Search results

You are looking at 21 - 30 of 14,812 items for :

  • "narrative" x
  • Refine by access: All content x
Clear All
William Stafford

2 Our narratives about them The previous chapter was concerned with 1790s op1mons about women writers. This chapter will survey the perspectives of recent academic writing. Over this territory there is considerable debate and disagreement. So first, in order to get a firm grip on the debate, it will help to begin by outlining the main narrative and theoretical frameworks which have explicitly or implicitly been invoked. Secondly, the central task of the chapter will be to introduce the questions and issues which modern scholarship has identified as the

in English feminists and their opponents in the 1790s
Laura Peters

THE CONSIDERATION of the unassimilable figure of Heathcliff does raise another issue: what happens to the orphan children of the poor who are not ultimately recouped into families? This marginalised figure without family ties dominates juvenile literature, specifically popular orphan adventure narratives – the legacy of which is to be found in The Pirates of Penzance

in Orphan texts
Maéva Clément

While organisations articulate a similar romantic narrative in phases of radicalisation and extremism, the previous chapter has already outlined some preliminary differences in narrative emphasis. This chapter explores these further by contrasting the organisations’ respective performance of emotions in their phases of activism. As I argued before, some performances of romance are more intensely emotional than others. Such variations can be studied by drawing on the concept of narrative emotionalisation

in Collective emotions and political violence
A test case on Noah
Peter Phillips

a biblical direction. Mark Stibbe’s book, John as Storyteller , was one of the first places I discovered an attempt to match the two. I thought it was a strange affair born out of a desire to rethink structural genre criticism for contemporary biblical studies. Propp had developed a model for interpreting Russian folk-tales. But Algirdas J. Greimas then sought to develop this model ‘as the permanent structure behind all narratives’ 2 (Stibbe 1992 : 35; Greimas 1966 ). In Greimas’ theory, actions can be broken down into six actants. These actants are then

in The Bible onscreen in the new millennium
Matthew Kempshall

• 3 • Invention and narrative The categorisation of classical rhetoric into its demonstrative, judicial and deliberative forms reveals significant differences in emphasis, but also significant similarities in approach, in the way in which the relationship between an individual’s character (mores) and deeds (res gestae) could, and should, be described by a speaker or writer. The principles which these three categories of rhetoric shared as common ground, however, exerted an impact on medieval historiography that went well beyond engineering the specific

in Rhetoric and the writing of history, 400 –1500
Rosemary Horrox

PART ONE: NARRATIVE ACCOUNTS The disease which swept across Europe in the late 1340s seemed to contemporaries to herald the end of the world. To the chroniclers of Padua the plague was a devastation more final than Noah’s Flood – when God had left some people alive to continue the human race [ 3 ]. On the other side of Europe, in Kilkenny, John Clynn left blank

in The Black Death
Michael Harrigan

frontiers of servitude 1  Narrative and servitude This chapter engages with the most fundamental implications of the texts and images that reflect forms of slavery around the Atlantic. It is concerned with such questions as the reasons why, and in what contexts, practices of slavery were written about in the first place. It analyses the tools that were available for understanding Atlantic slavery, within France and in the encounter with African and American peoples. It also explores what textual and graphic strategies can tell us about knowledge of slavery in

in Frontiers of servitude
Johnno, An Imaginary Life, Child’s Play and 12 Edmondstone Street
Don Randall

from that of the Australian author. Similarly, the narration of Child’s Play, the third novel, is undoubtedly supported by Malouf’s extensive experience of Italy, but the work’s narrator, his intense interest in writing notwithstanding, is hardly legible as a Malouf persona. Even if the first-person presentation of Johnno arose as a more or less arbitrary response to the personal nature of the narrative material, Malouf clearly emerged from this writing with a desire to engage more fully with the potentialities, and limitations, of the perspective of singularity, of

in David Malouf
Abstract only
The public meanings of emigration and the shaping of emigrant selves in post- war Ireland, 1945– 1969
Barry Hazley

networks in which intending migrants were enmeshed, but they also included the ‘cultural circuit’ by which personal understandings of self were fashioned through articulation with wider constructions of emigrant identity circulating within post-war Irish culture. It is here important to recognise that, although the post-war crisis replenished conventional narratives of exile, it also fuelled a wide-ranging debate over the causes, consequences and remedies of emigration, contributing to a wider contestation of the Catholic-nationalist settlement which had come into

in Life history and the Irish migrant experience in post-war England
Robert Miles

patterns throws an acute emphasis on the new. In romantic narratives, women, formerly divested of cultural power, now find themselves empowered to choose, but against the vestigial grain of a former authority. Both agree that at this time female sexuality increasingly becomes the centre of a problematic focus. This chapter has several aims. Its primary purpose is to elaborate

in Gothic writing 1750–1820