scholarly journals DES EFFETS DE LA (NON)FIABILITÉ DU NARRATEUR DU « NŒUD DE VIPÈRES » MAURICIEN

2022 ◽  
Vol 46 (3) ◽  
pp. 293-307
Author(s):  
Tamara Valčić Bulić
Keyword(s):  
Wayne Booth

Le roman Le Sari vert (2009) d’Ananda Devi, écrivaine franco-mauricienne, relate une histoire de haine et de violence familiales entre un homme à l’agonie d’un côté, et de l’autre, son épouse, décédée depuis longtemps et réapparaissant comme un fantôme, le hantant, puis leur fille et leur petite-fille, celles-ci bien vivantes et assoiffées de vengeance. Devi écrit son roman sous la forme du monologue intérieur d’un seul narrateur, qui, cependant note aussi les paroles et les réactions des deux femmes qui l’assistent. Il s’agit dans cet article de montrer comment est obtenu l’effet à la fois de la non fiabilité du narrateur et de sa monstruosité. Les notions théoriques d’auteur implicite et de narrateur (non) fiable/(in)digne de confiance sont empruntées à Wayne Booth, puis nuancées par quelques autres notions narratologiques plus récentes (distinction d’A. Nünning (1999) entre « non fiable » et « indigne de confiance » ; J. Phelan (2005) introduit, quant à lui, trois critères ou axes de la (non)fiabilité : narratif, interprétatif et axiologique). À l’aide de ces notions, on conclut à une certaine fiabilité du narrateur dans le domaine des faits, à son interprétation fréquemment erronée de la psychologie et des motivations des autres personnages et enfin à son indignité sur le plan éthique. Le discours narratorial est donc miné par des contradictions discrètement introduites qui sont autant de signaux de la part de l’auteur implicite, le narrateur lui-même est déjoué et sanctionné à la fin du roman, apparaissant dans toute sa turpitude.   

Wayne Booth, 1921-2005

2006 ◽  
Vol 32 (2) ◽  
pp. 375
Author(s):  
Mitchell
Keyword(s):  
Wayne Booth

scholarly journals When good art is bad: Educating the critical viewer

2020 ◽  
Vol 18 (2) ◽  
pp. 137-150
Author(s):  
Laura D’Olimpio
Keyword(s):  
Moral Education ◽  
Oscar Wilde ◽  
Aesthetic Education ◽  
The Other ◽  
Martha Nussbaum ◽  
Ethical Criticism ◽  
Aesthetic Value ◽  
Moral Sentiments ◽  
Educational Implications ◽  
Wayne Booth

There is a debate within philosophy of literature as to whether narrative artworks should be judged morally, for their ethical value, meaning and impact. On one side you have the aesthetes, defenders of aestheticism, who deny the ethical value of an artwork can be taken into consideration when judging the work’s overall aesthetic value. Richard Posner backs artists such as Oscar Wilde who famously wrote, ‘there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all’. On the other side of the debate are proponents of ethical criticism such as Martha Nussbaum, Wayne Booth, Noël Carroll and Mary Devereaux. This article examines the educational implications of each position and ultimately defends the importance of moral education alongside aesthetic education. Given artworks are powerful vehicles for moral sentiments and meaning, it is important that viewers are taught to engage critically with art’s ethical features as well as aesthetic features. In this way, educational concerns pose a challenge to the position of aestheticism.

scholarly journals Reflexões sobre a tradução de si: Ugo Foscolo e Jacopo Ortis entre a vida e a poiesis

2018 ◽  
Vol 1 (44) ◽  
pp. 220-230
Author(s):  
Karine Simoni
Keyword(s):  
Ugo Foscolo ◽  
Wayne Booth

O artigo objetiva analisar a interconexão entre a escrita de si e a tradução de si a partir da experiência de Ugo Foscolo (1778-1827), autor do romance Ultime letterediJacopoOrtis [As últimas cartas de JacopoOrtis], publicado em definitivo em 1817. Toma-se como corpus o referido romance e as cartas que Foscolo enviou à AntoniettaFagnaniArese entre 1801 e 1803, período que coincide com a primeira publicação completa de Ultime LetterediJacopoOrtis. Uma leitura comparativa entre as cartas trocadas entre Foscolo e Arese e as cartas escritas pelo personagem JacopoOrtis e endereçadas a Lorenzo Alderani revela pontos em comum na escrita de Foscolo e do protagonista do seu romance. Utiliza-se o conceito de autor implícito de Wayne Booth (1980) e as considerações sobre tradução em Marco Lucchesi (2016).

scholarly journals A Paródia e o Estatuto do leitor em O Único Animal Que?, de Augusto Abelaira

Letras ◽  
2016 ◽  
pp. 107
Author(s):  
Jose Luis Giovanoni Fornos
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Umberto Eco ◽  
Wayne Booth

O presente ensaio aponta para importância do leitor na configuração da chamada paródia pós-moderna a partir dos estudos de Linda Hutcheon. Em contraposição às teses de Wayne Booth, o leitor na paródia simula e dissimula suas ações, instaurando desconfiança permanente na decodificação do texto romanesco. Teoricamente, retoma textos de Roland Barthes, Umberto Eco e Michel Foucault, entre outros. Igualmente aborda a categoria do leitor, considerando-a como exemplar na composição do romance do escritor português Augusto Abelaira. Discute o papel do leitor na narrativa abelairiana, relacionando-o aos episódios do livro O único animal que?.

Wayne Booth

2017 ◽  
pp. 341-349
Author(s):  
John Boe ◽  
David Masiel ◽  
Eric Schroeder ◽  
Lisa Sperber
Keyword(s):  
Wayne Booth

Eternity Now! Wayne Booth as Musical Amateur

2000 ◽  
Vol 53 (1) ◽  
pp. 167
Author(s):  
Harold Fromm ◽  
Wayne Booth
Keyword(s):  
Wayne Booth

scholarly journals Moving Picture, Lying Image: Unreliable Cinematic Narratives

2015 ◽  
Vol 10 (1) ◽  
pp. 89-104
Author(s):  
Tamás Csönge
Keyword(s):  
Stage Fright ◽  
First Person ◽  
Written Discourse ◽  
Visual Narratives ◽  
Scholarly Literature ◽  
Unreliable Narrator ◽  
Cinematic Narratives ◽  
The Subject ◽  
Wayne Booth

Abstract By coining the term “unreliable narrator” Wayne Booth hypothesized another agent in his model besides the author, the implicit author, to explain the double coding of narratives where a distorted view of reality and the exposure of this distortion are presented simultaneously. The article deals with the applicability of the concept in visual narratives. Since unreliability is traditionally considered to be intertwined with first person narratives, it works through subjective mediators. According to scholarly literature on the subject, the narrator has to be strongly characterized, or in other words, anthropomorphized. In the case of film, the main problem is that the narrator is either missing or the narration cannot be attributed entirely to them. There is a medial rupture where the apparatus mediates the story instead of a character’s oral or written discourse. The present paper focuses on some important but overlooked questions about the nature of cinematic storytelling through a re-examination of |the lying flashback in Alfred Hitchcock's Stage Fright. Can a character-narrator control the images the viewer sees? How can the filmic image still be unreliable without having an anthropomorphic narrator? How useful is the term focalization when we are dealing with embedded character-narratives in film?

scholarly journals LOS CONTRASTES Y LAS IRONÍAS EN LA CIUDAD ALEGRE Y CONFIADA DE JACINTO BENAVENTE

2021 ◽  
Vol 30 ◽  
pp. 627
Author(s):  
Pol POPOVIC KARIC
Keyword(s):  
Soren Kierkegaard ◽  
Personal Characteristics ◽  
Life And Death ◽  
Theoretical Approaches ◽  
The People ◽  
Socioeconomic Structure ◽  
Wayne Booth ◽  
Siglo Xx ◽  
Jacinto Benavente ◽  
Ideological Structure

Resumen: Este trabajo propone un estudio sobre los contrastes y las ironías en La ciudad alegre y confiada de Jacinto Benavente. Estos tienen un impacto estilístico y cómico característicos del teatro español de las primeras décadas del siglo XX. Además, el contraste y la ironía definen la estructura ideológica de esta obra y justifican su cierre. En la primera sección, las características y los personajes individuales serán estudiados a través de las contradicciones e incoherencias sociales que contribuyen a la imprevisible naturaleza de la trama. En la segunda sección, el análisis de la estructura socioeconómica de la sociedad proveerá las bases para los conflictos individuales y colectivos. La última sección se enfocará en la relación entre la vida y la muerte. Los protagonistas Crispín y Desterrado están convencidos que la muerte es la única manera de purificar a la gente y de salvar su ciudad. Soren Kierkegaard, Wayne Booth and Peter Roster proveen los acercamientos teóricos a la ironía que se utilizarán en este trabajo.Abstract: This paper proposes a study of contrasts and ironies in Jacinto Benavente’s play La ciudad alegre y confiada. They produce stylistic and comical effects that are typical of the Spanish drama in the first decades of the 20th century. However, they also define the ideological structure of the play and justify its outcome. The contrasts and the ironies of this play will be studied in three sections. In the first one, the personal characteristics and roles will be examined. Their contradictions and incoherencies contribute to the unpredictable nature of the play. In the second section, the analysis of the socioeconomic structure of the society will provide the bases for individual and collective conflicts. The last section focuses on the relation between life and death. The key protagonists Crispin and Desterrado are convinced that death is the only way to purify the people and to save their town. Soren Kierkegaard, Wayne Booth and Peter Roster provide the theoretical approaches to irony that will be used in this study.

scholarly journals O curioso caso do homem plano de Patrícia Portela: uma leitura desestabilizadora

Letras ◽  
2016 ◽  
pp. 65
Author(s):  
Paulo Ricardo Kralik Angelini
Keyword(s):  
Paul Ricoeur ◽  
Umberto Eco ◽  
Ricardo Piglia ◽  
Paul Ricœur ◽  
Wayne Booth

Para cima e não para norte, de Patrícia Portela, apresenta o homem plano, personagem que desliza entre as linhas dos livros e concretiza-se no processo de leitura. Assumindo seu espaço na linhagem de narradores portugueses dramatizados e com consciência de si próprios, o texto de Portela encaminha-se num projeto performático, valendo-se de estratégias narrativas inovadoras, projeto gráfico interativo, contaminado por outras manifestações artísticas, como teatro, artes visuais e cinema, para provocar o leitor, sequestrando-o para dentro da obra. Como suporte teórico, autores como Wayne Booth, Paul Ricoeur, Paul Zumthor, Brian Richardson, Ricardo Piglia, Umberto Eco, entre outros.

Wayne Booth and the Failure of Rhetoric in The Good Soldier

Caliban ◽  
1969 ◽  
Vol 6 (1) ◽  
pp. 49-52
Author(s):  
Harold Frederick Jr. Mosher
Keyword(s):  
Wayne Booth ◽  
Good Soldier
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