qua / I-trap [narrative styles]

arthurimb

New Member
Portuguese
hi guys! i'm having a hard time understanding a couple of sentences. this is the paragraph:

Excessive quotation removed <<-->>
" But we may be dealing with a child (Damiel) who has become a child, and who also wishes to have been a child, which it has not; in other words, who wishes to conquer a story, a childhood. Many details confirm that the framing construction is meant to be thorough, that in other words the narrative of the movie is set as an illustration of what Damiel writes; that is, after the events, in vision-par derrière. One of the sequences is even told in Marion’s voice, pointing out a possible common perspective after the events. If that is correct, it means that the "I-trap" does not only catch Damiel during the course of events; qua the narrative construction he has been caught even before the narrative begins."<<-->>

as seen in here: http://pov.imv.au.dk/Issue_08/section_2/artc2A.html

i'm not sure what the author meant with this:

"If that is correct, it means that the "I-trap" does not only catch Damiel during the course of events; qua the narrative construction he has been caught even before the narrative begins."

qua is latin for as, right? what is "i-trap", though?

thanks!
 
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  • ewie

    Senior Member
    English English
    Hullo Arthur:)
    Qua has its usual (pretentious) meaning.
    I have no idea what an I-trap is.
    The word I is always capitalized in English.
    Finally, I felt almost physically sick after reading your paragraph: I can't remember the last time I read such a lot of pretentious claptrap:( ~ it isn't the aim of folk who write stuff like this to communicate effectively with a mass general audience.
     
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    velisarius

    Senior Member
    British English (Sussex)
    Please name the source of your link, arthurimb. Who is the writer of this piece? Some context is also required, rather than a long quotation. For instance, you should name the film being discussed.
     

    arthurimb

    New Member
    Portuguese
    sorry about that. but the name of the author/film is explicit in the title of the article i've linked:

    Like a Film, Like a Child - Knowledge and Being in Wings of Desire
    Morten Kyndrup

    the film is Wings of Desire and the author is Morten Kyndrup.

    ewie, i'm trying to translate it. not an easy task to find out what the guys is saying sometimes heh
     

    Keith Bradford

    Senior Member
    English (Midlands UK)
    The I-trap is presumably a trap which relates to the "I" - the ego, myself. My guess is that here the writer is talking about different ways of presenting a narrative. Briefly, either you can tell a story from God's (i.e. the author's) point of view, where everything is known, past present and future (e.g. The French Lieutenant's Woman). OR you can tell the story in the third person, where the reader only knows what happens to the hero, but not anything else. OR you can tell in the first person, where the I-trap only catches what that character themself is aware of. However, introduce a scene from another character's (Marion's) viewpoint and you have new "I-trap". So:

    If there is a common perspective between Damiel and Marion, it means that Damiel is not only caught by the "trap of the self" during the course of events; according to the narrative construction he has been caught by Marion's perspective, before the narrative even begins.
     

    arthurimb

    New Member
    Portuguese
    perfect! now that makes sense. only that he has been caught by his - a child's perspective - not marion's. there's a paragraph before this one stating that...

    thanks a lot for the insight!
     
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