Becoming-Animal Cinema Narrative

2018 ◽  
Author(s):  
Dennis Rothermel
Keyword(s):  
Case Studies ◽  
Special Kind ◽  
Point Of View ◽  
Free Indirect Discourse ◽  
Indirect Discourse ◽  
Mise En Scene ◽  
The Subject ◽  
Animal Perception ◽  
Film Language

This chapter connects distinctive animal territories to specific uses of film language through a series of case studies, most notably Robert Bresson’s Au hasard Balthazar (1966), Michelangelo Frammartino’s Le Quattro Volte (2011), Bela Tarr’s The Turin Horse (2011), and Ang Lee’s Life of Pi (2012). Significantly, becoming-animal cannot be represented by conventional point-of-view and shot-reverse-shot editing (the structural mainstay of filmic suture), because it ties the animal to the conventional (and thus delimiting) human vectorial space of Deleuze’s action-image. Instead, inspired by Pier Paolo Pasolini’s seminal essay, ‘The “Cinema of Poetry”’, the chapter notes that all four filmmakers resort to a form of free-indirect discourse, whereby animality fills up the film from the inside as formative of the representation rather than rendering the subject within the structure of representation. Not unlike T.S. Eliot’s objective correlative, where the character’s subjectivity is presented objectively in and through the mise-en-scène as well as individual focalisation (in this case the character is also on-screen), animal perception is able to be expressed by a form of camera self-consciousness, what Deleuze calls ‘cinema a special kind of cinema where the camera makes itself felt.

Introduction: Revisiting Civil Religion from an Aesthetic Point of View

2017 ◽  
Vol 10 (1-2) ◽  
pp. 1-15
Author(s):  
Anne Koch
Keyword(s):  
Social Integration ◽  
Case Studies ◽  
Civil Religion ◽  
Value Orientation ◽  
Point Of View ◽  
Special Issue ◽  
National Discourse ◽  
The Subject ◽  
The Aesthetic ◽  
Central Characters

This special issue enquires into aesthetic ways of newly creating or re-shaping and re-presenting civil religion and its central characters, symbols, or figures. Normally, civil religion addresses value-orientation and social integration. In addition to these features, the papers make the aesthetic performance of civil religion the subject of discussion. The reason for taking this path is the altered aesthetic circumstances of highly mediatised and consumerist societies. Before this backdrop, images, literary figurations, movie sequences, and brands in media, public and national discourse are examined in various case studies from Italy, Finland, the uk, France, the former gdr, and Switzerland. At the same time, the negotiation and aesthetic plausibility of aesthetic styles, pragmatic power, and particular media logics are evaluated. The concept of civil religion deserves this closer re-definition also with respect to past and recent (post-)secularisation and non-religion discourses. Hopefully, this multi-layered analysis of aesthetics and aesthetic pragmatics of civil religion will shed some light on the persistent appropriateness of the ‘civil religion’ concept and its capacity to be introduced into various methodological contexts in combination with the aesthetic perspective.

Language shifts in free indirect discourse

2014 ◽  
Vol 43 (2) ◽  
Author(s):  
Emar Maier
Keyword(s):  
Semantic Context ◽  
Point Of View ◽  
Formal Semantic ◽  
Alternative Account ◽  
Direct Discourse ◽  
Free Indirect Discourse ◽  
Indirect Discourse ◽  
Mixed Quotation

AbstractFree indirect discourse is a way of reporting what a protagonist thinks or says that is distinct from both direct and indirect discourse. In particular, while pronouns and tenses are presented from the narrator's perspective, as in indirect discourse, other indexical and expressive elements reflect the protagonist's point of view, as in direct discourse. In this paper I discuss a number of literary examples of free indirect discourse in which the narrator slips into the language, dialect or idiolect of the protagonist. I argue that the leading formal semantic analyses of free indirect discourse, which rely on semantic context shifting, fail to account for such language shifts. I then present an alternative account that treats free indirect discourse as a form of mixed quotation.

The ‘dual voice’ of free indirect discourse: a reading experiment

2007 ◽  
Vol 16 (1) ◽  
pp. 37-52 ◽  
Author(s):  
Joe Bray
Keyword(s):  
Cognitive Science ◽  
Empirical Investigation ◽  
Point Of View ◽  
Reading Process ◽  
Focused Attention ◽  
Cognitive Poetics ◽  
Free Indirect Discourse ◽  
Narrative Style ◽  
Indirect Discourse ◽  
Reading Experiment

The emergence of cognitive poetics has focused attention on how stylistic features are processed by readers. One area ripe for empirical investigation in this respect is point of view. Little attention has previously been paid in cognitive science to the specifics of how point of view is identified during reading. This essay reports on an experiment designed to examine how readers respond to a narrative style that has attracted a great deal of interest from both stylisticians and literary critics: free indirect discourse. The experiment tested two questions in particular: (1) Do readers hear a ‘dual voice’ when reading passages of free indirect discourse? and (2) What kind of ‘contexts’ influence the identification of point of view? Some critics have noted the importance of the preceding co-text in deciding whose point of view is present in ambiguous passages; this experiment suggests that the succeeding co-text might also be relevant. This in turn has implications for the flexibility of the reading process, especially when more than one point of view may be present.

How Do Teachers Manage to Teach? Perspectives on Problems in Practice

1985 ◽  
Vol 55 (2) ◽  
pp. 178-195 ◽  
Author(s):  
Magdalene Lampert
Keyword(s):  
Case Studies ◽  
Mathematics Teacher ◽  
Elementary Mathematics ◽  
Teaching Practice ◽  
Point Of View ◽  
Research On Teaching ◽  
The Subject

The author is a scholar of teaching practice and also an elementary mathematics teacher. Her work, like that of her colleagues at the Institute for Research on Teaching, focuses on teaching practice from the point of view of the practitioner. Here, in two case studies, she views the teacher as dilemma manager, a broker of contradictory interests, who "builds a working identity that is constructively ambiguous." To emphasize her conviction that teaching work is deeply personal, the author makes herself the subject of one of these studies. She concludes with an examination of how her view contrasts with prevalent academic images of teachers' work.

The use of deictic reference in identifying point of view in Grazia Deledda’s Canne al Vento and its translation into English

Target ◽  
2011 ◽  
Vol 23 (1) ◽  
pp. 62-76 ◽  
Author(s):  
Jane Johnson
Keyword(s):  
English Translation ◽  
Functional Model ◽  
Narrative Structure ◽  
Point Of View ◽  
The Novel ◽  
Mental Processes ◽  
Free Indirect Discourse ◽  
Indirect Discourse ◽  
Grazia Deledda

Point of view in narrative has been identified in literary stylistics through the use of deixis, modality, transitivity and Free Indirect Discourse. These findings have also been applied to literature in translation (Bosseaux 2007). This article focuses on deictic cues in the narrative structure of Canne al Vento by Grazia Deledda in the original Italian and the English translation, following an earlier study focussing on constructing a particular point of view through mental processes of perception, the translation of which did not always reflect that point of view (Johnson 2010). Data emerging from a corpus-assisted study is examined qualitatively using a systemic-functional model in order to assess to what extent the point of view constructed by these cues in the ST is conveyed in the novel in translation.

Why did God say no to David? (2 Samuel 7)

2019 ◽  
Vol 43 (4) ◽  
pp. 556-570
Author(s):  
Gregory Goswell
Keyword(s):  
Close Reading ◽  
Free Indirect Discourse ◽  
Indirect Discourse ◽  
Current State ◽  
The Future ◽  
The Subject ◽  
State Of Affairs ◽  
1 Kings ◽  
2 Samuel

The key to discovering why David wants to build a house for Yhwh, as well as the reason for the divine refusal, is to be found in a close reading of the opening verse of 2 Samuel 7. This verse is an example of free indirect discourse, namely, the picture of the king’s situation (in his house and at rest) is how David viewed the current state of affairs. On that basis, David considered that the time was ripe for such a project, for he was under the misapprehension that he had achieved rest from his enemies (v.1b), but God revealed through Nathan that the time of rest lay in the future (v.11a). Despite differences in wording, the identical explanation for God’s embargo on temple-building in the time of David is given in the three passages in 1 Kings and 1 Chronicles that broach the subject.

Narrated perception revisited: The case of Jane Austen’sEmma

2012 ◽  
Vol 21 (2) ◽  
pp. 170-188 ◽  
Author(s):  
Elena Pallarés-García
Keyword(s):  
Point Of View ◽  
The Novel ◽  
Narrative Technique ◽  
Free Indirect Discourse ◽  
Textual Evidence ◽  
Form And Function ◽  
Indirect Discourse ◽  
Objective Fact ◽  
And Function

Jane Austen’s Emma (1816) is generally considered an ambiguous and unreliable narrative in terms of point of view (Morini, 2009: 53–57; Wallace, 1995: 77–97). These qualities are often attributed to the extensive use of free indirect discourse (Finch and Bowen, 1990: 5–6; Mezei, 1996: 72–75). This article aims to demonstrate that another narrative technique is also responsible for the ambiguity and unreliability of the novel. ‘Narrated perception’ (NP) portrays the sensory perceptions of a fictional character by describing events as they are experienced by that character (Fludernik, 1993: 305–309). NP has been pointed out by some critics to be a distinct narrative technique, but in general perception is included within the broader category of free indirect discourse (FID), and occasionally as an aspect of free indirect thought (FIT). This article suggests that there are some subtle differences between NP and FID/FIT, and thus it can be beneficial to examine NP separately. In fact, NP is frequently similar to pure narration in terms of form and function. As a case study, this article presents a stylistic analysis of a number of passages containing NP in Emma which do not typically feature in studies of FID/FIT. The analysis provides textual evidence of (1) the presence of Emma’s sensory perceptions within what looks like narration, (2) the close connection between perception, thought and emotion, and (3) the difficulty of distinguishing between perception and narration in some cases, which suggests the potential of NP to mislead the reader by presenting as a seemingly objective fact what later on turns out to be Emma’s mistaken assessment.

scholarly journals Derogatory terms in free indirect discourse

2021 ◽  
pp. 349-378
Author(s):  
Isidora Stojanovic
Keyword(s):  
Point Of View ◽  
Free Indirect Discourse ◽  
Underlying Theory ◽  
Indirect Discourse ◽  
Mixed Quotation

Free indirect discourse (FID) is a style of reporting speech and thought that combines third-personal narration with direct, first-personal discourse. Expressive terms, such as “idiot” or “asshole”, are known to occur in FID. When so used, the pejorative content reflects the protagonist’s rather than the narrator’s point of view. This chapter broadens the discussion of derogatory terms in FID by investigating occurrences of slurring terms, such as the N-word. The two main approaches to FID, namely the two-context approach and the mixed-quotation approach, are discussed in light of these novel findings. The chapter shows that both are able to account for the data; however, the choice between them imposes constraints on the underlying theory of derogatory terms.

scholarly journals The Produced Self: Conflicts of Depersonalization in Edith Wharton’s The House of Mirth

2019 ◽  
Vol 27 ◽  
pp. 259-274
Author(s):  
Jesús Blanco Hidalga
Keyword(s):  
Point Of View ◽  
Social Darwinism ◽  
Central Character ◽  
The Novel ◽  
Indirect Discourse ◽  
The Subject ◽  
Fredric Jameson ◽  
Social Views ◽  
Textual Strategies ◽  
Mode Of Production

American critic Fredric Jameson has referred to the modern centred subject as a consequence of the historical development of capitalism: both a product of and compensation for the processes of reification and fragmentation brought about by our mode of production. For the critic, realism and modernism played a fundamental part in the consolidation of modern individuality through the use of textual strategies such as point of view and free indirect discourse, which conjure up the literary illusion of a unified self. These are procedures deftly used by Edith Wharton to build our novel’s central character, Lily Bart. At the same time, however, this individuality is inevitably threatened by Wharton’s particular views of society, influenced by social Darwinism, and by her acute awareness of social processes of reification and commodification. This article explores the conflict between Wharton’s proposal of a unified self and the reality of depersonalization reflected by the novel. Likewise, this essay examines the strategies of containment through which the novelist seeks to assuage this contradiction and compensate for the almost unbearable loss that her social views entail for the subject.

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