scholarly journals LONGUS’ NARRATOR: A REASSESSMENT

2020 ◽  
pp. 1-19
Author(s):  
Calum A. Maciver
Keyword(s):  

An influential position in the scholarship on Longus is that the narrator of Daphnis and Chloe is dissociated from, and ironized by, the author. Two articles by John Morgan, in particular, have propounded this interpretation. Morgan argues that Longus’ narrator relates the story with simplicity and naivety, and in ignorance of the more complex subtleties to which only Longus and the more discerning reader have access: ‘Daphnis and Chloe is told by its narrator as if it were a simpler and more conventional story than it really is, and invites its reader to read it in the same way. One way to describe this textual duplicity is to think in terms of a surface “narrator's text” and a deeper “author's text”. We can conceive the narrator, as established by the prologue, as a distorting and simplifying lens between the story and us. As readers we effectively have the choice of accepting what we see through the lens (that is the “narrator's text” as the “narrator's narratee”) or of correcting it and reading around the narrator (that is reading the “author's text” as the “author's narratee”).’ This type of separation of author and narrator is identifiable in Petronius’ Satyrica, in which the first-person narrator Encolpius who tells his story in hindsight is ridiculed and his narration destabilized by the hidden author who ‘is also listening, along with the reader, to Encolpius’ narrative—and along with the reader is smiling at it’.

1980 ◽  
Vol 43 (3) ◽  
pp. 453-458 ◽  
Author(s):  
A. F. L. Bebston

Early in the sixth century A.D. the Greek author known generally as Cosmas Indicopleustes records in his ‘Christian Topography’ that he visited Adulis on the western Red Sea coast and there saw two Greek inscriptions, one on a marble throne and one on a stela standing behind it. The monuments have long ago disappeared, but we have the texts as copied by Cosmas. The stela belongs to Ptolemy III Euergetes (246–222 B.C.), but the throne text begins in mediis rebus without name of author, and is introduced by Cosmas with the slightly mysterious words ‘Then, as if sequentially, there is further written on the throne as follows’. Whatever he may have meant by this, it is certain, as modern scholars recognize, that the throne text is not part of the stela one: the former is drafted in the first person, the latter in the third; and the throne text was drafted ‘in the 27th year of my reign’, whereas Ptolemy HI died at the beginning of his twenty-sixth regnal year. This leaves the field open to speculations about the authorship and date of the throne text.


2020 ◽  
Vol 27 (1) ◽  
pp. 7-28
Author(s):  
An Van linden

Abstract This article focuses on two types of constructional effects of indirect evidential marking in Harakmbut (isolate, Peru). Both types originate in a clash of interpretation: the use of indirect evidential marking indicates a shift of perspective away from the speaker (as if they did not witness the event, thus disclaiming epistemic authority), while the events referred to are in principle directly accessible to them. As the signalled shift is not fully realized in interpretation, the effects will be characterized as showing perspective persistence. The first type involves constructions with a first person agent, and indirect evidential marking is found to produce the interpretation that the speaker performed the action referred to unintentionally, finding out about the outcome of this action only later. Other types of non-volitional events – without pragmatic inference on the part of the speaker – are found not to carry indirect evidential marking; they use different linguistic means to signal non-volitionality. The second type involves constructions with impersonal predicates referring to the cycle of the sun, and the use of indirect evidential marking yields emphasis on the completion of the event referred to. It is proposed that both types of effects can be explained in terms of endpoint emphasis (cf. DeLancey 1985).


Author(s):  
Christopher Hanlon

This chapter examines Emerson’s 1870–71 lecture series Natural History of Intellect, which formed as Emerson’s experience of memory loss became profound, and registers its author’s shifting protocols for producing texts as he contended with changing patterns of cognition. Natural History of Intellect reflects upon Emerson’s increasing reliance upon his daughter, Ellen Tucker Emerson, who assisted Emerson as he lectured and who eventually reshaped Emerson’s manuscript materials. Entering into conversation with other literary historians who challenge an account of Emerson’s thought that enshrines Emersonian individualism to the exclusion of more communal dimensions of transcendentalism, this chapter contends that the lecture series theorizes the terms of his collaboration with Ellen in ways that break with Emerson’s earlier tendency to lionize insular consciousness and to isolate the body from the mind, offering instead an account of first-person thought as if always interpenetrated with the thinking of other people.


Author(s):  
G. D. Gagne ◽  
M. F. Miller

We recently described an artificial substrate system which could be used to optimize labeling parameters in EM immunocytochemistry (ICC). The system utilizes blocks of glutaraldehyde polymerized bovine serum albumin (BSA) into which an antigen is incorporated by a soaking procedure. The resulting antigen impregnated blocks can then be fixed and embedded as if they are pieces of tissue and the effects of fixation, embedding and other parameters on the ability of incorporated antigen to be immunocyto-chemically labeled can then be assessed. In developing this system further, we discovered that the BSA substrate can also be dried and then sectioned for immunolabeling with or without prior chemical fixation and without exposing the antigen to embedding reagents. The effects of fixation and embedding protocols can thus be evaluated separately.


ASHA Leader ◽  
2014 ◽  
Vol 19 (1) ◽  
pp. 72-72
Author(s):  
Kelli Jeffries Owens
Keyword(s):  

2018 ◽  
Vol 23 (3) ◽  
pp. 189-205 ◽  
Author(s):  
Renatus Ziegler ◽  
Ulrich Weger

Abstract. In psychology, thinking is typically studied in terms of a range of behavioral or physiological parameters, focusing, for instance, on the mental contents or the neuronal correlates of the thinking process proper. In the current article, by contrast, we seek to complement this approach with an exploration into the experiential or inner dimensions of thinking. These are subtle and elusive and hence easily escape a mode of inquiry that focuses on externally measurable outcomes. We illustrate how a sufficiently trained introspective approach can become a radar for facets of thinking that have found hardly any recognition in the literature so far. We consider this an important complement to third-person research because these introspective observations not only allow for new insights into the nature of thinking proper but also cast other psychological phenomena in a new light, for instance, attention and the self. We outline and discuss our findings and also present a roadmap for the reader interested in studying these phenomena in detail.


Author(s):  
Matthias Hofer

Abstract. This was a study on the perceived enjoyment of different movie genres. In an online experiment, 176 students were randomly divided into two groups (n = 88) and asked to estimate how much they, their closest friends, and young people in general enjoyed either serious or light-hearted movies. These self–other differences in perceived enjoyment of serious or light-hearted movies were also assessed as a function of differing individual motivations underlying entertainment media consumption. The results showed a clear third-person effect for light-hearted movies and a first-person effect for serious movies. The third-person effect for light-hearted movies was moderated by level of hedonic motivation, as participants with high hedonic motivations did not perceive their own and others’ enjoyment of light-hearted films differently. However, eudaimonic motivations did not moderate first-person perceptions in the case of serious films.


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