Chapter 2. Narrating the Nation: Print Culture and the Nationalist Historical Narrative

2011 ◽  
pp. 55-82
Keyword(s):  
Print Culture ◽  
Historical Narrative

scholarly journals Of Time and the City: The Doyles and London Print Culture

2021 ◽  
Vol 11 (3) ◽  
pp. 242-262
Author(s):  
Jonathan Cranfield
Keyword(s):  
Print Culture ◽  
Historical Narrative ◽  
Printing Technology ◽  
Tectonic Plates ◽  
Irish Catholics ◽  
The City

This article examines Arthur Conan Doyle's status as a ‘London’ writer. It places his own experiences of the city within the same historical frame as that of his father, his uncles, and his grandfather. The Doyles had spent decades working in London print culture before Conan Doyle had even been born, and it is helpful to understand his early struggles to make his name as part of this longer literary-historical narrative. The London Doyles were able to establish their names as artists, illustrators, and writers before the tectonic plates of printing technology and public taste shifted beneath them. The article also focuses on the Doyles' status as a family of immigrant Irish Catholics who found that their faith, as well as their politics, made them perpetual outsiders.

“The Paper Old and Faded and Falling to Pieces”: Absalom, Absalom! and the Pulping of History

2017 ◽  
pp. 177-191
Author(s):  
Brooks E. Hefner
Keyword(s):  
Print Culture ◽  
Historical Record ◽  
Crime Fiction ◽  
Historical Narrative ◽  
The Novel ◽  
Literary Production ◽  
Domestic Sphere ◽  
Yellow Peril ◽  
Adventure Fiction

This chapter examines how Faulkner's dramatization of the historical endeavor reflects the print culture conventions of his era. It argues that Absalom's “fluid and flexible” relationship to history amounts to a “pulping” of the historical record, “self-consciously destroying, recycling, and repurposing” it in ways gleaned from the “popular literary production” of the 1920s and 1930s. The so-called shudder pulps, with their emphasis on terror and the occult; “hero pulps” and other modes of popular adventure fiction; Black Mask-school hard-boiled crime fiction; Yellow Peril narratives and other tales depicting “racialized threat[s] to sexual purity” and the domestic sphere—the novel employs all of these pulp genres to shape and sensationalize the Sutpen saga and its central figures, in what amounts to a lowbrow version of the “emplotment” process that Hayden V. White finds at work in all historical narrative.

НАРАТИВ ЯК КОНТЕНТНА ОСНОВА МІЖНАРОДНИХ СТРАТЕГІЧНИХ КОМУНІКАЦІЙ

2020 ◽  
pp. 4
Author(s):  
N. Zykun ◽  
A. Bessarab ◽  
L. Ponomarenko
Keyword(s):  
Selection Method ◽  
Historical Narrative ◽  
Neutral Position ◽  
Main Task ◽  
Grand Narrative ◽  
National Narrative ◽  
Strategic Communications ◽  
Analysis And Synthesis ◽  
The Media ◽  
International Interaction

<p><em>The article, basing on the analysis of selected media texts with reference to narrative from the leading Ukrainian newspapers «Dzerkalo Tyzhnia» (Weekly Mirror), «Den» (Day), «Ukraina Moloda» (Young Ukraine) for 2016–2020, the semantic and content characteristics of the «narrative», «strategic narrative», «small narratives» nominations has established; the directions of the semantic realization of the meaning of the narrative and its possibilities in the process of international strategic communications aimed at both external and internal audience, are outlined. It is proved that the main task of a strategic, or national, narrative is a reasoned explanation to the state population and interested audiences of specific realities, intentions, plans; justification of certain directions of state activity aimed at partners, at opponents and those occupying a neutral position.</em></p><p><em>There are divided the spheres of use of different narratological nominations: in international communications and in scientific discourse, the conceptual foundations of state identity and international interaction are referred to as strategic narrative or grand narrative, in publicistic discourse the narrative nomination is used, more rarely – historical narrative, national narrative.</em></p><p><em>The scientific novelty of the research is that the focus is on the media aspect of the use of one of the key concepts of strategic communications and the role of the media in its implementation.</em></p><p><em>The main general scientific methods used in this article are descriptive and comparative ones, as well as analysis and synthesis. The following empirical methods were also used: solid selection method (solid selection method for allocation texts with the «narrative» lexeme; quantitative method of content analysis with elements of qualitative one – for characterizing the semantic of the «narrative» term).</em></p><p><em>The results of the study can be used in the complex research of the technology of international strategic communications and in the practical activity of specialists in international strategic communications, a new trend in Ukraine, which is currently under active institutionalization.</em></p><strong><em>Key words:</em></strong><em> international strategic communications, propaganda, narrative, strategic narrative, grand narrative, «small narratives».</em>

History of Ardalānids (1590-1810) by Sharaf al-Dīn bin Shams al-Dīn

2017 ◽  
Vol 5 (1) ◽  
pp. 56-79
Author(s):  
Sara Zandi Karimi
Keyword(s):  
Early Modern ◽  
Early Modern Period ◽  
Historical Narrative ◽  
Modern Period ◽  
History Of ◽  
Critical Translation

This article is a critical translation of the “History of the Ardalānids.” In doing so, it hopes to make available to a wider academic audience this invaluable source on the study of Iranian Kurdistan during the early modern period. While a number of important texts pertaining to the Kurds during this era, most notably the writings of the Ottoman traveler Evliya Chalabi, focus primarily on Ottoman Kurdistan, this piece in contrast puts Iranian Kurdistan in general and the Ardalān dynasty in particular at the center of its historical narrative. Thus it will be of interest not only to scholars of Kurdish history but also to those seeking more generally to research life on the frontiers of empires.Keywords: Ẕayl; Ardalān; Kurdistan; Iran.ABSTRACT IN KURMANJIDîroka Erdelaniyan (1590-1810)Ev gotar wergereke rexneyî ya “Dîroka Erdelaniyan” e. Bi vê yekê, merema xebatê ew e ku vê çavkaniya pir biqîmet a li ser Kurdistana Îranê ya di serdema pêş-modern de ji bo cemawerê akademîk berdest bike. Hejmareke metnên girîng li ser Kurdên wê serdemê, bi taybetî nivîsînên Evliya Çelebî yê seyyahê osmanî, zêdetir berê xwe didine Kurdistana di bin hukmê Osmaniyan de. Lê belê, di navenda vê xebatê de, bi giştî Kurdistana Îranê û bi taybetî jî xanedana Erdelaniyan heye. Wisa jî ew dê ne tenê ji bo lêkolerên dîroka kurdî belku ji bo ewên ku dixwazin bi rengekî berfirehtir derheq jiyana li ser tixûbên împeretoriyan lêkolînan bikin jî dê balkêş be.ABSTRACT IN SORANIMêjûy Erdellan (1590-1810)Em wutare wergêrranêkî rexneyî “Mêjûy Erdellan”e, bew mebestey em serçawe girînge le ser Kurdistanî Êran le seretakanî serdemî nwê bixate berdest cemawerî ekademî. Jimareyek serçawey girîng le ser kurdekan lew serdeme da hen, diyartirînyan nûsînekanî gerîdey ‘Usmanî Ewliya Çelebîye, ke zortir serincyan le ser ‘Kurdistanî ‘Usmanî bûwe. Em berheme be pêçewanewe Kurdistanî Êran be giştî, we emaretî Erdelan be taybetî dexate senterî xwêndinewekewe. Boye nek tenya bo twêjeranî biwarî mêjûy kurdî, belku bo ewaney le ser jiyan le sinûre împiratoriyekan twêjînewe deken, cêgay serinc debêt.

Mass Production: Impossible London’s Criminal Subjects

2018 ◽  
Author(s):  
Ted Geier
Keyword(s):  
Print Culture ◽  
Mass Production ◽  
History Of ◽  
Mass Events

Considers mass readership and the ‘tastes’ it produces. Maps the history of criminals and execution spectacles, particularly as addressed by the London ‘public’ voices of Defoe and Dickens. Connects these mass events to the new mass print culture and circulation forms, such as the penny dreadfuls and their Newgate novel precursor. This shows the development of the public’s ‘taste for blood’, anxieties at an encroaching nonhumanity, and an infatuation with the inhuman from Jack Sheppard to Sweeney Todd and Dracula.

Of Travellers, Messengers and Foundlings – Fictionality, Authorship, and Textual Property in Thomas More’s Paratexts

Moreana ◽  
2016 ◽  
Vol 53 (Number 205- (3-4) ◽  
pp. 17-44
Author(s):  
Gabriela Schmidt
Keyword(s):  
Present Article ◽  
Print Culture ◽  
Thomas More ◽  
Recent Scholarship ◽  
One Step

Paratexts have attracted increasing attention in recent scholarship as an especially privileged tool for managing the reception of a text in early print culture, and Thomas More was certainly an exceptionally versatile user of this strategic publishing device. Not only does he make ample use of conventional paratextual techniques such as prefaces, marginal glosses and commendatory poems, he also takes the medium one step further by making his paratexts part of the narrative setting of his works, especially in the literary dialogues. In creating a plethora of (semi-)fictional voices and contexts, he effectively blurs the line between text and context, fact and fiction, and author and editor/printer. While this textual game of hide-and-seek has been extensively studied in Utopia and has often been seen as a typically ‘humanist’ feature of the text, the present article explores similar techniques throughout More’s work, thus overcoming the alleged rift between his pre- and post-reformation writings.

Macaronics as What Eludes Translation

Paragraph ◽  
2015 ◽  
Vol 38 (2) ◽  
pp. 214-230
Author(s):  
Haun Saussy
Keyword(s):  
Print Culture ◽  
The Other ◽  
Digital Code ◽  
Avant Garde ◽  
The Moment

‘Translation’ is one of our all-purpose metaphors for almost any kind of mediation or connection: we ask of a principle how it ‘translates’ into practice, we announce initiatives to ‘translate’ the genome into predictions, and so forth. But the metaphor of translation — of the discovery of equivalents and their mutual substitution — so attracts our attention that we forget the other kinds of inter-linguistic contact, such as transcription, mimicry, borrowing or calque. In a curious echo of the macaronic writings of the era of the dawn of print, the twentieth century's avant-garde, already foreseeing the end of print culture, experimented with hybrid languages. Their untranslatability under the usual definitions of ‘translation’ suggests a revival of this avant-garde practice, as the mainstream aesthetic of the moment invests in ‘convergence’ and the subsumption of all media into digital code.

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