Zacchaeus as the Rich Host of Classical Satire

2016 ◽  
Vol 24 (2) ◽  
pp. 229-244
Author(s):  
David H. Sick
Keyword(s):  
Literary Theory ◽  
The Rich ◽  
Table Fellowship ◽  
The Voice

This piece builds upon the work of Dennis Hamm and Mikeal Parsons to compare the character Zacchaeus of Luke 19:1–10 to the rich host of a banquet from classical satire and related genres. In this category the diminutive tax collector joins a rogues’ gallery, including Nasidienus from Horace’s Satire 2.8 and Trimalchio from Petronius’ Satyricon. Those who grumble (γογγύζειν) about Jesus’ table fellowship should be understood as his fellow dining companions. The moralizing voice of the satirist is represented by these grumbling guests, whose harping is similar to that of the Pharisees. According to recent literary theory, the voice of the satirist, in this case a Pharisaic one, is undermined by its own harshness. By weakening the criticism of the satiric voice, Luke encourages identification with the sinner Zacchaeus and thus fosters the Gospel’s general objective of salvation of the lost.


The Voice of the Folk: Folklore and American Literary Theory

1973 ◽  
Vol 86 (340) ◽  
pp. 186
Author(s):  
John T. Flanagan ◽  
Gene Bluestein
Keyword(s):  
Literary Theory ◽  
The Voice

The Voice of the Folk: Folklore and American Literary Theory

1973 ◽  
Vol 17 (2) ◽  
pp. 319
Author(s):  
Adelaida Reyes-Schramm ◽  
Gene. Bluestein
Keyword(s):  
Literary Theory ◽  
The Voice

scholarly journals Flipside Theory: Emerging Perspectives in Literary Criticism

2018 ◽  
Vol 7 (6) ◽  
pp. 195
Author(s):  
Chinedu Nwadike ◽  
Chibuzo Onunkwo
Keyword(s):  
Literary Criticism ◽  
Queer Theory ◽  
Literary Theory ◽  
Social Dynamics ◽  
New Historicism ◽  
Sex And Gender ◽  
Perceived Needs ◽  
Literary Theories ◽  
The Rich ◽  
And Gender

Literary theories have arisen to address some perceived needs in the critical appreciation of literature but flipside theory is a novelty that fills a gap in literary theory. By means of a critical look at some literary theories particularly Formalism, Marxism, structuralism, post-structuralism, psychoanalysis, and feminism but also Queer theory, New Criticism, New Historicism, postcolonialism, and reader-response, this essay establishes that a gap exists, which is the lack of a literary theory that laser-focuses on depictions of victims of social existence (people who simply for reasons of where and when they are born, where they reside and other unforeseen circumstances are pushed to the margins). Flipside criticism investigates whether such people are depicted as main characters in works of literature, and if so, how they impact society in very decisive ways such as causing the rise or fall of some important people, groups or social dynamics while still characterized as flipside society rather than developed to flipview society. While flipside literary criticism can be done on any work of literature, only works that distinctively provide this kind of plot can lay claim to being flipside works. This essay also distinguishes flipside theory from others that multitask such as Marxism, which explores the economy and class conflict between the proletariat and the bourgeoisie, and feminism, which explores depictions of women (the rich and the poor alike) and issues of sex and gender. In addition, flipside theory underscores the point that society is equally constituted by both flipview society and flipside society like two sides of a coin.

Poetry in Dialogue in the Duecento and Dante

2020 ◽  
Author(s):  
David Bowe
Keyword(s):  
Fourteenth Century ◽  
Literary Theory ◽  
Philosophy Of Language ◽  
Cultural Landscape ◽  
Italian Literature ◽  
Literary Tradition ◽  
Guittone D'arezzo ◽  
The Rich ◽  
New Perspective

Poetry in Dialogue in the Duecento and Dante provides a new perspective on the highly networked literary landscape of thirteenth and fourteenth-century Italy. It demonstrates the fundamental role of dialogue between and within texts in the works of four poets who represent some of the major developments in early Italian literature: Guittone d’Arezzo, Guido Guinizzelli, Guido Cavalcanti, and Dante. Rather than reading the cultural landscape through the lens of Dante’s works, significant though they may be, the first part of this study reconstructs the rich network of literary, especially poetic dialogue that was at the heart of medieval writing in Italy before and contemporary with Dante. The second part of the book uses this reconstruction to demonstrated Dante’s engagement with and indebtedness to the dynamics of exchange that characterized the practice of medieval Italian poets. The overall argument of the book, for the centrality of dialogic processes to the emerging Italian literary tradition, is underpinned by a conceptualization of dialogue in relation to medieval and modern literary theory and philosophy of language. By triangulating between Brunetto Latini’s Rettorica, Mikhail Bakhtin’s ‘dialogism’, and as sense of ‘performative’ speech adapted from J. L. Austin, Poetry in Dialogue shows the openness of its corpus to new dialogues and interpretations, highlighting the instabilities of even the most apparently fixed, monumental texts (such as Dante’s Commedia).

The Logic of Compulsion in “Roger Malvin's Burial”

PMLA ◽  
1964 ◽  
Vol 79 (4-Part1) ◽  
pp. 457-465
Author(s):  
Frederick C. Crews
Keyword(s):  
Literary Theory ◽  
Good Deal ◽  
Great Distance ◽  
The Past ◽  
Tragic Vision ◽  
Or Methodology ◽  
The Rich ◽  
Recurrent Motifs ◽  
The Devil ◽  
The Way

In the proliferation of Hawthorne criticism over the past decade every current literary-theory or methodology has had a say. A good deal of this criticism, nevertheless, has shared an assumption that the way to see to the bottom of Hawthorne is to analyze his symbolism or his recurrent motifs. Though there have been many careful studies of separate plots, and though some critics have preferred to approach Hawthorne by way of his biography or his explicit ideas, more usually he is revealed to us in terms of such symbolic categories as “the light and the dark,” “the power of blackness,” the Devil archetype, or the myth of man's fall. This kind of criticism can be fruitful, especially if, as in Hyatt Waggoner's case, a sense of Hawthorne's eclecticism and irony is allowed to temper the zealous pursuit of symbolic consistency. Yet there is other evidence to suggest that the exegesis of verbal patterns can subserve and disguise a critical hobbyhorse; some of the more dogmatic moral and theological readings have been couched as mere explications of Hawthorne's symbols. The rich suggestiveness of Hawthorne's language tempts the critic to ignore what is literally occurring in the plot, to iron out possible uncertainties of meaning or purpose, and to minimize the great distance separating Hawthorne from the tradition of pure didactic allegory. Such, I feel, are the shortcomings of Roy R. Male's Hawthorne's Tragic Vision, which, by analyzing only those symbols that can bear Biblical or sacramental glossing, succeeds in blending Hawthorne into a background of Christian moralism.

The Impossible Peasant Voice in Russian Culture: Stylization and Mimicry

Slavic Review ◽  
2005 ◽  
Vol 64 (3) ◽  
pp. 517-537 ◽  
Author(s):  
J. Alexander Ogden
Keyword(s):  
Literary Theory ◽  
Mikhail Bakhtin ◽  
Critical Value ◽  
Value Judgment ◽  
Silver Age ◽  
Russian Culture ◽  
The People ◽  
Mikhail Kuzmin ◽  
Valerii Briusov ◽  
The Voice

Unlike the English term “stylization,” Russian stilizatsiia figures prominently in literary theory. Emerging out of debates around Vsevolod Meierkhol'd's theatrical innovations and subsequently elaborated by “Silver Age” writers (Valerii Briusov, Viacheslav Ivanov, Mikhail Kuzmin), formalists (Iurii Tynianov, Boris Eikhenbaum, Viktor Gofman), and Mikhail Bakhtin, the Russian concept must be distinguished from cognate terms in other languages—something missing from both Russian and non-Russian discussions. In Russian, stilizatsiia is invoked in two distinct senses: as a critical value judgment (dismissing works considered artificial or “lifeless”) , and as a complex and well-developed strategy of borrowing another's style (thus a sense related to parody and skaz). Works accepted as representing the “voice of the people” have often been exempted from analysis as stilizatsiia; J. Alexander Ogden argues, however, that “peasant poets” (Nikolai Kliuev, Aleksei Kol'tsov, Robert Burns) can best be understood precisely as stylizers in the sense elaborated by Bakhtin and others.

scholarly journals Appunti sulla stilistica (italiana) di László Gáldi

2017 ◽  
Vol 23 ◽  
pp. 108-121
Author(s):  
Diego Stefanelli
Keyword(s):  
Literary Criticism ◽  
20Th Century ◽  
Literary Theory ◽  
Reference Points ◽  
Historical Study ◽  
Stylistic Analysis ◽  
Russian Literary ◽  
History Of ◽  
The Rich ◽  
Romance Philology

The paper deals with László Gáldi’s Introduction to Italian Stylistics (1971), placing it in the coeval context of the methodological discussions between stylistics and structuralism in the 60s and 70s, as well as in the history of the Italian stylistics in the 20th century. It investigates the theoretical sources of Gáldi’s book, which was influenced by different reference points: the European Romance philology, the Russian literary theory (mainly Viktor Žirmunskij’s approach to stylistics) and the Rumanian aesthetics and literary criticism. Moreover, it shows the connection between the Introduction and Gáldi’s previous works, particularly the important book on the poetical style of Mihai Eminescu (1964), maybe Gáldi’s most relevant stylistic study, and other significant works of the same period (an interesting stylistic analysis of Musset’ Stances and a historical study of Rumanian versification). In doing so, it shows the rich methodological and theoretical sources of Gáldi’s Introduction and the peculiar position of the Hungarian scholar in the history of European stylistics.

Zagubione w Austen: Duma i uprzedzenie w postmodernistycznej odsłonie – między parodią a nostalgią

2019 ◽  
Vol 63 (2 (465)) ◽  
pp. 151-160
Author(s):  
Urszula Terentowicz-Fotyga
Keyword(s):  
Popular Culture ◽  
20Th Century ◽  
Literary Theory ◽  
Jane Austen ◽  
Original Novel ◽  
The Novel ◽  
Pride And Prejudice ◽  
Romance Convention ◽  
The Subject ◽  
The Rich

The article analyses an ITV series Lost in Austen (2008), directed by Dan Zeff, as an example of postmodern play with Pride and Prejudice. Moving the contemporary heroine to the imaginary, textual sphere, the movie compares the reality of the 19th and the 21st century, emphasizing the visibly different positions of women. It not only “rewrites” the course of events, but also makes the tensions (which were previously silenced by the romance convention) more dynamic. Oscillating between the parody and nostalgia, Lost in Austen both continues and enriches Pride and Prejudice. Playful engagement with the original novel is the principal theme and motif of the series, but also the subject of its parodistic criticism. Lost in Austen engages both with the novel and with its 20th century reception. Moreover, by creative reinterpretation of the writer’s text, it shows the changing paradigms of the 20th century criticism and the cultural and literary theory. Highlighting the aspects of the novel important for the contemporary era, it initiates an interesting dialogue with the rich intertextual tapestry that contemporary popular culture weaved around Jane Austen.

scholarly journals Sida Košutić’s Christian Mysticism – on the Periphery of the Canon of National Literature

2021 ◽  
pp. 362-388
Author(s):  
Kornelija Kuvač-Levačić
Keyword(s):  
Literary Theory ◽  
Philosophy Of Language ◽  
Mystical Experience ◽  
World View ◽  
Language Model ◽  
National Literature ◽  
Christian Mysticism ◽  
Entire Collection ◽  
Poetic Expression ◽  
The Rich

The research shows several key causes of the reception and literary-historical periphery of the rich literary oeuvre of the Croatian poet, essayist, storyteller and author of one drama, Sida Košutić. While much of the research to date has cited the ideological and world-view causes of Sida Košutić’s marginal position in the canon of national literature, the writer’s expression of the unspeakable at the key of the Christian mystical experience is predominantly explored here. Thus, this research fits in with the contemporary interest in the philosophy of language and literary theory in the problem of the expression of the unspeakable (L. Wittgenstein, K. Jaspers, J. Derrida, M. Sells, etc.). The prominent elements of mystical discourse in the writer’s lyrical expression are analyzed on the example of a poem (“Ime tvoje sveti se”) which brings the majoritiy of poetic techniques from the entire collection Vjerenička žetva. Mystical hermeticism is also one of the possible causes of the peripheral status of Sida Košutić’s work. However, if the interpretation includes postmodern approach to language, it can be concluded that the poetic expression goes beyond the semantic atomism (the unspeakable refers to different experiences, conditions and realities), opposing representationalism and referentialism language model. Sida Košutić’s critical subject finds its legitimacy in Christian mysticism. The work of this writer can be equally included in the poetic guidelines of Croatian modern literature of the first half of the 20th century, thus undermining the dominant notions of the center and periphery defined by the national literary canon.

A Guide Cane System for Assisting the Blind in Travelling in Outdoor Environments

2014 ◽  
Vol 631-632 ◽  
pp. 568-571
Author(s):  
Ming Yu Fan ◽  
Jia Tong Bao ◽  
Hong Ru Tang
Keyword(s):  
Real Time ◽  
Voice Recognition ◽  
Environmental Information ◽  
Ultrasonic Sensors ◽  
Navigation Path ◽  
Impaired People ◽  
Outdoor Environments ◽  
Route Information ◽  
The Rich ◽  
The Voice

In order to help the blind and the visual impaired people to travel outdoor safely, a guide cane system is designed in this paper. It comprises the thin cane as well as the rich remote workstation. When travelling in outdoor environments, the blind could easily set a destination via the voice recognition interface. Meanwhile, the goal and current locations are transmitted to the remote center in real time by using GPS and GPRS modules. After planning a navigation path globally, the route information is downloaded to the guide cane. All guiding information can be expressed to the blind in both auditory and tactile modes. In addition, an RGB-D camera is used to capture dynamic visual environmental information which is uploaded to the remote center for further processing, while ultrasonic sensors are employed to help avoid obstacles around. Testing results show that the system is simple to operation, and has a good usability and reliability.

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