Comedy and Biography in the Reckless Student (Anonymous, 1681) (Schwankhaftes und Biographisches im Ruchlosen Studenten (anonym, 1681))

Daphnis ◽  
2017 ◽  
Vol 45 (1-2) ◽  
pp. 277-303
Author(s):  
Maren Lickhardt
Keyword(s):  
Dutch Text ◽  
17Th Century ◽  
Specific Reference ◽  
First Person ◽  
Narrative Strategies ◽  
Story Line ◽  
German Translation

This essay discusses the transformation and breakdown of the picaresque in the late 17th century, with specific reference to narrative strategies used in Der ruchlose Student (1681), an anonymous and fragmentary German translation of a Dutch text – picaresque in the broader sense. These strategies, it is argued, reveal both an internalisation of the first-person narrator and early manifestations of a causally motivated (biographical) syntagma. By way of example, it is demonstrated how the typical affectively flat, villainous narrator of earlier picaresque novels, as well as the episodic structure of these texts, are transformed in Der ruchlose Student such as to enable the emergence of a more modern individual within the framework of a more consistent story line. As such, this essay contributes indirectly to scholarly discussions relating to the embourgeoisement of the picaro figure. Der folgende Text stellt einen Beitrag zu Um- und Abbauten des Pikaresken gegen Ende des 17. Jahrhunderts dar. Er widmet sich den narrativen Strategien in dem anonym verfassten Romanfragment Der ruchlose Student (1681), der deutschen Übersetzung eines niederländischen Schelmenromans im weiteren Sinne, die eine Verinnerlichung des pikaresken Ich-Erzählers sowie erste Ausprägungen eines kausal motivierten (biographischen) Syntagmas erkennen lassen. Exemplarisch wird also herausgearbeitet, wie sich der typische pikareske statische Erzähler älterer Schelmenromane sowie deren episodische Handlungsführung in Ansätzen transformieren und ein moderneres Individuum in einem konsistenteren Handlungsgefüge aufscheint. Indirekt schließt der Beitrag damit an die Debatte um die Verbürgerlichung des Pikaros an.

scholarly journals Kazuo Ishiguro’s The Remains of the Day: A Historiographical Approach

2015 ◽  
Vol 5 (4) ◽  
pp. 8
Author(s):  
Maha Abdel Moneim Emara
Keyword(s):  
First Person ◽  
Controversial Issues ◽  
Narrative Strategies ◽  
Historical Events ◽  
Unreliable Narrator ◽  
Depth And Complexity

<p>This paper attempts to analyze Kazuo Ishiguro’s <em>The Remains of the Day</em>, in the light of various ramifications of postmodern critical historiographical approaches. It investigates the different narrative strategies Ishiguro uses to narrate historical events and dismantle objectivity mainly; backshadowing, intermixing of historical and personal incidents, and first-person unreliable narrator. Great deal of Ishiguro’s text depth and complexity arises from the unreliability of the narrator whose narration presents several interpretive versions and controversial issues.</p>

scholarly journals Poetics of Narrative in Kazuo Ishiguro’s Novel “A Pale View of Hills”

2019 ◽  
pp. 57-64
Author(s):  
Yaryna Oprisnyk
Keyword(s):  
Current Paper ◽  
First Person ◽  
The Novel ◽  
Psychological Processes ◽  
Narrative Strategies ◽  
Verbal Expression ◽  
Verbal Language ◽  
Japanese Aesthetics ◽  
Narrative Techniques

The current paper explores the narrative strategies and poetics of intermediality in Kazuo Ishiguro’s first novel “A Pale View of Hills” (1982). Particular attention is paid to the notions of narrative unreliability and subjectivity exemplified by the ambiguous first-person narrative in the novel. The researcher focuses on the narrative techniques, as well as on the numerous lexical and other literary means that emphasize the unreliability of the narrator, who is also the protagonist. It allows revealing the hidden emotions and tendency to self-deceit. In addition, the paper traces the features of Japanese aesthetics and literature in the novel. The most peculiar among them are concise verbal expression, lack of emotion, and audiovisuality, which is primary concentration of the narrative on the visual and auditory images, rather than on the characters’ internal psychological processes. A range of narrative strategies and special literary effects in “A Pale View of Hills”, being characteristic for the art of cinematography, make the novel a vivid example of the cinematographic (cinematic) literature, which requires a different, more image-oriented perception of the reader. Among such techniques, the most notable are the enhanced symbolism of sensual images; revealing the characters’ actual feelings and thoughts through their non-verbal language and dialogues; fragmented and elliptic nature of the narrative that resembles the technique of montage; and the plasticity of chronotope, which is represented by the active use of flashbacks in the novel.

scholarly journals Breaking the Rules: Innovation and Narrative Strategies in Sandra Cisneros' The House on Mango Street and Ana Castillo's The Mixquiahuala Letters

2003 ◽  
Vol 26 (1) ◽  
pp. 108-120
Author(s):  
Carmen Haydée Rivera
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Sandra Cisneros ◽  
Narrative Strategies ◽  
Stream Of Consciousness ◽  
Story Line ◽  
Literary Genres ◽  
Stage Direction ◽  
History Of ◽  
Considerable Length

Conventional approaches to literary genres conspicuously imply definition and classification. From the very beginning of our incursions into the literary world we learn to identify and differentiate a poem from a play, a short story from a novel. As readers we classify each written work into one of these neatly defined literary genres by following basic guidelines. Either we classify according to the structure of the work (stanza; stage direction/dialogue; narrative) or the length (short story; novelette; novel). What happens though when a reader encounters a work of considerable length made up of individual short pieces or vignettes that include rhythm and rhyme and is framed by an underlying, unifying story line linking the vignettes together? Is it a novel or a collection of short stories? Why does it sound and, at times, look like a poem? To further complicate classifications, what happens when a reader comes across an epistolary format with instructions on which letters to read first: letters made up of one-word lines, poetic stanzas, or italicized stream of consciousness; letters that narrate the history of two women's friendship? Is this a novel or a mere collection of letters?

Ital. eravassimo e altre forme verbali in -vassimo

2019 ◽  
Vol 135 (2) ◽  
pp. 583-596
Author(s):  
Vincenzo D’Angelo
Keyword(s):  
18Th Century ◽  
17Th Century ◽  
Literary Texts ◽  
The Internet ◽  
First Person ◽  
Person Plural ◽  
History Of ◽  
First Person Plural

Abstract This article aims to reconstruct the history of eravassimo (first-person plural of the imperfect indicative of essere) and other Italian verbal forms ending in -vassimo. These rare verbal forms began to appear in grammars and dictionaries in the 17th century and in some literary and non-literary texts in the 18th century. Some examples of the verbal forms in -vassimo can still be found in texts produced in recent years on the Internet.

scholarly journals Narrative Strategies Giving Voice to the Silenced Subject

Barnboken ◽  
2020 ◽  
Author(s):  
Ann-Sofie Persson
Keyword(s):  
Young Adults ◽  
Animal Studies ◽  
Narrative Form ◽  
First Person ◽  
Human Being ◽  
Narrative Strategies ◽  
Children And Young Adults

This article uses an ecocritical, posthumanist animal studies approach to fiction about horses for children and young adults in order to show how different narrative strategies co-exist within a framework of silence versus voice and Othering versus anthropomorphizing. The examples are taken from two Swedish series of books: the stories of Vitnos (1971–1980) by Marie Louise Rudolfsson, and those about Klara (1999–2008) by Pia Hagmar. The study shows that regardless of the narrative form chosen, be it placing the horse as a first-person narrator or introducing a human narrator and focalizer, the result is quite similar. The horse is alternately anthropomorphized and depicted as Other, many times through the technique of allomorphism, placing the horse above the human being. 

scholarly journals Strategie artystyczne i narracyjne w projekcie Lii i Andrija Dostlievów „Rekonstrukcja pamięci” przesiedlenia na Krymie i Donbasie

2017 ◽  
Vol 6 ◽  
pp. 145-156
Author(s):  
Ryszard Kupidura ◽  
Magdalena Dworak-Mróz
Keyword(s):  
Russian Federation ◽  
First Person ◽  
Narrative Strategies ◽  
Military Operations ◽  
The Past ◽  
The Future ◽  
The Crimea ◽  
The Russian Federation

Artistic and Narrative Strategies in the Project of Lia Dostlieva and Andrij Dostliev “Restoring Memory” Resettlements in the Crimea and DonbassThe annexation of Crimea, carried out by the Russian Federation, as well as the war waged on the eastern Ukraine resulted in about 1.5 million people being forced to leave their households. The rushed escape from the homeland deprived many people of their material keepsakes. In a situation of radical detachment from the past, the condition of the present is obviously threatened and projecting of the future seems impossible to realize. It is indispensable to become aware of this fact and to voice the problem and analyze the trauma. The curators of the project Restoring of Memory, Lia Dostlieva and Andrij Dostliev, collected testi­monies of several artists from the area of military operations, who shared the experience of resettlement. Their first-person narrations, supported via various artistic media such as installations, photography, performance constitute a collective history which was exhibited in the galleries of European cities.Художественные и нарративные стратегии в проекте Лии и Андрея Достлевых «Восстановление памяти» о переселенцах из Крыма и Донбасса Спровоцированная РФ аннексия Крыма, а также война в восточных регионах Украины, повлекли за собой последствия, в связи с которыми за короткий период времени около 1,7 миллиона граждан были вынуждены покинуть свои дома. Теперь же, спустя два года после данных событий, стало очевидно, что проблемы, вызванные принудительным переселением, не ограничиваются только лишь бытовой сферой.Поспешное бегство из родного очага лишили многих людей, кроме прочего, материальной памяти. Ведь семейные реликвии, как правило, имеют небольшой шанс уместиться в двух-трёх чемоданах, с которыми человек вынужденно покидает привычное место жительства.Собственно, в ситуации радикального отсечения от прошлого под угрозой находится состояние настоящего, а планирование будущего кажется практически невозможным в реализации. Однако обязательным должно быть осознание, высказывание и анализ возникнувшей травмы.Проект под кураторством Лии и Андрея Достлевых поставил целью собрать свидетельства нескольких художников Украины из районов военных действий, судьба которых связана с опытом переселения. Их личные рассказы, воплощенные с помощью художественных практик составляют вместе коллективную историю, которая повествуется и экспонируется в галереях европейских городов.

scholarly journals English in the 2010s – Getting up Close and Personal

2011 ◽  
Vol 42 (2) ◽  
pp. 343
Author(s):  
John Jamieson
Keyword(s):  
Subject Matter ◽  
Specific Reference ◽  
First Person ◽  
English Speaker ◽  
British English ◽  
The World ◽  
Polynesian Languages ◽  
The Way ◽  
English I

The following is a personal enquiry into how our view of the world may be affected in some very specific ways by the language we speak, and more particularly the way we write, with specific reference to consensus and norms. These musings have arisen over many years of working as a translator, and are based on my interactions as an English speaker with texts in many European, and to a lesser extent, Polynesian languages. The English I speak of here is mainly my English, perhaps my idiolect as a 58-year-old New Zealander. Some of the preferences I mention may be less applicable in British English, for example, but every native speaker's idiolect reflects something of the language as a whole, and I hope my readers will identify linguistically with some of what I am saying. I hope I may be forgiven for writing rather colloquially and in the first person. This choice is entirely consistent with my subject-matter, however, as will become evident.

scholarly journals Autofiction and Shishōsetsu: Women Writers and Reinventing the Self

2022 ◽  
pp. 247-266
Author(s):  
Justyna Weronika Kasza
Keyword(s):  
Women Writers ◽  
Japanese Literature ◽  
The Self ◽  
First Person ◽  
Narrative Strategies ◽  
Female Authors ◽  
Narrative Structures

AbstractThis chapter explores the shared characteristics, both in terms of thematic concerns and narrative structures and strategies, of autofiction and the distinct Japanese form of the I-novel, shishōsetsu. Focusing on the works of three contemporary Japanese writers, Kanai Mieko, Sagisawa Megumu, and Mizumura Minae, it examines the narrative strategies applied by female authors to redefine the self. The chapter focuses on the traits shared by shishōsetsu and autofiction: the ambiguity of first-person narratives such as the semantics of “I” within the text; the interdependence of author, narrator, and protagonist; the practices of fictionalizing the self; and the question of authorship. Exploring shishōsetsu as an autofictional form also expands the scope of existing theoretical discussions on the autofictional, which rarely take Japanese literature into consideration.

scholarly journals A Redneck Head on a Nazi Body. Subversive Ludo-Narrative Strategies in Wolfenstein II: The New Colossus

Arts ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 76 ◽  
Author(s):  
Hans-Joachim Backe
Keyword(s):  
First Person ◽  
Narrative Strategies ◽  
Critical Engagement ◽  
Genre Conventions ◽  
Bakhtinian Theory ◽  
First Person Shooter

This article argues that Wolfenstein: The New Colossus, a AAA First-Person Shooter, is not only politically themed, but presents in itself a critical engagement with the politics of its genre and its player base. Developed at the height of #Gamergate, the game is interpreted as a response to reactionary discourses about gender and ability in both mainstream games and the hardcore gamer community. The New Colossus replaces affirmation of masculine empowerment with intersectional ambiguities, foregrounding discourses of feminism and disability. To provoke its players without completely alienating them, the game employs strategies of carnivalesque aesthetics—especially ambivalence and grotesque excess. Analyzing the game in the light of Bakhtinian theory shows how The New Colossus reappropriates genre conventions pertaining to able-bodiedness and masculinity and how it “resolves” these issue by grafting the player character’s head on a vat-grown Nazi supersoldier-body. The breaches of genre conventions on the narrative level are supported by intentionally awkward and punishing mechanics, resulting in a ludo-narrative aesthetic of defamiliarization commensurate to a grotesque story about subversion and revolt. Echoing the ritualistic cycle of death and rebirth at the heart of carnivalesque aesthetics, The New Colossus is nothing short of an ideological re-invention of the genre.

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