi.org/10.5392/jkca.2009.9.10.140.
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Salama, Ashraf M., and Yonca Hurol. "Polyphonic narratives for built environment research." Open House International 45, no. 1/2 (2020): 3–22. http://dx.doi.org/10.1108/ohi-05-2020-0026.
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Purpose The purpose of this paper is to construct a series of narratives by assessing a selection of the key literature generated by Open House International (OHI) over a period of 15 years. The paper also presents a brief review of the latest developments of the journal while introducing concise observations on the articles published in this edition – Volume 45, Issues 1 and 2. Design/methodology/approach Through a classification procedure of selected special issues published by OHI since 2006, 10 issues were identified based on the currency of the issues they generated. Following the review of the editorials, the key content of more than 100 articles within these special issues, the content of this edition and relevant seminal literature, the analysis engages, through critical reflection, with various themes that echo the polyphonic nature of built environment research. Findings The analysis conveys the plurality and diversity in built environment research where generic types of narratives are established to include three categories, namely, leitmotif, contextual/conceptual and open-ended narratives. Each of which includes sub-narrative classifications. The leitmotif narrative includes design studio pedagogy, sustainable environments for tourism, responsive learning environments, affordable housing environments, diversity in urban environments and urbanism in globalised environments. The contextual/conceptual narrative encompasses architecture and urbanism in the global south and the tripartite urban performance and transformation. The open-ended narrative embraces thematic reflections on the contributions of this edition of OHI. Originality/value Constructing polyphonic narratives in built environment research based on contemporary knowledge is original in the sense of capturing the crux of the themes within these narratives and articulating this in a pithy form. The elocution of the narratives stimulates a sustained quest for re-thinking concepts, notions and issues of concerns while invigorating research prospects and setting the future direction of OHI.
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Aladylah, Majed. "Polyphonic Narrative Spaces in Hala Alyan's Salt Houses." Critical Survey 31, no. 3 (2019): 44–52. http://dx.doi.org/10.3167/cs.2019.310305.
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It is important to stress that Arab women writers have produced a new kaleidoscope of narrative fiction in English. They focus on a variety of representations with respect to identity, dislocation, cultural hybridity and belonging. Moreover they have tried to construct a stable subjectivity and a space of belonging. These narratives are now dispersed and relocated by Arab women diasporic novelists such as Hala Alyan. This article will examine Hala Alyan’s 2017 novel, Salt Houses. This debut novel has amalgamated different narrative experimentations and techniques, and how polyphonic spaces have dislocated the conventional act of narration and relocated it in tandem with the non-homogeneity of the Arab world itself.
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Ganzha, Anhelina. "Polyphonizm of narrative in documentary film (On the case of films about P. Tychyna, M. Rylskyi, V. Sosiura)." Culture of the Word, no. 90 (2019): 150–64. http://dx.doi.org/10.37919/0201-419x-2019.90.13.
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Narratives in cinema text are seen as narratives of interrelated events occurring within specific space-time frames involving the author, narrator and characters. The intermedical nature of documentary filmmaking complicates its analysis in the coordinates of any research paradigm. However, among the universal categories of reception of film narratives, polyphonicism should be singled out as a means of creating a holistic view of a cultural product. The article offers the authorʼs vision of realization of the polyphonism of the film narrative in the documentaries “I Call You” (2006), “Poeta Maximus” (2008), “So No One Loved” (2008) from the series “Game of Fate”. It is concluded that there is a certain plot-compositional scheme of organization of audiovisual polyphonic narrative in the series. Among the specific figures of the screen narration in the analyzed documentary tapes we see transposition (eg, transition from the direct speech of the presenter to a voice-over commentary on a movie quote), overlay (simultaneous use of the “chronicle of the epoch” with the off-screen reading of an excerpt from an artistic text), photos and video snippets).
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Kotelevskaya, V. V. "ON THOMAS BERNHARD’S NARRATIVE THINKING: «ETERNAL RETURN» AND A POLYPHONIC WRITING." Human Being: Image and Essence. Humanitarian Aspects, no. 3 (2020): 27–54. http://dx.doi.org/10.31249/chel/2020.03.03.
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The article explores the typological principles and genesis of narrative thinking of Thomas Bernhard (1931-1989). It reveals the paradoxical nature of his writing, which combines, on the one hand, archetypal structures, implied ‘genre memory’, and on the other hand, a unique, innovative style. Bernhard’s constructive principle is repetition, which allows the embodiment of the idea of «eternal return» (Eliade) throughout the poetical structure, whether it is a sacred event of a myth or an «obsessive repetition» (Freud) of the traumatic memories of the protagonist or the narrator. The fragmented world is under constant reorganizing with the help of Bernhard’s polyphonic writing, which finds itself mostly in the imitation of the non-figurative, purely expressive, self-referential «art of fugue» (Bach), oriented to the cyclic, rather than linear-historical concept of time. In contrast to the literary interpretation of the «polyphonic novel» (Bakhtin) with its coexistence of multiple points of view, our attention is shifted to the musicological interpretation of the fugue’s polyphony as the embodied idea of the continuity of time, the closeness and infinity of the divine universe.
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Evans, Paul S. "The Hezekiah—Sennacherib Narrative as Polyphonic Text*." Journal for the Study of the Old Testament 33, no. 3 (2009): 335–58. http://dx.doi.org/10.1177/0309089209102500.
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Delazari, Ivan. "Contrafactual Counterpoint: Revisiting the Polyphonic Novel Metaphor with Faulkner's The Wild Palms." CounterText 5, no. 3 (2019): 371–94. http://dx.doi.org/10.3366/count.2019.0171.
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The article theorises the notion of contrapuntal polyphony as applied to literary narrative and sketches out an algorithm for reading William Faulkner's 1939 The Wild Palms in terms of the musical analogy. Contrapuntal fiction is contrafactual, since neither actual sound nor simultaneous parts of equal importance are presented in literary narrative. Such notions as ‘the polyphonic novel’ and ‘novelistic counterpoint’ are attacked from the vein of restrictionism by scholars who are dissatisfied with the metaphoricity of these terms despite their coiner Mikhail Bakhtin's disclaimer that no literal link to music is originally intended. Leaning on the heuristic and perceptual value of metaphors as illuminated by cognitive studies, this paper outlines an extensionist audionarratological alternative to the restrictionist approach by arguing that perceptual methods of processing parallel melodic lines and consecutive segments of narrative information share the common gestalt basis discussed in the auditory scene analysis of psychoacoustics. Opting to register and internalise certain details in the two apparently unrelated alternating stories of The Wild Palms, the reader begins to assemble a mental score and to learn performing the parts simultaneously, toward an integrated polyphonic whole.
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Cash, Penelope A. "?I await your apology?: a polyphonic narrative interpretation." Nursing Philosophy 8, no. 4 (2007): 264–77. http://dx.doi.org/10.1111/j.1466-769x.2007.00323.x.
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Williams, Alan. "Narrative Structure and Polyphonic Discourse in the Mathnawi." Mawlana Rumi Review 4, no. 1 (2013): 50–83. http://dx.doi.org/10.1163/25898566-00401004.
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Sperrle, I. Christina. "Narrative Structure in Nikolai Leskov's Cathedral Folk: The Polyphonic Chronicle." Slavic and East European Journal 44, no. 1 (2000): 29. http://dx.doi.org/10.2307/309626.
Full textDissertations / Theses on the topic "Polyphonic narrative"
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Senff, Sarah A. "IN SEARCH OF A POLYPHONIC COUNTERNARRATIVE: COMMUNITY-BASED THEATRE, AUTOPATHOGRAPHY, AND NEOLIBERAL PINK RIBBON CULTURE." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1376083772.
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Scott, Natalie. "Screams underwater : submerging the authorial voice : a polyphonic approach to retelling the known narrative in Berth ; Voices of the Titanic : a poetry collection by Natalie Scott." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/6582/.
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This PhD thesis is comprised of my poetry collection: Berth - Voices of the Titanic (Bradshaw Books, 2012) and a critical commentary which discusses the collection both in printed and performed contexts. Berth is a collection of fifty poems taking a range of forms, including dramatic monologue, and found, sound and concrete poems. It was published and performed to coincide with the centenary of the Titanic disaster on April 14th 2012. The collection encourages an audience to see and hear Titanic in a distinctive way, through the poetic voices of actual shipyard workers, passengers, crew, animals, objects, even those of the iceberg and ship herself. Though extensively researched, it is not intended to be a solely factual account of Titanic’s life and death but a voiced exploration of the what-ifs, ironies, humour and hearsay, as well as painful truths, presented from the imagined perspective of those directly and indirectly linked to the disaster. The critical commentary introduces the notion of factional poetic storytelling and, supported by Julia Kristeva’s definition of intertextuality, considers the extent to which Berth is an intertext. Drawing on both literary works and critical theory, it considers the dominant, objective, authorial voice as a way of closing a text, and contrastingly presents polyphony, with its multiple viewpoints, as a way of opening up a text, in the process of moving towards retelling a well-known story in a distinctive way. I use Plato’s concept of mimēsis to make connections between polyphony and intertextuality and my creative work is then contextualised in terms of other intertexts published as creative responses to historical events, culminating in the story of the Titanic. I show how Berth is distinctive in its way of telling. Supported by reader-response theories, I discuss the reader’s role in shaping a text and participating in the process of its reception as an open, dialogic work. Illustrated by examples from canonical poems, the commentary next defines monophony in order to draw out the characteristics of polyphony and its relationship with Bakhtin’s concepts of dialogism, addressivity, defamiliarization, collage and the carnival. Exemplified by Berth, the ensuing exploration of Bakhtinian thought shows that the concept of dialogism, which he applies exclusively to the novel, is readily applicable both to a narrative poetry collection that is novelistic but also to standalone poems. The commentary then makes connections between polyphony and performance poetry - specifically the dramatic monologue - and other open forms influenced by British and American modernist poetic techniques. I use examples from British Poetry Revival works to characterise the forms of found, sound and concrete poem. Robert Sheppard’s critical notion of the ‘saying’ and the ‘said’ (informed by Mikhail Bakhtin’s dialogism and Umberto Eco’s notion of the ‘open work’) helps me to explore how such forms influenced my own creative practice - in the printed and staged versions of Berth - and fulfilled the principal aim of the work: to use polyphonic methods in a way that contributes a voice distinctive from the existing works on the subject of the Titanic. In conclusion, I argue that polyphony is a significant device for poetry that aims to present a fresh perspective on a story which has been told many times before.
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Fruoco, Jonathan. "Evolution narrative et polyphonie littéraire dans l'oeuvre de Geoffrey Chaucer." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENL003/document.
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Geoffrey Chaucer, grand traducteur, rhétoricien et poète courtois, fut longtemps considéré par la critique comme le père de la poésie anglaise. Or, un tel positionnement a non seulement tendance à occulter tout un pan de l'histoire de la littérature anglo-saxonne, mais également à mettre de côté les spécificités mêmes du style de Chaucer. Le but de cette étude est ainsi de démontrer que sa contribution à l'histoire de la littérature est bien plus importante qu'on ne le pensait. Car en décidant d'écrire en moyen-anglais à une époque où l'hégémonie du latin et du vieux-français était incontestée (en particulier à la cour d'Edouard III et de Richard II), Chaucer s'inscrivit dans un mouvement intellectuel visant à rendre aux vernaculaires européens le prestige nécessaire à une véritable production culturelle ayant permit l'émergence du genre romanesque. Ainsi, en assimilant successivement les caractéristiques de la poésie de Chrétien de Troyes, Guillaume de Lorris et Jean de Meun, Chaucer redonna à la poésie anglaise ses lettres de noblesse. Mais ce ne fut qu'après sa découverte de la Divina Commedia qu'il prit conscience du potentiel de la littérature : Dante lui permit, en effet, de libérer son art dialogique et d'ainsi donner à sa poésie une dimension polyphonique de premier ordre. De fait, si Chaucer ne peut être considéré comme le père de la poésie anglaise, il est en revanche le père de la prose anglaise et l'un des précurseurs de ce que Mikhaïl Bakhtine nomme le roman polyphonique<br>Geoffrey Chaucer, translator, rhetorician and courtly poet, has long been considered by the critics as the father of English poetry. However, this notion not only tends to forget a huge part of the history of Anglo-Saxon literature, but also to ignore the specificities of Chaucer's style. The purpose of this thesis is accordingly to try to demonstrate that his contribution to the history of literature is much more important than we had previously imagined. Indeed, Chaucer's decision to write in Middle-English, in a time when the hegemony of Latin and Old-French was undisputed (especially at the court of Edward III and Richard II), was consistent with an intellectual movement that was trying to give back to European vernaculars the prestige necessary to a genuine cultural production, which eventually led to the emergence of romance and of the modern novel. The assimilation of the specificities of the poetry of Chrétien de Troyes, Guillaume de Lorris and Jean de Meun thus allowed Chaucer to give back to English poetry some of its respectability. Nonetheless, it was his discovery of the Divina Commedia that made him aware of the true potential of literature: Dante thus allowed him to free the dialogism of his creations and to give his poetry a first-rate polyphonic dimension. As a result, if Chaucer cannot be thought of as the father of English poetry, he is however the father of English prose and one of the main artisans of what Mikhail Bakhtin called the polyphonic novel
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Lese, Amy. "Primitive Polyphony? Simple Polyphony Outside the Mainstream of the Music History Narrative." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19281.
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This thesis addresses the relatively narrow understanding of simple polyphony in music history. Using three examples, I provide a survey, mostly of secondary literature available in English, and offer an overview of the use of simple polyphony in three different places and time periods in Western Europe during the Middle Ages and the Renaissance. More specifically, I examine the music of the Devotio Moderna in the Low Countries and Northern Germany during the fifteenth and sixteenth centuries, the Llibre Vermell and Iberian pilgrim culture in the fourteenth century, and the laude and processional genres in Northern Italy during the thirteenth, fourteenth, and fifteenth centuries. My purpose is to bring the topic of simple polyphony—significant despite its simplicity—back to the center of the music history narrative.
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Reynolds, Lisa A. "Intimate polyphony voicing struggles in personal narrative /." Diss., Online access via UMI:, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3164711.
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Thesis (Ph. D.)--State University of New York at Binghamton, Philosophy Department (Philosophy, Interpretation and Culture Program), 2005.<br>"Collection of autobiographical stories ..."--Abstract. Includes bibliographical references.
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Julien, Dimitri. "Les voix de l'histoire : polyphonie du récit historique français dans la première moitié du XIXe siècle." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H001/document.
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Les modes de composition et de narration de l’histoire ont été profondément bouleversés dans la première moitié du XIXe siècle français. Le récit historique doit alors répondre à de nouveaux enjeux et façonner une historiographie nouvelle qui devra conduire à l’établissement d’une discipline scientifique moderne : l’histoire. Les écrivains de cette période conçoivent par conséquent un récit historique dans lequel sont inscrites les nouvelles modalités démocratiques du rapport à la cité politique : il ne s’agit plus seulement pour l’historien d’entretenir de l’histoire, mais de faire entendre les voix de l’histoire, celles des contemporains tout autant que celles du passé, en les inscrivant dans un régime communicationnel. Autrement dit, il ne s’agit pas seulement de les faire entendre, mais aussi de procéder à un vaste système d’interactions des différentes temporalités : à l’image d’un vaste parlement, les temps communiquent et tiennent la narration pour donner à lire une histoire polyphonique dans laquelle l’instance narrative et auctoriale qui assurait autrefois le rythme et la cohérence du récit se démultiplie, et dans laquelle l’histoire se fragilise pour mieux se faire entendre. Le récit historique de la première moitié du siècle s’institue ainsi comme un vaste laboratoire dans lequel les historiens expérimentent les nouveaux modes d’expression d’une histoire démocratique<br>The history’s narrative has been deeply shaked during the first half of the nineteenth century. The historical narrative have to meet new challenges and make a new historiography to institute a modern and a scientific discipline : history. Therefore writers of this period form an historical narrative which includes new democratic procedures for the management of politics : historian have not only to talk about history, but have also to get the voices of history heard, past’s voices as well as contemporary’s. History becomes a communication. In other words, voices don’t only have to get heard : they have to interact each others through time. Like a parliament, times communicate each others and lead the narrative to make a polyphonic history, in which the narrative and auctorial instance – which, in the past, led the rhythm and the coherence of the narrative – stretch themselves. Therefore history weaks itself to become more listenable. The history’s narrative of the first half of the nineteenth century becomes thus a wide laboratory for historians to experiment new narrative devices of a democratic history
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O'Connell, Daria. "The Trinacria Trilogy: polyphony and palimpsests in the narrative of Vincenzo Consolo." Thesis, University of Strathclyde, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488816.
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This study focuses on Vincenzo Console's narrative trilogy: Il sorriso dell'ignotto marinaio (1976), Nottetempo, casa per casa (1992) and Lo Spasimo di Palermo (1998). This is a trilogy of historical novels set in three distinct periods of Itahan history: the Risorgimento, the years leading to Fascism and postwar Italy up to the present day. Each of these narratives has Sicily, or a textual Sicily, as the locus of investigation.
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Boutet, Anne. "Les recueils français de nouvelles du XVIe siècle, laboratoires des romans comiques." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2019/document.
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Les nouvelles du XVIe siècle sont souvent lues comme de simples passe-temps, loin derrière les livres de Rabelais. Pourtant, cette littérature labile est dotée d’une « grande variété de formes narratives qui témoignent de [s]a souplesse et de [s]a plasticité […], laboratoire des expériences romanesques à venir » (D. Souiller, La nouvelle en Europe de Boccace à Sade). Il est ainsi difficile de conférer une identité générique à ces textes. En l'absence d’arts poétiques contemporains, la critique propose des définitions discutables. Trop restrictives ou partiales, elles aboutissent à un compromis : donner des caractéristiques majeures (brièveté, moralité, bon tour, bon mot, « réalisme », etc.), sans nettement distinguer le genre de formes narratives voisines (discours bigarrés, histoires tragiques). Pourtant, une autre piste est possible : adopter le point de vue des auteurs de romans comiques pour profiter d'une pratique d'écriture nourrie des conteurs de la Renaissance et d'une réception littéraire plus proche de celle des lecteurs du XVIe siècle, soit affiner les analyses modernes pour aspirer à établir la première liste de critères génériques fiables et opératoires<br>Read short stories from XVIth french century, it’s like reading fancy stories or recreations, far away from Rabelais’books. However, this unsettled literature has a « grande variété de formes narratives qui témoignent de [s]a souplesse et de [s]a plasticité […], laboratoire des expériences romanesques à venir » (D. Souiller, La nouvelle en Europe de Boccace à Sade). It’s difficult, indeed, to give a set generic identity at these texts. Without contemporary arts of poetry, modern critics suggest debatable definitions. Too restrictive or partial, those definitions end up at a compromise : to give main characteristics (brevity, moral, good trick, good word, « realism », etc.) without make a clear distinction with close narrative forms (« discours bigarrés », « histoires tagiques »). Yet, there is another path : take the point of view of « romans comiques »’ authors in order to take advantage of a writing fed from Renaissance’s storytellers and of a reading closer with XVIth century’s readers, that is to say refine modern studies in order to draw up the first list of reliable and operating generic criteria
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Touya, Aurore. "La polyphonie romanesque au XXème siècle (corpus en langues anglaise, espagnole et française)." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040251.
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Le XXème siècle voit naître un nouveau type de récit romanesque : aux États-Unis, en Amérique latine et en France sont publiés de plus en plus de romans polyphoniques, structurés par les voix des personnages qui se relaient pour raconter l’histoire qu’ils partagent. Le narrateur omniscient disparaît au profit de la multiplication des voix et de la pénétration directe des intériorités. Notre étude isole neuf de ces romans polyphoniques, retenus en raison de leur statut paradigmatique et du dialogue qu’ils tissent entre eux. Tous sont modelés par de nouvelles conceptions de l’esprit humain qui accordent une place inédite à la subjectivité, et servis par des outils narratifs expérimentaux qui soulignent la préoccupation des romanciers de trouver une adéquation entre mots, sentiments et pensées. Ils permettent des jeux qui donnent à voir la constitution d’une théorie du roman comme puzzle et comme procès, tout en s’ouvrant génériquement à d’autres textes tels le théâtre et la poésie, ce qui interroge les capacités d’appropriation du genre romanesque. Mais la forme polyphonique de ces romans correspond surtout à des enjeux d’une importance capitale pour le monde contemporain qui les voit naître : en segmentant la narration et en la répartissant entre les personnages, le roman polyphonique soulève les questions du lien entre voix et idéologie et du rapport entre discours et réalité. En donnant à entendre une multiplicité de voix, il fait coexister sur la page les vivants et les morts, dépasse les limites de la condition humaine et redéfinit la notion de vérité<br>The XXth century witnesses the appearance of a new type of novelistic narrative : in the U.S.A as well as in Latin America and in France, an increasing number of polyphonic novels are published, whose structure relies on the voices of characters who tell one after the other the story they have in common. The omniscient narrator is replaced by a multiplicity of voices and by direct penetration of consciousness. This thesis focuses on nine of these polyphonic novels, which were selected due to their paradigmatic status and because of the dialogue they build with one another. They all are inspired by new conceptions of the mind that place subjectivity at their center, and use experimental devices that underline the quest of the novelists seeking an equivalent between words, feelings and thoughts. These texts allow games that show how theories of the novel as a puzzle and as a trial are being moulded, while opening to other genres such as theatre and poetry and questioning the novel’s absorption capacity. But most of all, the polyphonic pattern appears as a crucial stake for the contemporary world that gave birth to these novels: the fragmentation of the narrative, now shared among characters, questions the link between voice and ideology and the relationship between speech and reality. The multiplicity of voices makes the living and the dead share the pages of the book and gives the novel a power that goes beyond the limits of human condition while offering a new definition of the concept of truth
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Cappella, Émilie. "La Parole d'autrui : une reconstitution : une lecture des romans "Loin de Médine" d'Assia Djebar, "Solibo Magnifique" de Patrick Chamoiseau et "Traversée de la mangrove" de Maryse Condé." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEE017/document.
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Cette thèse apporte un éclairage esthétique sur un ensemble de romans polyphoniques du canon francophone contemporain. Des formes de féminisme autour du prophète de l’islam dans Loin de Médine d'Assia Djebar aux formes de l’individualisme dans un village guadeloupéen dans Traversée de la mangrove de Maryse Condé en passant par les voix multiples de la créolité dans Solibo Magnifique de Patrick Chamoiseau, ces romans sont engagés dans des stratégies littéraires novatrices. Or les études postcoloniales ont laissé dans l'ombre le travail des formes qui est pourtant le mode opératoire de la pensée littéraire. Il faut donc remédier à ces lacunes par une analyse narratologique et stylistique des techniques de représentation du discours et de la pensée. En dégageant les formes et les enjeux de la relation fascinante qui se joue entre la parole de l’autre et les voix narratives, notre thèse apporte une contribution attendue dans les études francophones autant que dans les théories narratives.Trois pensées majeures nourrissent cette recherche : d’abord le concept de contrepoint d’Edward Saïd, envisagé dans sa dimension dialogique, ensuite la vision sociale du langage chez Voloshinov/Bakhtine qui préside aux développements sur le dialogisme, enfin l’approche politique de la littérature de Jacques Rancière, qui donne un tout nouvel éclairage aux désormais traditionnels bénéfices de l’« estrangement ». C’est ainsi sans quitter la zone ténue où se rencontrent formes esthétiques et formes sociales que ce travail traverse les débats les plus actuels des études francophones<br>This dissertation casts an aesthetic light on a selection of polyphonic novels from the Francophone contemporary canon. From the forms of feminism around the prophet of islam in Far from Madina by Assia Djebar, to the multiple voices of Créolité in Solibo Magnificent by Patrick Chamoiseau, to the forms of individualism in a Guadeloupean village in Crossing the Mangrove by Maryse Condé, these novels are involved in innovative literary strategies. Nonetheless, postcolonial studies left in the shadow the work of forms that is yet the operatory mode of literary thought. To bridge this gap, we need a narratological and stylistic analysis of the techniques of representation of speech and thought. By disentangling the forms and the stakes of the fascinating relationship that is at work between the other’s speech and narrative voices, my dissertation brings a welcomed contribution to Francophone studies as well as to narrative studies.Three major thoughts foster this research: first the concept of counterpoint of Edward Said, seen in its dialogical dimension, the social approach to language in Voloshinov/Bakhtin, that presides to developments on dialogism, and the political approach to literature of Jacques Rancière, that casts a new light on now traditional benefits of “estrangement”. It is thus, without leaving the tenuous zone where esthetic forms meet social forms that my dissertation spans the most actual debates in Francophone studies
Books on the topic "Polyphonic narrative"
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Jünke, Claudia. Die Polyphonie der Diskurse: Formen narrativer Sprach- und Bewusstseinskritik in Gustave Flauberts Madame Bovary und L'éducation sentimentale. Königshausen & Neumann, 2003.
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Polyphony in fiction: A stylistic analysis of Middlemarch, Nostromo, and Herzog. Peter Lang, 2008.
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Newsom, Carol A. Plural Versions and the Challenge of Narrative Coherence in the Story of Job. Edited by Danna Nolan Fewell. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199967728.013.19.
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Seen through the lens of cultural memory, the canonical book of Job is only one of many versions of the story, and by no means the most popular. Some of the versions of Job predate the canonical book and continue alongside it. Later versions, created in response to changing religious and cultural conditions, may draw on both written and oral tales. Other authors adapt aspects of the Job tradition into new artistic compositions. While most stories reduce the plurality of possibilities to one in the effort to tell their own version, the canonical book of Job is unique in drawing specific attention to the plurality of Job stories through its polyphonic technique of storytelling, generated in part by juxtaposing different genres in one work.
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Polyphonic World of Cervantes and Dostoevsky. Lexington Books/Fortress Academic, 2017.
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Die Polyphonie Der Diskurse: Formen Narrativer Sprach- Und Bewusstseinskritik in Gustave Flauberts Madame Bovary Und L'Education Sentimentale (Epistemata). Konigshausen & Neumann, 2003.
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Igl, Natalia. Poetics of Perception. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190457747.003.0009.
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This chapter examines the interrelation of cognitive linguistic principles, specific textual and narrative strategies, and—as a third domain—contemporary poetological positions by means of an analysis of two novels of the German movement “Neue Sachlichkeit.” It sheds light on the strategies of perspectival embedding and points out its relevance for the characterization of modern literary aesthetics. After a first historical outline regarding the key status of perception and perspective in modernist aesthetics, the chapter discusses the cognitive linguistic principle of perspectivization and the inherent potential of multiperspectivity in narrative that results from the constitutive double-layered structure of narrative discourse. This provides the basis to analyze the specific strategies of foregrounding multiperspectivity by means of viewpoint splitting and deictic shift, polyphony and multimodality in two modernist novels by Alfred Döblin and Irmgard Keun that can be understood as strategies of perspectival embedding and addressed as “aesthetics of observation.”
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d'Hubert, Thibaut. New Beginnings. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190860332.003.0004.
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Chapter 3 looks at Ālāol’s early literary career and the evolution of his concerns and style during a period that stretches over ten years, between 1651 and 1661. It is the occasion to highlight connections between themes treated in his poems and contemporary events that marked the end of the Golden Age of Arakan. To keep track of his aesthetic and poetic choices, I translate and analyze short lyric poems inserted in his otherwise narrative texts. This allows us to follow the themes and stylistic features that characterize each period of his literary career to offer both textual and contextual motivations to interpret the orientation of his oeuvre. The overarching argument that ties together Chapters 3 and 4 lies in the shift from lyricism and cultural polyphony to didacticism and the exclusive recourse to Persian literary models.
Book chapters on the topic "Polyphonic narrative"
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Axelrod, Mark. "Narrateur, Narratrice: Polyphonia in Laclos’ Les Liaisons Dangereuses." In No Symbols Where None Intended. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137447326_2.
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Spiridon, Monica. "Torn halves: Romantic narrative fiction between homophony and polyphony." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 2008. http://dx.doi.org/10.1075/chlel.xxiii.28spi.
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"REPRESENTING INTERSUBJECTIVITY: POLYPHONIC NARRATIVE TECHNIQUES." In Ideologies of Identity in Adolescent Fiction. Routledge, 2012. http://dx.doi.org/10.4324/9780203900956-7.
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Migliore, Ico. "New Narrative Spaces." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2823-5.ch012.
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In exhibition design, and in the museum field in particular, the challenge of the designer consists of facing the complexity of reality by interweaving contents that they must reshape, giving them a narrative pace. The result of this recasting is a narrative museum. This is a concept that the author has developed through in-depth research and has implemented in actual museum projects in recent years. Conceived as a reaction against and opposition to the type of design used in the cases of the nail-in-the-wall museum and the funfair museum, the narrative museum makes the user the active protagonist of an interactive multimedia diorama. Presenting his perspective on this issue, the author argues the possibility of a polyphonic project, in which spaces are defined beyond forms with the aim of activating new usage patterns, placing an emphasis on the narrative quality of the place in directing the project.
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"Developing a Relational Narrative about Diabetes: Towards a Polyphonic Story." In Voices of Illness: Negotiating Meaning and Identity. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004396067_013.
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El Shakry, Hoda. "The Polyphonic Hermeneutics of Assia Djebar’s L’amour, la fantasia." In The Literary Qur'an. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286362.003.0005.
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Chapter 4 examines Assia Djebar’s (1936–2015) celebrated 1985 novel L’amour, la fantasia [translated as Fantasia: An Algerian Cavalcade]. The work is a palimpsest of texts that weaves together: French archival records and eyewitness accounts of the occupation of Algeria in the 1830s, oral histories recorded in Algerian dialect and Tamazight by women involved in the war of independence from 1954 through 1962, as well as Djebar’s personal memories and reflections. The chapter argues that Djebar models a practice of ethical reading [ijtihād] in her re-narration of official histories and archives—colonial, national, as well as Islamic. It resituates L’amour, la fantasia, outside of the postcolonial, feminist, and Francophone critical paradigms that dominate the copious scholarship on her work. However, rather than reading gender and language as external to Qurʾanic intertextuality, the chapter emphasizes how they inform and shape Djebar’s narrative ethics—largely through the novel’s insistence on orality and embodiment.
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"16. Orality In Livy’s Representation Of The Divine: The Construction Of A Polyphonic Narrative." In Sacred Words: Orality, Literacy and Religion. BRILL, 2011. http://dx.doi.org/10.1163/ej.9789004194120.i-415.85.
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"Einleitung." In Narrative Polyphonie. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110668810-001.
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"1 Narrative Polyphonie und ihre literaturtheoretischen Voraussetzungen." In Narrative Polyphonie. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110668810-002.
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"2 Grundzüge polyphonen Erzählens." In Narrative Polyphonie. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110668810-003.
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