The Paris revue

Mann, E

The Paris revue

Mann, E

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Publication Type:: Thesis
Issue Date:: 2010

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	01front.pdf	contents and abstract	185.67 kB	Adobe PDF	View/Open
	02whole.pdf	thesis	3.97 MB	Adobe PDF	View/Open

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Field	Value	Language
dc.contributor.author	Mann, E
dc.date.accessioned	2015-06-12T04:22:56Z
dc.date.available	2015-06-12T04:22:56Z
dc.date.issued	2010
dc.identifier.uri	http://hdl.handle.net/10453/36101
dc.description	University of Technology, Sydney. Faculty of Arts and Social Sciences.	en_US
dc.description	NO FULL TEXT AVAILABLE. Access is restricted indefinitely. The hardcopy may be available for consultation at the UTS Library.
dc.description.abstract	NO FULL TEXT AVAILABLE. Access is restricted indefinitely. ----- Contemporary travel-memoirs describing the expatriate experience of living in Paris remain consistently popular and commercially successful. However, just as consistent in contemporary travel-memoir is the predictability of content. Narratives tend toward the trivial, sanitised and heavily anecdotal, with the expatriate narrator often charting an easy journey moving from the position of Outsider to accepted Insider. Contemporary travel-memoirs centred on personal experiences of expatriatism typically focus on positive events at the expense of emotional impact. This poses a question: how best to depict a true story of expatriatism centred upon negative events, conveying its intensity and emotional essence - through narrative non-fiction or fiction? Wrestling with this question, I analysed the expatriate fiction of a past era, focusing on George Orwell’s Down and Out in Paris and London (1933), Henry Miller’s Tropic of Cancer (1934) and Ernest Hemingway’s Fiesta: The Sun Also Rises (1927). I investigated the ideal form for creating emotional intensity in fiction, and found the novella to be an effective vehicle for its structural compression, as well as for its intense and singular narrative focus. The emotional and intense narratives of Orwell, Miller and Hemingway encouraged me to abandon the predictable formula of travel-memoir and instead embark on the deconstruction and fabrication of my personal experience through fiction. The fictional form allowed me the freedom to develop a forward-moving narrative, focusing on the sensibility of contemporary expatriate life in Paris rather than a simple retelling of events. The novella form, with its structural tendency toward compression and its intense singular focus, contributed to educing the emotional essence of the story.	en_US
dc.format	Thesis (MCA Res)	en_US
dc.language.iso	en	en_US
dc.rights	info:eu-repo/semantics/closedAccess
dc.rights	The author owns the copyright in this thesis including all reproduction and reuse rights for the work. The work may not be altered without the permission of the copyright owner. Attribution is essential when quoting or paraphrasing from this thesis.
dc.title	The Paris revue	en_US
dc.type	Thesis
utslib.copyright.status	closed_access

Abstract:

NO FULL TEXT AVAILABLE. Access is restricted indefinitely. ----- Contemporary travel-memoirs describing the expatriate experience of living in Paris remain consistently popular and commercially successful. However, just as consistent in contemporary travel-memoir is the predictability of content. Narratives tend toward the trivial, sanitised and heavily anecdotal, with the expatriate narrator often charting an easy journey moving from the position of Outsider to accepted Insider. Contemporary travel-memoirs centred on personal experiences of expatriatism typically focus on positive events at the expense of emotional impact. This poses a question: how best to depict a true story of expatriatism centred upon negative events, conveying its intensity and emotional essence - through narrative non-fiction or fiction? Wrestling with this question, I analysed the expatriate fiction of a past era, focusing on George Orwell’s Down and Out in Paris and London (1933), Henry Miller’s Tropic of Cancer (1934) and Ernest Hemingway’s Fiesta: The Sun Also Rises (1927). I investigated the ideal form for creating emotional intensity in fiction, and found the novella to be an effective vehicle for its structural compression, as well as for its intense and singular narrative focus. The emotional and intense narratives of Orwell, Miller and Hemingway encouraged me to abandon the predictable formula of travel-memoir and instead embark on the deconstruction and fabrication of my personal experience through fiction. The fictional form allowed me the freedom to develop a forward-moving narrative, focusing on the sensibility of contemporary expatriate life in Paris rather than a simple retelling of events. The novella form, with its structural tendency toward compression and its intense singular focus, contributed to educing the emotional essence of the story.

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http://hdl.handle.net/10453/36101