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1

Tristram Shandy – The Playful Art of Seduction

100%
Băniceru A. C.
Romanian Journal of English Studies
|
2013
|
vol. 10
|
issue 1
199-207
EN
The main concern of a skilled storyteller is not to report a sequence of events, but to tell a ‘tellable’ story and to ward off the question ‘so what?’ coming from the listener. However, what happens when the story has little to recommend it as ‘tellable’? This is the case of Tristram Shandy who uses sexuality as elaborate rhetorical strategy to constantly tease and arouse his narratees’ imagination.
2

Going Back to One’s Roots: The Revival of Oral Storytelling Techniques in The English Contemporary Novel

100%
Băniceru A. C.
Romanian Journal of English Studies
|
2012
|
vol. 9
|
issue 1
166-181
EN
My paper examines the interplay between the sophisticated postmodernist techniques of intertextuality, parody, metafiction and a return to orality or better said of pseudo-orality, a simulated-oral discourse or what the Russian Formalists called “skaz”, brought about by much postcolonial, ethnic or feminist literature.
3

Translating the other: Marlow’S Discourse between Imperial Rhetoric and Primary Orality

100%
Băniceru A. C.
Romanian Journal of English Studies
|
2014
|
vol. 11
|
issue 1
56-64
EN
The present paper attempts to see what determines Marlow’s difficulty to turn his Congolese experience into language. Therefore, I argue that Marlow’s storytelling collapses because at the core of his discourse there is the unknown semantic universe of the other. In the “heart of darkness”, on the banks of the Congo River, there stands an unknown language, the language of the natives which is known only by Kurtz. Thus it becomes impossible for Marlow to translate it and incorporate it in his story.
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