Dos visiones del fenómeno anarquista en la novela barcelonesa: de Mariona Rebull a La verdad sobre el caso Savolta

This paper aims to study the presence of anarchism as a historical and social phenomenon in the novels Mariona Rebull by Ignacio Agustí, published in 1944, and La verdad sobre el caso Savolta by Eduardo Mendoza, published in 1975. This paper offers a contrast between the two novels, observing their commonalities —the theme and location, mainly— and their points of opposition —narrative technique and description of social environments—. These differences also allow us to observe the diverse treatment of anarchist violence in the historical novel written under the Franco period, noting clear differences between the vision offered by Agustí, in the midst of the post-war period, and that of Mendoza, at the gates of the democratic transition.

Reviewed by: Relocated Memories: The Great Famine in Irish and Diaspora Fiction, 1846–1870 by Marguérite Corporaal Matthew A. Schownir Relocated Memories: The Great Famine in Irish and Diaspora Fiction, 1846–1870, by Marguérite Corporaal, pp. 303. Syracuse, New York: Syracuse University Press, 2017. $34.95. Though the Famine has long been a seminal topic of Irish Studies, a vexing misconception persists that Irish literature written during and immediately after the Famine dared not mention the cataclysmic event. The notion that survivors found the Famine too existentially traumatic an episode to recount even in fiction is an understandable, if false, assumption. In Relocated Memories, Marguérite [End Page 150] Corporaal not only sets the record straight on this matter, but recontextualizes midcentury famine fiction as a transnational exercise for Irish writers and readers to memorialize and cope with the tragedy. Drawing on an impressively broad collection of novels and stories written in Ireland, Britain, and North America, Corporaal demonstrates the extent to which Irish writers embraced the Famine as a subject of Irish storytelling and identity. Indeed, famine fiction became a site of collective memory where Irish writers who experienced the event could employ “specific narrative and generic techniques to circumvent certain agonizing details” and thus mediate and reconfigure its trauma for readers. For example, the survivor and writer Mary Ann Hoare often wrote tangentially of emotionally painful episodes in her 1851 collection of stories Shamrock Leaves. Rather than make her main protagonists describe the death of an infant or a family’s slow starvation through first-person descriptions, Hoare instead opts for her narration to make vague, passing mentions of these events in order to displace and assuage the visceral memories of characters in the broader narrative. By decentering the experientiality of particularly gruesome and emotionally taxing moments in her story, Hoare attempts to temper literary accounts of famine suffering for her Irish audience. Other authors used similar narrative methods to accomplish the same goal. The narrator of a story published in 1847 laments that the protagonist’s sufferings are “the most painful part of my sad narrative and I must hasten over it.” This is not to say that fiction writers completely avoided exposition of the Famine’s human toll. Rather, Corporaal locates in the stylistic choices of Irish authors a desire to practice emotional triage through their works, demonstrating the fluidity of famine memory and how it is expressed in fragmented ways. Corporaal argues that although trauma plays a crucial role in shaping these narratives of famine memory, it also speaks to broader notions of how the Irish made sense of postfamine politics, identity, and of their tenuous place in the Atlantic world. Borrowing Alison Landsberg’s notion of “prosthetic memory,” she examines how Irish writers who did not directly experience the Famine used mediated memories to construct their own narratives and make sense of the event from a geographic or temporal distance. This is especially evident with texts written in British Canada and the United States at the time. Corporaal notes that American Irish writers tended to use different narrative techniques, descriptions, or themes than authors in Ireland. For instance, when using the Famine as a setting or a plot device American Irish authors would omit descriptions of their characters’ emaciated bodies. In contrast, stories written in Ireland often dwelt heavily on the physical aspects of starvation to reflect the experientiality of the author’s recollections. North American writers also portrayed Irish pastoral settings in romanticized, Edenic terms that diverged from the desolated landscapes emphasized by writers in Ireland. The cumulative effect of these differences [End Page 151] is a distinctly “diasporic memory” produced by texts that enshrines a softer, more hopeful, and nostalgic image of Ireland that informed New World recollections of the Famine years. This would seem to be Corporaal’s most prominent contribution: to understand how famine memory was produced and experienced by the Irish diaspora, it must be examined in a transnational context. The rough and irregular shape of famine memory stems from its bifurcated roots on both sides of the Atlantic. As such, it is a product of two mutually informed, but characteristically distinct, worlds. To reinforce this point...

As a metafictional play, Martin McDonagh’s The Pillowman consists of numerous puzzles and twists that make the play itself as a work of narrative art. By using and amending existing theories of narrative, philosophy of art, and polyphonic novel, this research attempts to point out how The Pillowman illustrates these discourses through which we enter into the significance of its multiple structures and stories, and the relation between the two. In terms of structure, this thesis, by applying narrative theories, confirms multiple narrators’ presence and functions in The Pillowman. In light of the rhetorical narratology, narrative voices in the play can be social phenomena in which the ideas of author and narrator are so integrated that causes the protagonist Katurian to be destructed by external and internal forces. Moreover, the quality of being virtually real in theatre allows Katurian an omniscient perspective as a narrator, storyteller and author, while he cannot feel guilty about his own mixed roles in the incidents he creates. This thesis also analyzes the narrative techniques used in The Pillowman, specifying how its characters embody the inseparable dualism, for instance, reason/ madness, subjectivity/ objectivity. The juxtaposition of these conflicting concepts manifests the controversy over characters. That is, their various judgments on Katurian reflect how diverse the interpretations of Katurian’s stories can be. Having ensured the reliability of different narratives, the play allows the audience to see causes and effects of incidents from different perspectives in this play. The Pillowman is a polyphonic play in which Katurian’s mixed roles result in his ambiguous narrative positions. With diverse points of view, the play invites the audience to reevaluate their sense of morality. The play, therefore, is a work of narrative art that not only guarantees the dialogue between various ethical concepts but also extends the limits of different narratives. As a fictional work that questions the feasibility of narratology, The Pillowman is where narratives meet, and where more dialogues begin.

This study explores contemporary concepts of identity as a post-postmodernist perception in Lane Moore’s (2018) Memoir, How to Be Alone. The significance of this study is that it examines the impact of cyberculture on human connections and the role of technology in shaping human perception of identity and personhood. It also sheds light on the effects of the internet in creating new social phenomena like ghosting and allowing individuals to transgress social boundaries. The study assesses the representation of the self in the memoir and its effect on the reinforcement of the author’s voice. It reveals that How to Be Alone is a text that adheres to the post-trauma paradigm that integrates a narration based on resilience and humor. The study further concludes that Moore’s memoir endorses twenty-first-century generic conventions and signifies the importance of the memoir, as a genre, in forming individuals’ social and cultural features. The study employs cyber-criticism, post-trauma theory, and post-postmodernism to evaluate the text’s generic conventions and narrative techniques. It offers fundamental inquiries: It questions the integration of technological conventions into post-postmodernist societies and examines the effect of this incorporation. It also inquires about the evolution of trauma. Finally, it has queries concerning post-postmodernist ideals and their development in the 21st century.

This essay presents a brief analysis of three popular Spanish films released between 2001 and 2012 that are set in the immediate post Civil War period and first decades of the Franco dictatorship. Specifically, it considers three films which aim to reconstruct and represent the experience of the men, women, and children who fought Francoism or who endured repression after the end of the Spanish Civil War: Silencio roto (Armendáriz 2001), El laberinto del fauno (Del Toro 2004), and 30 años de oscuridad (Martín 2012). This essay explores the way in which tropes of politics, history, resistance, and repression are represented in each film, and how filmmakers using popular cinematic forms have appropriated the Spanish Civil War and Franco period settings to comment on contemporary political and social issues in Spain. Most of the recent Spanish cinematic productions (fictional and documentary) that depict the Spanish Civil War and Franco period have focused on the moral vindication of the vanquished. The three films considered here aim to reconstruct the particular experience or memories of the Spanish maquis and topos, and the civilians who supported them in their struggles. Each of the films discussed has sought to play a role in the recasting of collective identity in Spain, and affords important insights into the social processes and experiences of the time in which they were created. In a world where the visual immediacy of cinematic images increasingly works to displace traditional historiography, these representations have become ever more important and merit discussion. This essay takes into account that these cinematic representations are subjective and mediated depictions of events, participants, and circumstances of the Civil War and Franco period, and suggests pedagogical approaches to discussing each film in order to enable students (and other viewers) to grasp how to distinguish between history and the historicizing effect of its representations.

David Simon (1960) è uno dei più acclamati e riconosciuti maestri della serialità televisiva contemporanea e i suoi lavori sono ormai noti per la complessità e la profondità, etica e conoscitiva, che riescono a raggiungere. Se The Wire è indiscutibilmente il suo capolavoro, tante e diverse sono le opere di Simon che rivelano l'ambizione di indagare il presente con i mezzi della fiction. In particolare, nelle tre miniserie HBO The Corner (2000), Generation Kill (2008) e Show me a hero (2015), questa peculiare poetica emerge in maniera netta: i fenomeni sociali e gli eventi significativi della nostra contemporaneità sono descritti e raccontati con rigore e sensibilità, unendo un'attitudine giornalistica a una drammatica. Questo saggio ha l'obiettivo di verificare quest'ipotesi attraverso un'analisi serrata dei tre testi. Letti in maniera comparata mostreranno, pur nella diversità dei temi e delle tecniche narrative, la necessità – civile, sociale e politica – di dire la verità sul nostro mondo contemporaneo, per cambiarlo.

This paper examines narrative strategies in the State and Federal trials of the four Los Angeles Police Department officers who beat motorist Rodney King. Brecht's theory of alienation provides the analytic framework. Alienation distances viewers from their “natural” response to social phenomena. Similarly, attorneys in the Rodney King trials distanced jurors from their “natural” response to the Holliday videotape. They employed something like Brecht's narrative technique— telling a story so that “the knots [between the episodes] are easily noticed—to alienate the video. Besides alienating this important piece of evidence, attorneys also provided jurors a sympathetic victim with whom they could identify. Combining alienating techniques and objects of identification, attorneys established a dialectic that made jurors “think feelings and feel thoughtfully” in a Brechtian manner.

This volume contains eighteen academic contributions examining the work of Orhan Pamuk, one of the leading authors of contemporary Turkish literature. Scholars working in Turkey, Central and Northern Europe, and the USA discuss various issues of his fictional and non-fictional texts, such as narrative technique, his treatment of historical, social, political, and cultural phenomena, aspects of intertextuality and intermediality, questions of genre as well as the reception of his work in different societies. As the number of academic studies on Pamuk in English is still relatively limited, this book will provide an international readership with an academic interest in literature with new insights and approaches to his work. With contributions by Fatih Altuğ , Zeynep Arıkan Yılmaz, Gunvald Axner Ims, Esra Canpalat, Johanna Chovanec, Sylwia Filipowska, Erdağ Göknar, Sibel Irzık, Hasan Bulent Kahraman, Halim Kara, Piotr Kawulok, Erol Köroğlu, Petr Kučera, Aysel Özdilek, Julian Rentzsch, Monika Schmitz-Emans, Zeynep Tüfekçioğlu-Yanaşmayan, Zeynep Uysal and Simge Yılmaz.

Social networking has been increasing the personal influence of information technology. The news required to evaluate politics is increasingly from social media. This paper intends to improve how three issues that arise from this political reality are comprehended. An impressive theme runs throughout all of these issues. Political news and analysis is now reaching people in a more personal way than ever. There is a need to improve concepts for analyzing the more personal media now presenting much of our political news. Political science education can make people more sophisticated in reasoning with changing sources of political news and information. Information technology's personal influence on political evaluation is presented as influenced by three issues. Better understanding of these issues improves ability to be critical of the social media and politics phenomenon. All three are related to developments in social networking. As 2020 politics are extensively influenced by social networking news, these issues educate about present politics. First, the paper considers if belief systems are vulnerable to social networking. Belief systems are effective and economic tools for evaluating information about changing conditions. The paper questions the possible harm to belief systems from social media’s salesmanship and manipulation. Second, effects social networking may have on personality are analyzed. Critics suggest social media may leave a chaotic legacy. A narrative in images is created for both the favorable and unfavorable opinion of social networking. Awareness of concern about problems occurring with multitasking, depression, addiction, and interpersonal relationships is produced from the narrative data. The third issue the paper is concerned with is how media rich political communications, networks, and political choice interact. The cognitive implications of framing political news with viral images is analyzed. Problems that could occur from mainstream media losing framing abilities to the increasing media richness of Internet images is discussed. The strength artificial intelligence has, theoretically, to manipulate networks is analyzed. How Internet personalities affect network transactions for political information is mentioned. The personal implications of how information technology delivers political news have been analyzed in this paper. Educational concerns about recognizing the paper’s three issues have been mentioned. The possibility of using narrative analysis from qualitative methods to improve analytic capabilities has been explained. Narrative techniques appear to have meaningful ability to increase perception of the issues that concern this paper. Methods to more effectively question innovations in ICT relevant to politics have been presented.

Script creation has a very important influence on the character setting, character shaping and animation style of an animation work. As one of the drama techniques of script creation, creative scripts can express the true feelings behind the creators in the structural form of creation, as well as give a certain audience reflection on a certain social phenomenon, and can stimulate the ingenious conception of the work in the form of display. Based on the structural technique of straightforward narrative, combined with the expression of highly creative thinking, it can express the hidden thinking structure of the creative work and a certain social feeling placed on the creator, so as to achieve the emotional resonance between the work and the viewer.

O objetivo deste estudo foi descrever a importância da gestão escolar para o professor de Educação Física e o comportamento deste como gestor. Foram entrevistados 16 professores de Educação Física de ambos os sexos da cidade de Juiz de Fora. Trata-se de um estudo com método descritivo, abordagem qualitativa e técnica narrativa. As respostas foram descritas de maneira a preservar a identidade dos entrevistados, seguindo a ordem das perguntas feitas em cada bloco. Através disso pôde concluir-se que os professores entrevistados, apesar de se considerarem gestores, por muitas vezes não se sentem capazes de ser um gestor escolar.

Narrative Fiction in Galiza:1 The Long Path between Oblivion and Memory

The primary aim of the introduction is to elaborate on the implications of reading Vladimir Nabokov, Samuel Beckett, Toni Morrison, John Banville, J. M. Coetzee, and Eimear McBride as specifically late modernist writers and outline how the book modifies our understanding of the history of the novel in the postwar period. In contrast with approaches influenced by the new modernist studies that conceive modernism as encompassing all formally self-conscious cultural responses to modernity, the introduction argues that it is necessary to provisionally reanimate an earlier, formalist conception of modernist fiction as a revolution in narrative technique in order to chart the profound effect of this literary-historical narrative on late modernist writers. The secondary aim of the chapter is to introduce the practice of affective formalism the book argues for in relation to affect theory, the history of close reading, and recent proposals for new methods, such as the new formalism, surface reading, and postcritique. Central to this practice is the importance of explicitly attending to the interplay between descriptions of a character’s experience and the thoughts and feelings that experiential descriptions invite from readers. Such an approach is necessary to capture the reticulation of epistemic, affective, and ethical uncertainty that is the hallmark of late modernist aesthetics.

This paper provides a detailed reading of the way in which anti-bildungsroman conventions in Orson Scott Card's Ender's Game have been utilized to critique the institutional exploitation of children and the psychological consequences that follow. In contrast to traditional bildungsroman stories, which show the protagonist's self-determined growth, Card subverts the genre by characterizing Andrew "Ender" Wiggins as a child genius whose development is controlled by manipulation, isolation, and militarization. The main research question of the paper is as follows: What are the anti-bildungsroman conventions that Card uses in Ender's Game to portray the use of children as instruments of the institution and the complex effects such action has on them? The essay will contextualize this question with the three main stages in Ender's story: first, his determined and tormenting early life; second, his enforced development at Battle School; and third, the post-war period wherein he bears the gnawing sense of guilt and suffers a split identity. This piece points out that Card has managed to achieve this mainly through some narrative techniques such as fragmentation, different viewpoints, and ironic reversals of coming-of-age conventions. The text discusses how Ender's journey is a critique of the institutions and power. Ender's childhood is not a place to have new experiences, but a space of trauma; the Battle School is a setting where children are psychologically trained, isolated from each other and desensitized; and by showing Ender being forever scarred by the abusive processes, the book's ending negates the common image of a bildungsroman's happy conclusion. The paper contends that Ender's Game stands as both a dystopian piece of fiction and a political treatise. Card emphasizes the ethical dilemmas of the act of childhood as a weapon against humanity, disclosing the far-reaching emotional and psychological effects of using children as pawns for the institutional good. The text, therefore, becomes a mirror that reflects real-life situations involving child combatants and youth exploitation, consequently, the book emphasizes the price of turning children into a resource for utility over innocence.

Coordinated campaigns in the digital realm have become an increasingly important area of study due to their potential to cause political polarization and threats to security through real-world protests and riots. In this paper, we introduce a methodology to profile two case studies of coordinated actions in Indonesian Twitter discourse. Combining network and narrative analysis techniques, this six-step pipeline begins with DISCOVERY of coordinated actions through hashtag-hijacking; identifying WHO are involved through the extraction of discovered agents; framing of what these actors did (DID WHAT) in terms of information manipulation maneuvers; TO WHOM these actions were targeted through correlation analysis; understanding WHY through narrative analysis and description of IMPACT through analysis of the observed conversation polarization. We describe two case studies, one international and one regional, in the Indonesian Twittersphere. Through these case studies, we unearth two seemingly related coordinated activities, discovered by deviating hashtags that do not fit the discourse, characterize the coordinated group profile and interaction, and describe the impact of their activity on the online conversation.