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Chapter 6 of the book "The Globe's Emigrating Children: Teaching in a Second Language," by Kathleen A. Stark is presented. It shows that introducing a linguistically diverse group of students to writing begins by letting them write narratives about their own lives. It describes how a teacher initiated writing workshops after the first week of school by illustrating her vacation in Mexico through a projector and using pictures with some simple word labels to tell her story.

The present paper examines the process of narrative identity construction as represented in Roddy Doyle's The Woman Who Walked into Doors (1996). Focusing on the thematic level of the novel, the study investigates into the performative and dialogic nature of narrative identity construction. The protagonist's acts of narration throughout the novel and her struggle over the meaning of her experience are viewed as a process of 'doing identity.' As an act of 'doing,' narrative is a site where identity is constructed through a dialogic process. The paper analyzes the dialogue between individual and various cultural narratives (in Doyle's case, especially conservative narratives of gender). Simultaneously, ways in which formal features of the novel corroborate its thematic concerns are explored. [ABSTRACT FROM AUTHOR]

In this paper narratives published in the Brazilian magazine Época are analysed: the narratives are part of a cover story entitled 'Brazilian homosexual women occupy public space and affirm their sexual orientation with dignity'. The main theoretical assumption of this paper is that social identities, across different dimensions, are discursively constructed (Hall 1997; Sarup 1996). The analysis is concerned with the interdiscursive (Chouliaraki & Fairclough 1999) dimension of the narratives, with a view to identifying the discourses (or discursive formations) that constitute the storytellers' voices. It is argued that although storytellers challenge the boundaries of 'competent discourses' (Chauí 2000), constituted to erase cultural, linguistic, ethnic, gender or sexual differences, their narratives are contained within a dominant code, which defines a particular type of representation for homoerotic women. [ABSTRACT FROM AUTHOR]

Given that discourses of the 're' - 'remembering,' 'retrieving' - have come to pervade current debates over narrative and identity, Carly Phillips's search for selfhood in A Distant Shore (2003) will go some way towards further highlighting this concern. But ultimately the novel remains a fragmented whole which eludes any attempt at synthesizing. As much as inspiring continuity, it foregrounds fissures in the narrative of identity where in order for the self to move on or, quite literally, to survive, previous aspects of identity have to be shed, committed to oblivion. Examining these points of transition, the paper seeks to conceptualize forgetting not exclusively and negatively as destructing meaning. Rather, it explores the concomitant possibility and simultaneity of an emerging presence -- the paradoxical movement of 'for-getting' to be derived from the word's etymology. Regarding Caryl Phillips's perennial emphasis on the complex and continuously transforming nature of (diasporic) identity, this protean dynamic might even be considered a central prerequisite. To account for the proliferation of plural selves in contemporary fiction, and more broadly in a culturally fluid modern world, the dominant theories of regenerative recollection seem far from sufficient. As the paper will argue, they need to be supplemented by a similar focus on the (though not altogether unrelated and by no means binarily opposed) productive strategies of forgetting. [ABSTRACT FROM AUTHOR]

Chapter 3 of the book "The Musical Comedy Films of Gregorii Aleksandrov: Laughing Matters" is presented. It analyzes the narrative development of Aleksandrov's musical comedy film "Volga-Volga" and the interplay of music and lyrics with narrative. It also explores the genre paradigms as well as the socialist and ideological values encoded in the film. The paper addresses the socialist realism suppressed issues of genre in American musical.

In my paper I wish to look at the ways in which Gabriel García Márquez portrays his life story in the autobiography Living to Tell the Tale (2003). Throughout the autobiography, everything is seen in relation to his formation as a writer of fiction, a perspective which is emphasised by deliberately echoing episodes and characters from his fiction. For example, in One Hundred Years of Solitude (1967) the village Macondo is 'built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like pre-historic eggs,' while the autobiography's Aracataca is 'located on the banks of a river of transparent water that raced over a bed of polished stones as huge and white as pre-historic eggs.' While One Hundred Years of Solitude uses a proleptic narrative figure ('Many years later'), the autobiography uses the formula 'I remember'; within the form of the autobiography, García Márquez's life is remembered and recounted as integrated parts of the fictive worlds of prolepsis, which he has spent his life constructing, and which in the meantime have become parts of his own past of lived life, a life he can only render autobiographically, by paradoxically using a fictive, pseudo-iterative mode of representation. [ABSTRACT FROM AUTHOR]

In the conversation with his psychiatrist a patient-narrator always reconstructs his self in an interactive way. Even if the reader does not get to hear the psychiatrist's voice, his presence is very much felt. To find out how the psychiatrist modifies the patient's self-portrait in literary representations we have to look into the conversational mode itself. In my paper I will discuss three aspects of this speech situation that affect the portrait of the mad narrator in the Dutch novel Why I Am Not Insane (Waarom ik niet krankzinnig ben, 1929). Firstly, in the conversation with his patient the psychiatrist is the delegate of normality who wants to bring the patient closer to normality. In order to uphold the conversation the patient therefore tries to imitate this normality. Through the act of imitating, however, the idea of madness is maintained. Secondly, in confronting the Freudian psychoanalytic regulations with a speech-act criticism we can specify how the patient is forced to abandon the domain of reason and normality in the interaction with the psychiatrist. Thirdly, the patient-narrator is constantly aware of the threat attached to the psychiatrist's illocutionary authority. At any time the latter can declare the patient sane or insane, while the patient has lost part of his performative power when he was diagnosed in the first place. This results in a particular conversational situation that affects the reconstruction of the self: the patient is constantly fathoming the aims of his hearer but fails to meet all the requirements. In the interaction with the psychiatrist the madman is being wormed into the straitjacket of normality. [ABSTRACT FROM AUTHOR]

Starting with the analysis of autobiographical discourse in Grande Sertão: Veredas, this paper considers the way linearity in narrative and the unity of the Self may be equally questioned, in the novel, by the relationship between irony and temporality. The situation enacted, where a narrator retrospectively tells his experience after a final revelation affecting the whole plot, raises the problem of discrepancy between two different instances of the same Self/character, with a fundamental shift in knowledge and conscience. The narrated self acts throughout a fictional world that exists only reread and reorganized by the recollection of the conscious narrator who, in spite of his attempts to create a narrative already determined by conscience gained, is unable, through knowledge, to affect the course of the erroneous events leading to the moment of recognition or revelation and to stabilize the identities at play. This reflexive rereading of things past introduces in the text an ironic movement (or 'parabatic,' in De Man's reading of Schlegel) that makes narrative possible only in a state of suspension, where action and retroaction contaminate each other, the first existing only through continuous 'posthumous' reconstruction, leading to a model of meaning determined by the idea of permanent revision. [ABSTRACT FROM AUTHOR]

An introduction to the book "Theory Into Poetry: New Approaches to the Lyric" is presented, including section titles "Defining the Lyric," by Werner Wolf, "Narratology and Beyond" and "Mapping (Post)modern Verse."

There are books that are of the same chemical composition as dynamite. The only difference is that a piece of dynamite explodes only once, while a book explodes a thousand times. In the autumn of 1689 London publishers Awnsham and John Churchill offered up a timely, if badly printed, anonymous tract that would long outlive the concatenation of hands and purposes that first gave it life. Two further anonymous editions followed, in 1694 and 1698. With the fourth edition of 1713, nine years after the death of its author, the official fame of the Two Treatises of Government accelerated apace as the work of the celebrated philosopher John Locke. Over the next two centuries, the second of the treatises accumulated its modern reputation as a freestanding whole. Severed from the first initially in the French translation of 1691, under the title Du gouvernement civil it saw seven further French language editions between 1724 and 1790. With successive waves of translation from the French it developed a life of its own in a variety of European vernaculars – German in 1718, Italian in 1773, Spanish in 1821, Russian in 1902. Thus associated with an unfolding history of European revolutions and popular agitations, the Second Treatise has few rivals as a paradigm case of exploding print. Like The Prince, The Social Contract and The Communist Manifesto, it was endlessly reprinted, embraced and repudiated by generations of readers, marshalled to illuminate the dilemmas of disparate political presents. [ABSTRACT FROM AUTHOR]

The article explores the medical humanities and illness narrative genres in American literature, discussing characteristics and notable works. It discusses how such literature focuses on the existential implications of biomedical issues, presenting information without professional jargon so as to maximize comprehension. The author goes on to suggest that medical humanities help make medicine accessible to the public while advocating humane care.

Chapter 10 of the book "Islamic Connections: Muslim Societies in South and Southeast Asia" is presented. It explores the appropriation of the image and idea of India in the Southeast Asian Tablighi movement. It focuses on conversion narratives of Southeast Asian Muslims who joined the Tablighi Jama'at, which is considered the largest transnational Muslim missionary movement worldwide. It also discusses the limitations of the limited sampling of Tablighi conversion narratives.

why talk of beauty what could be more beautiful than these heroic happy dead who rushed like lions to the roaring slaughter During May 2002, a “Memorial Exhibition” titled 100 Shaheeds, 100 Lives was held at the UNESCO Palace in Beirut. The exhibition was planned to coincide with the fifty-fourth anniversary of the Nakba on 15 May. Despite severe restrictions on leaving the OPT and entering Lebanon, exhibition organizers had brought the artefacts – which consisted of objects belonging to and photographs of the first 100 martyrs of the second Intifada – from Ramallah to Beirut. The Ramallah organizer of the exhibition was the Khalil Sakakini Cultural Centre; its Beiruti counterparts included the Arab Resource Centre for Popular Arts. The 100 martyrs were the first 100 casualties of the al-Aqsa Intifada killed by Israeli gunfire during protests, stone-throwing, in suspicious circumstances, or as bystanders. The exhibition of quotidian objects belonging to the deceased was accompanied by a sophisticated modern arts exhibition, a concert, and a film festival. The attendees – particularly on the opening night when a Palestinian singer from Ramallah was set to appear – represented a wide social spectrum: Lebanese leftists of all sectarian backgrounds, Lebanese Islamists, middle- and upper-class assimilated Palestinians, Lebanese and Palestinian intellectuals and artists, international activists, and last but certainly not least in numbers, Palestinians from the camps in Beirut and further afield. [ABSTRACT FROM AUTHOR]

A chapter from the book "Myths of Europe" is presented. It describes the intention of novelist, Henry Fielding, to check out the potentials of the narrative medium in relation to basic writing issues, such as constructing a plot, establishing characters, and the relationship between reader and author. It analyzes the writing style of Fielding in his novels, "Joseph Andrews" and "Tom Jones." it discusses how Fielding successfully drew on the tradition of romance in his narrative formula.

Chapter 22 of the book "Start With a Story: The Case Study Method of Teaching College Science: An NSTA Press Journals Collection" is presented. It accounts the author's experience of guesting for a workshop at the Desert Vista Campus of the Pima Community College System in Tucson, Arizona. It highlights the three approaches to case study teaching that have emerged at Pima including the first-person oral narratives, the use of expert witnesses, and the debate format.

Chapter 12 of the book "The Woman-Hater" is presented. It explores a narrative written by a woman, to which she was born near Epsom and lived there for 10 years. It adds that her parents educated her, and began very early. It emphasizes that school subjects were just very easy for her, allowing her to won many prizes very easily.

Presents the complete text of "Slave Narratives: A Folk History of Slavery in the United States from Interviews with Former Slaves: Indiana Narratives" by the U.S. Work Projects Administration.

Presents the complete text of "Slave Narratives: A Folk History of Slavery in the United States from Interviews with Former Slaves Arkansas Narratives, Part 2" by the U.S. Work Projects Administration.

Chapter 16 of the book "The Legacy of Cain," by Wilkie Collins is presented. It recounts Helena's discovery of the letters of Elizabeth Chance for her father. However, her father refuses to discuss the past but he told her that these letters are worth preserving for they have a significance in the past. Knowing about these things captures the interest of Helena to know everything about the past which her father refuses to talk about.

In the light of research on collocation in Charles Dickens (1812-70) I would like to make clear various collocational characteristics of the third-person narrative and Esther's narrative in Dickens' Bleak House (1852-53), both quantitatively and qualitatively. Certain characteristics of collocation in this text are analysed from two viewpoints: usual and creative collocations. Regarding usual collocations there is an obvious difference between the two narratives in the collocations of frequent words. Unique and creative collocations in both narratives are discussed under three types: metaphorical, transferred, and oxymoronic collocations. As a result of this research, there is apparently a structural difference in collocation between the two narratives. In order to carry out a thorough investigation into this subject and provide further consideration of Dickens' language within the context of the development of the language of fiction and the history of English, I have made use of the CD-ROMs of the OED 2, Eighteenth-Century Fiction, and Nineteenth-Century Fiction as well as electronic texts and concordances of Dickens' works. [ABSTRACT FROM AUTHOR]

A chapter of the book "Theory into Poetry: New Approaches to the Lyric," which examines the analogies between the lyric and drama, is presented. The chapter author draws on insights into speech act theory, deixies and pragmatics and theories of the performative and performance studies. He looks at what a poem does rather than what it says. He argues that lyric poetry aspires to the condition of drama.

A chapter of the book "Theory Into Poetry: New Approaches to the Lyric," which deals with narratological concepts to define meta-reflexivity in poetry, is presented. It demonstrates that metalyric poems have definable, textually anchored features as they draw attention to the lyric as artefact and produce impressive evidence of the complementary interplay between poetic practice and poetological theory. An analysis of the classification of metalyrical elements is given.

A chapter from the book "Theory Into Poetry: New Approachs to the Lyric," which explores an alternative entryway to the problems of genre, is presented. It uses philosophical models of self-creation as a starting point of a semantic-phenomenological reordering of poetic texts. A discussion about ethos, which constitutes a self, a bundle of ideas, beliefs and attitudes, is given. It proposes to see the process in which ruins, ghosts and bats can speak in poems.

Chapter 5 of the book "Between Two Fires: Gypsy Performance and Romani Memory From Pushkin to Postsocialism" is presented. The author investigates narrative memories and archival texts about Gypsies' capacity for memory and loyalty. He deals first with a record of criminal prosecution of Roma that included both ethnographic and biographic reports, and then locate Romani readings of that text in relation to biographic and religious narrative, and to everyday concerns in the 1990s.

A Yankee in Canada, travel narrative by Thoreau, partly published in Putnam's Monthly Magazine (1853), and issued posthumously in a volume with his Anti-Slavery and Reform Papers (1866). Derived from his journal notes during a week's trip (Sept. 25–Oct. [ABSTRACT FROM PUBLISHER]

The article focuses on the structural and thematic evidence that relates the two major writers in the twentieth century. It provides information on the influences of Carlo Levi in the narratives of Gabriel García Márquez. It discusses a short biography of Carlo Levi, his achievements in literature and art. The comparison of Levi and Márquez' literary works is also discussed.

The book "Marjorie," by Justin Huntly McCarthy is presented.

A biography of English writer and dramatist Robert Greene is presented.. It states that Robert Greene took a degree in Bachelor of Arts (A.B.) and Master of Arts (A.M.) and was presented to the vicarage of tollesbury in Essex on June 19, 1584. It notes that Greene described some of his own adventures under his two narratives "Never too Late" and "Groats-worth of Wit" which are regarded as among the best of his works.

A preface to the book "Feminism, Utopia and Narrative," edited by Sarah Webster Goodwin and Libby Falk Jones is presented.