{"title":"Objects of Narrative Desire: An Unnatural History of Fossil Collection and Black Women's Sexuality","authors":"Samantha Pinto","doi":"10.1353/jnt.2019.0015","DOIUrl":"https://doi.org/10.1353/jnt.2019.0015","url":null,"abstract":"","PeriodicalId":42787,"journal":{"name":"JNT-JOURNAL OF NARRATIVE THEORY","volume":"30 1","pages":"351 - 381"},"PeriodicalIF":0.2,"publicationDate":"2020-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88606161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Poisoned Sight: Race and the Material Phantasm in Othello","authors":"M. Lutz","doi":"10.1353/jnt.2019.0013","DOIUrl":"https://doi.org/10.1353/jnt.2019.0013","url":null,"abstract":"","PeriodicalId":42787,"journal":{"name":"JNT-JOURNAL OF NARRATIVE THEORY","volume":"23 1","pages":"296 - 322"},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79168440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On February 4, 1974, the heiress Patricia Hearst—granddaughter of the media mogul William Randolph Hearst—was kidnapped from her home in Berkeley, California.1 In reporting the story, the media reproduced a trope even older than the U.S. itself: a captivity narrative. To do so, they conjured an image of racially other captors defiling a white woman’s body. The New York Times describes Hearst being carried off “half naked” by “two black men” (W. Turner), despite the fact that only one of the abductors was African-American. From the earliest recounting of the story, Hearst was sexualized and her captors racialized. The abduction was portrayed as an intrusion into the domestic space, with Hearst’s fiancé brutalized as she was removed from their home. The most widely used image of Hearst was one of idyllic bourgeois domesticity, cropped from the announcement of her engagement in the media—which, ironically, provided her would-be captors with the address to the couple’s Berkeley home. As it turned out, Hearst’s captors, members of a group known as the Symbionese Liberation Army, were almost all white, middle-class youth—with the exception of Donald DeFreeze (who went by Cinque in tribute to the leader of the Amistad rebellion), an African-American man who, after escaping from prison, sought refuge with the white radicals of the SLA whom he had met while incarcerated. DeFreeze’s prominent role in the SLA provided a link to Black nationalist militancy, aiding in the construc-
{"title":"Suburban Captivity Narratives: Feminism, Domesticity, and the Liberation of the American Housewife","authors":"Megan Behrent","doi":"10.1353/jnt.2019.0010","DOIUrl":"https://doi.org/10.1353/jnt.2019.0010","url":null,"abstract":"On February 4, 1974, the heiress Patricia Hearst—granddaughter of the media mogul William Randolph Hearst—was kidnapped from her home in Berkeley, California.1 In reporting the story, the media reproduced a trope even older than the U.S. itself: a captivity narrative. To do so, they conjured an image of racially other captors defiling a white woman’s body. The New York Times describes Hearst being carried off “half naked” by “two black men” (W. Turner), despite the fact that only one of the abductors was African-American. From the earliest recounting of the story, Hearst was sexualized and her captors racialized. The abduction was portrayed as an intrusion into the domestic space, with Hearst’s fiancé brutalized as she was removed from their home. The most widely used image of Hearst was one of idyllic bourgeois domesticity, cropped from the announcement of her engagement in the media—which, ironically, provided her would-be captors with the address to the couple’s Berkeley home. As it turned out, Hearst’s captors, members of a group known as the Symbionese Liberation Army, were almost all white, middle-class youth—with the exception of Donald DeFreeze (who went by Cinque in tribute to the leader of the Amistad rebellion), an African-American man who, after escaping from prison, sought refuge with the white radicals of the SLA whom he had met while incarcerated. DeFreeze’s prominent role in the SLA provided a link to Black nationalist militancy, aiding in the construc-","PeriodicalId":42787,"journal":{"name":"JNT-JOURNAL OF NARRATIVE THEORY","volume":"18 1","pages":"247 - 286"},"PeriodicalIF":0.2,"publicationDate":"2019-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90536644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
J. D. Salinger’s story “Seymour; An Introduction” (1959) purports to be an “Introduction” to the work of a man named Seymour Glass, written by his fictional brother Buddy. It is part of a series of fictional works published by Salinger over seventeen years, portraying aspects of the life of the Glass family. The first, “A Perfect Day for Bananafish” (1948), is a thirdperson narrative of a young Seymour Glass who, on vacation with his wife in Florida, is portrayed having an intimate interaction with a four-year-old girl named Sybil at the beach, and then going up to his hotel room to kill himself while his wife sleeps on the bed next to his. The five other stories—“Franny” (1955), “Raise High the Roof Beam, Carpenters” (1955), “Zooey” (1957), “Seymour; An Introduction” (1959), and “Hapworth 16, 1924” (1965)—refer, more or less directly, to Seymour or his suicide. The Glass stories, as they are often called, form what Eberhard Alsen calls a “composite” novel (65), which in his reading deals to varying degrees with the influence of Seymour’s suicide on his family: his childlike vaudevilleperformer parents, his variably admiring six younger siblings, and, sometimes, his apparently mismatched wife. But a reading that places Seymour at the center of the Glass cycle is ultimately complicated by another character who, while missing in the first two stories, emerges as a narrator in the third, and in the final three not only refers to himself as the one writing
j·d·塞林格的小说《西摩》;《一个介绍》(1959年)的目的是“介绍”一个名叫西摩·格拉斯的人的作品，由他虚构的兄弟巴迪写的。这是塞林格17年来出版的一系列虚构作品之一，描绘了格拉斯一家生活的方方面面。第一部是1948年的《香蕉鱼完美的一天》(A Perfect Day for Bananafish)，以第三人称叙述了年轻的西摩·格拉斯(Seymour Glass)和妻子在佛罗里达度假时，在海滩上与一个名叫西比尔(Sybil)的四岁女孩亲密接触，然后上楼到酒店房间自杀，而妻子睡在他旁边的床上。其他五个故事——《弗兰妮》(1955)、《木匠们，把屋梁抬高》(1955)、《祖伊》(1957)、《西摩》(1957);《导言》(1959)和《哈普沃斯16,1924》(1965)——或多或少直接提到了西摩或他的自杀。这些格拉斯的故事，通常被称为“复合”小说，埃伯哈德·阿尔森(Eberhard Alsen)称之为“复合”小说(65)，在他的阅读中，不同程度地涉及了西摩自杀对他家庭的影响:他孩子气的杂耍演员父母，他的六个弟弟妹妹，他对他不同程度的崇拜，有时还有他明显不般配的妻子。但是，将西摩置于格拉斯循环中心的阅读，最终会因为另一个角色而变得复杂。这个角色虽然在前两个故事中没有出现，但在第三个故事中以叙述者的身份出现，在最后三个故事中，他不仅称自己是写作的人
{"title":"“A Narrator, But One With Extremely Pressing Personal Needs”: Narrative Drive and Affective Crisis in Salinger’s “Seymour; An Introduction”","authors":"David Stromberg","doi":"10.1353/jnt.2019.0008","DOIUrl":"https://doi.org/10.1353/jnt.2019.0008","url":null,"abstract":"J. D. Salinger’s story “Seymour; An Introduction” (1959) purports to be an “Introduction” to the work of a man named Seymour Glass, written by his fictional brother Buddy. It is part of a series of fictional works published by Salinger over seventeen years, portraying aspects of the life of the Glass family. The first, “A Perfect Day for Bananafish” (1948), is a thirdperson narrative of a young Seymour Glass who, on vacation with his wife in Florida, is portrayed having an intimate interaction with a four-year-old girl named Sybil at the beach, and then going up to his hotel room to kill himself while his wife sleeps on the bed next to his. The five other stories—“Franny” (1955), “Raise High the Roof Beam, Carpenters” (1955), “Zooey” (1957), “Seymour; An Introduction” (1959), and “Hapworth 16, 1924” (1965)—refer, more or less directly, to Seymour or his suicide. The Glass stories, as they are often called, form what Eberhard Alsen calls a “composite” novel (65), which in his reading deals to varying degrees with the influence of Seymour’s suicide on his family: his childlike vaudevilleperformer parents, his variably admiring six younger siblings, and, sometimes, his apparently mismatched wife. But a reading that places Seymour at the center of the Glass cycle is ultimately complicated by another character who, while missing in the first two stories, emerges as a narrator in the third, and in the final three not only refers to himself as the one writing","PeriodicalId":42787,"journal":{"name":"JNT-JOURNAL OF NARRATIVE THEORY","volume":"1 1","pages":"193 - 222"},"PeriodicalIF":0.2,"publicationDate":"2019-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89523283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper proposes a reading of Joseph Conrad’s Under Western Eyes (1911) along the lines of two key concepts—community and scapegoat. The novel is structured around a pattern of repetition and variation according to which its protagonist, Razumov, temporarily enters a series of communities, only to be expelled from them through scapegoating practices. Under Western Eyes uses a ‘found manuscript’ device to have an English Professor of languages in Geneva tell the story of the student Razumov and his involvement with a revolutionist fellow student, Haldin, who seeks refuge in his room after committing a terrorist attack against a member of the Russian government. Razumov betrays Haldin to the authorities, is recruited by them to work as a spy, and charged to infiltrate the revolutionist circles exiled in Geneva, pretending to be Haldin’s acolyte. Combining sections from Razumov’s diary, extracted, translated, in part retold, and elaborated by the Professor from an inevitably Western perspective, the novel reveals in a belated way Razumov’s role as a spy for the government, and hence his precarious status as part of the exile community in Geneva. Razumov’s trajectory in the novel moves along a series of problematic ascriptions to a variety of communities: friendship with his fellow students, clandestine brotherhood with Haldin, good Russian citizen, confidant of the government, mourner with the Haldin family, member of the revolutionist cell in Geneva, double agent for the secret services, lover of Natalia Haldin. Razumov’s ascription to these communities is problematic
{"title":"Community, Scapegoating, and Narrative Structure in Joseph Conrad’s Under Western Eyes","authors":"Paula Martín-Salván","doi":"10.1353/jnt.2019.0007","DOIUrl":"https://doi.org/10.1353/jnt.2019.0007","url":null,"abstract":"This paper proposes a reading of Joseph Conrad’s Under Western Eyes (1911) along the lines of two key concepts—community and scapegoat. The novel is structured around a pattern of repetition and variation according to which its protagonist, Razumov, temporarily enters a series of communities, only to be expelled from them through scapegoating practices. Under Western Eyes uses a ‘found manuscript’ device to have an English Professor of languages in Geneva tell the story of the student Razumov and his involvement with a revolutionist fellow student, Haldin, who seeks refuge in his room after committing a terrorist attack against a member of the Russian government. Razumov betrays Haldin to the authorities, is recruited by them to work as a spy, and charged to infiltrate the revolutionist circles exiled in Geneva, pretending to be Haldin’s acolyte. Combining sections from Razumov’s diary, extracted, translated, in part retold, and elaborated by the Professor from an inevitably Western perspective, the novel reveals in a belated way Razumov’s role as a spy for the government, and hence his precarious status as part of the exile community in Geneva. Razumov’s trajectory in the novel moves along a series of problematic ascriptions to a variety of communities: friendship with his fellow students, clandestine brotherhood with Haldin, good Russian citizen, confidant of the government, mourner with the Haldin family, member of the revolutionist cell in Geneva, double agent for the secret services, lover of Natalia Haldin. Razumov’s ascription to these communities is problematic","PeriodicalId":42787,"journal":{"name":"JNT-JOURNAL OF NARRATIVE THEORY","volume":"6 1","pages":"169 - 192"},"PeriodicalIF":0.2,"publicationDate":"2019-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85557942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
[t]he persistent search for the meaning of tragedy, for a redefinition in terms of cultural or private experience is, at the least, man’s recognition of certain areas of depth-experience which are not satisfactorily explained by general aesthetic theories; and of all the subjective unease that is aroused by man’s creative insights, that wrench within the human psyche which we vaguely define as ‘tragedy’ is the most insistent voice that bids us return to our own sources. (140)
{"title":"Rethinking Aristotle’s Hamartia: The Igbo Nigerian Tragic Form in Chinua Achebe’s Fiction","authors":"I. Chukwumah","doi":"10.1353/jnt.2019.0009","DOIUrl":"https://doi.org/10.1353/jnt.2019.0009","url":null,"abstract":"[t]he persistent search for the meaning of tragedy, for a redefinition in terms of cultural or private experience is, at the least, man’s recognition of certain areas of depth-experience which are not satisfactorily explained by general aesthetic theories; and of all the subjective unease that is aroused by man’s creative insights, that wrench within the human psyche which we vaguely define as ‘tragedy’ is the most insistent voice that bids us return to our own sources. (140)","PeriodicalId":42787,"journal":{"name":"JNT-JOURNAL OF NARRATIVE THEORY","volume":"29 1","pages":"223 - 246"},"PeriodicalIF":0.2,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77707438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Borrowed Sins: Oscar Wilde’s Aesthetic Plagiarisms in The Picture of Dorian Gray","authors":"S. M. Leonard","doi":"10.1353/jnt.2019.0006","DOIUrl":"https://doi.org/10.1353/jnt.2019.0006","url":null,"abstract":"","PeriodicalId":42787,"journal":{"name":"JNT-JOURNAL OF NARRATIVE THEORY","volume":"13 1","pages":"137 - 168"},"PeriodicalIF":0.2,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89027969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Chinua Achebe’s first novel Things Fall Apart (1958) is, as he puts it, “an act of atonement with [his] past, the ritual return and homage of a prodigal son” (Achebe, “Named for Victoria” 193). In this novel Achebe reconciles himself with his African heritage by taking possession of the African voice and articulating the narrative of the African people, thereby deconstructing the dominant, colonial discourse that had created the image of the African people and their history during colonial rule. In their approach to this novel, critics have dealt extensively with the dialectics of the colonizer and the colonized on the one hand,1 and the dichotomy of the individual and society on the other.2 It becomes apparent that the Umuofian characters in Achebe’s novel exemplify these two elaborately structured dichotomies very clearly: the characters not only suffer from the repercussions of colonialism, but also undergo inner divisions within their own tribal domain. In this paper I will explore both of these intricately woven dichotomies, expounding upon the characters’ social interactions within the framework of Raymond Williams’ classification of the individual’s connection to society. Furthermore, I will analyze the spectrum of the various characters’ individuality in the wake of the European-African colonialist encounter. Williams’ social classification helps bring to the fore the complexity of the characters in Achebe’s novel, while also shedding light on the elaborate composition of pre-colonialist African civilization. Moreover, Williams’ categories provide the means to examine the African characters’ varying
{"title":"Overlapping Character Variations in Chinua Achebe’s Things Fall Apart","authors":"M. Abd-Rabbo","doi":"10.1353/JNT.2019.0002","DOIUrl":"https://doi.org/10.1353/JNT.2019.0002","url":null,"abstract":"Chinua Achebe’s first novel Things Fall Apart (1958) is, as he puts it, “an act of atonement with [his] past, the ritual return and homage of a prodigal son” (Achebe, “Named for Victoria” 193). In this novel Achebe reconciles himself with his African heritage by taking possession of the African voice and articulating the narrative of the African people, thereby deconstructing the dominant, colonial discourse that had created the image of the African people and their history during colonial rule. In their approach to this novel, critics have dealt extensively with the dialectics of the colonizer and the colonized on the one hand,1 and the dichotomy of the individual and society on the other.2 It becomes apparent that the Umuofian characters in Achebe’s novel exemplify these two elaborately structured dichotomies very clearly: the characters not only suffer from the repercussions of colonialism, but also undergo inner divisions within their own tribal domain. In this paper I will explore both of these intricately woven dichotomies, expounding upon the characters’ social interactions within the framework of Raymond Williams’ classification of the individual’s connection to society. Furthermore, I will analyze the spectrum of the various characters’ individuality in the wake of the European-African colonialist encounter. Williams’ social classification helps bring to the fore the complexity of the characters in Achebe’s novel, while also shedding light on the elaborate composition of pre-colonialist African civilization. Moreover, Williams’ categories provide the means to examine the African characters’ varying","PeriodicalId":42787,"journal":{"name":"JNT-JOURNAL OF NARRATIVE THEORY","volume":"57 1","pages":"55 - 81"},"PeriodicalIF":0.2,"publicationDate":"2019-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87555425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Helen Darville’s first (and, to date, only) novel, The Hand that Signed the Paper, was published in 1994 and details the lives of a fictional Ukrainian family in the Second World War. It also contains a frame story set in the 1990s, which depicts a young Australian woman, the fictional Fiona Kovalenko, worrying that her uncle and father may be tried for the war crimes detailed within the inner story. An Australian author of Scottish heritage, Darville published under the pseudonym Helen Demidenko. To support this fake name, she performed a fake authorial persona in real life, lying about her real name and ethnic background in public interviews.1 Darville claimed she was of Ukrainian descent—a false claim which lent an element of authenticity to the Ukrainian subject matter of her fictional work. Although she never explicitly claimed the work as autobiography, she invited that association, never correcting the public narrative that there was an element of truth-through-heritage to her work. This is an example of the autobiographical hoax, where an author invents and adopts a character persona and writes an autobiographical narrative from this perspective. It is usually seen as a fairly callous form of deception, since it often invokes the use of a fictionalized persona from a marginalized or disadvantaged group. Whether representing a race, gender, sexuality, dis/ability, socioeconomic, or other minority, these personas supposedly give voice to those whose voices have traditionally been sup-
{"title":"The Paratext as Narrative: Helen Darville’s Hoax, The Hand that Signed the Paper","authors":"Hannah Courtney","doi":"10.1353/JNT.2019.0003","DOIUrl":"https://doi.org/10.1353/JNT.2019.0003","url":null,"abstract":"Helen Darville’s first (and, to date, only) novel, The Hand that Signed the Paper, was published in 1994 and details the lives of a fictional Ukrainian family in the Second World War. It also contains a frame story set in the 1990s, which depicts a young Australian woman, the fictional Fiona Kovalenko, worrying that her uncle and father may be tried for the war crimes detailed within the inner story. An Australian author of Scottish heritage, Darville published under the pseudonym Helen Demidenko. To support this fake name, she performed a fake authorial persona in real life, lying about her real name and ethnic background in public interviews.1 Darville claimed she was of Ukrainian descent—a false claim which lent an element of authenticity to the Ukrainian subject matter of her fictional work. Although she never explicitly claimed the work as autobiography, she invited that association, never correcting the public narrative that there was an element of truth-through-heritage to her work. This is an example of the autobiographical hoax, where an author invents and adopts a character persona and writes an autobiographical narrative from this perspective. It is usually seen as a fairly callous form of deception, since it often invokes the use of a fictionalized persona from a marginalized or disadvantaged group. Whether representing a race, gender, sexuality, dis/ability, socioeconomic, or other minority, these personas supposedly give voice to those whose voices have traditionally been sup-","PeriodicalId":42787,"journal":{"name":"JNT-JOURNAL OF NARRATIVE THEORY","volume":"49 1","pages":"108 - 82"},"PeriodicalIF":0.2,"publicationDate":"2019-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76064145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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