Emancipation of The Story
In oral traditions, stories are kept alive by being re-told again and again. The material of any given story naturally undergoes several changes and adaptations during this process. When and where oral tradition was pushed back in favor of print media, the literary idea of the author as originator of a story's authoritative version changed people's perception of stories themselves. In the following centuries, stories tended to be seen as the work of individuals, rather than a collective effort. Only recently, when a significant number of influential authors began questioning their own roles, the value of stories as such – independent of authorship – was again recognized. Literary critics such as Roland Barthes even proclaimed the Death of the Author.
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Famous quotes containing the words emancipation of the, emancipation of, emancipation and/or story:
“I am not afraid of the priests in the long-run. Scientific method is the white ant which will slowly but surely destroy their fortifications. And the importance of scientific method in modern practical life—always growing and increasing—is the guarantee for the gradual emancipation of the ignorant upper and lower classes, the former of whom especially are the strength of the priests.”
—Thomas Henry Huxley (1825–95)
“The emancipation of today displays itself mainly in cigarettes and shorts. There is even a reaction from the ideal of an intellectual and emancipated womanhood, for which the pioneers toiled and suffered, to be seen in painted lips and nails, and the return of trailing skirts and other absurdities of dress which betoken the slave-woman’s intelligent companionship.”
—Sylvia Pankhurst (1882–1960)
“The emancipation of today displays itself mainly in cigarettes and shorts. There is even a reaction from the ideal of an intellectual and emancipated womanhood, for which the pioneers toiled and suffered, to be seen in painted lips and nails, and the return of trailing skirts and other absurdities of dress which betoken the slave-woman’s intelligent companionship.”
—Sylvia Pankhurst (1882–1960)
“The child ... stands upon a place apart, a little spectator of the world, before whom men and women come and go, events fall out, years open their slow story and are noted or let go as his mood chances to serve them. The play touches him not. He but looks on, thinks his own thought, and turns away, not even expecting his cue to enter the plot and speak. He waits,—he knows not for what.”
—Woodrow Wilson (1856–1924)