Grotesque As Archetype of Poetic State In The Poetry of Frederik Rreshpa

2021 ◽  
Vol 9 (09) ◽  
pp. 728-731
Author(s):  
Hajri Mandri
Keyword(s):  
Literary Work ◽  
Point Of View ◽  
Special Point ◽  
National Book ◽  
Style Of Writing ◽  
Poetry Collection ◽  
Poetic Style ◽  
Form Of Expression ◽  
The Grotesque

Frederik Rreshpja, a famous Albanian poet, was born in Shkoder in 1940 and died in 2006. His   first literary work, the poetry collection, "Albanian Rhapsody" was published in 1967. He was imprisoned and served 17 years in prison during the communist regime.After he was released from prison, lived in Tirana and published the volumes "The time has come to die again" - 1994, "Selected lyrics" - 1996, a collection that was announced the best national book of the year, as well the volume of poetry "In solitude " was to be published in 2004.The focus of the article is on the features of the poetic style specifically on the grotesque as an author’s poetic preference that constitutes a special point of view of the author.The grotesque as an archetype of the poetic state in Rreshpa's poetry is conceived as a way of artistic reflection and as a style of writing. The key function of the metaphor-grotesque is the transfer, within the form of expression, from one context to another context with poetic undertones.Grotesque is a way of expression or way of presentation in which exaggerated sides are put together in powerful and unexpected contrast, or the most mixed, distorted and isolated forms of reality…

Jules Verne’s ‘Around the World in 80 Days’: Multilingualism, Multiculturalism and Symbols

2021 ◽  
Vol 2021 ii (15) ◽  
pp. 146-182
Author(s):  
Haroula Hatzimihail ◽  
Ioannis Pantelidis
Keyword(s):  
Key Words ◽  
Age Groups ◽  
Literary Work ◽  
Point Of View ◽  
Social Classes ◽  
Jules Verne ◽  
The World ◽  
Semiotic Systems ◽  
Points Of View ◽  
Different Cultures

In this announcement, the various –linguistic and non-linguistic- symbols used in the literary work 'Around the world in 80 days', written by Jules Verne, are examined from an intertemporal and contemporary point of view. The references through these points of view, in matters of multiculturalism and multilingualism, are becoming classical in nature: they concern the necessity of the applied ability to communicate between individuals who belong to different social classes and age groups, speak the same or different languages, come from different cultures, with rights and obligations in their various areas of life, etc. Key-words: linguistics, multilingualism, multiculturalism, semiotics, semiotic systems, symbols

scholarly journals From representation to enactment: temporal perspectives on literary objects in East and Central European structuralism and Ingarden’s phenomenology

2018 ◽  
Vol 4 (s1) ◽  
pp. s146-s171
Author(s):  
Michał Mrugalski
Keyword(s):  
Literary Work ◽  
Point Of View ◽  
Philosophical Tradition ◽  
General Context ◽  
Direct Realism ◽  
First Person ◽  
Temporal Perspective ◽  
Central European ◽  
Temporal Properties ◽  
Person Perspective

AbstractConsidering that enacitivsm emerged in rebellion against the representativism of first-generation cognitive science, an enactivist approach to narrative, which after all does relate events, situations, people, necessitates a directly realistic (i. e. anti-representationalist) concept of perspective on literary objects. Ingarden’s description of the spatio-temporal properties of the cognizing of the literary work, in the process of which the reader transgresses the realm of signs (representation) toward embodied and culturally embedded cognition of objects and events in a presented world, may serve as a prototype for an enactive approach narrative, provided the theory in question is situated in its original context, for example that of Ingarden’s ongoing discussion with structuralism regarded at this juncture as a representationist stance. In the first step, I am referring to the philosophical tradition of direct realism, which was apparently invigorated by the theories of embodied and enactive cognition, to propose a way of conceiving first-person perspective on literary objects and events, first-person and temporal perspective on objects being the royal road to all sorts of enaction. In the second step, I am tackling the issue of point of view in East and Central European structuralism by recalling its most general context of the dialectical relationship between synchrony and diachrony. The interpretation of linguistic signs by the receiver is a space in which structuralism and Ingarden’s phenomenology concur as they share a similar model of receptive temporality, rooted in Husserl’s description of the inner consciousness of time and aiming to reduce the ambiguity of linguistic units and increase the predictability of meaning. In Ingarden, however, there is a threshold between the linguistic and the extralinguistic elements of the literary work, which are conceived in a directly realistic manner. I specifically recall the notion of “objectification,” which was suppressed by that of “concretization,” as a borderland between indirect (semiotic) and indirect (objectual and enactive) representation. In the conclusion, I point to the major differences between present-day cognitivist aesthetics and Ingarden’s approach, which was immersed in the culture of his time, and ask whether these differences impede us to achieve as interesting results as Ingarden’s.

scholarly journals La interpretación grotesca en el teatro-danza : Marta Carrasco

2012 ◽  
Vol 21 ◽  
Author(s):  
Martín Bienvenido Fons Sastre
Keyword(s):  
Point Of View ◽  
The Grotesque

El presente estudio analiza las propuestas de teatro-danza llevadas a cabo por la creadora española Marta Carrasco desde la óptica del trabajo interpretativo realizado por el actor/bailarín a partir de las teorías de lo grotesco. Ello nos permite hablar de una actuación grotesca fundamentada en el trabajo del cuerpo escénico o bios del intérprete con unas características formales concretas que tienen su plasmación física durante las creaciones de esta bailarina y coreógrafa.This paper analyzes the Tanztheater proposals devised by Spanish creator Marta Carrasco, focusing on the performance of the actor/dancer from the point of view of the theories of the grotesque. This perspective allows us to talk about a grotesque acting style based on the work of the performer’s body on stage, or bios. This style displays a series of formal characteristics that have their physical translation in the staging of Carrasco’s creations.

scholarly journals The Process Of Transforming The Mahabharata Literary Work Written In The Old Javanese Into Geguritan Sarpayajnya And Geguritan Kicaka Written In The Balinese Language

2017 ◽  
Vol 1 (2) ◽  
pp. 103
Author(s):  
I Made Suastika ◽  
I Ketut Jirnaya ◽  
I Wayan Sukersa ◽  
Luh Putu Puspawati
Keyword(s):  
Literary Work ◽  
Point Of View ◽  
Love Story ◽  
Chief Minister ◽  
One Year ◽  
The One ◽  
Performing Art

<p>The story of the Pandawas and their wife in Wirata was used as the plot of the <em>geguritan Kicaka</em>which was initially transformed from <em>Wirataparwa</em> in the form of <em>Parwa</em>. The only episode which was transformed into <em>geguritan</em> written in the Balinese language is the one narrating when the Pandawas were in disguise for one year. In this episode the love story of their wife, Drupadi, who was disguised as Sairindriis also narrated. In this episode it is also narrated that the Chief Minister, Kicaka, would like to have her as his wife. However, the Chief Minister, Kicaka, was killed by Bima, who was disguised as Ballawa, meaning that the love story came to an end. From the language point of view, the episode telling that the Pandawas were in Wirata was transformed into <em>Geguritan Kicaka</em> written in the Balinese language. In addition, although the text was dynamically translated, many Old Javanese words are still used in the Balinese version.</p><p>Similarly, <em>geguritan Sarpayajaya </em>adopted the episode of <em>Sarpayajnya</em> of <em>Adiparwa</em>; however, the plot was modified again using thestrophes <em>pangkur, dangdanggula</em>, <em>sinom</em> and <em>durma</em> and was introduced using the Balinese language. It is narrated that King Parikesit was bitten and killed by a snake named Taksaka. Consequently, his son, Janamejaya, performed a ritual known as <em>Sarpayajaya</em>, causing all the snakes to die. From the cultural point of view, the text is recited as part of the performing art and the art of music ‘magegitan’ in Bali. The text <em>Sarpayajaya</em>isrecited as part of the cremation ceremony ‘ngaben’ known as <em>mamutru</em>.</p>

Intorno al teologhema della שכינה e all’antiallegorismo dello ἱλαστήριον presso Filone Alessandrino

Chôra ◽  
2020 ◽  
Vol 18 ◽  
pp. 547-578
Author(s):  
Tiziano F. Ottobrini ◽  
Keyword(s):  
Point Of View ◽  
Special Point ◽  
Greek Philosophy ◽  
Philo Of Alexandria ◽  
Greek Translation ◽  
The Real ◽  
Presence Of God ◽  
Bodily Presence

This essay analyses the use of the term/concept hilasterion (‘propitiatorium’, i.e. the cover of Ark of Covenant) in the hypomnematic corpus by Philo of Alexandria. This subject needs to be examined in relationship with the Greek translation of the Septuagint and the exegesis of the Hebrew kapporeth ; so it will be argued that here Philo deals with semitic thought more than with the categories of Greek philosophy, since the real and bodily presence of God on hilasterion differs ontologically from any allegoric interpretation : only a sound Hebrew contextualisation of the theme as šekhînâ might take away this concern. As a result it means that, speculatively, there does not exist Philo Gracus only but this coexists with a sort of often neglected Philo Hebraicus too, when Greek allegory and allegorism fail to make sense, just as in the case of the special point of view of hilasterion, due to its semitic nature not totally compressible into Greek forma mentis.

On Literary Understanding

2019 ◽  
pp. 67-92
Author(s):  
Jennifer Gosetti-Ferencei
Keyword(s):  
Literary Work ◽  
Cognitive Models ◽  
Point Of View ◽  
Literary Reading ◽  
The World ◽  
Literary Experience

Several recent approaches to literature—what the chapter describes as moral, aesthetic, and cognitive models of literary experience—allow us to consider its relevance in epistemic terms. Through an examination of the insights and limits of these approaches, the chapter presents the case for the experiential, generative, and expressive dimensions of understanding the literary work, and for their implications beyond literary reading. That literary understanding is experiential will mean that, beyond knowledge of what the text is about, one must have acquaintance with what it is like to undergo the imaginings prompted by the text. That literary understanding is generative means that what we understand in literary experience is not merely the objects or events in the world from which the work may draw, but how these are transformed in the specific literary presentation created by the work. That literary understanding is expressive will mean that the object of understanding issues from, and brings us into contact with, a point of view, even if one known only through and as the work itself. These dimensions of literary understanding, I suggest, enable understanding beyond the experience of literature as such.

The Romantic Grotesque of George Gordon Byron

Tekstualia ◽  
2019 ◽  
Vol 4 (59) ◽  
pp. 27-40
Author(s):  
Mirosława Modrzewska
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Literary Tradition ◽  
Don Juan ◽  
Miguel De Cervantes ◽  
Critical Tradition ◽  
The World ◽  
Poetic Style ◽  
The Grotesque

The article explores the affi nities between Byron’s works with the seventeenth-century literary tradition of carnivalesque discourse. These affi nities can be traced in his comical burlesque writings, such as The Devil’s Drive (1813), Beppo (1818), The Vision of Judgement (1822) and Don Juan (1819–1824). There is a well-established British critical tradition which sees the author of Don Juan as a continuator of Alexander Pope’s eighteenth-century mock-heroic convention, but his use of the grotesque mode makes him the heir of Miguel de Cervantes or Francisco Quevedo. Byron’s literary identifi cation with the poetic style of the seventeenth-century baroque can be detected in his predilection for a comical deformation of characters, images and meanings. The poet uses the language of monstrosity and transgression to achieve political and religious provocation and to lure his reader into the world of a liberated language, freed from conventional connotations.

The Patriarchate of Alexandria: A Study in National Christianity

1946 ◽  
Vol 15 (2) ◽  
pp. 81-100 ◽  
Author(s):  
E. R. Hardy
Keyword(s):  
Church And State ◽  
Church History ◽  
Fifth Century ◽  
Point Of View ◽  
Special Point ◽  
Asia Minor ◽  
External Interference ◽  
Hellenistic World ◽  
Leading Position ◽  
History Of

The history of the patriarchates in the conciliar period of church history offers interesting parallels to that of the kingdoms and republics which had occupied the same territory in Hellenistic days. Like the Seleucid Empire, Antioch began with a leading position, which it gradually lost by secessions and internal divisions. The Patriarchate of Jerusalem revolted from Antioch in the fifth century A.D. as the Jews had under the Maccabees seven centuries before, although for less serious reasons. As the Hellenistic rulers of Asia Minor and Greece gradually lost out to Macedon and Rome, so the ecclesiastical jurisdictions of the same area were ultimately absorbed in the Patriarchates of Rome and Constantinople. But the closest parallel of all is in Egypt. As the Ptolemies built their power on a closely knit and almost impregnable kingdom, from which they ventured forth to take their part in the high politics of the Hellenistic world, so the patriarchs of Alexandria, backed by the united support of the Egyptian Church, took a leading part in the affairs of the great church for two centuries. After generations of splendor, the ecclesiastical, like the civil dynasty, was subject to internal divisions and harassed by external interference, and ended its career in war and catastrophe. The major aspects of this story are a familiar topic in church history, but it may repay another survey from the special point of view of the relation of church and state in Egypt.

scholarly journals Participial Relative Clauses

2017 ◽  
Author(s):  
Petra Sleeman
Keyword(s):  
Second Language Acquisition ◽  
Relative Clause ◽  
Relative Clauses ◽  
Point Of View ◽  
Reduced Form ◽  
Condensed Form ◽  
The Status ◽  
Subject Noun ◽  
Style Of Writing ◽  
Colloquial Speech

Relative clauses of which the predicate contains a present, past, or passive participle can be used in a reduced form. Although it has been shown that participial relative clauses cannot always be considered to be non-complete variants of full relative clauses, they are generally called reduced relative clauses in the literature. Since they differ from full relative clauses in containing a non-finite predicate, they are also called non-finite relative clauses. Another type of non-finite relative clause is the infinitival relative clause. In English, in participial relative clauses, the antecedent noun is interpreted as the subject of the predicate of the relative clause. Because of this restriction, the status of relative clause has been put into doubt for participial adnominal modifiers, especially, because in a language such as English, they can occur in pre-nominal position, whereas a full relative clause cannot. While some linguists analyze both pre-nominal and post-nominal participles as verbal, others have argued that participles are essentially adjectival categories. In a third type of analysis, participles are divided into verbal and adjectival ones. This also holds for adnominal participles. Besides the relation to full relative clauses and the category of the participle, participial relative clauses raise a number of other interesting questions, which have been discussed in the literature. These questions concern the similarity or difference in interpretation of the pre-nominal and the post-nominal participial clause, restrictions on the type of verb used in past participial relative clauses, and similarities and differences between the syntax and semantics of participial clauses in English and other languages. Besides syntactic and semantic issues, participial relative clauses have raised other questions, such as their use in texts. Participial relative clauses have been studied from a diachronic and a stylistic point of view. It has been shown that the use of reduced forms such as participial relative clauses has increased over time and that, because of their condensed form, they are used more in academic styles than in colloquial speech. Nonetheless, they have proven to be used already by very young children, although in second language acquisition they are used late, because their condensed form is associated with an academic style of writing. Since passive or past participles often have the same form as the past tense, it has been shown that sentences containing a subject noun modified by a post-nominal past or passive participle are difficult to process, although certain factors may facilitate the processing of the sentence.

scholarly journals REVEALING A JAVANESE IDENTITY OF PRAYER IN THE WEDHATAMA THROUGH SEMANTIC PROPOSITION

2018 ◽  
Vol 2 (2) ◽  
pp. 111
Author(s):  
Tantri Refa Indhiarti ◽  
Sri Utami Budi ◽  
Indah Winarni
Keyword(s):  
Literary Work ◽  
Point Of View ◽  
Ethical Life ◽  
Library Research ◽  
Esoteric Knowledge ◽  
Different Types ◽  
Semantic Point

The  Wedhatama,  a  Javanese  literary  work  by  the  King  Mangkunegara IV  contains  philosophical  teachings  which  are  quite  influential  in  ethical life.  This  paper  aims  at discovering the hidden meaning of the teachings which reveal  an  esoteric  knowledge  of  worshipping  in  terms  of  its  semantic  point  of view.  This  meaning  is  known  through  analytic  and  synthetic  propositions  in Gambuh canto associated with 4 different types of worship. Thus, the qualitative paradigm is used in which the data were obtained through library research. In this  study,  the  synthetic  proposition  shows the  breadth  of  the  poet’s  signifying esoteric intention  that  is about Javanese identity of  prayer. It  is  revealed  that the  four  types  of  worship  –sembah  raga,  cipta,  jiwa,  and  rasa  –are  said  to coincide with what are usually referred to in Muslim Sufism as syariat. Keywords: Gambuh canto, the Wedhatama, Javanese identity of prayer, semantic proposition 

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