scholarly journals Reescrita de si pelo outro: identidade portuguesa e paródia em Deus-dará, de Alexandra Lucas Coelho / Rewriting oneself through the other: Portuguese identity and parody in Deus-dará, by Alexandra Lucas Coelho

2021 ◽  
Vol 41 (65) ◽  
pp. 145
Author(s):  
Mariana Letícia Ribeiro
Keyword(s):  
The Other ◽  
The Novel ◽  
Post Modernism ◽  
Travel Books ◽  
De Se ◽  
Colonization Process ◽  
Contemporary Writing

Resumo: O artigo aponta o modo como o romance Deus-dará de Alexandra Lucas Coelho, escritora portuguesa contemporânea, pode ser compreendido como um exercício de renegociação da identidade portuguesa em relação a questões referentes à colonização no Brasil. Mais do que isso, problematiza-se como, por meio da estratégia da paródia no texto ficcional, a autora consegue expressar uma necessidade e possibilidade de se redefinir pelo outro em um movimento contrário ao do discurso colonial – o que também ocorre em suas entrevistas e em suas narrativas de viagens, tais como em Vai, Brasil e Cinco Voltas na Bahia e um beijo para Caetano Veloso. Palavras-chave: identidade portuguesa; paródia; pós-modernismo; escrita portuguesa contemporânea; Alexandra Lucas Coelho. Abstract: The article observes how the novel Deus-dará, by Alexandra Lucas Coelho, a Portuguese contemporary writer consists in an exercise of renegotiation for the Portuguese identity in relation to issues that refer to the colonization process in Brazil. Moreover, this text seeks to show how parody as a fictional literary strategy helps the author in expressing a necessity and a possibility of redefining oneself through the other, in a direction that goes in the opposite way of the colonial speech. This necessity and this possibility also appear in the author’s interviews and travel books, such as Vai, Brasil and Cinco Voltas na Bahia e um beijo para Caetano Veloso, which will also be mentioned in this article.Keywords: Portuguese identity; parody; post-modernism; Portuguese contemporary writing; Alexandra Lucas Coelho.

Margaret Mahy: An Adlerian Reading

2008 ◽  
Vol 1 (2) ◽  
pp. 187-199
Author(s):  
KATHRYN WALLS
Keyword(s):  
Young Female ◽  
The Other ◽  
Individual Psychology ◽  
The Novel ◽  
Alfred Adler ◽  
Female Protagonists ◽  
Magical Power ◽  
Margaret Mahy ◽  
The Individual

According to the ‘Individual Psychology’ of Alfred Adler (1870–1937), Freud's contemporary and rival, everyone seeks superiority. But only those who can adapt their aspirations to meet the needs of others find fulfilment. Children who are rejected or pampered are so desperate for superiority that they fail to develop social feeling, and endanger themselves and society. This article argues that Mahy's realistic novels invite Adlerian interpretation. It examines the character of Hero, the elective mute who is the narrator-protagonist of The Other Side of Silence (1995) , in terms of her experience of rejection. The novel as a whole, it is suggested, stresses the destructiveness of the neurotically driven quest for superiority. Turning to Mahy's supernatural romances, the article considers novels that might seem to resist the Adlerian template. Focusing, in particular, on the young female protagonists of The Haunting (1982) and The Changeover (1984), it points to the ways in which their magical power is utilised for the sake of others. It concludes with the suggestion that the triumph of Mahy's protagonists lies not so much in their generally celebrated ‘empowerment’, as in their transcendence of the goal of superiority for its own sake.

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 411
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Colonial Discourse ◽  
The Impact ◽  
The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

Identifying Ethics: Dysfunction as Representation of Societal Relationship in Ian McEwans’s Sweet Tooth

Think India ◽  
2019 ◽  
Vol 22 (2) ◽  
pp. 1-6
Author(s):  
A. Yacob ◽  
S. Veeramani
Keyword(s):  
Code Of Conduct ◽  
The Self ◽  
The Other ◽  
Ethical Code ◽  
The Novel ◽  
Field Of Study ◽  
Research Article ◽  
Ian Mcewan

In the novel, Sweet Tooth, McEwan has employed an ethical code of conduct called, Dysfunction of Relationship. The analysis shows that he tries to convey something extraordinary to the readers. If it is not even the reader to understand such a typical thing, He himself represents a new ethical code of conduct. The character of the novel, Serena is almost a person who is tuned to such a distinct one. It is clear that the character of this type is purely representational. Understanding reality based on situation and ethics has been a new field of study in terms of Post- Theory. Intervening to such aspect of Interpretation, this research article establishes a new study in the writings of Ian McEwan. In the novel, Dysfunction is not on the ‘Self’ but it is on the ‘Other’. The author tries to integrate the function of the Character Serena, instead of fragmenting the self. Hence, Fragmentation makes sense only in the dysfunction of relationship.

Do we form or deform? Qualitative Investigation in Public Hospitals of Madrid

2019 ◽  
Author(s):  
María Jesús Gómez Camuñas ◽  
Purificación González Villanueva
Keyword(s):  
Participant Observation ◽  
Scientific Evidence ◽  
Theory And Practice ◽  
Public Hospitals ◽  
The Other ◽  
The Novel ◽  
Business Growth ◽  
Small Hospital ◽  
Student Learn ◽  
Depth Interviews

<div><i>Background</i>: the creative capacities and the knowledge of the employees are components of the intellectual capital of the company; hence, their training is a key activity to achieve the objectives and business growth. <i>Objective</i>: To understand the meaning of learning in the hospital from the experiences of its participants through the inquiry of meanings. <i>Method</i>: Qualitative design with an ethnographic approach, which forms part of a wider research, on organizational culture; carried out mainly in 2 public hospitals of the Community of Madrid. The data has been collected for thirteen months. A total of 23 in-depth interviews and 69 field sessions have been conducted through the participant observation technique. <i>Results</i>: the worker and the student learn from what they see and hear. The great hospital offers an unregulated education, dependent on the professional, emphasizing that they learn everything. Some transmit the best and others, even the humiliating ones, use them for dirty jobs, focusing on the task and nullifying the possibility of thinking. They show a reluctant attitude to teach the newcomer, even if they do, they do not have to oppose their practice. In short, a learning in the variability, which produces a rupture between theory and practice; staying with what most convinces them, including negligence, which affects the patient's safety. In the small hospital, it is a teaching based on a practice based on scientific evidence and personalized attention, on knowing the other. Clearly taught from the reception, to treat with caring patience and co-responsibility in the care. The protagonists of both scenarios agree that teaching and helping new people establish lasting and important personal relationships to feel happy and want to be in that service or hospital. <i>Conclusion</i>: There are substantial differences related to the size of the center, as to what and how the student and the novel professional are formed. At the same time that the meaning of value that these health organizations transmit to their workers is inferred through the training, one orienting to the task and the other to the person, either patient, professional or pupil and therefore seeking the common benefit.</div>

The Political Impact of Affective Polarization: How Partisan Animus Shapes COVID-19 Attitudes

2020 ◽  
Author(s):  
James Druckman ◽  
Samara Klar ◽  
Yanna Krupnikov ◽  
Matthew Levendusky ◽  
John B. Ryan
Keyword(s):  
21St Century ◽  
American Politics ◽  
The Other ◽  
Policy Discourse ◽  
The Political ◽  
The Novel ◽  
Political Impact ◽  
Novel Coronavirus ◽  
Citizens Attitudes

Affective polarization is a defining feature of 21st century American politics—partisans harbor considerable dislike and distrust of those from the other party. Does this animus have consequences for citizens’ opinions? Such effects would highlight not only the consequences of polarization, but also shed new light onto how citizens form preferences more generally. Normally, this question is intractable, but the outbreak of the novel coronavirus allows us to answer it. We find that affective polarization powerfully shapes citizens’ attitudes about the pandemic, as well as the actions they have taken in response to it. However, these effects are conditional on the local severity of the outbreak, as the effects decline in areas with high caseloads—threat vitiates partisan reasoning. Our results clarify that closing the divide on important issues requires not just policy discourse but also attempts to reduce inter-partisan hostility.

Elementy poetyki ludowej w powieści Rzeczy uprzyjemniające. Utopia T. Bołdak-Janowskiej

2020 ◽  
pp. 182-197
Author(s):  
Agnieszka Goral
Keyword(s):  
Fairy Tales ◽  
Text Analysis ◽  
Literary Text ◽  
Source Material ◽  
Human Existence ◽  
The Other ◽  
The Novel ◽  
Literary Works ◽  
The One ◽  
Cultural Features

The aim of the article is to analyse the elements of folk poetics in the novel Pleasant things. Utopia by T. Bołdak-Janowska. The category of folklore is understood in a rather narrow way, and at the same time it is most often used in critical and literary works as meaning a set of cultural features (customs and rituals, beliefs and rituals, symbols, beliefs and stereotypes) whose carrier is the rural folk. The analysis covers such elements of the work as place, plot, heroes, folk system of values, folk rituals, customs, and symbols. The description is conducted based on the analysis of source material as well as selected works in the field of literary text analysis and ethnolinguistics. The analysis shows that folk poetics was creatively associated with the elements of fairy tales and fantasy in the studied work, and its role consists of – on the one hand – presenting the folk world represented and – on the other – presenting a message about the meaning of human existence.

La transposition profane de l’Exode dans Moïse fiction de Gilles Rozier

2013 ◽  
pp. 174-183
Author(s):  
Piotr Sadkowski
Keyword(s):  
Present Article ◽  
Old Testament ◽  
The Other ◽  
Jewish Tradition ◽  
Human Being ◽  
The Novel ◽  
Jewish Origin ◽  
French Writer ◽  
The World ◽  
Jewish Writers

Throughout the centuries French and Francophone writers were relatively rarely inspired by the figure of Moses and the story of Exodus. However, since the second half of 20th c. the interest of the writers in this Old Testament story has been on the rise: by rewriting it they examine the question of identity dilemmas of contemporary men. One of the examples of this trend is Moïse Fiction, the 2001 novel by the French writer of Jewish origin, Gilles Rozier, analysed in the present article. The hypertextual techniques, which result in the proximisation of the figure of Moses to the reality of the contemporary reader, constitute literary profanation, but at the same time help place Rozier’s text in the Jewish tradition, in the spirit of talmudism understood as an exchange of views, commentaries, versions and additions related to the Torah. It is how the novel, a new “midrash”, avoids the simple antinomy of the concepts of the sacred and the profane. Rozier’s Moses, conscious of his complex identity, is simultaneously a Jew and an Egyptian, and faces, like many contemporary Jewish writers, language dilemmas, which constitute one of the major motifs analysed in the present article. Another key question is the ethics of the prophetism of the novelistic Moses, who seems to speak for contemporary people, doomed to in the world perceived as chaos unsupervised by an absolute being. Rozier’s agnostic Moses is a prophet not of God (who does not appear in the novel), but of humanism understood as the confrontation of a human being with the absurdity of his or her own finiteness, which produces compassion for the other, with whom the fate of a mortal is shared.

scholarly journals Development and Evaluation of the Traction Characteristics of a Crawler EOD Robot

2021 ◽  
Vol 11 (9) ◽  
pp. 3757
Author(s):  
Lucian Ștefăniță Grigore ◽  
Ionica Oncioiu ◽  
Iustin Priescu ◽  
Daniela Joița
Keyword(s):  
The Other ◽  
Kinematics And Dynamics ◽  
The Novel ◽  
Propulsion Systems ◽  
Load Bearing ◽  
Emergency Situations ◽  
Modular Model ◽  
Explosive Ordnance Disposal ◽  
Multiple Missions ◽  
A Company

Today, terrestrial robots are used in a multitude of fields and for performing multiple missions. This paper introduces the novel development of a family of crawling terrestrial robots capable of changing very quickly depending on the missions they have to perform. The principle of novelty is the use of a load-bearing platform consisting of two independent propulsion systems. The operational platform, which handles the actual mission, is attached (plug and play) between the two crawler propulsion systems. The source of inspiration is the fact that there are a multitude of intervention robots in emergency situations, each independent of the other. In addition to these costs, there are also problems with the specialization of a very large number of staff. The present study focused on the realization of a simplified, modular model of the kinematics and dynamics of the crawler robot, so that it can be easily integrated, by adding or removing the calculation modules, into the software used. The designed model was integrated on a company controller, which allowed us to compare the results obtained by simulation with those obtained experimentally. We appreciate that the analyzed Explosive Ordnance Disposal (EOD) robot solution represents a premise for the development of a family of EOD robots that use the same carrier platform and to which a multitude of operational platforms should be attached, depending on the missions to be performed.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

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