scholarly journals La Disjonction de la Voix Narrative et la Manipulation de la Vraisemblance dans "Le Rocher de Tanios" d'Amin Maalouf

1970 ◽  
pp. 80-94
Author(s):  
Peter Marteinson
Keyword(s):  
Historical Research ◽  
The Novel ◽  
Narrative Voice ◽  
Generic Status ◽  
Chance Events ◽  
Points Of View

This investigation of the narrative voice in Maalouf’s Prix-Goncourt winning novel Le Rocher de Tanios observes the manner in which the multiplicity of enunciators, in the form of secondary narrators “cited” intertextually by the primary narrator, engenders a subtle play upon points of view, epochs, and cultural outlooks, an artifice which lends the novel a breadth in its generic status and veridictory grounding. It manages to be both an entirely possible, realistic narrative, and a fantastical legend, in which the “strange and the marvelous”, in the words of one of the secondary narrators, form a counterpoint against the rigorous historical research of the primary narrative. The result is a tale in which the appearance of a coherent and inevitable progression of providence melds with a capricious logic of chance events. The work raises the question of fiction and history and answers yes to each one; it is not only a fiction aspiring to verisimilitude, but conversely, it is also an actual history transformed into a novel – into the sort of novel that leads the reader to question his sense of truth and falsehood.

scholarly journals The strange case of Francis Dolarhyde and the Dragon: Alternating narrative points of view and the source of knowledge in Thomas Harris’ 'Red Dragon'

2018 ◽  
pp. 47-68
Author(s):  
Justyna Stiepanow
Keyword(s):  
Propositional Knowledge ◽  
Stream Of Consciousness ◽  
Narrative Voice ◽  
Theoretical Concepts ◽  
Vast Array ◽  
Indirect Speech ◽  
Cause And Effect ◽  
Modes Of Representation ◽  
Thomas Harris ◽  
Points Of View

This paper investigates the narrative voice employed by Thomas Harris in Red Dragon as a source of knowledge about the fictional universe, more particularly about the main villain, Francis Dolarhyde. Confronting important epistemological notions (knowledge, justification and their sources) with literary theoretical concepts (narrative voice and points of view), I analyse alternating modes of representation. Harris’ narrator shifts between three modes: the quasi-perceptual one – sense-based, rich in descriptive elements; the quasi-introspective narration carried out from a close subjective angle, using free indirect speech or stream of consciousness; and the testimonial mode – telling (rather than showing) the story through exposition resting on the principle of cause and effect. Employing a vast array of inter-textual pragmatics, the narrative remains ambiguous. In consequence, any proposition about Dolarhyde can be empirically and rationally challenged and all propositional knowledge regarding the character is merely fragmentary.

scholarly journals The Peculiarities of Iris Murdoch’s artistic method (based on her novel “The Black Prince”)

2016 ◽  
Vol 3 (4) ◽  
pp. 90-94
Author(s):  
N. Telegina ◽  
T. Butsyak
Keyword(s):  
Human Life ◽  
The Novel ◽  
Main Character ◽  
Complex Investigation ◽  
Philosophical Aspect ◽  
Points Of View ◽  
Good And Evil

For the purpose of defining Iris Murdoch’s artistic method a complex investigation of the problems and style of her famous novel “The Black Prince” was made. Special attention was given to the philosophical problems of Good and Evil, Contingency and Necessity in human life, absurdity, choice, aloofness, to the philosophical aspect of the novel, which is revealed with the help of the flash-back technique. The problems raised in the novel, its sensitive main character absorbed in psychoanalysis and looking for the sense of existence, naturalistic details & the postscripts, revealing different subjective points of view on the same events, prove that the novel should be regarded as existentialist

scholarly journals ‘Something happened, something bad’: Blackouts, uncertainties and event construal in The Girl on the Train

2018 ◽  
Vol 27 (1) ◽  
pp. 38-51 ◽  
Author(s):  
Marcello Giovanelli
Keyword(s):  
Young Woman ◽  
Reference Point ◽  
Mental Representations ◽  
Anterograde Amnesia ◽  
Cognitive Grammar ◽  
The Novel ◽  
Narrative Voice ◽  
World Theory ◽  
Event Construal

This article examines the representation of mind style in Paula Hawkins’ (2015) best-selling novel The Girl on the Train. It examines how Hawkins presents the fictional mind of Rachel, a character who is affected by anterograde amnesia as a result of alcoholic blackouts. Rachel’s narrative voice drives the novel, and its retelling of events is characterised by her inability to recall important information related to the night that a young woman disappeared and was murdered. This article specifically draws on the Cognitive Grammar notion of construal to explore the presentation of Rachel’s mind style and its affordances and limitations. In doing so, it builds on developing scholarship that has identified the potential for Cognitive Grammar to provide a richly nuanced account of the representation of a fictional mind. The analysis specifically examines two ways in which event construal is presented: nominal grounding strategies and reference point relationships. For the latter, the article also develops emerging work that has sought to make a connection between Cognitive Grammar and Text World Theory in terms of how mental representations are projected by the text.

A Sacred Communion

2018 ◽  
pp. 67-108
Author(s):  
Erin Michael Salius
Keyword(s):  
Spirit Possession ◽  
The Novel ◽  
Narrative Voice ◽  
The Way

Chapter 2 focuses on another trope that upsets the realist and rationalist discourse of slavery: spirit possession. Whereas existing scholarship stresses the postmodernist resonances of this trope, the chapter argues that Catholicism serves to frame—and even to facilitate—the antirealist effect that spirit possession has on two contemporary narratives of slavery. First is Ernest Gaines’s The Autobiography of Miss Jane Pittman, which is one of the earliest examples of the genre and a novel rarely associated with either spirit possession or Catholicism. By highlighting where Jane’s narrative voice is possessed by other speakers, this chapter documents how the Catholic characters in the novel enable it to engage radically antirealist views about history without ultimately endorsing them. The second part of the chapter focuses on Leon Forrest’s critically acclaimed but insufficiently studied novel Two Wings to Veil My Face, which also figures storytelling as a kind of spirit possession. Despite its obvious skepticism towards organized religion, the novel depicts these spiritual intercessions as Catholic sacraments: rituals of eating and drinking that recall the Eucharist. Thus, Catholicism is implicated in the way the narrator remembers slavery and in the parts of his history that are “beyond understanding.”

Eugène Savitzkaya

2020 ◽  
pp. 147-160
Author(s):  
Patrick Crowley
Keyword(s):  
The Novel ◽  
Generic Status ◽  
Formal Relationship

With the publication of his novel Fraudeur in 2015, Eugène Savitzkaya appears to return us to his first novel Mentir published in 1977. In the intervening years Minuit has published nine novels by Savitzkaya and each of them has put the form of the novel in play through a variety of devices ranging from paratextual commentary on the generic status of the novel to the integration of autobiographical materials. The focus of this chapter will be on the figure of the mother as inscribed within Mentir and Fraudeur and how she is at once both a biographème that signals the author’s past and referential horizon yet also a source of fiction that exceeds the autobiographical even as it draws upon it. In reading both these novels I want to explore the formal relationship between the novel and auto/biography in terms of fiction.

any real doubt about the ending. Heliodoros redirected curiosity from outcome to explanation. The second problem is lack of direc­ tion and unity: romance was prone to fall apart into a series of exciting but only loosely connected adventures, at the end of which the protagonists recovered their lost happiness and simply lived out the rest of their lives as if nothing had happened. By leaving central questions unanswered Heliodoros is able to hold large spans of text together, and the most important answers, when they do arrive, involve decisive change for the protagonists. Both these strategies imply an interpretatively active reader. The opening of the novel is deservedly famous.11 A gang of bandits come across a beached ship, surrounded by twitching corpses and the wreckage of a banquet. Through their eyes, and with their ignorance of what has taken place, the reader is made to assimilate the scene in obsessive but unexplained visual detail. In the midst of the carnage sits a fabulously beautiful young woman, nursing a fabulously handsome young man. It does not take long to identify them as the hero and heroine of the novel, and learn that their names are Theagenes and Charikleia, but Heliodoros tantalizes us over further details. Thus at the very beginning of the novel two riddles are established: what has hap­ pened on the beach? and who exactly are the hero and heroine? Heliodoros prolongs the reader’s ignorance by his characteristic use of partial viewpoint. Sometimes, as with the bandits, there is a fictional audience whose specific perceptions act as a channel of partial information to the reader, but elsewhere Heliodoros as narrator simply relates what an uninformed witness of the events would have seen or heard. For example, we are only allowed to find out about the hero and heroine as they speak to others r are spoken about: Heliodoros as author knows all about them but keeps quiet in favour of his recording but not explaining narrative voice. The opening scene is eventually disambiguated by Kalasiris, an Egyptian priest. He regales Knemon, a surrogate reader within the text who shares the real reader’s curiosity about the protagonists, with a long story, beginning in Book 2, of how he met Charikleia at Delphi, witnessed the birth of her love for Theagenes and helped the lovers to elope. He chronicles their subsequent experiences, until at the end of Book 5, half-way through the novel, the story circles back to its own beginning and at last resolves the mystery of the scene on the beach.

2014 ◽  
pp. 327-327
Keyword(s):  
Young Woman ◽  
Partial Information ◽  
The Novel ◽  
Narrative Voice ◽  
The Real ◽  
Opening Scene ◽  
Visual Detail ◽  
As If

scholarly journals An artistic landscape of the newest kazahkstani novel

2020 ◽  
Vol 6 (Extra-B) ◽  
pp. 149-154
Author(s):  
Rezeda Mukhametshina ◽  
Kadisha Nurgali ◽  
Svetlana Ananyeva
Keyword(s):  
National Identity ◽  
Comparative Analysis ◽  
The Novel ◽  
National Image ◽  
Phenomenology Of Perception ◽  
The World ◽  
Subjective Factor ◽  
Points Of View

In the context of the new bi- and polylingual picture of the world, the novel continues to hold leading positions as the leading genre of prose. The Kazakh novel generalizes the aesthetically immanent factors of identity and is created in the Kazakh and Russian languages. Ethno-national identity is important for both the author and the characters. The modern phenomenology of perception actualizes not only the role of the anthropological turn, but also the role of the subjective factor - the reader. Comparative analysis allows you to look at the novel from different conceptual points of view. Transnational tendencies are intensely manifested in the work of prose writers. The search for answers to the most important questions of our time, the challenges of globalization contributes to the disclosure of the ethnocultural world. Opposition one's own/other, one's/another's allows to convey the national attitude and reveal the national image.    

scholarly journals Merging Music and Landscape: un approccio digitale per lo studio dell’identità culturale della Modena estense

2020 ◽  
Author(s):  
Angela Fiore ◽  
Sara Belotti
Keyword(s):  
Geographic Information Systems ◽  
Early Modern ◽  
State Of The Art ◽  
Historical Research ◽  
Interactive Search ◽  
Development Tools ◽  
New Ideas ◽  
Points Of View ◽  
Interactive Map ◽  
Multidisciplinary Model

The paper aims at proposing a digital project based on the creation of a platform through which to explore the historical soundscape of early modern Modena. Thanks to the use of state-of-the-art web development tools and Geographic Information Systems, the platform will feature an interactive search and navigation environment, plus an interactive map with geo-localized objects and events. This will offer the chance to have new points of view to study a city and its spectacular development. Our project also intends to propose a multidisciplinary model for historical research and provide new ideas for the enhancement of cultural heritage.

scholarly journals Radical Communication Types in William H. Gass’s "The Tunnel"

Tertium ◽  
2021 ◽  
Vol 6 (1) ◽  
pp. 136-161
Author(s):  
Sergii Sushko
Keyword(s):  
Private Life ◽  
Experimental Techniques ◽  
Communication Style ◽  
Communication Styles ◽  
The Novel ◽  
Narrative Voice ◽  
Public And Private ◽  
Experimental Fiction ◽  
Figure Of Speech ◽  
Radical Content

Radical communication largely characterizes W. H. Gass’s The Tunnel. The novel incorporates many forms of radical speech and thought, it unfolds a number of radically charged issues of public and private life. It features a multitude of innovative experimental techniques and, in many instances, it demonstrates predominance of language and form over the content. In this paper, we have ascertained that the authenticity and multitude of radical communication forms in the said novel can essentially be grasped in terms of disjointing the Ich-Erzähler’s narrative voice and the authorial one. It has been ascertained that the sincerity in narrative largely governs its radical content while the book’s radical composition and radical language and style form the second set of the radical communication styles in the novel, reflecting Gass’s bent on experimental fiction. In the paper, the following radical communication style varieties have been singled out:  “breaking the narrative monotony,” “hate intensifying,” “filial unwillingness to forgive,” “revulsion invoking,” “provoking indecipherability/unreadability,” “accentuated total criticism,” or “downgrading metanarratives,” “ambivalent portrayal of the war and Holocaust,” “pictorial communication style,” “communication style of radically structured composition,” “communication style of verbal adornment,” “embellishment,” “conceit” (as a figure of speech).

Sign in / Sign up

Export Citation Format

Share Document