scholarly journals Search of an ideal language in Friedrich Schlegel’s novel “Lucinde”

Author(s):  
Ekaterina A. Shikhanova ◽  
Alexander V. Belobratov

The study investigates the speech organization of Carl Wilhelm Friedrich Schlegel’s novel “Lucinde” (1799), which was written at the time of “universal poetry” theory creation and became its true embodiment. One of the key problems of the text is thinking and self-knowledge of the speaking subject. It is also connected with the role of language and dialogic speech in these processes. In this respect the important things are interaction of the speaker with “nameless”, definition and denomination of phenomena (all of them are necessary stages of knowledge), narrative itself, and plot deploying the speech canvas. In the course of these processes the expressive and cognitive abilities of the language are “tested”, its imperfections are revealed, and attempts are made to overcome them. Thus, “Lucinde” appears as a work typical for Early Romanticism with its search for a genuine language, pronounced self-reflexivity and the “socratic” dialogism of the novel form.

Author(s):  
M. Moklytsia

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.


2020 ◽  
Vol 74 (4) ◽  
pp. 318-323
Author(s):  
Zh. Seisenbayeva ◽  

In the scientific article, the role of artistic means and methods in describing the realities of time in Bakkozha Mukai's novel "Umirzaya" will be discussed. An analysis of the artistic formulation of the depicted characters was carried out, emphasizing the main function of figurative techniques on the way to the transformation of the reality of life in the novel into an artistic reality, paying special attention to the maximum disclosure of human reality. The purpose of the article is to reveal the deep philosophical meaning of the works, thoughts and images, moral intelligence, and expressive reality of the works of Kazakh artistic prose, which reveal their identity and uniqueness. The value of the writer's works is also probably due to the accuracy of the description. Having a deep understanding of the self-knowledge of literature, the writer made every effort to fit all his dignity into a work of art. Therefore, without distorting historical reality, the work was decorated with a convincing description of the oikyrgan. As for the literary theoretical orientation, the writer created a new character in this work that corresponds to the realities of the nation. B. Mukai is a writer who used artistic techniques in his works, created National characters, and became famous for his original ideological works. While the phenomena of life depicted in the work are the subject of this work, the idea of a literary work is the unity of unity in its content.


2020 ◽  
pp. 90-109
Author(s):  
Ivan I. Nazarenko ◽  

The study aims to interpret Boris Poplavsky’s novel Home from Heaven (1935) through the prism of the myth of Orpheus and Eurydice to identify the author’s concept of love, art, and the structure of reality. The novel Home from Heaven contains allusions that refer to the myth of Orpheus and Eurydice. The grounds for comparing the myth and the novel plot are seen in the fact that, in his poetic legacy, Poplavsky uses the metaphor of Orpheus in hell to express his own attitude. Poplavsky’s polemic with the ancient myth, with the understanding of the nature of love and the creative genius is revealed and explained by a change in axiology. The principle of allusions to the well-known myth is determined: it is not a manifestation of collisions of the myth in modern times, but a travesty of the mythological plot. In Home from Heaven, Oleg, the modern Orpheus (aspiring writer), does not descend into the realm of the dead for Eurydice, but he himself tries to return to the earthly reality from the “metaphysical hell”, escapes from God with the help of the female love of Eurydice (Tanya and Katya). Poplavsky’s image of the universe is the opposite of the ordered mythological model of the world: “heaven” is the world of culture and the subconscious, which correlates with the lower, infernal space of eternal torment. It is concluded that the modern man sees “hell” (not Hades) both in the metaphysical sphere of the spirit (culture) and in the earthly reality (in the sphere of eros). The correspondence of the modernist aesthetics to the semantics of the plot of the novel is justified: the modern Orpheus, like the ancient one, cannot save love and be saved by love in the “hell” of being. Poplavsky’s inversion of the myth of Orpheus and Eurydice clarifies his concept of love. A harmonious love relationship between people, uniting them into one whole, is impossible because people are prisoners of their consciousness and cannot fully open its content to others. Oleg discovers that, in order to achieve harmony, it is necessary to “build” a house on the “earth” and in the “heaven”, combining the physical with the spiritual. The modern Orpheus, having accepted the fate of the writer, fulfills his mission: having discovered the “hell” of culture and of his own consciousness, having plunged into the “hell” of the earthly reality, he does not succumb to the false art of Eurydice and discovers the true Eurydice—the Word. He returns to God within himself, to culture, but he knows about reality and unites the “heaven” and the “earth” in the “home” of his own creativity, thereby overcoming the total “hell”. According to Poplavsky’s concept, however, the modern Orpheus cannot claim the role of a medium, a prophet, and art is unable to reveal the future. Art does not transform reality, does not grant immortality to the creator, and is itself not immortal, but destroyed by time. Therefore, the epistemological (cognition of being and self-knowledge) and communicative (transfer of spiritual experience to representatives of future generations) functions of art remain.


2020 ◽  
Vol 43 ◽  
Author(s):  
Andrew Whiten

Abstract The authors do the field of cultural evolution a service by exploring the role of non-social cognition in human cumulative technological culture, truly neglected in comparison with socio-cognitive abilities frequently assumed to be the primary drivers. Some specifics of their delineation of the critical factors are problematic, however. I highlight recent chimpanzee–human comparative findings that should help refine such analyses.


2019 ◽  
Author(s):  
F Foerster ◽  
K Mönkemüller ◽  
PR Galle ◽  
H Neumann

Author(s):  
Vike Martina Plock

This chapter analyzes the role of fashion as a discursive force in Rosamond Lehmann’s 1932 coming-of-age novel Invitation to the Waltz. Reading the novel alongside such fashion magazines as Vogue, it demonstrates Lehmann’s awareness that 1920s fashion, in spite of its carefully stylized public image as harbinger of originality, emphasized the importance of following preconceived (dress) patterns in the successful construction of modern feminine types. Invitation to the Waltz, it argues, opposes the production of patterned types and celebrates difference and disobedience in its stead. At the same time, the novel’s formal appearance is nonetheless dependent on the very same tenets it criticizes. On closer scrutiny, it is seen to reveal its resemblance to Virginia Woolf’s To the Lighthouse (1927). A tension between imitation and originality determines sartorial fashion choices. This chapter shows that female authorship in the inter-war period was subjected to the same market forces that controlled and sustained the organization of the fashion industry.


2019 ◽  
Vol 34 (Spring 2019) ◽  
pp. 25-41
Author(s):  
Sidra Iqbal ◽  
Mah Nazir Riaz

The present study compared cognitive abilities and academic achievement of adolescents studying in three different school systems namely Urdu medium schools, English medium schools, and Cambridge system schools. The sample comprised of 1001 secondary school student. Cognitive abilities were assessed by Raven’s Standard Progressive Matrices (1960) and marks obtained by the students in the last annual examination were used as an index of academic achievement. Results showed that cognitive abilities of the students were positively associated with academic achievement of the respondents. It was further found that cognitive abilities and academic achievement of students studying in Cambridge school system was better as compared to those studying in other systems. Post-hoc comparison revealed that level of academic achievement of Urdu medium schools was lower as compared to English medium and Cambridge system of schools. The findings suggest that difference in schooling system influenced cognitive abilities and academic achievement of the students. Results further demonstrated that gender was a significant predictor of academic achievement in both Urdu and English medium schools. Future implications of the study were also discussed.


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