‘A Kind of Shadow’: Mirror Images and Alter Egos in Zadie Smith’s Swing Time

2018 ◽  
Vol 66 (4) ◽  
pp. 461-477
Author(s):  
Franziska Quabeck
Keyword(s):  
The Novel ◽  
Politics Of Recognition ◽  
The Third ◽  
Narrative Perspective ◽  
Swing Time ◽  
Third Person ◽  
Zadie Smith ◽  
And Gender ◽  
First Time ◽  
The Third Person

AbstractInSwing Time, her newest novel to date, Zadie Smith makes use of a first-person narrator for the first time in her career as a writer, and this change in narrative perspective is crucial to our understanding of the novel. Her narrator is slightly odd and we come to question the veracity of her account. Thus, she is ‘unreliable’ in traditional terms, but this article argues that we can equally call her inauthentic because she obviously represses feelings that are vital to the story. She does not fully expose herself, for she tries to hide the fact that she does not know who she is. Trapped between the intersectionality of race, class, and gender, oppressed by an overbearing mother and a racist society, the narrator has confined herself to an existence as a shadow. By way of Charles Taylor’s politics of recognition and Frantz Fanon’s image in the third person, this article tries to show thatSwing Time’s narrator exists only as a shadow because she finds no external affirmation of herself as a black woman.

Two Paths for the Big Book: Olga Tokarczuk's Shifting Voice

Genre ◽  
2021 ◽  
Vol 54 (1) ◽  
pp. 67-87
Author(s):  
Katarzyna Bartoszyńska
Keyword(s):  
The Novel ◽  
Free Indirect Discourse ◽  
The Third ◽  
Indirect Discourse ◽  
Narrative Perspective ◽  
The World ◽  
Third Person ◽  
Single Voice ◽  
The Third Person ◽  
World Image

This essay argues for the power of free indirect discourse in the third-person narrative perspective to serve as a collective voice, encompassing a diversity of perspectives, through a reading of two novels by Olga Tokarczuk, Bieguni (Flights) and Księgi Jakubowe (Books of Jacob). Both novels investigate the challenges inherent in the project of providing an image of the world, and alongside various interventions on the level of content, each examines the kind of world-image that different approaches to narrative voice can produce. In Flights, the narrator's striving to arrive at a more expansive and synthetic knowledge of the world is accompanied by an effort to go beyond the first-person voice, to a broader perspective. The novel subtly demonstrates the impossibility of such efforts, but, the essay argues, Books of Jacob continues this project, albeit from the opposite direction, examining the affordances of the third-person voice. Its innovative use of free indirect discourse produces a perspective that, while appearing to be a single voice, contains multiple, contradictory points of view.

Marginality in the Mainstream, Lesbian Love in the Third Person

2016 ◽  
Author(s):  
Emily Van Buskirk
Keyword(s):  
French Literature ◽  
Gender And Sexuality ◽  
The Other ◽  
The Third ◽  
The World ◽  
Third Person ◽  
Philosophical Texts ◽  
And Gender ◽  
The One ◽  
The Third Person

This chapter undertakes a treatment of the rhetoric of personal pronouns in Ginzburg's writings on love and sexuality, drawing on Michael Lucey's study of the first person in twentieth-century French literature about love. It brings together questions of genre and narrative, on the one hand, and gender and sexuality, on the other. The chapter is divided into two sections, treating writings from two different periods on two kinds of love Ginzburg thought typical of intellectuals: in “First Love,” it discusses the unrequited and tragic love depicted in Ginzburg's teenage diaries (1920–23); in “Second Love,” it analyzes the love that is realized but in the end equally tragic, depicted in drafts related to Home and the World (1930s). The chapter examines the models the author sought in literary, psychological, and philosophical texts (Weininger, Kraft-Ebbing, Blok, Shklovsky, Oleinikov, Hemingway, and Proust).

scholarly journals ANALISIS BENTUK DAN FUNGSI REFERENSI PERSONAL DALAM NOVEL REMBULAN TENGGELAM DIWAJAHMU KARYA TERE LIYE

2017 ◽  
Vol 2 (1) ◽  
pp. 32
Author(s):  
Muh Ali Imran ◽  
Nur Resky Evawanti
Keyword(s):  
The Novel ◽  
Second Person ◽  
Form And Function ◽  
The Third ◽  
The Face ◽  
Research Procedure ◽  
Third Person ◽  
And Function ◽  
The Third Person ◽  
Planning Action

AbstractThe main problem in this research  how to find out about the form and function of personal references in the novel Rembulan Tenggelam di Wajahmu in order to determine the differences contained in the novel especially those on personal references contained therein. This research was a literature review of research that contains one topic that contains some ideas or propositions related and must be supported by the data obtained from literature sources. This research procedure included planning, action and analysis. Subjects in this study was the novel of  Rembulan Tenggelam di Wajahmu. The results showed that the observation of novel moon sinking in the face are analyzed on personal references indicate that there are a lot of words including personal references such as personal pronoun first (referring to himself), pronouns second person (referring to the speaker) , and the third person pronoun (which refers to the person in question). Based on these results above, it can be concluded that the words include references persona there are differences both in writing and in speech.Keywords: Novel, personal referencesAbstrakMasalah utama dalam penelitian ini yaitu bagaimana mengetahui tentang bentuk dan fungsi referensi personal di dalam novel Rembulan Tenggelam di Wajahmu dengan tujuan untuk mengetahui perbedaan yang terdapat di dalam novel tersebut terkhusus pada referensi personal yang terdapat di dalamnya. Jenis penelitian ini adalah penelitian kajian pustaka yang berisi satu topik yang memuat beberapa gagasan atau proposisi yang berkaitan dan harus didukung oleh data yang diperoleh dari sumber pustaka. Prosedur penelitian ini meleputi perencanaan, pelaksanaan tindakan, dan analisis. Subjek dalam penelitian ini adalah novel rembulan tenggelam di wajahmu. Hasil penelitian menunjukkan bahwa pada pengamatan terhadap novel rembulan tenggelam di wajahmu yang menganalisis tentang referensi personal menunjukkan bahwa terdapat banyak kata-kata yang termasuk referensi personal seperti pronomina persona pertama( yang mengacu pada diri sendiri), pronomina persona kedua (yang mengacu pada lawan bicara), dan pronomina persona ketiga (yang mengacu pada orang yang dibicarakan). Berdasarkan hasil penelitian tersebut diatas, dapat disimpulkan bahwa kata-kata yang mencakup referensi persona terdapat perbedaan baik didalam penulisan maupun didalam tuturan.  Kata kunci: Novel,referensi personal

scholarly journals Narrar e ser: a pessoalidade do narrador de Eu receberia as piores notícias de seus lindos lábios / Narrating and Being: The Us Narrator’s Personality Eu receberia as piores notícias de seus lindos lábios

2021 ◽  
Vol 30 (1) ◽  
pp. 170
Author(s):  
Netanias Mateus De Souza Castro
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Safe Distance ◽  
History Of The Novel ◽  
The Third ◽  
The Us ◽  
Third Person ◽  
History Of ◽  
The Third Person

Resumo: A história do romance viu, diante de si, formas diversas de narrar, conforme aponta os escritos de Theodor W. Adorno, por exemplo. Desde narradores impessoais, mantendo a distância segura que lhe confere a narrativa em terceira pessoa até os casos em que o que se narra é algo diretamente relacionado ao próprio narrador. Esse parece ser o caso do romance de Marçal Aquino, Eu receberia as piores notícias de seus lindos lábios, que conta o envolvimento amoroso de Cauby e Lavínia a partir do olhar do próprio Cauby. Esse narra de um modo cuja relação de si mesmo com a narrativa fica explícita, tamanha é sua passionalidade em relação às suas vivências e ao ato de narrar. Isso se manifesta tanto na linguagem, em termos de escolhas narrativas, quanto nas ações do narrador-personagem-protagonista que narra e vive aquilo que narra. Suas características mais notáveis são a passionalidade, a capacidade de registrar fotograficamente detalhes da narrativa e o rompimento com técnicas narrativas tradicionais.Palavras-chave: narrador; primeira pessoa; romance brasileiro contemporâneo; Eu receberia as piores notícias de seus lindos lábios.Abstract: The history of the novel saw, before it, different ways of narrating, as pointed out by the writings of Theodor W. Adorno, for example. From impersonal narrators, maintaining the safe distance that the third person narrative gives him until the cases in which what is narrated is something directly related to the narrator himself. This seems to be the case with Marçal Aquino’s novel I would receive the worst news from his beautiful lips, which tells of Cauby and Lavínia’s loving involvement from the point of view of Cauby himself. He narrates in a way whose relationship with himself and the narrative is explicit, such is his passion for his experiences and the act of narrating. This manifests itself both in language, in terms of narrative choices, and in the actions of the narrator-character-protagonist who narrates and experiences what he narrates. Its most notable characteristics are passionality, the ability to photographically record details of the narrative and break with traditional narrative techniques.Keywords: narrator; first person; contemporary Brazilian romance; Eu receberia as piores notícias de seus lindos lábios.

Writing good Southerne: Local and supralocal norms in the Plumpton letter collection

2002 ◽  
Vol 14 (1) ◽  
pp. 1-17 ◽  
Author(s):  
Colette Moore
Keyword(s):  
Early Modern Period ◽  
Local Form ◽  
Person Plural ◽  
The Third ◽  
Language History ◽  
The North ◽  
Third Person ◽  
History Of ◽  
And Gender ◽  
The Third Person

The relatively recent application of sociolinguistic methodology to the study of language history offers techniques for approaching regional and social variation and change in earlier stages of English. This article focuses on changes in written norms in the history of English, examining several morphosyntactic variables that were in flux in England in the 15th and 16th centuries: the third person present singular verb endings, the third person plural be, and the Northern Present-Tense Rule for third person plural verbs. These variables are significant because each of them presents two competing forms in the north of England in the Early Modern period: a local form and a supralocal form. The present analysis, after examining the correlation between the linguistic variables and gender and social function, concludes that the results may be understood through a conflict model in which variants supralocalize to accommodate the demands of alternative linguistic markets.

Drawing Kafka’s Castle

2021 ◽  
Vol 11 (1) ◽  
pp. 35-73
Author(s):  
Emily T. Troscianko ◽  
James Carney
Keyword(s):  
Word Embeddings ◽  
Free Response ◽  
The Third ◽  
Narrative Perspective ◽  
Perform Cluster Analysis ◽  
Third Person ◽  
Text Version ◽  
The Third Person ◽  
Pencil Drawings ◽  
Cognitive Realism

Abstract We investigated the effects of narrative perspective on mental imagery by comparing responses to an English translation of Franz Kafka’s Das Schloß (The Castle) in the published version (narrated in the third person) versus an earlier (first-person) draft. We analysed participants’ pencil drawings of their imaginative experience for presence/absence of specific features (K. and the castle) and for image entropy (a proxy for image unpredictability). We also used word embeddings to perform cluster analysis of participants’ verbal free-response testimony, generating thematic clusters independently of experimenter expectations. We found no effects of text version on feature presence or overall entropy, but an effect on entropy variance, which was higher in the third-person condition. There was also an effect of text version on free responses: Readers of the third-person version were more likely to use words associated with mood and atmosphere. We offer conclusions on “Kafkaesque” aesthetics, cognitive realism, and the future of experimental literary studies.

Emotions and gender in oral history: narrating Italy's 1968

Modern Italy ◽  
2012 ◽  
Vol 17 (2) ◽  
pp. 209-221 ◽  
Author(s):  
Rebecca Clifford
Keyword(s):  
Life History ◽  
Oral History ◽  
New Left ◽  
History And Memory ◽  
The Third ◽  
Third Person ◽  
Collective Experience ◽  
And Gender ◽  
History Narratives ◽  
The Third Person

The year 1968 was and remains an emotion-laden topic in Italy, and yet few historians have used emotions to parse the history and memory of this period. This paper draws on a collection of interviews with former activists in the student movement and the New Left to explore the ways in which expressions of feeling in life-history narratives can flag up possible lines of difference in women's and men's stories. It draws on three emotive themes – rebellion, violence and liberation – to explore the interaction between gender, feeling, narrative, and what the author calls the ‘third person in the room’: meta-narratives of 1960s activism that can exert a powerful weight on the interview, blending and blurring the lines of individual and collective experience.

scholarly journals Endnu en gang: om at fortælle

2006 ◽  
Vol 34 (101) ◽  
pp. 14-43
Author(s):  
Käte Hamburger
Keyword(s):  
English Translation ◽  
Literary Fiction ◽  
The Novel ◽  
Linguistic Features ◽  
Ordinary Life ◽  
The Third ◽  
Third Person ◽  
The Third Person ◽  
Käte Hamburger

Forsøg på et svar og en afklaring Once again: About NarrationIn 1957 the German literary scholar Käte Hamburger published an original and controversial book on the language of literary fiction (Die Logik der Dichtung, English translation The Logic of Literature (1973)). According to Hamburger the constitutive mark of epic fiction (the third-person form of narration) is that it represents human subjectivity in a manner that has no counterpart in ordinary life. Furthermore this »logic of literature« is not a matter of interpretation or stylistics, but is based on fundamental and distinguishable linguistic features, e.g. the loss of the sense of »pastness« in the praeterite tense. Hamburger’s book raised a lot of debate and objections, and in 1965 she summarized the discussion and gave her reply in the article »Noch einmal: Vom Erzählen« (Once again: About Narration), translated into Danish for this issue of K&K. The crucial elements of tense in the novel, the role of the narrator and the art of fiction are once again investigated by Hamburger in this final contribution.

ForeWomen

2019 ◽  
Vol 31 (1) ◽  
pp. 157-174
Author(s):  
Alexander Ponomareff
Keyword(s):  
Strategic Decision ◽  
Atlantic City ◽  
Subject Positions ◽  
The Third ◽  
Person Perspective ◽  
Representational Politics ◽  
Third Person ◽  
First Time ◽  
The Third Person ◽  
Nina Simone

In June 1954, Eunice Kathleen Waymon performed on an Atlantic City stage for the first time under the name Nina Simone. This performative self-creation is mirrored in the structure and lyrical content of one of her best-known songs, “Four Women,” in which each verse features Simone singing as a different woman. By examining the similarities between the varying accounts of Waymon’s transformation into Simone, and by conducting a close reading of Simone’s performances of “Four Women,” it is possible to understand Simone’s song as challenging representational politics by pluralizing identities. This strategic decision was underscored when the rapper Talib Kweli and DJ Hi Tek recreated “Four Women” as “For Women” on their 2000 record Reflection Eternal. “For Women” reproduces the structure and message of Simone’s original. Mimicking the logic of self-creation that Simone embodied both in her life and in “Four Women,” Kweli and Hi-Tek craft a song where Kweli transitions, often mid-verse, between rapping about each of these four women in the third person and taking on the first-person perspective of each woman. Understanding these two examples together illustrates the power and legacy of “Four Women” and its critique of representational politics and of the rigidity of unique subject positions.

scholarly journals FORM AND REFORM: THE “MISCELLANY NOVEL”

2013 ◽  
Vol 41 (1) ◽  
pp. 21-40
Author(s):  
Helen Hauser
Keyword(s):  
First Person ◽  
The Novel ◽  
The Third ◽  
Third Person ◽  
The Third Person

Around 1847, an author describinghimself as “A Discharged officer with twenty years’ experience” published a book entitledThe Mysteries of the Madhouse. It commences as a novel: the third-person narrative tells a thrilling tale complete with a harmless heir, conniving step-mother, and gormless step-brother. But after the heir of Howarth House is committed to a madhouse by his step-mother, the genre of the text changes abruptly. With no transition, the language of the novel is suddenly interrupted by extended, first-person, ostensibly factual accounts of what conditions are like inside madhouses.

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