Tempusgebruik in Afrikaanse narratiewe tekste
- Authors: Van Wyk, Tia
- Date: 2010-04-08T08:40:41Z
- Subjects: Afrikaans language tense , Afrikaans language verb , Narration (Rhetoric)
- Type: Thesis
- Identifier: uj:6759 , http://hdl.handle.net/10210/3166
- Description: M.A. , In this study the application of different temporal forms in Afrikaans narratives is discussed. Afrikaans narratives make use of the present tense, the preterite (a combination of the imperfect and the perfect tense) and a combination of the two above mentioned tenses to narrate events. Fleischman debates that in some languages the present tense that is used in narratives to narrate dramatic events can be divided into two different groups, namely the historical present tense and the dramatic or narrative present tense. In this study an attempt was made to make a distinction between these two tenses with regard to the semantic value of the verb. A variety of texts that mainly consist of present tense verbs were analyzed and the verbs were divided into two groups: dramatic verbs and static verbs. If a narrative consisted of higher percentage of dramatic verbs it was thought that the narrative was being narrated in the dramatic or the narrative present tense. When a narrative consisted of a higher percentage static verbs it was thought that the narrative was being narrated in the historical present tense. This distinction is however not absolute, but the two varieties are rather seen as being on a continuum. Afrikaans narratives do not only utilize the historical present tense to narrate, but also the preterite. By using the preterite in narratives the reader is further removed from the narrator‘s deictic centre than if the narrator is using the historical present tense. A combination of the preterite and the present tense is also quite often used in Afrikaans narratives. The alternative use of the two tenses consists of a diverse range of functions. For example when events are placed on the foreground the use of the present tense is often required amidst a story being told in the preterite. Lastly the Afrikaans adverbial particles toe, nou and dan and their various temporal functions in Afrikaans narratives were discussed
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- Authors: Van Wyk, Tia
- Date: 2010-04-08T08:40:41Z
- Subjects: Afrikaans language tense , Afrikaans language verb , Narration (Rhetoric)
- Type: Thesis
- Identifier: uj:6759 , http://hdl.handle.net/10210/3166
- Description: M.A. , In this study the application of different temporal forms in Afrikaans narratives is discussed. Afrikaans narratives make use of the present tense, the preterite (a combination of the imperfect and the perfect tense) and a combination of the two above mentioned tenses to narrate events. Fleischman debates that in some languages the present tense that is used in narratives to narrate dramatic events can be divided into two different groups, namely the historical present tense and the dramatic or narrative present tense. In this study an attempt was made to make a distinction between these two tenses with regard to the semantic value of the verb. A variety of texts that mainly consist of present tense verbs were analyzed and the verbs were divided into two groups: dramatic verbs and static verbs. If a narrative consisted of higher percentage of dramatic verbs it was thought that the narrative was being narrated in the dramatic or the narrative present tense. When a narrative consisted of a higher percentage static verbs it was thought that the narrative was being narrated in the historical present tense. This distinction is however not absolute, but the two varieties are rather seen as being on a continuum. Afrikaans narratives do not only utilize the historical present tense to narrate, but also the preterite. By using the preterite in narratives the reader is further removed from the narrator‘s deictic centre than if the narrator is using the historical present tense. A combination of the preterite and the present tense is also quite often used in Afrikaans narratives. The alternative use of the two tenses consists of a diverse range of functions. For example when events are placed on the foreground the use of the present tense is often required amidst a story being told in the preterite. Lastly the Afrikaans adverbial particles toe, nou and dan and their various temporal functions in Afrikaans narratives were discussed
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A narratological and semiotic analysis of the adaptation of The French lieutenant's woman, from novel to film
- Authors: Steyn, Aletta Sophia
- Date: 2014-02-18
- Subjects: Motion pictures and literature , Film adaptations , Narration (Rhetoric)
- Type: Thesis
- Identifier: uj:4158 , http://hdl.handle.net/10210/9505
- Description: M.A. , This dissertation conducts a semiotic analysis of the transposition of The French Lieutenant's Woman from novel to film. Special attention is paid to the concept of narrative point of view. The study is introduced by a chapter outlining the theoretical approach followed in this dissertation, after which a careful analysis of The French Lieutenant's Woman as written narrative and as film is attempted. The success of this adaptation is illustrated by showing how Karl Reisz uses the same principles of subversion, violation and manipulation which give Fowles's narrative style its distinctive character. It is also shown that an adaptation can be successful as long as the particular characteristics of the specific medium are taken into account.
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- Authors: Steyn, Aletta Sophia
- Date: 2014-02-18
- Subjects: Motion pictures and literature , Film adaptations , Narration (Rhetoric)
- Type: Thesis
- Identifier: uj:4158 , http://hdl.handle.net/10210/9505
- Description: M.A. , This dissertation conducts a semiotic analysis of the transposition of The French Lieutenant's Woman from novel to film. Special attention is paid to the concept of narrative point of view. The study is introduced by a chapter outlining the theoretical approach followed in this dissertation, after which a careful analysis of The French Lieutenant's Woman as written narrative and as film is attempted. The success of this adaptation is illustrated by showing how Karl Reisz uses the same principles of subversion, violation and manipulation which give Fowles's narrative style its distinctive character. It is also shown that an adaptation can be successful as long as the particular characteristics of the specific medium are taken into account.
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Fiksie en identiteitskonstruksie: 'n beskouing van selfnarratiewe
- Authors: Burger, Willem Daniël
- Date: 2008-10-31T09:07:34Z
- Subjects: Narration (Rhetoric) , Identity (Psychology) in literature , Self in literature , Hermeneutics , Paul Ricoeur , Karel Schoeman
- Type: Thesis
- Identifier: uj:13889 , http://hdl.handle.net/10210/1422
- Description: M.Phil. , This study is undertaken against the backdrop of the "narrativistic turn" in the human sciences. While narratives were traditionally regarded as the terrain of literary studies, it has increasingly become a focus in various disciplines since the 1970s. The usefulness of the concept "narrative identity" is investigated as a means to deal with the problematization of the subject (and personal identity) in postmodern thought. The influence of 20th Century language theory and constructionism on the problematization of the subject is also discussed. It is argued that the self (and personal identity) can not be regarded as a pre-existing subject that simply finds expression in narratives (as sometimes happens in narrative therapy). Such a view would presuppose a pre-linguistic cogito. The self (and personal identity) is not readily available for examination by the self. From a hermeneutical point of view, the self is always an interpretation. Paul Ricoeur's discussion of "narrative identity" is used tot discuss the processes of identity construction in self-narratives. The way in which a "narrative identity" is constructed in a self-narrative is examined with reference to Karel Schoeman's autobiography (Die laaste Afrikaanse boek – literally "The Last Afrikaans Book"). An autobiography is a representation of a life in which a subject is self-consciously constructing an identity. This specific autobiography makes explicit, self-conscious use of literary devices and refers to literary texts which makes it possible to examine the influence of fiction on self-narratives. In the process of this study it is demonstrated that insights provided by literary studies could contribute to narrative psychology and in this sense it is demonstrated that the strict boundaries that often exist between disciplines could be dissolved. Various ways by which the study of literature could contribute to the expansion of the hermeneutical basis on which individuals base their self-narratives, and the spin-offs for narrative therapy, is the most important result of the study. Some gains of narratology (within literary analysis) for narrative therapy are also examined.
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- Authors: Burger, Willem Daniël
- Date: 2008-10-31T09:07:34Z
- Subjects: Narration (Rhetoric) , Identity (Psychology) in literature , Self in literature , Hermeneutics , Paul Ricoeur , Karel Schoeman
- Type: Thesis
- Identifier: uj:13889 , http://hdl.handle.net/10210/1422
- Description: M.Phil. , This study is undertaken against the backdrop of the "narrativistic turn" in the human sciences. While narratives were traditionally regarded as the terrain of literary studies, it has increasingly become a focus in various disciplines since the 1970s. The usefulness of the concept "narrative identity" is investigated as a means to deal with the problematization of the subject (and personal identity) in postmodern thought. The influence of 20th Century language theory and constructionism on the problematization of the subject is also discussed. It is argued that the self (and personal identity) can not be regarded as a pre-existing subject that simply finds expression in narratives (as sometimes happens in narrative therapy). Such a view would presuppose a pre-linguistic cogito. The self (and personal identity) is not readily available for examination by the self. From a hermeneutical point of view, the self is always an interpretation. Paul Ricoeur's discussion of "narrative identity" is used tot discuss the processes of identity construction in self-narratives. The way in which a "narrative identity" is constructed in a self-narrative is examined with reference to Karel Schoeman's autobiography (Die laaste Afrikaanse boek – literally "The Last Afrikaans Book"). An autobiography is a representation of a life in which a subject is self-consciously constructing an identity. This specific autobiography makes explicit, self-conscious use of literary devices and refers to literary texts which makes it possible to examine the influence of fiction on self-narratives. In the process of this study it is demonstrated that insights provided by literary studies could contribute to narrative psychology and in this sense it is demonstrated that the strict boundaries that often exist between disciplines could be dissolved. Various ways by which the study of literature could contribute to the expansion of the hermeneutical basis on which individuals base their self-narratives, and the spin-offs for narrative therapy, is the most important result of the study. Some gains of narratology (within literary analysis) for narrative therapy are also examined.
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Popular culture and the narrative: the case of the James Bond 007 films
- Pretorius, Philippus Christoffel
- Authors: Pretorius, Philippus Christoffel
- Date: 2008-06-20T13:44:51Z
- Subjects: Popular culture , James Bond films , Documentary films , Mass media and culture , Narration (Rhetoric)
- Type: Thesis
- Identifier: uj:3229 , http://hdl.handle.net/10210/663
- Description: This study examines the contribution of popular culture and artefacts in the narratives of the James Bond films and postulates that these narratives in turn become popular cultures of their own. In the audiovisual industry the actuality and novelty of the content and the production thereof relates directly to the success of the production. The main reason is because of actuality of the theme, topic and the popular culture portrayed in the production. The popular culture products at the time of production is set to change rapidly within weeks from the time the premiere has been broadcast. These products include technologies like colour, grain and resolution which are quite evident even to the untrained eye. Furthermore, and as the aim of this study, social products like fashion, hairstyles, language, décor, cars, watches, slang, paradigms, narrative schemes and actuality news stories will have rapidly changed and might not be accepted and embraced by the viewers. The unique way in which all of these elements are incorporated into the narrative scheme for the production can proclaim a stake in box-office income for a film. These popular culture elements are usually developed with a short term and immediate goal of success in mind. For the purposes of this study though, and as a result of its success, the James Bond 007 films by Eon Productions are studied as a unique case study of a sustainable popular cultural phenomenon. Although initially thought of as too popular for academic inquests Ian Fleming’s James Bond novels soon attracted the attention of academics like Kingsley Amis and Umberto Eco. In the years to follow numerous theorists the likes of Roland Barthes, Robin Wood, Tony Bennett, Janet Woollacot and James Chapman investigated the academic and socio-cultural implications of Bond. According to Chapman (1999:4-13) the main reason that the James Bond “phenomenon” is still not receiving much academic attention is because it is merely “unfashionable in the present intellectual climate”. Trahair (1976:1) states that merchandising the hero’s image is important in creating a popular hero. He adds that this is only possible if you have a “saleable” item, in this case Bond. Not only is the Bond phenomenon well marketed but also well accepted by audiences. It is estimated that almost half the world’s population has seen at least one Bond film (Chapman, 1999:14; Smith & Lavington, 2002:1). According to Smith and Lavington (2002:1) the Bond franchise is seen as: “the longest-running, most commercially successful and perhaps most recognisable film series in the history of the medium”. Bond raked in record breaking audiences and or box-office income for almost every newly released James Bond film over a period of forty years. It is also recorded as the highest grossing film franchise in the world with added grosses of more than $3 billion until 1999 (Chapman, 1999:14). This gives an indication of the acceptance of the holistic concept that is James Bond 007. It leads to the question of why James Bond works in a world that has changed enormously in the last forty years. What is presently in fashion and technologically advanced could be easily outdated and succeeded by the time it is sold. It is then the popular nature of the franchise as created through the narrative scheme and popular culture elements within this narrative recipe that lead to this enquiry. After branding Bond as being extremely popular, Smith and Lavington (2002:1) remarks that: “We know that. Everyone knows that. And that’s the point.” They are referring to the fact that Bond is so well known and accepted that an inquiry into its popularity is inevitable. Although many such enquiries have been made this study will focus on the use of popular commodities or popular culture artefacts to popularise the narratives of the James Bond films. These narratives in turn commodify the films as a popular franchise. , Dr. F.P. Duvenage
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- Authors: Pretorius, Philippus Christoffel
- Date: 2008-06-20T13:44:51Z
- Subjects: Popular culture , James Bond films , Documentary films , Mass media and culture , Narration (Rhetoric)
- Type: Thesis
- Identifier: uj:3229 , http://hdl.handle.net/10210/663
- Description: This study examines the contribution of popular culture and artefacts in the narratives of the James Bond films and postulates that these narratives in turn become popular cultures of their own. In the audiovisual industry the actuality and novelty of the content and the production thereof relates directly to the success of the production. The main reason is because of actuality of the theme, topic and the popular culture portrayed in the production. The popular culture products at the time of production is set to change rapidly within weeks from the time the premiere has been broadcast. These products include technologies like colour, grain and resolution which are quite evident even to the untrained eye. Furthermore, and as the aim of this study, social products like fashion, hairstyles, language, décor, cars, watches, slang, paradigms, narrative schemes and actuality news stories will have rapidly changed and might not be accepted and embraced by the viewers. The unique way in which all of these elements are incorporated into the narrative scheme for the production can proclaim a stake in box-office income for a film. These popular culture elements are usually developed with a short term and immediate goal of success in mind. For the purposes of this study though, and as a result of its success, the James Bond 007 films by Eon Productions are studied as a unique case study of a sustainable popular cultural phenomenon. Although initially thought of as too popular for academic inquests Ian Fleming’s James Bond novels soon attracted the attention of academics like Kingsley Amis and Umberto Eco. In the years to follow numerous theorists the likes of Roland Barthes, Robin Wood, Tony Bennett, Janet Woollacot and James Chapman investigated the academic and socio-cultural implications of Bond. According to Chapman (1999:4-13) the main reason that the James Bond “phenomenon” is still not receiving much academic attention is because it is merely “unfashionable in the present intellectual climate”. Trahair (1976:1) states that merchandising the hero’s image is important in creating a popular hero. He adds that this is only possible if you have a “saleable” item, in this case Bond. Not only is the Bond phenomenon well marketed but also well accepted by audiences. It is estimated that almost half the world’s population has seen at least one Bond film (Chapman, 1999:14; Smith & Lavington, 2002:1). According to Smith and Lavington (2002:1) the Bond franchise is seen as: “the longest-running, most commercially successful and perhaps most recognisable film series in the history of the medium”. Bond raked in record breaking audiences and or box-office income for almost every newly released James Bond film over a period of forty years. It is also recorded as the highest grossing film franchise in the world with added grosses of more than $3 billion until 1999 (Chapman, 1999:14). This gives an indication of the acceptance of the holistic concept that is James Bond 007. It leads to the question of why James Bond works in a world that has changed enormously in the last forty years. What is presently in fashion and technologically advanced could be easily outdated and succeeded by the time it is sold. It is then the popular nature of the franchise as created through the narrative scheme and popular culture elements within this narrative recipe that lead to this enquiry. After branding Bond as being extremely popular, Smith and Lavington (2002:1) remarks that: “We know that. Everyone knows that. And that’s the point.” They are referring to the fact that Bond is so well known and accepted that an inquiry into its popularity is inevitable. Although many such enquiries have been made this study will focus on the use of popular commodities or popular culture artefacts to popularise the narratives of the James Bond films. These narratives in turn commodify the films as a popular franchise. , Dr. F.P. Duvenage
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Identiteitskonstruksie en die rol van gender in twee outobiografiese tekste
- Authors: Jansen, Anemarie
- Date: 2009-01-08T13:06:25Z
- Subjects: Mimesis in literature , Gender identity in literature , Narration (Rhetoric) , Identity (Psychology) in literature
- Type: Thesis
- Identifier: uj:14765 , http://hdl.handle.net/10210/1844
- Description: M.A. , Language, specifically the narrative use of language, is not only a medium through which people express and understand themselves. Language is the vehicle wherein and whereby personal identity is constituted. Thus, identity is not seen as fixed, but as a product-in-process of narrative discourse.The interrelationship between narrative and personal identity can be observed in a person`s almost inborn urge to mentally reconstruct his lifestory. Narratives supply personal identity with continuity and cohesion. Ricoeur`s description of the instance of “mimesis” – narratives are “mimesis” in the sense of being the representation of an action – is used to explain the construction of two selfnarratives (Griet Swart in Griet skryf `n sprokie and Stoffel Mathysen in Die lang pad van Stoffel Mathysen). Ricoeur`s two “functions” of narrative, i.e. to expose and to transform, are considered. Griet Swart`s narrative identity is constituted by her being situated in a tradition (mimesis 1 ) – that of being writer of fairy-tales as well as reader of literature. Drawing on conventions and prior knowledge, a plot is created (mimesis 2), in which Griet narrates her lifestory. The narration, the perspective on a patriarchal society as well as the continuous redefining of narrative identity by means of the writing process, are examined. The act of writing becomes metaphor for personal freedom. In Die lang pad van Stoffel Mathysen the use of the epic hero figure, travel prose, Western literature, hunting prose and the outobiography are examined in order to understand Mathysen`s narrative construction of personal identity. Both Griet and Mathysen reconfigure personal identity by means of narrative. It is this process of constant change in self-understanding that Ricoeur calls “narrative identity”.
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- Authors: Jansen, Anemarie
- Date: 2009-01-08T13:06:25Z
- Subjects: Mimesis in literature , Gender identity in literature , Narration (Rhetoric) , Identity (Psychology) in literature
- Type: Thesis
- Identifier: uj:14765 , http://hdl.handle.net/10210/1844
- Description: M.A. , Language, specifically the narrative use of language, is not only a medium through which people express and understand themselves. Language is the vehicle wherein and whereby personal identity is constituted. Thus, identity is not seen as fixed, but as a product-in-process of narrative discourse.The interrelationship between narrative and personal identity can be observed in a person`s almost inborn urge to mentally reconstruct his lifestory. Narratives supply personal identity with continuity and cohesion. Ricoeur`s description of the instance of “mimesis” – narratives are “mimesis” in the sense of being the representation of an action – is used to explain the construction of two selfnarratives (Griet Swart in Griet skryf `n sprokie and Stoffel Mathysen in Die lang pad van Stoffel Mathysen). Ricoeur`s two “functions” of narrative, i.e. to expose and to transform, are considered. Griet Swart`s narrative identity is constituted by her being situated in a tradition (mimesis 1 ) – that of being writer of fairy-tales as well as reader of literature. Drawing on conventions and prior knowledge, a plot is created (mimesis 2), in which Griet narrates her lifestory. The narration, the perspective on a patriarchal society as well as the continuous redefining of narrative identity by means of the writing process, are examined. The act of writing becomes metaphor for personal freedom. In Die lang pad van Stoffel Mathysen the use of the epic hero figure, travel prose, Western literature, hunting prose and the outobiography are examined in order to understand Mathysen`s narrative construction of personal identity. Both Griet and Mathysen reconfigure personal identity by means of narrative. It is this process of constant change in self-understanding that Ricoeur calls “narrative identity”.
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Reinventing and reimagining Johannesburg in three post-apartheid South African texts
- Authors: Putter, Anne
- Date: 2012-11-07
- Subjects: Johannesburg (South Africa) , Narration (Rhetoric) , Post-apartheid era , Johannesburg (South Africa) in literature
- Type: Thesis
- Identifier: uj:7370 , http://hdl.handle.net/10210/8143
- Description: M.A. , 'Writing the city'‘, particularly writing the city of Johannesburg, in post-apartheid South African fiction can be considered as a new approach to interpreting South African culture; a new approach that takes into consideration and reflects the changes taking place in present-day South African society. By means of close textual analysis, this study examines the ways in which the city of Johannesburg is in the process of being re-imagined and reinvented in post-apartheid South African fiction and, therefore, in the post-apartheid memory. Particular attention is paid to narrative techniques utilised in the primary material as a means of not only re-writing the space of the city, but the space of South Africa as well. This is essential in order to reveal how transformation is narrated in post-apartheid, transitional texts and how this narration changes in post-transitional South African fiction. The chosen texts are read and interpreted as a type of cultural history or memory – as a means of constructing South African culture and history through textual production. In particular, this dissertation illustrates how texts written on Johannesburg, such as Phaswane Mpe‘s Welcome To Our Hillbrow (2001), Ivan Vladislavić‘s The Restless Supermarket (2001) and Kgebetli Moele‘s Room 207 (2006) are utilising the subject matter and every day life of the city as an 'idea‘; as a means of expressing societal concerns and other important changes taking place in the country as a whole. This study focuses on how each of the three chosen novels contributes to South African culture and history by narrating its transformative history. Topics such as the depiction of Johannesburg as a palimpsest and as a cultural archive of historical moments in present-day South Africa are explored. In this regard, themes and representations of movement, transition and transformation in the city of Johannesburg, as well as attempts to memorialise this space, are dealt with. In addition, the representation of a 'gendered‘ city as a means of narrating such transformation is also discussed. Here, reference is made to concerns such as the shifting position of men and women in the city, changing gender-related city consciousness, and altered gender discourse surrounding the city. This dissertation identifies and considers how depictions of the city of Johannesburg are being altered and modified in contemporary South African literature and contemplates the ways in which the narratives reveal how transformation is narrated via the Johannesburg landscape.
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- Authors: Putter, Anne
- Date: 2012-11-07
- Subjects: Johannesburg (South Africa) , Narration (Rhetoric) , Post-apartheid era , Johannesburg (South Africa) in literature
- Type: Thesis
- Identifier: uj:7370 , http://hdl.handle.net/10210/8143
- Description: M.A. , 'Writing the city'‘, particularly writing the city of Johannesburg, in post-apartheid South African fiction can be considered as a new approach to interpreting South African culture; a new approach that takes into consideration and reflects the changes taking place in present-day South African society. By means of close textual analysis, this study examines the ways in which the city of Johannesburg is in the process of being re-imagined and reinvented in post-apartheid South African fiction and, therefore, in the post-apartheid memory. Particular attention is paid to narrative techniques utilised in the primary material as a means of not only re-writing the space of the city, but the space of South Africa as well. This is essential in order to reveal how transformation is narrated in post-apartheid, transitional texts and how this narration changes in post-transitional South African fiction. The chosen texts are read and interpreted as a type of cultural history or memory – as a means of constructing South African culture and history through textual production. In particular, this dissertation illustrates how texts written on Johannesburg, such as Phaswane Mpe‘s Welcome To Our Hillbrow (2001), Ivan Vladislavić‘s The Restless Supermarket (2001) and Kgebetli Moele‘s Room 207 (2006) are utilising the subject matter and every day life of the city as an 'idea‘; as a means of expressing societal concerns and other important changes taking place in the country as a whole. This study focuses on how each of the three chosen novels contributes to South African culture and history by narrating its transformative history. Topics such as the depiction of Johannesburg as a palimpsest and as a cultural archive of historical moments in present-day South Africa are explored. In this regard, themes and representations of movement, transition and transformation in the city of Johannesburg, as well as attempts to memorialise this space, are dealt with. In addition, the representation of a 'gendered‘ city as a means of narrating such transformation is also discussed. Here, reference is made to concerns such as the shifting position of men and women in the city, changing gender-related city consciousness, and altered gender discourse surrounding the city. This dissertation identifies and considers how depictions of the city of Johannesburg are being altered and modified in contemporary South African literature and contemplates the ways in which the narratives reveal how transformation is narrated via the Johannesburg landscape.
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Magic realism and Isabel Allende : an investigation of the relationship between narrative technique and gender politics
- Authors: Goldman, Beverley
- Date: 2015-10-29
- Subjects: Allende, Isabel - Criticism and interpretation , Allende, Isabel. Casa de los espíritus. English , Allende, Isabel. De amor y de sombra. English , Allende, Isabel. Eva Luna , Magic realism (Literature) , Narration (Rhetoric)
- Type: Thesis
- Identifier: uj:14497 , http://hdl.handle.net/10210/15018
- Description: M.A. (English) , The main focus of study in this dissertation is the magic realism of Isabel Allende as it pertains to gender politics, specifically in the oppressive fascist regime of revolutionary Chile at the time at which her novels are set. Her narrative technique is identified and related to the environment of which she writes, with a view to associating it with the gender aspect of politics. The socio-political climate in Chile, certainly in the decades ot the 1960s and 1970s, incorporated elements of fascism, oppression and sexism: Allende successfully adapts most of her female characters to the revolution and its effects ...
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- Authors: Goldman, Beverley
- Date: 2015-10-29
- Subjects: Allende, Isabel - Criticism and interpretation , Allende, Isabel. Casa de los espíritus. English , Allende, Isabel. De amor y de sombra. English , Allende, Isabel. Eva Luna , Magic realism (Literature) , Narration (Rhetoric)
- Type: Thesis
- Identifier: uj:14497 , http://hdl.handle.net/10210/15018
- Description: M.A. (English) , The main focus of study in this dissertation is the magic realism of Isabel Allende as it pertains to gender politics, specifically in the oppressive fascist regime of revolutionary Chile at the time at which her novels are set. Her narrative technique is identified and related to the environment of which she writes, with a view to associating it with the gender aspect of politics. The socio-political climate in Chile, certainly in the decades ot the 1960s and 1970s, incorporated elements of fascism, oppression and sexism: Allende successfully adapts most of her female characters to the revolution and its effects ...
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