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Jameson’s criticism is something like that of a guest star. Pre-existing narratives, of institutional self-preservation or the long-running critique of the illusory ego, incorporate video into their workings while denying the possibility of other sorts of engagement. In Egoyan’s work, we find a more particularised account of how video changes, but does not destroy, memory, and thus how it changes, without

in Memory and popular film
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according to the principles of narrative telling. The cockpit detail is present in our flight sims, but present on screen, rendered in something approximating three dimensions, but flat on the screen. We expect ‘accuracy’, but we do not expect or demand something indistinguishable from the real. We might have force-feedback joysticks, but few players have a set-up that judders and shakes when we hit air turbulence. Nor would many players want such a set-up, that would turn a diverting entertainment into something far less casual. Some gestures made to the artificiality of

in More than a game
Gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche

   Textual mirrors and uncertain reflections: gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche Un roman est un miroir qui se promène sur une grande route. (Stendhal) (A novel is a mirror travelling along a highway.) L’écriture est la possibilité même du changement, l’espace d’où peut s’élancer une pensée subversive, le mouvement avant-coureur d’une transformation des structures sociales et culturelles. (Cixous) (Writing is precisely the very possibility of change, the space that can serve as

in Women’s writing in contemporary France
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The Orcherd of Syon, Titus and Vespasian, and Lydgate’s Siege of Thebes

contradiction: nonlinear, discontinuous, nonsequential reading can still be said to occur linearly, continuously, or sequentially, as a reader follows the order of words in grammatical sequence or creates a sequence even out of image and text located in separate regions of the page. I have followed the usage of digital media critics in my preference for the term ‘nonlinear’, in part because it also relates to terms used Nonlinear reading 63 to describe both structural and narrative organization, as will be discussed below. In nonlinear reading, readers select their own

in Participatory reading in late-medieval England
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Passion and politics

emotionally charged narrative of ‘self’ identified among respondents in this study is that of ‘second-class citizen’. This narrative is rooted in a sense of profound injustice based on the perception, almost universally expressed among respondents, that the needs of others are privileged over their own. While the perceived beneficiaries of that injustice might be racialised (as ‘immigrants’, ‘Muslims’ or ethnic minorities), and it is claimed that they are afforded preferential treatment in terms of access to benefits, housing and jobs, the agent responsible for this

in Loud and proud

reintroduced with a distancing, convoluted phrase, ‘from what was diagnosed as . . .’, as he besmirches the reputation of his doctors. In some sense, he relinquished control of his own understanding in a sad and pathetic fashion – but the ‘narrativeself performs the role of maintaining an alliance between his resignation and his control. The depression is non-specific (again he does not quite understand an element of what he is describing), but, conversely and finally, the memory is highly specific: ‘the memory of those years is one of uninterrupted agony’. Each word, in

in Fragmenting modernism
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matter – rather than its apparent opposite? As can be seen in many of the works discussed in this volume, the distinction between first-person and thirdperson narration is dissolved by several writers. Building on the experiments with point of view and narrative voice carried out by Nathalie Sarraute and especially Marguerite Duras, today’s writers see fiction not as the vehicle for dissemination of information and ideas or even the locus of the construction of meaning but rather as the site of an exploration both of the self as other and of the self as a discernible and

in Women’s writing in contemporary France

narrative, self-representation, the construction of “youth” and biography that I repeatedly revisit in this chapter. Returning to social movement studies, an ambiguity exists around the predominant participation of youth in “new social movements”. Melucci, in particular, attempts to consider the appeal and the function of social movement subcultures for young people and further interrogates the meaning of youth as a biological category in “post-industrial societies” (Melucci 1989 , 1996 ). However, due to the lack

in The autonomous life?
Grassroots exceptionalism in humanitarian memoir

about their host countries or aid work – yet their naivety is fruitful. Even as they learn the ropes they learn that there are no ropes, that all good paths must be self-generated. 14 But while aid worker memoir tends to view the humanitarian international as part of the larger global order, for founder narratives humanitarianism is still a third sector capable of acting from outside. Thus unlike aid memoir

in Global humanitarianism and media culture
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The Admirable Crichton and Look Back in Anger

point towards its ambitions, especially in the narrative (where ‘cinematic’ sometimes refers to disruptions to the causal chain of conventional naturalist plotting, or a more overt use of montage) or use of space (where it may denote a more fluid use of multiple fictional locations). ‘Cinematic’ may also refer to overt theatrical references to film genres (see, for example, the plays of David Hare). 5

in British cinema of the 1950s