Silone'S Celestino V and the Fabula of the Evolution of a Soul

2005 ◽  
Vol 39 (1) ◽  
pp. 73-82
Author(s):  
Maria Grazia Di Paolo
Keyword(s):  
The Other ◽  
Religious Leader ◽  
Main Character ◽  
The One

This study explores the intra-textual and inter-textual connections existing between Pietro del Morrone, elected Pope Celestino V, the protagonist of Silone's L'avventura d'un povero cristiano and Pietro Spina, the author's main character of Vino e pane, Ed egli si nascose, and Il seme sotto la neve. Both characters undertake parallel journeys, but whereas Pietro Spina's voyage is essentially secular in nature, Pietro del Morrone's is essentially mystical. With a political revolutionist on the one hand and a religious leader on the the other, Silone, by reinterpreting history, shows us a dual pattern of behavioral tenet.

scholarly journals Obrazy niepowagi: O tłumaczeniu poezji nonsensu na przykładzie wiersza The Akond of Swat Edwarda Leara

2020 ◽  
pp. 205-239
Author(s):  
Agata Hołobut
Keyword(s):  
Fairy Tale ◽  
The Other ◽  
Gradual Transition ◽  
Religious Leader ◽  
War On Terrorism ◽  
Historical Figure ◽  
Graphic Representations ◽  
The One ◽  
Literary Circles

Images of Irreverence: Nonsense Poetry in Translation as Exemplified by Edward Lear’s Poem The Akond of Swat The paper deals with selected “rewritings” of Edward Lear’s nonsense poem The Akond of Swat, focusing specifically on the translators’, illustrators’, adapters’ and editors’ attitudes towards the allusive nature of the poem – the reference it makes to the historical figure of the Pashtun religious leader Abdul Ghaffūr, also known as the Akond (or Wali) of Swat or Saidū Bābā, which may be viewed as problematic from a postcolonial viewpoint. Recent translated and illustrated versions of the poem inscribe it with new aesthetic and ideological values. Two Polish translations considered in the paper, produced by Andrzej Nowicki and Stanisław Barańczak respectively, demonstrate changing approaches to the nonsense genre displayed in Polish literary circles (gradual transition from pure to parodistic nonsense). Graphic representations of the poem discussed in the paper testify to the artists’ interpretive powers in redefining the genre of Lear’s poem: rebranding it as an infantile fairy tale on the one hand and a disturbing reflection on tyranny and “the war on terrorism” on the other.

scholarly journals Offervilje. Om ret og rimelighed blandt venner og fjender og om at komme og dømme levende og døde i Max Kestners film "I am Fiction"

2013 ◽  
Vol 28 (70) ◽  
Author(s):  
Louise Brix Jacobsen ◽  
Henrik Skov Nielsen ◽  
Rikke Andersen Kraglund
Keyword(s):  
Freedom Of Expression ◽  
Publishing House ◽  
The Other ◽  
The Novel ◽  
Main Character ◽  
Artistic Collaboration ◽  
Other Hand ◽  
The Dead ◽  
The One ◽  
Alleged Victim

Louise Brix Jacobsen, Rikke Andersen Kraglund & Henrik Skov Nielsen: “Selfsacrifice. On Right and Reasonableness among Foes and Friends, and on Judging the Living and the Dead in Max Kestner’s film I am Fiction”In 2011, the performance artist Thomas Skade-Rasmussen Strøbech lost a lawsuit against his former friend and collaborator Helge Bille Nielsen and the publishing house of Gyldendal. This led to a debate about copyright, freedom of expression, identity, and the line between fiction and reality. In 2008, Nielsen or Das Beckwerk published the novel The Sovereign where Strøbech – seemingly without his knowledge and apparently against his will – is the main character. About a year after losing the lawsuit Strøbech and film director Max Kestner gives his version of the events before, during, and after the trial in the film I am Fiction (Identitetstyveriet). This article analyzes I am fiction in order to show how the film on the one hand outlines Strøbech’s version of the events as a story about a victim but on the other hand undermines this version with humor and irony and points towards an artistic collaboration between alleged victim and villain.

scholarly journals ARTISTIC FEATURES OF CHALCHIK CHUNIZHEKOV'S PROSE WORKS

2022 ◽  
pp. 41-50
Author(s):  
М. С. Дедина
Keyword(s):  
The Other ◽  
Main Character ◽  
Main Attention ◽  
Soviet Government ◽  
Typical Representative ◽  
Real People ◽  
Gorny Altai ◽  
Socialist Realist ◽  
The One ◽  
Historical Epoch

В статье анализируется прозаическое наследие Чалчика Анчиновича Чунижекова, одного из ярких представителей соцреалистической литературы Горного Алтая. Выдвигается гипотеза о том, что профессия журналиста наложила своеобразный отпечаток на творчество писателя - в его очерках присутствуют имена реальных людей, называются факты, цифры, что позволяет говорить о документальной основе прозы Ч. А. Чунижекова. Основное внимание в работе уделено автобиографической повести «Мундузак», ставшей своеобразной рефлексией писателя на факты его собственной биографии. Главный герой повести, с одной стороны, близкий автору, с другой - типичный представитель поколения новой интеллигенции, рожденной советской властью. Доказано, что произведения писателя - это художественное отражение исторической эпохи с опорой на факты, события, истории реальных людей, в том числе и на собственную биографию. The articl analyzes the prosaic heritage of Chalchik Anchinovich Chunizhekov, one of the brilliant representatives of socialist realist literature of Gorny Altai. It is hypothesized that the profession of a journalist left a peculiar imprint on the writer's work, influencing the fact that the basis of his prose is essays, which contain names of real people, facts, figures, which allows us to talk about the documentary basis of his prose. The main attention is paid to autobiographical story "Munduzak" which became a kind of reflection of the writer on the facts of his own biography. The main character of the story, on the one hand, is close to the author, on the other - a typical representative of the generation of new intelligentsia, born by the Soviet government. It is proved that the writer's works are an artistic reflection of a historical epoch based on facts, events and stories of real people, including the writer's own biography.

scholarly journals Quixotic Legacy: The Female Quixote and the Professional Woman Writer

Authorship ◽  
2015 ◽  
Vol 4 (1) ◽  
Author(s):  
Jodi L. Wyett
Keyword(s):  
Eighteenth Century ◽  
Literary History ◽  
Woman Writer ◽  
The Other ◽  
Main Character ◽  
Women Novelists ◽  
Women’S Experiences ◽  
Women's Experiences ◽  
Professional Woman ◽  
The One

This essay argues that Charlotte Lennox’s The Female Quixote or, The Adventures of Arabella (1752) served as a fulcrum in eighteenth-century literary history by providing a figuration of the female quixote for subsequent women novelists who were keen to court absorbed readers on the one hand while countering stereotypes about women's critical failings on the other. The figure of the female quixote proves to be a significant mark of literary professionalism by reifying the spectre of the professional writer’s need for absorbed readers and dramatizing the occasion by which the woman writer demonstrates her own authority, paradoxically allowing both woman novel reader and woman novel writer to lay claim to intellectual authority. Ultimately, the main character Arabella's fictional model potentially echoes more actual eighteenth-century women’s experiences than her adventures at first suggest: the female quixote emerges as less a social outcast or a freak than a figure for women’s commonality, especially their intellectual and ethical ambitions in a world inimical to their interests.

scholarly journals Psychoanalytic Reading of Love and Desire in Somerset Maugham’s Of Human Bondage

2017 ◽  
Vol 5 (1) ◽  
pp. 58
Author(s):  
Amin Ettehadi ◽  
Roohollah Reesi Sistani
Keyword(s):  
The Other ◽  
The Novel ◽  
Main Character ◽  
Human Love ◽  
Gradual Loss ◽  
The One ◽  
The Relationship

<p><em>The present study was a comprehensive psychoanalysis of the idea of love and desire in Somerset Maugham’s Of Human Bondage. The study explored the relationship Philip Carey, the main character, develops with Other people throughout the novel. To further enrich the analysis, Lacan’s theory of human love and desire was employed to provide a psychoanalytic examination of Philip Carey’s bond of love for Mildred, on the one hand, and his gradual loss of identity in his desire towards her, on the other. The study inspected the nature of Philip’s desire for Mildred and shows how he turnd to a desiring subject in his bond to her and finally reached a state of selflessness and depended heavily on Mildred as the object of his desire which drove him towards self-contempt and a masochistic denial of real facts in his life.</em></p>

scholarly journals ARTISTIC FEATURES OF CHALCHIK CHUNIZHEKOV'S PROSE WORKS

2022 ◽  
pp. 41-50
Author(s):  
М. С. Дедина
Keyword(s):  
The Other ◽  
Main Character ◽  
Main Attention ◽  
Soviet Government ◽  
Typical Representative ◽  
Real People ◽  
Gorny Altai ◽  
Socialist Realist ◽  
The One ◽  
Historical Epoch

В статье анализируется прозаическое наследие Чалчика Анчиновича Чунижекова, одного из ярких представителей соцреалистической литературы Горного Алтая. Выдвигается гипотеза о том, что профессия журналиста наложила своеобразный отпечаток на творчество писателя - в его очерках присутствуют имена реальных людей, называются факты, цифры, что позволяет говорить о документальной основе прозы Ч. А. Чунижекова. Основное внимание в работе уделено автобиографической повести «Мундузак», ставшей своеобразной рефлексией писателя на факты его собственной биографии. Главный герой повести, с одной стороны, близкий автору, с другой - типичный представитель поколения новой интеллигенции, рожденной советской властью. Доказано, что произведения писателя - это художественное отражение исторической эпохи с опорой на факты, события, истории реальных людей, в том числе и на собственную биографию. The articl analyzes the prosaic heritage of Chalchik Anchinovich Chunizhekov, one of the brilliant representatives of socialist realist literature of Gorny Altai. It is hypothesized that the profession of a journalist left a peculiar imprint on the writer's work, influencing the fact that the basis of his prose is essays, which contain names of real people, facts, figures, which allows us to talk about the documentary basis of his prose. The main attention is paid to autobiographical story "Munduzak" which became a kind of reflection of the writer on the facts of his own biography. The main character of the story, on the one hand, is close to the author, on the other - a typical representative of the generation of new intelligentsia, born by the Soviet government. It is proved that the writer's works are an artistic reflection of a historical epoch based on facts, events and stories of real people, including the writer's own biography.

scholarly journals Dichten ums Überleben auf Gratwanderung zwischen Ost und West. Die Rolle der Geschichte(n) in Jan Koneffkes Roman Die sieben Leben des Felix Kannmacher

2020 ◽  
Vol 46 (1) ◽  
pp. 130-141
Author(s):  
Ana Karlstedt
Keyword(s):  
The Other ◽  
The Novel ◽  
Main Character ◽  
Fine Line ◽  
The One ◽  
Looking Back

Abstract Looking back, my memories seem like distant, made­up stories. These words of the main character are to be found all over Jan Koneffkes novel. A foreigner on the run, Felix Kannmacher is forced to tell stories in order to survive. He is at the mercy of a teenager who is avid for constantly new and different bedtime stories. Felix gives in, as he has no other choice but to be a slaveto this child. The following article analyses the fine line between the stories Felix invents for Virginia and two narratological aspects: the actual plot of the novel on the one hand, and the actual course of history, on the other. The entire novel is built on stories-within-stories that twist and turn the course of Story and History alike. Because each one of us writes their own (hi)story.

scholarly journals « Dans les marges du cahier de textes ». Quelques aspects de l'autoréflexivité dans l'écriture guibertienne

2012 ◽  
Author(s):  
Alessandro Badin
Keyword(s):  
The Self ◽  
The Other ◽  
Main Character ◽  
Other Hand ◽  
The One ◽  
Herve Guibert

Faisant de lui-même le personnage principal de son œuvre, Hervé Guibert nous parle nécessairement de son travail d'écrivain. À travers ses récits, il dessine l'image d'un écrivain polymorphe, qui prend une double attitude par rapport à son métier. Si, d'un côté, l'acte de l'écriture et les manuscrits sont montrés, de l'autre, il ne cesse d'accuser sa retenue et à manifester une sorte de pudeur. À la recherche d'une identité scripturaire, l'auteur tend à assimiler ses manuscrits à son corps, à sa fibre, dans un projet global de dévoilement de soi.AbstractBeing the main character of his own books, Hervé Guibert writes about his life as a writer. Through his texts he draws his portrait as a polymorphous artist, taking a double attitude towards his activity. On the one hand the act of writing, as well as drafts and manuscripts are shown, but on the other hand he constantly tries to protect and conceal them from sight. Looking for his own scriptural identity, the author tends to identify his manuscripts with his body, so that papers, drafts, manuscripts come to acquire a strong corporeal dimension in a wider project of representation of the self.

scholarly journals Text on the Culturological Border: the Cinemanovel “The Red. Without a Front Line” by A. Kokotiukha

2020 ◽  
pp. 164-194
Author(s):  
Nataliia Nikoriak
Keyword(s):  
Literary Text ◽  
The Other ◽  
The Novel ◽  
Main Character ◽  
Front Line ◽  
Film Genre ◽  
Inner World ◽  
Key Features ◽  
Original Narrative ◽  
The One

The article under studies reveals the terminological polymodality of the concept of “cinemanovel” as a screened novel; film genre; an original narrative work that tends to a screenplay; literary text written on the basis of the film and the screenplay to it (film “novelization”). An overview of modern theoretical and practical discourse of the cinemanovel genre is presented in the paper. It has been emphasized that some researchers try to find out the origins of this genre by analyzing the samples in a comparative and intermediate way, while others focus on clarifying the specifics of individual novels, concluding on the synthetic and hybrid nature of this genre. In particular, in this aspect, the cinemanovel-prequel by A. Kokotiukha “The Red. Without a Front Line” (2019) has been analyzed. This text, based on a film screenplay, appears to be a rather complex construct that acquires a double coding – cinematic and literary – hence the genre of the novel (as a product of the synthesis of two arts) contains the key features of both. On the one hand, we have to deal with the preservation of the cinematic codes that pass from the screenplay: fragmentation, word visualization, documentalism, eventfulness, editing, alternation of angles and plans, time reduction, dialogues, character formation in action, characterization through speech, conciseness of phrases in certain scenes to create the effect of maximum tension, image condensation, accumulation of internal tension in the episode. On the other hand (as a result of the so-called “novelization”), the text acquires genre features of the novel. These are: the scale of the narration (although fragmented and condensed), the description of characters’ lives is presented in line with historical events, with the disclosure of their psychology and inner world. Finally, the work is also marked with specifically architectonic, i.e. the author connects his cinemanovels together by means of a plot, the main character and a general artistic idea.

Note on Selection of Coordinate Systems for Geodynamics

1975 ◽  
Vol 26 ◽  
pp. 395-407
Author(s):  
S. Henriksen
Keyword(s):  
Sea Level ◽  
The Other ◽  
Coordinate Systems ◽  
Mean Sea Level ◽  
The Earth ◽  
The One ◽  
Static Systems ◽  
Selection Of

The first question to be answered, in seeking coordinate systems for geodynamics, is: what is geodynamics? The answer is, of course, that geodynamics is that part of geophysics which is concerned with movements of the Earth, as opposed to geostatics which is the physics of the stationary Earth. But as far as we know, there is no stationary Earth – epur sic monere. So geodynamics is actually coextensive with geophysics, and coordinate systems suitable for the one should be suitable for the other. At the present time, there are not many coordinate systems, if any, that can be identified with a static Earth. Certainly the only coordinate of aeronomic (atmospheric) interest is the height, and this is usually either as geodynamic height or as pressure. In oceanology, the most important coordinate is depth, and this, like heights in the atmosphere, is expressed as metric depth from mean sea level, as geodynamic depth, or as pressure. Only for the earth do we find “static” systems in use, ana even here there is real question as to whether the systems are dynamic or static. So it would seem that our answer to the question, of what kind, of coordinate systems are we seeking, must be that we are looking for the same systems as are used in geophysics, and these systems are dynamic in nature already – that is, their definition involvestime.

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