...Korina Giaxoglou Abstract Illness stories have been celebrated as a resource for giving patients voice from the active position of the wounded storyteller . The proliferating research on illness stories, however, has often reproduced a reductionist approach to narrative as a window to subjective...

..., and by the ironic treatment of his narrative voice. By taking the elusiveness of this narration more fully into account, it becomes possible to read Submission as a tentative — if never unambiguous — narrative of religious conversion. To this extent, the treatment of Islam in Submission can be seen as consistent...

...Eyal Segal Hansen Per Krogh Iversen Stefan Nielsen Henrik Skov Reitan Rolf , eds., Strange Voices in Narrative Fiction . Berlin : de Gruyter , 2011 . vi + 268 pp. © 2013 by Porter Institute for Poetics and Semiotics 2013 New Books at a Glance Marina...

... by connecting characters in different locations. This article argues that the technical capabilities of different communication systems, when represented within a novel's story world, help determine the forms of plot, characterization, and narrative voice that a novelist can feasibly present. To demonstrate...

... preconditions of modern style can be suggestively combined with Mikhail M. Bakhtin’s theory of the inherent multiplicity of novelistic discourse and Richard Walsh’s pragmatic theory of narrative “voice” to produce a core definition of style. Style is (1) a linguistic mode of social relation; (2) one of several...

...Rebecca Fasselt This article considers how postcolonial narratives written partly in the first-person plural collective voice reflect recent critical developments in postcolonial studies rather than echoing the outmoded “writing back” paradigm. Even colonial texts such as Joseph Conrad's The Nigger...

... the German tradition has concentrated on rhetoric and voice (with reception theory constituting a largely separate area of inquiry), narratology, which frames the text within a symmetry of real, implied, and fictional intelligences, has always had the potential to pose questions about how narrative functions...

... resides precisely in this synergy of narrative and exegesis. As exegesis, it creates new meanings from the biblical verses, and as narrative, it dramatizes those meanings by means of the biblical story world. The concurrent presence of two distinct voices, biblical and rabbinic, as well as two distinct...

..., Genette’s approach to the definition of narrative phenomena closely resembles Galileo’s method of observing bodies and determining their spatiotemporal coordinates and quantity. Similar to concepts of temporality, questions of experiencing and narrating subject(ivity), that is, “focalizer” and “voice...

..., and voice, convey Anne's transformation from melancholy and passive spinster to active and vital woman who defends her actions and renews her engagement on better terms. This transformation depends not only on interpersonal exchanges but also on her realization that cultural “master narratives” infiltrate...

... history. This essay argues that these claims are most visible in “reflexive double narratives,” books that tell two versions of their stories and explain why they have done so. This essay relies on Brian Richardson's term “denarration” from Unnatural Voices and David Herman's conception of “qualia” from...

..., with implications for the reader’s empathy. It examines how “resonance” between paired voices on separate narrative levels occurs when repetition of a deictic across juxtaposed passages or narration and dialogue leads readers to sense a rhetorical continuity despite the grammatical discontinuity. Copyright © 2018...

... of Czech stories and viewpoints, rendered as directly as possible within the inevitable limits of the overarch- ing Zuckerman narrative. Within The Prague Orgy’s fictional world, Roth’s strategy manages to bring together an array of contrasting voices, positions, and opinions. In a sense...

... that seems to take place beyond life and which returns to the opening of the novel. An unidentified first-person narrative voice throws herself overboard to reach a wrecked ship underwater where the novel's main characters, Friday and Susan Barton, live in suspended time and space, a condition...

... that resulted in a substantial weakening of plot in the conven- tional sense. But Heise claims typical modernist and postmodernist narra- tive strategies vary in this regard.The most essential difference is that in the former ‘‘narrative voice and fictional character remained and were even re- inforced...

...). Lanser, Susan 1992 Fictions of Authority:Women Writers and Narrative Voice (Ithaca, NY: Cornell University Press). Martinez, Matias, and Michael Scheffel 1999 Einführung in die Erzähltheorie (Munich:Beck). Nünning, Ansgar 1993 “Renaissance eines anthropomorphisierten Passepartouts oder...

... “ Against Literary Darwinism ,” Critical Inquiry 37 : 315 – 47 . Lanser Susan Sniader 1992 Fictions of Authority: Women Writers and Narrative Voice ( Ithaca, NY : Cornell University Press ). Litvak Joseph 1985 “ Reading Characters: Self, Society, and Text in Emma...

...Eyal Segal 866 Poetics Today 22:4 have no history at all and to allow for no narrative development. In this text the very existence of both narrative voice and the materiality of the printed page itself undergo a radical discontinuity. The book’s third part, ‘‘Posthistories deals...

... of Aesopian texts and practices. In House on the Embankment, competing narrative voices reminisce about childhood and vie for authority in depicting the past. The novella traces the games that children devise and play and then later repeat in adult- hood. As I will show, the scenes portraying...

... of Style (Bekhta 2020 ). In her essays, Bekhta takes exception to earlier work on we-narratives, claiming that only texts with a communal we-voice can properly be called we-narratives. The heavily revised monograph continues to give the communal voice a special status of what she calls “performative” we...