Dialogue de la littérature et la peinture dans Femmes d’Alger dans leur appartement d’Assia Djebar

2016 ◽  
pp. 100-107
Author(s):  
Maria Gubińska
Keyword(s):  
Short Stories ◽  
European Approach ◽  
The Voice

The paper presents the phenomenon of hybridity present in Assia Djebar’s writings based on the example of the collection of short stories entitled Femmes d’Alger dans leur appartement (Women of Algiers in Their Apartment). The title of the collection makes reference to famous paintings by Delacroix and Picasso but in doing so the author also supplements the Europocentric discourse with her own voice, the voice of a Francophone Algerian writer who, holding a dialogue with the painters, breaks with exoticism and the orientalising European approach. The dialogue with painting is accomplished on two levels; the first, diegetic and second, essayistic; in ‘The Overture’, and especially in ‘The Afterword’, which is not only a commentary to the painting works by Delacroix and Picasso, but also a complementation of the literary plot. The permanent link of Djebar’s writings to the dramatic present and the remembrance of the women deprived of their voice and subjected to reification is voiced powerfully in the work, which cannot be easily evaluated as it is very diverse in its references to other fields of art.

scholarly journals Sounding diasporic dislocation: The object voice in postcolonial short stories

2021 ◽  
Vol 11 (1-2) ◽  
pp. 11-25
Author(s):  
Jorge Sacido-Romero
Keyword(s):  
Short Stories ◽  
Acoustic Field ◽  
Short Story ◽  
Jacques Lacan ◽  
Black Atlantic ◽  
Introductory Part ◽  
Central Characters ◽  
Different Cultures ◽  
The Voice ◽  
Limited Scope

Jacques Lacan conceives of the voice as more than meets the ear: that is, as an objet a that must be subtracted from the acoustic field to preserve the coherence of reality as a symbolically constructed order in which subjects are inserted and from which they derive a sense of identity. Disruptive manifestations of the object voice are frequent in the modernist and postmodernist British short story, a form which, on account of its brevity and limited scope, renders more sharply the traumatic nature of such episodes, which thus become more memorable and engaging for readers. The short story, likewise, is an apt vehicle for postcolonial and diasporic subjectivities characterized by the tensions and psychic distress provoked by their liminal location between different cultures and their heterogenous and often conflicting interpellations. After an introductory part which elaborates on the interrelations between object voice, the short story genre and the postcolonial subject, this article examines two recent stories by Koye Oyedeji (‘Postscript from the Black Atlantic’) and Diriye Osman (‘Earthling’), in which existential conflicts become so acute that they trigger aural hallucinations, which determine the central characters’ predicament in the context of the migrant diaspora in Britain.

The Voice of the Steppe: Modern Kazakh Short Stories

1983 ◽  
Vol 57 (2) ◽  
pp. 349
Author(s):  
Joseph Mozur ◽  
I. Kramov ◽  
Edythe Haber ◽  
Angelia Graf
Keyword(s):  
Short Stories ◽  
The Voice

Unreliable Third Person Narration? The Case of Katherine Mansfield

2017 ◽  
Vol 46 (1) ◽  
Author(s):  
Terence Patrick Murphy ◽  
Kelly S. Walsh
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Central Character ◽  
Unique Contribution ◽  
Katherine Mansfield ◽  
Truth Telling ◽  
Stylistic Elements ◽  
Third Person ◽  
Wayne Booth ◽  
The Voice

AbstractThe concept of an unreliable third-person narrator may seem a contradiction in terms. The very act of adopting a third-person stance to tell a story would appear to entail an acceptance of a basic need for truth-telling, a commitment to what Wayne Booth terms the implied author’s “norms of the work.” Nonetheless, in the essay that follows, three of Katherine Mansfield’s short stories – “A Cup of Tea” (1922), “Bliss” (1918) and “Revelations” (1920) – will be examined in order to demonstrate how the strategic suppression of the distinction between the voice of the narrator and that of the central character can lead to a strong sense of unreliability. In order to read such narratives effectively, the reader must reappraise the value of certain other stylistic elements, including the use of directives involved with directly quoted speech, seemingly minor discrepancies between adjacent sentences and, perhaps most importantly, the structure of the fiction itself. We contend that Mansfield’s use of this form of unreliable third-person fiction is her unique contribution to the short story genre.

Holocaust Survivors in Jadwiga Maurer’s Short Stories

2002 ◽  
pp. 469-474
Author(s):  
Joanna Rostropowicz Clark
Keyword(s):  
Short Stories ◽  
Holocaust Survivors ◽  
University Of Kansas ◽  
Moral Issues ◽  
Slavic Languages ◽  
The Holocaust ◽  
Heart Of Darkness ◽  
The University ◽  
The Voice

This chapter takes a look at Jadwiga Maurer’s short stories. Maurer, a native of Kielce and Kraków and now a professor of Slavic languages and literature at the University of Kansas, lends her own experience and knowledge from the heart of darkness to a voice free of personal constraints. It is the voice of a meticulous listener and observer of facts and fates; an observer of something that is unspeakable, not for the lack of words, but because of its massive commonality: suffering. Like all true artists, in her stories Maurer has created a world unlike any other. Maurer’s interest, the thrust of her art, is neither in the psychology of surviving the Holocaust, nor in the implied and often explored moral issues, but rather in the ontology of survival.

Listening to the mute voices of prose in recent American short stories

2008 ◽  
Vol 1 (1) ◽  
pp. 125-140
Author(s):  
Claudia Desblaches
Keyword(s):  
Short Stories ◽  
Flannery O'connor ◽  
Writing Style ◽  
Narrative Voice ◽  
Writer's Voice ◽  
The Voice ◽  
American Short Stories

This article aims at investigating the indeterminate voices in the short prose of Flannery O’Connor, Patricia Eakins and Barry Hannah. Thus, it focuses on the ‘acousmatic voice’ of O’Connor’s prose: all the hidden sounds, noises and silences that reveal more than the overt narrative voice and trigger a hermeneutic response from the reader. In relation to Patricia Eakins’s short stories, the article analyses how the voice of her prose compensates for the indeterminacy of her surrealist universe. It investigates, in this respect, the musical quality of her prose as well as the poetic rhythms which help to sustain the reader’s interest and generate meaning. The voices in Barry Hannah’s post-modern prose, finally, are shown to compensate for the renowned complexity of his writing style. By analysing the specificity of each writer’s voice, this article aims to recover the unheard lost ‘voices of prose’, the mythic space of vocality which gives a vocal but mute joy to the reader.

scholarly journals Nature in short stories by Nguyen Ngoc Tu from the ecocritisim viewpoints

2014 ◽  
Vol 17 (3) ◽  
pp. 39-50
Author(s):  
Nguyet Thi Anh Tran
Keyword(s):  
Short Stories ◽  
Physical Environment ◽  
Human Life ◽  
Environmental Issues ◽  
Environmental Crisis ◽  
Literary Studies ◽  
Human Sciences ◽  
Ecological Theories ◽  
The Relationship ◽  
The Voice

According to Cheryll Glotfelty, ecocritisim, simply put, is the study of the relationship between literature and physical environment. Ecocritisim argues the ecological theories of human sciences, which adopt "anthropocentrism" to propose the “earthcentrered” approach to literary studies. This paper focuses on the desire to “read” short stories by Nguyen Ngoc Tu through the eyes of core ideas of ecocritism. From this angle, the writer posed in a direct way environmental issues and human life destiny in the age of environmental crisis. Simultaneously, she brought out to discussion a way to listen to the voice of nature to find the answers to the crisis of modern humans. She also proposed an attitude: Human should live in balance with nature for peace and happiness.

scholarly journals Female Figures of the Jazz Age in Dorothy Parker’s Short Stories

2015 ◽  
Author(s):  
Isabel López Cirugeda
Keyword(s):  
Short Stories ◽  
Social Life ◽  
Feminist Criticism ◽  
Jazz Age ◽  
Narrative Poetry ◽  
Dorothy Parker ◽  
Female Figures ◽  
Feminist Perspectives ◽  
The Voice

Most criticism on Dorothy Parker (1893–1967) highlights her literary persona only to the detriment of the study of a profuse work comprising six decades of narrative, poetry and drama. Probably her best-known contribution to literature was her condition of the voice of the Jazz Age generation, shifting from acquiescence to irony. A corpus of Parker’s short stories written in the 1920s and early 1930s will be analyzed from feminist perspectives, such as those by Pettit, Melzer or Showalter, in terms of ‘appearance’, ‘social life’ and ‘bonds with men’ to determine whether her heroines respond to the stereotype of the flapper in the Roaring Twenties. Results show a satirized viewpoint conveying dissatisfaction regarding body, idleness and romance predicting many of the conflicts of women in the second half of the XXth century.Keywords: Dorothy Parker, short stories, flappers, Jazz Age, feminist criticism, body, satire.

3. Voices

2021 ◽  
pp. 30-47
Author(s):  
Andrew Kahn
Keyword(s):  
Short Stories ◽  
19Th Century ◽  
Romantic Period ◽  
The Voice

‘Voices’ evaluates the role of voices in short stories. In English fiction, from the Romantic period to the Edwardians, the voice of the storyteller often dominated. As the story form moved away from its sensational or journalistic style, the use of a performative frame became a popular device. Monologues and dialogues are soundscapes as well as content. Once discouraged by many style manuals, dialogue has become essential shorthand in creating effects of characterization, realism, and regional inflection. The performance element originally used in 19th-century tales as a frame to create atmosphere and setting, while much less used, remains available today.

‘An Explosive Performing Force’: the Actor in Dylan Thomas

2014 ◽  
Vol 30 (1) ◽  
pp. 3-16
Author(s):  
Gwynne Edwards
Keyword(s):  
New York ◽  
Short Stories ◽  
Everyday Life ◽  
Emeritus Professor ◽  
European Languages ◽  
Welsh Language ◽  
Theatre Company ◽  
Dylan Thomas ◽  
The Voice ◽  
Speaking Style

From his childhood in Swansea until his death in New York in 1953, Dylan Thomas was an instinctive actor. During his teenage years he acted in more than twenty-three stage productions, thirteen of them as a member of Swansea's Little Theatre Company. Although his roles were essentially English and his speaking style somewhat mannered, the latter was strongly influenced by the rhythms of the Welsh language spoken by family members and experienced in the chapels of his childhood. Subsequently, radio broadcasts of his poetry and short stories were very much those of an actor, the emphasis on the voice and, in the stories, on the presentation of many varied characters, of which his play for voices, Under Milk Wood, is the supreme example. But Thomas also carried his love of performance into his everyday life, playing the fool and acting outrageously at parties and in pubs. The comment of one of his contemporaries that ‘Dylan was an actor; he acted practically every moment of every day’ could not be nearer the mark. Gwynne Edwards is Emeritus Professor in the Department of European Languages at Aberystwyth University. He is also a playwright, and two of his adaptations of short stories by Dylan Thomas – ‘The Peaches’ and ‘Extraordinary Little Cough’ – have recently been performed by the Swansea Little Theatre Company as part of the Dylan Thomas centenary celebrations.

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