THE DEAD-LIVING-MOTHER: MARIE BONAPARTE’S INTERPRETATION OF EDGAR ALLAN POE’S SHORT STORIES

2016 ◽  
Vol 76 (2) ◽  
pp. 183-203
Author(s):  
Francisco Pizarro Obaid
Keyword(s):  
Short Stories ◽  
The Dead

scholarly journals Staruszkowie w opowiadaniach Jurija Mamlejewa cykl „Koniec wieku”

2017 ◽  
Vol 163 ◽  
pp. 289-300
Author(s):  
Elżbieta Tyszkowska-Kasprzak
Keyword(s):  
Short Stories ◽  
Philosophical Tradition ◽  
Advaita Vedānta ◽  
Advaita Vedanta ◽  
Old People ◽  
Men And Women ◽  
Immortal Soul ◽  
The World ◽  
The Dead ◽  
Old Men

Old people in novels of Yuri Mamleyev The End of the CenturyThe purpose of the article is an examination of the images of old men and women in The End of the Century — aseries of short stories by Yuri Mamleyev. Elderly characters in the series are almost always presented in the context of the end of their lives and are apretext to present the author’s philosophical views on the nature of existence, death and immortality. Images of reality in The End of the Century are combined with the mystique, the belief in the immortal soul and its journey. Mamleyev’s philosophical views are based on Vedanta and Advaita Vedanta. Hence, his considerations do not fit into the mainstream of the Russian religious-philosophical tradition. Old people in The End of the Century combine the world of the living with the world of the dead, they are capable of crossing the border — death — in both directions. The characters are often accompanied by acat — which in different beliefs is associated with the ability to communicate with other worlds — and achild, abeing close to the border separating the mortal world from the amorphous underworld, arecurring symbol of rebirth. Старики в рассказах Юрия Мамлеевацикл Конец векаВ статье анализируются образы пожилых людей в цикле рассказов Юрия Мамлеева Конец века. Старые люди почти всегда представлены здесь в контексте конца жизни, ивта­кой контекст вводятся философские рассуждения писателя о природе бытия, смерти ибес­смертия. При этом изображение реальности сочетается с мистикой, верой в бессмертие души и ее переселение. Поскольку свои философские взгляды писатель основал на учениях веданты и адвайта-веданты, то они не вписываются в русло русской религиозно-философ­ской традиции.Старики/старухи в произведениях Мамлеева объединяют мир живых и мир мертвых, они способны пересекать границу, которой является смерть, в обоих направлениях. Ча­сто этих персонажей сопровождают кошки, которым в разных верованиях приписывают способность общаться с другими мирами, а также дети, находящиеся близко к границе, разделяющей мир смертных и аморфную преисподнюю, и являющиеся символом повторя­ющегося возрождения.

Recalling the Dead: Repetition, Identity, and the Witness in Varlam Shalamov'sKolymskie rasskazy

Slavic Review ◽  
2011 ◽  
Vol 70 (2) ◽  
pp. 353-372 ◽  
Author(s):  
Sarah J. Young
Keyword(s):  
Short Stories ◽  
Problematic Relationship ◽  
Labor Camp ◽  
The Dead ◽  
Kolymskie Rasskazy ◽  
Bear Witness

From recurring characters to the retelling of stories, repetition plays a central role in Varlam Shalamov'sKolymskie rasskazy(Kolyma Tales). Sarah J. Young examines how repetition functions in Shalamov's collections of short stories as an indicator of trauma, by foregrounding the tensions created by the erosion of identity in the labor camp and its connection to the gulag survivor/narrator's problematic relationship to memory. At the same time, repetition also becomes a means of drawing the uncomprehending reader into the text to act as witness to that trauma. Comparing Shalamov's mode of testimony to Giorgio Agamben's theorization of the nonsurvivor as the true witness to Auschwitz, drawn from Primo Levi's conception, Young argues that Shalamov's stories bear witness to the trauma of Kolyma and to those who did not survive it, not through a transformation of the writer, but through a reciprocity between writer and reader.

scholarly journals APPLICATION OF CDA IN ANALYZING LITERARY WORKS IN HIGHER EDUCATION

2021 ◽  
Vol 14 (1) ◽  
pp. 32
Author(s):  
I Nyoman Yasa
Keyword(s):  
Higher Education ◽  
Short Stories ◽  
Short Story ◽  
Three Dimensional ◽  
Technical Analysis ◽  
Cultural Dimension ◽  
Analysis Tool ◽  
Binary Opposition ◽  
Literary Works ◽  
The Dead

The ability of students to analyze literary works is very weak. An important effort to improve students’ abilities in analyzing literary works is to introduce the CDA approach as an analysis tool for literary works. This study aims to describe, interpret, and explain (1) the ability of students to identify words/phrases/sentences that are praxis in short stories, (2) the ability of students to identify the form of praxis in short stories, and (3) the ability of students to interpret the socio-cultural short stories that have been analyzed. This research uses a three-dimensional technical analysis of Fairclough discourse. The result of this study show that students able to (1) choose praxis words/phrases/sentences, such as adjectives that support binary opposition and words of denial, (2) find the form of short story praxis, such as stereotypes and discrimination, and (3) the socio-cultural dimension of the short story interpreted by students is discursive Balinese ritual tradition of the dead.

Gothic soundscapes and rhythm in Edgar Allan Poe’s short stories

2021 ◽  
Vol 11 (1-2) ◽  
pp. 127-143
Author(s):  
Lucie Ratail
Keyword(s):  
Short Stories ◽  
Sound Perception ◽  
Reading Experience ◽  
The Senses ◽  
The Dead ◽  
Sound Patterns

Poe’s tales, though set in decaying, gloomy and silent places, are particularly sonorous. While several sound patterns are prototypical of the gothic (gusts of wind, shutting doors, absolute silence…), others denote Poe’s interest in uncanny sound perception and illusion. Acuteness of the senses is taken to an extreme, and the sounds of death take on a new dimension. Hearing the dead as well as the living, narrators are perpetually on the brink of insanity and draw their readers into a world rhythmed by sounding clocks, hissing pendulums and unstoppable heartbeats. Binary and ternary rhythms alternate, and it is ultimately in their composition that the tales show Poe’s mastery of rhythmic patterns and of their impact on the reading experience. Self-interruptions, refrains and other rhythmic strategies give the tales a dizzying quality, keeping the reader in a perpetual state of suspense.

Irish History and Mythology in James Joyce's ‘The Dead’

1965 ◽  
Vol 27 (3) ◽  
pp. 414-433 ◽  
Author(s):  
John V. Kelleher
Keyword(s):  
Short Stories ◽  
James Joyce ◽  
Western World ◽  
Irish History ◽  
Last Supper ◽  
The Dead

THANKS to Richard Ellmann's definitive biography of James Joyce we know quite a lot about the genesis and writing of ‘The Dead,’ the concluding story in Dubliners. Joyce wrote no other short stories after it, but in a letter (January 6, 1907) to his brother Stanislaus, from Rome, in which he first referred to ‘The Dead,’ he mentioned it as one of five stories “all of which … I could write if circumstances were favorable.” The others, which seem not to have been attempted were ‘The Last Supper,’ ‘The Street,’ ‘Vengeance,’ and ‘At Bay.’ It must have been immediately thereafter that ‘The Dead’ took precedence in his thought, for in a letter written only five days later he remarked that the news of the controversy in Dublin over The Playboy of the Western World had “put me off the story I ‘was going to write’ — to wit, The Dead.” Shortly afterwards he decided to give up his job as a bank cashier in Rome and return to Trieste, which on March 5, 1907, he did. Apparently he worked at the story intermittently in the ensuing months.

Inertia and Not-Knowing in the Fiction of Donald Barthelme

2019 ◽  
pp. 210-240
Author(s):  
Zuzanna Ladyga
Keyword(s):  
Short Stories ◽  
Literary Work ◽  
Philosophy Of Action ◽  
Creative Processes ◽  
Snow White ◽  
The Dead

The chapter looks at Barthelme’s literary work through the prism of sloth/laziness variants such as inertia, nausea, and most importantly, Anton Ehrenzweig’s rendition of inoperativity via the concept of unconscious scanning. From Barthelme’s early renditions of the figure of the artist such as the Pollockian Paul in Snow White (1967), through avatars of passive artists in his short stories, to the half-dead-half-alive carcass of D.F. in The Dead Father (1975), there emerges a radical counter-Rosenbergian philosophy of action/inaction. No author of American postmodernism has done more to counteract the Rosenbergian post-Romantic idea of heightened sensibility of passive repose than did Barthelme. The purpose of this chapter is to bring the themes of inertia and sterēsis, understood by Barthelme as Ehrenzweig’s unconscious scanning, as unique insights into creative processes, insights which exceed the classical postmodern ethical and aesthetic regime

William Carleton, Irish song, and the art of keening

2021 ◽  
Author(s):  
Brian Earls
Keyword(s):  
Nineteenth Century ◽  
Short Stories ◽  
Narrative Form ◽  
Emotional Intensity ◽  
Early Nineteenth Century ◽  
Irish Language ◽  
The Dead ◽  
William Carleton

William Carleton was evidently familiar with wide traditions of Irish-language song, particularly through the singing in Irish of his mother. and this experience is evident throughout his writings. In addition to the explicit citation and celebrations of song in his work are less immediately recognised ways in which Carleton absorbed traditions of Irish singing into his fiction, particularly the form of caoineadh, or laments for the dead. Relatively few examples of early caointe (keens) have survived from the province of Ulster. However, this chapter argues that the practices of early nineteenth-century keening, as performed in Ulster, can be glimpsed in the novels and short stories of William Carleton. Close comparison of an extended fictional prose description in Valentine M’Clutchy (1845) with various accounts of caointe (Caoineadh Airt Uí Laoghaire by Eibhlín Dhubh and a declamation recorded in 1828 by the County Kilkenny schoolmaster Amhlaoibh Ó Súilleabháin) indicates Carleton’s evident knowledge of Irish traditions of lament. Irish song is shown to be typified by its lyric, non-narrative form and to be marked with particular emotional intensity, elements still visible within the prose recreations in English of Carleton’s fiction.

scholarly journals “Translated from the dead”: The legibility of violence in Ivan Vladislavić’s101 Detectives

2018 ◽  
Vol 55 (1) ◽  
pp. 61-76 ◽  
Author(s):  
Kirby Manià
Keyword(s):  
South Africa ◽  
Short Stories ◽  
Crime Fiction ◽  
Reading And Writing ◽  
Per Se ◽  
The Dead ◽  
To Come ◽  
True Crime ◽  
Detective Genre

In light of the contemporary popularity of crime fiction, true crime, and crime television, avid consumers of these kinds of narratives like to think of themselves as amateur detectives — schooled in the discourse of observation and deduction. Readers of crime fiction become accustomed to a kind of formula, comforted in the knowledge that the mystery will be resolved and the perpetrator apprehended. However, this article investigates how a number of stories in Ivan Vladislavić’s 101 Detectives challenge the conventions of legibility in representing crime in post-apartheid South Africa. The mediations of language, reading, and writing as modes of detection are shown in these short stories to come up short. Instead, and through the stylistic and formalistic frame provided by the anti-detective genre, acts of detection are defeated, closure is deferred, and order is not restored. Writing crime and violence reveals a matrix of structural violences in the postcolony, experiences that cannot be “translated from the dead”. The article argues that while violence and crime are not unrepresentable per se, the degree to which they can be “managed” or “contained” by language or fiction is limited.

scholarly journals Analysis of James Joyce Short Stories

2015 ◽  
Vol 54 ◽  
pp. 115-122
Author(s):  
Amir Daneshzadeh
Keyword(s):  
Short Stories ◽  
James Joyce ◽  
Short Story ◽  
Specific Goal ◽  
The Dead

Collection of short stories of James Joyce in a book under the title of “Dubliners” (1914) is a collection composing of 15 short stories, which topic of all of them is living in Dublin (stories about death, love, live in school, etc.). Short story of “sisters” narrates feelings of a boy about death of a priest. The first woman, who is afraid of love, a mother in law speaks about ambition and destroys her daughter. It ispainful narrative of a single man, who leaves the woman he loves and the woman finds in the time of her death that he has been in his loneliness all his life. Accordingly, it could be mentioned that the author has selected in his short stories a style that Flober has been its establisher. Hence, stories in the collection of Dubliners have been strongly image-based and have been less relied on storied actions. (Stein et al, 2008)The present study has analyzed two short stories of the mentioned collection under the titles of “The Dead Persons” and “The sisters\s”. In this analysis, the author has considered internal modes and feelings of characters of the story. Process of analyzing the two works has been firstly related to analysis of every story separately and then has been related to goals and destinies of creator of the work and totally his collection of short stories. Finally, the study has considered investigation and analysis of short stories of James Joyce, which analysts and critics of his works have presented it and it is that Dubliners should be considered as an origin and generality. Considering stories of this artist separately can’t be a competent work, since as it is obvious in this collection, the author has been tended to achieve a specific goal through considering a certain order for these stories.

The Portrait of Tadeusz Różewicz’s Mother

Tekstualia ◽  
2021 ◽  
Vol 1 (64) ◽  
pp. 61-78
Author(s):  
Ewa Szkudlarek
Keyword(s):  
Short Stories ◽  
Young Girl ◽  
Family Memories ◽  
The Dead ◽  
Similar Experience

Using a variety of sources – photographs, poems, fragments of a diary and family memories – in his collection of short stories The Mother Departs Tadeusz Różewicz presents a complex portrait of his mother as a young girl, a caring mother, a mature woman and a dying old woman. The image of his mother, memorized and documented through a range literary means, emerges as a version of the myth of Magna Mater. The poet also tries to imagine his mother after death, whether she is a decomposing corpse under the ground or a spirit in the land of the dead. The stories can be treated as a literary attempt at dealing with profound grief and going through mourning. It is not only the grief and mourning of the writer but also of the reader who shares a similar experience. The memories gathered in the collection The Mother Departs have a therapeutic signifi cance, they enable liberation from trauma and constitute a frame for an eternal portrait of the mother. It is art that provides the possibility of preserving something for posterity and of immortalizing people and their work.

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