Abstract Chained Thoughts Broken by Chains of Thought An Analysis of the Narrative Style Used in Virginia Woolf’s A Room of One’s Own The purpose of this essay is to analyse the narrative style used in Virginia Woolf’s A Room of One’s Own in order to show in which ways it supports and reinforces the author’s arguments in her quest for a more equal society. One of the most prominent stylistic means applied by Woolf is her ‘train of thought’, linking one reflection to another like wagons in a railway convoy or like loops in a chain (therefore also sometimes referred to as ‘chain of thought’ in dictionaries). By examining how different rhetorical devices are applied within this train or chain of thought and in which ways these strategies are linked to the main elements of persuasion (ethos, pathos and logos) in Aristotelian Rhetoric, I have found that one of Woolf’s central themes - the resentment against confinement and the advocacy of androgyny or mixed-gendered thinking - is mirrored in her style. It reflects the author’s call to resist society’s restrictions by its unrestricted combination of different rhetorical strategies; this mixture of stylistic, partly gender-neutral devices helps her to create a common ground where she can reach and appeal to both genders in a very effective and innovative way, thus enabling her chain of thoughts to break some of our chained thoughts. Ellen Johansson Engelska C

Este estudo parte de características das narrativas da escritora italiana Natalia Ginzburg (1916-1991) sublinhadas pela crítica especializada, como a abordagem de temas cotidianos, a presença de personagens embotados, a inexistência de atos melodramáticos e a ausência de grande tensão narrativa. O estilo da escritora é apresentado pela crítica como simples e direto, ocupando lugar secundário nas análises. Por isso, o objetivo central deste estudo é realizar uma análise estilística da obra de Natalia Ginzburg, destacando as técnicas narrativas empregadas. Para embasar esta abordagem discute-se o conceito de estilo simples proposto por Enrico Testa; os conceitos de sfondo, primo piano, ritmo narrativo, rilievo narrativo e tensão narrativa propostos por Harald Weinrich; e os conceitos de sumário narrativo e cena propostos por Norman Friedman. O estudo detalha a presença destas técnicas narrativas em dois romances de Natalia Ginzburg, Lessico famigliare e Le voci della sera, e as utiliza como principal forma de interpretação das narrativas da escritora. / This research starts with characteristics of Italian writer Natalia Ginzburg\'s (1916-1991) narratives highlighted by specialized critics, such as focus on everyday themes, the presence of blunted characters, lack of melodramatic acts, and the absence of narrative tension. The specialized critics presents the writer\'s style as simple and direct, holding a secondary position in the analyzes. Therefore, the central purpose of this research is to perform a stylistics analysis of Natalia Ginzburg\'s work, highlighting the narrative techniques adopted. To perform this approach the research discusses the concept of simple style by Enrico Testa; the concept of sfondo, primo piano, ritmo narrativo, rilievo narrativo and narrative tension proposed by Harald Weinrich; and the concept of summary narrative and scene proposed by Norman Friedman. The research details the presence of these narrative techniques in two novels, Lessico famigliare and Le voci della sera, and use them as main form of interpretation of the writers narratives.

Este estudo parte de características das narrativas da escritora italiana Natalia Ginzburg (1916-1991) sublinhadas pela crítica especializada, como a abordagem de temas cotidianos, a presença de personagens embotados, a inexistência de atos melodramáticos e a ausência de grande tensão narrativa. O estilo da escritora é apresentado pela crítica como simples e direto, ocupando lugar secundário nas análises. Por isso, o objetivo central deste estudo é realizar uma análise estilística da obra de Natalia Ginzburg, destacando as técnicas narrativas empregadas. Para embasar esta abordagem discute-se o conceito de estilo simples proposto por Enrico Testa; os conceitos de sfondo, primo piano, ritmo narrativo, rilievo narrativo e tensão narrativa propostos por Harald Weinrich; e os conceitos de sumário narrativo e cena propostos por Norman Friedman. O estudo detalha a presença destas técnicas narrativas em dois romances de Natalia Ginzburg, Lessico famigliare e Le voci della sera, e as utiliza como principal forma de interpretação das narrativas da escritora. / This research starts with characteristics of Italian writer Natalia Ginzburg\'s (1916-1991) narratives highlighted by specialized critics, such as focus on everyday themes, the presence of blunted characters, lack of melodramatic acts, and the absence of narrative tension. The specialized critics presents the writer\'s style as simple and direct, holding a secondary position in the analyzes. Therefore, the central purpose of this research is to perform a stylistics analysis of Natalia Ginzburg\'s work, highlighting the narrative techniques adopted. To perform this approach the research discusses the concept of simple style by Enrico Testa; the concept of sfondo, primo piano, ritmo narrativo, rilievo narrativo and narrative tension proposed by Harald Weinrich; and the concept of summary narrative and scene proposed by Norman Friedman. The research details the presence of these narrative techniques in two novels, Lessico famigliare and Le voci della sera, and use them as main form of interpretation of the writers narratives.

El siguiente trabajo de investigación consiste en analizar la mirada femenina detrás de dos grandes directoras peruanas, para conocer así la experiencia de vida de estas dos directoras junto a diferentes situaciones que hayan experimentado, que cosas han afrontado, qué lecciones y aprendizaje podemos rescatar en ellas. La raíz de la presente investigación, surge porque los aportes que se realizan, en nuestro país, por parte de mujeres, han demostrado, con el pasar de los años, tener una calidad extraordinaria. Sin embargo, cabe mencionar que ser mujer y hacer cine, en un país como el nuestro, no es nada fácil. La industria cinematográfica ha sido tradicionalmente de hombres y aún existen muchos prejuicios y subestimaciones. Por ende, se quiere dar a comprender la capacidad, el aporte y el mérito que posee una directora peruana diferenciándose del director peruano. Dicho lo anterior, el objetivo principal de la siguiente investigación es determinar cómo se plasma dentro de la industria cinematográfica peruana el enfoque femenino por parte de las directoras Rosario García-Montero y Melina León. La metodología empleada fue cualitativa, pues se da a comprender casos puntuales. De igual manera, para realizar los objetivos de investigación, se realizaron entrevistas a ambas directoras peruanas. / The following research work consists of analyzing the female gaze behind two great Peruvian directors, to know the life experience of these two directors together with different situations they have experienced, what things they have faced, what lessons and learning we can rescue in them. The root of this research arises because the contributions made in our country by women have shown, over the years, to have an extraordinary quality. However, it should be mentioned that being a woman and making movies, in a country like ours, is not easy at all. The film industry has traditionally been male and there are still many prejudices and underestimates. Therefore, we want to understand the capacity, contribution, and merit that a Peruvian director has, differentiating herself from the Peruvian director. Having said the above, the main objective of the following research is to determine how the female approach is reflected within the Peruvian film industry by the directors Rosario García-Montero and Melina León. The methodology used was qualitative since it is given to understand specific cases. Similarly, to carry out the research objectives, interviews were conducted with both Peruvian directors. / Trabajo de investigación

Makala haya yanachunguza mtindo wa usimulizi katika tamthilia za Kithaka wa Mberia na kutoa ufafanuzi wake. Tamthilia zenyewe ni Natala (1997), Kifo Kisimani (Death at the Well, 2001) na Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun, 2004). Vipera vya usimulizi vinavyo-chunguzwa ni methali, nyimbo/ngoma, sauti na hadithi. Usimulizi ni mbinu ya fasihi simulizi iliyo na jadi ndefu. Kutokana na msingi huu, wa Mberia alioanisha usimulizi na ujumbe wa tamthilia zake ana¬powasawiri wahusika wake kupitia matendo yao na mazungumzo yao jukwaani. Umuhimu wa matu¬mizi ya mbinu ya usimulizi katika tamthilia teule unaonekana kupuuzwa na wahakiki wengi. Kwa hivyo, madhumuni ya makala haya ni kuangazia umuhimu wa usimulizi katika usawiri wa maudhui mbalimbali na kuthibitisha kuweko kwa matumizi ya usimulizi katika tamthilia teule. Ni makala ambayo yatawafaidi wanafunzi katika vyuo vinavyotoa masomo ya fasihi. Makala haya yanamdhihi¬risha wa Mberia kama mtunzi shupavu, anayeteka makini ya hadhira yake kwa kuiwezesha kutafakari zaidi kuhusu masuala anayojadilia tamthiliani, kwa matumizi ya usimulizi. / This paper analyses narrative style in Kithaka wa Mberia’s plays. The plays analysed are Natala (1997), Kifo Kisimani (Death at the Well, 2001) na Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun, 2004). The elements of narrative style analysed are proverbs, songs/dances, voice and epic. Narrative style has a long history in oral literature. It has been integrated into written literature and thus lost its initial outlook which had led to its disregard by many analysts in the past. The objectives of this essay are to discuss narrative style in the selected plays, and to show how it functions to create empathy on the part of the reader which helps her/him to internalyse the themes conveyed. Furthermore, this essay intends to stimulate further research on narrative style in Swahili drama.

Makala haya yanachunguza mtindo wa usimulizi katika tamthilia za Kithaka wa Mberia na kutoa ufafanuzi wake. Tamthilia zenyewe ni Natala (1997), Kifo Kisimani (Death at the Well, 2001) na Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun, 2004). Vipera vya usimulizi vinavyo-chunguzwa ni methali, nyimbo/ngoma, sauti na hadithi. Usimulizi ni mbinu ya fasihi simulizi iliyo na jadi ndefu. Kutokana na msingi huu, wa Mberia alioanisha usimulizi na ujumbe wa tamthilia zake ana¬powasawiri wahusika wake kupitia matendo yao na mazungumzo yao jukwaani. Umuhimu wa matu¬mizi ya mbinu ya usimulizi katika tamthilia teule unaonekana kupuuzwa na wahakiki wengi. Kwa hivyo, madhumuni ya makala haya ni kuangazia umuhimu wa usimulizi katika usawiri wa maudhui mbalimbali na kuthibitisha kuweko kwa matumizi ya usimulizi katika tamthilia teule. Ni makala ambayo yatawafaidi wanafunzi katika vyuo vinavyotoa masomo ya fasihi. Makala haya yanamdhihi¬risha wa Mberia kama mtunzi shupavu, anayeteka makini ya hadhira yake kwa kuiwezesha kutafakari zaidi kuhusu masuala anayojadilia tamthiliani, kwa matumizi ya usimulizi. / This paper analyses narrative style in Kithaka wa Mberia’s plays. The plays analysed are Natala (1997), Kifo Kisimani (Death at the Well, 2001) na Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun, 2004). The elements of narrative style analysed are proverbs, songs/dances, voice and epic. Narrative style has a long history in oral literature. It has been integrated into written literature and thus lost its initial outlook which had led to its disregard by many analysts in the past. The objectives of this essay are to discuss narrative style in the selected plays, and to show how it functions to create empathy on the part of the reader which helps her/him to internalyse the themes conveyed. Furthermore, this essay intends to stimulate further research on narrative style in Swahili drama.