Hypertextuality and the Economic Novel in Zimbabwe

Matatu ◽  
2017 ◽  
Vol 49 (2) ◽  
pp. 400-415
Author(s):  
Maurice Taonezvi Vambe
Keyword(s):  
Point Of View ◽  
Hard Copy ◽  
The Novel ◽  
Ordinary People ◽  
African Countries ◽  
Narrative Style ◽  
Great Ease ◽  
New Type ◽  
Novelistic Form ◽  
Source Of Information

Abstract Recent surges and advances in the popular use of electronic technology such as Internet, email, iPad, iPhone, and touch-screens in Africa have opened up great communicative possibilities among ordinary people whose voices were previously marginalized in traditional elitist media. People far apart geographically and living in different times can communicate rapidly and with great ease. This technological revolution has challenged and broken down boundaries of dependence on television, newspapers, and novels, the traditional forms of communication. It is now possible to upload a novel onto an iPad and read it as one moves from place to place. The burden of carrying hard copies is relieved but not eradicated; in most African countries, including Zimbabwe (the centre of focus in the present article), the creative work of art or hard copy of a novel is still relied upon as source of information. There are creative, experimental innovations in the novel form in Zimbabwe which to some extent can justify one’s speaking of a hypertextual novel. This new type of novel incorporates multiple narratives, and sometimes deliberately uses genres such as the email form as a constitutive narrative style that confirms as well as destabilizes previous assumptions of single coherent stories told from one point of view. Using the concepts of hypertextuality, intertextuality, and Bakhtin’s notions of carnivalesque and heteroglossia in speech and written utterances, this article reconsiders the implications of the presence of ideologies of hypertextuality in one novel from Zimbabwe, Nyaradzo Mtizira’s The Chimurenga Protocol (2008). The article argues that the multiplicity of narratives constitutes the hypertextual dimension of the novelistic form.

F.M. DOSTOEVSKY’S AND L.N. TOLSTOY’S LITERARY DEVICES IN THE WORKS BY MARK ALDANOV

2019 ◽  
pp. 13-31
Author(s):  
Vladimir Shadursky
Keyword(s):  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Classical Literature ◽  
Ordinary People ◽  
Xixth Century ◽  
Literary Devices

The article is devoted to the analysis of the literary devices used by F.M. Dostoevsky and L.N. Tolstoy in the works of Mark Aldanov in the context of I.A. Bunin’s influence. Aldanov appealed to some Dostoevsky’s ideas; however, he used elements of Dostoevsky’s poetics in his novels. For the analysis of Dostoevsky’s literary devices, the article studies the essay «The Murder of Uritsky», the novels «The Key», «The Beginning of the End», and «Origins». The tradition of Dostoevsky is traced in the essays with a plot about the murder, in the construction used in the dialogues of heroes-resonators in the novels. The article has discovered devices that bring Aldanov’s style closer to Tolstoy’s one in the novels «The Beginning of the End», «Live as You Please», «Origins», «Suicide». The devices include analytical psychologism, individualization of a character by the use of metaphor or metonymy, a personal’s history. Aldanov follows Tolstoy’s narrative manner in demonstrating panoramic thinking, giving images of ordinary people along with images of historical personalities. In most Aldanov’s novels, the attitude towards Dostoevsky, like the attitude towards Tolstoy, is conveyed through a character’s point of view. The novel «Live as you Please» demonstrates interaction of the devices applied by Dostoevsky and Tolstoy. Aldanov realized his place in the tradition of Russian classical literature, argued with the classics of Russian literature if they were not convincing in their ideas or aesthetic devices. The use of the devices of Russian classics is associated with Aldanov’s conservative worldview and orientation toward the moral and aesthetic heritage of the Russian literature of the XIXth century. Aldanov was able to overcome the distance between the style and worldviews of Tolstoy and Dostoevsky.

“Walahé!”; “You should have seen it”: Validating the Truth of Wartime Absurdities in Ahmadou Kourouma’s Allah is Not Obliged

Gragoatá ◽  
2018 ◽  
Vol 23 (45) ◽  
pp. 24
Author(s):  
Cecilia Addei
Keyword(s):  
Sierra Leone ◽  
Civil Wars ◽  
West African ◽  
Point Of View ◽  
The Novel ◽  
African Countries ◽  
The West ◽  
Ahmadou Kourouma ◽  
Folk Wisdom ◽  
Wartime Experience

Ahmadou Kourouma’s Allah is Not Obliged is a fiction based on the civil wars in the West African countries of Liberia and Sierra Leone as a result of the breakdown of democracy. It employs the point of view of a child narrator, Birahima, a literalist picaro, to narrate wartime atrocities. The novel, mainly a satire, employs the devices of irony and humour that allow Birahima to present his world, which is turned upside down, and morality, reversed, in a way that makes the reader laugh in spite of the horror. The reality of Birahima’s wartime experience, which has left him in a kind of developmental “limbo”, is difficult to believe to be true. However, he makes every effort in his use of language to prove the truthfulness of the absurdity he narrates. This paper considers how the protagonist/narrator Birahima’s entry into war leaves him in an absurd, cyclical limbo while he resorts in frustration to validate his absurd experience through appealing to God, folk wisdom and dictionaries.------------------------------------------------------------------------------------“WALAHÉ!”; “VOCÊ TINHA QUE TER VISTO”: VALIDANDO A VERDADE DOS ABSURDOS DA GUERRA EM ALLAH IS NOT OBLIGED, DE AHMADOU KOUROUMAAllah is Not Obliged, de Ahmadou Kourouma, é uma obra de ficção baseada nas guerras civis nos países da África Ocidental Libéria e Serra Leoa resultantes do colapso da democracia. Através do ponto de vista de um narrador infantil, Birahima, um pícaro literalista, a obra narra as atrocidades da guerra. O romance, essencialmente uma sátira, emprega os recursos da ironia e do humor para permitir que Birahima apresente seu mundo deturpado e sua moralidade invertida de uma maneira que faz o leitor rir apesar do horror. É difícil aceitar como verdade a realidade que Birahima vivenciou na guerra, que deixou o seu desenvolvimento em uma espécie de limbo. No entanto, ele se utiliza da linguagem ao máximo para provar a veracidade do absurdo que ele narra. Este artigo considera como a entrada do protagonista / narrador Birahima na guerra o deixa em um limbo cíclico e absurdo, enquanto ele se frustra para validar sua experiência absurda apelando a Deus, à sabedoria popular e aos dicionários.---Artigo em inglês.

The novel and the myth of the epic: Balestrini, Lukács, and the cathartic experience

2020 ◽  
Vol 54 (3) ◽  
pp. 785-805
Author(s):  
Achille Castaldo
Keyword(s):  
Point Of View ◽  
The Political ◽  
The Novel ◽  
Similar Model ◽  
Reading Experience ◽  
Political Struggles ◽  
Gyorgy Lukacs ◽  
Novelistic Form ◽  
Interpretative Model ◽  
Collective Dimension

In this article, I address the critical reception of Nanni Balestrini's narrative work, focusing in particular on the novel Vogliamo tutto (1971). I compare the interpretative model, which sees this text as overcoming the novelistic form and moving toward the epic, with a similar model in György Lukács' foundational text The Theory of the Novel (1916), which sets up an opposition between the novel, understood as an expression of the irrelevance of private existence in our society, and the idea of a “rebirth” of the epic as a redemptive collective dimension. In order to investigate the textual mechanisms that generate a reading experience that has been defined resorting to the cliché of the epic, I draw on Lukács' later Aesthetics (1962). In this work, he offers a response to the impasses of his earlier thought by using the concept of catharsis, which explains the effects of a work of art on the reader/viewer through the pathetic energy generated by the dissolution of the subjective perspective. Through a close reading of key passages from Vogliamo tutto, I show how the rhetorical structure of the text is grounded in a repeated dissolution of the narrative point of view (the narrator's voice) in the collective voice of the workers. I argue that the “pathetic intensity” produced by this loss of subjectivity inscribes the communal existence of the political struggles of the time in the immediacy of the reading experience.

scholarly journals PRAGMATIC FUNTIONS OF THE STYLISTIC DEVICES IN THE AUTHOR’S SPEECH (ON THE MATERIAL OF «DEATH OF A HERO» BY RICHARD ALDINGTON)

2020 ◽  
Vol 1 (9(77)) ◽  
pp. 181-184
Author(s):  
Svitlana Kobuta
Keyword(s):  
Point Of View ◽  
The Novel ◽  
Additional Source ◽  
The Real ◽  
Additional Information ◽  
True Meaning ◽  
To Come ◽  
Source Of Information

The article dwells on the peculiarities of the author’s usage of different stylistic devices. Richard Aldington uses a variety of lexical and grammatical stylistic devices in his outstanding novel «Death of a Hero». He is trying to implicitly show his readers his real attitude towards the setting hos novel takes place in. The author constantly leads an indirect dialogue with his readers in order to make them understand the real course of events, but instead of addressing them directly and persuading them to take his point of view as a truly accurate one, Richard Aldington uses a whole range of creative metaphors, similes, hyperbolas, allusions, epithets, parallel constructions and other stylistic devices to convey the true meaning of what he describes. His usage of figures of speeches serves a double purpose: a stylistic one, i.e. to beautify the text and make it linguistically and literary rich, and a pragmatic one, i.e to serve as a source of additional information. The article makes an attempt to find the correlation between these two functions and to come to the conclusions concerning their role in the author’s speech of the novel as an additional source of information.

scholarly journals Madame Bovary: philistinism or the archetype of the wild woman

2020 ◽  
Vol 101 (4) ◽  
pp. 67-72
Author(s):  
L.M. Demessinova, ◽  
Keyword(s):  
Theoretical Basis ◽  
Point Of View ◽  
Dark Side ◽  
Scientific Concept ◽  
The Novel ◽  
Main Character ◽  
Madame Bovary ◽  
New Type ◽  
Inner World ◽  
Ancient Times

The article is devoted to the problems of the female archetype, the light and dark side of women, which has become the basis for artistic works since ancient times. In the study are subjected to comparative analysis critical views about the image of Madame Bovary. If in previous studies the heroine is considered as a sinner, then in this article the authors proceed from the inner world of Madame Bovary and explain the reasons for Emma's behavior and psychology from the point of view of the female archetype of the «primordial woman». In the course of the work, methods of comparison and systematization based on the concepts of scientists were used. Guided by the types of female archetype presented in the works of C.G. Jung and C. p. Estes, the image of Madame Bovary is analyzed by the authors as a new type. The opinions of the founder of the term «archetype» C.G. Jung about the archetype and his conclusions about the female archetype became the theoretical basis of the research. The scientific concept of K.Р. Estes when compared with the text of the novel helped to identify deviations and oddities in the behavior of the main character. In the article, the author tries to reveal the image of Madame Bovary in her different guises.

scholarly journals “Walahé!”; “You should have seen it”: Validating the Truth of Wartime Absurdities in Ahmadou Kourouma’s Allah is Not Obliged

Gragoatá ◽  
2018 ◽  
Vol 23 (45) ◽  
pp. 24-44
Author(s):  
Cecilia Addei
Keyword(s):  
Sierra Leone ◽  
Civil Wars ◽  
West African ◽  
Point Of View ◽  
The Novel ◽  
African Countries ◽  
The West ◽  
Folk Wisdom ◽  
Wartime Experience

Ahmadou Kourouma’s Allah is Not Obliged is a fiction based on the civil wars in the West African countries of Liberia and Sierra Leone as a result of the breakdown of democracy. It employs the point of view of a child narrator, Birahima, a literalist picaro, to narrate wartime atrocities. The novel, mainly a satire, employs the devices of irony and humour that allow Birahima to present his world, which is turned upside down, and morality, reversed, in a way that makes the reader laugh in spite of the horror. The reality of Birahima’s wartime experience, which has left him in a kind of developmental “limbo”, is difficult to believe to be true. However, he makes every effort in his use of language to prove the truthfulness of the absurdity he narrates. This paper considers how the protagonist/narrator Birahima’s entry into war leaves him in an absurd, cyclical limbo while he resorts in frustration to validate his absurd experience through appealing to God, folk wisdom and dictionaries.---Original in English.---DOI: http://dx.doi.org/10.22409/gragoata.2018n45a1097.

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 411
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Colonial Discourse ◽  
The Impact ◽  
The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

Tanggapan dan Horizon Harapan Pembaca terhadap Le Petit Prince Karya A. De Saint-Exupery: Tinjauan Resepsi Sastra

Metahumaniora ◽  
2018 ◽  
Vol 8 (3) ◽  
pp. 300
Author(s):  
Tania Intan ◽  
Trisna Gumilar
Keyword(s):  
Research Data ◽  
Point Of View ◽  
Data Sources ◽  
The Internet ◽  
The Novel ◽  
Literary Reading ◽  
Reading Experience ◽  
Reader Responses ◽  
Qualitative Descriptive ◽  
Research Type

AbstrakPenelitian ini bertujuan untuk (1) mendekripsikan tanggapan pembaca terhadap novel Le Petit Prince (2) mendeskripsikan horizon harapan pembaca terhadap novel Le Petit Prince, dan (3) mendeskripsikan faktor-faktor penyebab perbedaan tanggapan dan horizon harapan pembaca. Penelitian ini termasuk jenis penelitian deskriptif kualitatif. Data penelitian berupa teks yang memuat tanggapan pembaca novel Le Petit Princeyang terdiri dari 20 orang, sedangkan sumber datanya berupa artikel dan makalah yang dimuat di media massa cetak dan elektronik termasuk internet. Instrumen penelitian berupa seperangkat konsep tentang pembaca, tanggapan pembaca, dan horizon harapan. Teknik pengumpulan data dengan cara observasi dan data dianalisis dengan menggunakan teknik deskriptif kualitatif. Hasil penelitian yang didapat sebagai berikut. (1) Seluruh pembaca menanggapi atau menilai positif unsur tema, alur, tokoh, latar, sudut pandang, gaya bahasa, teknik penceritaan, bahasa, dan isi novel Le Petit Prince. (2) Harapan sebagian besar pembaca sebelum membaca novel Le Petit Prince sesuai dengan kenyataan ke sembilan unsur di dalam novel Le Petit Prince, sehingga pembaca dapat dengan mudah menerima dan memberikan pujian pada novel Le Petit Prince. (3) Faktor penyebab perbedaan tanggapan dan horizon harapan pembaca selain perbedaan stressing unsur yang ditanggapi juga karena perbedaan pengetahuan tentang sastra, pengetahuan tentang kehidupan, dan pengalaman membaca karya sastra.Kata kunci: tanggapan pembaca, horizon harapan, Le Petit PrinceAbstractThis study aims to (1) describe reader’s responses to the novel Le Petit Prince (2) to describe the reader's expectations horizon of Le Petit Prince's novel, and (3) to describe the factors causing differences in responses and the horizon of readers' expectations. This research is a descriptive qualitative research type. The research data consist of a set of paragraphs that contains readers' responses to Le Petit Prince's novel, while the data sources are articles and papers published in print and electronic mass media including the internet. The research instruments are a set of reader concepts, reader responses, and expectations horizon. The technique of collecting data is observation and data are analyzed by using qualitative descriptive technique. The results obtained are as follow: (1) All readers respond and valuethe theme elements,plots, characters, background, point of view, language, titles, storytelling techniques, language, and extrinsic novel Le Petit Prince positively. (2) The expectations of most readers before reading Le Petit Prince's novels are in accordance with the nine facts in Le Petit Prince's novel, so readers can easily accept and give prise to Le Petit Prince's novel. (3) Factors causing differences in responses and horizon of readers' expectations other than the stressing differences of the elements being addressed also due to the differences in knowledge of literature, knowledge of life and literary reading experience. Keywords: readers responses, expectations horizon, Le Petit Prince

PROBLEMS OF EQUIVALENCE AND ADEQUACY IN THE TRANSLATION OF THE NOVEL “NAVOI” BY AYBEK

2020 ◽  
Vol 5 (3) ◽  
pp. 153-160
Author(s):  
Elmurod Tursunov ◽  
Keyword(s):  
Translation Studies ◽  
Point Of View ◽  
The Novel ◽  
Alternative Translation

Some inappropriatenesses and defects on the issue of equivalence and adequacy in the translated version of the novel “Navoi” by Aybek are revealed in this article. These inappropriatenesses and defects are described in great detail with the help of examples and alternative translation variants are suggested, the problems of equivalence and adequacy in translation studies are researched from the scientific point of view, as well as, views and comments of the Uzbek and foreign translators and scientists are provided on theissue of the two concepts

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