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power of subtext and the politics of closure

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Date Issued:
2010
Summary:
This thesis explores the ways that certain artists-including Joseph Conrad, Alan Moore, Richard Attenborough, and Francis Ford Coppola-break from their inherited traditions in order to speak from an alternative perspective to western discourse. Conventional narrative formulas prescribe that meaning will be revealed in a definitive end, but all of the texts discussed reveal other avenues through which it is discerned. In Heart of Darkness, the tension between two divergent narratives enables Conrad to speak beyond his social context and imperialist limitations to demonstrate that identity is socially constructed. In Watchmen, Moore breaks from comic convention to illustrate ways meaning may be ascertained despite the lack of plot ends. The third chapter explores the ways that Attenborough and Coppola subvert technical and plot conventions to resist static constitutions of identity endemic to Hollywood film. The several texts discussed subvert the Self/Other duality by suggesting alternatives to the western narrative model.
Title: The power of subtext and the politics of closure: an examination of self, representation, and audience in 3 narrative forms.
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Name(s): Berzak, Adam.
Dorothy F. Schmidt College of Arts and Letters
Department of English
Type of Resource: text
Genre: Electronic Thesis Or Dissertation
Date Issued: 2010
Publisher: Florida Atlantic University
Physical Form: electronic
Extent: vi, 84 p.
Language(s): English
Summary: This thesis explores the ways that certain artists-including Joseph Conrad, Alan Moore, Richard Attenborough, and Francis Ford Coppola-break from their inherited traditions in order to speak from an alternative perspective to western discourse. Conventional narrative formulas prescribe that meaning will be revealed in a definitive end, but all of the texts discussed reveal other avenues through which it is discerned. In Heart of Darkness, the tension between two divergent narratives enables Conrad to speak beyond his social context and imperialist limitations to demonstrate that identity is socially constructed. In Watchmen, Moore breaks from comic convention to illustrate ways meaning may be ascertained despite the lack of plot ends. The third chapter explores the ways that Attenborough and Coppola subvert technical and plot conventions to resist static constitutions of identity endemic to Hollywood film. The several texts discussed subvert the Self/Other duality by suggesting alternatives to the western narrative model.
Identifier: 650310512 (oclc), 2683123 (digitool), FADT2683123 (IID), fau:3481 (fedora)
Note(s): by Adam Berzak.
Thesis (M.A.)--Florida Atlantic University, 2010.
Includes bibliography.
Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.
Subject(s): Narration (Rhetoric)
Closure (Rhetoric)
Symbolism in literature
Postmodernism (Literature)
Rhetorical criticism
Persistent Link to This Record: http://purl.flvc.org/FAU/2683123
Use and Reproduction: http://rightsstatements.org/vocab/InC/1.0/
Host Institution: FAU