The Voice of a Transgressive Young Man

2020 ◽  
pp. 91-134
Author(s):  
Machiko Ishikawa
Keyword(s):  
Short Story ◽  
Academic Writing ◽  
New Left ◽  
Literary Production ◽  
The Masses ◽  
The Voice

This chapter focuses on Nakagami's early writings and a short story titled “Rakudo” (1976). A number of prominent themes feature in his late 1960s writing. These include criticism of Japanese New Left writers, recollections of his “uneducated” half-brother's violence and suicide, and reflections on then nineteen-year-old Nagayama Norio, who shot and killed four people in 1968. First, through an analysis of nonfiction material produced by Nakagami from 1965 to 1969, the chapter profiles two elements that were frequently represented in literary production and discussed in academic writing during this period: the masses (taishū) and loss (sōshitsu). It also provides a detailed discussion on the intertextual relationship between Nakagami's late 1960s texts and the contemporaneous perspective of two Japanese critics. By referencing these scholars' texts, the chapter articulates Nakagami's motives for writing—giving representation to—hidden voices that express a sense of loss. Finally, the chapter focuses on Nakagami's short story “Rakudo.” Through reading this “autobiographical” yet fictional shōsetsu, it demonstrates how Nakagami represents the voices of a violent young husband and the silence of his battered wife.

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.

‘Where are we going?’ International Relations and the voice from below

1999 ◽  
Vol 25 (1) ◽  
pp. 107-122 ◽  
Author(s):  
CHRISTOPHER HILL
Keyword(s):  
International Relations ◽  
Second World War ◽  
World War ◽  
The People ◽  
History Of ◽  
The Subject ◽  
The Masses ◽  
The Great War ◽  
The Voice ◽  
Second World

They tell us that the Pharoahs built the pyramids. Well, the Pharoahs didn't lift their little fingers. The pyramids were built by thousands of anonymous slaves . . . and it's the same thing for the Second World War. There were masses of books on the subject. But what was the war like for those who lived it, who fought? I want to hear their stories.Writing about international relations is in part a history of writing about the people. The subject sprang from a desire to prevent the horrors of the Great War once again being visited upon the masses and since then some of its main themes have been international cooperation, decolonisation, poverty and development, and more recently issues of gender.

Reconstructing American Law: The Politics of Narrative and Eudora Welty's Empathic Vision

1992 ◽  
Vol 26 (1) ◽  
pp. 23-39
Author(s):  
Eve Kornfeld
Keyword(s):  
Civil Rights ◽  
Short Story ◽  
First Person ◽  
Home Town ◽  
American Law ◽  
Story Writer ◽  
The 1960S ◽  
The Mind ◽  
The Voice

In the 1960s, in my home town of Jackson, the civil rights leader Medgar Evers was murdered one night in darkness, and I wrote a story that same night about the murderer (his identity then unknown) called ‘Where Is the Voice Coming From?’ But all that absorbed me, though it started as outrage, was the necessity I felt for entering into the mind and inside the skin of a character who could hardly have been more alien or repugnant to me. Trying for my utmost, I wrote it in the first person. I was wholly vaunting the prerogative of the short-story writer. It is always vaunting, of course, to imagine yourself inside another person, but it is what a story writer does in every piece of work; it is his first step, and his last too, I suppose.

The Significance of the Short Story in Indian English Literature

2017 ◽  
Vol 3 (3) ◽  
Author(s):  
Y. L. Marreddy
Keyword(s):  
Nineteenth Century ◽  
Short Story ◽  
English Literature ◽  
Social Changes ◽  
Human Spirit ◽  
Indian English ◽  
Self Discovery ◽  
The Voice

The beginnings of the Indian short story in English were made under the influence of the Britishers. English Short Story began towards the close of the nineteenth Century in India. It is the distinct from the fables of the ‘Hitopadesh’ and the tales of Panchatantra’. The short Story has become the major expression of literature in India which is used as a weapon to rise the voice of Indians against the Britishers culturally and Politically. The Fragmentation of experience as a result of the increasing complexity of social changes, seems to make the short story an apt vehicle for exploring the dark places of the human spirit and disembodied states of being. It is a voyage of discovery of self-discovery, of self – realisation for the character.

scholarly journals Mirror Images of Remembrance in Marisa Madieri’s La conchiglia and Claudio Magris’s Lei dunque capirà: A Translator’s Notes

2011 ◽  
Vol 32 (1) ◽  
pp. 37-47
Author(s):  
Anne Milano Appel
Keyword(s):  
Short Story ◽  
The Other ◽  
Love Song ◽  
The Voice

A kind of parallelism is noted between Marisa Madieri’s short story La conchiglia and the novella Lei dunque capirà by Claudio Magris. In La conchiglia there is a she (Madieri the author) who writes in the voice of a he (the narrator and surviving spouse) who recalls another she (his deceased wife Naipuni) and their life together. A similar stratagem can be seen in Lei dunque capirà, though in the novella there is a he (Magris the author) who writes in the voice of a she (the narrator Eurydice) who talks about another he (her poet husband Orpheus) and their moments together. The lives reflected in these immagini speculari which mirror one another compose a kind of love song, one (the surviving spouse’s hymn) a simple tender one, the other (Eurydice’s song) no less devoted but more complex, knotty. Both songs are perhaps a projection of how the protagonists might have wanted to appear to the person they love. The parallel is not perfect, though in each case the projection compensates for a lost reality.

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.

The Intellectual: Power and the Voice

2018 ◽  
pp. 109-135
Author(s):  
Corey Kai Nelson Schultz
Keyword(s):  
Moral Obligation ◽  
Traditional Role ◽  
Reform Era ◽  
Structures Of Feeling ◽  
The Masses ◽  
Serving Society ◽  
The Voice ◽  
Intellectual Power

Chapter 4 analyzes the intellectual, as primarily found in the documentaries Useless and Dong. It examines this humanitarian figure and the structures of feeling that are associated with it, which include patriotism, altruism, and a sense of mission, and the desire to save the nation and its people. This chapter is based around the voice – the power of the voice, the class that has it, and its effects. It also examines the “voice” of the camera, which is interpreted as the voice of another intellectual, that of Jia Zhangke, and how it switches from a passive “observatory lens” to an engaged “exploratory lens” when it breaks its orbit around these figures to examine other people and environments. It argues that, in the Reform era, the intellectuals have resumed their traditional role and moral obligation of speaking for the masses and serving society, arguing that this in effect “Others” them, and therefore emphasizes the intellectual’s power in the Reform era in that, although they speak for the masses, they do not share their problems.

4. The populist leader

2017 ◽  
pp. 62-78
Author(s):  
Cas Mudde ◽  
Cristóbal Rovira Kaltwasser
Keyword(s):  
The People ◽  
Hugo Chavez ◽  
The Masses ◽  
The Voice ◽  
Silvio Berlusconi

A common feature of populism is its reliance on strong leaders who are able to mobilize the masses and/or conduct their parties with the aim of enacting radical reforms. Populism is often guided by strong leaders, who, through their behavior and speech, present themselves as the voice of the people. “The populist leader” describes the characteristics of the charismatic strongman, such as Italy’s Silvio Berlusconi and Venezuela’s Hugo Chávez. Yet, some populist actors portray themselves as voices of the people by using their gender, profession, and ethnicity. There are three types of populists: outsiders (very rare), insider-outsiders (often the most successful), and insiders (also very rare).

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