Genre and Extravagance in the Novel

Author(s):  
Jed Rasula

This book addresses an anomaly in the novel as genre: the generic promise to readers—that “reading a novel” is a familiar and repeatable experience—is challenged by the extravagant exceptions to this rule. Furthermore, these exceptions (like Moby-Dick, Ulysses, or To the Lighthouse) are sui generis, hybrid concoctions that cannot be said to be typical novels. The novel, then, as literary form, succeeds by extravagantly disregarding or even disavowing the protocols of its own genre. Examining a number of famous examples from Don Quixote to Nostromo, this book offers an anatomy of exceptions that illustrate the structural role of their exceptionality for the prestige of the novel as literary form.

Author(s):  
Vike Martina Plock

This chapter analyzes the role of fashion as a discursive force in Rosamond Lehmann’s 1932 coming-of-age novel Invitation to the Waltz. Reading the novel alongside such fashion magazines as Vogue, it demonstrates Lehmann’s awareness that 1920s fashion, in spite of its carefully stylized public image as harbinger of originality, emphasized the importance of following preconceived (dress) patterns in the successful construction of modern feminine types. Invitation to the Waltz, it argues, opposes the production of patterned types and celebrates difference and disobedience in its stead. At the same time, the novel’s formal appearance is nonetheless dependent on the very same tenets it criticizes. On closer scrutiny, it is seen to reveal its resemblance to Virginia Woolf’s To the Lighthouse (1927). A tension between imitation and originality determines sartorial fashion choices. This chapter shows that female authorship in the inter-war period was subjected to the same market forces that controlled and sustained the organization of the fashion industry.


Adeptus ◽  
2015 ◽  
pp. 11-25
Author(s):  
Thibault Deleixhe

The historic novel under the vigilance of the censor – analysis of textsThis article focuses on the relation that Jacek Bochenski’s historical novel entitled The poet Naso published in 1969 presents towards the concept of censorship. In the article the author aims at proving that the understanding of censorship by Bochenski is similar to the observations of the Hungarian essayist Mikos Haraszti. Tracking the allegoric references scattered through the novel, the author of the article reconstructs Bochenski’s reflection about this internalized censorship and checks its convergence with Haraszti’s remarks. From this exercise emerges a definition of the role of the artist that seems to be inherited from the romantic period: an artist as a person that subordinates himself unconditionally to art, and not to the temporal power. The author of the article then interrogates the respect which Bochenski has been showing to his definition in his literary work. It appears that the writer has been prone to make bigger concessions in order to soften the reception of his book by the censors than he advises his writing colleagues. However, the literary strategies deployed by Bochenski operate on two levels: creating an overall ambiguity about the guilt of its main protagonist, they tend to soften its reception by the censorship; while at the same time, rendering this overall atmosphere of ambiguity, they give a literary form to the spectral character of the guilt of the artist, who – as in Ovidius’ case – is permanently accountable for what he has not yet done in the building of communism. Powieść historyczna pod czujnym okiem cenzora – analiza tekstówArtykuł poświęcony jest  powieści historycznej Jacka Bocheńskiego pt. Nazo poeta z roku 1969 i jego rozumieniu pojęcia cenzury uwewnętrznionej. Autor artkułu udowadnia, że ujęcie problemu cenzury przez Bocheńskiego jest zbliżone do konstatacji węgierskiego eseisty Miklósa Harasztiego. Tropiąc alegoryczne odniesienia do cenzury rozproszone w tej powieści, autor artykułu odtwarza refleksję Bocheńskiego i sprawdza jej zbieżność z uwagami Harasztiego. Z rekonstrukcji wyłania się, zapożyczona z okresu romantyzmu, definicja artysty jako osoby bezwarunkowo podporządkowanej sztuce, a nie władzy. Autor artykułu testuje czy Bocheński pozostaje wierny tej definicji we własnej twórczości i uwypukla skłonność pisarza do ustępstw mających na celu złagodzenie odbioru jego dzieła przez cenzurę. Są to ustępstwa większe od tych, które zdaje się zalecać swoim kolegom po fachu. Strategie literackie, które stosuje Bocheński, działają jednak na dwóch płaszczyznach. Tworząc niejednoznaczność winy głównego bohatera powieści, łagodzą jej odbiór przez cenzurę, a jednocześnie – kreując tę niejednoznaczność – pozwalają na literackie przedstawienie widmowego charakteru winy artysty, który jest zawsze odpowiedzialny – tak jak Owidiusz – za to, czego jeszcze nie zrobił. W tym wypadku czego nie zrobił dla budowy komunizmu.


Adeptus ◽  
2015 ◽  
pp. 11-25
Author(s):  
Thibault Deleixhe

<div><p class="Corps"><strong>The historic novel under the vigilance of the censor – analysis of texts</strong></p><p class="Corps">This article focuses on the relation that Jacek Bochenski’s historical novel entitled <em>The poet Naso</em> published in 1969 presents towards the concept of censorship. In the article the author aims at proving that the understanding of censorship by Bochenski is similar to the observations of the Hungarian essayist Mikos Haraszti. Tracking the allegoric references scattered through the novel, the author of the article reconstructs Bochenski’s reflection about this internalized censorship and checks its convergence with Haraszti’s remarks. From this exercise emerges a definition of the role of the artist that seems to be inherited from the romantic period: an artist as a person that subordinates himself unconditionally to art, and not to the temporal power. The author of the article then interrogates the respect which Bochenski has been showing to his definition in his literary work. It appears that the writer has been prone to make bigger concessions in order to soften the reception of his book by the censors than he advises his writing colleagues. However, the literary strategies deployed by Bochenski operate on two levels: creating an overall ambiguity about the guilt of its main protagonist, they tend to soften its reception by the censorship; while at the same time, rendering this overall atmosphere of ambiguity, they give a literary form to the spectral character of the guilt of the artist, who – as in Ovidius’ case – is permanently accountable for what he has not yet done in the building of communism.   </p><p class="Corps"> </p><p class="Corps"><strong>Powieść historyczna pod czujnym okiem cenzora - analiza tekstów</strong></p><p class="Corps">Artykuł poświęcony jest  powieści historycznej Jacka Bocheńskiego pt. <em>Nazo poeta</em> z roku 1969 i jego rozumieniu pojęcia cenzury uwewnętrznionej. Autor artkułu udowadnia, że ujęcie  problemu cenzury przez Bocheńskiego jest zbliżone do konstatacji węgierskiego eseisty Miklósa Harasztiego.  Tropiąc alegoryczne odniesienia do cenzury rozproszone w tej powieści, autor artykułu odtwarza refleksję Bocheńskiego i sprawdza jej zbieżność z uwagami Harasztiego. Z rekonstrukcji wyłania się, zapożyczona z okresu romantyzmu, definicja artysty jako osoby bezwarunkowo podporządkowanej sztuce, a nie władzy. Autor artykułu testuje czy Bocheński pozostaje wierny tej definicji we własnej twórczości i uwypukla skłonność pisarza do ustępstw mających na celu złagodzenie odbioru jego dzieła przez cenzurę. Są to ustępstwa większe od tych, które zdaje się zalecać swoim kolegom po fachu. Strategie literackie, które stosuje Bocheński, działają jednak na dwóch płaszczyznach. Tworząc niejednoznaczność winy głównego bohatera powieści, łagodzą jej odbiór przez cenzurę, a jednocześnie – kreując tę niejednoznaczność – pozwalają na literackie przedstawienie widmowego charakteru winy artysty, który jest zawsze odpowiedzialny – tak jak Owidiusz – za to, czego jeszcze nie zrobił. W tym wypadku czego nie zrobił dla budowy komunizmu.</p></div>


2019 ◽  
Author(s):  
F Foerster ◽  
K Mönkemüller ◽  
PR Galle ◽  
H Neumann

2020 ◽  
Vol 11 (SPL1) ◽  
pp. 977-982
Author(s):  
Mohamed J. Saadh ◽  
Bashar Haj Rashid M ◽  
Roa’a Matar ◽  
Sajeda Riyad Aldibs ◽  
Hala Sbaih ◽  
...  

SARS-COV2 virus causes Coronavirus disease (COVID-19) and represents the causative agent of a potentially fatal disease that is of great global public health concern. The novel coronavirus (2019) was discovered in 2019 in Wuhan, the market of the wet animal, China with viral pneumonia cases and is life-threatening. Today, WHO announces COVID-19 outbreak as a pandemic. COVID-19 is likely to be zoonotic. It is transmitted from bats as intermediary animals to human. Also, the virus is transmitted from human to human who is in close contact with others. The computerized tomographic chest scan is usually abnormal even in those with no symptoms or mild disease. Treatment is nearly supportive; the role of antiviral agents is yet to be established. The SARS-COV2 virus spreads faster than its two ancestors, the SARS-CoV and Middle East respiratory syndrome coronavirus (MERS-CoV), but has lower fatality. In this article, we aimed to summarize the transmission, symptoms, pathogenesis, diagnosis, treatment, and vaccine to control the spread of this fatal disease.


2020 ◽  
Vol 2 (3) ◽  
pp. 19-23
Author(s):  
Shakhlo Botirova ◽  
Keyword(s):  

In this article , in the novel “Rebellion and obedience” by Ulugbek Hamdam, the author analyzes the artistic psychological description of a person on the path of development in the center of an integral complex metaphorical system of being. The novel “Rebellion and obedience” is based onthe method of metaphorization of reality. In it, a personexperiences vertigo about who he is and what powerful being he possesses. The reason for this is a riot. After much agony, he obeys. Allegedly thus proves its existence. Finds answers to certain riddles


Author(s):  
Larisa Botnari

Although very famous, some key moments of the novel In Search of Lost Time, such as those of the madeleine or the uneven pavement, often remain enigmatic for the reader. Our article attempts to formulate a possible philosophical interpretation of the narrator's experiences during these scenes, through a confrontation of the Proustian text with the ideas found in the System of Transcendental Idealism (1800) of the German philosopher F. W. J. Schelling. We thus try to highlight the essential role of the self in Marcel Proust's aesthetic thinking, by showing that the mysterious happiness felt by the narrator, and from which the project of creating a work of art is ultimately born, is similar to the experiences of pure self-consciousness evoked and analyzed by Schellingian philosophy of art.


2020 ◽  
Author(s):  
Agnieszka Wykowska ◽  
Jairo Pérez-Osorio ◽  
Stefan Kopp

This booklet is a collection of the position statements accepted for the HRI’20 conference workshop “Social Cognition for HRI: Exploring the relationship between mindreading and social attunement in human-robot interaction” (Wykowska, Perez-Osorio &amp; Kopp, 2020). Unfortunately, due to the rapid unfolding of the novel coronavirus at the beginning of the present year, the conference and consequently our workshop, were canceled. On the light of these events, we decided to put together the positions statements accepted for the workshop. The contributions collected in these pages highlight the role of attribution of mental states to artificial agents in human-robot interaction, and precisely the quality and presence of social attunement mechanisms that are known to make human interaction smooth, efficient, and robust. These papers also accentuate the importance of the multidisciplinary approach to advance the understanding of the factors and the consequences of social interactions with artificial agents.


2014 ◽  
Vol 7 (2) ◽  
pp. 31-63
Author(s):  
Sonia Lagerwall

This article deals with Philippe Druillet's three-volume comic adaptation (1980–1985) of Salammbô, Gustave Flaubert's historical novel from 1862, set three centuries BC. Flaubert was famous for not wanting his texts illustrated: he argued that the preciseness of images would undo the poetic vagueness of his written words. The article examines how Druillet tackles the challenge of graphically representing Flaubert's canonical work without reducing the priestess Salammbô into a given type. The analysis shows a dynamic adaptation process in which Druillet gives a kaleidoscopic form to Flaubert's text. His variation on the Salammbô character foregrounds photography, a medium historically relevant to the novel but also to Druillet's own artistic training. Featuring his character Lone Sloane in the role of Mathô, the adaptation proves to be a highly personal appropriation of the novel, where Druillet enhances an autobiographical dimension of his work previously hinted at in La Nuit and Gaïl.


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