Grammatical Signs of the Divided Self

1995 ◽  
pp. 213 ◽  
Author(s):  
John Haiman
Keyword(s):  
Divided Self

It's About Time: Narrative and the Divided Self

1997 ◽  
Vol 3 (4) ◽  
pp. 418-438 ◽  
Author(s):  
Arthur P. Bochner
Keyword(s):  
Divided Self

The Divided Self in the Fiction of Henry James

PMLA ◽  
1975 ◽  
Vol 90 (3) ◽  
pp. 447-460
Author(s):  
Daniel J. Schneider
Keyword(s):  
Free Will ◽  
Henry James ◽  
Free Spirit ◽  
Divided Self ◽  
Structural Consequence ◽  
The World ◽  
To Come

AbstractThe divided self in James’s fiction may be regarded as an inevitable structural consequence of James’s desire to dramatize the problem of the free spirit in an enslaving world. But the divided self required by art is not essentially different from the divided self known to psychology, and an understanding of the anxieties of that self, particularly of the “obsessive imagery” James uses to depict those anxieties, enriches our understanding of James’s work. The fear of a world that threatens one’s being issues in an elaborate development of an escape motif; of imagery of seizure by the eye and by the world of appearances; and of imagery of petrification, reflecting a dread of being turned into a mere tool or machine. James’s vision of “the great trap of life” permits him to come to terms with his own limitations and culminates in a searching philosophic examination of the problem of free will and determinism.

scholarly journals The DIVIDED SELF metaphor: A cognitive-linguistic study of two poems by Nabokov

2015 ◽  
Vol 15 (1) ◽  
pp. 97
Author(s):  
Mª Asunción Barreras Gómez
Keyword(s):  
Cognitive Linguistics ◽  
The Self ◽  
Linguistic Study ◽  
Divided Self ◽  
Cognitive Linguistic ◽  
Embodied Realism ◽  
The Subject ◽  
Shed Light

<p>This paper will approach two of Nabokov’s poems from the perspective of embodied realism in Cognitive Linguistics. We will shed light on the reasons why we believe that Nabokov makes use of the DIVIDED SELF metaphor in his poetry. In the analysis of the poems we will explain how the Subject is understood in the author’s life in exile whereas the Self is understood in the author’s feelings of anguish and longing for his Russian past. Finally, we will also explain how Nabokov’s use of the DIVIDED SELF metaphor thematically structures both poems.</p>

The internalized vermin of exile in Montréal: Rawi Hage’s Cockroach

2016 ◽  
Vol 52 (1) ◽  
pp. 168-182 ◽  
Author(s):  
Wisam Kh. Abdul-Jabbar
Keyword(s):  
The State ◽  
Divided Self ◽  
The City ◽  
The Way

This article argues that the protagonist in Hage’s Cockroach (2008) introjects the vermin as a representation of internalized antagonism. As the unnamed narrator struggles in an inhospitable city, he internalizes this unflinching feeling of estrangement through introjection. This process reveals how the loss of home entails the state of a vagabond who resists normalization and seeks the unruly life of the underground. The way the city of Montréal is portrayed as notorious for its indifference towards newcomers aggravates the condition of the divided self in exile, which necessitates the intrusion of the monstrous. In effect, not only does introjecting the cockroach signify a menacing presence but also suggests a decolonizing act of insubordination against a city whose hegemonic order, like its freezing weather, looms large.

scholarly journals At the Crossroads between Literature, Culture, Linguistics, and Cognition: ‘Life is a Journey’ and ‘The Divided-Self’ Metaphors in Fairy Tales

2017 ◽  
Author(s):  
Javier Herrero Ruiz
Keyword(s):  
Fairy Tales ◽  
Conceptual Metaphors ◽  
Cultural Contexts ◽  
Divided Self ◽  
The Uncanny ◽  
Basic Meaning ◽  
Literature Culture ◽  
Online Library ◽  
Andrew Lang

Abstract: This paper resumes the series related to metaphors in fairy tales started by HERRERO in 2005 (cf. HERRERO, 2005, 2006, 2007, 2008). In this case, the study is based on how the conceptual metaphors LIFE IS A JOURNEY and THE DIVIDED-SELF may explain the structure and the basic meaning of more than twenty popular tales, which in turn accounts for some of the uncanny of tales.The tales, which are representative of various cultures, were compiled by the British author Andrew Lang (1844-1912), and have been downloaded from the Project Gutenberg online library. Our research also casts some light on the fact that tales are akin in varying socio-cultural contexts: their solid experiential grounding may not only have contributed to a uniform plot, but also to an easier transmission of the stories in diverse, remote settings.Resumen: Este artículo continúa la serie relacionada con las metáforas en los cuentos tradicionales comenzada por HERRERO en 2005 (véase HERRERO, 2005, 2006, 2007, 2008). En este caso el estudio se centra en cómo a través de las metáforas conceptuales LIFE IS A JOURNEY y THE DIVIDED-SELF se puede explicar la estructura y el significado de más de veinte cuentos populares, lo que a su vez da cuenta de parte de “lo maravilloso” que se da en ellos.Los cuentos, representativos de varias culturas, fueron recopilados por el autor británico Andrew Lang (1844-1912) y han sido extraídos del Proyecto Gutenberg. Nuestra investigación apoya además la idea de que los cuentos son similares en contextos socioculturales diferentes: el hecho de que estén firmemente basados en la experiencia puede haber contribuido tanto a que sus argumentos sean parecidos como a que se hayan transmitido fácilmente en entornos lejanos y diversos.

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