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Sam Rohdie

Narrative Most histories (Histoires), most histories of the cinema (histoires du cinéma) and most of the films that form part of that history and that tell stories (histoires) are narratives. They narrate events that have already occurred. The events so narrated are usually presented chronologically, a series of sequences, scenes, shots that progress in a more or less linear fashion, that begin and are concluded and resolved. One of the features of such narratives is that their elements belong to a hierarchy of importance and significance. Some passages are

in Film modernism
The political aesthetics of boundaries and crossings

This interdisciplinary volume explores the role of images and representation in different borderscapes. It provides fresh insight into the ways in which borders, borderscapes and migration are imagined and narrated by offering new ways to approach the political aesthetics of the border. The case studies in the volume contribute to the methodological renewal of border studies and present ways of discussing cultural representations of borders and related processes. The case studies address the role of borders in narrative and images in literary texts, political and popular imagery, surveillance data, video art and survivor testimonies in a highly comparative range of geographical contexts ranging from northern Europe, via Mediterranean and Mexican–US borderlands to Chinese borderlands. The disciplinary approaches include critical theory, literary studies, social anthropology, media studies and political geography. The volume argues that borderlands and border-crossings (such as those by migrants) are present in public discourse and more private, everyday experience. This volume addresses their mediation through various stories, photographs, films and other forms. It suggests that narratives and images are part of the borderscapes in which border-crossings and bordering processes take place, contributing to the negotiation of borders in the public sphere. As the case studies show, narratives and images enable identifying various top-down and bottom-up discourses to be heard and make visible different minority groups and constituencies.

Pirates, rebels and mercenaries

This book is a story about the importance of stories in International Relations. It brings insights from Literary Studies and Narratology into IR and political science by developing a new discourse analytical method of narrative analysis. Focusing on the three narrative elements of setting, characterization and emplotment, the book argues that narratives are of fundamental importance for human cognition and identity construction. Narratives help us understand the social and political world in which we live. The book emphasizes the idea of intertextual narratability which holds that for narratives to become dominant they have to link themselves to previously existing stories. Empirically the book looks at narratives about pirates, rebels and private military and security companies (PMSCs). The book illustrates in the case of pirates and rebels that the romantic images embedded in cultural narratives influence our understanding of modern piracy in places like Somalia or rebels in Libya. Dominant romantic narratives marginalize other, less flattering, stories about these actors, in which they are constituted as terrorists and made responsible for human rights violations. In contrast, in the case of PMSCs in Iraq the absence of such romantic cultural narratives makes it difficult for such actors to successfully narrate themselves as romantic heroes to the public.

From Nosferatu to Nazism
Patrick Colm Hogan

It has been widely asserted that nationhood is inseparable from narration. This vague claim may be clarified by understanding that nationalism is bound up with the universal prototypical narrative structures of heroic, romantic, and sacrificial tragi-comedy. This essay considers an historically important case of the emplotment of nationalism - the sacrificial organization of German nationalism between the two world wars. It examines one exemplary instance of this emplotment, F. W. Murnau‘s Nosferatu, a Symphony of Horror (1922). However unintentionally, Nosferatu represents the vampire in a way that is cognitively continuous with Nazi representations of Jews. The films sacrificial emplotment of vampirism is, in turn, continuous with Nazi policies. That continuity places the film in a larger discourse that helped to make Nazi policies possible.

Film Studies

The gift of narrative in medieval England places medieval narratives – especially romances – in dialogue with theories and practices of gift and exchange. It argues that the dynamics of the gift are powerfully at work in these texts: through exchanges of objects and people; repeated patterns of love, loyalty and revenge; promises made or broken; and the complex effects that time works on such objects, exchanges and promises. The book ranges widely, from the twelfth-century Romance of Horn and English versions of the Horn story to the romances of the Auchinleck Manuscript, and from Sir Gawain and the Green Knight to Geoffrey Chaucer and John Lydgate. In reading these texts alongside some of the debates about giving and receiving that radiate from Anthropology and critical theory, Nicholas Perkins asks a number of questions: What role does the circulation of things play in creating narratives? Do romance protagonists themselves act as exchanged objects, and what difference does gender make to how they navigate networks of obligation and agency? Is storytelling a form of gift-giving? Do linguistic exchanges such as promises operate like gifts? How do medieval stories place obligations on the audiences who listen to them or, perhaps, receive a manuscript copy as a precious gift?

Bringing together literary studies, Anthropology and material practice in an invigorating way, this book encourages close attention to the dynamics and pleasures of the gift in narrative.

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Caroline Bassett

4813 The ARC - PT/gk.qxd 1111 21 3 4 51 6 7 8 9 10 1 1112 3 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 4211 19/4/07 10:59 Page 5 1 Narrative machines Preface: ‘like life itself’ The narratives of the world are numberless . . . Able to be carried by articulated language, spoken or written, fixed or moving images, gestures and the ordered mixture of all these substances; narrative is present in myth, legend, fable, tale, novella, epic, history, tragedy . . . comics, news items, conversation . . . [U]nder this almost infinite diversity of

in The arc and the machine
A narrow gate
Sue-Ann Harding

This chapter investigates the English-language primary narrative texts published by each of these three websites (Stories 4, 5 and 6), 5 comparing narrative elements and construction with both the corresponding Russian primary narrative texts and with each other, and highlighting the differences between the Russian texts and their English versions. While the structure of the chapter loosely follows that of the previous three

in Beslan
History through the eyes of hostages
Tim Woods

a prison, even though entirely surrounded by walls, is a splendidly illuminated theatre of history. (Milan Kundera, The Book of Laughter and Forgetting ) Narratives of imprisonment have become a defining genre of African writing in the second half of the twentieth

in African pasts
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Delarivier Manley’s Secret Memoirs and Manners and the modern chronicle
Noelle Gallagher

alternative to neoclassical historical narrative. Like all secret histories, scandal chronicles explored the relations between two opposed views of the past: one that bolstered the authority of a governing elite, and one that allocated power to a subordinate minority. But where texts written as dialogues often sharpened the distinctions between authoritative and oppositional viewpoints

in Historical literatures
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Autobiography and the imaginary self
Michael Leonard

The release of L’Enfant secret in 1982 marked a turning point in Garrel’s cinema by inaugurating what the film-maker describes as his narrative period. Several allusions establish a direct correlation between the couple at the centre of the film and Garrel and his former partner Nico. The other two feature films of this period, Liberté, la nuit ( 1983 ) and Elle a passé tant d’heures sous les sunlights ( 1984 ) 1 as well as the short film Rue Fontaine ( 1984 ), equally draw on aspects of Garrel’s biography. Capturing the tendency towards self

in Philippe Garrel