scholarly journals The Concept of “Thrownness” in Algis Budrys's Short Story “Wall of Crystal, Eye of Night”

2021 ◽  
Vol 40 (45) ◽  
pp. 111-121
Author(s):  
Svetozar Poštič

This paper analyses the concept of thrownness and the related notions of immediacy and actuality in a 1961 short science fiction story “Wall of Crystal, Eye of Night” by Algis Budrys. It first defines the concept of thrownness (Geworfenheit), created and coined by the German philosopher Martin Heidegger in his classic book Being and Time, and it explains how this notion can be employed in literary analysis in general and applied to this work in particular. The article then analyses how certain stylistic devices in the short story, namely similes, change of pace and the presentation of an inner conflict in the main character, contribute to the feeling of authenticity. In other words, it attempts to exhibit the means used in a prose work to make it seem more realistic and immediate. Finally, the work also argues that science fiction is in many ways more real than other fictional works. Although it belongs to the genre that has traditionally been denied serious literary merit, the novel view and interpretation of this story aims to disclose new horizons of artistic expression that illuminate human mental and physical frailty and stimulate a valuable inquiry into the meaning of life.

Author(s):  
Н.Г. Сичинава

Статья посвящена рассмотрению проблемы формирования основ филологического анализа и интерпретации художественного текста на материале новеллы И.А. Бунина «Ворон». Автор обосновывает необходимость интеграции лингвистического, лингвострановедческого и литературоведческого анализа для обеспечения максимально полного восприятия художественного дискурса инофонами. Зависимость понимания художественного текста и получаемого при его чтении эстетического эффекта от глубины восприятия словесно-художественных образов автор продемонстрирует на материале новеллы И.А. Бунина «Ворон». Средствами создания образов в рассказе являются символика имени; прямая или косвенная характеристики; портрет героя; действия и поступки героя; образы-детали; описание психологического состояния героя; изображение внутреннего мира героя через воспоминания; речь. Как показал анализ, в тексте бунинского рассказа значительный лексический пласт образуется за счет прецедентных феноменов. Процесс их декодирования можно рассматривать как важное средство экспликации текстовой информации. Прежде всего, в исследовательский объектив попадают прецедентные имена. Именно через них можно установить ассоциативные связи с теми понятиями-образами, которые были характерны для российского общества описываемой эпохи или русского лингвокультурного сообщества в целом. В раскрытии образов важную роль играют имплицирующие детали, актуализация которых в ряде случаев происходит через комментарии, заранее подготовленные преподавателем. Особый интерес вызывает проблема смыслового восприятия и понимания имени героини новеллы. Декодирование символики имени героини происходит на основе прецедентных текстов. Данная стратегия формирует у студентов способность узнавать, понимать и адекватно интерпретировать смысл художественного теста с интертекстуальными включениями. Кодирование культурной информации, которая впоследствии должна быть разгадана читателем, имеет место при введении в контекст новеллы определенных лексических единиц. Ключевые слова: художественный текст, интерпретация, прецедентный феномен, образ, язык, И.А. Бунин. The article is devoted to the problem of forming the foundations of philological analysis and interpretation of a fiction text based on the material of I. A. Bunin's short story “The Raven”. The author justifies the need to integrate linguistic, linguistic-cultural and literary analysis in order to ensure the fullest possible perception of fiction discourse by foreign speakers. The author demonstrates the dependence of the understanding of a literary text and the aesthetic effect obtained when reading it on the depth of perception of verbal and artistic images based on the material of I. A. Bunin's Novella "the Raven". The means of creating images in the story are: symbolism of the name; direct or indirect characteristics; portrait of the hero; actions and actions of the hero; images-details; description of the psychological state of the hero; image of the inner world of the hero through memories; speech. Explication of the information contained in the text can proceed along the path of decoding precedent phenomena. When using a precedent name, the author appeals to certain concepts-images that were well known to him and his contemporaries, but do not mean anything to the modern reader. Thus, decoding hidden information requires knowledge accumulated in a given linguistic and cultural community or by humanity as a whole. Implying details play an important role in the disclosure of images, which in some cases are updated through comments prepared in advance by the teacher. Of particular interest is the problem of semantic perception and understanding of the name of the heroine of the novel, which contains references to precedent texts. Decoding the symbolism of the heroine's name gives students the ability to recognize, understand and adequately interpret the meaning of an artistic test with intertextual inclusions. The encoding of cultural information, which must later be unraveled by the reader, takes place when certain lexical units are introduced into the context of the novel.


2020 ◽  
Vol 2 (4) ◽  
pp. 136-171
Author(s):  
Yuri M. Nikishov

The article attempts to understand the author’s attitude to the main character of the novel “Eugene Onegin” by Alexander Pushkin. For the first time, a complete picture of Onegin’s evolution is given. The author proves that the rapture of secular life is just his prehistory; that the search for self-determination of Pushkin’s hero begins with a blues (premature old age of the soul). Communication with Vladimir Lensky makes Onegin reflect on the meaning of life. The highest point of his searches is freedom and peace (at the level of interests of the circus circle). Thoughts on the Onegin’s hypothetical fate are not attempts “to complete” the novel ending, but this is a way to understand the hero more deeply. The poet himself gave an example of such hypothetical thoughts. The “Fragments from Onegin’s Journey” that violate the plot sequence, placed after the notes (end sign), with their tone create a hint in determining Onegin’s hypothetical fate.


Author(s):  
М.Р. Милуд

Постановка задачи. Статья посвящена лингволитературоведческому анализу рассказа «Тёмные аллеи» И.А. Бунина с целью овладения методами данного вида исследования текста художественного произведения. В статье ставится задача рассмотреть лингвистическую структуру рассказа с точки зрения лексики, перевода, словообразования, морфологии и ономастики. Особое внимание обращается на лингвистическую основу и лексическую базу данного рассказа. Результаты. В данной работе выделены и описаны особенности устаревших, безэквивалентных, заимствованных и калькированных слов, с помощью которых выражается историческое пространство рассказа «Тёмные аллеи» И.А. Бунина. Проанализированы авторские средства кодирования информации, касающейся важных исторических событий. Выяснено, с помощью каких языковых средств автор выражает идейно-эмоциональные стороны своего рассказа, выявлена лингвистически значимая информация о языковых единицах, используемых для отражения реальной характерности в тексте произведения. Выводы. Анализируя рассказ И. А. Бунина, мы пришли к выводу о том, что ономастический материал рассказа играет специфическую роль: имя героя выбрано автором в честь русского офицера - Николая Алексеевича Киреева, а имя Иова - в параллель «несчастности» автора ради своей прихоти. В результате анализа доказывается, что никаким быстрым чтением текст рассказа не охватить. Данный рассказ был написан с помощью средств разных разделов языка: лексики, словообразования, морфологии и ономастики. В текст рассказа нужно вчитываться, т.к. поместив этот рассказ в сборник «Тёмные аллеи», И.А. Бунин тем самым подчёркивает, что он описывает не только любовь, но также и историю, причем не одну, а сразу две. Problem statement. The article is devoted to the linguistic and linguistic-and-literary analysis of the short story «Dark alleys» by I.A. Bunin aiming at mastering the methods of such type of analysis of an art work. The article aims to consider the linguistic structure of the story in terms of vocabulary, translation, word formation, morphology and onomastics. Special attention is paid to the linguistic basis and lexical base of this story. Results. This paper highlights and describes the features of outdated, non-equivalent, borrowed and calque words, which are used to express the historical space of the story «Dark alleys» by I.A. Bunin. The author's means of information coding concerning important historical events are analyzed. It is found out by what language means the author expresses the ideological and emotional sides of his story and linguistically significant information about the language units used to reflect the real character in the story is revealed. Conclusion. Analyzing the short story of I.A. Bunin, we came to the conclusion that the onomastic material of the story plays a specific role: the name of the main character was chosen by the author in honor of the Russian officer - Nikolai Alekseevich Kireev, and the name of Job in parallel to the "unhappiness" of the author for his whim. As a result, we prove that the text of the story cannot be covered with any quick reading. This story was written using the tools of different language sections: vocabulary, word formation, morphology and onomastics. The story should be read carefully, because placing it in the collection «Dark alleys», the author thus emphasizes that he describes not only love, but also history, and not one, but two at once.


Author(s):  
Jesús Fernández Caro

This article approaches Sirius (1944), by Olaf Stapledon, from a perspective that brings together literary animal studies and ecocriticism. The eponymous main character of this science fiction novel is a genetically-modified dog who struggles between the human and the animal realms, being unable to belong to either urban or natural spaces. I argue this work of fiction carries out an exercise of blurring boundaries, thus proposing alternatives for harmful binaries such as human-animal, city-nature, or divine-mundane. Each of these binaries is explored in three trips of the many this character experiences throughout the novel. This allows the main character to reflect on his peculiar, unique species as the singularity he is. Sirius claims it is only empathy that can help in such a task; both human and nonhuman animals are then able to rejoice in biological, cultural, and spiritual differences. Sirius’s trips are analyzed in order to look closely at (1) the dog’s reflections on humankind while being in London, (2) his becoming a wolf, dog, and human at the same time in the woods, and (3) music as the ideal tool to articulate one’s spirituality based on a reconnection with an almost lost biodiversity.


2016 ◽  
Vol 5 (1) ◽  
pp. 71-85
Author(s):  
Barbora Vinczeová

Abstract Tanith Lee was a “highly decorated writer” (Chappell 1) whose work ranged from science-fiction, through fantasy and children’s literature to contemporary and detective novels. Although she published more than ninety novels and three hundred short stories, her audience has diminished through the years, affecting also the academic interest in her works. The aims of this article are to provide a literary analysis of one of her most famous novels, Night’s Master, and answer the question of why readers describe her prose as “lush” and “poetic”; and also interpret the recurring symbolism and themes of beauty, sexuality and metamorphosis in the work. This article also highlights the similarities between the novel and fairy tales in regard of numeric symbolism and morals.


Author(s):  
Olatunbosun Ishaq Tijani

This chapter discusses the development of the novelistic tradition in Kuwait. It first provides an overview of the beginnings of modern Kuwaiti literature, focusing on the efflorescence of the short story and the rise and maturation of the novel genre. It then considers Kuwaiti novels that depicted the events and effects of the Iraq-Kuwait War of 1990–1991, led by Walīd al-Rujayb’s Ṭalqa fī ṣadr al-shamāl (1992, A Shot in the Chest of the North). It also examines works that tackled the social conditions of Kuwaiti society in pre-oil and post-oil times, gender inequality, and other social justice issues such as immigration, poverty, and the Bidūn question. Finally, it charts the emergence of the historical and the philosophical novel, along with science fiction, as subgenres of the Kuwaiti novel.


2021 ◽  
Vol 9 (3) ◽  
pp. 337-343
Author(s):  
Biman Mondal ◽  
Aju Aravind

Purpose of the study: The study aims at analysing Never Let Me Go in terms of the language used in his novel by Nobel prize winner, Kazuo Ishiguro, a Japanese writer. The language used in the novel which is a science fiction novel, with the futuristic vision which is quite difficult to understand in one reading, and hence this paper can create interest and inquisitiveness in the reader. Methodology: For the literary analysis of the words in the study, Motifs and Symbolism are used as a technique to analyse the words and language used in Never Let Me Go. Literary analysis of chosen words and language is used as a research method in the novel. Main Findings: It is indicated in this study that the novel is narrated in first person singular form. Kathy’s voice in Never Let Me Go seems consistent. A reader feels a clear sense of Kathy`s character through her discipline of speaking. Applications of this study: It is shown in this study of Never Let Me Go in terms of the language used, can be useful to the students studying in graduates/post graduates of Literature studies. The in-depth analysis of the language, words, etc used in the novel makes it interesting to the students. Novelty/Originality of this study: The language using style in Never Let Me Go is realistic and reflects on the period of the novel set i.e., the 1990s and colloquial language used by the author. Certain words like a euphemism, possible, donor, carer, unzipping, gifted, othering used by the narrator has an inner meaning which is being analysed in this paper. This could help the reader to understand the narration and take pleasure in reading the novel.


2021 ◽  
pp. 21-27
Author(s):  
Anas P M ◽  
Dr. A.J Manju

Childhood is a time worth remembering in everyone’s life. We all cherish the beautiful memories and fun we had in our childhood once we’re old. We never know the real value of a moment until it becomes a memory. Even now we are happy to go back to those places where we have spent our childhood. Thinking about it fills our heart with nostalgic feelings. But have you ever thought about children who never had such a beautiful childhood as yours? This novel takes us to those children who are being kidnapped from their parents and sent into a frightening government facility called ‘The Institute’ for gifted children! The Institute (2019) is a science fiction horror novel written by Stephen King. It is one of his terrifying novels yet. Many of his works are transformed into movies and television series. The main focus of this novel is on the childhood betrayal done by the authorities running the Institute, and the survival of the children. The story is written by taking the ideas of a fictional child abusing institution where gifted children from all over the country are taken in and they are being forced to undergo dreadful medical experiments. Most of the children have super powers of Telepathy or Telekinesis. The officials running the Institute want the children to get control over their powers and to master them, so that they can be used in wars. They can be used as weapons against terrorists, and as mind readers. The doctors don’t treat them like humans. To them they are merely test subjects. The government kills any test subjects it can’t control because only then it can keep the country safe. There is no hope of escape for the children, yet they are all finally escaped by the brave efforts of Luke Ellis, the main character in the novel and his friends.


2012 ◽  
Vol 4 ◽  
pp. 1-20
Author(s):  
Fernanda Luísa Feneja

The article aims to reflect on the role of the myth in science fiction narrative, namely on the specific forms it may take in utopian/dystopian fiction, such as Fahrenheit 451 (1953) by Ray Bradbury. The personal development of the main character, Guy Montag, constitutes the focus of this analysis, by which we aim to shed some light on the relation between the meaning of the novel and the Promethean features he evinces in the context of a dystropian novel. The symbolic power of fire and of books is also of core relevance to this study, not only because the highlight the hero's inheritance of the Promethean myth, but also because the provide a deeper insight into exegetic possibilities of dystopsian fiction


2020 ◽  
Vol 61 (12) ◽  
pp. 87-90
Author(s):  
Ilaha Adil Majidova ◽  

Utopia is a common literary theme, especially in a speculative and science-fiction genre. Authors use utopian genre to explore what a perfect society would look like. Utopian fiction is set in a perfect world, while a dystopian novel drops its main character into a world where everything seems to have gone wrong. Dystopian fiction can challenge readers to think differently about current world. The article is devoted to the etymology of dystopia genre within Ray Bradbury’s creativity. In his short stories he tried to show the depth of his imagination. In Ray Bradbury’s fiction the world is a terrible place. He exposes the destructive side of technological progress and paradoxes of human personality in a grotty society. Key words: science-fiction, utopia, dystopia, prognosis, short story


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