WRITING FROM NAUGHT DISTANCE

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ABD ELAHI MANIZHEH

مرکز اطلاعات علمی Scientific Information Database (SID) - Trusted Source for Research and Academic Resources

Journal Paper

Paper Information

Journal: LITERARY CRITICISM Year:2008 | Volume:1 | Issue:1 Page(s): 117-143

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Information Journal Paper

Title

WRITING FROM NAUGHT DISTANCE

Author(s)

ABD ELAHI MANIZHEH | Issue Writer Certificate

Keywords

STORYQ2

NARRATIONQ2

DIARYQ3

FORBIDDEN SITUATIONQ2

BANNED ROOMQ2

Abstract

The purpose of this study is to review and analyse the role of the writer in telling stories which aim to persuade the reader to believe that he is reading a real event. This can be achieved in three different ways. The first and the most common way can be seen in stories and novels in which the writer acts as a reporter. Considering this kind of stories, they are just like presenting somebody' s DIARY that the writer has found by chance. Sometimes the writer may pretend that he has only published the STORY and has done nothing else. By using this method, the writer can make the reader feel a great gap between the text and the writer. The second method is observed in stories where the writer plays a more active role and narrates the STORY as somebody who had seen a certain event himself. In other words, in this kind of STORY the writer acts like a witness to the event and narrates it carefully to the reader. This kind of STORY may also be narrated by the person who has experienced the event himself in the past and at the moment he is telling it to the writer. In this situation the writer usually helps the STORY to move forward by asking questions from the narrator. Then the writer retells it to the reader in his turn. By using this strategy, the author tries to persuade the reader that the STORY had really happened. Even he can make the reader believe that the STORY is part of a historical adventure. In the third method, which has been derived from the second one, the writer tells the STORY that is not directly narrated by somebody. In fact the STORY runs around something that can be a kind of taboo. This taboo may be a magic object, a FORBIDDEN SITUATION or a BANNED ROOM. In general, it can be a place that nobody has been allowed to enter or an object that cannot be touched. In these stories the writer has unintentionally experienced the adventure and has gone through it successfully. Now, after experiencing the danger, he is narrating it to the reader. These techniques have some effects on the STORY such as documentation and putting greater emphasis on the role of fate and destiny. They also help the writer to keep the desired distance between the reader and himself. On the other hand, they can appropriately differentiate the author from the narrator.

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References

STYLES OF NARRATION

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APA: Copy

ABD ELAHI, MANIZHEH. (2008). WRITING FROM NAUGHT DISTANCE. LITERARY CRITICISM, 1(1), 117-143. SID. https://sid.ir/paper/158239/en

Vancouver: Copy

ABD ELAHI MANIZHEH. WRITING FROM NAUGHT DISTANCE. LITERARY CRITICISM[Internet]. 2008;1(1):117-143. Available from: https://sid.ir/paper/158239/en

IEEE: Copy

MANIZHEH ABD ELAHI, “WRITING FROM NAUGHT DISTANCE,” LITERARY CRITICISM, vol. 1, no. 1, pp. 117–143, 2008, [Online]. Available: https://sid.ir/paper/158239/en

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