David’s Story by Zoë Wicomb addresses the complexities of representing female suffering and the limitations of traditional historical narratives in capturing the experiences of marginalized bodies.It challenges ...David’s Story by Zoë Wicomb addresses the complexities of representing female suffering and the limitations of traditional historical narratives in capturing the experiences of marginalized bodies.It challenges the grand narratives of national history by emphasizing the indispensable role of women’s experiences.Through characters like Dulcie and Rachael,Wicomb portrays the female body as a site of resistance and resilience,highlighting the need for more nuanced and inclusive ways of documenting history.Underscoring the inexpressibility of trauma and the limitations of language and representation,the novel self-reflexively acknowledges its own aporia of completing the narrative,embodying the ongoing struggle to capture the full breadth of human experience.展开更多
The Great Plague:The Diary of Alice Paynton,London 1665-1666 adopts the realistic painting style and direct writing to the painful experience,describes the situation of the Great Plague in London truly from the perspe...The Great Plague:The Diary of Alice Paynton,London 1665-1666 adopts the realistic painting style and direct writing to the painful experience,describes the situation of the Great Plague in London truly from the perspective of children,and breaks people’s cognitive expectation of children’s literature,the construction of children’s Gray inner world is completed behind the true description of the Great Plague in London with the true brushwork,which presents a different world of childlike innocence.Despite the importance of epidemics writing in literature,the child’s diary perspective of them is one of the least developed of Plague Narrative.Only when authenticity and the child’s grey interior are integrated will we reveal a true picture of society as it was.展开更多
This paper explores the narratives of the Chinese woman novelist Shao-Lin Chu’s trilogy to see how the problem of female sexuality and resistance to parental wedlock tragedy becomes a traumatic experience.The traumat...This paper explores the narratives of the Chinese woman novelist Shao-Lin Chu’s trilogy to see how the problem of female sexuality and resistance to parental wedlock tragedy becomes a traumatic experience.The traumatic symptoms in the narratives are taken as Peircean signs for tracing the negative influences of traumatic experiences on the formation of personal identity and the associated depressive disorder.The scenes portrayed in Chu’s traumatic narratives of female and male sexuality are implications and representations of how sexuality is conceptualized and confined by the traumatic events while backgrounded with regulations and restrictions of a traditional society.The stories of Chu’s female narrators reveal the persistent and resisting feminine power.This paper adopts the concept of feminist narrative to analyze the traumatic and sexual events in Chu’s trilogy.The decoding and re-encoding of resistance and sexuality in the traumatic narratives prove that the narratological textual analysis and semiotic reading strategy together offer a solid approach to the discovery of the persistent traumatic impacts of the secret veiled in the narratives and reveal the probable strength of compassion that has its roots derived from deplorable trauma but later transforms itself to stimulate a positive reconstruction of the traumatic survivors’identity.展开更多
Background: We desired relevant information from patients with Parkinson’s disease (PD) and their caregivers for help in planning a long-term support program. Methods: We compared 3 ap-proaches: 1) a standard needs a...Background: We desired relevant information from patients with Parkinson’s disease (PD) and their caregivers for help in planning a long-term support program. Methods: We compared 3 ap-proaches: 1) a standard needs assessment questionnaire, the Camberwell assessment of need in the elderly, 2) an open-ended listing of needs, and 3) participation in a narrative medicine program in which health care professionals were involved. Results: On the questionnaire, patients reported physical needs as the most important while their caregivers were more concerned about psychological needs. The open-ended listings revealed additional needs, particularly access to re-liable information about PD and to opportunities to participate in clinical research. The narrative medicine process yielded a number of new insights and proposed solutions, particularly related to the heterogeneity of needs across individuals, the importance of providing hope, and the fact that caregivers expressed that their needs had been largely neglected. Participation in the narrative medicine sessions led to an increase in measured empathy by health care professionals, an im-provement in measured depression among PD patients, but a worsening of measured depression among the caregivers. Conclusions: We have identified important needs and potential solutions to be considered in providing long-term support to patients with PD and their caregivers.展开更多
Natsume Sōseki(1867-1916) suffered from cyclic mental depressions through his life, and it was when he was in the state of the most terrible one that he started his career as a writer by writing I Am a Cat(1905-1906)...Natsume Sōseki(1867-1916) suffered from cyclic mental depressions through his life, and it was when he was in the state of the most terrible one that he started his career as a writer by writing I Am a Cat(1905-1906). There are some evidence by his wife and friends that Sōseki's condition of disease dramatically improved during its serialization on a magazine, and the writer himself admited humorously in the preface of other work that it was his depression and mania that enabled him to produce I Am a Cat and other early works. This paper aims at describing the process how his act of narrating had therapeutic effects on his state of mind focusing on the construction of complicitous relationship between an implied author and readers in the work by the unique functions of the first-‘person' narrator: A Cat. Among others, I will consider the influence of Laurence Sterne's Tristram Shandy(1759-1767), which Sōseki introduced to Japan for the first time, by discussing the frequent use of metalepsis that the two works have in common.展开更多
Body,in culture study,is not simply a physical being,but a meaningful sign exposed power relations in society.Body even can be used as a narrative method.In Lady Chatterley’s Lover,there are several body images D.H.L...Body,in culture study,is not simply a physical being,but a meaningful sign exposed power relations in society.Body even can be used as a narrative method.In Lady Chatterley’s Lover,there are several body images D.H.Lawrence used to narrate the story.Through body narrative,the novel shows the subordinate and alienated humanity,and its struggling revolt in the turning of twentieth century.展开更多
It is fascinating to realize that even while Hollywood continually comes up with incredible special effects in films such as Avatar （2009）, the basic structure and development closely ＂follows＂ the guidelines for ...It is fascinating to realize that even while Hollywood continually comes up with incredible special effects in films such as Avatar （2009）, the basic structure and development closely ＂follows＂ the guidelines for drama and storytelling laid out by Aristotle in his The Poetics, written several thousand years ago. We are specifically speaking of three act （beginning, middle, and ending） structure, focusing more on plot than character, and the need for a final resolution （catharsis）. But throughout literary and cinematic history, not everyone has followed these rules. Ironically, we take a close look at the award-winning Greek director Theo Angelopoulos＇ Ulysse＇s Gaze （1995） staring Harvey Keitel, as an example of a very non-Aristotelian approach to filmmaking and storytelling. Angelopoulos＇ film is character rather than plot centered on the Harvey Keitel figure and the journey of the narrative can be broken down to between 8-10 acts, depending how you describe them. We discuss many of the standard American ＂how to write screenplay book＂ authors such as Syd Field, while bringing a variety of authors such as Lajos Egri （The Art of Dramatic Writing） who criticize both Aristotle＇s Poetics and the way it has been interpreted for centuries especially in Hollywood. We conclude that there is a middle ground as well, for while Casablanca （1942） has a clear three act structure, it does not give us a happy romantic ＂Hollywood＂ ending/resolution as Rick insists that Lisa leave with her husband.展开更多
Since the publication of Coraz6n tan blanco （A Heart so White） （1992）, many critics have compared the Spanish novelist Javier Marias to Marcel Proust. Both favor long, meandering sentences, in which they insert vo...Since the publication of Coraz6n tan blanco （A Heart so White） （1992）, many critics have compared the Spanish novelist Javier Marias to Marcel Proust. Both favor long, meandering sentences, in which they insert voluminous asides. In thematic terms, their narratives are constantly involved with meditation over the extent to which we can understand the past, or the degree to which we can know either ourselves or others. Beyond their common preoccupation with time and memory, I will consider some remarkable similarities between Marias＇ and Proust＇s formative years and the role translation played in the development of their style. I will show the many ways in which Proust ＂haunts＂ Marias： in his metaphorical use of the translating practice, in his love of deferral, and in his brooding first-person narrators, racked by the anxiety of ignorance.展开更多
A challenge for many School-Based Family Counseling(SBFC)practitioners,child psychotherapists and researchers are finding ways to give voice to children and eliciting trustworthy and detailed narratives that could ser...A challenge for many School-Based Family Counseling(SBFC)practitioners,child psychotherapists and researchers are finding ways to give voice to children and eliciting trustworthy and detailed narratives that could serve as resource for understanding the needs of young clients in the context of all their interpersonal networks.Children are often reticent when asked to self-disclose and tell their stories during consultation.The purpose of the present study was to examine the utility of five sequential steps constituting the Collage Life Story Elicitation Technique(CLET)for scaffolding storytelling among children in middle childhood(aged 9-12 years).Using the CLET for data collection and conducting an interpretive analysis,the researchers explored the performance of 38 middle-childhood children living in three different settings.Findings suggest that the five sequential steps of the CLET adequately and satisfactorily combine to stimulate and elicit rich data and help children to construct their narratives and represent the challenges they face in everyday living.We discuss the application of CLET in SBFC practice as tool when screening and intervention planning for children’s perspectives pertaining to a range of topics regarding each of the four quadrants as proposed in the SBFC metamodel.展开更多
基金This work was supported by Humanities and Social Sciences Fund of Ministry of Education of China(No.19XJA7520012020)by National Social Science Fund of China(No.20BWW069).
文摘David’s Story by Zoë Wicomb addresses the complexities of representing female suffering and the limitations of traditional historical narratives in capturing the experiences of marginalized bodies.It challenges the grand narratives of national history by emphasizing the indispensable role of women’s experiences.Through characters like Dulcie and Rachael,Wicomb portrays the female body as a site of resistance and resilience,highlighting the need for more nuanced and inclusive ways of documenting history.Underscoring the inexpressibility of trauma and the limitations of language and representation,the novel self-reflexively acknowledges its own aporia of completing the narrative,embodying the ongoing struggle to capture the full breadth of human experience.
文摘The Great Plague:The Diary of Alice Paynton,London 1665-1666 adopts the realistic painting style and direct writing to the painful experience,describes the situation of the Great Plague in London truly from the perspective of children,and breaks people’s cognitive expectation of children’s literature,the construction of children’s Gray inner world is completed behind the true description of the Great Plague in London with the true brushwork,which presents a different world of childlike innocence.Despite the importance of epidemics writing in literature,the child’s diary perspective of them is one of the least developed of Plague Narrative.Only when authenticity and the child’s grey interior are integrated will we reveal a true picture of society as it was.
文摘This paper explores the narratives of the Chinese woman novelist Shao-Lin Chu’s trilogy to see how the problem of female sexuality and resistance to parental wedlock tragedy becomes a traumatic experience.The traumatic symptoms in the narratives are taken as Peircean signs for tracing the negative influences of traumatic experiences on the formation of personal identity and the associated depressive disorder.The scenes portrayed in Chu’s traumatic narratives of female and male sexuality are implications and representations of how sexuality is conceptualized and confined by the traumatic events while backgrounded with regulations and restrictions of a traditional society.The stories of Chu’s female narrators reveal the persistent and resisting feminine power.This paper adopts the concept of feminist narrative to analyze the traumatic and sexual events in Chu’s trilogy.The decoding and re-encoding of resistance and sexuality in the traumatic narratives prove that the narratological textual analysis and semiotic reading strategy together offer a solid approach to the discovery of the persistent traumatic impacts of the secret veiled in the narratives and reveal the probable strength of compassion that has its roots derived from deplorable trauma but later transforms itself to stimulate a positive reconstruction of the traumatic survivors’identity.
文摘Background: We desired relevant information from patients with Parkinson’s disease (PD) and their caregivers for help in planning a long-term support program. Methods: We compared 3 ap-proaches: 1) a standard needs assessment questionnaire, the Camberwell assessment of need in the elderly, 2) an open-ended listing of needs, and 3) participation in a narrative medicine program in which health care professionals were involved. Results: On the questionnaire, patients reported physical needs as the most important while their caregivers were more concerned about psychological needs. The open-ended listings revealed additional needs, particularly access to re-liable information about PD and to opportunities to participate in clinical research. The narrative medicine process yielded a number of new insights and proposed solutions, particularly related to the heterogeneity of needs across individuals, the importance of providing hope, and the fact that caregivers expressed that their needs had been largely neglected. Participation in the narrative medicine sessions led to an increase in measured empathy by health care professionals, an im-provement in measured depression among PD patients, but a worsening of measured depression among the caregivers. Conclusions: We have identified important needs and potential solutions to be considered in providing long-term support to patients with PD and their caregivers.
文摘Natsume Sōseki(1867-1916) suffered from cyclic mental depressions through his life, and it was when he was in the state of the most terrible one that he started his career as a writer by writing I Am a Cat(1905-1906). There are some evidence by his wife and friends that Sōseki's condition of disease dramatically improved during its serialization on a magazine, and the writer himself admited humorously in the preface of other work that it was his depression and mania that enabled him to produce I Am a Cat and other early works. This paper aims at describing the process how his act of narrating had therapeutic effects on his state of mind focusing on the construction of complicitous relationship between an implied author and readers in the work by the unique functions of the first-‘person' narrator: A Cat. Among others, I will consider the influence of Laurence Sterne's Tristram Shandy(1759-1767), which Sōseki introduced to Japan for the first time, by discussing the frequent use of metalepsis that the two works have in common.
文摘Body,in culture study,is not simply a physical being,but a meaningful sign exposed power relations in society.Body even can be used as a narrative method.In Lady Chatterley’s Lover,there are several body images D.H.Lawrence used to narrate the story.Through body narrative,the novel shows the subordinate and alienated humanity,and its struggling revolt in the turning of twentieth century.
文摘It is fascinating to realize that even while Hollywood continually comes up with incredible special effects in films such as Avatar （2009）, the basic structure and development closely ＂follows＂ the guidelines for drama and storytelling laid out by Aristotle in his The Poetics, written several thousand years ago. We are specifically speaking of three act （beginning, middle, and ending） structure, focusing more on plot than character, and the need for a final resolution （catharsis）. But throughout literary and cinematic history, not everyone has followed these rules. Ironically, we take a close look at the award-winning Greek director Theo Angelopoulos＇ Ulysse＇s Gaze （1995） staring Harvey Keitel, as an example of a very non-Aristotelian approach to filmmaking and storytelling. Angelopoulos＇ film is character rather than plot centered on the Harvey Keitel figure and the journey of the narrative can be broken down to between 8-10 acts, depending how you describe them. We discuss many of the standard American ＂how to write screenplay book＂ authors such as Syd Field, while bringing a variety of authors such as Lajos Egri （The Art of Dramatic Writing） who criticize both Aristotle＇s Poetics and the way it has been interpreted for centuries especially in Hollywood. We conclude that there is a middle ground as well, for while Casablanca （1942） has a clear three act structure, it does not give us a happy romantic ＂Hollywood＂ ending/resolution as Rick insists that Lisa leave with her husband.
文摘Since the publication of Coraz6n tan blanco （A Heart so White） （1992）, many critics have compared the Spanish novelist Javier Marias to Marcel Proust. Both favor long, meandering sentences, in which they insert voluminous asides. In thematic terms, their narratives are constantly involved with meditation over the extent to which we can understand the past, or the degree to which we can know either ourselves or others. Beyond their common preoccupation with time and memory, I will consider some remarkable similarities between Marias＇ and Proust＇s formative years and the role translation played in the development of their style. I will show the many ways in which Proust ＂haunts＂ Marias： in his metaphorical use of the translating practice, in his love of deferral, and in his brooding first-person narrators, racked by the anxiety of ignorance.
文摘A challenge for many School-Based Family Counseling(SBFC)practitioners,child psychotherapists and researchers are finding ways to give voice to children and eliciting trustworthy and detailed narratives that could serve as resource for understanding the needs of young clients in the context of all their interpersonal networks.Children are often reticent when asked to self-disclose and tell their stories during consultation.The purpose of the present study was to examine the utility of five sequential steps constituting the Collage Life Story Elicitation Technique(CLET)for scaffolding storytelling among children in middle childhood(aged 9-12 years).Using the CLET for data collection and conducting an interpretive analysis,the researchers explored the performance of 38 middle-childhood children living in three different settings.Findings suggest that the five sequential steps of the CLET adequately and satisfactorily combine to stimulate and elicit rich data and help children to construct their narratives and represent the challenges they face in everyday living.We discuss the application of CLET in SBFC practice as tool when screening and intervention planning for children’s perspectives pertaining to a range of topics regarding each of the four quadrants as proposed in the SBFC metamodel.
