Kirjahaku

Narrative Medicine: A Rhetorical Rx rests on the principles that storytelling is central to medical encounters between caregivers and patients and that narrative competence enhances medical competence. Thus, the book's goal is to develop the narrative competence of its reader. Grounded in the rhetorical theory of narrative that Phelan has been constructing over the course of his career, this volume utilizes a three-step method: Offering a jargon-free explication of core concepts of narrative such as character, progression, perspective, time, and space. Demonstrating how to use those concepts to interpret a diverse group of medical narratives, including two graphic memoirs. Pointing to the relevance of those demonstrations for caregiver-patient interactions. Narrative Medicine: A Rhetorical Rx is the ideal volume for undergraduate students interested in pursuing careers in healthcare, students in medical and allied health professional schools, and graduate students in the health humanities and social sciences.

Narrative Medicine: A Rhetorical Rx rests on the principles that storytelling is central to medical encounters between caregivers and patients and that narrative competence enhances medical competence. Thus, the book's goal is to develop the narrative competence of its reader. Grounded in the rhetorical theory of narrative that Phelan has been constructing over the course of his career, this volume utilizes a three-step method: Offering a jargon-free explication of core concepts of narrative such as character, progression, perspective, time, and space. Demonstrating how to use those concepts to interpret a diverse group of medical narratives, including two graphic memoirs. Pointing to the relevance of those demonstrations for caregiver-patient interactions. Narrative Medicine: A Rhetorical Rx is the ideal volume for undergraduate students interested in pursuing careers in healthcare, students in medical and allied health professional schools, and graduate students in the health humanities and social sciences.

This astute guide to the literary achievements of American novelists in the twentieth century places their work in its historical context and offers detailed analyses of landmark novels based on a clearly laid out set of tools for analyzing narrative form. Includes a valuable overview of twentieth- and early twenty-first century American literary historyProvides analyses of numerous core texts including The Great Gatsby, Invisible Man, The Sound and the Fury, The Crying of Lot 49 and FreedomRelates these individual novels to the broader artistic movements of modernism and postmodernismExplains and applies key principles of rhetorical readingIncludes numerous cross-novel comparisons and contrasts

This astute guide to the literary achievements of American novelists in the twentieth century places their work in its historical context and offers detailed analyses of landmark novels based on a clearly laid out set of tools for analyzing narrative form. Includes a valuable overview of twentieth- and early twenty-first century American literary history Provides analyses of numerous core texts including The Great Gatsby, Invisible Man, The Sound and the Fury, The Crying of Lot 49 and Freedom Relates these individual novels to the broader artistic movements of modernism and postmodernism Explains and applies key principles of rhetorical reading Includes numerous cross-novel comparisons and contrasts

In Living to Tell about It, James Phelan takes up the challenges offered by diverse narratives including Kathryn Harrison's The Kiss, Ernest Hemingway's "Now I Lay Me," Kazuo Ishiguro's Remains of the Day, Frank McCourt's Angela's Ashes, Vladimir Nabokov's Lolita, and John Edgar Wideman's "Doc's Story." Phelan's compelling readings cover important theoretical ground by introducing a valuable distinction between disclosure functions (communications from the implied author to the authorial audience) and narrator functions (communications from the character narrator to the narratee). Phelan also identifies significant types of character narration (also known as first-person narration), including restricted, suppressed, and mask narrations. In addition, Phelan proposes new understandings of such ingrained concepts of narrative theory as unreliable narration, the implied author, focalization, and lyric narrative. Utilizing what Phelan and Peter J. Rabinowitz have called "theory practice," a critical method that aims to combine theory and interpretation in mutually illuminating ways, Living to Tell about It also makes a major contribution to ethical theory and criticism. Phelan develops the concept of "ethical position" and explores the interactions among the ethical positions of characters, narrators, authors, and audiences. This approach emphasizes not only the close connections between narrative technique and ethics but also the important interactions between the ethical positions of the authorial audience and the flesh-and-blood reader.

In Somebody Telling Somebody Else, James Phelan proposes a paradigm shift for narrative theory, a turn from viewing narrative as a structure to viewing it as a rhetorical action in which a teller selectively deploys the resources of storytelling in order to accomplish particular purposes in relation to particular audiences. Phelan explores the consequences of this shift for an understanding of various elements of narrative, including reliable and unreliable narration, character-character dialogue, and occasions of narration. In doing so, he offers new readings of a wide range of narratives from Jane Austen's Pride and Prejudice to Joan Didion's The Year of Magical Thinking, from Joseph Conrad's Lord Jim to George V. Higgins's The Friends of Eddie Coyle, from Franz Kafka's "Das Urteil" to Toni Morrison's "Recitatif," from David Small's Stitches to Jhumpa Lahiri's "Third and Final Continent," from John O'Hara's "Appearances" to Ian McEwan's Enduring Love. Phelan contends that the standard view of narrative as a synthesis of story and discourse is inadequate to handle the complexities of narrative communication, and he demonstrates the greater explanatory power of his rhetorical view. Furthermore, Phelan gives new prominence to the presence and activity of the "somebody else," as he shows that an audience's unfolding responses to a narrative often influence its very construction.

In Somebody Telling Somebody Else, James Phelan proposes a paradigm shift for narrative theory, a turn from viewing narrative as a structure to viewing it as a rhetorical action in which a teller selectively deploys the resources of storytelling in order to accomplish particular purposes in relation to particular audiences. Phelan explores the consequences of this shift for an understanding of various elements of narrative, including reliable and unreliable narration, character-character dialogue, and occasions of narration. In doing so, he offers new readings of a wide range of narratives from Jane Austen's Pride and Prejudice to Joan Didion's The Year of Magical Thinking, from Joseph Conrad's Lord Jim to George V. Higgins's The Friends of Eddie Coyle, from Franz Kafka's "Das Urteil" to Toni Morrison's "Recitatif," from David Small's Stitches to Jhumpa Lahiri's "Third and Final Continent," from John O'Hara's "Appearances" to Ian McEwan's Enduring Love. Phelan contends that the standard view of narrative as a synthesis of story and discourse is inadequate to handle the complexities of narrative communication, and he demonstrates the greater explanatory power of his rhetorical view. Furthermore, Phelan gives new prominence to the presence and activity of the "somebody else," as he shows that an audience's unfolding responses to a narrative often influence its very construction.

From bestselling and award-winning author James Phelan, the thrilling Jed Walker series continues in The Agency.It's 2005, New Orleans, pre-Katrina, and Jed Walker has just started at the CIA. He's sent on a mission by Harold Richter, CIA field operations legend and trainer of agents provocateur. The task is a one-way ticket--survive and succeed at all costs--and Walker is an off-the-grid, solo, deniable asset.As Katrina comes to town to forever change a city and a country, it's clear to Walker that his life as a spy has the potential to shape global events. From Langley to Louisiana, Washington to Moscow, The Agency moves like a hurricane through a treacherous landscape of double crosses, false identities, and enemies old and new.

Jed Walker is the man you want watching your back.A sinister group--code-named Zodiac--has launched a series of devastating global attacks. Twelve targets across the world, twelve code-named missions. Operating distinct sleeper cells, they are the ultimate terrorist organization, watching and waiting for a precise moment to activate the next group. It's a frightening and deadly efficient way to stay one step ahead ... and cause the most chaos.For ex-CIA operative Jed Walker, chaos is his profession. Burned by his former agency, he is determined to clear his name. Stopping Zodiac is the only way. Desperate to catch the killers and find the mastermind, he can't afford to lose the next lead--but that means that sometimes the terrorists have to win.Ultimately, it all comes down to Walker: he's the only one who can break the chain and put the group to sleep ... permanently. And he's got exactly eighty-one hours until deadline.

In 2011, Seal Team Six killed Osama Bin Laden. Now, four years later, someone is eliminating Team Six--one by one.Jed Walker, ex-CIA, is an outsider back in the game. He's been chasing down a sinister group code-named Zodiac that the big guns--MI5, CIA, the Pentagon--have failed to eradicate. But as Walker follows the trail of bodies, uncovering secrets and making connections he's not supposed to make, he finds the answers are closer to home than he ever imagined.Revenge is the obvious motive--but nothing is ever that simple in love and war.Can Walker find who's responsible before the body count grows? Can he stop another terror attack before more innocents suffer?When the line between the good and the bad becomes blurred, when the hunters become the hunted, only one man can save us all.

From bestselling and award-winning author James Phelan, Jed Walker is back in another heart-stopping thriller--Dark Heart.In war-torn Syria, the lone survivor of a massacre is pulled from beneath a pile of bodies. She is given one instruction: "Find Jed Walker."Ex-CIA, Walker is a man who thought he was long out of the game. Discovering a terror outfit is smuggling people from the Middle East into the United States, he is drawn back in. At first Walker thinks these human traffickers are driven purely by profit and greed, but soon learns their motives are much worse--and they have ties to the highest levels of power.As the body count rises and deadly enemies stalk from the shadows, Walker uncovers the shocking truth behind an operation intended to bring America to its knees. He must work against time, and powerful adversaries, to uncover the truth behind the operation and prevent a global catastrophe from being unleashed.If he lives, Jed Walker will learn the true cost of life ... and the knowledge will change him forever.

'Jed Walker is right there in Reacher's rear-view mirror.' Lee Child, international bestselling author. Jed Walker is the man you want watching your back.

When the hunters become the hunted, ex-CIA agent Jed Walker is the man you need. 'Jed Walker is right there in Reacher's rear-view mirror.' Lee Child

A roller-coaster terrorist thriller from Australia's answer to a post-Osama Tom Clancy. 'Phelan writes in swift, gritty prose . . . vivid and suspenseful, drawing you right in.' THE AGE