DOCSLIB.ORG

Vicki Lewis Thompson Friend Or Foe?...P8 Congratulations on Receiving the Nora Roberts Lifetime Achievement the New RWA Award! the Ceremony Was Heaps of Fun

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vicki Lewis Thompson Friend Or Foe?...P8 Congratulations on Receiving the Nora Roberts Lifetime Achievement the New RWA Award! the Ceremony Was Heaps of Fun Edition #191 April 2009 The official journal of Romance Writers of Australia Brisbane, Qld Craft: Creating Inner Hearts Talk chats to 8-time RITA nominee, RWAmerica’s 2008 Nora Rob- Conflict..............p4 erts Lifetime Achievement Award recipient, and author of more than 90 books... Vicki Lewis Thomp- son Interview (cont) ..................p6 Adverbs: Vicki Lewis Thompson Friend or Foe?...p8 Congratulations on receiving the Nora Roberts Lifetime Achievement The New RWA Award! The ceremony was heaps of fun. Can Website.............p9 you tell us about the night, your theory about authors with three names, and what Agent Profile: Kristen the award means to you? Nelson Agency .p10 It was truly a Cinderella experience, so much so that I have a little gold pumpkin carriage sitting Insights Gained After on the shelf beside my RITA. I knew there was Publication........p11 the potential for being nervous, so I just told myself that nervousness would spoil an amaz- Member ing experience, so I needed to get over myself! Spotlight ..........p12 Voilà , I wasn’t nervous! As for three names, after I got The Call that I was the award recipi- Member News & ent, I naturally went on the website to see the list of previous recipients, and that three-name Releases ...........p13 thing leaped out at me. You truly couldn’t miss it! It made me laugh, so I used it. The award Focus on: Erotic itself is priceless, a tangible representation of Romance ..........p14 25 successful years in the business. I will cher- ish it always, and bequeath it to my children, Events ...............p16 whether they want it or not. Contest News ...p17 You’ve left your popular Nerd books and are writing the Hex series, with your third title out in March, Casual Hex. Was it difficult to leave the Nerds Critters & after seven books and focus on this new series? Creators ............p18 Yes, it was, but my agent, my publisher, and I concluded that something new was in order, because it’s good to quit while you’re ahead, right? I still get let- Market Watch ...p19 (Continued on page 6) RWA Inc Info for Members Team Hearts Talk Romance Writers of Australia Inc MEMBERSHIP QUERIES Sharon Arkell PO Box 1236, Neutral Bay NSW 2089 Plus if you’re not getting HT: Proofreading 0422 978 471 [email protected] www.romanceaustralia.com To join ROMAUS, our online email group: Go to http://au.groups.yahoo.com/group/ PRESIDENT Kelly Hunter romanceaustralia click on the ‘join this Deb Bennetto [email protected] group’ button and follow the instructions. Features Tina Clark SENIOR VICE Alison Ahearn PRESIDENT [email protected] [email protected] SECOND Rachel Bailey For FACE-TO-FACE GROUPS throughout Aus- VICE [email protected] tralia, and queries on how to join an existing Rachael Blair PRESIDENT group or start one yourself: Julie-Anne Carter Member Announcements SECRETARY Judy McLeod [email protected] 0422 978 471 [email protected] To register for a CRITIQUE PARTNER email MEMBERSHIP AJ Macpherson Rachel Bailey for more information. Catherine Evans REGISTRAR [email protected] [email protected] Contests & Proofreading TREASURER Andrea Fuller INDIVIDUAL WRITERS SUPPORT SCHEME [email protected] For unpublished members. Priority given to those challenged by distance or unable to COMMITTEE access creative support by other means. Melissa Haack Robyn Grady, Louise Reynolds, Anne Cleary, Register for a one-off critique of either 1 or Member Spotlight Kiki Opdenberg 3 chapters by a published author / advanced unpublished writer. Sharon Arkell CONFERENCE CO-ORDINATOR PO Box 421, Buninyong VIC 3357 Alison Ahearn [email protected] [email protected] AJ Macpherson CONTESTS CO-ORDINATOR Writer’s Life Lis Hoorweg [email protected] NATIONAL CONFERENCE For all current details and registration forms R*BY CO-ORDINATOR see www.romanceaustralia.com Louise Reynolds [email protected] CONTESTS Stephanie Mayne All deadlines, entry forms and sample score Layout PUBLISHED AUTHOR LIAISON sheets are at www.romanceaustralia.com in Bronwyn Jameson the members only section (you will need a [email protected] password), or in the Files section of the RWA Contest Alert yahoo group. ROMAUS EMAIL LIST MODERATOR [email protected] Ingrid Rickersey Tina Clark [email protected] Layout To obtain contest entry forms via mail, send WEB MISTRESS your request with a stamped, self-addressed Kiki Opdenberg envelope to: RWA Contests, 20 Waller Cres- [email protected] cent, Campbell ACT 2612 HEARTS TALK EDITOR Serena Tatti To join Contest Alert, RWA’s email alert for Rachel Bailey Proofreading [email protected] contest entrants, go to au.groups.yahoo.com/group/ Romance Writers of Australia Inc ABN 30 075 RWAContestAlert/ click on the ‘join this 409 728 is registered in NSW as an Incorpo- group’ in the right hand corner and follow rated Association the liability of whose mem- the instructions. bers is limited. Michelle Wood WEBSITE PASSWORDS Practicalities, Technicalities CONTACTING US: We love to hear from you, To gain access to our members only section: & Layout but would appreciate calls not be made after email [email protected] 8.30pm. To SUGGEST AN ARTICLE OR OFFER TO Rachel Bailey Editor WRITE AN ARTICLE for Hearts Talk, email, Sue Burgess-Thompson Features REPRINT RIGHTS: Hearts Talk is the official publi- [email protected] cation of RWAust Inc and no part can be repro- Suzanne Brandyn Front Page Member Photos duced or used for profit by RWA members or others Pam Collings Market Watch and Proofreading without prior permission from the Editor. Repro- Member photos on cover: (l-r) Carol Challis Layout duction rights exist between agreed parties on the condition that appropriate credit is given to Hearts Trish Morey, Fiona Gregory, Michelle Elms Layout Talk and the author of the article. Copyright re- Bronwyn Holdsworth, Rowena Bronwyn Jameson The Write Craft mains with the author. The views expressed in Hearts Talk do not necessarily reflect the official Cory Daniells, Lucy Forster, Helen Katsinis Deputy Editor and The Biz policy of RWA. All care is taken to check details Kylie Short, Erica Hayes, Sandii Manning Member Spotlight produced in these pages but no responsibility can Kiki Opdenberg The Back Page be taken if they are inaccurate. Please let us know Astrid Cooper, Joanna Challis, if we have published the wrong details and we will Doreen Sullivan Events Calendar & Articles do our best to correct the error in the next issue. Margie Stewart. Tracey Turner Editorial Assistant © Copyright 2008 Romance Writers of Australia Inc. Cover Heart Photo: Anita Mack. Malvina Yock Proofreading www.romanceaustralia.com 2 Hearts Talk - April 2009 From the Prez... Back: Lis Hoorweg, Robyn committee). On Grady, Kiki Opdenberg. Front: Louise Reynolds, a sad note, we Alison Ahearn, Anna farewell Sec- Cleary, Rachel Bailey, Over Halfway There... Bronwyn Jameson ond Vice Presi- If you’re a plotter who writes to a three act story plan, the dent Tracey halfway mark in terms of word count sees you deeply O’Hara who enmeshed in the middle of act two. You know these has made the characters now and you’re beginning to drive them to- difficult choice wards the climax of the story and hopefully towards their to stand down happy ever after. You’re likely to have more than a cast from her com- of two by now. You may have a secondary plot playing mittee role this month. We’ll miss her and we wish her all out in addition to the primary story. Some parts of the the very best as her writing career heats up! story have already played out and paid off as you reward the reader who’s paying attention. You’re building mo- On a reshuffling note, Rachel Bailey has agreed to take mentum, not too much, not yet, but soon you’ll be ready on the Second Vice President’s role, and webmistress to give those story ponies free rein because, frankly, Kiki Opdenburg joins us as a general committee mem- that’s what you’ve promised your reader. Meanwhile, tick ber. Thank You, ladies. Most appreciated. something off the story to-do list. There does seem to be quite the Thank You theme de- As Prez, it’s a fabulous feeling when the effort of con- veloping in this column. At the ftf we focussed strongly secutive RWA committees pays off. Last year RWA on ways to strengthen the volunteer culture within the called for donations towards the purchase and place- organisation. We currently have over 65 volunteers who ment of a memorial bench at the Canberra National Zoo undertake all sorts of tasks on behalf of RWA. Without to honour Paul Parv - long time RWA supporter and this support RWA could not and would not function. We’ll husband of Valerie, one of Australia’s pioneer writers of be doing a little management restructuring in the months romance. We raised over $1900 and ended up not only to come with the aim of making sure that all of our volun- with a bench but a glorious paved and landscaped gar- teers are supported in their duties. We’re hoping to thank den nook that’s peaceful and perfect. Those who at- them out loud and in public a little more often and to this tended the dedication of Paul’s bench took home warm end, we’ve arrived at a cunning yet simple plan. Each memories of a restful sitting place, generous and hospi- month the name of every RWA volunteer goes into a table zoo staff, a new awareness of the volunteer roles draw to win a writing related prize generously donated by Paul and Valerie undertook at the zoo, and I hope a feel- one of our members.
Load more

Recommended publications
  • Short Stories
    Elements and Characteristics of Short Stories Short stories tend to be less complex than novels. Usually, a short story will focus on only one incident, has a single plot, a single setting, a limited number of characters, and covers a short period of time. In longer forms of fiction, stories tend to contain certain core elements of dramatic structure: exposition (the introduction of setting, situation and main characters); complication (the event of the story that introduces the conflict); rising action, crisis (the decisive moment for the protagonist and their commitment to a course of action); climax (the point of highest interest in terms of the conflict and the point of the story with the most action); resolution (the point of the story when the conflict is resolved); and moral. Because of their short length, short stories may or may not follow this pattern. Some do not follow patterns at all. For example, modern short stories only occasionally have an exposition. More typical, though, is an abrupt beginning, with the story starting in the middle of the action. As with longer stories, plots of short stories also have a climax, crisis, or turning-point. However, the endings of many short stories are abrupt and open and may or may not have a moral or practical lesson. Of course, as with any art form, the exact characteristics of a short story will vary by author. Length Determining what exactly separates a short story from longer fictional formats is problematic. A classic definition of a short story is that one should be able to be read it in one sitting, a point most notably made in Edgar Allan Poe's essay "The Philosophy of Composition" (1846).
    [Show full text]
  • The Power of Short Stories, Novellas and Novels in Today's World
    International Journal of Language and Literature June 2016, Vol. 4, No. 1, pp. 21-35 ISSN: 2334-234X (Print), 2334-2358 (Online) Copyright © The Author(s). 2015. All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijll.v4n1a3 URL: https://doi.org/10.15640/ijll.v4n1a3 The Power of Short Stories, Novellas and Novels in Today’s World Suhair Al Alami1 Abstract The current paper highlights the significant role literature can play within EFL contexts. Focusing mainly on short stories, novellas and novels, the paper seeks to discuss five points. These are: main elements of a short story/novella/novel, specifications of a short story/novella/novel-based course, points for instructors to consider whilst dealing with a short story/novella/novel within EFL contexts, recommended approaches which instructors may employ in the EFL classroom whilst discussing a short story/novella/novel, and language assessment of EFL learners using a short story/novella/novel-based course. Having discussed the aforementioned points, the current paper proceeds to present a number of recommendations for EFL teaching practitioners to consider. Keywords: Short Stories; Novellas; Novels Abbreviation: EFL (English as a Foreign Language) 1. Introduction In an increasingly demanding and competitive world, students need to embrace the four Cs: communication, collaboration, critical thinking, and creativity. Best practices in the twenty-first century education, therefore, require practical tools that facilitate student engagement, develop life skills, and build upon a solid foundation of research whilst supporting higher-level thinking. With the four Cs in mind, the current paper highlights the significant role literature can play within EFL contexts.
    [Show full text]
  • THE SHORT STORY and NOVEL “Outsiders” English 132, 002 | Spring, 2014 Instructor: Dr
    THE SHORT STORY AND NOVEL “Outsiders” English 132, 002 | Spring, 2014 Instructor: Dr. Elizabeth Juckett Email: [email protected] Office: 339 Colson Web: elizabethjuckett.english.wvu.edu Office hours: MTWR: 1:30 – 2:30 PM; by appointmt. Phone #: 304-293-9723(office); 304-296-8437 (home) Meeting at: MWF from 11:30 – 12:20 PM Meeting in: 104 Clark Hall REQUIRED TEXTS Alexie, Sherman. The Lone Ranger and Tonto Fistfight in Heaven (Grove) Cather, Willa, My Antonia. (Broadview) Oates, Joyce Carol. American Short Stories, 2nd edition. (Oxford). Woodrell, Daniel. Winter’s Bone (Back Bay Books) Wright, Richard. Native Son (Harper Perennial) COURSE DESCRIPTION This course is designed to introduce you to fiction as a broad literary genre distinct from poetry and drama. In it, we will read short stories and novels that exemplify the historical development of these forms, as well as the important differences in voice, style, structure, and effect between stories and novels that treat similar themes. Part of our work will be to define distinctive qualities of the short story and novel within the broad category of prose fiction. But our focus will also be thematic: the three novels and many of the short stories we will read this semester imagine the lives of marginalized people, people who find themselves on the fringes of American life because of their race, gender, ethnicity, age, socio-economic status, or other divergence from the accepted norm. Consequently, as we explore the characteristics and evolution of the forms of American fiction, we will also be exploring, conceptually and practically, how “outsider fiction” influences us, broadly, how literature is powerfully linked to our experience and may help us engage with it.
    [Show full text]
  • Novel Novella: the Difference Between Novel and Novella
    Novel A novel is a long narrative in prose that describes fictional characters and events. It is the longest genre of narrative prose fiction in modern literature. A novel generally contains more than 200 pages (above 40,000 words) The term novel is derived from the Italian word novella meaning ‘new’. Novel has a long history and examples for novels can be observed in many countries including Classical Greece and Rome, 10th– and 11th-century Japan, Elizabethan English etc. However. Miguel de Cervantes, author of Don Quixote, is often referred to as the first significant novelist of the modern era. Novels can be categorized in to different genres such as supernatural, thriller, fantasy, romance, western, paranormal, adventure, etc. Novella: The novella is short and well-structured narrative, often realistic and satiric in tone, that influenced the development of the short story and the novel throughout Europe. Originating in Italy during the Middle Ages, the novella was based on local events that were humorous, political, or amorous in nature; the individual tales often were gathered into collections along with anecdotes, legends, and romantictales. Novellas contain fewer characters, themes and conflicts than a novel. It generally does not contain chapters and is meant to be read in one sitting. Some prominent examples of novellas in literature include Saint-Exupery’s “The Little Prince”, H. G. Wells’ “The Time Machine”, John Steinbeck’s “Of Mice and Men”, Charles Dickens’ “A Christmas Carol” and Ernest Hemingway’s “The Old Man and the Sea”. Geoffrey Chaucer introduced the novella to England with The Canterbury Tales.
    [Show full text]
  • A Narrative Analysis of Virginia Woolf's “The Mark on the Wall”
    Journal of Literature and Art Studies, March 2018, Vol. 8, No. 3, 384-388 doi: 10.17265/2159-5836/2018.03.006 D DAVID PUBLISHING A Picture of “Subjective Reality”: A Narrative Analysis of Virginia Woolf’s “The Mark on the Wall” WANG Hai-ying Guangdong University of Foreign Studies, Guangzhou, China Unlike traditional fiction, Virginia Woolf’s “The Mark on the Wall” doesn’t have lively characters, detailed setting, or intriguing plot. Discarding the traditional narrative mode of zero focalization, the narrator adopts a new fixed internal focalization, interwoven with the first person external point of view. By weakening the physical time and space, the narrator tells the story according to her psychological time and space, stressing the moment of importance, through which the writer highlights her subjective reality. Keywords: Virginia Woolf, The Mark on the Wall, subjective reality Introduction In the early twentieth century, Europe endured the pain of World War I, due to which the traditional social structure was under the threat of falling apart. The social unrest triggered the advancement of Western literature. Some avant-garde writers broke through the tradition of fiction writing with bold innovations, focusing their works on the complicated inner world of individuals and trying to depict their ever-changing thought process. Thus, stream-of-consciousness, a new narrative mode took shape. Among these innovative writers, Virginia Woolf was regarded as one of the greatest modernist literary figures of the twentieth century. “The Mark on the Wall”, a short story published in 1917 in London, was one of her earliest experiments with stream-of-consciousness.
    [Show full text]
  • 11Th Grade ELA
    11th Grade ELA Week of: APRIL 27TH WICHITA PUBLIC SCHOOLS 9th, 10th, 11th and 12th Grades Your child should spend up to 90 minutes over the course of each day on this packet. Consider other family-friendly activities during the day such as: Wash a car by hand with Make a dish using a Have a discussion Go on a photo scavenger someone in your family. recipe that has at least regarding social hunt. Try to find something four ingredients. distancing with your that goes with each letter family. What has been the of the alphabet. hardest part? What has been the easiest? Read a book from the free Explore the power Mindful Minute: Write a Play a board game section of iBooks Hubble at letter to your future self with you family. or gutenberg.org about what is going on hubblesite.org/resource-gallery right now. How are you feeling? *All activities are optional. Parents/Guardians please practice responsibility, safety, and supervision. For students with an Individualized Education Program (IEP) who need additional support, Parents/Guardians can refer to the Specialized Instruction and Supports webpage, contact their child’s IEP manager, and/or speak to the special education provider when you are contacted by them. Contact the IEP manager by emailing them directly or by contacting the school. The Specialized Instruction and Supports webpage can be accessed by clicking HERE or by navigating in a web browser to https://www.usd259.org/Page/17540 WICHITA PUBLIC SCHOOLS CONTINUOUS LEARNING HOTLINE AVAILABLE 316-973-4443 MARCH 30 – MAY 21, 2020 MONDAY – FRIDAY 11:00 AM – 1:00 PM ONLY For Multilingual Education Services (MES) support, please call (316) 866-8000 (Spanish and Proprio) or (316) 866-8003 (Vietnamese).
    [Show full text]
  • Flash Fiction
    Flash Fiction An introduction to very short stories! Contents Introducing Flash Fiction 3 ‘Something to Tell You’ by Aidan Chambers 4 ‘Chocolate’ by Kevin Crossley-Holland 5 ‘My Problem is I Don’t Know When to Stop’ by Morris Gleitzman 6 ‘Making Friends’ by Chris Higgins 7 ‘Routine’ by Calum Kerr 8 ‘The Monster’ by Jon Mayhew 9 ‘An Easy Cure for Insomnia’ by Pratima Mitchell 10 ‘Flower of the Fern’ by Jan Pienkowski 11 ‘The Dragon’ by Angie Sage 12 More Flash Fiction! 13 Writing your own Flash Fiction 14 Flash Fiction Mind Map 15 2 Introducing Flash Fiction Welcome to the Beyond Booked Up Flash Fiction collection! So what is Flash Fiction? Put simply, it’s a very short story. It’s normally between 300 and 500 words in length, but it could be as short as 50 words! Because it’s so short, it normally captures one single event, offering just a glimpse of a moment in time. This collection is designed to give you a peek into the world of Flash Fiction. The stories we’ve chosen offer something for everyone – from the laugh-out- loud humour of ‘Chocolate’ to the intriguing science fiction of ‘Routine’. The one thing these stories have in common is that they’re short – less than 500 words each – so you can read them in a flash! We hope that after reading the stories you’ll be feeling inspired to write one of your own. At the back of this booklet we’ve included some writing tips from Calum Kerr, author and founder of National Flash Fiction Day.
    [Show full text]
  • The Short Story – Genre Conventions
    English: The Short story. 1.x/ fall 2002/lm 1/5 ANALYSING THE SHORT STORY CONTENTS THE SHORT STORY GENRE CONVENTIONS: 2 In medias res beginning: 2 A limited number of characters. 2 Limited character description: 2 Limited description of the setting: 2 Often only one plot and often a simple one: 2 A GUIDE TO STEP-BY-STEP ANALYSIS AND INTERPRETATION 3 Rule of thumb:: 3 Analysis: 3 Composition and development of the plot: 3 The setting: 3 The time: 3 The characters: 4 Point of View: (P.O.V) 4 Interpretation: 4 Rule of thumb: 4 Perspectives: 5 English: The Short story. 1.x/ fall 2002/lm 2/5 The Short Story Genre conventions: - The short story is a type of fiction which above all is characterised by its limited length (surprise!) This means that in the short story every detail is designed to carry the utmost significance in short, every detail is important. The most typical genre conventions of the short story are consequences of its limited length: In medias res beginning: The term in medias res is latin and means: in the middle of things. Because of the brevity of the short story, the author usually eliminates as much detailed background information on time, place characters etc. as possible, and we, the readers, are thrown right into a situation without any ideas of what has happened before. A limited number of characters. Limited character description: Normally, the author leaves it up to the reader to form his or her impression of the characters in a short story.
    [Show full text]
  • Genre Study of the Fictional Short Story Elizabeth Campbell
    Genre Study of the Fictional Short Story Elizabeth Campbell Overview: What is genre? Teachers, why do a genre study in your classroom? Addressing Standards The Genre Study in 8 Steps The Fictional Short Story as a Teachable Genre Assessment of Student Learning After the Genre Study Works Cited What is genre? “Every piece of writing, every text we read, comes to us as both a text – the piece it is – and a kind of text – an instance of a genre. And what kind of thing it is puts some limits on what we expect to find there. Genre, an oft-overlooked cuing system in reading, constrains our prediction, lays down a track for our reading” (Bomer, 117). Genre is a sophisticated system of classification that enables an audience to group and compare texts. Charles Cooper defines it as “a type or category of text” (24). It answers the question, “What sort of thing am I reading/writing?” Think of it as a template, or a recipe. Texts within a genre share defining features and demonstrate specific literary techniques. Genre knowledge sets the reader up with a list of expectations involving the text's purpose, audience and characteristics. Within broader genre categories are subgenres, (e.g. poetry/lyric poetry). Where do genres come from? Who classifies genres and defines their characteristics? According to Cooper, texts are: − Social, emerging naturally from “social interactions and the need to communicate” (25). − Communal, enabling shared public discourse. − Situational, developing from recurring “social situations that occur in family and community life, school or college, the professions, government, business, leisure, religion, politics – all of the countless occasions for interaction and communication, for conflict and cooperation” (25).
    [Show full text]
  • The Mystery of Existence: the American Short Story in Criticism and Theory Nicholas Birns
    The Mystery of Existence: The American Short Story in Criticism and Theory Nicholas Birns Small Tale, Big Effect Modern short story theory began when Edgar Allan Poe established the modern short story. In “The Philosophy of Composition” (1846), Poe outlined his manifesto for brevity. He did not wish to tolerate the inevitable slow patches in even the finest poetry; short and intense was what was wanted. In his 1847 review of Nathaniel Hawthorne, Poe disagreed with “the idea that the mere bulk of a work must enter largely into our estimate of its merit” (Poe 584). Poe’s cultivation of brevity was a very modern position in that, unlike some other critics of Poe’s era, it came to terms with the fact that epics were no longer, in any substantive sense, being written. An anti-Aristotelian, he avoided the Greek philosopher’s stress on a text lengthy enough to have a beginning, middle, and end. Although there had been dissenting elements in the critical tradition—the Alexandria-based Greek grammarian Callimachus, in the third century BC, memorably quipped “Big book; big problem” (Lang and Danto 79)—the scholarly tradition stemming from Aristotle had generally exalted the epic and the grand, even if contained in rather strict formal parameters. Poe radically revised this tradition. For Poe, an uncanny combination of precision and intensity replaced narrative bulk. In addition, Poe’s theory of the short story derived much of its power from an emphasis on effect, on making the reader feel a certain emotion. In the previous generation, the British critic Thomas de Quincey had, in his essay “On the Knocking of the Gate in Macbeth,” emphasized a moment of uncanny doom in Shakespeare’s play over any sense of its overarching themes.
    [Show full text]
  • The Reading, Writing and Translating of Erotic Literature
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Concordia University Research Repository Lust in Language: The Reading, Writing and Translating of Erotic Literature Ghislaine LeFranc A Thesis in The Department of Études françaises Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Translation Studies) at Concordia University Montréal, Québec, Canada February 2017 © Ghislaine LeFranc, 2017 CONCORDIA UNIVERSITY CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Ghislaine LeFranc Entitled: Lust in Language: The Reading, Writing and Translating of Erotic Literature and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Translation Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ____________________________ Philippe Caignon (Chair) ____________________________ Sherry Simon (Examiner) ____________________________ Krista Lynes (Examiner) ____________________________ Pier-Pascale Boulanger (Supervisor) Approved by __________________________________________________ Chair of the Department or Graduate Program Director _____________ 2017 _____________________________________ Dean of the Faculty ABSTRACT Lust in Language: The Reading, Writing and Translating of Erotic Literature Ghislaine LeFranc Sexuality and language are two fundamental characteristics of human culture, and the relationship between both shows the role language has in expressing such inexpressible feelings as lust, desire and passion. Humans have long been preoccupied with the mysteries of sex, and language has been the vehicle through which to express such curiosities. Erotic literature has become a genre with such distinct characteristics that translating such texts requires a methodology and approach different from traditional translation tactics.
    [Show full text]
  • Stream of Consciousness Short Story Example
    Stream Of Consciousness Short Story Example gushinglyRudolph usually and flamboyantly. yeast unwarrantedly Juan remains or syllogize graphological unskillfully after when Hashim devolution escalating Ulrick municipally overdevelop or pitchforksmigrating anyand cavessons.critique. Pembroke is inferrible and ptyalizes smuttily while rewarding Broderic Download Stream Of Consciousness Short Story Example pdf. Download Stream Of Consciousness socShort LucyStory hadExample made doc. the streamExpertise consciousness to consciousness short storystory thatphysically would doingbuy the it outenglish a change. were useless Whose to aconsciousness short passage and of consciousnessnot stream short short story story example, example, he iseverything appealing else to play have but no an longer introduction. wish to Became whatconsciousness. is exactly stream Activities of ato dog present has athe third stream person. of consciousness Business with theshort combination story physically of short doing story so check: ofexample short story from examplehis story, of we these want experiences us that does at consciousness any rate intervenes of stale minimally, cigarette but smoke. at all Stoprolled asking into an it or scholarssoc. General who interioruse their monologue sense that as style stream to the of nextshort meal example to have. of james Sure joyceto think and about try to stream this lamp and consciousness flowshort a example: representation a very of.far to Left read. her Typically when the see stream if the consciousness short example: example, extreme streamperception of consciousnesshas a readable account False ideas of our about single consciousness inner self exists short along stories at the reveal middle the of narrator the novelist appears to explain to a much why theof consciousness state of consciousness writing stream short ofstory the example:beacon on the this hard might work be a described flow of consciousness as a man.
    [Show full text]