scholarly journals Representação e performance na literatura contemporânea

2007 ◽  
Vol 16 (2) ◽  
pp. 80-93
Author(s):  
Luciene Azevedo
Keyword(s):  
Contemporary Literature ◽  
Literary Tradition ◽  
The Other ◽  
Clarice Lispector ◽  
The Novel ◽  
A Performance

Resumo: Identificando no romance A hora da estrela, de Clarice Lispector, a problematização da questão da representação do Outro, marca importante da tradição literária brasileira, o ensaio levanta a hipótese de a literatura contemporânea deslocar- se do paradigma da representação para o da performance construída sobre um precário equilíbrio entre a crítica e a reiteração de muitos preconceitos e estereótipos, desestabilização para a qual já acena o romance publicado em 1977. A ambigüidade da performance desdobra a questão da representação do Outro e abre um capítulo novo nos embates sobre o papel do escritor e da literatura.Palavras-chave: performance; representação; literatura contemporânea.Abstract: Identifying in Clarice Lispector’s novel A Hora da Estrela the discussion about the representation of the other, an important mark in the Brazilian literary tradition, the essay raises the hypothesis that contemporary literature dislocates the paradigm of representation to that of a performance constructed on a precarious balance between criticism and the reiteration of many preconceptions, to which the novel published in 1977 points. The ambiguity of the performance unfolds the question of the representation of the other and opens a new chapter by addressing the role of the writer and of literature.Keywords: performance; representation; contemporary literature.

THE HERO OF THE NOVEL BY I. MALYSHEV “NOMAKH” AND THE YEGOR LETOV’S POETICS

2021 ◽  
pp. 92-101
Author(s):  
Denis L. Karpov ◽  
Keyword(s):  
Civil War ◽  
Consumer Culture ◽  
Contemporary Literature ◽  
Literary Tradition ◽  
Cultural Discourse ◽  
The Novel ◽  
The West ◽  
Difficult Situation ◽  
Literary Life ◽  
Civil War Era

Contemporary literature is being formed in a difficult situation of polyphony of the modern consumer culture. Mainstream discourses are mixed with subcultural ones, the authors are influenced not only by the literary tradition itself, but also, for example, by rock culture. Thus, the countercultural, subcultural experience, which until recently was considered as peripheral, is actively being introduced into the socio-cultural discourse of modern Russia through the assimilation by authors claiming a place in the center of the country’s literary life. The novel by I. Malyshev “Nomakh” may be considered as an example of such influence. It became a finalist of the literary prize contest “Big Book” in 2017. The novel is clearly influenced by countercultural ideology, in particular by E. Letov, one of the most popular and reputable representatives of the West Siberian counterculture. At the same time, there are no direct references or quotations from the poetry of the Omsk musician in the novel. Rather, one can see some stylistic likenesses, similar figurative complexes. The reception of a historical character from the civil war era is based on the learned principles of poetics and Letov’s worldview. In addition, adopting the intellectual experience of the counterculture, I. Malyshev’s novel not only relays a certain ideology, but also, with the help of artistic means, recreates or completes the images of its hero, historical character, and cultural heroes, which he focuses on.

Introduction: Religion and the Novel

2019 ◽  
pp. 3-33
Author(s):  
Christina Phillips
Keyword(s):  
Postcolonial Studies ◽  
Critical Role ◽  
Postcolonial Literature ◽  
The Other ◽  
The Novel ◽  
Religion And Literature ◽  
Religious Other ◽  
Role Of Religion ◽  
The Relationship

This chapter introduces the topic of religion and literature, theorises the novel as a secular genre, and develops a concept of religion as the other in the Arabic novel. It begins with a discussion of the relationship between religion and literature, identifying imagination, metaphorical language and mythos as areas of overlap, before turning to the question of religion and the Arabic novel as a modern form which eschews faith and dogma but is nevertheless packed with religious themes, images, characters, language and intertextuality. This is accounted for by the form’s secularism, which is theorised in terms of Charles Taylor’s conditions of belief. Literary secularism is not static and stable however, thus religion emerges as the other in the Egyptian novel, with all the ambivalence which alterity characteristically entails. This religious other calls into question postcolonial studies’ over-valorisation of the East/West binary insofar as it has obscured the critical role of religion in Arab postcolonial literature and identity.

scholarly journals STUDYING THE ARTISTIC DETAIL (based on Donna Tartt’s novel «The Goldfinch»)

2021 ◽  
Vol 1 (192) ◽  
pp. 80-84
Author(s):  
Olha Kozii ◽  
Keyword(s):  
Adult Male ◽  
Defense Mechanisms ◽  
The Other ◽  
The Novel ◽  
Main Character ◽  
Time And Space ◽  
Part D ◽  
Life And Death ◽  
Critical Situation

«The Goldfinch» is a story of a boy and later an adult male Theodore Decker who accidentally obtains a masterpiece. The writer, as a surgeon, separates one second of expectation from the other, detail from detail. The reader is presented not just a frightened child but deep sorrow of the loss of the whole world. In the second chapter of the first part D. Tartt reveals herself as a skillful psychologist, skillfully accustoms herself to the inner state of the main character, with him she travels through the memories, tracks associative relationships he makes. The writer brilliantly follows all defense mechanisms of a man who is faced with the inevitability. The author uses gradation way of describing while stringing visual and auditory details, retards artistic time. The writing of D. Tartt is characterized by the unique skill in the detail describing. The role of artistic detail in the process of inner state depicting is investigated. The author touches upon the problem of the depicting of critical situation in the novel. The attention is paid to the writer’s skills in showing main character’s feelings, memoirs, thoughts, associative relations and human nocifensor in critical situations. It is admitted that in case of such temporal and space detail the most suitable way of analysis is «in succession to the author». Thus, in the novel The Goldfinch D.Tartt declares herself a talented master of words, subtle psychologist and philosopher. As a surgeon, the writer separates one second of expectation from the other, detail from detail. Therefore, the reader can observe not just a frightened child but deep sorrow of the loss of the whole world. This is achieved by the skillful combination of visual and auditory details that create convex emotionally saturated images filled with heartbeat of life. The author dowers the main character – both a teenager and an adult man – with the ability to see deep philosophical maxims in small details, to decipher the message from the artist, to understand the dialectical interpenetration of life and death. Because of such careful author's treatment to the artistic time and space the most appropriate way to study seems to be the analysis «in succession to the author».

scholarly journals Philosophical contexts in Mary Shelley’s novel «Frankenstein»

2020 ◽  
Vol 25 (3) ◽  
pp. 61-66
Author(s):  
Konstantin A. Ozherelyev
Keyword(s):  
New Age ◽  
The Other ◽  
The Novel ◽  
Gothic Novel ◽  
Other Hand ◽  
The One

The paper analyzes the key philosophical contexts and subtexts of M. Shelley’s most famous work “Frankenstein”. According to the author of the article, the philosophical layer of this Gothic novel consists of ideas and maxims that directly inherit the concepts of the worldview platforms of Plato, J.-J. Russo, G. W. F. Hegel, K. F. Volney, W. Godwin, M. Wollstonecraft, as well as the philosophy of the New Age and romanticism. An assumption is made, on the one hand, about the proximity of some worldview attitudes of these philosophers and the author of “Frankenstein” and, on the other hand, about the deliberate introduction of philosophical passages into the fabric of the novel, which play the role of retardation elements.

Portentous arrangements: Bernard Herrmann and The Man Who Knew Too Much

2017 ◽  
Author(s):  
Murray Pomerance
Keyword(s):  
The Other ◽  
Film Production ◽  
Working Relationship ◽  
Television Programs ◽  
Wide Range ◽  
Symphonic Work ◽  
A Performance

While Herrmann's twenty-four successful and one failed collaboration with Hitchcock – including films and television programs – featured compositional scoring to some degree, Herrmann's work on The Man Who Knew Too Much (1956) is a peculiar deviation in the pattern of their regular working relationship because there are only a very small number of composed cues. The bulk of Herrmann's work on this film, which involved some considerable legal machinations, consisted of two very different kinds of contribution, each of which can tell us something about the composer's talents, diligence, and sensitivity to film production. On one hand he was called upon to arrange "received" music, and this in a wide range from Moroccan folk tunes to elaborate symphonic work, and including the traditionalist hymn, "The Portents." On the other, he became a member of the cast, on this one occasion only in his filmic work with Hitchcock, playing the role of a conductor at a performance in the Royal Albert Hall. This chapter argues that, since the overall score of the film is essentially an acoustic quilt, we find here evidence of a talent for assemblage and backgrounding that Herrmann does not have opportunity to show in his other work with Hitchcock.

COMMODITIES, OWNERSHIP, AND THE EUSTACE DIAMONDS: THE VALUE OF FEMININITY

2010 ◽  
Vol 38 (1) ◽  
pp. 39-52 ◽  
Author(s):  
Jen Sattaur
Keyword(s):  
Moral Worth ◽  
Legal Issues ◽  
The Other ◽  
The Novel ◽  
Fictional World ◽  
Commodity Culture ◽  
Recent Commentary ◽  
Female Condition ◽  
Different Types

In an 1867 treatise on diamonds and precious stones, Harry Emanuel writes the following: [I]n the process of cutting, flaws and imperfections are often laid bare, which go much deeper than the appearance of the rough diamond would predict; and, on the other hand, the colour, apparent in the rough stone, is sometimes found to arise from the presence of flaws or specks, which are removed in cutting, thus leaving the stone white. (70) From such a description, it is easy to see the parallel to the female condition, and particularly the female condition, as it is popularly portrayed in the mid-nineteenth century. With the emphasis on purity and hidden flaws, it is not difficult to understand why the diamond could hold such symbolic significance for the female wearer, by functioning as an indicator not only of personal wealth, but of moral worth. Trollope's The Eustace Diamonds (1871), a novel which can be said to revolve around this metaphor, is essentially a novel about worth: absolute vs. transitory worth, actual vs. symbolic worth, and especially monetary vs. moral worth. Lizzie's character, the legal issues surrounding the diamonds, and the convoluted marriage arrangements which are perpetuated by or affected by the presence of the diamonds are all, in one way or another, concerned with the different types of value – moral, symbolic, monetary, etc. – placed upon commodity objects: objects which, by their very nature, can never be permanently owned, as their value lies in their exchangeability. I will return later to a discussion of the diamonds themselves. There has been considerable recent commentary on the role of commodities – whatever their worth – and of commodity culture within Trollope's novel; such readings, however, concentrate on the purely symbolic role played by commodity objects – and primarily the diamonds – in the novel; it is worth, by contrast, examining how Trollope utilizes the discourses and associations of actual commodity objects as he deploys them within his fictional world. This paper will examine the ways in which Trollope uses four commodity objects in particular – books of poetry, hunting horses, the safe box, and finally, the Eustace diamonds themselves – and the contemporary discourses surrounding them to defend the essentially mercenary character of Lizzie as a woman shaped by the demands that a commodity-driven society places upon her.

Acquiring the transitive construction in English: the role of animacy and pronouns

1998 ◽  
Vol 25 (3) ◽  
pp. 605-622 ◽  
Author(s):  
KELLY DODSON ◽  
MICHAEL TOMASELLO
Keyword(s):  
Young Children ◽  
The Other ◽  
The Novel ◽  
Transitive Action ◽  
Only Children ◽  
The Third

Twenty-four children between 2;5 and 3;1 were taught two nonce verbs. Each verb was used multiple times by an adult experimenter to refer to a highly transitive action involving a mostly animate agent (including the child herself) and a patient of varying animacy. One of the verbs was modelled in the Two-Participants condition in which the experimenter said: ‘Look. Big Bird is dopping the boat’. The other verb was modelled in the No-Participant condition in which the experimenter named the Two-Participants but did not use them as arguments of the novel verb: ‘Look what Big Bird is doing to the boat. It's called keefing’. It was found that whereas many children produced transitive sentences with the Two-Participants verb, only children close to 3;0 produced transitive sentences with the No-Participant verb. This age is somewhat younger than previous studies in which young children were asked to produce transitive sentences with two lexical nouns for the two animate participants. Also, re-analyses of previously published studies in which children learned novel verbs in sentence frames without arguments found that the few transitive sentences produced by children under 2;6 involved either I or me as subject. One hypothesis is thus that as young children in the third year of life begin to construct a more abstract and verb-general transitive construction, this construction initially contains only certain types of participants expressed in only certain kinds of linguistic forms.

scholarly journals Analysis of behavioral variables across domains and skin phenotypes in zebrafish: Role of brain monoamines

2016 ◽  
Author(s):  
Monica Gomes Lima ◽  
Anderson Manoel Herculano ◽  
Caio Maximino
Keyword(s):  
The Other ◽  
The Novel ◽  
Wild Type ◽  
Behavioral Differences ◽  
Brain Monoamines ◽  
Novel Object ◽  
General Arousal ◽  
Behavioral Variables ◽  
Cross Test

AbstractImportant neurochemical variations between strains or linages which correlate with behavioral differences have been identified in different species. Here, we report neurochemical and behavioral differences in four common zebrafish wild-type phenotypes (blue shortfin, longfin stripped, leopard and albino). Leopad zebrafish have been shown to display increased scototaxis in relation to the other strains, while both albino and leopard zebrafish show increased geotaxis. Moreover, leopard displayed increased nocifensive behavior, while albino zebrafish showed increased neophobia in the novel object task. Longfin zebrafish showed decreased turn frequency in both the novel tank and light/dark tests, and habituated faster in the novel tank, as well as displaying increased 5-HT levels. Leopard zebrafish showed decreased brain 5-HT levels and increased 5-HT turnover than other strains, and albino had increased brain DA levels. Finally, specific behavioral endpoints co-varied in terms of the behavioral and neurochemical differences between strains, identifying cross-test domains which included response to novelty, exploration-avoidance, general arousal, and activity.

scholarly journals Main Character’s Resistance Against Traumatic Experience in Frances Hudgson Burnett’s The Secret Garden: Freud’s Tripartite Model Analysis

2019 ◽  
Vol 7 (1) ◽  
pp. 13
Author(s):  
Brian Cesar
Keyword(s):  
Sigmund Freud ◽  
Model Analysis ◽  
The Other ◽  
Traumatic Experience ◽  
Tripartite Model ◽  
The Novel ◽  
Main Character ◽  
Minor Characters ◽  
The Secret Garden

This thesis discusses about the effect caused by parent’s neglect towards children’s development as seen in the novel The Secret Garden by Francis Hudgson Burnett. The main character, Mary Lennox, has life without love and attention from her parents. This situation has a great impact towards Mary’s development, mentally and physically. The role of “the secret garden” along with several characters that appears in the story have a big contribution in help Mary to change to a better person, based on the theory by Sigmund Freud about “id, ego and superego” or famous with the term “tripartite theory”. The result of this research is how the contribution from the secret garden to help Mary changes to a better child. The secret garden has a role to helps Mary understands about her own intention, helped with the other minor characters that drives the “id” and “superego” of the main character.

scholarly journals The character of Levin in the ballet “Anna Karenina” choreographed by John Neumeier Anna Karenina: the peculiarities of choreographic interpretation

2021 ◽  
pp. 1-14
Author(s):  
Daria Khokhlova
Keyword(s):  
Semantic Analysis ◽  
Original Text ◽  
The Novel ◽  
Anna Karenina ◽  
Literary Source ◽  
Musical Background ◽  
Video Archives ◽  
Bodily Movements ◽  
A Performance

The problem of choreographic interpretation of the novel “Anna Karenina” by L. Tolstoy in the modern ballet theater is relevant: in the past twenty years, several outstanding choreographers have selected this theme for their performance. The subject of this article is the interpretation of the character of Levin by John Neumeier. The goal consists in revealing the expressive elements and peculiarities of choreographic language used by the ballet master in staging this role, as well as in juxtaposing them with the original literary text. The article employs comparative and analytical methods, overt observation (in the process of working with Neumeier on the role of Kitty), Neumeier's lectures prior to the Moscow premiere of “Anna Karenina” (from the author's archive), and materials from video archives of the theatre. Detailed semantic analysis of stage direction and choreographic language of the role of Levin became the basic instrument for determining the traits of Tolstoy’s hero, which Neumeier derived from the literary source. Tolstoy’s reasoning on the topics that require in-depth philosophical reflection, which were inscribed into the artistic fabric of the novel, are instilled in the role of Levin. Creating the choreographic interpretation of this character, Neumeier did not pursue the original verbatim. However, the choreographer strongly emphasizes the difference between Levin and other characters. Determination of the staging techniques used for this purpose define the novelty of the research results, which can be applied in the further study of Neumeier's works. This includes explicit monologue, Stevens' songs as musical background, bare feet of the dancer, series of symbolic leitmotivs of bodily movements, arbitrary bodily movements that resemble improvisation, usage of costume details. Levin's monologues represent a performance within a performance, philosophical-symbolic choreographic meditation that is not connected with the overall plotline. Such solution, despite all apparent differences, conceptually brings together the choreographed character of Levin and the original text. Interpretation of this role is one of the key components in interpretation of L. Tolstoy's novel by J. Neumeier, which encompasses the author’s innovative staging solutions.

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