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- W217699004 abstract "Early Diary of Aino Kallas and Reading for Plot A DIARY IS NOT A narrative. A diary has no plot. A diary has no design: these kinds of claims have often been made from various points of view. Early investigators such as Arthur Ponsonby and William Matthews stressed non-literary quality of diaries (see Fothergill 38-41), while others see a fundamental gap between a teal diary and a fictional diary. For Lorna Martens, authors of diary novels choose form consciously, whereas authors of real diaries do not, they simply accumulate a record of one day after next (26). According to Martens, author of a diary novel has absolute control over her work: he or she can create a plot or use various literary techniques such as leitmotifs, allegory, and irony in distinction to an author of a real diary. In addition, there cannot be consistent or coherent other voices in a real diary (34-5). Valerie Raoul argues that an authentic diary generally bears little resemblance to a difference lies in length and time--span, as well as degree of unity within text. Chronology and continuity in diary, do not produce effects of causality and coherence which characterize novel. For Raoul, there is no internal logic nor an overall composition in real diary, which is a collection of more or less random notes: The narrator-protagonist's character and events recounted are arbitrarily determined by hazards of real life and he is genuinely in medias res as he writes, future unknown (5). Many feminist critics interested in daily life of ordinary women or those concerned with ecriture feminine have drawn attention to unshaped and fragmentary nature of diary. Women's lives are full of interruptions, argument goes, hence fragmentation of women's diaries. Women's selves are fluid; hence, women's diaries arc amorphous. lack of plot and non-teleological nature of diaries are seen as feminine features.(1) Fragmentation and lack of closure are also celebrated in postmodernist theoretical discourse.(2) emphasis on diarys' formlessness is connected to legitimization of studies of unpublished diaries by non-professional writers.(3) danger, however, arises that shapelessness will be viewed as dominant characteristic of whole genre, a genre bound to defy definition and flourish in many forms, to change from one century to another, and to interact with diary fiction. According to Andrew Hassam, value judgments are firmly attached to formal aspects of text and play some part in assessments of a non-fiction diary: For example, to say that a norm of diary is that diarists write only for themselves is to expect to find an abbreviated and a fragmented structure; conversely, a discursive and unified structure suggest that diary has been written for publication, and this becomes translatable as a suspicion that diarist is not being truthful, that diarist is being less than candid. (23) In his study of diary fiction, Writing and Reality, Hassam shows that the diary style is a convention not necessarily more true or more authentic than any other; it is part of paradigm of what people imagine real diary to be. There are, of course, many studies of diaries that acknowledge their literary nature.(4) In her later study on diary fiction, Raoul discusses diary of Henriette Desaulles, edited by nineteenth-century diarist herself. According to Raoul, diary reads like a novel--a romance with a happy ending (48). Raoul states that Desaulles's diary illustrates the ways in which fictional models structure all narration, as narrator projects herself as heroine of her story and adapts it to various implied (projected) narratees (49). However, Raoul sees effect of coherence as product of circumstances rather than design, because narrative covers a limited period, intrinsically conveying Bildungsroman model (48). …" @default.
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- W217699004 date "1999-12-22" @default.
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- W217699004 title "My Own Novel, Yes, Really!" @default.
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