A morte como conclusão

2016 ◽  
Vol 4 (8) ◽  
pp. 203
Author(s):  
Ana Maria De Almeida

Resumo: Considerações sobre o tempo em D. Quixote, observando-se as ilhas de quase-eternidade das seqüências bucólicas e o universo de pura ocorrência da narrativa cavaleiresca.Abstract: This paper presents some considerations about time in the novel D. Quixote. It points out that a temporal order, distinct from either concrete time or eternity, prevails in the bucolic sequences; on the other hand, the pure occurrence appears as the main process in the temporal structure of the chivairic narrative.

Author(s):  
Robina Naz ◽  
Yaqoob Khan Marwat

Temporal Structure is an essential element of the narrative works as well as a component of narratives. It has become a prominent issue in literary criticism in 20th century. Because time structure plays an enormously important role in the construction of story/novel, the other elements of the novel/story cannot be viewed without temporal space. It is temporal space/structure on which the events of the story are based and rhythm, flow and continuity of the story can be maintained by temporal space. Events cannot exist out of the temporal structure of the story. This study deals with the temporal structure and its role in the novel “Killer of Hamza” by Najeeb Gillani and attempts to reveal the method of constructing time in the novel by standing on temporal order and temporal paradoxes both types of retrieval and anticipation, as well as the structure of the rhythm of time such as the technique of speeding narration with its movements (The dialogue scene, the descriptive position) and the frequency of the three types (solitary, repetitive, author).  In addition, the study concludes the discussion based on the findings.


2017 ◽  
Vol 1 (2) ◽  
pp. 235
Author(s):  
Fadlil Munawwar Manshur

This paper discusses the theory advanced by Bakhtin about dialogism and methodological concepts. This theory to formulate the concept of human existence on the other, which is based on the idea that humans judge him from the viewpoint of others. Humans understand the moments of consciousness and take it into account through the eyes of others. According to this theory, the essence of human life is a dialogue. The Method of heteroglossia talks about signs in the universe of individuals because of the word "heteros" means "other" or different, while "glossia" means the tongue or language. In this method mentioned that people are saying needs to be heard, and the author also has the same rights that words need to be heard. A word is born from dialogue to address the problems of life. On the other hand, Bakhtin sees carnival method has spawned a new literary genre, the polyphonic novel. The polyphonic novel is a novel that is characterized by a plurality of voice or consciousness, and the voices or the overall awareness dialogical. Polyphonic essentially a "new theory of authorial viewpoint". Polyphonic appear in fiction when the position of the author freely allowed to interact with the characters. The characters in the novel are freely polyphonic appear to argue with each other and even with the author.


Author(s):  
Elke Van Nieuwenhuyze

The aim of this article is to trace the referential value of juffrouw Lina (1888)as part of its narrative organisation by means of the narrativist historical theoryof Frank Ankersmit. This starting point demands a confrontation of thisnaturalist novel by Marcellus Emants with the contemporary medical biographyof the French writer and politician Chateaubriand by the Belgian physicianErnest Masoin on the one hand and with some case studies of hystericsby the famous French docter Jean-Martin Charcot on the other hand. lt willbe argued that the narrativity of the novel plays a key-role in the constructionof its referential value on various levels.


Author(s):  
Tatiana A. Bystrova ◽  

The paper examines two key novels by Sandro Veronesi, the modern Italian writer, Calm Chaos (2006) and Colibri (2020). Both novels were awarded Italy’s main literary prize, the Premio Strega, which is a unique precedent. The relevance of the article comes from the high demand for research on contemporary Italian literature on the one hand and from the novelty of the proposed interpretation for the novel Calm Chaos on the other hand. For the first time, the protagonist of Calm Chaos, Pietro Palladini, is presented not as a preacher of eternal values, returning the reader to the theme of knowing oneself and the surrounding world, but as a mad visionary with clear signs of psychopathy and schizophrenia. The analysis of Veronesi’s latest novel Colibri reveals the character’s evolution and the writer’s narrative manner. The theme of psychiatry in the life of a modern person appears to be one of the key ones in Veronesi’s work.


2021 ◽  
Vol 1 (4) ◽  
pp. 31-37
Author(s):  
Mona Beniwal ◽  
◽  
Dr. Anshu Raj Purohit

The novel presents a variety of characters, each has his own journey. Since the novel puts forth the time of partition (Indo- Bangladesh) and time after it, characters can be seen with traits which are both traditional and modern. It is due to their upbringing and values that their mind has certain inclinations. Because of her traditional values Thamma shows repulsion towards Ila and Tridib. The later ones on the other hand has their own personal set of beliefs to live their lives. Such disparity in thoughts gives a hint of clashes between them in many parts of the novel. However, even the traditional characters carry a spirit of freedom and modernity within them. Also modern characters have an urge to cling to their roots too.


1996 ◽  
Vol 51 (1) ◽  
pp. 84-110
Author(s):  
Pamela Dalziel
Keyword(s):  

The selectivity and obliquity of Arthur Hopkins's illustrations for the 1878 Belgravia serialization of The Return of the Native result in a distorted reading of Hardy's text, especially through their avoidance of the passionate and subversive and their tendency to represent the novel as substantially more conventional than it actually is. Hopkins's Thomasin and Venn are represented as unambiguously and conventionally "good"; there is no visual acknowledgment of the more radical Thomasin or the more threatening Venn. Wildeve is essentially avoided as a pictorial subject, as is the problematic Clym of the novel's final books. Eustacia, on the other hand, figures prominently in the illustrations, initially-in keeping with her departure from hegemonic notions of viruous femininity-as a somewhat "masculine" figure. Follwoing Hardy's insistence that she be rendered more conventionally attractive. Hopkins rather incongruously transforms her into an object of desire, only to revert in the final illustration to his less than sympathetic reading: refusing to participate in the erotics of death of Hardy's text, Hopkins punishes the "fallen woman" by reducing her to a misshapen corpse. Hardy's essential toleration-and in some instances actual encouragement-of what now seem "unrepresentative" representations of his work appears to have been related to his own anxiety about the novel's success and based on the recognition that the very conventionality of the illustrations could be a valuable ally in his struggle to render publishable a text that pushed persistently against the limits of the then acceptable.


2000 ◽  
Vol 90 (1) ◽  
pp. 73-80 ◽  
Author(s):  
Takahiro Tamura

In this experiment with a Novel Label Task, 48 children ages 5 to 6 years were given a novel word for a target item, e.g., a dog. They were also given one of two types of featural information for the target item, a feature naturally common to animals, i.e., “This has a heart inside,” or an accidental feature uncommon to animals, i.e., “This gets a splinter.” As a result, the number of children who interpreted the novel word at the superordinate level (animal) increased significantly when they were given the feature naturally common to animals. On the other hand, there was no significant increase for an accidental feature. Further, the children were given the instruction that all animal items in this task had the same featutes as the target item. As a result, although the number of children who interpreted the novel word at the superordinate level (animal) increased significantly when they were given both the feature naturally common to animals and also the accidental feature, there were more when the instruction was with the feature naturally common to animals than with the accidental feature. The findings were discussed in relation to the factors corresponding to young children's interpretation of a novel word at the superordinate level.


PMLA ◽  
1969 ◽  
Vol 84 (6) ◽  
pp. 1644-1648
Author(s):  
Albert Chesneau

Simple structural analysis applied to passages cited from the works of André Breton elucidates the reasons for his condemnation of the statement La marquise sortit à cinq heures (see his Manifeste du surréalisme, 1924) as non-poetic. This study demonstrates the opposition existing between the above-mentioned realist sentence, essentially non-subjective (third-person subject), non-actual (past tense predicate), contextual (context can be supposed), and prosaic (lack of imagery), and on the other hand a theoretic surrealist sentence, essentially subjective (first-person subject), actual (present tense predicate), and non-contextual, producing a shock-image. In reality, Breton's surrealistic phrase does not always contain all of these qualities at once. However, in contrast to the condemned phrase which contains none at all, it does always manifest at least one of these characteristics, the most important having reference to the evocative power of the shock-image. A final comparison with a sentence quoted from Robbe-Grillet, the theoretician of the “nouveau roman”, proves that even though it may appear objective, the surrealist phrase is really not so. In conclusion, the four characteristics of the ideal surrealist sentence—subjectivity, actuality, non-contextuality, and ability to produce shock-images—create a poetics of discontinuity opposed to the classical art of narration as found traditionally in the novel. (In French)


2012 ◽  
Vol 67 (3) ◽  
pp. 243-252 ◽  
Author(s):  
Leila S. Boulos ◽  
Hoda A. Abdel-Malek ◽  
Naglaa F. El-Sayed

2-Arylidenebenzosuberones react with a Wittig-Horner reagent in the presence of sodium hydride as a base to give the novel dimethyl (4-(4-methoxyphenyl)-2-oxa-2,3,4,5,6,7-hexahydrobenzo- [6,7]cyclohepta[1,2-b]pyran-3-yl)phosphonate. On the other hand, 6,7-dihydrobenzo[6,7]cyclohepta- [1,2-b]pyran-2(5H)-ones were isolated from the reaction of 2-arylidenebenzosuberones withWittig- Horner reagents using alcoholic sodium alkoxide. The reaction of 2-arylidenebenzosuberones with trialkyl phosphites affords the alkyl phosphonate derivatives. Tris(dialkylamino)phosphines react with 2-arylidenebenzosuberones to give the oxaphospholanoxide products. 2-Arylidenebenzosuberones react with Lawesson’s reagent to yield the corresponding dimers. Some of the prepared products were screened for antitumor activity


AJS Review ◽  
2017 ◽  
Vol 41 (1) ◽  
pp. 67-88
Author(s):  
Dvir Tzur

The article discusses the image of Tel Aviv, the first Hebrew city, as it is described in the novelPreliminariesby S. Yizhar (Yizhar Smilansky), one of Israel's best-known authors. In this novel, which engages with the question of home and borders, borders function as a double-edged sword: on the one hand, they define home and create a circumscribed place for the protagonist and his family. On the other hand, the novel dwells on the urge to cross borders and shatter the distinction between home and the world. In this regard, Tel Aviv is sometimes described as a pleasant, “normal” city, yet at other times it is written as a perilous place—since it divides between Jews and Arabs. Tel Aviv is also the place where one can imagine a great future or see a concealed history. It is a total urban experience, encapsulating the individual.


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