RULE BOHEMIA: THE COSMOPOLITICS OF SUBCULTURE IN GEORGE DU MAURIER'STRILBY

2010 ◽  
Vol 38 (2) ◽  
pp. 547-570
Author(s):  
Kimberly J. Stern
Keyword(s):  
Young People ◽  
Young Woman ◽  
Young Person ◽  
The Other ◽  
The Novel ◽  
Stage Adaptations ◽  
The Way

In 1895, theCriticpublishedan anecdote about two young ladies discussing the popularity of George Du Maurier's novelTrilby(1894):“What is this ‘Trilby’ everybody is talking about?” asked one of these. “Oh,” replied the other, “it's a book – a novel.” “They say it is awfully bad,” said the first young person. “Yes, I've heard so; but it isn't so at all. I read it clear through, and there wasn't anything bad in it. I didn't like it either; there is too much French in it.” “French?” commented the first young woman; “well that's it, then – all the bad part is in French.” “I hadn't thought of that,” mused the other one, “I suppose that's just the way of it.”The dialogue provides an illuminating glimpse into the controversy surrounding the publication ofTrilby, a novel that brazenly celebrates a heroine who possesses “all the virtues but one” – chastity (35; pt. 1). AlthoughTrilbywas successful enough to inspire a spate of songs, literary parodies, and stage adaptations, its depiction of Paris's bohemian underground flouted mainstream Victorian values. TheConnecticut Magazinecharged Du Maurier with inspiring “comparative indifference” to sexual virtue, and readers everywhere worried that young people, like those depicted in the above vignette, would be unable to distinguish virtue from vice after reading the novel (“A Free Lance” 105).

Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

scholarly journals Poetic Frameworks and Narrative Procedures of Bosnia and Herzegovina Novels about Kulin Ban

2021 ◽  
Vol 6 (4(17)) ◽  
pp. 57-72
Author(s):  
Melida Travančić
Keyword(s):  
Past History ◽  
The Other ◽  
The Novel ◽  
Historical Events ◽  
Narrative Texts ◽  
The Past ◽  
Historical Figures ◽  
The One ◽  
The Relationship ◽  
The Way

This paperwork presents the literary constructions of Kulin Ban's personality in contemporary Bosnian literature on the example of three novels: Zlatko Topčić Kulin (1994), Mirsad Sinanović Kulin (2007), and Irfan Hrozović Sokolarov sonnet (2016). The themes of these novels are real historical events and historical figures, and we try to present the way(s) of narration and shape the image of the past and the way the past-history-literature triangle works. Documentary discourse is often involved in the relationship between faction and fiction in the novel. Yet, as can be seen from all three novels, it is a subjective discourse on the perception of Kulin Ban today and the period of his reign, a period that could be characterized as a mimetic time in which great, sudden, and radical changes take place. If the poetic extremes of postmodernist prose are on the one hand flirting with trivia, and on the other sophisticated meta- and intertextual prose, then the Bosnian-Herzegovinian romance of the personality of Kulina Ban fully confirms just such a range of stylistic-narrative tendencies of narrative texts of today's era.

scholarly journals Die Dag van die Here in As Silo kom van Hennie Jones

Literator ◽  
1999 ◽  
Vol 20 (1) ◽  
pp. 89-102
Author(s):  
P. Verster
Keyword(s):  
The Other ◽  
The Novel ◽  
Day Of The Lord ◽  
The Bible ◽  
The Way

The Day of the Lord in As Silo kom (When Silo comes) by Hennie JonesAs Silo kom (When Silo comes) by Hennie Jones is an important novel in view of the fact that biblical themes like those of the Messianic child and the Day of the Lord are incorporated in and dealt with extensively in the novel. The way in which the Day of the Lord is described in the Bible emphasizes that it will be a day of judgement for Israel and the other nations - a given that became a fixed concept for post-exilic prophets. The Day of the Lord, however, holds not only judgement but also salvation for Israel and the other nations. The question asked in this article is whether these functions of the Day of the Lord become clear enough in Jones' novel.

A children’s perspective on child abuse

1999 ◽  
Vol 24 (3) ◽  
pp. 9-13 ◽  
Author(s):  
Jan Mason ◽  
Jan Falloon
Keyword(s):  
Child Abuse ◽  
Young People ◽  
Research Process ◽  
The Other ◽  
Children And Young People ◽  
Abusive Behaviour ◽  
The Right ◽  
The Way

Discourses about child abuse are usually adult centred. In the research described in this paper young people were asked to give their perspectives on abuse. They described abusive behaviour as that perpetrated by persons who use their power to control those they consider as lesser.The young people described two forms of abuse. One was feeling let down by those with whom they are in an emotional relationship. The other was feeling discounted because of their age. The children and young people considered the right to negotiate or to have ‘two-way compromise’ as essential to the prevention of abuse. The power to disclose or not to disclose abuse was described as an important issue for children in enabling them to maintain some control over their situation.The research process and findings highlighted the way in which the institutionalisation of adult power over children as legitimate, excludes children’s knowledge on issues concerning them by preventing their participation in knowledge creating forums, and by discounting their competency as children to contribute.

Converting Trilby: Du Maurier on Englishness, Jewishness, and Culture

2003 ◽  
Vol 58 (1) ◽  
pp. 75-108 ◽  
Author(s):  
Sarah Gracombe
Keyword(s):  
The Other ◽  
The Novel ◽  
Other Hand ◽  
Critical Attention ◽  
The One ◽  
English Training ◽  
The Way

At the heart of George Du Maurier's Trilby are juxtaposed attempts to convert the novel's heroine and namesake. On the one hand, there is Svengali, the Jewish musician and mesmerist, who tries to convert Trilby into a cosmopolitan diva. On the other hand, there is Little Billee's effort to remake Trilby into a model of Englishness——an effort that has received little critical attention. These opposing conversion strategies raise important questions about if and how one can become English, emphasizing Englishness not as a juridical or geographic identity so much as one attainable through what Du Maurier calls "English training," particularly the consumption of English novels and English food. These dual conversion attempts also reveal Du Maurier'smarked ambivalence toward what I term "cultural Englishness," a combination of both everyday and artistic culture. Du Maurier is deeply invested in elements of English everyday culture. Yet he is highly critical of England's Philistinism, suggesting that Englishness can benefit from an "infusion" of Jewish creativity and vitality. The novel ultimately insists, however, that such an infusion can be healthy only when taken in "diluted homoeopathic doses." This essay, then, argues for the importance of Englishness in Trilby and for the way that Jewishness functions vis-àà-vis Englishness in several of Du Maurier's works, which, like a number of Victorian contemporaries, repeatedly turn to Jewishness as medicinal——"homoeopathic"——yet reflect a contrary desire to "dilute" it into safety.

scholarly journals Art, Mysticism, and the Other: Kristeva’s Adel and Teresa

2018 ◽  
Vol 26 (2) ◽  
pp. 43-55
Author(s):  
Elaine P. Miller
Keyword(s):  
Young Woman ◽  
21St Century ◽  
Outer Edge ◽  
Muslim Woman ◽  
The Other ◽  
16Th Century ◽  
The Novel ◽  
Death Drive ◽  
Suicide Bomber ◽  
The Veil

Kristeva's Teresa My Love concerns the life and thought of a 16th century Spanish mystic, written in the form of a novel.  Yet the theme of another kind of foreigner, equally exotic but this time threatening, pops up unexpectedly and disappears several times during the course of the novel.  At the very beginning of the story, the 21st century narrator, psychoanalyst Sylvia Leclerque, encounters a young woman in a headscarf, whom Kristeva describes as an IT engineer, who speaks out, explaining that "she and her God were one and that the veil was the immovable sign of this 'union,' which she wished to publicize in order to definitively 'fix it' in herself and in the eyes of others." In this paper I ask what difference Kristeva discerns between these two women, a distinction that apparently makes Teresa's immanence simultaneously a transcendence, but transforms a Muslim woman in a headscarf immediately into an imagined suicide bomber.  Despite the problematic aspects of this comparison, we can learn something from them about Kristeva's ideas on mysticism and on art.  Both mysticism and art are products of the death drive, but whereas the suicide bomber and the animal directly and purely pursue death (again, on Kristeva's view) Teresa and Adel remain on its outer edge and merely play with mortality.  

“Let’s Be Trans”

2018 ◽  
pp. 67-90
Author(s):  
Mary Robertson
Keyword(s):  
Young People ◽  
Paradigm Shift ◽  
The Other ◽  
Gender Identities ◽  
Gender Expression ◽  
Gender Binary ◽  
Gender Attribution ◽  
The Way

This chapter examines how the youth of Spectrum are forming gender identities in the context of transgender phenomena, a paradigm shift in the way gender is represented, understood, and explained. As a space where genderqueerness is accepted and embraced, Spectrum is a kind of queer utopia. At Spectrum young people are allowed to feel ambivalence about their gender and can play with pronouns, gender expression, and identity. For those queer young people whose gender expression and identity is ambiguous, meaning that what they look like challenges mainstream society’s notions of what a boy or a girl is, Spectrum may be the first place they feel the liberation of not having to be one or the other. Spectrum youth are learning to complicate gender, be aware of the role gender attribution plays in our interactions with each other, and forge resistance to the entrenched gender binary.

Mathematical Objectives

1929 ◽  
Vol 22 (8) ◽  
pp. 462-466
Author(s):  
R. M. Winger
Keyword(s):  
School Board ◽  
The Other ◽  
The Novel ◽  
Other Hand ◽  
New Curriculum ◽  
The Way

The practical man, who frequently finds time between business and golf to lament the sins of the schools, is likely to insist that edueat ion be directed toward a definite goal. A considerable number of the students, on the other hand, still exemplify the refrain of the old song "I don't know where I'm going, but I'm on the way." Our pedagogical friends who, in the emergency, have accepted the weighty but voluntary task of rebuilding the curriculm, have adopted a catch-word made popular by the war. Before any course may be considered for the new curriculum, the expert must first ascertain its objectives-although his vague ideas of the objectives of education itself may defy formulation. "what are the objectives of your course in trigonometry?" one of these zealots will demand, in a manner that implies that the q naking victim is expected to "stand and deliver." On such occasions I am reminded of a colloquy that once occurred at a district school meeting when the school board was censured for squandering $32 of the sovereign taxpayers' money for a set of geometrical models, which, except for a physiological "chart," comprised the entire scholastic equipment of the school. " What do they use them fur?" demanded an irate father of a numerous progeny, none of whom it must be confesse ever profited by the novel luxury. "To teach the children mathematics" was the devastating reply of the director.

Multidirectional Memory, Polyacroasis and (Un)translatability in Antonio Muñoz Molina’s Sefarad

Iberoromania ◽  
2021 ◽  
Vol 2021 (93) ◽  
pp. 36-51
Author(s):  
David Amezcua
Keyword(s):  
The Other ◽  
Memory Model ◽  
The Novel ◽  
Other Hand ◽  
Memory In Literature ◽  
Multidirectional Memory ◽  
The Way

Abstract The primary aim of this chapter is to analyse the alignment between multidirectional memory and literature. Michael Rothberg’s multidirectional memory model is scrutinized so as to elucidate how this approach works in fiction. The chapter further analyses the rhetorical concept of polyacroasis, proposed by Tomás Albaladejo in 1998 in order to analyse its interlacing with multidirectional memory as well as to demonstrate the manner in which polyacroasis may function as a vehicle of multidirectional memory in literature. On the other hand, the notion of translator as secondary witness (Deane-Cox, 2013; 2017) will be employed so as to examine the role of the author as translator. By means of a case study, Antonio Muñoz Molina’s Sefarad. Una novela de novelas, I will attempt to analyse how the frameworks provided by multidirectional memory and polyacroasis along with the workings of empathy encourage and pave the way to translatability. Similarly, I will examine how the notion of translator as secondary witness functions in a novel like Sefarad taking into account that the author of that novel inscribed his translation into Spanish of passages coming from Holocaust testimonies which were not published in Spain by the time the novel was being written.

scholarly journals Male-male relationships in J.M. Coetzee’s Disgrace

Literator ◽  
2006 ◽  
Vol 27 (2) ◽  
pp. 21-38 ◽  
Author(s):  
M. Crous
Keyword(s):  
South African ◽  
The Other ◽  
Literary Studies ◽  
The Novel ◽  
Main Character ◽  
Interesting Observation ◽  
Relationship Of ◽  
The Way

Kochin (2002:8) makes the following interesting observation regarding the life of the main character, David Lurie, in Coetzee’s novel, “Disgrace” (1999), and his observation will be explored in detail when analysing the novel, and in particular the presentation of masculinities: “Lurie has no relationship of depth with men. His one effort is with Isaacs, Melanie’s father, and seems to be more of a quest for the sources of Melanie’s beauty than the expression of a desire for friendship with a man.” The focus of my investigation is on male-male relationships and the way in which they impact on the other characters in the novel. What contribution does the novel make to the debate on masculinity within the context of South African literary studies?

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