AUTHOR AND A CHARACTER OF WITOLD GOMBROWICZ IN THE ENLIGHTENMENT OF ANTHROPOLOGY OF LITERATURE

2019 ◽  
pp. 334-340
Author(s):  
Kateryna Strohanova
Keyword(s):  
Cultural Identity ◽  
Virtual Worlds ◽  
Main Character ◽  
Witold Gombrowicz ◽  
Cultural Process ◽  
General Overview ◽  
Self Image ◽  
The Enlightenment ◽  
Anthropological Research ◽  
Psychological Features

The review of Witold Gombrowicz’s self-image due to questions and tasks of anthropology of literature pro- vides a possibility to make an analysis of such aspects and motivators as family, civilization process, role in national cultural process, position in social formations. Analysis is based on Gombrowicz’s prose, memoirs and personal correspondence. Psychological portrait of character-narrator and author himself – autobiographism is pronounced in each Gombrowicz’s main character – is depicted very clearly and has the signs of emotional influences experienced by the writer in his childhood and further years. These influences have formed Gombrowicz’s philosophical concepts, especially his theory of Form, and deter- mined writer’s position in questions of national and cultural identity. Answers on one of the most important issues that anthropology of literature tries to resolve – for what purpose a writer creates virtual worlds – can be successfully looked for in Witold Gombrowicz’s works. Universalism and ubiquity of self-im- age in all literary works is one of the unique features which makes Gombrowicz a perfect object for anthropology of literature. As several scientists have noted, the whole heritage of Gombrowicz is a one large novel with the same character who faces various circumstances and tries to manage them. Reactions, motivations, positions of this character are usually equal to author’s – Gombrowicz always considered himself as the most important and main character. So Gombrowicz’s works become an extremely fruitful field for literary-anthropological research – the writer writes only about himself, he analyses deeply his psychological features and external influences which motivated his actions and formed his opinions. This research is the beginning of a prospective road – the main questions are claimed, the main vectors are defined and the general overview of problematics is made; the deeper analysis of Gombrowicz’s prose and memoirs with usage of literary-anthropolog- ical instruments and considering of it’s issues demand more expanded study which will shortly appear in Ukrainian Polish studies.

scholarly journals Mythe de beauté et image de soi chez une adolescente dans « Robert des noms propres » d’Amelie Nothomb

FRANCISOLA ◽  
2019 ◽  
Vol 3 (2) ◽  
pp. 153
Author(s):  
Tania INTAN
Keyword(s):  
Descriptive Analysis ◽  
Literary Work ◽  
The Novel ◽  
Main Character ◽  
Mots Clés ◽  
Holistic View ◽  
Self Image ◽  
Wide Range ◽  
French Speaking ◽  
The Relationship

RÉSUMÉ. Cette étude vise donc à prouver surtout la relation entre le ballet, l'anorexie, et l'image de soi chez le personnage principal du roman Robert des Noms Propres, écrit en 2013 par Amélie Nothomb, une auteure francophone de Belgique. Cette recherche utilise la méthode d'analyse descriptive, pour obtenir une vue holistique des problèmes dans l'œuvre littéraire, qui ont été étudié en utilisant l'approche psychologique. Cette écriture est préparée en utilisant un large éventail de documents liés au thème du ballet, l'anorexie, et l'image de soi chez les filles. Le résultat de la recherche montre qu'il existe une relation causale entre ces trois elements cités. Le trouble de l'alimentation s’est montré depuis l’enfance du personnage principal qui devient anorexique en raison d'un traumatisme, les influences de l'environnement, ainsi que les exigences de sa profession en tant que danseuse de ballet. Cette recherche apporte également l’information que l’image de soi chez l’adolescente s’est formé dans les aspects cognitifs, affectifs, et psychomotoriques. Mots-clés : ballet, anorexie, image de soi, adolescente ABSTRACT. This study aims to prove above all the relationship between ballet, anorexia, and self-image in the main character of the novel Robert des Noms Propres, written in 2013 by Amélie Nothomb, a French-speaking author from Belgium. This research uses the method of descriptive analysis, to obtain a holistic view of the problems in the literary work, which were studied using the psychological approach. This writing is prepared using a wide range of documents related to the theme of ballet, anorexia, and self-image in girls. The result of the research shows that there is a causal relationship between these three elements. The eating disorder has been shown since the childhood of the main character who becomes anorexic due to trauma, environmental influences, as well as the demands of her profession as a ballet dancer. This research also brings the information that the adolescent's self-image has formed in the cognitive, affective, and psychomotoric aspects. Keywords: ballet, anorexia, self-image, adolescent girls

scholarly journals The Black Culture Movement and the Black Community

1976 ◽  
Vol 10 (2) ◽  
pp. 185-214
Author(s):  
John Runcie
Keyword(s):  
Cultural Identity ◽  
Black Americans ◽  
James Baldwin ◽  
Black Child ◽  
Black Culture ◽  
Dominant Culture ◽  
Skin Bleaching ◽  
African Heritage ◽  
Self Image ◽  
The Media

The problem of defining a coherent cultural identity is one that has confronted generations of Afro-Americans. As part of the justification and defence of slavery and the slave trade many whites rationalized their actions by arguing that all Africans were cultureless savages. The same combination of guilt and arrogance induced them to attempt to suppress and denigrate surviving elements of a culture whose very existence they had already denied. Most black Americans responded to these pressures by rejecting Africa and their African heritage as a source of shame and by trying to deny and to erase their blackness. Malcom X clearly understood this when he proclaimed in 1965: ‘ We have been a people who hated our African characteristics. We hated our black heads, we hated the shape of our noses …, we hated the color of our skin.’ Identification with the dominant white culture took many forms. For some Blacks it involved the use of hair straightening and skin bleaching; for others it meant the elimination of any ethnic quality in their speech, dress, cuisine and religion; for many more it meant a life of morality and hard work lived according to the dictates of the Puritan ethic. The loss of any distinctive cultural identity involved in this process was made worse by the unwillingness of white society to recognize and accept the Afro-American as part of the dominant culture. In these circumstances many blacks found themselves in a cultural limbo without an adequate self-image. White domination of the media meant that they sometimes felt literally invisible. James Baldwin drew attention to this dilemma in a speech delivered in June 1963, when he noted that:A black child born in this country … discovers two terrifying things. First of all he discovers that he does not exits in it, no matter where he looks – by which I mean books, magazines, movies – there is no reflection of himself anywhere … [if] he finds anything which looks like him, he is authoritatively assured that this is a savage, or a comedian who has never contributed anything to civilization.

The History of Science as European Self-Portraiture

2006 ◽  
Vol 14 (4) ◽  
pp. 523-536 ◽  
Author(s):  
LORRAINE DASTON
Keyword(s):  
History Of Science ◽  
Scientific Revolution ◽  
18Th Century ◽  
World History ◽  
The Self ◽  
Self Image ◽  
The Enlightenment ◽  
History Of

Since the Enlightenment, the history of science has been enlisted to show the unity and distinctiveness of Europe. This paper, written on the occasion of the award of the 2005 Erasmus Prize to historians of science Simon Schaffer and Steven Shapin, traces the intertwined narratives of the history of science and European modernity from the 18th century to the present. Whether understood as triumph or tragedy (and there have been eloquent proponents of both views), the Scientific Revolution has been portrayed as Europe's decisive break with tradition – the first such break in world history and the model for all subsequent epics of modernization in other cultures. The paper concludes with reflections on how a new history of science, exemplified in the work of Shapin and Schaffer, may transform the self-image of Europe and conceptions of truth itself.

Orthodoxy

2017 ◽  
Author(s):  
Norman Russell
Keyword(s):  
Nineteenth Century ◽  
Cultural Identity ◽  
Important Influence ◽  
Complex Relationship ◽  
Indelible Mark ◽  
Russian School ◽  
The Enlightenment ◽  
Orthodox Theology ◽  
Modern Orthodox

Orthodox theologians were aware of developments in Western thinking in the nineteenth century, and sought to define their religious and cultural identity in relation to them. In Russia, this found expression in the Slavophile movement and the ‘Russian School’ with its notion of ‘Godmanhood’. Within the latter context, Soloviev’s controversial sophiology was to exercise an important influence. By the end of the century, prominent members of the intelligentsia had begun to return to Orthodoxy in a movement known as the ‘Russian religious renaissance’. In the Greek-speaking world, the guiding spirit was Korais, who saw it as his mission to bring to Greece the values of the Enlightenment. Koraism inspired the liberal wing of the Greek Church, which was vigorously opposed by the conservatives. The complex relationship between the imitation of Western patterns of thought and the recovery of older Orthodox traditions has left an indelible mark on modern Orthodox theology.

Culture, Ethnicity, and Inculturation

2001 ◽  
Vol 18 (1) ◽  
pp. 154-178 ◽  
Author(s):  
Jan H. Pranger
Keyword(s):  
Ethnic Identity ◽  
Sri Lanka ◽  
Cultural Identity ◽  
Ethnic Conflict ◽  
Ethnic Identities ◽  
Theoretical Understanding ◽  
Cultural Process ◽  
Political Processes ◽  
Local Construction ◽  
The Way

AbstractThis article discusses the concept "inculturation" from both a critical and constructive perspective. It is concerned with the ideas about "culture" and cultural or ethnic identity that underlie the discourse and practice of inculturation. While inculturation is an important hermeneutical and theological principle it is necessary to be critical of the way in which theologians sometimes employ these notions, in particular in situations of ethnic conflict. The article juxtaposes essentialist and static assumptions about ethnic identity and culture underlying projects of inculturation in Sri Lanka with theoretical, postcolonial perspectives on such identities as "negotiated" or "constructed" in an ongoing cultural process. It considers the possible implications of such a perspective for the practices of inculturation in Sri Lanka, as well as the consequences for the theoretical understanding of the concept inculturation itself. The article criticizes the understanding of cultural or ethnic identity as the foundation of theological inculturation, and raises the question what does constitute such a basis. It argues, first, for an emphasis on the theological basis of inculturation in God's incarnation and saving presence in human cultures. Second, difference of culture rather than cultural identity should constitute the basis for the local construction of theology. Third, it argues that claims for theological difference are always voiced within, and therefore already presuppose, ecumenical or catholic relationships and structures of communication. The article concludes by arguing, on the basis of a "globalized" and postcolonial concept of culture, for an understanding of inculturation that includes other than cultural or ethnic identities as part of its concern with culture, as well as socioeconomic and political processes. It is hoped that a revision of the concept of inculturation along these lines may be more helpful in situations of ethnic conflict, and may also help to bring a convergence between the understanding of inculturation and contextualization.

scholarly journals ТРАНСФОРМАЦИЯ РОМАНТИЧЕСКИХ МОТИВОВ В РОМАНЕ ПАТРИКА ЗЮСКИНДА «ПАРФЮМЕР»

2019 ◽  
Vol 3 (93) ◽  
pp. 117-128
Author(s):  
С.Л. Лобзова
Keyword(s):  
Cultural Context ◽  
Point Of View ◽  
German Language ◽  
Main Function ◽  
The Novel ◽  
Main Character ◽  
Second Stage ◽  
Modern Novel ◽  
The Enlightenment ◽  
Romantic Hero

The article attempts to highlight the main romantic motifs that the modern German writer Patrick Süskind used in his novel Perfume: The Story of a Murderer. Symbolic for the contemporary cultural context figurative semantic constants (genius, loneliness, rejection, godlessness, etc.) are assigned to such motifs. The ways and means of rethinking romantic motifs in a modern novel are determined, the specifics of their transformation in a postmodern text is analyzed. The similarities between the work of Süskind and popular upbringing novels in the Enlightenment are noted: the main character of the modern German writer goes through the thorny path of formation, he improves his gift, thanks to which he hopes to change the world, subjugate other people to himself. The parody evangelical allusions that contribute to the deconstruction of the romantic figure of an unrecognized genius are analyzed. The postmodernist writer debunks and ridicules the hero, turning the imaginary king into a jester. Unlike the romantic hero, whose main function was to broadcast the divine will, Jean-Baptiste Grenouille refutes the truth of the Absolute by his existence and the ingenious gift inherent in him by nature. The article concludes that Süskind refers to a stable romantic model, implemented many times in literature and art, setting his own accents in his own way, bringing the romantic structure to its limit. This model goes through the second stage in its development, according to the Hegel’s triad, namely, the negation of negation, when any phenomenon turns into its opposite. Refuting the well-known Pushkin’s claim that “genius and villainy are two incompatible things”, the writer at the same time comes to the conclusion that evil, even without meeting a worthy opponent, is destructive to himself. We see further research prospects in the study of the novel in the context of the work of Süskind and modern German-language literature from the point of view of transforming the romantic tradition in the post-modern text.

scholarly journals Citra Wanita Tokoh Utama Rani Novel Cerita Tentang Rani Karya Herry Santoso Kajian Kritik Sastra Feminis

2020 ◽  
Vol 9 (2) ◽  
pp. 137-143
Author(s):  
Hasindah Mawarni ◽  
Sumartini Sumartini
Keyword(s):  
Literary Criticism ◽  
Young Woman ◽  
Research Method ◽  
Family Members ◽  
Psychological Aspects ◽  
Main Character ◽  
Social Image ◽  
Self Image ◽  
Feminist Literary Criticism ◽  
The Family

Tujuan penelitian ini adalah untuk mengetahui citra wanita dalam sebuah novel karya Herry Santoso berjudul Cerita Tentang Rani. Pendekatan yang digunakan dalam penelitian ini adalah feminisme dan dikaji menggunakan kritik sastra feminis. Metode penelitian yang digunakan yaitu metode deskripsi kualitataif. Adapun permasalahan yang muncul dalam penelitian ini adalah bagaimana citra wanita tokoh utama Rani yang terdapat dalam novel Cerita Tentang Rani karya Herry Santoso. Dalam artikel ini, ditemukan citra tokoh utama Rani meliputi, citra diri dan citra sosial. Citra diri wanita terdiri dari aspek fisik dan psikis, dalam aspek fisik tokoh Rani digambarkan sebagai wanita muda yang cantik dan sudah berkeluarga, seorang wanita yang pandai memasak serta berpenampilan menarik. Dalam aspek psikis Rani digambarkan sebagai wanita yang kuat, tegas, berani, penyanyang keluarga, berani berpendapat yang dianggap benar, selalu bersikap patuh, sabar dan patuh pada perintah suaminya. Sedangkan, citra sosial terdiri dari citra dalam keluarga dan citra dalam masyarakat. Citra dalam keluarga tokoh utama Rani berperan sebagai seorang istri, anak dan anggota keluarga yang penuh tanggungjawab, menyanyi orangtua. Sedangkan, citra dalam masyarakat Rani berperan sebagai wanita yang aktif, tegas dan disiplin, peduli, bertanggungjawab atas tugasnya sebagai seorang guru. The purpose of this research is to find out the image of women in a novel by Herry Santoso entitled Story About Rani. As for the problem that arises in this research is how the image of the main character Rani is contained in Cerita Tentang Rani Herry Santoso'snovel. The approach used in this study is feminism and studied using feminist literary criticism. The research method used is the quality description method. In this article, the image of Rani's main characters is found, including self-image and social image. Women's self-image consists of physical and psychological aspects, in the physical aspects of the character Rani is described as a beautiful young woman and has a family, a woman who is good at cooking and attractive appearance. In psychic aspects, Rani is described as a woman who is strong, firm, brave, family, daring to think that she is right, always being obedient, patient and obedient to her husband's orders. Whereas, social image consists of images in the family and images in society. The image in the family of the main character Rani acts as a wife, child and family members who are full of responsibility, singing parents. Meanwhile, the image in the Rani community acts as a woman who is active, assertive and disciplined, caring, responsible for her duties as a teacher.  

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