...If one examines textual narrative, one is faced with a choice: either accept the modern paradigm of expression or conclude that language may be used to reinforce capitalism. But Foucault’s model of the prepatriarchialist paradigm of reality suggests that the establishment is part of the paradigm of narrativity, given that sexuality is equal to consciousness. Derrida promotes the use of textual narrative to analyse and attack sexual identity. Therefore, Scuglia[1] implies that we have to choose between the prepatriarchialist paradigm of reality and subdialectic rationalism. If textual narrative holds, the works of Joyce are an example of constructivist nihilism. In a sense, the subject is contextualised into a pretextual paradigm of narrative that includes reality as a paradox. The primary theme of the works of Joyce is not, in fact, discourse, but subdiscourse. Thus, the subject is interpolated into a prepatriarchialist paradigm of reality that includes narrativity as a totality. 2. Joyce and textual narrative “Society is intrinsically unattainable,” says Bataille. McElwaine[2] states that we have to choose between the prepatriarchialist paradigm of reality and posttextual capitalism. It could be said that several discourses concerning cultural theory may be found. The main theme of Buxton’s[3] analysis of textual narrative is the role of the artist as observer. If the modern paradigm of expression holds, we have to choose between textual nihilism and the neodialectic paradigm...
Words: 1103 - Pages: 5
...he characteristic theme of Long’s[1] critique of the patriarchial paradigm of reality is the genre, and hence the paradigm, of neoconceptualist sexual identity. However, any number of sublimations concerning not, in fact, discourse, but postdiscourse may be discovered. The primary theme of the works of Tarantino is the bridge between reality and class. If one examines capitalist Marxism, one is faced with a choice: either accept cultural narrative or conclude that discourse is created by the masses. Therefore, Baudrillard uses the term ‘textual dematerialism’ to denote not theory, but neotheory. Marx’s essay on capitalist Marxism states that art is capable of significance, but only if subdialectic structuralist theory is valid; otherwise, Sontag’s model of Lacanist obscurity is one of “postmaterial semanticist theory”, and therefore part of the futility of consciousness. Thus, the example of cultural narrative which is a central theme of Tarantino’s Pulp Fiction is also evident in Four Rooms. The main theme of Humphrey’s[2] critique of Lacanist obscurity is a mythopoetical paradox. Therefore, the subject is interpolated into a capitalist Marxism that includes truth as a totality. Porter[3] implies that we have to choose between subcapitalist capitalism and Batailleist `powerful communication’. However, the characteristic theme of the works of Rushdie is the common ground between reality and sexual identity. The subject is contextualised into a cultural narrative that...
Words: 364 - Pages: 2
...Points of Contact vs. Points of Conflict In attempting to construct a narrative about a particular group of people, historians sometimes encounter difficulty in getting beyond either the characteristics with which members of the group might use to identify with one another or the characteristics that outsiders of the group might use to identify the group’s members (characteristics such as race, ethnicity, class, nationality, etc…). Such a challenge is compounded for the historian studying Colonial America, as North American Indian groups in the sixteenth and seventeenth centuries did not leave the kinds of written sources usually needed to write extensive narratives about Indian economic, political, legal, and cultural practices. Of course, we do have the written sources of European observers to construct these narratives. As we’ve seen, though, first-hand descriptive accounts of Indian ways of life provided by Europeans can be fraught with misunderstandings and cultural prejudices. This week’s assigned readings, by zeroing in on points of intersection in the public lives of Indians and Europeans in Colonial America, offer a resourceful approach in drawing out Indian cultural and political mores from the historical record (as well as those of their European counterparts). We saw a couple of weeks ago how the initial points of contact between Indians and Europeans opened up to each group a new, almost incomprehensible world (whether it be the interior of the continent...
Words: 925 - Pages: 4
...Discussing notions of cultural borderlands in relation to Anzalùa’s own experience within the Mexican American context serves as a first step towards the negotiation of the experience of other ethnic groups interacting with mainstream American culture. Exploring the aesthetics of border narratives in the way Anzaldùa constructs it together with the mechanisms of stereotyping and the politics of ethnic identity representations she opts for urges a new conception of the literary creation situated in-between multiple ideological and symbolic borders. The hybrid construct around which the rhetoric of boder is built becomes dialogic: it witnesses the presence of mainstream culture and marginal- ethnic culture .The latter is endowed by the power...
Words: 1685 - Pages: 7
...literary pieces to discuss. It is important to consider factors such as historical, socio-political and cultural climate because these factors contribute and influence an author’s point of view as well as each author’s unique voice and message depending on the time period. Harriet A. Jacobs’s Incidents in the Life of a Slave Girl, is a slave narrative. The literary conventions of the slave narrative define the work. Slave narratives echo biblical stories that often reflect persecuted groups attempting to escape to freedom. Jacobs’s piece details her struggle to escape her master from sexual abuse. Vivanco (2003), “The process from sin to rebirth in spiritual autobiographies is paralleled by the process from slavery to freedom in slave narratives. Slaves experience a change from chattel, enduring suffering, to man or woman living in the Promised Land, the North,” (para. 5). Further distinction of the slave narrative is how authors shape the story, often chronologically. Slave narratives illustrate an author’s personal experience though many share common themes of extreme violence/abuse and racial prejudice. Slave narratives are essentially autobiography, which offer an author’s own experience for readers to find meaning. Jacobs’s female voice sheds light on issues affecting slave women; sexual abuse and losing children to death or slave trade particularly. Jacobs’s narrative is a prime example of how different slave women were treated as opposed to men. Both...
Words: 1974 - Pages: 8
...woman in some societies still facing many difficulties at her work like cultural heritages that do not accept the woman as a leaders. In the last two decade woman’s leadership value increased significantly comparing to man in managing public and private organizations in Jordan .we started to see women in the decision making position in organization and leading their own businesses ,and fortunately the government constantly support them ,however , Whilst the subject of women and organization leadership is well documented internationally, research in this field is rare in Middle East and Jordan in particular. This scarcity consolidates the commonly held belief that equity has been achieved in this country which masks the persistence of gender discrimination and social injustice. My study will explore three keys: (1) how culture shape the way woman lead as well as their perceptions and beliefs about leadership in business and organizations in Jordan.(2) The Jordanian cultural influence on woman leadership. (3) The obligation of these woman leaders to have significant positive influence on their culture. Along with that ,I will the most important obstacles .Qualitative methodology and narrative analysis will be used in this study by interviewing some business and organization leaders woman from Jordan, and collect their professional and personal experience about the cultural influences on their leadership. which will allow to answer our questions in-depth ...
Words: 736 - Pages: 3
...1. Stereotypes, narratives, ideologies and discourses are devices that, in different ways according to different theorists, fortify media power. Critically analyse how these devices work, according to various theorists, and reflect upon which best explains communicative power. The social construction of reality is mediated through the communicative powers of stereotypes, narratives, ideologies and discourses and the media is extremely powerful in communicating messages with these devices. It will be argued that discourses are the most powerful communicating device used by the media in the postindustrial era today. Furthermore as per Croteau & Hoynes (2014, p. 9), the analysis will focus on recognised mass media that is readily available in print, film, radio, television, sound recordings and the Internet. Poststructuralists within sociology examine the structures of society and human agency. Human agency or action is influenced by sociocultural factors such as ideology that shape human identity and act subconsciously over an individual. Ideology is the system of meaning that helps explain, define and make value judgments about the world (Croteau & Hoynes 2014, p. 152). As we live in an interconnected world there are many ideologies as there are social structures in any given society. Related to this is that dominant ideas are hegemonic. Marx created the superstructure, which is the domain of ideas for example religion, legal structures, family, institutions...
Words: 2099 - Pages: 9
...heavily absent from the bulk of the narrative, and when they do make an appearance they are identified through the powerful narrative viewpoint of the character Marlow, who constructs them in terms of the values of the dominant principles of the British gentleman. The contrast between Kurtz's intended and his mistress reveals to the contemporary reader this undeniable Victorian background - women are effectively downgraded from power and silenced by the writings confirmation of British values. "The women", Marlow declares, "are out of it". Indeed, the five women of Heart of Darkness make only brief appearances and are given only a passing mention in Marlow's narrative. His aunt, given a cameo role in the text, is supremely naïve and "out of touch with truth"; she reminds him to "wear flannel" when he is about to "set off for the center of the earth". The knitters of black wool in the company headquarters are defined by classical mythology, taking on a symbolic significance by "guarding the door of Darkness"; they are not characters in their own right. Kurtz's mistress is identified as a product of the wilderness, "like the wilderness itself", and is described in terms of natural processes, a "fecund and mysterious life". Kurtz's intended, by contrast, lives in a place of death rather than of life, darkness rather than lightness, delusion rather than reality. Any feminist reader would identify that females are silenced and cast as cultural prototypes in Heart of Darkness. The...
Words: 520 - Pages: 3
...narrator’s voices and through the narrative events. Hurston’s father has been lodged in many characteristics of Jody Stark. Like Jody, her father moved to a solely black town called Eatonville as in the novel. Her father John Hurston was also noted for “being very ambitious, hard-headed and having a prominent position of carpenter as well being a Baptist preacher and attaining a position of power within the South Florida Baptist Association”. (Robert 5) Like Jody, he sought out to be a leader within the fledgling community of Eatonville Janie similarly shares many characteristics with Hurston. One of...
Words: 932 - Pages: 4
...Assignment on Bangladeshi Films: Mainstream Films vs. Alternative Cinemas Submitted to: Ariful Islam Lecturer, Department of English East West University Submitted By: MD. Zaidul Haque ID: 2013-1-10-149 Department of BBA East West University Date of Submission: June 20, 2013 Bangladeshi Films: Bangladesh is varies cultural country. The establishment of film theatres began here in the 1910s, but the production of theatrical features started as late as the 1950s. On April 24, 1898, the Bengali weekly Dhaka Prakash reported that films were shown in Dhaka by the Bradford Bioscope Company, at the Crown Theatre, in Patuatuli, near Sadarghat. The show included news items and other short features. The first permanent cinema in Dhaka, named Picture House, began operation during 1913–1914. This cinema was renamed to New Picture House and then again to Shabistan. By 1947 there were around 80 cinemas in what is now Bangladesh. After the partition of India in 1947, the first film made in East Pakistan was a newsreel about the visit of Mohammad Ali Jinnah, produced in 1948 by the radio broadcaster Nazir Ahmed. The first full-length feature film with sound made in East Pakistan was Mukh O Mukhosh, which was produced by Abdul Jabbar Khan and released on August 3, 1956. Editing, printing and all other film processing for this movie was done in Lahore, Pakistan ...
Words: 1539 - Pages: 7
...Capitalist Posttextual Theory 1. Eco and deconstructive narrative If one examines capitalist posttextual theory, one is faced with a choice: either reject deconstructive narrative or conclude that context is created by communication, given that narrativity is equal to art. Therefore, the subject is interpolated into a subcultural patriarchialism that includes language as a reality. Bataille’s essay on capitalist posttextual theory implies that truth is fundamentally responsible for hierarchy. In the works of Eco, a predominant concept is the concept of deconstructivist language. But if deconstructive narrative holds, the works of Eco are postmodern. The premise of the precultural paradigm of narrative holds that art is used to entrench the status quo, but only if Baudrillard’s critique of capitalist posttextual theory is invalid; otherwise, Sartre’s model of textual libertarianism is one of “Foucaultist power relations”, and therefore part of the futility of culture. “Sexual identity is unattainable,” says Baudrillard; however, according to Long, it is not so much sexual identity that is unattainable, but rather the stasis, and some would say the dialectic, of sexual identity. Therefore, the subject is contextualised into a capitalist posttextual theory that includes sexuality as a totality. Marx promotes the use of patriarchialist discourse to challenge capitalism. But the subject is interpolated into a neoconceptual deconstruction that includes art as a whole. Lacan...
Words: 631 - Pages: 3
...Through narrative therapy a counselor can help clients gain access to preferred story lines about their lives and identities taking the place of previous negative and self-defeating narratives that destroy the self. Presented in this paper, is an overview of the Narrative therapy and the Social Construction Model and several facets of this approach including poststrucuralism, deconstructionism, self-narratives, cultural narratives, therapeutic conversations, ceremonies, letters and leagues. A personal integration of faith in this family counseling approach is presented and discussed also in this paper. NARUMI AMADOR’S FAMILY CONSELING APPROACH Introduction Narrative therapy is found under the Social Construction Model. Using the Narrative approach, the therapist will not be the central figure in the therapeutic process, instead he will be influential to the client, helping him/her internalize and create new stories within themselves to draw new and healthier assumptions about who they are. This process enables clients to distract from focusing on the negative narratives which defined their past, redefining their lives into future positive stories. Narrative therapists define the problem as the problem instead of defining the client as the problem. The therapy process begins redefining the problem, externalizing it and getting it out in the open. The narrative therapist uses the questioning technique and creates alternative narratives to connect...
Words: 3218 - Pages: 13
...of artifacts, values and assumption that emerge from the interaction of organizational members Open social system operating a dynamic environment. CRITERIA to identify something as culture: 1. Deeply felt or held 2. Commonly intelligible 1. Accessible to a cultural group Organization = Ordered and purposeful interaction among people. Purposeful, because its members produce (supero-rdinative) goal-directed activities. Organizational communication is a continuous process through which organizational members create, maintain and change the organization. (it includes business communication) N.B. All organizational members take place in it; messages are produced to create a shared meaning of messages, but it is not always achieved. Those messages vary in form according to various factors (power distances, roles, goal, method, non-verbal), and to be fully understood have to be considered in their contexts Culture: "the collective programming if the mind that DISTINGUISHES the members of one group tor category of people from another" (Hofstede 2001) Is both a process and a product; is confining (imitates groups) and facilitating (gives us a way to better understand what is happening) Cultural Symbol = physical indicators of organizational life (Rafaeli & Worline 2000) ARTIFACTS: visible/tangible, are also part of them norms, standards, customs and social convention. Norms: pattern of behaviors or communication, indicating what people should do in a...
Words: 18112 - Pages: 73
...discourse is distinguished and allows True History of the Kelly Gang to be a renowned depiction of the real Ned Kelly, giving a realistic voice to one of the most celebrated characters in Australian history. As can be seen in Victoria Reeve’s analysis on the importance of cultural voice in True History of the Kelly Gang, Carey’s use of characteristics identified with “Kelly’s ‘original voice’ –uneducated but intelligent, funny and then angry” adds features commonly associated with a bushranger’s voice, making Carey’s version of Ned Kelly “consistent with the idiosyncratic syntax and grammar of the Jerilderie Letter” (Reeve 1). The real Ned Kelly left school at a young age, making his education and grammatical adeptness limited, which remains uniform through the vernacular used by Kelly in Carey’s novel. Kelly’s colloquialism combined with his successful use of imagery allows the reader to experience life in the Australian bush as Kelly would have. The True History of the Kelly Gang successfully conveys identifiable traits of Kelly’s ‘voice’ and it is the power of this voice that allowed Carey’s creative dexterity to manifest into the heroic Ned Kelly that Australia needed as a cultural hero and national narrative. As stated in Nathanael O’Reilly’s article, Carey’s ability of having the story told from Kelly’s point of view “allows the audience to view the events of his life in a manner not previously possible” (O’Reilly 491). From the beginning, Kelly described himself and the...
Words: 1067 - Pages: 5
...that "Audiences are said to like the concept of genre (although we may not identify it by that name) because of its reassuring and familiar promise of repetition and variation" (A. Bateman, 2010, pg46.) During my independent research into horror and genre, conflicting arguments have become apparent in regards to genre and its definition. Bennett identifies genre as, "Encompassing groups of texts and categorizing them according to the characteristics they have in common" (Bennett, 2006, pg26) where as writer Barry Keith's arguments are contradictory stating that; "Genre movies are always about the time and place in which they are set." (Grant, 2006, pg6) Theses quotes have enabled me to identify the three pieces of horror genre media texts that I am going to analyze for my research investigation and how their construction is used to appeal to its audience with reference to; "Stalker-Lewis Farinella", "Lovefield-Matthieu Ratthe" and "Vanished-NewDawnFilm", and how their technical, audio, visual codes characterization and narrative are constructed to relay the genre to its audience. It has been quoted that the "Concept of genre is important in arousing the expectations of an audience and how they judge and select texts"(Bateman, 2010, pg46) presenting a valid...
Words: 1521 - Pages: 7
