Perceiving the sea and crossing senses in La Chambre and La Vie tranquille

2019 ◽  
Vol 55 (3) ◽  
pp. 294-307
Author(s):  
Dee Reynolds
Keyword(s):  
The Novel ◽  
Sensory Mode ◽  
The Senses ◽  
Lexical Fields

Abstract La Chambre (1988) is a short dance film by Compagnie l’Esquisse, which cites Marguerite Duras’s novel La Vie tranquille (1944). In La Chambre, the sea is not seen, but is present across different senses and in the dancers’ movements, as well as in the quotation from Duras’s novel with which the film opens, which contains the sentence: ‘J’ai pensé à la mer que je ne connaissais pas.’ I argue that in both the novel and the film, the sea is sensed across different modalities that influence one another. Whereas in the novel ‘sensory crossings’ are produced by interactions between the lexical fields of words, in the film they occur when stimuli are presented in ways that invite viewers to make cross-sensory connections. Cross-modality of the senses can make us aware of the reciprocal action of one sensory mode on another and intensify affective charge.

scholarly journals Kepribadian Tokoh Utama dalam Novel Negeri Para Bedebah Karya Tere Liye Kajian Psikoanalisis Carl Gustav Jung

2018 ◽  
Vol 2 (2) ◽  
pp. 157
Author(s):  
Renni Handayani Sembiring ◽  
Herlina Herlina ◽  
Siti Gomo Attas
Keyword(s):  
Content Analysis ◽  
Research Method ◽  
Personality Characteristic ◽  
Analysis Data ◽  
Personality Types ◽  
The Novel ◽  
Objective Reality ◽  
Subjective Meaning ◽  
Carl Gustav Jung ◽  
The Senses

This study aimed at finding out the main characters’ personality in the novel of Negeri Para Bedebah by Tere Liye based on Carl Gustav Jung’s psychoanalysis. The research method used qualitative with content analysis. Data were collected by inventorying Thomas's conversation based on Carl Gustav Jung's psychoanalytic personality characteristic. It consists of think extrovert, feels extrovert, sense extrovert, intuition extrovert, think introvert, feel introvert, sensitive introvert, and intuition introvert. The results revealed that the discovery of eight main characters’ personality. First, think extrovert is demonstrated by the ability of intellectual analysis of objective experience. Second, feel extrovert is found by responding emotionally to objective reality. Third, sense extrovert is the tendency of figures to analyze the situation. Fourth, intuition extrovert is seen by its character does not care about logic. Fifth, think introvert figure depiction looks inflexible, cold, judge, and cruel. Sixth, feel introvert showed by figures are selfish and unsympathetic. Seventh, sense introvert found the ability of the senses to give them subjective meaning. Eighth, intuition introvert is demonstrated by the figure closing in and keeping the distance from the others. In conclusion, the eight personality types can be found on the whole structure of an irregular novel story.

Aimances in Rousseau: Julie or The New Heloise as Treatise on the Passions

2016 ◽  
Author(s):  
Étienne Balibar
Keyword(s):  
The Novel ◽  
The Senses ◽  
Second Degree

This chapter looks at how writing and theory are superimposed in Rosseau's novel, Julie or the New Heloise. Drawing upon two of Paul de Man's readings of the novel in his Allegories of Reading, the chapter embarks on a discussion regarding passion, which is generally considered to hold the philosophical key to the novel, by deriving from two assertions. The first is that that “passion is not something which, like the senses, belongs in proper to an entity or a subject but, like music, it is a system of relationships that exists only in the terms of this system;” it is a relational notion. De Man's second assertion defines the literary category of allegory as a “narrative of the second degree,” which includes the deconstruction of its own immediate, apparently realistic signification.

Women in Love and Education: D. H. Lawrence's Epistemological Critique

2019 ◽  
Vol 14 (3) ◽  
pp. 357-374
Author(s):  
Natasha Periyan
Keyword(s):  
Alternative Form ◽  
Male Teachers ◽  
The Novel ◽  
The Senses ◽  
Intellectual Knowledge ◽  
Women In Love

On a plot level, D. H. Lawrence's Women in Love rejects the conformity of the classroom and the narrowness of intellectual knowledge, celebrating instead the realm of instincts and the senses. Like its teacher-author, though, the novel retains a pedagogic design; to lead the reader through the experience of the text's narrative confusions into an epistemological critique of the rationalised intellect and the male teachers who embody it. Attention to the poems and textbooks Lawrence was writing during the novel's gestation show that Lawrence's developing modernist style was an an alternative form of teaching ‘sense’ to his readers, in line with his wider conception of the educational qualities of art.

Eighteenth-Century Sensibility and the Novel: The Senses in a Social Context

1995 ◽  
Vol 90 (1) ◽  
pp. 150
Author(s):  
John Mullan ◽  
Ann Jessie Van Sant
Keyword(s):  
Eighteenth Century ◽  
Social Context ◽  
The Novel ◽  
The Senses

Description, the Novel and the Senses

2006 ◽  
Vol 1 (1) ◽  
pp. 53-70 ◽  
Author(s):  
Ala Alryyes
Keyword(s):  
The Novel ◽  
The Senses

scholarly journals Types of Existence in the Romance Vilnius Poker by Ričardas Gavelis

2012 ◽  
Vol 22 (27) ◽  
pp. 180-189
Author(s):  
Lina Buividavičiūtė
Keyword(s):  
Human Being ◽  
The Novel ◽  
Main Character ◽  
Modern Conception ◽  
Theoretical Part ◽  
Authentic Existence ◽  
The World ◽  
The Senses ◽  
Homo Sovieticus

The reception of Ričardas Gavelis’s works still remains problematic. The conception of the author’s novels is controversial, balancing between theories of modernism and postmodernism. This article focuses on one of Gavelis’s most significant novels, Vilnius poker. The analysis is based on the assumption that the postmodern structure hides the modern conception of the novel. The aims of the article are to actualize a modernpostmodern poetics and to analyze the types of existence in the romance. The possibilities of an authentic existence are analyzed in contrast to the monological, postcolonialistic “broken human being”. The analysis of the concept of authentic being is based on the philosophies of Heidegger and Kierkegaard. The concepts of dialogical and monological being are based on the works of Bakhtin and Buber. The article is based on hermeneutic methodology and the theory of dialogue. The concept of authentic being is analyzed in the context of existentialism.In the theoretical part, the author describes the problems of authentic dialogical being in general, and analyses the context of existentialism and the differences between dialogue and monologue. In the first practical part, the types of the monological being in Vilnius poker are analyzed. In the second one, the concept of authentic being in Vilnius poker is analyzed.The article draws the following conclusions: the authentic being is dialogical, polyphonic, polemic; the non-authentic being is monologicalsolypsistic-not asking, not polemic, not questioning the secrets of being, and telling only one “truth.” The monological being of the novel Vilnius poker is typical of homo lituanicus and homo sovieticus existential characters. The authentic being characterizes the protagonist Vytautas Vargalys. The dialogism of true existence is expressed by rebellious, unmasking being, the polemic with himself, the gifts of the world (inner monologue), and the others (real dialogue). The authentic being of Vytautas Vargalys is created from the senses (smell), bodies (eroticism), speaking, and musical dialogues. Unfortunately, the main character is unable to fully express his authentic being: the monological atmosphere, broken identity, and non-telling language are the main impediments to living a true dialogical life.

Reading, Listening, and Performing in Wilhelm Heinse’s Hildegard von Hohenthal (1796)

2013 ◽  
Vol 30 (4) ◽  
pp. 502-529
Author(s):  
Thomas Irvine
Keyword(s):  
Immanuel Kant ◽  
Aesthetic Judgment ◽  
The Body ◽  
The Novel ◽  
Musical Meaning ◽  
Key Characteristics ◽  
The Senses ◽  
To Come ◽  
The One ◽  
Musical Listening

Early in Wilhelm Heinse’s eccentric novel Hildegard von Hohenthal (1796) his characters confront the problem of how music works on the senses. The novel’s hero, Kapellmeister Lockmann, tunes a piano—to an idiosyncratic temperament of his own invention—as he proposes an intensely physical model for musical listening. He uses this demonstration, while simultaneously trying to start a love affair with the novel’s heroine, Hildegard von Hohenthal, to reclaim older ideas about natural temperaments and key characteristics in an era of heightened interest in the anatomy of cognition. But Heinse’s own opinions are not always the same as those of his characters. Drawing on his notebooks, I trace how Heinse struggled to come to terms with opposing views of his friend and colleague, the anatomist Samuel Thomas Soemmering, and of the philosopher Immanuel Kant of how sound affects the body. Soemmering’s Über das Organ der Seele (1796) and Kant’s Critique of Aesthetic Judgment (1790) both act as intertexts and paratexts to the novel, and Heinse more than once splits his own opinions about both books between his characters. The tuning scene addresses important questions about the hierarchy of the senses, the creation of musical meaning, and the freedom of performers and listeners to form their own interpretations of music. Heinse’s naturalist ideas about musical agency rub against the grain of a narrative—still current today—dominated by a transaction between heroic composers on the one side and awe-struck listeners on the other. To re-assess these ideas is to re-imagine a crucial hinge in music history.

scholarly journals LINGUISTIC REPRESENTATION OF CULTURAL IDENTITY AND OTHERNESS IN J.-M.G. LE CLEZIO’S NOVEL “DESERT”

2018 ◽  
pp. 42-46
Author(s):  
Olga Kulagina
Keyword(s):  
Cultural Identity ◽  
French Literature ◽  
A Priori ◽  
Nobel Prize Winner ◽  
French History ◽  
The Novel ◽  
Native Culture ◽  
Linguistic Representation ◽  
Contemporary French Literature ◽  
Lexical Fields

This paper deals with the linguistic representation of the opposition “migrant’s native culture — other culture” in contemporary French literature by the example of a Nobel prize winner J.-M. G. Le Clézio’s novel “Desert” (1980). A brief description of the period of French history when the novel was published is given; then we proceed to an analysis of the representation of the perception of both cultures (Moroccan as the native one and French as the other one), which goes through several stages: admiration “a priori” for a different culture under the influence of existing stereotypes, loss of cultural identity and adaptation to the otherness of French culture, gradual disappointment, escape from a different culture and return to the native cultural identity. The most significant linguistic means for the image of each stage, as well as lexical fields, through which both cultures are represented, are revealed.

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