As the first foray into a larger study of conflicting Israeli and Palestinian narratives through a narratological lens, this essay focuses on a single volume, Side by Side: Parallel Histories of ...Israel-Palestine (2012). With recourse to classical concepts in narrative theory, the authors compare the formal practices deployed in each history, giving particular attention to questions of narrative voice, temporality - i.e. order, duration and frequency - and addressing questions of narrative agency and character formation in a collective history. They also ask how these accounts imagine possible worlds, giving rise to bifurcations between what happened and what could have happened. Their aim is to show not only how narratology can be used in a politically charged context, but also how that context can unveil gaps and limitations in narratology. They also demonstrate that the Israeli and Palestinian narratives, read through the lens of their form, diverge and converge in ways that are less predictable than the oppositions of content might suggest.
Response to Alan Palmer Rimmon-Kenan, Shlomith
Style (University Park, PA),
06/2011, Letnik:
45, Številka:
2
Journal Article
Recenzirano
Palmer's important essay deals with two related subjects, the second probably a sub-category of the first: 1) Social minds, which he defines as "those aspects of the whole mind that are revealed ...through the externalist perspective" (10). What is revealed through this perspective, I simplify for the sake of a preliminary presentation, are "interpersonal relationships" or "social interactions"; 2) Intermental thought "which is joint, group, shared, or collective thought, as opposed to intramental, or private, individual thought" (1).
Margaret Edson's play Wit, which embodies quotations from John Donne's metaphysical verse, has a macrostructure that is itself conceitlike. The play establishes contrasts, similarities, contrasts ...within the similarities, and further similarities within the contrasts, thus both dramatizing and interrogating wit and its instrument, conceit. I analyze the operation of this complex configuration in the relations between the two main physical-institutional spaces of the play (the hospital and the university); between both and the world of language, with its manifestations in two opposed yet parallel intertexts: and in the self-reflexive dramatization of the theatre/life analogy. The effect of these conceitlike techniques is to bridge the gulf between opposites, transforming "insuperable barriers" into thresholds.
Margaret Edson's playWit, which embodies quotations from John Donne's metaphysical verse, has a macrostructure that is itself conceitlike. The play establishes contrasts, similarities, contrasts ...within the similarities, and further similarities within the contrasts, thus both dramatizing and interrogating wit and its instrument, conceit. I analyze the operation of this complex configuration in the relations between the two main physical-institutional spaces of the play (the hospital and the university); between both and the world of language, with its manifestations in two opposed yet parallel intertexts; and in the self-reflexive dramatization of the theatre/life analogy. The effect of these conceitlike techniques is to bridge the gulf between opposites, transforming “insuperable barriers” into thresholds.
In these compelling new essays, leading critics sharpen our understanding of the narrative structures that convey meaning in fiction, taking as their point of departure the narratological positions ...of Dorrit Cohn, Grard Genette, and Franz Stanzel. This collection demonstrates how narratology, with its attention to the modalities of presenting consciousness, offers a point of entry for scholars investigating the socio-cultural dimensions of literary representations. Drawing from a wide range of literary texts, the essays explore the borderline between fiction and history; explain how characters are constructed by both author and reader through the narration of consciousness; show how gender shapes narrative strategies ranging from the depiction of consciousness through intertextuality to the representation of the body; address issues of contingency in narrative; and present a debate on the crucial function of person in the literary text. The contributors are Stanley Corngold, Gail Finney, Kte Hamburger, Paul Michael Ltzeler, David Mickelsen, John Neubauer, Thomas Pavel, Jens Rieckmann, Shlomith Rimmon-Kenan, Judith Ryan, Franz Stanzel, Susan Suleiman, Maria Tatar, David Wellbery, and Larry Wolff.
Originally published in 1991.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
