scholarly journals Possible Worlds of Planet Solaris: The Reader’s Consciousness in the Condition of Indeterminacy

1970 ◽  
Author(s):  
Tetiana Grebeniuk
Keyword(s):  
Actual World ◽  
Possible Worlds ◽  
Literary Work ◽  
Literary Analysis ◽  
Film Adaptation ◽  
The Novel ◽  
Human Consciousness ◽  
World Semantic ◽  
The Unconscious ◽  
The One

The article examines the specifics of the reader’s reception of Stanisław Lem’s novel Solaris in the context of indeterminacy, and the openness of the work to interpretation. The paper examines literary approaches to the formation of meaning in the process of reading this novel, in particular those implemented in Manfred Geier and Istvan Jr. Csicsery-Ronay works. Marie-Laure Ryan’s adaptation of the theory of possible worlds to literary analysis is employed as the methodological basis of my research. On the one hand, the effect of indeterminacy corresponds to the fantastic nature of the conditionality of Lem’s novel. Indeed, the key issue of the work – the encounter of humans with the unknown – requires the author to apply the potential of secrecy. On the other hand, this highly literary work (as well as Andrei Tarkovsky’s film adaptation) is endowed with multiple and ambiguous semantic codes that appeal to the depths of human consciousness and the unconscious. These codes cannot be interpreted unambiguously and, therefore, also provoke a state of uncertainty in the reader. In the textual actual world, semantic codes produce indeterminacy. They are linked to the essence of the single inhabitant of the Solaris, the Ocean, and phantoms created by it who visit the Station. In the novel protagonist’s Kris Kelvin personal world, the state of indeterminacy is associated with the existential essence of his relationship with his beloved Rheya and the problem of making contact with extraterrestrial intelligence. The surreal imagery of Kris’s dreams and visions provide for possible interpretations of the semantic codes of his world.

scholarly journals Sacrilegious character of «The cross on Saturn» in the self-titled novel of Oles Ulianenko

2020 ◽  
Keyword(s):  
Research Methodology ◽  
The Self ◽  
The Other ◽  
Literary Analysis ◽  
The Novel ◽  
Aesthetic Appeal ◽  
Inner World ◽  
The Cross ◽  
Professional Evaluation ◽  
The One

Oles Ulianenko, one of the most talented and controversial Ukrainian writers of these days, has been dead for ten years. His literary works did not receive any appropriate professional evaluation though because literary scholars and critics applied either the wrong or unproductive research methodology due to some objective and subjective reasons. The aim of the article is to suggest an alternative, in comparison to traditional variants, theoretical literary analysis which is grounded on the principles of the corporal-mimetic method to interpret fiction done on the extremely controversial novel “The Cross on Saturn” by O. Ulianenko. Having analyzed the idea and artistic content of the novel “The Cross on Saturn”, the conclusion is made that, first, the book characters seem to function as simulacra of their shallowness because they lack the depth of inner world. But despite this fact, despite parody, superficial dialogues and surrogate actions, the main characters of the novel and the peripeteia, they find themselves in, do not lose aesthetic appeal because these characters do not need deep inner world since their function is not determined by what these trivial characters reflect in the text mirror but by what the text mirror reflects in them. Second, the shallowness is filled with the content conditioned by the incest precedent which provides the basis of Oles Ulianenko’s novel to the degree to what the writer creates the tragedy in its exact, namely ancient Geek, meaning of the notion according to which tragedy is, on the one hand, a story determined by an utterly artificial form and content and, on the other hand, it is a story which does not simply end by death, it is a story which cannot end by anything else but death. It seems as if nothing but tragedy could make it impossible for a man to have their animal essence to supersede their human part.

scholarly journals A Cognitive Stylistic Analysis of Characterization in Golding’s Lord of the Flies

2021 ◽  
Vol 60 (1) ◽  
pp. 21-40
Author(s):  
Ahmed Srieh ◽  
Mahdi Kareem
Keyword(s):  
Cognitive Process ◽  
Literary Work ◽  
The Other ◽  
Stylistic Analysis ◽  
The Novel ◽  
Human Beings ◽  
Fictional Character ◽  
Lord Of The Flies ◽  
The One

Characterization is commonly known in stylistics to be the cognitive process in the readers' minds when comprehending a fictional character in a literary work .In one approach, it is assumed that characters are the outcome of the interaction between the words in the text on the one hand and the contents of our heads on the other. This paper is an attempt to understand how characterization is achieved by applying Culpeper’s (2001) model which seems to be to present a method of analysis that is more objective and more systematic in analyzing characters. Two characters are selected for discussion; Ralph and Jack from Golding’s (1954) Lord of the Flies. The novel talks about the corruption of human beings and the capacity of evil they have. The results show that Ralph and Jack are antithetical in many aspects; Ralph represents the rational civilized boy whereas Jack represents the savage brutal boy.

scholarly journals HEGEMONI KEKUASAAN PEMANGKU ADAT MINANGKABAU DALAM NOVEL TENGGELAMNYA KAPAL VAN DER WIJCK KARYA HAMKA: KAJIAN HEGEMONI GRAMSCI

2019 ◽  
Vol 7 (1) ◽  
pp. 41-48
Author(s):  
Nita Kartika Sari ◽  
Sumartini Sumartini ◽  
U’um Qomariyah
Keyword(s):  
Literary Work ◽  
Qualitative Approach ◽  
Research Approach ◽  
The Novel ◽  
Antonio Gramsci ◽  
The Unconscious ◽  
Sociological Approach ◽  
Research Problems ◽  
Data Source ◽  
Descriptive Qualitative

Karya sastra memang tidak bisa dilepaskan begitu saja dari pengarang dan keadaan sosial yang melatarbelakangi penciptaanya serta segala gejolak kemasyarakatan yang ada seperti kekuasaan dan dominasi yang dirasa merugikan.  Dari tiga rumusan masalah penulis hanya akan memfokuskan pembahasan pada bentuk hegemoni yang dilakukan pemangku adat di Minangkabau. Metode yang digunakan dalam penelitian ini yaitu metode deskriptif kualitatif.  Penelitian ini menggunakan pendekatan sosiologi sastra dan teori hegemoni Antonio Gramsci. Sumber data adalah novel Tenggelamnya Kapal Van Der Wijck karya Hamka. Data diperoleh dengan teknik membaca dan mencatat. Hasil penelitian berupa jenis hegemoni yang disadari dan tidak disadari. Terdapat empat bentuk dari hegemoni yang disadari yaitu kekeraan, penindasan, paksaan dan perampasan, sedangkan bentuk dari hegemoni yang tidak disadari berupa provokasi. There is an inseparable bond between a literary work with the background experience of its writer, and the underlying socio-cultural circumstances behind its creation, as well as all the existing disadvantageous problems in society such as hegemony and dominance. Of the three research problems, the discussion in this article will focus solely on the form of hegemony practices done by the Elders in Minangkabau culture. In conducting this research, descriptive qualitative approach is used. Literary sociological approach using the theory of Hegemony by Antonio Gramsci is used as the research approach. The data are obtained by using reading and noting technique. The data source is the novel Tenggelamnya Kapal Van der Wijck by Hamka. As the result of the research, there are two type of hegemony practices found, the conscious and unconscious hegemony. The conscious hegemony take four forms, there are: violence, oppression, coercion and deprivation. Meanwhile the unconscious hegemony realized only in form of provocation.

scholarly journals Pyotr Chardynin’s The Idiot as a Phenomenon of Creative Reinterpretation of Dostoevsky’s Novel

2019 ◽  
Vol 11 (4) ◽  
pp. 34-42
Author(s):  
Anastasia Ryabokon’
Keyword(s):  
Film Adaptation ◽  
The Novel ◽  
Human Beings ◽  
National Cinema ◽  
Garden Of Eden ◽  
Human Personality ◽  
The World ◽  
The One ◽  
The Individual ◽  
Main Protagonist

The essay explores the artistic and expressive features of the world's first film adaptation of Dostoevsky's novel The Idiot, directed in 1910 by Pyotr Chardynin. The author substantiates the degree of influence of one of the most important philosophical concepts of the novel that of a split in the human personality on Russian national consciousness at the beginning of the 20th century. The analysis of the figurative system of the film shows that its semantics and the images of its characters were ahead of its time and, therefore, deserve closer critical attention.In the The Idiot the idea of Dostoevsky about a human beings separateness in the world is revealed in the four main characters Prince Myshkin, Parfyon Rogozhin, Nastasya Filippovna and Aglaya who are not complete, full-fledged personalities but separate components of a harmonious human personality. These characters, like puzzle pieces, possess mutually complementary qualities. Thus, Prince Myshkin, the bearer of the highest spirituality, is contrasted with the earthly and passionate Rogozhin. And the images of Nastasya Filippovna and Aglaya are connected, respectively, with the images of Heavenly Love and Earthly Love. If the characters of the novel could unite with each other in love and harmony, the world would get a complete harmonious person, like the one created by God for the Garden of Eden. However, such a merger seems impossible within the limits of earthly existence. In Dostoevsky's novel the individual parts of the soul could not unite into a harmonious whole. Egoism, passion, pride and imperfection of human nature do allow the protagonists to unite and lead them towards personal disintegration.In Russian national cinema, Dostoevskys idea of human beings separateness undergoes a number of transformations. The changes introduced by Pyotr Chardynin into the film adaptation of the novel mostly relate to the image of the films main protagonist Nastasya Filippovna, whom the filmmaker associates with a dying Russia. Chardynin also transforms other protagonists. Prince Myshkin is the only carrier of the highest spirituality, while Nastasya Filippovna, Aglaya and Rogozhin are earthly and passionate. At the end of the film, Nastasya Filippovnas murderer Rogozhin, dressed in a Russian folk costume, sobs at the bedside of the dead tsarina, while heavenly prince Myshkin who was not accepted by her in her lifetime, comforts the sinner. Chardynins film transforms the idea of a split in the human personality into the idea of the Russian separateness from God, the internal split within the Russian world and, as a consequence, that worlds inevitable death.

scholarly journals THE DICHOTOMOUS STRUCTURE OF THE TEXTUAL WORLD OF IVAN FRANKO’S NOVEL "LEL’ AND POLEL’" IN THE ASPECT OF LINGUOPOETICS OF MOTIVENESS

2021 ◽  
pp. 114-127
Author(s):  
M. Zaoborna
Keyword(s):  
Literary Work ◽  
The Novel ◽  
Narrative Strategies ◽  
French Studies ◽  
Semantic Organization ◽  
Individual Consciousness ◽  
Intertextual Connections ◽  
The One ◽  
The Individual ◽  
Effect Of Polarity

Based on literary studies, the article highlights the text of Ivan Franko's novel "Lel’ and Polel’" from the perspective of motif as a linguistic text category. In this respect, the motive is defined as linked with the personality of the author (narrator) impulse to create the text, related to the psychological aspect of text-creation and actualized by means of certain lingual signals. Understanding the motive as a text-creating category is expressed against the background of the stages of text generation that structure the trajectory of research considerations: situation → actualization of meanings → motive → intention → text concept → semantic organization of text. At the same time, given the presumption of modern French studies on the implicit autobiography of the writer's novels, the conceptual core of the study turns out to be the thesis of the personal senses of the author (narrator) as the basis for the motive. Thus, the effective summarizing positions of the analysis are centered around the linguistic signals associated with the individual consciousness of the sense-creating activity of the writer. In this respect, the intertextual field of the novel is determined to be relevant for grasping the sense, the basis for deriving the motive for creating the text "Lel’ and Pole’l". Intertextual connections, on the one hand, emphasize and maintain the effect of polarity in the text of the novel, and on the other hand, actualize the state of mental dichotomy that the writer experienced throughout his life. On this basis, an implicit presuppositional assessment of life in general and of the man in particular as dual phenomena has been derived, which correlates with the sense-being problem of Franko's life. As a result, the proposed theoretical construct of the logic of understanding the motivation of the text in relation to the novel "Lel’ and Polel’" has been concretized with the conclusive position: the spiritual and mental world of the writer → ambivalent evaluative sense as a basis for the formation of motive → motive, realized in the image of twin brothers → the intensity of explanatory psychology → textual concept as a logos of human destiny. Therefore, the dichotomous structure of the textual world of the novel "Lel’ and Polel’" is realized as a consequence of emanating the nature of the author's motive for the meaningful organization of the text. At the same time, the specificity of the figurative embodiment of the motive, which is consistent with the figurative-conceptual paradigm of text units formed on the basis of changing narrative strategies of the author, connected by means of associative cohesion, determines the centripetal nature of the text of this literary work.

scholarly journals CINEMA AS ONE OF THE MAIN FORMS OF CONTEMPORARY ART

2021 ◽  
Vol 7 (1(35)) ◽  
pp. 30-34
Author(s):  
I.F. Krylova ◽  
Victoria Andreevna Romanenko
Keyword(s):  
Contemporary Art ◽  
Literary Work ◽  
Literary Text ◽  
Film Adaptation ◽  
David Lynch ◽  
The Novel ◽  
Art Cinema ◽  
Anna Karenina ◽  
New Type ◽  
Literary Work Of Art

This article raises the problem of transposition (transposition) of the literary text of the verbal code into the language of cinema, which is relevant in modern linguistics. Within the framework of the presented research, the main stages of the development of cinematography, as well as the main techniques and types of editing, are described. The aim of the study is to analyze the historical stage in the development of a new type of art (cinema), its impact on society, as well as to analyze the relevance of such a phenomenon as the adaptation of a literary work of art. The relevance of addressing this topic is due to the development of modern filmmaking, the number of film adaptations that have come out in recent years. The article describes the views on cinema and film adaptation by Umberto Eco and David Lynch, suggesting that the film adaptation of literary works is a new type of artistic creation that was born in the 20th century and requires more careful research. The article presents an analysis of the novel by L.N. Tolstoy «Anna Karenina», as well as the main world adaptations of the novel. The analysis is carried out in order to identify the main cultural similarities and differences. The paper presents analyzes of such methods of translating meanings as color and cut-off.

scholarly journals On the Simplest Reading of Bartol’s Alamut

Asian Studies ◽  
2016 ◽  
Vol 4 (1) ◽  
pp. 215-227
Author(s):  
Tahereh AHMADIPOUR
Keyword(s):  
Literary Work ◽  
The Novel ◽  
Historical Criticism ◽  
The Core ◽  
Relevant Evidence ◽  
Social Events ◽  
History Of ◽  
The One ◽  
Core Part ◽  
History Book

Bartol’s Alamut as a valuable Slovenian literary work has been exposed to several interpretations for more than 70 years. The simplest or maybe the most credulous reading of this book is the one that considers it as a history book. This reading deems that the novel literally narrates the political and social events of Iran in the 11th century, the time that the Ismailis with Hasan Sabbah as the leader ruled over Alamut Castle. In this article the novel’s most important interpretations have been provided by discussing the deliberate critical essays through content analysis and historical criticism of the happenings. Then by using some important historical documents and relevant evidence, some events and persons of that time have been detected. The main aim of the article is to show that while Bartol incorporated a vast knowledge of the history of the Middle East as the core part of his novel, he also regarded his own nation and the miserable events of his own country. As a matter of fact he sent a harsh message through creating his own Hasan Sabbah, without any concern for the history.

scholarly journals Arkady Dolgoruky in Cinema and Theatre: Debut Decisions

2021 ◽  
pp. 192-223
Author(s):  
Liudmila I. Saraskina
Keyword(s):  
Middle Age ◽  
Literary Work ◽  
Film Adaptation ◽  
The Novel ◽  
Saint Petersburg ◽  
Literary Source ◽  
Stage Adaptations ◽  
To Come ◽  
Main Ideas ◽  
Made In

The paper investigates the fate of Fyodor Dostoevsky’s novel The Adolescent in cinema and theatre, comparing it with the stories of several film and stage adaptations of other works by the same author. The problem here discussed concerns the acceptable limits of interpretation, in cinema and theatre, of a literary work. The paper considers the following controversial aspects: - to what extent film and stage adaptations of a literary work may prove the success of the work as a piece of literature? - do film and stage adaptations expand (amplify) the contents of their literary source? - do they treat honestly the ideas and images of their source? The paper analyses the reasons why both cinema and theatre for many decades did not pay attention to The Adolescent and perhaps even deliberately bypassed it. The only film adaptation of The Adolescent so far was made in USSR in 1983 by the director Yevgeny I. Tashkov (1926-2012), with Andrei Tashkov (b. 1957) as Arkady Dolgoruky and Oleg Borisov (1929-1994) as Andrei Versilov. Of particular interest is the process of transforming the novel first-person narrative (Ich-Erzählung) into the language of cinema. However, the cinema debut of the novel and its characters cannot be described as a success. The film freed itself from the meaningfulness of the literary original, did not treat adequately its main ideas, and chose easy ways in all respects: in the script, in the work of the director, and the actors’ performances. Still more simplified has been the stage adaptation of The Adolescent at the Maly Drama Theatre in Saint Petersburg (the premiere took place on May 12, 2013). The director Oleg Dmitriyev, a disciple of Lev Dodon, abridged considerably the plot of the novel. The character of Versilov was deleted, shifting accents, and disfiguring the whole composition of the plot. In the novel, Arkady had dreamed all through his youth to come to know “the whole truth” about Versilov. In the stage adaptation, Arkady is presented not as a young and maturing person, but as a grown-up man who goes through a “middle-age crisis”: he turns into Versilov himself. He appropriates Versilov’s right to be extravagant and scandalous, thus playing the role, not of a witness but the central figure in the culmination of the story.

scholarly journals LOVE THE ONE YOU’RE WITH: WOMAN AT THE CROSSROADS OF TRUE LOVE AND REAL LIFE

2017 ◽  
Vol 2 (2) ◽  
Author(s):  
Tatik Muflihah
Keyword(s):  
Real Life ◽  
Literary Work ◽  
The Novel ◽  
Main Character ◽  
True Love ◽  
The One

Conflict is a situation frequently occurs in people’s lives. The source of conflict is usually originated from a personal and interpersonal misunderstanding in a relationship and poor communication. As a part of human’s creativity, literary work sometimes reflects people problematic life. One of those is internal and external conflict faced by the main character of the novel Love the One You’re With by Emily Giffin. This paper aims at investigating the conflicts faced by the main character of the novel and the strategy used to resolve those. The result of the study shows that the main character of the novel faced both internal and external conflicts. The internal is the conflict of Ellen and her own mind when she run into her true love and her real life as a wife. It becomes a conflict as she trapped and started to hesitate her own self whether go along with her emotional love or go back to her husband. The external conflicts occur between Ellen and all the characters of the novel. Thus, the main character of the novel had a complicated struggle to save her marriage live.

scholarly journals “Sales leaders” or “prize-winning books”: tastes and preferences of the Slovak reader

2021 ◽  
pp. 396-406
Author(s):  
Liudmila F. Shirokova
Keyword(s):  
Literary Work ◽  
Point Of View ◽  
Great Success ◽  
The Novel ◽  
Book Market ◽  
Publishing Houses ◽  
Detective Stories ◽  
The One ◽  
Women's Novels ◽  
Slovak Language

The book market in Slovakia is very rich and diverse; it presents works of various genres and themes, aimed at readers with a variety of tastes. The article discusses approaches to the evaluation of literary products, on the one hand, from the point of view of the reading public, and, on the other hand, the members of the juries of a number of literary prizes awarded annually in the country. The largest Slovak publishing houses and bookstores conduct monitoring, constantly updating their data on the best-selling books. Among the bestsellers are, as a rule, works of popular genres, including detective stories, women’s novels, political thrillers, novels with elements of mysticism. Other criteria are put forward by the jury of prestigious literary competitions, first of all, the Anasoft Litera Award for the best original prose literary work in the Slovak language. In more detail, the article discusses the books of the winners in the recent years. These are Ondrej Štefánik (the novel “I am Paula”, 2016), Ivan Medeši (the collection of short stories “Eating”, 2018), Jana Sabuchová (the novel “Whisperers”, 2019). Etela Farkašová’s novel “The Script” (2017), due to its high artistic merits and humanistic orientation, was a great success with both critics and readers.

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