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Journal articles on the topic 'The Tell-Tale Heart'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

Janssen, Joris H., Wijnand A. Ijsselsteijn, Joyce H. D. M. Westerink, Paul Tacken, and Gert-Jan de Vries. "The Tell-Tale Heart." International Journal of Synthetic Emotions 4, no. 1 (January 2013): 65–91. http://dx.doi.org/10.4018/jse.2013010103.

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Heartbeats are strongly related to emotions, and people are known to interpret their own heartbeat as emotional information. To explore how people interpret other’s cardiac activity, the authors conducted four experiments. In the first experiment, they aurally presented ten different levels of heart rate to participants and compare emotional intensity ratings. In the second experiment, the authors compare the effects of nine levels of heart rate variability around 0.10 Hz and 0.30 Hz on emotional intensity ratings. In the third experiment, they combined manipulations of heart rate and heart rate variability to compare their effects. Finally, in the fourth experiment, they compare effects of heart rate to effects of angry versus neutral facial expressions, again on emotional intensity ratings. Overall, results show that people relate increases in heart rate to increases in emotional intensity. These effects were similar to effects of the facial expressions. This shows possibilities for using human interpretations of heart rate in communication applications.

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2

Hudgins, Andrew. "The Tell-Tale Heart." Hudson Review 45, no. 1 (1992): 86. http://dx.doi.org/10.2307/3852099.

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3

Nielsen, Henrik Skov. "The Tell-Tale Heart." K&K - Kultur og Klasse 32, no. 98 (September 30, 2004): 11–24. http://dx.doi.org/10.7146/kok.v32i98.21565.

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4

Zannoni, M., G. Ricci, F. Pratticò, R. Codogni, C. Tobaldini, S. Puglisi, E. Formaglio, and G. Rocca. "The tell-tale heart." Toxicology Letters 205 (August 2011): S84—S85. http://dx.doi.org/10.1016/j.toxlet.2011.05.312.

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5

Pritchard, Hollie. "Poe's the Tell-Tale Heart." Explicator 61, no. 3 (January 2003): 144–47. http://dx.doi.org/10.1080/00144940309597787.

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6

Chien, Kenneth R. "MicroRNAs and the tell-tale heart." Nature 447, no. 7143 (May 2007): 389–90. http://dx.doi.org/10.1038/447389a.

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7

Veatch, Robert M. "The Not-So-Tell-Tale Heart." Hastings Center Report 41, no. 2 (2011): 4–5. http://dx.doi.org/10.1353/hcr.2011.0030.

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8

Bloom. "In Search of the Tell-Tale Heart." American Journal of Psychology 132, no. 2 (2019): 245. http://dx.doi.org/10.5406/amerjpsyc.132.2.0245.

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9

Valderrábano, Miguel, and Amish S. Dave. "The Tell-Tale Heart (Now, Optically Mapped)." Journal of the American College of Cardiology 56, no. 17 (October 2010): 1395–96. http://dx.doi.org/10.1016/j.jacc.2010.05.042.

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10

Zain, Abd Rahman. "The Comparative Analysis of Affect’s Realisation in The Tell-Tale Heart and The Black Cat Short Stories (Approach: Appraisal System)." E-Structural 2, no. 2 (March 13, 2020): 128–39. http://dx.doi.org/10.33633/es.v2i2.3269.

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Abstract. This study aims to investigate the realisation of affect in Edgar Allan Poe’s short stories entitled The Tell-Tale Heart and The Black Cat. The short stories were analyzed using appraisal system adapted from Martin and White (2005). This study used qualitative method. The data are collected by using content analysis. The data were validated by 3 raters through Focus Group Discussion (FGD). The result shows that the most category of affect in The Tell-Tale Heart short story was “Insecurity: Disquiet” (33,33%). Meanwhile, in The Black Cat short story, the most category of affect was Unhappiness: Antiphaty (22,09%), Insecurity: Disquiet (18,60%), and Inclination: Desire (15,11%).Keywords: affect, appraisal, Edgar Allan Poe, short storiesAbstrak. Penelitian ini bertujuan untuk meneliti realisasi Affect pada cerita pendek Edgar Allan Poe yang berjudul The Tell-Tale Heart dan The Black Cat. Cerita pendek dianalisis menggunakan sistem Appraisal yang diadaptasi dari Martin dan White (2005). Penelitian ini menggunakan metode kualitatif. Data dikumpulkan menggunakan analisis isi. Data divalidasi oleh 3 penilai melalui Focus Group Discussion. Hasil penelitian menunjukkan bahwa kategori Affect terbanyak pada The Tell-Tale Heart adalah “Insecurity: Disquiet” (33,33%). Sementara pada The Black Cat kategori Affect terbanyak adalah Unhappiness: Antiphaty (22,09%), Insecurity: Disquiet (18,60%), dan Inclination: Desire (15,11%). Kata kunci: Affect, Appraisal, Edgar Allan Poe, cerita pendek

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11

Stabile, Susan M. "Tell-Tale Heart: Organ Donation and Transplanted Subjectivities." Biography 34, no. 1 (2011): 132–40. http://dx.doi.org/10.1353/bio.2011.0003.

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12

Kopley, Richard. "Hawthorne's Transplanting and Transforming "The Tell-Tale Heart"." Studies in American Fiction 23, no. 2 (1995): 231–41. http://dx.doi.org/10.1353/saf.1995.0018.

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13

PERSON, LELAND S. "Queer Poe:The Tell-Tale Heart of His Fiction." Poe Studies 41, no. 1 (October 2008): 7–30. http://dx.doi.org/10.1111/j.1754-6095.2008.00002.x.

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14

Tenrisanna, Rasynal. "Defense Mechanisms in E. A. Poe's Selected Short Stories the Black Cat & the Tell-Tale Heart." ELS Journal on Interdisciplinary Studies in Humanities 1, no. 2 (June 26, 2018): 176–83. http://dx.doi.org/10.34050/els-jish.v1i2.4310.

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Defense mechanism is strategies the ego uses to defend itself against the anxiety provoked by conflicts. The aim of the research is to describe the types of defense mechanism in two of Poe’s selected short stories, The Black Cat & The Tell-Tale Heart & to reveal the implementation of characters’ mechanism in solving the conflicts. The research employed a descriptive qualitative method with a psychoanalysis approach Sigmund Freud’s theory of defense mechanism. The data constitute both primary & supporting data. The primary data derived from E. A. Poe’s Selected Short Stories The Black Cat & The Tell-Tale Heart, while the supporting data were taken by means of library research mainly from books, theses, dissertation, electronic articles & journals. The results show that the characters have performed a range of defense mechanisms in Poe’s selected short stories. In The Black Cat & The Tell-Tale Heart stories, the characters are mainly concerned with repression, denial, reaction formation, rationalization, displacement of self-defense. These characters performed a range of defense mechanism in order to resolve the conflicts.

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15

Beatty, Andrew. "The Tell-Tale Heart: Conversion and Emotion in Nias." Ethnos 77, no. 3 (September 2012): 295–320. http://dx.doi.org/10.1080/00141844.2011.609943.

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16

Davis, John, Collins Mbonu, and Matthew Reaven. "THE TELL-TALE HEART: CARDIOEMBOLIC STROKE FROM INTRACARDIAC TUBERCULOMA." Journal of the American College of Cardiology 77, no. 18 (May 2021): 2913. http://dx.doi.org/10.1016/s0735-1097(21)04268-6.

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17

Buonomo, Leonardo. "Echoes of the Heart: Henry James’s Evocation of Edgar Allan Poe in “The Aspern Papers”." Humanities 10, no. 1 (March 19, 2021): 55. http://dx.doi.org/10.3390/h10010055.

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This essay re-examines Henry James’s complex relationship with Edgar Allan Poe by focusing on the echoes of one of Poe’s most celebrated tales, “The Tell-Tale Heart” (1843), that later reverberate in James’s “The Aspern Papers” (1888). It highlights the similarities, both in mindset and behavior, between the two stories’ devious and deranged first-person narrators, whose actions result in the death of a fellow human being. It further discusses the narrators’ fear and refusal of their own mortality, which finds expression in their hostility, and barely contained revulsion against a man (in “The Tell-Tale Heart”) and a woman (in “The Aspern Papers”), whose principal defining traits are old age and physical decay.

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18

Brian Wall. "Narrative Purpose and Legal Logic in “The Tell-Tale Heart”." Edgar Allan Poe Review 14, no. 2 (2013): 129. http://dx.doi.org/10.5325/edgallpoerev.14.2.0129.

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19

Toikkanen. "Auditory Images in Edgar Allan Poe's “The Tell-Tale Heart”." Edgar Allan Poe Review 18, no. 1 (2017): 39. http://dx.doi.org/10.5325/edgallpoerev.18.1.0039.

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20

LeFevre, Karen Burke. "The Tell-Tale "Heart": Determining "Fair" Use of Unpublished Texts." Law and Contemporary Problems 55, no. 2 (1992): 153. http://dx.doi.org/10.2307/1191780.

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21

Nigro, Patrizia, Gianluca Lorenzo Perrucci, Aoife Gowran, Marco Zanobini, Maurizio C. Capogrossi, and Giulio Pompilio. "c-kit+ cells: the tell-tale heart of cardiac regeneration?" Cellular and Molecular Life Sciences 72, no. 9 (January 10, 2015): 1725–40. http://dx.doi.org/10.1007/s00018-014-1832-8.

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22

Gauer, Denis. "The Tell-tale heart de Poe : angoisse et stratégie littéraire." Revue Française d'Etudes Américaines 42, no. 1 (1989): 395–406. http://dx.doi.org/10.3406/rfea.1989.1375.

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23

Rachman, Stephen. ""Here! Here!": Poe and Bruno Coli's "The Tell-Tale Heart"." Edgar Allan Poe Review 10, no. 1 (2009): 36–43. http://dx.doi.org/10.2307/edgallpoerev.10.1.0036.

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24

Nina, Rostina, and Asri Pratiwi Mulandari. "ANALYSIS OF EDGAR ALLAN POE’S THE TELLTALE HEART BASED ON SPEECH ACT THEORY." PROJECT (Professional Journal of English Education) 1, no. 4 (June 30, 2018): 357. http://dx.doi.org/10.22460/project.v1i4.p357-365.

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Abstract This research is analyzing short story “The Tell-tale Heart” by Edgar Allan Poe based on speech act. Speech act consists of categories; representatives, directives, expressive, commissive, and declaratives. Researcher focused on representative speech act. This concerns fictional character of this story as a narrator who utters his belief toward situation he faced. A total of 128 utterances is analyzed and divided into categories of boasting, asserting, stating, informing, claiming, complaining, concluding, criticizing, reporting, describing, suggesting, swearing, and denying. Th result of this research has revealed that 39% representative speech act of reporting category is the most frequently used in the short story while the least including criticizing with 1%. This story is the perfect example of picturing representative speech act while not so many genres do so. By observing some points of utterances, reader will commence to understand the structure of speech act. Keywords:Speech Act, Short Story, The Tell Tale Heart.

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25

Sweeney. "The Horror of Taking a Picture in Poe's “Tell-Tale Heart”." Edgar Allan Poe Review 18, no. 2 (2017): 142. http://dx.doi.org/10.5325/edgallpoerev.18.2.0142.

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26

Dern, John A. "“I knew the sound well”." Edgar Allan Poe Review 22, no. 2 (November 1, 2021): 312–28. http://dx.doi.org/10.5325/edgallpoerev.22.2.0312.

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Abstract Like the Saxon king Alfred the Great, the narrator of “The Tell-Tale Heart” hears “with both his ears.” However, whereas Alfred's chronicler, Bishop Asser, describes Alfred's talent for listening as a complement to the king's eager rationality, the narrator of “The Tell-Tale Heart,” who also hears “with both his ears,” is eager but not rational. He characterizes his acute hearing as a happy byproduct of an unnamed “disease,” arguing that it validates his claim of sanity, but his hearing is actually a vehicle for Poe's irony. While drawing on prior criticism, this article stresses how Poe's artistic control throughout the tale undermines the narrator's pretense of self-control. Thus, where the narrator calmly claims that mysterious vibrations from an old man's “Evil Eye” drove him to murder, Poe ironically emphasizes that sound is the character's undoing, ultimately producing a kind of aural nausea that the narrator re-experiences in the present as he tells an unidentified auditor how he murdered the old man. This nausea is what caused him to spew forth his confession of murder for the police originally and what causes him to do so again in the telling of events for his auditor. Poe particularly displays his artistic control with repetitions, rhetorically mocking the narrator's claim that heightened hearing demonstrates his sanity through the text's insistently repeated versions of the word “ear,” but he also displays his control through the rhetorical device of deixis, which derides the storyteller's inability to separate the narratorial past from the narratorial present.

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27

Shaikh, Arika. "Portrayal of Mental Illness in Edgar Allan Poe’s “The Tell-Tale Heart”." Arsenal: The Undergraduate Research Journal of Augusta University 3, no. 2 (May 4, 2020): 41. http://dx.doi.org/10.21633/issn.2380.5064/s.2020.03.02.41.

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28

Lindsey, Merry L., Richard A. Lange, Helen Parsons, Thomas Andrews, and Gregory J. Aune. "The tell-tale heart: molecular and cellular responses to childhood anthracycline exposure." American Journal of Physiology-Heart and Circulatory Physiology 307, no. 10 (November 15, 2014): H1379—H1389. http://dx.doi.org/10.1152/ajpheart.00099.2014.

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Since the modern era of cancer chemotherapy that began in the mid-1940s, survival rates for children afflicted with cancer have steadily improved from 10% to current rates that approach 80% ( 60 ). Unfortunately, many long-term survivors of pediatric cancer develop chemotherapy-related health effects; 25% are afflicted with a severe or life-threatening medical condition, with cardiovascular disease being a primary risk ( 96 ). Childhood cancer survivors have markedly elevated incidences of stroke, congestive heart failure (CHF), coronary artery disease, and valvular disease ( 96 ). Their cardiac mortality is 8.2 times higher than expected ( 93 ). Anthracyclines are a key component of most curative chemotherapeutic regimens used in pediatric cancer, and approximately half of all childhood cancer patients are exposed to them ( 78 ). Numerous epidemiologic and observational studies have linked childhood anthracycline exposure to an increased risk of developing cardiomyopathy and CHF, often decades after treatment. The acute toxic effects of anthracyclines on cardiomyocytes are well described; however, myocardial tissue is comprised of additional resident cell types, and events occurring in the cardiomyocyte do not fully explain the pathological processes leading to late cardiomyopathy and CHF. This review will summarize the current literature regarding the cellular and molecular responses to anthracyclines, with an important emphasis on nonmyocyte cardiac cell types as well as those that mediate the myocardial injury response.

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29

Rozenman, Michelle, Allison Vreeland, Marisela Iglesias, Melissa Mendez, and John Piacentini. "The tell-tale heart: physiological reactivity during resolution of ambiguity in youth anxiety." Cognition and Emotion 32, no. 2 (February 16, 2017): 389–96. http://dx.doi.org/10.1080/02699931.2017.1289152.

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30

Yusuf, Adi. "Gothic Elements and Psychoanalytic Study in the Tell-Tale Heart by Edgar Allan Poe." EDUCULTURAL: International Journal of Education, Culture and Humanities 1, no. 1 (August 21, 2018): 13–19. http://dx.doi.org/10.33121/educultur.v1i1.23.

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Exploring horrifying events and mental disorder experienced by an actor in a fiction can be one of satisfying activities for the view of reader’s response. This article would present ‘gothic’ elements and the Psychoanalytic Criticism in The Tell-tale Heart by Edgar Allan Poe. The short story was chosen because it was guessed that the narrator underwent mental disorder; he did violents acts till he committed murder. The method used in this study is a descriptive qualitative. The results showed that ‘gothic’ elements found in the story are horror, mystery, and romantic. In addition, the main character gets mental disorder called “schizophrenia”. The main character seems to have mental disorder called ‘schizophrenia’, categorized as “catatonic”. The narrator experiences the four stages of halluciations and delusions: conforting, condemning, controlling, and conquering which deal with “delusion”, and “hallucination”.

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Ibáñez. "Poe's Unity of Effect Called into Question: Revisiting Cortázar's Translation of “The Tell-Tale Heart”." Edgar Allan Poe Review 19, no. 1 (2018): 76. http://dx.doi.org/10.5325/edgallpoerev.19.1.0076.

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KORKMAZ, İnönü. "YAZIN ÇEVİRİSİNE İLİŞKİN ZORLUKLAR: POE'NUN "TELL-TALE HEART" ÖYKÜSÜNÜN YAKIN OKUNMASI VE TÜRKÇE ÇEVİRİLERİNİN İNCELENMESİ." International Journal of Social Humanities Sciences Research (JSHSR) 6, no. 33 (January 1, 2019): 510–26. http://dx.doi.org/10.26450/jshsr.1096.

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33

Asst. Prof., Khalida H. Tisgam. "Investigating Lexical Cohesive Devices in Edgar Allan Poe’s “The Tell-Tale Heart” in Arabic Translation." لارك 1, no. 40 (December 31, 2020): 1155–35. http://dx.doi.org/10.31185/lark.vol1.iss40.1744.

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With the aim of investigating the lexical cohesive devices, a short story from the American literature; namely, “The Tell-Tale Heart” by Edgar Allan Poe, is taken as the data of study. The study adopts the framework of Halliday and Hasan’s (1976) by which two major categories of lexical cohesion; reiteration and collocation, are examined. To make the investigation possible, a full explanation of the lexical cohesive devices in both English and Arabic is presented to have a vivid image of the differences and similarities between them and to discuss their possible effect on translation. The results obtained reveal that lexical cohesion in Poe’s short story is founded on repetition, synonymy and collocation but the inadequate command of these devices by the translator leads to the distortion of translation

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34

Shen, Dan. "Edgar Allan Poe's Aesthetic Theory, the Insanity Debate, and the Ethically Oriented Dynamics of ““The Tell-Tale Heart””." Nineteenth-Century Literature 63, no. 3 (December 1, 2008): 321–45. http://dx.doi.org/10.1525/ncl.2008.63.3.321.

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For over one hundred years, critics have widely regarded Edgar Allan Poe as an aesthetician of literature as a whole, which has to a great extent oriented the interpretation of his prose narratives. In this essay I revisit Poe's relevant essays and reveal that Poe's aesthetic conception of the subject matter of poetry is due to poetry's peculiar generic characteristics not shared by prose fiction. Poe makes an unequivocal distinction in prose fiction between structural design and subject matter. While putting the tale's structural design completely on a par with that of poetry, Poe treats the tale's subject matter as different in nature from that of poetry——as ““antagonistical”” to Beauty and often based on the ethically related, though not ethically confined, ““Truth.”” In this essay I argue that if some of Poe's tales convey a moral, then that moral tends to be implicit and inseparable from the structural ““unity of effect,”” and the tale may react or respond to the cultural context in a certain way. In Poe's ““The Tell-Tale Heart”” we can see a characteristic interaction among a structurally unified dramatic irony, an implicit moral, and the historical ““insanity defense”” controversy.

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35

Bulu, Maryana. "Conflict Analysis of the Main Characters in Short Stories by Edgar Allan Poe." PIONEER: Journal of Language and Literature 10, no. 1 (June 13, 2018): 1. http://dx.doi.org/10.36841/pioneer.v10i1.183.

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This qualitative research aims to (1) describe the types of conflicts of the main characters in short stories by Edgar Allan Poe, (2) describe the effects of conflicts of the main characters in short stories by Edgar Allan Poe. The researcher used theory by Nurgiyantoro (2002). There are two types of conflicts, internal conflict and external conflict. He divides the external conflict into social conflict and physical conflict. The data source were short stories by Edgar Allan Poe they were: (1) The Tell-Tale Heart (2017), (2) The Black Cat (2017), and (3) The Hop Frog (1849). The data in this study were in the form of main character’s dialogues or utterances, and behavior in the three short stories. Techniques of data analysis done were data reduction, data display, and data conclusion drawing and verification by Miles and Huberman’s theory (1984). The researcher found sixteen data from three short stories by Edgar Allan Poe, there were four data from The Tell-Tale Heart, ten data from The Black Cat, and two data from The Hop Frog, and the details are : Six data of internal conflicts, five data of social conflicts, and five data of physical conflicts. Then, the details of the results on the affects experienced by the main characters are : One datum of positive affect (enjoyment or joy, interest or excitement, and surprise or startle), and fifteen data of negative affect (anger or range, disgust, dissmell, distress or anguish, fear or terror, and shame or humiliation). The researcher expects the next researchers to study concept of conflict analysis or main character in different subjects.

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VILLA JIMÉNEZ, ROSALÍA. "Análisis pragmático-cognitivo de tres versiones en español de The Tell-Tale Heart de Edgar Allan Poe." Hikma 14 (October 7, 2015): 141. http://dx.doi.org/10.21071/hikma.v14i.5204.

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En el presente trabajo se van a analizar cuatro fragmentos extraídos de tres versiones en español de The Tell-Tale Heart bajo el prisma pragmático-cognitivo de la traducción propuesto por Ernst-August Gutt (1989). Este enfoque se fundamenta en las propuestas de la comunicación cognitiva de Dan Sperber y Deirdre Wilson (1986) y su Teoría de la Relevancia. De este modo, E. A. Gutt concibe el fenómeno de la traducción como un ejemplo de “semejanza interpretativa”, que ocurre en el acto de comunicación ostensivo-inferencial. De forma más concreta, en este artículo se van a plasmar los recursos interpretativos que el traductor como receptor de una obra literaria pone en funcionamiento cuando infiere los contenidos implícitos del texto origen (mismas proposiciones y semejantes implicaturas) y después los transmite al lector del texto meta.

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37

KOÇSOY, F. Gül. "TRANSGRESSIVE SUBLIME IN EDGAR ALLAN POE S THE TELL-TALE HEART AND "THE IMP OF THE PERVERSE"." Journal of International Social Research 11, no. 58 (August 30, 2018): 142–47. http://dx.doi.org/10.17719/jisr.2018.2525.

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Brownstein, John S., Margarita Sordo, Isaac S. Kohane, and Kenneth D. Mandl. "The Tell-Tale Heart: Population-Based Surveillance Reveals an Association of Rofecoxib and Celecoxib with Myocardial Infarction." PLoS ONE 2, no. 9 (September 5, 2007): e840. http://dx.doi.org/10.1371/journal.pone.0000840.

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39

Jafri, Syed Imran Mustafa, Naveed Ali, Salman Farhat, Faizan Malik, and Mark Shahin. "The tell-tale heart: A case of recurrent vulvar carcinoma with cardiac metastasis and review of literature." Gynecologic Oncology Reports 21 (August 2017): 20–23. http://dx.doi.org/10.1016/j.gore.2017.06.004.

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40

Purbo, Zamtrio, Nur Hidayat, and Sri Wahyuni. "DEFAMILIARIZATION: A FORMALISM STUDY ON HOW WORDS CAN CREATE COMPELLING NARRATIVE IN EDGAR ALLAN POE’S THE TELL-TALE HEART." International Journal of Research in Education 2, no. 1 (January 31, 2022): 1–8. http://dx.doi.org/10.26877/ijre.v2i1.9749.

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Literary works are frequently used to express human expression through words, making literary works one of the unique mediums to express these expressions. The uniqueness lies within the language used to construct the story itself. Therefore, this study aims to uncover the factors that make a literary work great through formalism and defamiliarization theory, furthermore uncovering the impact of the factors on the story. Using a qualitative research method specifically close reading, this study describes how the strength of a short story The Tell-Tale Heart written by Edgar Allan Poe according to both formalism and defamiliarization theory can contribute to the construction of the story. The construction of the story relies on its tension which is delivered through the use of its imageries, form/structure, parallelism, etc. It can be concluded that the possession of the formalism elements helps the story to shape its nuance and its atmospheric storytelling

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41

Alsahafi, Morad. "A Narrative Discourse Analysis of Poe's Short Story "The Tell-Tale Heart": Implications for Language Teaching." English Language Teaching 13, no. 1 (December 4, 2019): 1. http://dx.doi.org/10.5539/elt.v13n1p1.

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This paper employs narrative discourse analysis to analyze Edger Allen Poe's short story "The Tell-Tale Heart" by using two narrative analysis frameworks that focus on the macrostructure (Stein, 1982) and microstructure (Halliday & Hasan, 1976) aspects of the story. The analysis covers the story's purpose, generic structure, and lexicogrammatical cohesion. Findings show that the writer follows a series of structural moves and uses a variety of narrative strategies (e.g. high level of involvement and a wide range of lexical and grammatical cohesive ties) which contribute to the creation of a well-formed text that has effectively achieved its purpose and made its intended effect. This paper argues that there are many ways in which this macro- and microstructure analysis of the story may be exploited in the English language classroom. The paper concludes with a discussion of the implications of the analysis and offers some suggestions and engaging activities for language teaching purposes.

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42

Sammarcelli, Françoise. "La Rhétorique de la peur dans « Ligeia » (1838, 1845) et « The Tell-Tale Heart » (1843, 1845) d'Edgar Allan Poe." Revue Française d Etudes Américaines 125, no. 3 (2010): 27. http://dx.doi.org/10.3917/rfea.125.0027.

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43

COŞAR ÇELİK, Seda. "EDGAR ALLAN POE’S THE TELL-TALE HEART ON PAGE AND ON SCREEN (KISA ÖYKÜ VE FİLM OLARAK EDGAR ALLAN POE’NUN GAMMAZ YÜREK ÖYKÜSÜ)." HUMANITAS - Uluslararası Sosyal Bilimler Dergisi 4, no. 8 (November 9, 2016): 15. http://dx.doi.org/10.20304/humanitas.277533.

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Vos, Pieter, Paul De Cock, Vera Munde, Katja Petry, Wim Van Den Noortgate, and Bea Maes. "The tell-tale: What do heart rate; skin temperature and skin conductance reveal about emotions of people with severe and profound intellectual disabilities?" Research in Developmental Disabilities 33, no. 4 (July 2012): 1117–27. http://dx.doi.org/10.1016/j.ridd.2012.02.006.

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Abulhassan Hassan, Bahaa-Eddin. "Thematic Structure in the Arabic Translations of Edgar Allan Poe's The Black Cat, The Tell-Tale Heart and Virginia Woolf's A Haunted House." International Journal of Language and Linguistics 3, no. 3 (2015): 132. http://dx.doi.org/10.11648/j.ijll.20150303.14.

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Vanitha, T. "A Document on Peace and Protest in the Pages Stained With Blood By Indira Goswami." NOTIONS 9, no. 2 (2018): 23–33. http://dx.doi.org/10.31995/notions.2018v09n2.05.

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Indira Goswamy popularly known as MamoniRaisomGoswami an icon of Assamese Literature presents the contrasting effects of peace as well as protest in her novel pages stained with blood.It was written in Assamese and later translated by Pradip Acharya in English. Actually Goswamy desired to write a book on Delhi with its pride and pomp. She settled in a small cooped up flat in Sather nagar, Delhi. She came across a few Sikh people who helped her in one way or other. She had learnt various anecdotes about the Moghal and the British rulers. Some were tell- tale stories and some were records of the past. She even visited whores colony to collect sources for her material. Where ever she went she showed courtesy to her fellow human beings and tried to help them in all possible ways. The novel is an out pour of her bitter memories during the anti -Sikh Riots caused by the assassination of Smt. Indira Gandhi when she was the prime minister of India. Neither the politicians nor the administers bothered much about the communal calamities. Negligence of the authorities and heart rendering cry of the suppressed have left a deep scar in her heart. She is unable to accept the cruel reality. She highlights some of the good qualities of the Sikh people such as not accepting money even in their worst condition. Their sincere prayer to forgive the people who caused severe damage to Gurudwara. Madan Bhaisahab’s timely help to the injured are some proofs. She also presented an amazing fact that no one has touched the politician’s house during the agitation. As the author feels these pages of Indian History are stained with blood. It is an eternal stain which could not be washed away.

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Cottle, Thomas J. "The Child at Risk: The Case for the Youthful Offender." Journal of Education 180, no. 2 (April 1998): 95–113. http://dx.doi.org/10.1177/002205749818000207.

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Several years ago in a conversation among young people in jail, a boy of seventeen recounted a chilling tale of murder. Late on a hot, still, Friday evening in the middle of summer, a large group of kids had gathered at a basketball court not far from the local middle school. Most of the kids knew each other, but there were some there who were “outsiders,” as it were. Suddenly, without any warning, this seventeen-year-old boy pulls a gun and fires two bullets into the head of a twelve-year-old whose name he does not know. “I was just standing there, talking to my friends, figuring out what we were going do that night, right, when I see this kid, kind of over my shoulder, you know, and I notice he's standing on my shadow. There's this long black shadow, you know, you couldn't miss it, everybody could see it, and he's standing on it. So I tell him, ‘Would you mind getting off my shadow.‘ The kid doesn't move. I don't know if he doesn't hear or he hears me and he doesn't care. So I tell him again, loud, ‘Would you get off my shadow.’ This time he's just looking at me, but he still doesn't move. Third time. ‘Hey, man, get off my shadow.’ The kid just looks at me. So, I did it. I warned him three times, right, and I shot him.”

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Wynne-Jones, Stephanie, and Martin Walsh. "Heritage, Tourism, and Slavery at Shimoni: Narrative and Metanarrative on the East African Coast." History in Africa 37 (2010): 247–73. http://dx.doi.org/10.1353/hia.2010.0030.

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There's a hole in the side of Africa, where the walls will speak if you only listen Walls that tell a tale so sad, that the tears on the cheeks of Africa glisten Stand and hear a million slaves, tell you how they walked so far That many died in misery, while the rest were sold in Zanzibar Shimoni, oh Shimoni, You have to find the answer and the answer has been written down in ShimoniWhen Kenya-born singer-songwriter Roger Whittaker sang these doleful words in 1983, the village of Shimoni was a relatively quiet backwater on the southern Kenya coast, known primarily for its deep-sea fishing club. It is now a much larger and busier place, where tourists come to see the ‘slave cave’ that gives Shimoni its name (Swahili shimo-ni, “at the cave”), and embark on boat trips to Wasini Island and the nearby Kisite-Mpunguti Marine National Park (see Figure 1). Whittaker's song played a significant role in this development, by bringing Shimoni and its caves to wider attention, and focusing on one of a number of narratives about the caves' past usage. The lyrics of ‘Shimoni’ did not simply embellish a local tale, but (re)created it in the image of metanarratives about the history of slavery on the East African coast. As we will argue in this paper, these metarratives now dominate reconstructions of the past in Shimoni, and are reinforced by the activities and institutions that constitute and promote the caves as an important site of cultural heritage.

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Moola, Fiona J., Nivatha Moothathamby, Laura McAdam, Melinda Solomon, Robert Varadi, Diana Elizabeth Tullis, and Joe Reisman. "Telling My Tale: Reflections on the Process of Visual Storytelling for Children and Youth Living With Cystic Fibrosis and Muscular Dystrophy in Canada." International Journal of Qualitative Methods 19 (January 1, 2020): 160940691989891. http://dx.doi.org/10.1177/1609406919898917.

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Storytelling is perennial to the human condition. We all tell stories and we all bear witness to the stories of others. According to narrative scholars, only certain stories are valorized in contemporary culture, while others go unrecognized. The inability to recognize ourselves and identities in contemporary cultural narratives can contribute to the silencing and muting of certain lives and voices. Young people with life-shortening conditions, such as cystic fibrosis (CF) and muscular dystrophy (MD), are rarely afforded the opportunity to have their stories heard and affirmed in contemporary cultural spaces. In this article, we reflect on the methodological process of engaging in a study known as “Telling My Tale,” that is, a storybook study featuring narratives and artwork by young people with CF and MD. Funded by the Social Sciences and Humanities Research Council of Canada, we critically reflect upon the methodological lessons, advances, and innovations we have learned, including theoretical musings, the process of exhibiting some of the artwork in a public art gallery, challenges faced along the way, analytical conundrums, and the role of technology in artistic creation for participants with limited hand function. In so doing, we hope to further methodological and theoretical development and innovation in narrative and artistic traditions to better center the voices, lives, tales, and experiences of young people with life-shortening conditions.

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Mizitova, A. A. "Marko Marelli’s vision of “Turandot” by Giacomo Puccini." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 249–63. http://dx.doi.org/10.34064/khnum2-15.13.

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Background. As a notion, an opera theater led by a stage director has a strong presence in modern artistic practice, as it puts forward its own range of cognitive and evaluative tasks that undergo criticism. The fi rst task is related to compliance of the proposed rendition with the composer’s concept and music drama of a particular opera music piece. The second one is related to the director’s vision and understanding the peculiarities, which allows us to form an opinion about the comprehension degree of an author’s idea and the individuality of its implementation. The relevance of the designated semantic constants is reinforced by the variety of opera classics incarnation on famous opera stages. Objectives. The purpose of the article is to study and analyze the scenographic techniques that allow M. Marelli with his bright talent as a director to embody the opera plot and uncover incentive-psychological motifs that defi ne the deep content layer of G. Puccini’s “Turandot” opera. Methods. The study is based on a comparative method of analysis, with the help of which the validity of M. Marelli’s directorial concept by the dramatic concept and the semantic lines peculiarities of G. Puccini’s opera is revealed. Results. The stage performance of “Turandot” by G. Puccini on the famous opera stage of the Lake Constance was timed to coincide with the 70th anniversary of the Bregenz festival. For the implementation of this project, the Swiss stage director and designer Marco Arturo Marelli was invited for the fi rst time to organize it. The specifi c features of the huge stage forced all the natural conditions to be considered: wind, water, its level, and the weight of the theatrical scenery elements. Therefore, before creating the intended environment, M. Marelli built several preliminary models in search of the only solution that would combine the oriental fl avor and plot intrigue, hidden psychologism and bare emotions, intimacy and pompous mass scenes. The dramatic composition of the scenario, created by M. Marelli, makes it possible to tell how deep his comprehension of Puccini’s music is, as we observe its semantic components and the interaction of contrasting fi gurative lines, author’s remarks in the score, personal circumstances in the composer’s life, his letters, the conditions for creating an opera and a long search of ways to cut the knot of plot contradictions in the Finale part. The techniques he used reveal his artistic and aesthetic principles. This allowed him to create an organic fusion of intense musical and dramatic action, defused by ensemble, choral and dance scenes, visual effects that decode psychological subtext, and the theatrical scenery itself, which specifi es the exact place of events, complements the missing verbal commentary, allowing the stage area to look massive and versatile. As a result, the ideological concept of M. Marelli appears in the interdependence of the internal and external planes; their content is determined by his understanding and vision of the opera “here and now”, that is, as a single musical and theatrical piece. The internal plane is directly connected with the events of the fairy-tale plot, interpreted by the stage director’s individual consciousness. The external one forms the design of the performance through the variety of static and mobile forms, transformed according to the sequence of light effects, and the silent video by A. Kitzig, which gives a slight expressionistic taste. M. Marelli’s intellectual and emotional immersion in the “history” of the opera contributed to the formation of a symbolic by-plot through two fi gures: Puccini and Calaf (a character of the opera). It is played on a small platform at the bottom of the main stage, depicting the “blue room” (O. Schmitt), where you can see the instrument with the scores on the music stand, a table with a jewel-box on it, an armchair, and a bed. The man that appears clearly personifi es the composer, who “looks for” music ideas. As the events are unfolding, Calaf appears in the “room”; he is tormented by the desire to melt the cold heart of Turandot and feverishly looking for a way out of this situation. The novelty of interpreting a well-known fairy-tale plot lies in a fundamentally different motivation for the behavior of Turandot. She identifi es herself with Lou-Ling, who was tortured and murdered by a man long ago, so Turandot is driven by a thirst for revenge. The story about the cry of the miserable princess Turandot, which she constantly hears inside of her, looks differently as if she becomes one with her distant ancestor. By the end of the story, she appears as in a cocoon shell, unattainable and invincible. This is followed by a scene of puzzles that move events to a turning point in the plot twists and turns and mark a kind of a going-back fl ow of time. The director increases of effect of the symbolic line in the performance by adding the silent video by A. Kitzig. The parallel dynamics of the stage action and the metamorphosis of the masks visualizes the psychological component of Puccini’s opera. The whole set of plot and scenery means exists only with the purpose of revealing this psychological component. As a result, the scene of the test Calaf must pass acquires a different dimension, delineating the fate twists of both heroes. Again and again, the pieces of clothes fall down from Turandot like scales of a snake. This is accompanied by the transformation of the previously unfi red face of the mask, which ultimately cracks like a clay cast and fi nally collapses. The heroine remains in a thin silky dress shirt and tries to cover her bare shoulders with her hands. Her nakedness is akin to defenselessness, the loss of solid ground under your feet. This way, M. Marelli resolved not only the problem of the impossibility to show a psychological degeneration of personality on the huge stage by traditional acting techniques, but also contradictions of plot twists that haunted the composer. Conclusions. The experience of the Bregenz version shows that an important role played by the conditions of the stage space, which was used by a talented stage director and designer as a component of the multi-level system, where everything goes with accordance to the hierarchical subordination of the play. This seems to be the masterful combination of M. Marelli’s personal artistic and aesthetic philosophy, the features of the last opera by J. Puccini and all theatrical resources of a unique theatrical scene of the Lake Constance.

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