The Art of Exile: A Narrative for Social Justice in a Modern World

In this paper I will illustrate what exile art is, how it is influenced on a global platform, and the change it engenders. My research reveals a central theme of globalization in the exchange, mix, and clash of cultures and political views that accompany it as well as the spread of art and ideas. In my research I illustrate how political circumstance, and sense of responsibility to share a political narrative, propelled exile art from a personal to a political narrative. My research illustrates how, as displaced people stripped of a homeland, exiled artists have surfaced as a voice of awareness, social justice, and political change, giving a voice to those who have none. I emphasize how artists in exile communicate the internal struggle of being caught between two cultures. I discuss how the artists’ symbolic rendering of the imagined third spaces of exile illustrates the intimate and personal experience of exile. Further, my research seeks to understand the significance of how this artform is received on a global market

Quoting Shakespeare in the British Novel from Dickens to Wodehouse

Novelists heralded as Victorian Shakespeares frequently navigated the varied nineteenth-century practices of Shakespeare quotation (in the classroom in compilation books, in stage spoofs) to construct the relationship between narrator and character, and to negotiate the dialogue between Shakespeare\u27s voice and the voice of the novel. This chapter looks at three novelists whose practices intersect and contrast: George Eliot, who resists the Bardolatrous imputation of a Shakespearean character\u27s wisdom to its author by distinguishing her own characters\u27 inept Shakespeare quotations from her narrative voice; Thomas Hardy, who claims the authority of Shakespearean pastoral, regional language against the glib quotations of his more cosmopolitan characters; and a latter-day Victorian, P.G. Wodehouse, who plays the irreverent, defamiliarising gambits of Victorian Shakespeare burlesques against the educational and commonplace authority that Shakespeare quotations accrue

Review of Edward Branigan, Narrative Comprehension and Film. London and New York: Routledge, 1992. (Distributed by the Law Book Company Ltd.). 325pp. ISBN 0415075114. (pbk), $45.00.

If Point of View in the Cinema introduced its author as one of the leading film analysts by its attention to the details of the process of cinematic presentation, Narrative Comprehension and Film establishes Edward Branigan as a creative theorist beyond the boundaries of film. The book's voice is that of a craftsman speaking from his workshop. No deconstructive symplok and certainly no rhetorical terrorism. Instead, we find a certain modesty of style, which is deceptive considering that Branigan offers a great deal of substance and a range of attractive speculative insights. The author's mastery of technical intricacies within the broader frame of general narrative makes Narrative Comprehension and Film an outstanding teaching book for film studies as well as other disciplines in the humanities. What makes it especially appealing is its careful elaboration of an inferential account of how we make sense of narrative. For this and other reasons, it is well worth paying closer attention than is perhaps usual for a review article to how the book's argument unfolds and in particular to how it manages to relate the double argument about narrative in film and human perception as interpretive construals

Bodily Signs and Disembodied Narrative in Pamela II

To a large extent, the detractors of Pamela criticized Richardson’s focus on the body. Pamela’s actions and narrative style appeared to be motivated by her desire, namely, by her passions, traditionally located in the body. In particular, Pamela’s bodily iden- tity undermined her authority as an impartial eyewitness, suggested that she could not act as a disinterested narrator and that her voice was not creditable enough to acquire public relevance. Responding to his critics, in Pamela II Richardson set up a different narrative technique, and inscribed the body of the heroine with new, less problematic meanings. In Pamela II, there is a chronological gap between story and discourse. Moreover, in keeping with the codes and stereotypes of sensibility, Pamela is deeply moved by virtuous behaviour, her bodily reactions signalizing her moral value. Along with the new representation of the body goes the effacement of desire and, inevitably, the disintegration of plot. However, Richardson’s experimentation with narrative was not yet over. Reconciling disinterestedness and desire, in Clarissa he wove a polyphony of epistolary voices, enabling the disinterested assessment of an external interpreter

Beyond the hegemonic narrative – a study of managers

Purpose – The aim is to analyse managerial behaviour using narrative analysis to identify stories that are often ignored, silenced or missed by the hegemonic managerialist narrative. Design/methodology/approach – An ethnographic narrative based on an 18 month period of participant observation where the author was a manager in a business unit acquired by another company for $1 billion. Findings – Strategy can be diverted or altered by managers lower down the organization in a counter strategy process. This is consistent with Dalton where managers lower down the organization adapt and change strategy to make it work in practice. Research limitations/implications – Participant observation and ethnomethodological narrative analysis have the potential to go beyond the hegemonic managerialist literature and identify a much more complex picture. However, such research is always open to criticism as being from the author's “own perspective” and appearing to claim “omnipresence.” Other stories have been given voice but it is never possible to say that all stories have been recovered from the silencing processes of the organization. Practical implications – A clearer understanding of how management operates counter strategies within an organization in practice. This enables organizations to reconsider how they engage managers beyond the hegemonic narrative. Originality/value – This paper aims to provide an insight into management behaviour beyond the usual treatment of managers as an amorphous mass as is common in most of the hegemonic managerialist narrative. When managers are told the narratives in this paper they can recount their own similar stories yet these are rarely told

Virginia Woolf: moments of being

Put before the labyrinth and proliferation of critical perspectives, studies and readings on Virginia Woolf, entangled in articulations of teleologies and epistemologies, the critic faces a question: from where should she/he start writing, on what and from which critical perspective? These were the circumstances that dictated my choice of writing on “A Sketch of the Past”, published in Moments of Being – A Collection of Autobiographical Writing, (1976, 1985) and of analysing the narrative strategies used by the author to tell herself, to construct her identity and power, giving voice and authority to herself as a discursive formation

Enabling identity: The challenge of presenting the silenced voices of repressed groups in philosophic communities of inquiry

This article seeks to contribute to the challenge of presenting the silenced voices of excluded groups in society by means of a philosophic community of inquiry composed primarily of children and young adults. It proposes a theoretical model named ‘enabling identity’ that presents the stages whereby, under the guiding role played by the community of philosophic inquiry, the hegemonic meta-narrative of the mainstream society makes room for the identity of members of marginalised groups. The model is based on the recognition of diverse narratives within a web of communal narratives that does not favour the meta-narrative. It reports on the experiences of moderators and students from weak and excluded sectors of society in two countries whose participation in communities of philosophical inquiry gave them not only a “voice” but also a presence and identity

The Narrative Premise of Galdos\u27s Lo Prohibido

In their critical study of Lo prohibido most scholars make only casual mention of its memoir format, and the fictitious circumstances of its composition are all but ignored. yet this narrative premise has an overall impact on the novel. In addition to determining the discourse order of the text, it is instrumental in establishing the narrator\u27s authorial autonomy as well as permitting him varying degrees of unreliability. Furthermore, it affects the different narrative voice techniques employed in the novel. The following discussion will examine the implications of this neglected facet of Lo prohibido