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-level,' he scrawls."2 Wilson Har- ris has acknowledged (in conversation) an address to himself in the persona portrayed in that opening section. As he often reminds us, he worked for the first part of his professional life as a hydrographic surveyor in Guyana, and while he is not the only Guyanese surveyor

In: Theatre of the Arts

perspective of the loss of life-narratives puts the focus on the search for identity, meaning, and value. In the search for values, religion often plays an important role – not religion as a simplistic answer to all life’s problems, but as a source of meaning. When I emphasize the potential role of

In: Trauma, Memory, and Narrative in the Contemporary South African Novel

’s hyperactive self-consciousness does not undermine his sense of self but rather creates a sense of self for him, albeit not a stable and secure sense of self. Dave is living his life while at the same time showing it, as if he constantly has something to prove – to you, to others, but again, most likely

In: Do You Feel It Too?

offered as starting materials for both fiction and life. In To Whom It May Concern: Raymond Federman comes to similar terms, transforming the absence that had motivated his initial fiction into not so much a presence as an activity for shaping life. To the familiar materials of a lost father, mother

In: Powerless Fictions?

. Meaning, like Winnie's song, must come from within. Jean-Michel Rabate, halfway between textuality and psychoanalysis, mentions "A paradoxical positivity is granted to life in extremis, the happiness of living, of seeing and breathing are asserted precisely at the moment of their fading away". 19 If

In: Samuel Beckett Today / Aujourd'hui

Paths], 1941; Vladimir Nabokov, The Real Life of Sebastian Knight, 1941; Thomas Mann, Der Erwählte [The Elect], 1951), but it was not until the 1960s that it became the dominant technique of Postmodern literature. John Barth’s parody of Ebenezer Cooke’s verse satire The Sot-Weed Factor (1708) in a

In: Making Strange

, that, for most people, are so difficult they stick in the throat for embarrassment.” “All life is a bridge, I told him.” Samuel Delany. “Atlantis: Model 1924” Introduction Scholars of literary theory and cultural history have considered the modernist project to be an artistic effort to reorder the

In: Modernism, Postmodernism, and the Short Story in English

nature (universal, life-oriented, repetitive), or, finally, as (3) subjective/mental time (experience, memory, expanded connections between past, present, future; duration, giving a person identity; fusion of subject and object in the moment of being, revelation or vision, anticipation of death

In: From Modernism to Postmodernism

specifications of what Wittgenstein referred to as alife-form’. This concept, of a life-form or form of life, Wittgenstein used to stress that the way we talk, use language, is dependent on our way of living.60 We should always understand that ‘the speaking of language is part of an activity, or of a life

In: Do You Feel It Too?

Narrative Psychological Approach 59 account for this turn to the human, is motivated (at least in large part) by the novels themselves.19 To further specify, my interest lies with the analysis of the presentation of being human in fiction; so not (I think it is important to note) simply with a

In: Do You Feel It Too?