First person Fictions

This collection of essays, although written over a period of almost 30 years, deals with one problem: who is the I in the odes of the most celebrated ancient Greek poet, Pindar?. since antiquity, the complex and allusive language of the ...

Author: Mary Rosenthal Lefkowitz

Publisher: Oxford University Press on Demand

ISBN:

Category: Literary Criticism

Page: 226

View: 182

This collection of essays, although written over a period of almost 30 years, deals with one problem: who is the I in the odes of the most celebrated ancient Greek poet, Pindar?. since antiquity, the complex and allusive language of the first-person statements has provoked many different answers, Professor Lefkowitz describes the function and nature of Pindar's I statements and proposes a controversial solution that would cause some histories of Greek literature to be rewritten. Rather than accept the view that the identity of the speaker could be subject to instant and unannounced change, she proposes that the voice of the victory odes is the poet himself, in his most professional persona. Professor Lefkowitz also refutes the traditional belief that the odes were sung by a chorus. She shows that in most, if not all cases, they were sung as solos and that Pindar was continuing the tradition established by the Homeric bards.

The Split Subject of Narration in Elizabeth Gaskell s First Person Fiction

... "mes" one of the most important-actually the most glamorous, as it turned out-aspects of her life, her literary persona, one is given the impression that the sub-text of her letter-like that of her fiction-is particularly eloquent ...

Author: Anna Koustinoudi

Publisher: Lexington Books

ISBN: 0739171631

Category: Literary Criticism

Page: 178

View: 176

The Split Subject of Narration in Elizabeth Gaskell’s First-Person Fiction analyzes a number of Elizabeth Gaskell's first-person works through a post-modern perspective. It attempts to explore the vicissitudes of Victorian Subjectivity by focusing on the ways in which E. Gaskell’s realistic and Gothic fiction interrogate post-Romantic assumptions about the centrality and coherence of the narrating subject.

First Person Fiction Call Me Maria

One day María and I spent three hours doing just that! Mr. Ansel Adams must have really liked being out in the cold by himself, that is all I could find to say about him. After we had crawled up from one level to another of the museum ...

Author: Judith Ortiz Cofer

Publisher: Scholastic Inc.

ISBN: 0545913071

Category: Juvenile Fiction

Page: 144

View: 190

A new novel from the award-winning author of AN ISLAND LIKE YOU, winner of the Pura Belpre Award.Maria is a girl caught between two worlds: Puerto Rico, where she was born, and New York, where she now lives in a basement apartment in the barrio. While her mother remains on the island, Maria lives with her father, the super of their building. As she struggles to lose her island accent, Maria does her best to find her place within the unfamiliar culture of the barrio. Finally, with the Spanglish of the barrio people ringing in her ears, she finds the poet within herself. In lush prose and spare, evocative poetry, Cofer weaves a powerful novel, bursting with life and hope.

The Distinction of Fiction

Marlow novels , Nabokov's The Real Life of Sebastian Knight , and many more . Unlike the standard third - person novels considered above , novels that adopt this structure , like the first - person novels about to be considered below ...

Author: Dorrit Cohn

Publisher: JHU Press

ISBN: 9780801865220

Category: Literary Criticism

Page: 208

View: 968

Winner of the Aldo and Jeanne Scaglione Prize for Comparative Literary Studies from the Modern Language Association Winner of the Modern Language Association's Aldo and Jeanne Scaglione Prize for Comparative Literary Studies The border between fact and fiction has been trespassed so often it seems to be a highway. Works of history that include fictional techniques are usually held in contempt, but works of fiction that include history are among the greatest of classics. Fiction claims to be able to convey its own unique kinds of truth. But unless a reader knows in advance whether a narrative is fictional or not, judgment can be frustrated and confused. In The Distinction of Fiction, Dorrit Cohn argues that fiction does present specific clues to its fictionality, and its own justifications. Indeed, except in cases of deliberate deception, fiction achieves its purposes best by exercising generic conventions that inform the reader that it is fiction. Cohn tests her conclusions against major narrative works, including Proust's A la Recherche du temps perdu, Mann's Death in Venice, Tolstoy's War and Peace, and Freud's case studies. She contests widespread poststructuralist views that all narratives are fictional. On the contrary, she separates fiction and nonfiction as necessarily distinct, even when bound together. An expansion of Cohn's Christian Gauss lectures at Princeton and the product of many years of labor and thought, The Distinction of Fiction builds on narratological and phenomenological theories to show that boundaries between fiction and history can be firmly and systematically explored.

Narrative of Chinese and Western Popular Fiction

Although the third-person narrative bears certain similarities with firstperson narrative, it enjoys more liberty in its narrative range than the first-person perspective. Some scholars noticed that before the swarming of Western novels ...

Author: Yonglin Huang

Publisher: Springer

ISBN: 3662575752

Category: Literary Criticism

Page: 222

View: 924

This book presents a comprehensive and systematic study of the narrative history and narrative methods of Chinese and Western popular fiction from the perspectives of narratology, comparative literature, and art and literature studies by adopting the methodology of parallel comparison. The book is a pioneering work that systematically investigates the similarities and differences between Chinese and Western popular fiction, and traces the root causes leading to the differences. By means of narrative comparison, it explores the conceptual and spiritual correlations and differences between Chinese and Western popular fiction and, by relating them to the root causes of cultural spirit, allows us to gain an insight into the cultural heritage of different nations. The book is structured in line with a cause-and-effect logical sequence and moves from the macroscopic to the microscopic, from history to reality, and from theory to practice. The integration of macro-level theoretical studies and micro-level case studies is both novel and effective. This book was awarded Second Prize at the Sixth Outstanding Achievement Awards in Scientific Research for Chinese Institutions of Higher Learning (Humanities & Social Sciences, 2013).

Regressive Fictions

Man is born innocent; and this opposition is mirrored in the discovery of the state of childhood. ... of the idea of natural goodness, earlier in the eighteenth century, curiously coincides with the rise of first-person fiction.

Author: Robin Howells

Publisher: Routledge

ISBN: 135119593X

Category: Literary Criticism

Page: 200

View: 294

"In a cultural shift around the mid-point of the French eighteenth century, the mode of wit is increasingly displaced by bourgeois pathos. Social sophistication and sexual experience are rejected in favour of a retreat into ideal imagination. Instead of the novel of worldliness, we encounter fictions of better worlds: original, natural, familial, innocent and harmonious, protected against reality and time. The regressive shift is traced in this study in general terms, and then through detailed analysis of three of the best-selling novels of the period. The turning-point is represented by Mme de Graffignys Lettres dune Peruvienne (1747, 1752) with its profound ambivalence towards knowledge. A new order is revealed and set out, but still declared lacking, in Rousseaus Julie, ou la Nouvelle Heloise (1761). The visionary return to the organic wholeness of nature is offered by Bernardins Paul et Virginie (1788)."

Creating Identity in the Victorian Fictional Autobiography

Since 2015 several first-person fictions have topped bestseller lists and received media coverage from outlets such as the New Yorker and National Public Radio's Morning Edition.46 While this perhaps suggests only a limited resurgence ...

Author: Heidi L. Pennington

Publisher: University of Missouri Press

ISBN: 0826274064

Category: Literary Criticism

Page: 264

View: 826

This is the first book-length study of the fictional autobiography, a subgenre that is at once widely recognizable and rarely examined as a literary form with its own history and dynamics of interpretation. Heidi L. Pennington shows that the narrative form and genre expectations associated with the fictional autobiography in the Victorian period engages readers in a sustained meditation on the fictional processes that construct selfhood both in and beyond the text. Through close readings of Jane Eyre, David Copperfield, and other well-known examples of the subgenre, Pennington shows how the Victorian fictional autobiography subtly but persistently illustrates that all identities are fictions. Despite the subgenre’s radical implications regarding the nature of personal identity, fictional autobiographies were popular in their own time and continue to inspire devotion in readers. This study sheds new light on what makes this subgenre so compelling, up to and including in the present historical moment of precipitous social and technological change. As we continue to grapple with the existential question of what determines “who we really are,” this book explores the risks and rewards of embracing conscious acts of fictional self-production in an unstable world.

Strange Voices in Narrative Fiction

Others have raised objection to this, arguing that it is not necessary to ascribe a narrator to fiction in the strict showing mode; fiction in the authorial mode, on the other hand, has a narrator. So has fiction in the first-person.

Author: Per Krogh Hansen

Publisher: Walter de Gruyter

ISBN: 3110268647

Category: Literary Criticism

Page: 274

View: 910

From its beginnings narratology has incorporated a communicative model of literary narratives, considering these as simulations of natural, oral acts of communication. This approach, however, has had some problems with accounting for the strangeness and anomalies of modern and postmodern narratives. As many skeptics have shown, not even classical realism conforms to the standard set by oral or ‘natural’ storytelling. Thus, an urge to confront narratology with the difficult task of reconsidering a most basic premise in its theoretical and analytical endeavors has, for some time, been undeniable. During the 2000s, Nordic narratologists have been among the most active and insistent critics of the communicative model. They share a marked skepticism towards the idea of using ‘natural’ narratives as a model for understanding and interpreting all kinds of narratives, and for all of them, the distinction of fiction is of vital importance. This anthology presents a collection of new articles that deal with strange narratives, narratives of the strange, or, more generally, with the strangeness of fiction, and even with some strange aspects of narratology.

First Person

Ziggy is about to go to trial for defrauding banks for $700 million; they have six weeks to write the book.

Author: Richard Flanagan

Publisher: Vintage

ISBN: 0525520031

Category: Fiction

Page: 368

View: 368

Kif Kehlmann, a young, penniless writer, thinks he’s finally caught a break when he’s offered $10,000 to ghostwrite the memoir of Siegfried “Ziggy” Heidl, the notorious con man and corporate criminal. Ziggy is about to go to trial for defrauding banks for $700 million; they have six weeks to write the book. But Ziggy swiftly proves almost impossible to work with: evasive, contradictory, and easily distracted by his still-running “business concerns”—which Kif worries may involve hiring hitmen from their shared office. Worse, Kif finds himself being pulled into an odd, hypnotic, and ever-closer orbit of all things Ziggy. As the deadline draws near, Kif becomes increasingly unsure if he is ghostwriting a memoir, or if Ziggy is rewriting him—his life, his future, and the very nature of the truth. By turns comic, compelling, and finally chilling, First Person is a haunting look at an age where fact is indistinguishable from fiction, and freedom is traded for a false idea of progress.

Representations of Science in Twenty First Century Fiction

Human and Temporal Connectivities Nina Engelhardt, Julia Hoydis ... The first-person narration allows the reader to see only one perspective at a time, yet the focalizor can change from one paragraph to the next—it is clear that there ...

Author: Nina Engelhardt

Publisher: Springer

ISBN: 3030194906

Category: Literary Criticism

Page: 217

View: 796

This collection of essays explores current thematic and aesthetic directions in fictional science narratives in different genres, predominantly novels, but also poetry, film, and drama. The ten case studies, covering a range of British and American texts from the late twentieth to the twenty-first centuries, reflect the diversity of representations of science in contemporary fiction, including psychopharmacology and neuropathology, quantum physics and mathematics, biotechnology, genetics, and chemical weaponry. This collection considers how texts engage with science and technology to explore relations between bodies and minds, how such connectivities shape conceptions and narrations of the human, and how the speculative view of science fiction features alongside realist engagements with the Victorian period and modernism. Utilizing an interdisciplinary approach, contributors offer new insights into narrative engagement with science and its place in life today, in times past, and in times to come.