Expressive Features of Author Subjectivity in the Literary Ego-Text (Roman Senchin’s What Do You Want?)

2021 ◽  
pp. 23-39
Author(s):  
Olga Yu. Shum ◽  
Keyword(s):  
Literary Criticism ◽  
Time Frame ◽  
The Novel ◽  
The Real ◽  
Political Commentary ◽  
Wide Range ◽  
Literary Process ◽  
Family Chronicle ◽  
The One ◽  
Almost All

The modern literary process indicates the presence of a large number of fiction with documentary subcurrent: facts from the author’s biography are a very slight hyperbolization. An example of such work would be the novel What Do You Want? (2013) by a contemporary Russian writer Roman Senchin, which became the subject of consideration in this article. The synthesis of auto-documentary and literary principles in the story organizes self-narration with unsteady boundaries between the real (“factual”) and the fictional (“fictitious”). The specificity of the correlation of the factual and the fictitious is examined in this work using the method of literary criticism and contextual analysis. The immediate aim of the article is to identify the specificity of expressing the implicit method of author subjectivity in non-fiction. In the author’s opinion, the implicit way of expressing the reflective type of author subjectivity fits more harmoniously into the literary fabric of the work, enriching it with subtexts and hidden meanings. In the course of the study it has been determined that although the center of the story revolves around the everyday life of an ordinary Moscow family, Senchin’s work is not a slice-of-life novel, but a political commentary. The theme of What Do You Want?” is sociopolitical, the problematics are sociocultural. The narration of the novel undergoes an intense analyzing and coming to terms with the sociopolitical events that are highlighted in almost all of the scenes. The text implies that the writer comprehends his own political position and interprets its cause-effect relationships. In order to distance himself as much as possible from his own identity, Senchin uses the technique of “externalizing” and “assigns” the role of the narrator to a teenage girl Dasha, the prototype of which he himself cannot be. Dasha, being a narrator-observer, asks questions, including the one from the title, to herself and other characters, including the father “Roman Senchin”. The time frame for the narration is precisely established: 18 December 2011 – 26 February 2012; each part of the text is a certain day, there are six in total. However, it is not clear who marked the specific days – the real author of the story or, as he conceived, the narrator Dasha. The autofiction method of “externalizing” in combination with the factual plot allows considering What Do You Want? as an ego-text, which in its genre form is something between an excerpt from a family chronicle and a diary. Autofiction in the form of an ego-text allows the writer to implicate his reflection, organizing a space for discussion of the unquestioning “Roman Senchin” (his alter ego) and the doubting Dasha within a kind of a “mental diary” – a space of consciousness in which the author-subject and the narrator are united. “Bringing to light” this “mental” diary, the writer redirects it to a wide range of readers and thus shifts the story from the field of “literature without fiction” to the sphere of art

scholarly journals The sense of space and Arctic nature in Cora Sandel’s Kranes konditori: interiør med figurer (Krane’s Café: An Interior with Figures)

2020 ◽  
Vol 12 (2) ◽  
pp. 89-106
Author(s):  
Raluca-Daniela Răduț
Keyword(s):  
Literary Criticism ◽  
The Arctic ◽  
The Novel ◽  
Interior Space ◽  
Literary Genres ◽  
The Past ◽  
Spatial Approach ◽  
Reading Technique ◽  
The One ◽  
Almost All

The paper combines the close reading technique of the novel Kranes konditori: Interiør med figurer (Krane’s Café: An Interior with Figures, 1946), written by the classic Norwegian writer Cora Sandel (1880-1974) with a spatial approach which aims to present the past and the present of the novel’s main character, Katinka Stordal. The action takes place in a small town situated in northern Norway, at Krane’s Café. It is worth noting how topography, the seasons of the year, the Arctic climate and nature are gradually reflected in the novel. On the one hand, the novel is placed at the crossroads of a spatial perspective and the literary criticism, which has in its centre Krane’s Café, the place where almost all the characters are brought together and which is the most suggestive and representative interior space of the novel. On the other hand, the subtitle An Interior with Figures strengthens the idea of a mixture of literary genres which includes elements from novel and drama. Moreover, it resembles the title of a work of art, for instance, a painting where all the characters are simply figures animated by the beauty of the Arctic scenery.

scholarly journals THE METHODOLOGY OF ANALYSIS OF J. JOYCE'S NOVEL "ULISSES" (EMPHASES OF DARIA VIKONSKA)

2021 ◽  
pp. 67-75
Author(s):  
M. Moklytsia
Keyword(s):  
Research Work ◽  
The Novel ◽  
Literary Forms ◽  
Literary Process ◽  
Self Knowledge ◽  
Ethical Norms ◽  
Almost All ◽  
First Time ◽  
School Curricula

The relevance of the study is due to the need to include the novel "Ulysses" by J. Joyce in university and, if possible, school curricula in foreign literature, as well as the need for its interpretation, despite the excessive complexity of the text and difficulty of perception. It is also important to return the legacy of D. Vikonska, a writer, critic, art critic and literary critic, to modern Ukrainian culture. Research methodology: a model of analysis of the modernist novel "Ulysses", created on the basis of the research work of D. Vikonska “James Joyce. The secret of his artistic face” (1934). Scientific novelty: for the first time the analysis of the novel "Ulysses" is carried out with the broad involvement of the half-forgotten studio of D. Vikonska, which has not lost its relevance, clearly articulates the modernist nature of the work, including surreal style. The purpose of the study: to draw attention to the outstanding figure of D. Vikonska as the founder of Ukrainian Joyce studies, to include her in the modern literary process, to show with her help the significant role of Joyce's novel "Ulysses". Conclusions. The answer to the question why Joyce's novel Ulysses is considered a landmark work of modernism should be concise but convincing, based on macro- and microanalysis of the text. First of all, it is a unique example of the author's self-expression, extreme subjectivism (the whimsy of Joyce's nature), transformed into universalism. No one is as subjective as Joyce is, no one is as universal as he is. Such can only be a conscious modernist who has passed the difficult path of search outside, in the world of culture, and inside, looking into the irrational depths of his own psyche. This is the most rational, intellectual and at the same time irrational, or visionary, according to K.G. Jung, type of creativity. Second: this is the boldest (revolutionary, in the words of Vikonska) challenge to tradition (or Cultural Canon, according to K.G. Jung), which manifested itself in the ironic parody of almost all known literary forms and narrative means, many moral and ethical norms. Third: it is a brilliant example of the author's style, a variant of surrealism, which grows out of naturalism and turns into neomythologism. Joyce's style is characterized by the following features: associative metaphorical writing, author's dictionary, which includes numerous innovations, narrative reception of the flow of consciousness; use of dreams, delusions, other boundary conditions; a bizarre intertwining of past and present, when dead and living characters are equal in meaning; consistent reflection of the external in the internal and vice versa; a labyrinth of human wanderings in search of pleasures, meaning, cognition and self-knowledge. Joyce modeled the next stage in the development of culture – the transition from modernism to postmodernism, from an ironic re-reading of tradition to playing with it.

MULTICULTURALISM BY CONRAD-EMIGRANT

2019 ◽  
pp. 376-380
Author(s):  
Olena Tkachuk
Keyword(s):  
Cultural Identity ◽  
Literary Criticism ◽  
Joseph Conrad ◽  
English Literature ◽  
Multicultural Literature ◽  
Post Colonial ◽  
Literary Process ◽  
Long Time ◽  
English Society ◽  
Almost All

The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.

scholarly journals Russian writers in the Czech environment during the first half of the 1920s: periodicals of the left political wing (newspaper “Rude pravo”)

2021 ◽  
Vol 59 ◽  
pp. 199-212
Author(s):  
Anna V. Amelina
Keyword(s):  
Literary Criticism ◽  
Russian Literature ◽  
Political Orientation ◽  
The Other ◽  
Left Wing ◽  
Ideological Position ◽  
Communist Ideology ◽  
Literary Process ◽  
The One ◽  
Made In

The paper examines perceptions of Russian literature in the first half of the 1920s by a Czech literary criticism of the left-wing political orientation, namely by Rudé Právo, newspaper of the communist party of Czechoslovakia. On the one hand, at this time, the Russian classics are being rethought in terms of their usefulness for the purposes of proletarian movement, up to discrediting individual authors (for example, F. M. Dostoevsky) and adjusting ideas of other writers to the communist ideology (L. N. Tolstoy). On the other hand, much attention of the editors is paid to the modern literature of post-revolutionary Russia, whose representatives are evaluated and selected for translation and review, provided they accept and praise the revolution (first of all, this is the poem The Twelve by A. A. Blok, poetry by V. V. Mayakovsky, prose by M. Gorky and V. G. Korolenko), whereas their work is assessed one-sidedly, exclusively in the ideological aspect. The first attempts of writing generalizing materials on the contemporary literary process (for example, Peasant revolutionary poetry by I. Weil) are being made. In general, Russian literature is viewed from an ideological standpoint, only with varying degrees of categoricality by individual critics. As the author reveals it was of great importance for the shaping of the ideological position and cultural program of the Czech communists, and compared with other literatures, its role is identified as leading.

scholarly journals LYKKEN PÅ FØRTIDSPENSION - VELFÆRDSSTAT OG AFFEKTIV MOBILITET I JENS BLENDSTRUPS GUD TALER UD

1970 ◽  
Vol 41 (116) ◽  
pp. 77-87
Author(s):  
Peter Simonsen
Keyword(s):  
Social Science ◽  
Welfare State ◽  
Literary Criticism ◽  
Early Retirement ◽  
The Other ◽  
The Novel ◽  
The One ◽  
Point Of Departure ◽  
Welfare Model ◽  
The Welfare State

HAPPINESS ON EARLY RETIREMENT: THE WELFARE STATE AND AFFECTIVE MOBILITY IN JENS BLENDSTRUP’S GUD TALER UD | The article takes its point of departure in current happiness studies and probes the possibly fruitful interdisciplinary relation between research in social science that suggests close links between the Nordic welfare model and the high levels of selfreported happiness we find in the region, and literary criticism which instinctively seems to hold that unhappiness is most conducive to inspire the literary mind. To demonstrate that things are never as simple as that, the article reads Jens Blendstrup’s novel, Gud taler ud (2004), as an example of both a welfare narrative and of what it coins ”an affective mobility story”: a story about a person’s enhanced feeling of happiness in retirement. On the one hand, the novel portrays a person who finds happiness when he is granted early retirement from the welfare state. On the other hand, the novel relates this in such a manner that we are reminded that one man’s happiness may be another’s unhappiness.

scholarly journals STYLISTIC DOMINANTS OF OKSANA KERCH’S NOVEL «NARECHENY»

2020 ◽  
pp. 89-92
Author(s):  
I. PRIYMAK ◽  
Keyword(s):  
National Identity ◽  
Literary Criticism ◽  
Interwar Period ◽  
Native People ◽  
The Novel ◽  
National Liberation Movement ◽  
Literary Process ◽  
Long Time ◽  
Artistic Heritage ◽  
Comprehensive Study

The article examines the work of Oksana Kerch – a representative of the literary process of the interwar period in Halychyna. Her work is considered in relation to the general artistic trends of the day, in particular in terms of stylistic features of the writer’s prose. For a long time, her work, removed from the cultural process, was on the margins of literary criticism. Although Oksana Kerch’s prose is unknown to the general public, her artistic heritage is original and distinctive. At one time, the writer’s works were published on the pages of well-known periodicals, such as “Women’s Fate”, “Nova hata”, “Ukrainian News”, and were published in separate prints. The return of the artistic figure of Oksana Kerch to the all-Ukrainian literary process necessitated a comprehensive study of her creative heritage. In particular, it is important to consider the genre and style specifics of the writer’s novels. The novel “The Groom” is bright and original in the writer’s artistic work. In this novel the author recreates the dramatic events of the interwar decades in Halychyna. A notable feature of the work is autobiography – the writer herself witnessed those turbulent events of the struggle of Ukrainian patriotic youth for their national identity. The novel consists of twenty-one stories. The four main characters take turns telling about the life of military and interwar Lviv and its inhabitants. On the printed pages, the author created a unique figurative world that reflected the conflicts of the era. In the novel, Oksana Kerch recreates the environment in which the ideas of the national liberation movement are born, and through the perception of her own national identity, she models neo-romantic ideals on her way to serve the native people. The neo-romantic concept is vividly embodied in the pages of the work. Here the author continues the tradition that has developed in Ukrainian neo-romanticism – the dominance of the theme of Ukraine, the struggle for its independence.

Mössbauer spectroscopy of clays, soils and their mineral constituents

Clay Minerals ◽  
2010 ◽  
Vol 45 (4) ◽  
pp. 413-430 ◽  
Author(s):  
E. Murad
Keyword(s):  
Mössbauer Spectroscopy ◽  
Mossbauer Spectroscopy ◽  
Mößbauer Spectroscopy ◽  
Wide Range ◽  
Basic Physics ◽  
Abundant Element ◽  
Resonant Emission ◽  
The One ◽  
Almost All

AbstractMössbauer spectroscopy is the technique of recoil-free resonant emission and absorption of gamma rays. It has the advantage of being oblivious to all elements except the one under survey. In the case of materials formed on the earth’s surface, such as soils and clays, the only propitious element is Fe. Iron is the fourth most abundant element in the Earth’s crust, it is essential for life, and almost all environmental materials contain at least some Fe. It is also fortuitous that57Fe Mössbauer spectroscopy is among the most straightforward to operate.57Fe Mössbauer spectroscopy thus allows the characterization of iron speciation, and thereby of environmental conditions, over a wide range of concentrations, making it an extremely effective environmental probe.Straightforward as it may seem, Mössbauer spectroscopy nevertheless has many pitfalls. Besides problems arising from the basic physics, complications can arise among other causes from imperfect crystallinity (small particle size), non-stoichiometry, interparticle effects and isomorphous substitutions.In this paper a succinct review of the basic principles of Mössbauer spectroscopy is presented, followed by examples of Mössbauer spectra of minerals that are common constituents of clays and soils, and by more complex cases of soils, clays and fired clays.

The Discipline and Significance of Form in Vanity Fair

PMLA ◽  
1967 ◽  
Vol 82 (7) ◽  
pp. 530-541 ◽  
Author(s):  
Edgar F. Harden
Keyword(s):  
The Other ◽  
The Novel ◽  
Ability To Work ◽  
Vanity Fair ◽  
The One ◽  
Almost All

Almost all critics of Vanity Fair have assumed that Thackeray's novel had no very carefully worked out structure and have been content to make rather general comments on the form of the novel: it was loosely improvised along the line of a contrast between Becky and Amelia. J. Y. T. Greig, for example, believes that Thackeray not only lacked Fielding's ability to work out a highly detailed plot but also suffered from the additional handicap of being forced to compose hurriedly for monthly serialization. To Greig, “Vanity Fair is unified and shapely up to and including the episodes of Brussels and the Battle of Waterloo: for although it contains two heroines, the adventures and sufferings of the one are causally related to the adventures and sufferings of the other. It becomes unified and shapely again after Chapter xliii (Pumpernickel), and for the same reason. But in between—roughly 300 pages—the plot of the first and last sections of the book is suspended, and the unity of the novel disappears.”

Ovid on Reading: Reading Ovid. Reception in OvidTristiaII

1999 ◽  
Vol 89 ◽  
pp. 19-37 ◽  
Author(s):  
Bruce Gibson
Keyword(s):  
Literary Criticism ◽  
Wide Range ◽  
The One ◽  
Ars Amatoria ◽  
As If

In this paper I propose to consider Ovid's poem as a document of literary criticism, which offers us a striking treatment of the role of the audience in reception. Ovid's concerns are twofold: on the one hand he is concerned with the ostensible manner in which his own works have been read, but he also discusses a wide range of other texts, and in doing so, offers readings of them, which, I will argue, illustrate the open-ended nature of reception and meaning.Now, undoubtedly we are sometimes too willing to label works as ‘anti-Augustan’ or ‘Augustan’, as if that was all that could be said about them; the glib use of such terms often seems to obscure more complex and more interesting questions (theAeneidand theGeorgicsare familiar examples). But with Ovid, however, such issues are at least raised by the poet himself, since the exile poems do deal with Ovid's attitude to Augustus, and the twin possibilities of writing poetry which can offend the emperor, or which can please him. Now while Ovid's famous explanation of the causes of his exile as ‘carmen et error’ (Trist.2.207) may perhaps be a smokescreen — Ovid adducing theArs Amatoriaas his fault in order not to have to go into the details of what theerrorwas that had offended Augustus —Tristia2 must still be considered on its own terms; Ovid writes as if it is possible for Augustus to be offended by his poetry, and therefore the issue is an important one.

scholarly journals A systematic evaluation of assumptions in centrality measures by empirical flow data

2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Mareike Bockholt ◽  
Katharina A. Zweig
Keyword(s):  
Real World ◽  
Process Model ◽  
Systematic Evaluation ◽  
Centrality Measures ◽  
The Real ◽  
Link Type ◽  
Network Process ◽  
The One ◽  
Almost All ◽  
The Impact

AbstractWhen considering complex systems, identifying themost importantactors is often of relevance. When the system is modeled as a network, centrality measures are used which assign each node a value due to its position in the network. It is often disregarded that they implicitly assume a network process flowing through a network, and also make assumptions ofhowthe network process flows through the network. A node is then central with respect to this network process (Borgatti in Soc Netw 27(1):55–71, 2005,10.1016/j.socnet.2004.11.008). It has been shown that real-world processes often do not fulfill these assumptions (Bockholt and Zweig, in Complex networks and their applications VIII, Springer, Cham, 2019,10.1007/978-3-030-36683-4_7). In this work, we systematically investigate the impact of the measures’ assumptions by using four datasets of real-world processes. In order to do so, we introduce several variants of the betweenness and closeness centrality which, for each assumption, use either the assumed process model or the behavior of the real-world process. The results are twofold: on the one hand, for all measure variants and almost all datasets, we find that, in general, the standard centrality measures are quite robust against deviations in their process model. On the other hand, we observe a large variation of ranking positions of single nodes, even among the nodes ranked high by the standard measures. This has implications for the interpretability of results of those centrality measures. Since a mismatch of the behaviour of the real network process and the assumed process model does even affect the highly-ranked nodes, resulting rankings need to be interpreted with care.

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