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1
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.
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SARNOU, Dallel. "The Polyphonic, Dialogic Feminine, Narrative Voice in Anglophone Arab Women’s Writings." Rupkatha Journal on Interdisciplinary Studies in Humanities 8, no. 3 (2016): 202–12. http://dx.doi.org/10.21659/rupkatha.v8n3.21.
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Lugo, Victoria, and Carol Gilligan. "Narratives of Surviving and Restoration: “Here I Am a Total Llanera Woman”." Qualitative Inquiry 25, no. 9-10 (2018): 1091–100. http://dx.doi.org/10.1177/1077800418809125.
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This article is about survival and resistance in the context of armed conflicts, such as the one in Colombia. The story of Anna, a “Total Llanera woman” was constructed during the inquiry “Narratives of Surviving and Restoration” conducted in Manizales, Colombia. Working within a socioconstructionist framework and with narrative therapy assumptions, the inquiry was designed to comprehend the survival process of people affected by the armed conflict, through a narrative and action research process. The story of Anna was analyzed using the Listening Guide Method, which intended to offer a way of tuning into the polyphonic voice of another person. The voices identified were enduring, caring, fighting, and what’s not right. The article presents the analysis of each voice and also the movement, the tensions, the harmonies and the dissonances between the different voices.
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Hattingh, M. "Die stoetmeester van Etienne van Heerden: gesigte van ’n gestorwe siener." Literator 16, no. 2 (1995): 79–94. http://dx.doi.org/10.4102/lit.v16i2.614.
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Etienne van Heerden’s Die stoetmeester: visions of a dead prophetAlthough the title indicates that Van Heerden's fourth novel tells the story of a stud-master, the narrative structure shows how one personal history implicates a variety of other stories. In this way the novel illustrates how subjectivity interacts with the narratives of history and of culture. The dominant focalizer in the novel is a deceased Afrikaner attorney, Siener (meaning prophet), who is reviewing the circumstances leading to his death. His exceptional narrative position entitles him to go back in time and enter the thoughts of all the characters involved. The result is a polyphonic display of voices and stories. In this article the question is posed whether the narrative position of the novel as a post-modern critique of truths and certainties can be reconciled with Siener’s explicit display of political preferences. Ultimately Van Heerden’s novel illustrates the Afrikaner author’s struggle for moral authority in the present transitional era.
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Tidei, Mariana. "Outras narrativas: Imagens da Copa a partir do projeto Offside Brazil." Cadernos Benjaminianos 13, no. 1 (2018): 111. http://dx.doi.org/10.17851/2179-8478.13.1.111-125.
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Resumo: O presente trabalho tem como objetivo discutir, a partir do projeto Offside Brazil, a produção de narrativas dissonantes em meio ao que se configurou como um megaevento colonizador que constituiu a Copa do Mundo de 2014. Em um momento de comunicação em rede sob o capitalismo informacional, notamos como a disputa pelo espaço urbano também se desdobra em uma disputa por narrativas com grande ênfase ao impacto das imagens disseminadas nesse processo. Portanto, esse trabalho busca pensar o potencial político das imagens em constituir um campo de experiência democrática possível, a partir de uma operação polifônica.Palavras-chave: narrativas; imagem; dissenso.Abstract: This paper intends to discuss, through the Offside Brazil project, the production of dissonant narratives during what has been configured as a colonizing mega-vent as the 2014 Fifa World Cup. At a moment configured by a network communication under informational capitalism, it is noticed how the urban space disputes also corresponds in narrative disputes, with strong emphasis in the images impact that are disseminated in this process. Therefore, this work constitutes an effort to think about the images politic potential in constituting a possible field of democratic experience through a polyphonic operation.Keywords: narratives; image; dissent.
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Cunliffe, Ann L., John T. Luhman, and David M. Boje. "Narrative Temporality: Implications for Organizational Research." Organization Studies 25, no. 2 (2004): 261–86. http://dx.doi.org/10.1177/0170840604040038.
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Our aim is to stimulate critical reflection on an issue that has received relatively little attention: how alternative presuppositions about time can lead to different narrative ways of researching and theorizing organizational life. Based on two amendments to Paul Ricoeur’s work in Time and Narrative, we re-story narrative research in organizations as Narrative Temporality (NT). Our amendments draw upon the temporality perspective of Jean-Paul Sartre in order to reframe narrative research in organizations as a fluid, dynamic, yet rigorous process open to the interpretations (negotiated) of its many participants (polyphonic) and situated in the context and point of enactment (synchronic). We believe an approach to narrative organizational research grounded in NT can open up new ways of thinking about experience and sense-making, and help us take reflexive responsibility for our research.
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Blum-Kulka, Shoshana. "“You gotta know how to tell a story”: Telling, tales, and tellers in American and Israeli narrative events at dinner." Language in Society 22, no. 3 (1993): 361–402. http://dx.doi.org/10.1017/s0047404500017280.
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ABSTRACTThis study explores the degree of cultural diversity in the dinner-table conversation narrative events of eight middle-class Jewish-American and eight Israeli families, matched on family constellation. Conceptualized in terms of a threefold framework of telling, tales, and tellers, the analysis reveals both shared and unshared narrative event properties. Narrative events unfold in both groups in similar patterns with respect to multiple participation in the telling, the prevalence of personal experience tales, and the respect for children's story-telling rights. Yet cultural styles come to the fore in regard to each realm as well as their interrelations. American families locate tales outside the home but close in time, ritualizing recounts of “today”; Israeli families favor tales more distant in time but closer to home. While most narratives foreground individual selves, Israeli families are more likely to recount shared events that center around the family “us” as protagonist. In modes of telling, American families claim access to story ownership through familiarity with the tale, celebrating monologic performances; but in Israeli families, ownership is achievable through polyphonic participation in the telling. (Ethnography of communication, language and culture, conversation analysis, folklore, narrative).
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Vilela, Lúcia Helena De Azevedo. "Voice and choice: a study of polyphony and its relation to the problem of free will in William Goldin’s Free fall." Estudos Germânicos 8, no. 1 (1987): 53. http://dx.doi.org/10.17851/0101-837x.8.1.53a.
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In this study of William Golding’s Free fall, the polyphonic structure of the novel is analyzed through the stylistic marks that separate different and opposing voices incorporated in the narrator's discourse: Since the narrator is also the protagonist, those voices are a reflection of the central character's perspective of events at different phases of his life, the philosophical questioning of the problem of free will is what moves the central character's retrospective examination of his life. So the present work also includes an analysis of the philosophical frame that underlies his transition from a naive to a mature viewpoint. The stilistics analysis of the mix of discourses in the central character's narrative is based on Mikhail Bakhtin's dynamic view of the polyphonic novel. Bakhtin's polyphonic structure is here associated with Sartre's existential philosophy, the central character of Free fall is analyzed as a consciousness in the process of defining itself through moral choices associated with the events narrated; it has been possible to link Bakhtin's and Sartre's ideas since both theoreticians see man in a process of becoming.
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Olsvik, Alexandra. "Unsettling intimacies:Re-cognizing ecological relations with the work of Jean Clandinin." Alberta Academic Review 4, no. 1 (2021): 10. http://dx.doi.org/10.29173/aar130.
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 For Jean Clandinin, narrative inquiry is not about being but becoming and as such posits knowledge as a continuous, non-teleological process rather than a static object. Experiential knowledge, for Clandinin, then, is intimately bound up with the vicissitudes of lived experience. If stories make meaning from experience, they open up an imaginative space through which researchers can come to understand experience as well as the knowledge that emerges from it or re-cognize such. Inquiring into experiential knowledge through narratives is valuable for research, and particularly for research that engages ecological crises, because it enables a more robust, nuanced view of life—both human and nonhuman—to emerge. Further, as Clandinin’s work reconfigures the role of the researcher, it unsettles hierarchical assumptions within the research space, allowing for collaboration, polyphonic texts, and reconfigured understandings to emerge. Clandinin’s work troubles dominant narratives about knowledge that presuppose conceptual reification and mastery. As such, narrative inquiry has the potential to support research that is interested in reconfiguring relationships between human and non-human “nature” in ways that do not necessarily fit into dominant narratives about knowledge in education. Using a framework informed by contemporary eco-criticism and trauma theory, I consider how narrative inquiry might offer reparative methods for educational research that engages ecological crises. As narrative inquiry aims to honour the particularity of experience and promote growth without assimilating plurality into an objective singularity, its methods have the capacity to provide insights into ecological relations that are critical, self-reflexive, and ethically responsive.
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Angeli, Silvia. "‘A polyphonic tale’: Arendt, Cavarero and storytelling in Sarah Polley’s Stories We Tell (2012)." Empedocles: European Journal for the Philosophy of Communication 12, no. 1 (2021): 75–89. http://dx.doi.org/10.1386/ejpc_00029_1.
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This article proposes a reading of Sarah Polley’s Stories We Tell (2012) through the work of Hannah Arendt and Adriana Cavarero. Far from being a simple homage to her late mother Diane, Polley’s film is a ‘polyphonic tale’, a complex and multi-layered narrative which allows for an exploration of the many functions of (cinematic) storytelling. Highlighting the close link between relating narratives and personal identity, the film sheds light on both the innate desire for biography that characterizes us as human beings and the complex and dynamic relationship between storytellers and listeners. The way we tell stories affects the narrator(s), their audience and the fabric of the story itself in a process that ensures both continuity and change. Referring to Arendt’s notion of political storytelling, I conclude by suggesting that Stories We Tell, like the Greek polis, functions as an ‘organized remembrance’, a community whose purpose is to preserve fragile human deeds and words from oblivion.
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Thalhofer, Florian, Judith Aston, and Stefano Odorico. "Enacting polyphony." Alphaville: Journal of Film and Screen Media, no. 15 (October 9, 2018): 106–12. http://dx.doi.org/10.33178/alpha.15.07.
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Florian Thalhofer is a documentary filmmaker and the inventor of Korsakow, a software to create a new form of film and a principle to create a new kind of story. Florian’s system allows video makers to create nonlinear and interactive films and to tell stories through a number of links generated by keywords. Thalhofer’s Korsakow films include Planet Galata and The Other Fun Stuff. Starting from a SNU (Smallest Narrative Units, as he calls them) his film are polyphonic representations of our world. Florian gave a keynote at the first i-Docs Symposium in 2011, and has been an active and deeply committed member of the i-Docs community ever since.
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Bertrand, Ingrid. "Genesis plural." English Text Construction 8, no. 2 (2015): 194–206. http://dx.doi.org/10.1075/etc.8.2.03ber.
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This article is devoted to Jenny Diski’s polyphonic rewriting of the biblical myth of Abraham and Sarah in Only Human: A Divine Comedy (2000). It shows how this subversive novel, through its juxtaposition of two competing narrative voices – an unidentified human narrator and God himself –, challenges the omniscience and transcendence usually attributed to God, but also the power of his creative Word, and launches a reflection on storytelling and truth, presenting thereby an “only human” Bible.
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Rautajoki, Hanna, and Matti Hyvärinen. "Aspects of voice in the use of positioning in polyphonic storytelling: Ventriloquial moves within a biographical interview." Journal of Interdisciplinary Voice Studies 6, no. 1 (2021): 55–73. http://dx.doi.org/10.1386/jivs_00037_1.
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This article investigates the rhetorical use of voices and ventrilocution in occasioned storytelling. We explore the use of external voicing in the narration, arguing that to understand voice as an argumentative resource, it is important to include both material and metaphoric aspects of voice. Our article explicates the differences and relations between these two aspects in a polyphonic life story interview. The material voice involves the acoustic sphere of communication: prosody, intonation and tone, whereas the metaphoric voice is commonly understood as a marker of subjectivity or group interests. We juxtapose the latter ‘representative’ interpretation of voice by applying Richard Walsh’s recent theory of metaphorical levels of the voice. Our material consists of a biographical interview with a 92-year-old woman accompanied in the situation by her daughter. The daughter interferes in the interview by telling competing stories about the family past. To unravel the rhetorical moves in the interview, we apply the concept of ventriloquism and the theory of narrative positioning. Our analysis demonstrates how the purposeful use of the material voice transports and signifies metaphoric voices as characters, actors and identities are negotiated in turn-by-turn unfolding narration.
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Radovic, Stanka. "Creole Language and Space: Entertaining Patrick Chamoiseau's Texaco." Nottingham French Studies 56, no. 2 (2017): 139–50. http://dx.doi.org/10.3366/nfs.2017.0176.
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My essay explores Martinican writer Patrick Chamoiseau's novel Texaco (1992) and its idea of a multilingual collective space where the communal resilience of the former slave population finds its expression in the productive encounter between Creole and French. Chamoiseau's revisionary historical novel counters the official history of colonial dislocation with the celebration of infiltration and squatting through which unauthorized communities, languages and histories demand to be accommodated. The linguistic and spatial assertion of the Creole community suggests that its place depends, to a large extent, on the narrative inscription of its communal experience. The very real economic limitations of the slum community do not amount to a flawed or incomplete sense of identity but trigger, instead, a collective struggle for group identity and collective ownership of space and self through the vibrancy and resourcefulness of multilingual and polyphonic narration.
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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 (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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Leach, Elizabeth Eva. "Death of a Lover and the Birth of the Polyphonic Ballade: Machaut's Notated Ballades 1––5." Journal of Musicology 19, no. 3 (2002): 461–502. http://dx.doi.org/10.1525/jm.2002.19.3.461.
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This article examines a group of five ballades which stand at the very opening of those set to music in the Machaut manuscripts. The importance of manuscript order to arguments about chronology has led to the neglect of order's role in the construction of meaning. While they are ostensibly individual lyric items, Machaut's first five music ballades collectively outline a very cogent narrative, from theje-lover's declaration of love to his death from refusal. In parallel with such an amorous progress, there is a poetic and musical progress as the authorial persona of the poet-composer poses and solves problems of formal musical organization, ultimately narrating a parallel (and arguably equally fictive) story of the creation of the polyphonic ballade. The duplication of one of these five ballades within several of the central Machaut sources is viewed as an invitation to read parallels between the opening five ballades in the music section and the opening 11 ballades in the music-less lyric section, the Loange des dames. Between them, the openings of these sections explain the emotional and professional situation of a writer whose very success as a poet-composer almost requires his je's failure as a lover-protagonist.
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Schmidt, Andreas. "Ein rechtsfreier Raum? Die legale Situation auf den Färöern im Spiegel der ‚Færeyinga saga‘." Das Mittelalter 25, no. 1 (2020): 30–45. http://dx.doi.org/10.1515/mial-2020-0004.
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AbstractThe chapter argues for a more nuanced and empirically based understanding of the discourse on law and socio-cultural norms in Old Icelandic literature on the grounds of a narratological reading of ‘Færeyinga saga’ as a case study. It has often been claimed that Icelandic sources express an ideal of freedom based on communality as guaranteed by the law. By contrast, ‘Færeyinga saga’ represents a cynical discourse on power politics that renders law as an invariable concept obsolete and works solely on the principle that ‘might is right’. This cynicism, however, is presented in a form that leaves the narrative open to interpretation, showing that regardless of its possible dating, narrative literature can serve as a starting point for social discussion. Consequently, the discourse on law in medieval Iceland must be perceived as more polyphonic than has been allowed for by previous unifying readings in scholarship.
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Lapadat, Judith C., Lonni Bryant, Marja Burrows, et al. "An Identity Montage Using Collaborative Autobiography." International Review of Qualitative Research 1, no. 4 (2009): 515–39. http://dx.doi.org/10.1525/irqr.2009.1.4.515.
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As counsellors, educators, and helping professionals in small communities, we were curious about the relationship between personal and professional identity. We wondered how people like ourselves negotiate role, view our contributions, and construe our place in history. Working within a narrative inquiry paradigm, our approach was both autoethnographic and collaborative. Each of us contributed a piece of autobiographical writing, and we pooled the texts for thematic analysis. Using polyphonic montage, we compare two of the analyses, and interpret what they reveal about identity and role. Through telling and hearing stories of experience, we have pieced together autoethnographic texts to speak beyond the self about a vision of community and making a difference.
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Malloy, Judy. "From Ireland with letters." Convergence: The International Journal of Research into New Media Technologies 24, no. 3 (2016): 289–304. http://dx.doi.org/10.1177/1354856516675255.
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Intertwining Irish history and generations of Irish American family histories in a work of polyphonic electronic literature based on the rhythms of ancient Irish Poetry, the imagined lost Irish Sonata, streams and fountains, and Irish and Irish American song, From Ireland with Letters (2010 - 2016) is an epic electronic manuscript told in the public space of the Internet. Situating the work in the contexts of Irish public literature and of public electronic literature, this paper explores both the work itself and issues of public electronic literature and in the process both divulges little known Irish American histories and suggests the potential for the public literature telling of narrative and poetry on the Internet.
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Zheng, Guangjie. "Children’s historical narrative of the early XXI century (based on the story “The Ghost of the Network» by Tamara Kryukova)." Neophilology, no. 26 (2021): 328–34. http://dx.doi.org/10.20310/2587-6953-2021-7-26-328-334.
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In the core of the research is a modern Russian historical narrative for children. On the example of the historical adventure fiction “The Ghost of the Network” written by Tamara Kryukova the work identifies and describes the main characteristics of this type of narrative due to the trends in modern children’s literature, features of modern teenagers’ world perception, changed conditions of social life, etc. The artistic narrative is analyzed in the mainstream of discursiveness due to its open and fluid nature, the cultural and historical nature of the narrative artistic discourse and its inclusion in a wide cultural and discursive context, the polyphonic nature of the stories that form the basis of the narrative discourse of Tamara Kryukova’s children story “The Ghost of the Network”, which covers almost 700 years old and takes the reader to the distant era of Ancient Russia, the main “ingredients” of the historical narrative include the author’s fantasy in the form of a ghost from ancient history, which frightens a scientist who finds himself on a night highway, completely deserted by a mystical coincidence. The leading method is narrative analysis. Thematic and discourse analysis is used as an auxiliary method. In the course of the study, conclusions are drawn. The work reveals the features of a modern children’s historical narrative, combining elements of an adventure-fantasy genre, interweaving the past and the present, history and fiction, taking into account the peculiarities of a modern teenager, living not only in real, but also in virtual space. The enrichment of this story allows the authors to achieve cultural and historical continuity, give the text a semantic dimension, educational meanings, and include modern linguocultural national knowledge in it.
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Pavlovic, Aleksandar. "A bloodthirsty tyrant or a righteous landlord? Smail-aga Cengic in literature and oral tradition." Bulletin de l'Institut etnographique 69, no. 1 (2021): 109–24. http://dx.doi.org/10.2298/gei2101109p.
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The 1840 murder of a notable 19th century Bosnian dignitary Smail-aga Cengic immediately inspired strong artistic production in the South Slav literature and oral tradition. These narratives, comprising newspaper articles, oral epic songs, and particularly Ivan Mazuranic?s literary epics written in the manner of oral folk epic, presented and codified Smail-aga as a bloodthirsty tyrant whose ultimate aim was to terrorize and extinct his Christian subjects. In distinction, some marginalized local narratives and oral folk tradition, which will be examined in this article, remembered Smail-aga as a righteous and merciful lord, protector of his flock and a brave warrior. Thus, when we scrutinize several versions of oral songs about the death of Smail-aga recorded between 1845 and 1860, as well as later collected anecdotes from his native Herzegovina, it appears that his hostile portrayal in written literature was rather the contribution of the Serbian and Croatian Romantic nationalists around the mid- 19th-century than an actual popular perception of him among local people in the region that he lived with. In conclusion, the article advocates for a wider consideration of the overall polyphonic narrative tradition and the revitalization of traditional narratives that glorify values which transcend strict religious, ethnic and national divisions as a way of reimagining and revaluating relationship of the South Slavs towards the Ottoman heritage.
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Torchin, Leshu. "MEDIATION AND REMEDIATION." Film Quarterly 68, no. 1 (2014): 32–41. http://dx.doi.org/10.1525/fq.2014.68.1.32.
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In L’image manquante/The Missing Picture (Rithy Panh, 2013), Rithy Panh continues his exploration of the Cambodian genocide. Combining Khmer Rouge propaganda films, contemporary video footage and painted clay figurines in stunningly crafted—often multimedia—dioramas, the documentary couples ruminations on mediation, trauma, and history with Panh’s personal story. However, the film reaches beyond individual narrative and reflection, functioning as cinematic witness as it counters silences, fills historical gaps, and provides a testimony that is polyphonic and collective. And through his deployment of clips from his former films, Panh creates a sedimented text, suggestive of a past that refuses to stay past and of the magnitude of history, where any production of memory can both preserve and veil the lives of others.
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Rankin, Susan. "The Divine Truth of Scripture: Chant in the Roman de Fauvel." Journal of the American Musicological Society 47, no. 2 (1994): 203–43. http://dx.doi.org/10.2307/3128878.
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The Roman de Fauvel-a satirical tale of the rise and fall of a vice-ridden beast-was begun in the last years of the reign of Philip "le Bel" (d. 1314). Intended as an allegory of the French royal court, the version preserved in Paris, Bibliothèque Nationale, fonds fr. 146 renders the references to specific persons and events more explicit and pointed. This was achieved through the inclusion of an expanded French narrative, illustrations, and 169 musical pieces-monophonic and polyphonic, French and Latin. This study examines one category of musical pieces, those based on liturgical chant. The nature of those pieces-their identity as chants if they are liturgical, their relation to chant if they are not-and the reasons for their inclusion are explored.
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Kujawa, Izabela. "Semantische Kämpfe im Kampf um die Wähler. Zur diskursiven Konstruktion rechtspopulistischer Deutungsmuster." Lublin Studies in Modern Languages and Literature 45, no. 2 (2021): 107. http://dx.doi.org/10.17951/lsmll.2021.45.2.107-117.
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<p>The struggle to establish certain patterns of interpretation in collective social knowledge is fought by means of semantics. Collective knowledge and at the same time certain meanings are linguistically constructed. In this respect, a “dispute about the matter” can be viewed as a “dispute about words”, that is, a semantic battle (Felder, 2006, p. 1). In this sense, power is exercised through semantics. The subject of this paper is the analysis of the right-wing patterns of interpretation in the political discourse of the 21st century, in fact polyphonic first-person narrators, an attempt at capturing its typical features and at reconstructing the right-wing political narrative on the nation/Volk promoted by politicians during their meetings with voters. </p>
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JACQUELIN, ALICE. "Réalismes déclinistes du polar français contemporain : Nicolas Mathieu, Colin Niel, Antonin Varenne." Australian Journal of French Studies 58, no. 2 (2021): 137–50. http://dx.doi.org/10.3828/ajfs.2021.12.
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The detective novel has long been described as a form of “authentic” realistic literature (Collovald et Neveu). However, this article analyzes how three contemporary French crime novels—Aux animaux la guerre by Nicolas Mathieu (2014), Seules les bêtes by Colin Niel (2017) and Battues by Antonin Varenne (2015)—challenge and reappropriate conventions of realism. The three country noir novels follow in the lineage of two important traditions of realism, nineteenth-century French classical realism (Dubois) and the social realism of the 1970s and 1980s “néo-polar” (Desnain). Yet rather than anchoring the novels in familiar territory, the authors blur topographical references, create a polyphonic narrative structure and set a horrific tone to provide symbolic and political commentary. The novels thus borrow from magic realism to depict a declining rural and working-class world.
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Vladiv-Glover, Slobodanka. "The Metaphysical Dimension of Dialogicity." Dostoevsky Journal 17, no. 1 (2016): 76–91. http://dx.doi.org/10.1163/23752122-01701006.
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In this essay, a theoretical connection is posited between the “third type” of word in Mikhail Bakhtin’s typology of discourse, and the phenomenological gaze as defined by Maurice Merleau-Ponty. Starting from an aesthetic definition of perception, originating in Charles Baudelaire’s “Salon” series on art, the essay goes on to claim that in Dostoevsky’s works, Bakhtin uncovered the representation of the process of perception, encapsulated in the representation of “the word” (slovo) as a function of the unconscious processes of language. In Dostoevsky’s poetics, this represented word is the word in the stream-of-consciousness of his fictional characters which defines the embedded narrative structure of the polyphonic novel. However, Dostoevsky’s dialogic word, as described by Bakhtin, is an on-stage embodiment of dialogicity in the communication situation. This dialogic word transcends the structural dimension of narrative. The point of view, which Bakhtin describes as the entire mental orientedness («цeльнaя дуxoвнaя уcтaнoвкa») of the speaker, belongs to the phenomenology of “the gaze,” which is outlined in aesthetics and poststructural (psychoanalytic) theory as the salient feature of representation in the art and literature of modernity.
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Baker, Alison. "Battle for truth: poetic interruptions into symbolic violence through sound portraits." Qualitative Research Journal 19, no. 1 (2019): 29–40. http://dx.doi.org/10.1108/qrj-d-18-00043.
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PurposeRacialised misrepresentation circulated en masse can be understood as a form of symbolic and cultural violence. Such misrepresentations create a dominant cultural narrative that positions people of African background as violent and troubled and therefore incompatible with Australian society. Young people from various groups have been using arts-for-social-change to challenge and dismantle these imposed misrepresentation and reconstruct narratives that reflect their lived experiences. The purpose of this paper is to explore sound portraits, both the process and product, by tracing the journey of New Change, arts collective comprised of young women of African heritage, who have been pushing for social change.Design/methodology/approachThis collaborative research mobilises arts methodologies, bringing together sound arts, audio documentary and narrative research methods. Data gathering included arts artefacts and interviews with the young women and sound recordings from news media to craft a sound portrait entitled “Battle for truth”.FindingsBattle for Truth is a sound portrait that serve as the findings for this paper. Sound portraits privilege participants’ voices and convey the complexity of their stories through the layering of voices and other soundscapes. This sound portrait also includes a media montage of racialised misrepresentation.Social implicationsThrough their restorying, sound portraits are a way to counter passive and active forgetting and wilful mishearing, creating a space in the public memory for polyphonic voices and stories that have been shutout. Sound portraits necessitate reflexivity and dialogue through deep listening, becoming important sites for reimagining possibilities for social change and developing new activist avenues.Originality/valueThis paper brings together sonic methods, liberation arts and social justice perspectives to attend to power, race, gender and voice.
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Madhusudhanan, Manchusha. "Revoking Besieged Memories: Scanning Modes of Memory in Alexis Wright’s Carpentaria." SMART MOVES JOURNAL IJELLH 8, no. 6 (2020): 67–76. http://dx.doi.org/10.24113/ijellh.v8i6.10631.
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The dominant history of Australia has always reflected the beauty and abundance of its aboriginal world,in dim light. An analysis of the literary canon too proves this lack of acknowledgement and understanding, of the native ways of life and identity formations. Carpentaria by Alexis Wright challenges the very notion of history as a single strand of chronologically ordered set of events. When besieged memories are evoked new traces of memory surface shedding new light on the past. It initiates a process rewriting history. Postmodern historiography today accepts the subjectivity and literariness of histories. Only a thin line exists between history and fiction. In a nation’s narrative, memory is a trope that foregrounds the polyphonic voices of the nation. The imaginary town of Desperance in Carpentaria is a microcosm of the Australian society. It is here, truth and appropriations crisscross to create a true picture of the Australian society.
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Hermans, Hubert J. M. "CONCEPTIONS OF SELF AND IDENTITY TOWARD A DIALOGICAL VIEW." International Journal of Education and Religion 2, no. 1 (2001): 43–62. http://dx.doi.org/10.1163/1570-0623-90000034.
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In this contribution a dialogical view of self and identity is proposed. With this purpose in mind, a historical overview of some of the main theoretical developments are discussed: Erikson’s identity theory, James’ theory on the self and its expansion in later cognitive and narrative approaches. Particular attention is devoted to the metaphor of the polyphonic novel as proposed by the literary scholar Bakhtin. Instigated by this metaphor, the concept of the dialogical self is developed in which the notion of ‘voice’ is central. It is argued that the dialogical self allows to study not only verbal but also non-verbal aspects of the self and, moreover, opens the realm of collective voices in society. Finally, it is argued that the dialogical self can be considered as a response to post-modern views of self and society which focus on the problem of emptiness and fragmentation.
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Zriba, Hassen. "Managing race relations’ tensions in multicultural societies: a case study of Bradford in Britain." Khazar Journal of Humanities and Social Sciences 17, no. 2 (2014): 5–24. http://dx.doi.org/10.5782/2223-2621.2014.17.2.5.
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Managing cultural differences has become a top priority in many western multicultural societies. Issues of intercultural harmony and social stability loom large in the rhetoric of political governance. Discourses of social cohesion and national unity seem to replace those of multiculturalism and cultural diversity. In this article, I study the discursive consideration of such issues within Britain in general and Bradford city in particular. A critical interpretive perspective is used to scrutinize the linguistic and the discursive strategies employed by a local race-related report Community Pride not prejudice (2001). It is suggested that such report reflected a growing official tendency to prioritize social unity over cultural diversity. It is perceived as the hegemonic dominant reading of the nature of race relations in contemporary Britain at the beginning of the 21st century. Yet, not hegemony is final. Thus, the dominant ideological inscriptions of the report were also read and decoded differently. Community Pride not prejudice was an official narrative of how ethnic residential segregation contributed immensely to the failure of race relations in Bradford. Nevertheless, other counter-narratives questioned its ideological assumptions and revealed its agenda-setting nature. The outcome of such hegemonic and counter-hegemonic readings of the situation was multiple and polyphonic discursive formations so indicative of the pluralistic nature of a society like that of Britain.
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Ferrara, Enrica Maria. "The Reception of Fernando de Roja’s Celestina in Italy: A Polyphonic Discourse." Renaissance and Reformation 40, no. 1 (2017): 91–120. http://dx.doi.org/10.33137/rr.v40i1.28449.
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La Celestina by Fernando de Rojas was published in Spain for the first time in 1499 as a comedy, and as a tragicomedy in 1502. The first Italian translation of the play was published in Rome in 1506 and gave birth to a parallel and complementary textual tradition on which the reception and translation of the play in other modern languages (such as French and German) were based. Given the wide success of Celestina in Italy, this essay focuses on the hybrid genre of the play, which can be placed at the crossroads of comic and tragic genres but also on the boundaries between narrative and theatrical modes of expression. It emphasizes the importance of Celestina’s dialogic, parodic, and polyphonic structure, and its links with Dante’s Commedia and Boccaccio’s Decameron. Building on the “working hypothesis” of a Florentine genesis of Celestina, this essay explores its connection with humanist comedy and with Aretino’s comic-burlesque literature.
 La Celestina de Fernando de Rojas fut publiée en Espagne pour la première fois en 1499 en tant que comédie, puis en 1502, en tant que tragicomédie. La première traduction italienne de la pièce a été publiée à Rome en 1506 et a donné le jour à une tradition textuelle complémentaire et parallèle, laquelle en a par la suite nourri la réception et la traduction en plusieurs langues modernes (en français et en allemand par exemple). Étant donné le grand succès que reçut La Celestina en Italie, cet essai se penche sur le genre hybride de la pièce, qui participe également des genres tragique et comique, et qui, en outre, se situe à la frontière des modes d’expression narratif et théâtral. Ces observations soulignent l’importance de la structure dialogique, parodique et polyphonique de La Celestina, ainsi que ses liens avec la Divine Comédie de Dante et avec le Décaméron de Boccace. De plus, suivant l’hypothèse de travail d’une genèse florentine de La Celestina, cet article explore ses relations avec la comédie humaniste et la littérature comique-burlesque de l’Arétin.
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Kleden, Leo. "Wahyu Alkitabiah dalam Tinjauan Hermeneutika Ricoeur." Jurnal Ledalero 19, no. 2 (2020): 169. http://dx.doi.org/10.31385/jl.v19i2.213.169-184.
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<p><em>This article attempts to explain the idea of revelation in the Scripture according to Paul Ricoeur's hermeneutic philosophy. This paper consists of two parts. The first part describes the theory of text in Ricoeur's hermeneutics. Ricoeur's most important contributions to this section are his description of threefold semantic autonomy: semantic autonomy with respect to the author's subjective intention outside the text, semantic autonomy with respect to the original cultural context in which the text was written, and semantic autonomy with respect to the original audience or addressee. An important consequence of semantic autonomy is that interpretation of a text is never reproductive but productive. The second part explains that the language of Scripture is much more like poetic language than scientific language. Poetic language is the language of disclosure, which expresses a deeper dimension of reality. The next five literary genres in the Scriptures are discussed, through which divine revelation is expressed: namely, narrative, prophetic, prescriptive, wisdom and hymnic genre. With that Ricoeur shows the richness of biblical revelation in its various dimensions, which together form “a polysemic and polyphonic concept of revelation”.</em></p><strong>Keywords</strong>:<em> text, discourse, literary genre, semantic autonomy, revelation, narrative, hymn</em>
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MAGAGNIN, Paolo. "A CITY THAT NEVER EXISTED: XIAO BAI’S LITERARY REMAKING OF 1931 SHANGHAI." JOURNAL OF ARCHITECTURE AND URBANISM 41, no. 2 (2017): 92–100. http://dx.doi.org/10.3846/20297955.2017.1294119.
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This article provides an account of the literary recreation of the semi-colonial Shanghai of 1931, carried out by the Chinese contemporary author Xiao Bai in his 2011 novel Zujie. It also includes the features and implications of such an operation. Critically praised as a turning point in contemporary Chinese fiction about old Shanghai, the novel appears to transcend genre categories, and was welcomed as a heterogeneous “third type” crossing the boundaries between genre fiction and pure literature. Inspired by historical facts and supported by painstaking archival research, Zujie originally incorporates a variety of literary models, narrative techniques, sources, genres, themes, and perspectives. The heterogeneity at play in the novel can be essentially scrutinised at three levels. Such levels are: the debate on the genre as it emerges from a number of paratextual sources; the treatment of historical factuality and its relationship with fictional creation; the use of polyphonic devices, with reference to the portrayal of hybrid characters, deliberately disorienting narrative techniques, and a re-elaboration of imported and domestic sources and literary models that plays havoc with the very notions of foreignness and identity. Xiao Bai’s original representation of 1930s Shanghai is analysed and commented upon with respect to such factors. Finally, the significance of this multi-layered literary operation and its implications for the reader are highlighted.
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Saltzstein, Jennifer. "Rape and Repentance in Two Medieval Motets." Journal of the American Musicological Society 70, no. 3 (2017): 583–616. http://dx.doi.org/10.1525/jams.2017.70.3.583.
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Two thirteenth-century vernacular motets copied side by side in the Montpellier Codex tell a story of sin and repentance. In one a shepherd rapes a maiden, while in the other a penitent begs the Virgin Mary to forgive a great sin. The music of these two motets is nearly identical: one is a contrafactum of the other, and represents a conscious narrative continuation of the first. This article offers a close reading of this unusual pair of motets, interpreting their texts and polyphonic musical settings in the context of other motets, the pastourelle song genre, their liturgical tenor, the technique of contrafacture, the chanson pieuse, and the intertextual refrain repertory. The two motets constitute a medieval exploration of the boundary between seduction and rape, and the spiritual consequences of its transgression. Having placed the story told by the motets in the context of medieval attitudes toward rape in both legal and pedagogical spheres, I close by reflecting on the ethics of listening to artistic representations of violence for both medieval and modern audiences.
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Kafescioğlu, Çiğdem. "Picturing the Square, Streets, and Denizens of Early Modern Istanbul: Practices of Urban Space and Shifts in Visuality." Muqarnas Online 37, no. 1 (2020): 139–77. http://dx.doi.org/10.1163/22118993-00371p06.
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Abstract Exploring intersections of spaces, practices, and representations of urbanity and the city in late sixteenth-century Istanbul, this paper traces the emergence of a new set of themes centered on the main public square, the streets, and the denizens of the Ottoman capital in illustrated court histories. It considers new visual imaginings of city and urbanity in view of three issues that resonate with the history of early modern Istanbul: modalities and the lexicon of vision as they took shape parallel to changing spatial practices; the making of a new urban public, and polyphonic forms of representation concomitant to the emergence of new publicities; the conflicted political environment that turned the city’s public spaces into arenas of contestation in the later decades of the 1500s. To this end, the article focuses on narrative paintings and texts of a set of manuscripts created between the late 1580s and the turn of the seventeenth century, and with particular attention to the Sūrnāme-i Humāyūn (Book of Festivities, 1588), explores the notions and connections that shaped them.
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Poinsot, Marie. "Polyphonie narrative." Hommes & migrations, no. 1306 (April 1, 2014): 1. http://dx.doi.org/10.4000/hommesmigrations.2785.
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Bramantio, Bramantio. "Kritik Atas Modernitas Dalam Novel Bilangan Fu Karya Ayu Utami." ATAVISME 18, no. 1 (2015): 1–14. http://dx.doi.org/10.24257/atavisme.v18i1.28.1-14.
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Artikel ini bertujuan untuk mengungkap kritik atas modernitas dalam novel Bilangan Fu karya Ayu Utami. Dengan memanfaatkan naratologi Tzvetan Todorov, dapat dipahami aspek verbal Bilangan Fu, yaitu sudut pandang, pencerita, dan tuturannya. Berdasarkan penceritaannya, novel ini merupakan novel polifonik, karnivalistik, sekaligus metafiksi. Berdasarkan kontennya, novel ini menghadirkan sejumlah kritik atas modernitas, khususnya berkaitan dengan semangat modernitas yang cenderung melihat segala sesuatu secara monodimensional, hanya ada satu kebenaran, dan liyan diabaikan. Bilangan Fu merupakan novel yang merefleksikan zamannya. Novel ini berhasil menyegarkan cara pandang masyarakat Indonesia, atau setidaknya menghadirkan sesuatu untuk dipikirkan dan dipertimbangkan kembali, berkaitan dengan diri, lingkungan, dan semesta raya. Novel ini mengembalikan manusia ke hakikatnya, yaitu kemanusiaan. 
 
 Abstract: 
 This article aims to reveal criticism on modernity in Ayu Utami’s novel Bilangan Fu. Tzvetan Todorov’s theory of narrative provided a framework to understand the novel’s verbal aspects, which are point of view, narrator, dan its voice. Based on its narrative, this novel is polyphonic, carnivalistic, and metafictional. Based on its content, it presents criticism on modernity, particularly on spirit of modernity that tends to see everything in monodimensional; there is only one truth, and the other is ignored. Bilangan Fu is a novel that reflects its time. It successfully refreshes the perspective of Indonesian society, or at least brings something to think about, related to the self, environment, and the universe. In the end, it brings back human being to their core, their humanity. 
 
 Key Words: novel; point of view; narrator; criticism; modernity
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Al-Mousa, Nedal. "The Impact of the Lebanese Civil War on Weaving the Texture of the Narrative of Ghada Al-Samman’s Beirut Nightmares." Arab World English Journal For Translation and Literary Studies 4, no. 4 (2020): 238–48. http://dx.doi.org/10.24093/awejtls/vol4no4.17.
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The paper is concerned with examining the impact of the Lebanese civil war on weaving the fabric of the narrative of Ghada al-Samman’s novel Beirut Nightmares (1975). The enormous atrocities and people’s great sufferings brought about by the civil war are filtered through the consciousness of a femrale narrator. The narrator’s self-imposed mission to bear witness to the devastating effect of the civil war on a people and their country is presented in part in diary-like accounts of events. For al-Samman, factual representation of the events of the civil war deemed to be inadequate to portray their tremendous traumatic effect expressed in peoples’ overwhelming sense of dislocation, painful recognition of the superficiality of human ties, and the unmasking of the dark side of human soul. The civil war, I argue, serves as a remarkable fertile ground for invigorating al-Samman’s literary imagination as is well reflected in her employment of a wide range of modes of representation and discourses, including diary-like account of events, fantasy, nightmares, dreams, surrealistic elements, anthropomorphism, and anthropocentrism.That is to the end of portraying the impact of the civil war on the private lives of the individuals in the most effective dramatic manner. This polyphonic strategy, in the terminology of Michail Bachtin, enables al-Samman to rigorously probe the social, political, moral, and psychological effects of the civil war on the micro and the macro levels.
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Florencia Capurro, María. "El discurso herético en Prosas Profanas: ¿secularización o profanación?" (an)ecdótica 5, no. 1 (2021): 149–63. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19788.
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Prosas Profanas y otros poemas by Rubén Darío is built from its initial paratext in a polyphonic way. The title of this collection of poems is based on a negation: the word “profane” is etymologically defined as the negation of religion, which can be understood both in secular and heretical terms. Since all negations imply the incorporation of another’s discourse to be denied, it is possible to affirm that this title encloses the incorporation of a counter-discourse of Christianity. “Ite, missa est” and “El reino interior” are two poems that show how specific genres of the Catholic religion (the mass and the narrative iconography) are subverted to create their own denial. The dialogical relationship between religious discourse and their heretical counter-discourses occurs in Prosas Profanas upon the creation of effects of généricité, since Rubén Darío plays with the limits of highly codified discursive genres. The aim of the following work is to describe how discursive heterogeneity operates as a matrix behind the construction of Prosas Profanas, that is, how it relies on religious discourse in terms of opposition in order to build new meanings of a heretical nature.
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MEDINA, RAQUEL. "Who speaks up for Inés Fonseca? Representing violence against vulnerable subjects and the ethics of care in fictional narrative about Alzheimer's disease:Ahora tocad música de baile(2004) by Andrés Barba." Ageing and Society 37, no. 7 (2016): 1394–415. http://dx.doi.org/10.1017/s0144686x16000337.
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ABSTRACTThis paper studies the 2004 Spanish fictional novel by Andrés Barba,Ahora tocad música de baile, one of the first cultural texts dealing entirely with Alzheimer's disease to appear in Spain. It argues that the significance of Barba's fictional novel rests on two important issues: the ethics of representation of violence against vulnerable subjects and the ethics of care. The paper analyses how these two issues allow Barba to create a story in which the verbal and physical abuse to which the person living with Alzheimer's disease is subjected places the reader, on the one hand, as voyeur/witness of the abuse; and, on the other, as interpreter, and ultimately judge, of the fine line that separates euthanasia, assisted suicide and murder. The open ending of the novel defers all ethical and moral judgement to the reader. It examines how the novel offers a monolithic perspective about Alzheimer's disease, in which care is presented as a burden. In fact, this study shows that the novel's multi-layered structure and polyphonic nature places the emphasis on stigmas, stereotypes and negative metaphors around Alzheimer's disease, as found in contemporary social discourses.
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Green, Jennifer. "Unveiling the storied lives of teachers through qualitative bricolage." Qualitative Research Journal 18, no. 4 (2018): 316–29. http://dx.doi.org/10.1108/qrj-d-17-00004.
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Purpose The purpose of this paper is to explore the storied lives of teacher leaders involved in the implementation of a dual language education program for elementary English learners with an emphasis on the role of reflexive methodology in bringing emergent themes to light. Design/methodology/approach The theory of qualitative bricolage informed the design of the study. Narrative inquiry with a heuristic lens allowed the researcher to explore the storied lives of teachers during an innovative change initiative. Findings Intergroup communication breakdowns between two diverse groups of teachers, European American and Latino, emerged as a relevant theme. The adaptive methodological approach was critical to the emergence of this theme, indicating that teacher leadership can and should be studied by teachers who know and empathize with the participants and their experiences. Research limitations/implications Teachers’ stories demonstrate that cross-cultural communication was challenging and ultimately, detrimental to the program’s development. These themes point to the need for further research regarding how diverse groups of school leaders interact on decision-making teams and how adaptive research techniques can assist in examining intergroup behavior. Originality/value Findings are presented via a polyphonic account that includes multiple teachers’ voices, concluding with found poetry that illustrates the challenge of communicating across the cultural divide.