scholarly journals Aballay, el hombre sin miedo: Um Western Borgeano

2014 ◽  
Vol 1 (2) ◽  
pp. 73-88
Author(s):  
Rosângela Fachel de Medeiros
Keyword(s):  
Short Story ◽  
Jorge Luis Borges ◽  
Starting Point

Aballay, el hombre sin miedo (2010), de Fernando Spiner, tradução cinematográfica do conto “Aballay”, de Antonio Di Benedetto (escrito entre 1975 e 1976), parte do texto para rearticular elementos da Gauchesca argentina, presentes na literatura e no  cinema, a elementos do Western, clássico e spaghetti, em um jogo de transculturação. Este artigo apresenta as duas versões de Aballay, conto e filme, para analisar as relações que essas obras estabelecem com as tradições que são revisitadas pelo cineasta no processo de realização do filme. E, sendo esta análise norteada pela percepção de que o fazer cinematográfico de Spiner é borgeano na forma e no conteúdo, a obra Jorge Luis Borges surge como intertexto teórico e narrativo.AbstractSix Shooters (2010), by Fernando Spiner, a cinematic translation of the short story "Aballay" by Antonio Di Benedetto (written between 1975 and 1976), uses the text as a starting point for articulating elements of the Argentine gauchesque, in literature and in cinema, with elements of Western, classic and Spaghetti, in a game of transculturation. This paper presents the two versions of Aballay, short story and film, in order to analyze the relationships that are established between these works and the traditions revisited by the filmmaker in the process of making the film. Considering that my analysis is guided by an understanding that Spiner’s filmmaking is Borgian in form and in content, the work of Jorge Luis Borges emerges as theoretical and narrative intertext. DOI: http://dx.doi.org/10.14195/2182-8830_1-2_5

scholarly journals Las ninfas de los ríos: Echo(s) zwischen Miguel de Cervantes, Paul Valéry und Jorge Luis Borges als Grundlegung einer Theorie literarischer Resonanz

2021 ◽  
Vol 56 (1) ◽  
pp. 44-64
Author(s):  
Anita Traninger
Keyword(s):  
Early Modern ◽  
Short Story ◽  
Jorge Luis Borges ◽  
Literary Texts ◽  
First Passage ◽  
Miguel De Cervantes ◽  
Don Quijote ◽  
Patron Saint ◽  
Starting Point ◽  
The Voice

Abstract The article takes as its starting point a reading of Jorge Luis Borges’ short story Pierre Menard, autor del Quijote, focusing on the first passage from Cervantes’ Quijote that is quoted verbatim in the text. An invocation of the river nymphs and the nymph Echo („las ninfas de los ríos, la húmida y dolorosa Eco“), it is singled out by the narrator as bearing the voice of Pierre Menard despite having never been attempted by him in his project of writing Don Quijote again. I argue that the invocation of Echo does not point to a duplication of the text. Rather, Echo’s early modern acceptation, that of a dialogue partner that not only answers, but answers back and says different things with the same words, encapsulates Menard’s project as such and, beyond that, a theory of literary resonance. Paul Valery’s poems and essays, to which Borges’ story variously alludes, underpin this reading of Echo as the patron saint of a theory of resonance that accounts for the necessary openness of literary texts to deviant interpretations, in particular those that could not have been foreseen or desired by their authors.

scholarly journals Obserwator i jego pozycja w opowiadaniu Tadeusza Borowskiego „Odwiedziny”

LingVaria ◽  
2019 ◽  
Vol 14 (28) ◽  
Author(s):  
Łukasz Wnuk
Keyword(s):  
Short Story ◽  
Full Text ◽  
Cognitive Linguistics ◽  
Vantage Point ◽  
Cognitive Grammar ◽  
Main Character ◽  
Main Argument ◽  
The Third ◽  
Starting Point ◽  
Literary Output

The Observer and His Position in Tadeusz Borowski’s Short Story Odwiedziny (‘The Visit’) The article is an analysis of Tadeusz Borowski’s short story Odwiedziny (‘The visit’). It focuses on linguistic and narrative devices through which the speaker influences the recipient’s perception, and so shapes the reading of his work. The first part is introductory, it presents the goals of the paper. The next part recalls the most important existing interpretations, both of Borowski’s literary output as a whole, and of the text at hand. They form the starting point to an analysis of the position of the character-narrator with regard to the events he is describing, and to the relation between the author, the narrator, and the main character of the story. These considerations constitute the third part of the present paper. It begins with a citation of the full text of the story, and is followed by the main argument announced in the title which refers to Ronald Langacker’s cognitive grammar and takes into special consideration such notions as scene, current discourse space, and vantage point. The closing part of the paper contains conclusions, contrasted with the theses put forward in the context of Borowski’s work, as well as suggestions of possible directions of further analysis of the story within the framework of cognitive linguistics.

scholarly journals “Oh, Vladimir, King of Dioclea, Hard Headed, Heart Full of Pride!” Isaiah Berlin and Nineteenth Century Interpretations of the Live of Saint Vladimir of Dioclea

2016 ◽  
Vol 9 (3) ◽  
pp. 723
Author(s):  
Stefan Trajković Filipović
Keyword(s):  
Nineteenth Century ◽  
Short Story ◽  
Washington Dc ◽  
Romantic Literature ◽  
Isaiah Berlin ◽  
God's Will ◽  
The Balkans ◽  
Starting Point ◽  
Romantic Movement ◽  
Historical Dramas

Saint Vladimir of Dioclea (i.e. Zeta) (c. 990–1016) left very few traces in medieval sources, and yet, for centuries now, he is present throughout the Balkans, notably in the areas of modern Albania, Bulgaria, Montenegro, Macedonia and Serbia. Compared to other notable medieval holy kings (e.g. Saint Stefan of Dečani), Saint Vladimir is a “vague” character; he was never as popular and his representations were never fully standardized nor uniformed – he is often simultaneously addressed with few names (Vladimir/Jovan/Jovan Vladimir) and with more than one title (an emperor/Tsar, king or prince). However, this “vagueness“, and yet persistence of the story about this saint makes an interesting research topic. The first elaborated narrative about the saint, the Life of Saint Vladimir of Dioclea, was published in 1601 as part of the Annals of the Priest of Dioclea, a chronicle depicting the history of an imagined early medieval Slavic dynasty and used as an introductory chapter to the Kingdom of Slavs by Mauro Orbini. The Life represents a developed hagiographic narrative with two main lessons – the value of (Saint Vladimir’s) martyrdom (following the model of Christ’s Passion) and of divine punishment awaiting the sinners. Furthermore, as part of the Annals of the Priest of Diocela (and of the Kingdom of Slavs), the Life depicts Vladimir as a Slavic holy king. Since its first edition, the Life remains the main source of inspiration and a starting point for most of the later interpretations of the story of Saint Vladimir’s life and death. In the focus of the article is a specific transformation that occurred in the nineteenth century regarding the story, within Serbian romantic literature. The approach to the transformation is based on the interpretation of the Romantic Movement provided by Isaiah Berlin in his 1965 Mellon lectures delivered in Washington DC (The Roots of Romanticism). I observe the transformation through the analysis of three representative nineteenth century interpretations of the story of Saint Vladimir: the historical dramas Vladimir and Kosara (1829, by Lazar Lazarević) and Vladislav (1843, by Jovan Sterija Popović) and the short story Vladimir of Dioclea (1888, by Stevan Sremac). Comparison of the Life with these narratives reveals significant shifts in main motives and lessons one finds in the story. Thus, instead of focusing on the notions of a holy man who serves as a tool of God’s will and of a Slavic holy king, one finds in nineteenth century interpretations the notions of man’s will, desire and utter loyalty to his own principles and values, one of them being his (Serbian) nation, as key ideas and supreme virtues. In spite of keeping certain hagiographic traits, these romantic interpretations bring reversals of main lessons of the story of Saint Vladimir and thus contribute to Berlin’s observation about the process of conscious creation of new mythologies within Romantic Movement with long-term consequences.

Literature and Other White-Man Tricks: Borges and Jarmusch Imagine the Frontier

Adaptation ◽  
2020 ◽  
Author(s):  
Gonzalo Montero
Keyword(s):  
United States ◽  
Short Story ◽  
Jorge Luis Borges ◽  
The United States ◽  
Literary Text ◽  
Literary Representations ◽  
Territorial Expansion ◽  
Cultural Assumptions ◽  
Symbolic Space ◽  
Dead Man

Abstract In this article, I analyze the representation of the Frontier in the short story ‘El Sur’ by the Argentine Jorge Luis Borges and the movie Dead Man by American director Jim Jarmusch. Going beyond explicit plot similarities, I argue that Jarmusch’s movie carries out an implicit form of adaptation of Borges’s literary text. Both works not only narrate the violent encounter of urban subjects with an unknown and threatening space, but also underscore how the ‘civilized’ subjectivity experiences a crisis that challenges foundational cultural assumptions. Due to its relevance in the process of nation formation, the Frontier served as a source for symbolic discourses, literary representations, and cultural imaginaries. In the case of Argentina and the United States, specific artistic genres fictionalized the life on the Frontier. Stylistically, both Borges and Jarmusch use tropes and narrative devices from these seemingly outdated genres—gauchesca literature and Western movies—but the use of these devices is highly experimental and installs a much more complex depiction of the symbolic space of the Frontier, thus challenging hegemonic accounts of processes of territorial expansion and racial superiority.

scholarly journals “Talk of contracts”: Gift-giving vs. Reciprocity in James Joyce’s “A Mother”

2014 ◽  
Vol 23 (1) ◽  
pp. 25-39
Author(s):  
Camelia Raghinaru
Keyword(s):  
Short Story ◽  
Moral Economy ◽  
Gift Giving ◽  
Starting Point ◽  
The Gift ◽  
Good Starting Point ◽  
Zero Sum ◽  
The Ideal

Abstract This essay measures the extent to which gift-giving fails in an economy of reciprocity. Reading James Joyce’s story “A Mother” in terms of Derrida’s notion of the gift as “absolute loss,” I consider the implications of an economy of loss for Joyce’s notion of sacrifice. Thus, I argue that the absence of an economy of sacrifice integrating “absolute loss” engenders the zero-sum game at the heart of Dubliners. I depart from other readings of the short story in the context of an economy based on the ideal of balanced reciprocity, since these versions deny the pure gratuity of gift in its connotations of sacrifice and loss. While such theories form a good starting point for analyzing the “moral economy” of Dubliners, they tend to overlook the fact that the only means to counteract the paralysis resulting from reciprocity is through the suspension of the economy of exchange.

scholarly journals Paralysed: A Systemic Functional Analysis of James Joyce’s “Eveline”

2016 ◽  
Vol 13 (2) ◽  
pp. 165-180
Author(s):  
Monika Kavalir
Keyword(s):  
Functional Analysis ◽  
Short Story ◽  
Systemic Functional Linguistics ◽  
Stylistic Analysis ◽  
Main Character ◽  
Functional Linguistics ◽  
Starting Point ◽  
The World

In homage to the work of Uroš Mozetič, the paper takes as its starting point previously developed suggestions about how the language of “Eveline” conveys a picture of the heroine as a passive, paralysed character. Using Hallidayan Systemic Functional Linguistics as a model of stylistic analysis, it investigates the contribution of both the ideational and the interpersonal metafunctions to the meaning of the text. The results extend and amend some ideas from the literature, such as the supposed prevalence of stative verbs, and suggest that while the short story as a whole predominantly uses material processes, their potential for change is mitigated by Joyce’s aspect, tense, and usuality choices. Eveline as the main character crucially has the role of a Senser, observing and internally reacting to the world around her, and even the processes in which she acts upon things and people are modalised and shown to be either hypothetical or instigated by others.

scholarly journals Descending and ascending trajectories of dialogical analysis: seventh analytic interpretation on the short story "The guerrillero"

2016 ◽  
Vol 27 (2) ◽  
pp. 189-200 ◽  
Author(s):  
Danilo Silva Guimarães
Keyword(s):  
Short Story ◽  
Subject Matter ◽  
Empirical Data ◽  
The Self ◽  
Methodological Issues ◽  
Concrete Situation ◽  
Starting Point ◽  
The Subject ◽  
Albalucia Angel

Abstract: The dialogical unity for the analysis of the Self includes the descending intersubjective interpenetration of the psychologist's lens into the self-others' feeling/thinking together with the analytic demonstration concerning the transformations of the objects that participate in the intrapsychological stream of the focused feeling/thinking. The theoretical and methodological issues selected for our present study concern how to make dialogical analysis out of empirical data and how to articulate the analyzed content to the interpretative whole situation from which the researcher and the subject matter are part of. Dialogism does not have a standardized procedure and we are not considering that there is only one correct methodological procedure in dialogical psychology. Nevertheless, discussing some dialogical approaches to a short story from Albalucía Ángel (1979), we found that the starting point for the dialogical analysis should be the mediated relation of the Self with the others, emphasizing the relevance of the extra-verbal concrete situation.

scholarly journals A estrutura temática de um conto na tradução do japonês para o português: um enfoque sistêmico-funcional

2016 ◽  
pp. 123-142
Author(s):  
Sonia Regina Longhi Ninomiya ◽  
Sumiko Nishitani Ikeda
Keyword(s):  
Short Story ◽  
Systemic Functional Linguistics ◽  
Japanese Literature ◽  
Literary Translation ◽  
Thematic Structure ◽  
Linguistic Typology ◽  
Text Interpretation ◽  
Modern Japanese Literature ◽  
Starting Point ◽  
The Difference

Thematic structure of a clause is composed of Theme, the starting point of the message that lends prominence to some elements that compose it, thus establishing the base to interpret the remainder of the clause, the Rheme. Researchers show that the choice of the Theme generate communicational implications in literary translation, interfering in the interpretation of the message. This thesis compares one short story taken from modern Japanese literature and its translation into Portuguese with the aim of analyzing the difference in the realization of the thematic structure in these languages, and the difference in the interpretation of the short story. The article is supported by the premises of Systemic-Functional Linguistics. The analyses show that differences in structure are driven by differences due to linguistic typology, and lead to differences in the text Interpretation.

scholarly journals IMPROVING STUDENT’S READING COMPREHENSION THROUGH ENGLISH SHORT STORY AT ELEVENTH GRADE OF SMAS NU CENTINI LAREN LAMONGAN

2021 ◽  
Vol 4 (2) ◽  
pp. 311
Author(s):  
Zanuba Arifah Khofshoh ◽  
Moch. Arifin
Keyword(s):  
Short Stories ◽  
Reading Comprehension ◽  
Short Story ◽  
Action Observation ◽  
Learning Activity ◽  
Average Score ◽  
Learning Material ◽  
Positive Contribution ◽  
Average Value ◽  
Starting Point

The focus of this teaching and learning activity is to improve students' reading comprehension through English short stories in eleventh grade students of SMAS NU Centini Laren Lamongan. Utilizing the existence of English short stories as a medium is expected to make a positive contribution to students through their characteristics that make readers feel happy. This research is a Classroom Action Research which is carried out by following John Elliot's model research procedures which include planning, action, observation, reflection or evaluation. The research was carried out in the eleventh class of SMAS NU Centini Laren Lamongan for the academic year 2019-2020 even semester totaling 50 students. The results showed that before being given learning using short story books in English, the average value of reading comprehension was 56 (8%) in the very low category. After learning reading comprehension was carried out using English short story book media in the first cycle the average value of students 'reading comprehension increased to 67 (38%), still in the moderate category, and learning was carried out in the second cycle the students' reading comprehension ability increased the average score. and a percentage of 77 (86%) with a very high category. By using this method, there was a fairly good increase for the students of SMAS NU Centini Laren Lamongan. In addition, other results obtained were students easier to absorb and understand English learning material and this activity was also the starting point for other activities. Keywords:  Reading Comprehension, Short Story, CAR

scholarly journals Miejsca bezpieczne: Kafka, Walser, Schulz

Schulz/Forum ◽  
2018 ◽  
pp. 55-63
Author(s):  
Marek Wilczyński
Keyword(s):  
Short Stories ◽  
Short Story ◽  
German Language ◽  
Martin Walser ◽  
Starting Point ◽  
The Republic ◽  
Bruno Schulz

The paper begins with a reference to Franz Kafka’s unfinished long short story “The Burrow,” which has been chosen as a starting point of a series of intertextual associations focusing on futile efforts made by various modernist literary narrators and characters to find a sense of safety in some specific settings. The route from “The Burrow” runs through selected short stories by Martin Walser toward late fiction by Bruno Schulz, in particular “The Republic of Dreams” and “The Homeland,” revealing affinities connecting the Polish writer from Drogobych with two writers of the German language, who shared his fears and obsessions.

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