Suspended Fictions: Reading Novels by Manuel Puig, and: Novel Lives: The Fictional Autobiographies of Guillermo Cabrera Infante and Mario Vargas Llosa, and: Social Realism in the Argentine Narrative, and: Questing Fictions: Latin America's Family Romance (review)

1987 ◽  
Vol 33 (4) ◽  
pp. 701-705
Author(s):  
Claudette Kemper Columbus
Hispania ◽  
1987 ◽  
Vol 70 (3) ◽  
pp. 519
Author(s):  
Ardis L. Nelson ◽  
Olga M. Adair ◽  
Rosemary Geisdorfer Feal

2013 ◽  
Vol 25 (1) ◽  
pp. 83-107
Author(s):  
July De Wilde

In this article, while I welcome the call for a more interdisciplinary character, I also endorse the idea that the methods of neighbouring disciplines do not necessarily need to be included into one comprehensive research model for TS. The advantages of interdisciplinary research are illustrated with research into the translation of literary irony. In the first part of the article, I present an analytical instrument for comparative research between original and translated ironic excerpts. I will demonstrate that by including insights from, mainly, pragmatic and cognitive approaches to irony, I have been able to fine-tune the three-part analytical instrument called “the ironic effect.” Its advantages and heuristic scope are illustrated with excerpts from La tía Julia y el escribidor (Mario Vargas Llosa). In the second part of the article, I discuss the analyses of two other novels, Tres tristes tigres (Guillermo Cabrera Infante) and La invención de Morel (Adolfo Bioy Casares) and show that, by adopting very different research hypotheses and multiplying the questions asked, the observed data were better understood. I conclude that there is margin for an inclusive, open and flexible TS methodology, provided that both theory and methodology are understood as means of understanding. Stripped of its ontological status, theory, then, is nothing but a functional notion.


Chasqui ◽  
1987 ◽  
Vol 16 (1) ◽  
pp. 111
Author(s):  
John M. Lipski ◽  
Rosemary Geisdorfer Feal

1989 ◽  
Vol 34 (2) ◽  
pp. 202-202
Author(s):  
No authorship indicated
Keyword(s):  

PsycCRITIQUES ◽  
2007 ◽  
Vol 5252 (1919) ◽  
Author(s):  
Alan C. Elms
Keyword(s):  

2017 ◽  
Vol 6 (1) ◽  
pp. 153-168
Author(s):  
Celal Hayir ◽  
Ayman Kole

When the Turkish army seized power on May 27th, 1960, a new democratic constitution was carried into effect. The positive atmosphere created by the 1961 constitution quickly showed its effects on political balances in the parliament and it became difficult for one single party to come into power, which strengthened the multi-party-system. The freedom initiative created by 1961’s constitution had a direct effect on the rise of public opposition. Filmmakers, who generally steered clear from the discussion of social problems and conflicts until 1960, started to produce movies questioning conflicts in political, social and cultural life for the first time and discussions about the “Social Realism” movement in the ensuing films arose in cinematic circles in Turkey. At the same time, the “regional managers” emerged, and movies in line with demands of this system started to be produced. The Hope (Umut), produced by Yılmaz Güney in 1970, rang in a new era in Turkish cinema, because it differed from other movies previously made in its cinematic language, expression, and use of actors and settings. The aim of this study is to mention the reality discussions in Turkish cinema and outline the political facts which initiated this expression leading up to the film Umut (The Hope, directed by Yılmaz Güney), which has been accepted as the most distinctive social realist movie in Turkey. 


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