First Study

2019 ◽  
pp. 1-26
Author(s):  
Nikhil Govind
Keyword(s):  
Young Woman ◽  
Capital Punishment ◽  
Ethical Dilemmas ◽  
The Novel ◽  
Contemporary Novel ◽  
Television Media ◽  
Cultural Historian

The first chapter discusses the path-breaking contemporary novel Hangwoman (2016) written by K. R. Meera, and translated by cultural historian J. Devika. The novel focalizes the ethical dilemmas of capital punishment through the perspective of a young woman, Chetna. Chetna inherits the gruesome profession—however, the new factor is the presence of a sensationalist television media, which reduces what should have been a moment of crime and pathos to a lurid search for commercial visibility. The chapter allows the book to foreground the questions of injustice and ethics as they interact with the gendered perspective of a subaltern young woman. The notion of subjectivity finds an opening and horizon within these difficult questions of private shame and a determination to make one’s way in a hard and unforgiving world.

On Antigone’s Suffering

2021 ◽  
Vol 8 (2) ◽  
pp. 214-231
Author(s):  
Ankhi Mukherjee
Keyword(s):  
Young Woman ◽  
The Novel ◽  
Personal Loss ◽  
The Relationship

Examining the contestation of interpretations around this work, I argue that the proliferation of exegetical material on Sophocles’s Antigone is related to a noncomprehension of the human motives behind her transgressive action. Did she ever love, and is there any suffering in her piety? If she didn’t love (her brother), could she have suffered? I read the play alongside Kamila Shamsie’s postcolonial rewriting of it in Home Fire to elaborate on the relationship between personal loss and collective (and communal) suffering, particularly as it is focalized in the novel by the figure of a young woman who is both a bereaved twin and a vengeful fury.

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 'Always think of the objects': Ekphrasis as aesthetics in the contemporary novel

2021 ◽  
Author(s):  
◽  
Lucy Eleanor Alston
Keyword(s):  
Critical Theory ◽  
Case Studies ◽  
Final Section ◽  
Critical Discourse ◽  
The Novel ◽  
Infinite Jest ◽  
Contemporary Novel ◽  
Critical Attention ◽  
The Aesthetic ◽  
Temporal Qualities

<p>It is a commonplace that ekphrasis – the description in literature of a visual work of art – brings to the fore questions of representation and reference. Such questions are particularly associated with the ‘postmodern’; ekphrasis is thus often subsumed under the category of metafiction. There has been little critical attention, however, to how the ekphrastic mode might be understood in aesthetic terms. This thesis considers the nature of ekphrasis’s referential capacity, but expands on this to suggest a number of ways in which the ekphrastic mode evinces the aesthetic and ontological assumptions upon which a text is predicated. Two case studies illustrate how the ekphrastic mode can be figured to different effect. In comparing these two novels, this thesis argues that the ekphrastic mode makes clear the particular subject-object relations expressed by each. If Lukács is correct in asserting that the novel mode expresses a discrepancy between ‘the conventionality of the objective world and the interiority of the subjective one’, ekphrasis provides a fruitful but under-explored avenue for critical inquiry because, as a mode, it is situated at the point at which subject and object must converge. The first chapter of this thesis is concerned with Ben Lerner’s Leaving the Atocha Station (2011), a novel that includes both traditional ekphrastic descriptions and embedded photographs and references to critical theory that function ekphrastically. David Foster Wallace’s Infinite Jest (1996) provides a contrast: the novel makes continued reference to film – a medium defined by its temporal qualities – but as used in the novel the ekphrastic mode implies a fixed, ahistorical schema. The implications that such differences have on the novel mode and critical discourse are explored in the final section of the thesis.</p>

scholarly journals ‘Something happened, something bad’: Blackouts, uncertainties and event construal in The Girl on the Train

2018 ◽  
Vol 27 (1) ◽  
pp. 38-51 ◽  
Author(s):  
Marcello Giovanelli
Keyword(s):  
Young Woman ◽  
Reference Point ◽  
Mental Representations ◽  
Anterograde Amnesia ◽  
Cognitive Grammar ◽  
The Novel ◽  
Narrative Voice ◽  
World Theory ◽  
Event Construal

This article examines the representation of mind style in Paula Hawkins’ (2015) best-selling novel The Girl on the Train. It examines how Hawkins presents the fictional mind of Rachel, a character who is affected by anterograde amnesia as a result of alcoholic blackouts. Rachel’s narrative voice drives the novel, and its retelling of events is characterised by her inability to recall important information related to the night that a young woman disappeared and was murdered. This article specifically draws on the Cognitive Grammar notion of construal to explore the presentation of Rachel’s mind style and its affordances and limitations. In doing so, it builds on developing scholarship that has identified the potential for Cognitive Grammar to provide a richly nuanced account of the representation of a fictional mind. The analysis specifically examines two ways in which event construal is presented: nominal grounding strategies and reference point relationships. For the latter, the article also develops emerging work that has sought to make a connection between Cognitive Grammar and Text World Theory in terms of how mental representations are projected by the text.

any real doubt about the ending. Heliodoros redirected curiosity from outcome to explanation. The second problem is lack of direc­ tion and unity: romance was prone to fall apart into a series of exciting but only loosely connected adventures, at the end of which the protagonists recovered their lost happiness and simply lived out the rest of their lives as if nothing had happened. By leaving central questions unanswered Heliodoros is able to hold large spans of text together, and the most important answers, when they do arrive, involve decisive change for the protagonists. Both these strategies imply an interpretatively active reader. The opening of the novel is deservedly famous.11 A gang of bandits come across a beached ship, surrounded by twitching corpses and the wreckage of a banquet. Through their eyes, and with their ignorance of what has taken place, the reader is made to assimilate the scene in obsessive but unexplained visual detail. In the midst of the carnage sits a fabulously beautiful young woman, nursing a fabulously handsome young man. It does not take long to identify them as the hero and heroine of the novel, and learn that their names are Theagenes and Charikleia, but Heliodoros tantalizes us over further details. Thus at the very beginning of the novel two riddles are established: what has hap­ pened on the beach? and who exactly are the hero and heroine? Heliodoros prolongs the reader’s ignorance by his characteristic use of partial viewpoint. Sometimes, as with the bandits, there is a fictional audience whose specific perceptions act as a channel of partial information to the reader, but elsewhere Heliodoros as narrator simply relates what an uninformed witness of the events would have seen or heard. For example, we are only allowed to find out about the hero and heroine as they speak to others r are spoken about: Heliodoros as author knows all about them but keeps quiet in favour of his recording but not explaining narrative voice. The opening scene is eventually disambiguated by Kalasiris, an Egyptian priest. He regales Knemon, a surrogate reader within the text who shares the real reader’s curiosity about the protagonists, with a long story, beginning in Book 2, of how he met Charikleia at Delphi, witnessed the birth of her love for Theagenes and helped the lovers to elope. He chronicles their subsequent experiences, until at the end of Book 5, half-way through the novel, the story circles back to its own beginning and at last resolves the mystery of the scene on the beach.

2014 ◽  
pp. 327-327
Keyword(s):  
Young Woman ◽  
Partial Information ◽  
The Novel ◽  
Narrative Voice ◽  
The Real ◽  
Opening Scene ◽  
Visual Detail ◽  
As If

Turning Oppression into Challenges: Women in Badriyya l-Bišr’s Hind wa-l-ʿaskar

Arabica ◽  
2014 ◽  
Vol 61 (1-2) ◽  
pp. 69-88
Author(s):  
Sanna Dhahir
Keyword(s):  
Saudi Arabia ◽  
Young Woman ◽  
Women's Rights ◽  
Women’S Rights ◽  
Human Being ◽  
The Novel ◽  
Female Protagonist

Abstract Saudi novelist Badriyya l-Bišr, a well-known advocate for women’s rights in her country, uses her novel Hind wa-l-ʿaskar1 (Hind and the Soldiers) to trace the growth and the struggle of a young woman in a rigid, conventional society. As the novel’s title suggests, the female protagonist, Hind, finds herself in a situation of war at different stages in her life—war against various forces that deny her self-expression and jeopardize her happiness as a human being. Yet the novel is not just a series of complaints about the grievances experienced by women in Saudi Arabia; it focuses in the main on women’s potential and their power to use their judgment and arm themselves with all the weapons available to them in order to overcome oppression and marginalization.

scholarly journals THE AESTHETIC OF INTERTEXTUALITY IN THE ARAB FEMINIST NOVEL"WOMEN IN HELL" BY " AICHA BENNOUR"AS MODEL

2021 ◽  
Vol 3 (1) ◽  
pp. 483-492
Author(s):  
Rabiaa HLITIM ◽  
Keyword(s):  
Research Work ◽  
Arab Women ◽  
The Novel ◽  
Literary Production ◽  
Contemporary Novel ◽  
Flexible Form ◽  
Holy Quran ◽  
The Holy Quran ◽  
Historical Writings ◽  
The Aesthetic

The corpus of the novel, through its different components and structures, has focused on the mechanism of intertextuality considering that the novel is the literary type that is most capable of absorbing different texts and reshaping them in its discourse, it therefore remains the most open and flexible form. The contemporary novel does not stand out if it is not bound up with variable discourses and various types of religious and historical writings. In this research work, we have tried to study the aesthetics of intertextuality in the Arab feminist novel, taking as an example the novel by " Aïcha Bennour" "Women in Hell ". This contemporary writer has taken the Holy Quran, history and literary production as a reference for her writings in order to express the Arab women′s suffering.

scholarly journals Lords of Terrorism in the Contemporary Novel: أرباب الإرهاب في الرواية المعاصرة

2020 ◽  
Vol 4 (9) ◽  
Author(s):  
Mohammed Ahmed Abu Adel
Keyword(s):  
Common Ground ◽  
The Novel ◽  
Contemporary Novel ◽  
And Control ◽  
Western Media

This paper explores the psychological secrets of the terrorist character in the novel “Confessions of a Terrorist”, which rebels against the stereotypical view which is unable to grasp and control the phenomenon of terrorism to eliminate it, or at least reduce its dangers. This novel has a unique view of the character of the terrorist which is showed through a new and different perspective. The novelist tries to expose the failure of traditional strategies that are ineffective in stopping the growth and spread of terrorism. The language of excessive violence in dealing with terrorists, its use under the pretext of getting rid of the opponents and the lack of sincere intention are counterproductive, usually forgetting the language of dialogue as a means to finding a common ground to find a solution. This novel differs from the books and novels published in non-Arabic languages because it adopts a neutral and non-politicized view. Western societies need to know the reality of terrorism revealed by the novel. The reason is that these societies are prejudiced by western media films and what they hear and watch on TV. Therefore, this paper is keen to truly examine the ideological content that the novel poses for this kind of terrorism. - The paper is divided into three main axes: 1. Arab Terrorist from a westerner standpoint. 2. Western terrorism from the standpoint of an Arab Terrorist.3. Culture of dialogue and tolerance.

scholarly journals PHILOSOPHICAL AND GENOLOGICAL FEATURES OF ENGLISH POST-POSTOMODERNISTIC NOVEL: TYPOLOGICAL CHARACTERISTICS

2019 ◽  
Vol 1 (16) ◽  
pp. 150-159
Author(s):  
Dmytro Drozdovskyi
Keyword(s):  
Point Of View ◽  
Literary Studies ◽  
The Novel ◽  
Contemporary Novel ◽  
English Novel ◽  
World Outlook ◽  
Psychological Point ◽  
First Time

The philosophical parameters of English post-postmodernistic novel have been determined. The influence of non-literary factors on the features of the novelistic chronotope and the worldview of characters has been described. The genre nature of the post-modernistic novel has been outlined. For the first time in Ukrainian literary studies, an array of features that makes it possible to determine the affiliation of the novel to post-posmodernism has been proposed. The experience of Dutch theoretical school in understanding the metamodernistic art has been generalized and the theory of metamodernism has been supplemented. Characterized by the peculiarities of world perception, post-postmodernistic thinking, which at the same time unites such features as irony and sincerity, has been explored. Besides, the specificity of autistic thinking has been spotlighted, which makes it possible to visualize the nature of the post-postmodernistic world outlook grounded on the principles of science, the pursuit of objectivity and emotional sincerity. From the psychological point of view, the concept of the multifaceted reality as one that denotes the perception of the characters of the contemporary novel has been explained. The genre and narrative features of English novel of 2000-20100s have been determined by the influence of the results of astrophysical and biological discoveries that have an impact on the structure of the narrative and actualize the spectrum of philosophical problems inspired by the views of F. Nietzsche, the discourse of multiculturalism in the thematic field of contemporary English novel.

scholarly journals Psychiatry and the death penalty

1997 ◽  
Vol 21 (12) ◽  
pp. 746-748 ◽  
Author(s):  
Rob Ferris
Keyword(s):  
Death Penalty ◽  
Mental Health Professionals ◽  
Capital Punishment ◽  
Health Professionals ◽  
Social Economic ◽  
Ethical Dilemmas ◽  
Cultural Variables ◽  
Criminal Justice Systems ◽  
The World ◽  
The Usa

Ninety-five countries throughout the world retain the death penalty. All make provision for excluding the ‘insane’ from liability to capital punishment (Hood, 1990). Psychiatrists and other mental health professionals are therefore involved in the process leading up to capital sentencing and execution in many of these countries. Such involvement may take many forms though, with the notable exception of the USA, very little is known of its nature or extent in practice. Whatever form psychiatric involvement takes, and however much it may be shaped in different places by social, economic and cultural variables, as well as the configuration of particular criminal justice systems, certain fundamental ethical questions arise which do not admit of simple answers. It might be argued that these ethical dilemmas no longer have relevance to European countries because they have all effectively abolished capital punishment. However, others may claim that the death penalty, as the most spectacular example of the extra clinical harm to which a psychiatrist's dealings with patients may contribute, ought to be of central concern when practitioners come to consider the uncertain balance between their duty to an individual patient and society at large.

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