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dc.contributor.authorScoles, Johnen_US
dc.date.accessioned2007-05-25T18:32:53Z
dc.date.available2007-05-25T18:32:53Z
dc.date.issued1999-04-01T00:00:00Zen_US
dc.identifier.urihttp://hdl.handle.net/1993/2227
dc.description.abstractUsing Walter Benjamin's essay "The Storyteller," as a starting point, I have endeavored to explain exactly what Benjamin meant when he wrote that "death authorizes storytelling." Using representative works from the Medieval, Romantic and Modernist periods, I have charted an important shift in storytelling strategies based upon the conflict between metaphoric and metonymic views of the death-event. Another way of explaining this shift might be to say that whereas Medieval storytelling focused on the relationship between God and endings, Romantic and Modernist storytelling methods highlight the human imagination and propose the "saving" grace of the work of art. while this study indicates a progression toward a metonymic view of death--that is, a view that precludes the possibility of an afterlife--it would be imprudent to suggest that the "death of definition" is any less cyclical than nature. The search for the limits of literary possibility as a metaphorical product of basic human thought systems that emerge from our sense of mortality is an ongoing process characterized by individual belief. Death translates each of our lives into one chapter in an unending story. Thus, this study can only be a perpetual work-in-progress.en_US
dc.format.extent6351743 bytes
dc.format.extent184 bytes
dc.format.mimetypeapplication/pdf
dc.format.mimetypetext/plain
dc.language.isoengen_US
dc.rightsinfo:eu-repo/semantics/openAccess
dc.titleThe death of definition, an investigation into the relationship between attitudes toward afterlife and the art of storytellingen_US
dc.typeinfo:eu-repo/semantics/masterThesis
dc.typemaster thesisen_US
dc.degree.disciplineEnglishen_US
dc.degree.levelMaster of Arts (M.A.)en_US


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