Diegesis – Mimesis
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Aristotle on Mim4sis
Aristotle on Mim4sis Paul Woodruff Modern readers are often dismayed to find that Aristotle classified poetry, music, and dance under a heading that is usually translated "imitation." We take some comfort in blaming this usage on Plato, who put poetry under this heading in order to condemn it, and we expect Aristotle to defend poetry by providing us with a new, more positive, and even (dare we hope?) more modern understand- ing of "imitation." The comfort begins to turn cold, however, when we find that mimEsis - the Greek word commonly translated "imitation" - has an indepen- dent life in Aristotle. It is neither a throwback to Plato nor a precursor of modern theories of fiction. It has little to do with the problem of truth in poetry, and a great deal to do with explaining the effects poetry has on its audience. Altogether, Aristotle's theory of poetry translates poorly into the idioms of modern criticism, and there is no help for this. Mimesis and its Greek cognates defy translation. Besides "imitation," we find in English such renderings as "image-making," "imitation," "representation," "reproduction," "expression," "flction," "emulation," "make-believe," and so forth, As any of these would beg important questions of interpretation, we shall have to be content with translit- eration for discussions such as this. Mimesis is the production t96s), 37, of mimematai and though "images" is almost right for mimemata, we shall leave that word in Greek as well. I shall also use the adjective mimetic for any procedure of mimesis. So stricken have we been by Plato's war on the tragedians that we keep wanting to read the Poetics as a definitive counter-offensive, and we keep trying to frame Aristotle's theory in Platonic terms, as a response to plato. -
The Character of Huckleberry Finn
Forthcoming in Philosophy and Literature 2017 Gehrman The Character of Huckleberry Finn Kristina Gehrman University of Tennessee, Knoxville ABSTRACT: Mark Twain’s Huckleberry Finn is morally admirable because he follows his heart and does the right thing in a pinch. Or is he? The Character of Huckleberry Finn argues that the standard reading of Huck woefully misunderstands his literary and moral character. The real Huck is strikingly morally passive and thoroughly unreliable, and when the pinch comes, he fails Jim completely. His true character emerges when, with Iris Murdoch’s “justice and love”, we attend to Huck’s youth and his history of unmitigated abuse and neglect. Huck’s case reveals how (and how much) developmental and experiential history matter to moral character. I. Ever since Jonathan Bennett wrote about Huckleberry Finn’s conscience in 1974, Mark Twain’s young hero has played a small but noteworthy role in the moral philosophy and moral psychology literature. Following Bennett, philosophers read Huck as someone who consistently follows his heart and does the right thing in a pinch, firmly believing all the while that what he does is morally wrong.1 Specifically, according to this reading, Huck has racist beliefs that he never consciously questions; but in practice he consistently defies those beliefs to do the right thing in the context of his relationship with his Black companion, Jim. Because of this, Huck is morally admirable, but unusual. Perhaps he is an “inverse akratic,” as Nomy Arpaly and Timothy Schroeder have proposed; or perhaps, as Bennett argued, Huck’s oddness reveals the central and primary role of the sentiments (as opposed to principle) in moral action.2 But the standard philosophical reading of Huckleberry Finn seriously misunderstands his 1 Forthcoming in Philosophy and Literature 2017 Gehrman character (in both the moral/personal and the literary sense of the word), because it does not take into account the historically contingent, developmental nature of persons and their character traits. -
TANIZE MOCELLIN FERREIRA Narratology and Translation Studies
TANIZE MOCELLIN FERREIRA Narratology and Translation Studies: an analysis of potential tools in narrative translation PORTO ALEGRE 2019 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS MESTRADO EM LITERATURAS DE LÍNGUA INGLESA LINHA DE PESQUISA: SOCIEDADE, (INTER)TEXTOS LITERÁRIOS E TRADUÇÃO NAS LITERATURAS ESTRANGEIRAS MODERNAS Narratology and Translation Studies: an analysis of potential tools in narrative translation Tanize Mocellin Ferreira Dissertação de Mestrado submetida ao Programa de Pós-graduação em Letras da Universidade Federal do Rio Grande do Sul como requisito parcial para a obtenção do título de Mestre em Letras. Orientadora: Elaine Barros Indrusiak PORTO ALEGRE Agosto de 2019 2 CIP - Catalogação na Publicação Ferreira, Tanize Mocellin Narratology and Translation Studies: an analysis of potential tools in narrative translation / Tanize Mocellin Ferreira. -- 2019. 98 f. Orientadora: Elaine Barros Indrusiak. Dissertação (Mestrado) -- Universidade Federal do Rio Grande do Sul, Instituto de Letras, Programa de Pós-Graduação em Letras, Porto Alegre, BR-RS, 2019. 1. tradução literária. 2. narratologia. 3. Katherine Mansfield. I. Indrusiak, Elaine Barros, orient. II. Título. Elaborada pelo Sistema de Geração Automática de Ficha Catalográfica da UFRGS com os dados fornecidos pelo(a) autor(a). Tanize Mocellin Ferreira Narratology and Translation Studies: an analysis of potential tools in narrative translation Dissertação de Mestrado submetida ao Programa de Pós-graduação em Letras -
Philosophy, Theory, and Literature
STANFORD UNIVERSITY PRESS PHILOSOPHY, THEORY, AND LITERATURE 20% DISCOUNT NEW & FORTHCOMING ON ALL TITLES 2019 TABLE OF CONTENTS Redwood Press .............................2 Square One: First-Order Questions in the Humanities ................... 2-3 Currencies: New Thinking for Financial Times ...............3-4 Post*45 ..........................................5-7 Philosophy and Social Theory ..........................7-10 Meridian: Crossing Aesthetics ............10-12 Cultural Memory in the Present ......................... 12-14 Literature and Literary Studies .................... 14-18 This Atom Bomb in Me Ordinary Unhappiness Shakesplish The Long Public Life of a History in Financial Times Asian and Asian Lindsey A. Freeman The Therapeutic Fiction of How We Read Short Private Poem Amin Samman American Literature .................19 David Foster Wallace Shakespeare’s Language Reading and Remembering This Atom Bomb in Me traces what Critical theorists of economy tend Thomas Wyatt Digital Publishing Initiative ....19 it felt like to grow up suffused with Jon Baskin Paula Blank to understand the history of market American nuclear culture in and In recent years, the American fiction Shakespeare may have written in Peter Murphy society as a succession of distinct around the atomic city of Oak Ridge, writer David Foster Wallace has Elizabethan English, but when Thomas Wyatt didn’t publish “They stages. This vision of history rests on ORDERING Tennessee. As a secret city during been treated as a symbol, an icon, we read him, we can’t help but Flee from Me.” It was written in a a chronological conception of time Use code S19PHIL to receive a the Manhattan Project, Oak Ridge and even a film character. Ordinary understand his words, metaphors, notebook, maybe abroad, maybe whereby each present slips into the 20% discount on all books listed enriched the uranium that powered Unhappiness returns us to the reason and syntax in relation to our own. -
Fictionality
COPYRIGHT NOTICE: Edited by Franco Moretti: The Novel, Volume 1 is published by Princeton University Press and copyrighted, © 2006, by Princeton University Press. All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher, except for reading and browsing via the World Wide Web. Users are not permitted to mount this file on any network servers. Follow links for Class Use and other Permissions. For more information send email to: [email protected] CATHERINE GALLAGHER The Rise of Fictionality No feature of the novel seems to be more obvious and yet more easily ig nored than its fictionality. Like prose, fictional is one of those definitive terms (“a novel is a long, fictional prose narrative”) that most historians of the form have tacitly agreed to leave unexamined; we tend to let it lie dormant in our critical analyses as well. And yet we all know that it is active and de termining in our culture, for we cannot walk into a bookstore or read the Sunday papers without noticing that the primary categorical division in our textual universe is between “fiction” and “nonfiction.” Perhaps we imagine that a distinction so pervasive and secure can get along without our help, that it would be redundant to define such a self-evident trait. Or, perhaps we find that the theories of fictionality debated by philosophers and narratolo gists finally tell us too little about either the history or the specific properties of the novel to repay the difficulty of mastering them. -
Create a Character: Acting & Language Arts with Caren Graham
Create A Character: Acting & Language Arts With Caren Graham ESSENTIAL QUESTIONS LEARNING TARGETS ● How do actors create a character? ● I can make creative choices with my voice and body ● How can characters I discover in other disciplines like to invent a variety of characters history, fairy tales, or literature come to life in ● I can create other forms of dramatic writing or drama? analyze a recording of myself performing MATERIALS NEEDED: Paper and Pencil DIGITAL SUPPORT RESOURCES: <link> INSTRUCTIONS 1. Choose a character from a favorite book. Examples: Harry Potter or Hermione Granger. 2. With pencil and paper write down 3 sentences to describe your chosen character. 3. Use descriptive words like tall, lanky, bent over. 4. Add personality traits like brave, scary, quick witted, confident. 5. Now use your imagination to create a character statue which is a frozen moment in time in a posed position. Start with your face. Try making a “brave” facial expression! a. Is there a moment in Harry Potter, when Harry or Hermione felt clever or brave? Write it down. b. Create that moment in a character statue and then come to life. c. Try to exaggerate (make bigger) a personality trait: for instance brave, and then switch to another feeling or trait like scared. 6. Now add a gesture (an expressive movement) to go with that character trait! a. Move your whole body with expression, posture and gesture. Try saying something in the manner your character might speak with the gesture. b. Acting like the character, did it feel better to be brave or scared? Why? 7. -
Narrowing the Gap Between Imaginary and Real Artifacts: a Process for Making and Filming Diegetic Prototypes
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Narrowing the Gap Between Imaginary and Real Artifacts: A Process for Making and Filming Diegetic Prototypes Al Hussein Wanas Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Art and Design Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3142 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Al Hussein Wanas 2013 All Rights Reserved 2 Approval certificate for Al Hussein Wanas for the thesis project entitled Narrowing The Gap Between Imaginary And Real Artifacts: A Process For Making And Filming Diegetic Prototypes. Submitted to the faculty of the Master of Fine Arts in Design Studies of Virginia Commonwealth University in Qatar in partial fulfillment for the degree, Master of Fine Arts in Design Studies. Al Hussein Wanas, BFA In Graphic Design, Virginia Commonwealth University in Qatar, Doha Qatar, May 2011. Virginia Commonwealth University in Qatar, Doha Qatar, May 2013 Diane Derr ______________________ Primary Advisor, Assistant Professor Master of Fine Arts in Design Studies Patty Paine ______________________ Secondary Advisor, Reader, Assistant Professor Liberal Arts and Science Levi Hammett ______________________ Secondary -
The Structure of Plays
n the previous chapters, you explored activities preparing you to inter- I pret and develop a role from a playwright’s script. You used imagina- tion, concentration, observation, sensory recall, and movement to become aware of your personal resources. You used vocal exercises to prepare your voice for creative vocal expression. Improvisation and characterization activities provided opportunities for you to explore simple character portrayal and plot development. All of these activities were preparatory techniques for acting. Now you are ready to bring a character from the written page to the stage. The Structure of Plays LESSON OBJECTIVES ◆ Understand the dramatic structure of a play. 1 ◆ Recognize several types of plays. ◆ Understand how a play is organized. Much of an actor’s time is spent working from materials written by playwrights. You have probably read plays in your language arts classes. Thus, you probably already know that a play is a story written in dia- s a class, play a short logue form to be acted out by actors before a live audience as if it were A game of charades. Use the titles of plays and musicals or real life. the names of famous actors. Other forms of literature, such as short stories and novels, are writ- ten in prose form and are not intended to be acted out. Poetry also dif- fers from plays in that poetry is arranged in lines and verses and is not written to be performed. ■■■■■■■■■■■■■■■■ These students are bringing literature to life in much the same way that Aristotle first described drama over 2,000 years ago. -
Loan and Calque Found in Translation from English to Indonesian
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by International Institute for Science, Technology and Education (IISTE): E-Journals Journal of Literature, Languages and Linguistics www.iiste.org ISSN 2422-8435 An International Peer-reviewed Journal DOI: 10.7176/JLLL Vol.54, 2019 Loan and Calque Found in Translation from English to Indonesian Marlina Adi Fakhrani Batubara A Postgraduate student of Translation Studies in University of Gunadarma, Depok, Indonesia Abstract The aim of this article is to find out the cause of using loan and calque found in translation from English to Indonesian, find out which strategy is mostly used in translating some of the words and phrases found in translation from English to Indonesian and what form that is usually use loan and calque in the translation. Data of this article is obtained from the English novel namely Murder in the Orient Express by Agatha Christie and its Indonesian translation. This article concluded that out of 100 data, 57 data uses loan and 47 data uses calque. Moreover, it shows that 70 data are in the form of words that uses loan or calque and 30 data are in the form of phrases that uses loan or calque. Keywords: Translation, Strategy, Loan and Calque. DOI : 10.7176/JLLL/54-03 Publication date :March 31 st 2019 1. INTRODUCTION Every country has their own languages in order to express their intentions or to communicate. Language plays a great tool for humans to interact with each other. Goldstein (2008) believed that “We can define language as a system of communication using sounds or symbols that enables us to express our feelings, thoughts, ideas and experiences.” (p. -
A Literature Review and Analysis of Mode Deactivation Therapy
IJBCT Volume 6, No. 4 A Literature Review and Analysis of Mode Deactivation Therapy Jack A. Apsche Abstract This article is a review of articles, chapters and current research examining Mode Deactivation Therapy. Current applications of MDT suggest that mindfulness is a core component of MDT, as well as acceptance, defusion and validation, clarification and redirection of the functional alternative beliefs. These components are the core of MDT and a recent study has evaluated each of them as to how it affects the target or outcome goals. The evolution of MDT is reviewed from case studies to a mediation and meta-analysis. The purpose of this article is to review the foundation of MDT and current articles that elucidate the efficaciousness of MDT as an evidenced – based methodology. Keywords: Acceptance and Commitment Therapy (ACT), Cognitive Behavior Therapy (CBT), Mode Deactivation Therapy (MDT),Post traumatic Stress Disorder ( PTSD), Mediation analysis, Mindfulness, Meta analysis, Physical aggression, Sexual aggression. Introduction In the process of treatment research trials and development of MDT, this methodology (MDT) has been compared to the alternative methodologies such as: Cognitive Behavior Therapy (CBT), Dialectical Behavior Therapy (DBT) and Social Skills Training. This review examines the literature of MDT in treating adolescent clients with reactive emotional dysregulation, who presented with behaviors including parasuicidal acts, verbal and physical aggression and sexually aberrant behavior. Case studies in this article involved clients with complicated histories of sexual, physical, or emotional abuse, as well as neglect and multi-axial diagnoses. Data indicates that MDT is effective in reducing the rate of physical and sexual aggression in addition to symptoms of Post Traumatic Stress Disorder. -
Rethinking the Connection of Metaphor and Commonplace
RETHINKING THE CONNECTION OF METAPHOR AND TOPOS MAREIKE BUSS & JÖRG JOST RWTH AACHEN 1. Introduction Having survived the «death of rhetoric» (R. BARTHES 1985: 115), metaphor has become the centre of intensive research by philosophers of language and linguists in the twentieth cen- tury. Nowadays it is widely accepted that metaphor is not reducible to «a sort of happy extra trick with words» (I. A. RICHARDS [1936] 1964: 90), but is rather said to be a funda- mental principle of linguistic creativity with an invaluable cognitive function and heuristic potential. Topos or rather commonplace has, in contrast, a predominantly negative connota- tion in everyday and scientific language. Topos, which originally designated the place where to find the arguments for a speech, has become the cliché, the worn out phrase, or the stereotype. Nevertheless, there are numerous critical studies focusing on topoi in their heu- ristic and argumentative function. Aristotle’s Art of Rhetoric is one of the first and most important ‘textbooks’ for speech production. Following Aristotle, the purpose of rhetorical speech consists in persuading by argumentation. In this respect he defines rhetoric as «the faculty of discovering the possible means of persuasion in reference to any subject whatever.» (Rhetoric I, 1355b/14,2). Now, persuasion presupposes – as any perlocutionary act – that the utterances have been under- stood by the audience, in short: it presupposes (text) comprehension.1 When analysing the first three phases of rhetoric – heuresis, taxis and lexis – two features in particular stand out on account of the role they play in argumentation: topos and metaphor, which are treated in the heuresis and the lexis.2 Metaphor works in a heuristic and aesthetic manner, while topos operates in a heu- ristic and logical manner. -
Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern).