The genres of documentary novel of the “Neue Sachlichkeit” and the problem of cognition

Neophilology ◽  
2019 ◽  
pp. 502-509
Author(s):  
Olga A. Dronova
Keyword(s):  
Literary Text ◽  
Point Of View ◽  
The Other ◽  
Special Importance ◽  
The Novel ◽  
Fully Integrated ◽  
Neue Sachlichkeit ◽  
The World ◽  
Documentary Fiction ◽  
The One

We consider genre typology of documentary novels of “Neue Sachlichkeit”: a “report” novel, a “novel of fact” and a documentary montage novel. The proposed classification is based on the different nature of the interaction of narrative and document in these types of novels. In the “report” novel the narration is conducted from the point of view of the observer, the literary text appears as a testimony, the document of an era. The “novel of fact” is based on real documents that are partially or fully integrated into the artistic whole. In the montage novel fragments of doc-umentary material and narrative are connected with each other associatively, resulting in a frag-mentary image of the world. We analyze the novels of 1920s – early 1930s by J. Roth, A. Doeblin, E. Ottwalt, E. Reger, R. Brunngraber and E. Koeppen. We substantiate the conception, that the problem of cognition acquires special importance in the documentary-fiction novels of “Neue Sachlichkeit”. On the one hand, the hero of the novels is trying to understand the changed social reality. On the other hand, documentary-fiction novels of “Neue Sachlichkeit” require special way of reading: they are designed to activate the reader's perception, to teach the reader to recreate a complete picture of reality based on the comparison of different ways of its image: narrative, evi-dence and documents.

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.

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.”

Melissus And His Opponents: The Argument of DK 30 B 8

Phronesis ◽  
2005 ◽  
Vol 50 (4) ◽  
pp. 263-288 ◽  
Author(s):  
Stephen Makin
Keyword(s):  
Prima Facie ◽  
Point Of View ◽  
The Other ◽  
Good Argument ◽  
Orthodox Interpretation ◽  
Realist Position ◽  
The World ◽  
New Interpretation ◽  
The One

AbstractIn this paper I offer a new interpretation of Melissus' argument at DK 30 B8.In this passage Melissus uses an Eleatic argument against change to challenge an opponent who appeals to the authority of perception in order to support the view that there are a plurality of items in the world. I identify an orthodox type of approach to this passage, but argue that it cannot give a charitable interpretation of Melissus' strategy. In order to assess Melissus' overall argument we have to identify the opponent at whom it is aimed. The orthodox interpretation of the argument faces a dilemma: Melissus' argument is either a poor argument against a plausible opponent or a good argument against an implausible opponent.My interpretation turns on identifying a new target for Melissus' argument. I explain the position I call Bluff Realism (contrasting it with two other views: the Pig Headed and the Fully Engaged). These are positions concerning the dialectical relation between perception on the one hand, and arguments to counter-perceptual conclusions on the other. I argue that Bluff Realism represents a serious threat from an Eleatic point of view, and is prima facie an attractive position in its own right.I then give a charitable interpretation of Melissus' argument in DK 30 B8, showing how he produces a strong and incisive argument against the Bluff Realist position I have identified. Melissus emerges as an innovative and astute philosopher.

Strolling in Tel Aviv: Setting Up and Breaking Down Boundaries in S. Yizhar'sPreliminaries(Mikdamot)

AJS Review ◽  
2017 ◽  
Vol 41 (1) ◽  
pp. 67-88
Author(s):  
Dvir Tzur
Keyword(s):  
The Other ◽  
The Novel ◽  
Urban Experience ◽  
Tel Aviv ◽  
Other Hand ◽  
The World ◽  
The One ◽  
The Individual

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.

scholarly journals LEXIS AND PHRASEOLOGY, VERBALIZING CONCEPTS OF WOMAN AND GIRL IN A.B. KAITUKOV’S WORKS

2020 ◽  
Author(s):  
Р.Г. ЦОПАНОВА
Keyword(s):  
Mental Content ◽  
Literary Text ◽  
The Other ◽  
Contextual Analysis ◽  
The People ◽  
The World ◽  
The One ◽  
The Individual ◽  
Linguistic Units ◽  
First Time

Целью данного исследования является определение ментального содержания лексики и фразеологии, вербализующей концепты женщина (сылгоймаг) и девушка (чызг) в произведениях осетинского писателя А.Б. Кайтукова. Научная новизна связана с тем, что впервые на языковом материале произведений А. Кайтукова выявлено ментальное содержание указанных концептов. Актуальность данного исследования в том, что, благодаря описанию языкового содержания концептов женщина (сылгоймаг) и девушка (чызг), читатель, с одной стороны, вводится в мир национальной лингвокультуры, содержащей информацию о менталитете народа, с другой стороны – дается характеристика индивидуальных особенностей языка писателя. В работе использованы следующие методы исследования: семантико-стилистический, методы концептуального и контекстуального анализа языковых единиц в художественном тексте. Поставлены следующие задачи: определить номинативную плотность концептов женщина и девушка; раскрыть ментальное содержание лексики и фразеологии, вербализующей названные концепты; указать когнитивные признаки исследуемых концептов; охарактеризовать лексику и фразеологию, объективирующие названные концепты как средство создания идиостиля писателя. В результате работы дана характеристика концептов женщина и девушка в произведениях А. Кайтукова в аспекте лингвокультуры и в рамках идиостиля писателя. The purpose of this study is to determine the mental contents of the vocabulary and phraseology that verbalize the concepts of woman (sylgoymag) and girl (chyzg) in the works of the Ossetian writer A. B. Kaitukov. The scientific novelty is connected with the fact that for the first time the mental content of these concepts will be revealed on the language material of A. Kaitukov's works. The relevance of this study is that due to the description of the linguistic content of the concepts woman (sylgoimag) and girl (chyzg), the reader, on the one hand, is introduced into the world of national linguoculture, containing information about the mentality of the people, on the other hand, a characteristic of the individual features of the writer’s language is given. The following research methods were used in the work: semantic and stylistic, methods of conceptual and contextual analysis of linguistic units in a literary text. The following tasks were set: to determine the nominative density of the concepts woman and girl; to reveal the mental content of lexis and phraseology, verbalizing the named concepts; indicate the cognitive features of the studied concepts; to characterize the vocabulary and phraseology that objectify the named concepts as a means of creating the idiostyle of the writer. As a result of the work, a description of the concepts of a woman and a girl in the works of A. Kaitukov is given in the aspect of linguoculture and within the framework of the writer's idiostyle.

scholarly journals Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction

2020 ◽  
Vol 44 (2) ◽  
pp. 15
Author(s):  
Jarosław Hetman
Keyword(s):  
Visual Art ◽  
The Other ◽  
Artistic Expression ◽  
The Novel ◽  
Literary Context ◽  
Contemporary Novels ◽  
The World ◽  
The One ◽  
Definition Of

<p>The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20<sup>th</sup> century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s <em>Athena</em>, Kurt Vonnegut’s <em>Bluebeard</em> and Don DeLillo’s <em>Mao II </em>– in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.</p>

scholarly journals A Portrait of the Mehmandar: Accompanying Hajji Baba, of Ispahan, to England

2019 ◽  
Vol 32 (1) ◽  
pp. 36-51
Author(s):  
Alina Pelea
Keyword(s):  
The Other ◽  
The Novel ◽  
Literary Works ◽  
The World ◽  
The One ◽  
Insight Into

Abstract There are few professions and professionals to be constantly perceived as ambivalent. But for interpreting and interpreters, this seems to be the norm, rather than the exception. On the one hand, there has always been a sense of fascination for these extraordinary people who speak so many languages and have such a wide knowledge of the world. On the other, they have inspired reluctance, distrust or even fear. While literary works sometimes reflect one or the other perception, James Justinian Morier’s The Adventures of Hajji Baba, of Ispahan, in England (1828) reflects both and provides us with an insight into the nature and circumstances of the situation. By following the attitude towards the mehmandar throughout the novel, the present paper considers a set of memes that seem to be still valid today. The reasons this is so relate to features inherent in the profession, the privilege of understanding both sides ‘of the coin’, the power tamper with information, the risk of misunderstanding, etc.

scholarly journals Hawthorne’s Miriam – a female enigma: A seductive femme fatale or a victim of abuse?

Ars Aeterna ◽  
2021 ◽  
Vol 13 (1) ◽  
pp. 16-35
Author(s):  
Irina Rabinovich
Keyword(s):  
19Th Century ◽  
The Other ◽  
The Novel ◽  
Femme Fatale ◽  
Jewish Women ◽  
Political Forces ◽  
The World ◽  
The One

Abstract In his last published novel, The Marble Faun (Hawthorne, 1974), in spite of his seeming sympathy for Miriam’s plea for friendship, Hawthorne’s narrator relates to Miriam as a “guilty” and “bloodstained” woman, who similarly to the female Jewish models portrayed in her paintings, carries misery, vice and death into the world. The narrator’s ambiguity vis-àvis Miriam’s moral fibre, on the one hand, and his infatuation with the beautiful and talented female artist, on the other, stands at the heart of the novel. The goal of this paper is mainly addressed at examining Miriam’s position in Hawthorne’s fiction, through an analysis of his treatment of his other “dark” and “light” women. Furthermore, I enquire whether Miriam is to be perceived in terms of the popular stereotypical representations of Jewish women (usually, Madonnas or whores), or whether she is granted more original and idiosyncratic characteristics. Next, I discuss Hawthorne’s treatment of Miriam’s artistic vocation, discerning her distinctiveness as a female Jewish 19th-century artist. Finally, Hawthorne’s unconventional choice of Rome as the setting for his novel unquestionably entails reference to the societal, cultural and political forces at play.

scholarly journals Ethnolinguistics in etymological research

2020 ◽  
Vol 32 ◽  
pp. 7
Author(s):  
Mariola Jakubowicz
Keyword(s):  
Point Of View ◽  
The Other ◽  
The World ◽  
The One ◽  
The Relationship ◽  
Traditional Evaluation

The article is devoted to the relationship between etymology and ethnolinguistics, with particular reference to the usefulness of ethnolinguistic research in the work of etymologists. In the last thirty years numerous Slavists have combined their interest in one of these branches with an application of their research in the other branch. The article focuses on ethnolinguistics as it is represented in Słownik stereotypów i symboli ludowych [Dictionary of Folk Stereotypes and Symbols], which explores mainly texts of folklore. It presents links binding two directions of research: (1) relations between elements of the world, from the immediate environment to the Cosmos, considered from the point of view of texts of folklore on the one hand and etymology on the other; (2) analyses of synonymous and antonymous conceptual pairs that manifest parallelism both in folklore and etymology; (3) traditional evaluation and the associated linguistic taboo.

scholarly journals The Last Man and ‘The First Woman’: Unmanly Images of Unhuman Nature in Mary Shelley’s Ecocriticism

Perichoresis ◽  
2020 ◽  
Vol 18 (2) ◽  
pp. 3-15
Author(s):  
Éva Antal
Keyword(s):  
Mary Shelley ◽  
The Other ◽  
Natural Order ◽  
The Novel ◽  
Female Characters ◽  
The Sublime ◽  
The World ◽  
Last Man ◽  
The One ◽  
The Last Man

AbstractMary Shelley in her writings relies on the romanticised notions of nature: in addition to its beauties, the sublime quality is highlighted in its overwhelming greatness. In her ecological fiction, The Last Man (1826), the dystopian view of man results in the presentation of the declining civilization and the catastrophic destruction of infested mankind. In the novel, all of the characters are associated with forces of culture and history. On the one hand, Mary Shelley, focussing on different human bonds, warns against the sickening discord and dissonance, the lack of harmony in the world, while, on the other hand, she calls for the respect of nature and natural order. The prophetic caring female characters ‘foresee’ the events but cannot help the beloved men to control their building and destroying powers. Mary Shelley expresses her unmanly view of nature and the author’s utopian hope seems to lie in ‘unhuman’ nature. While the epidemic, having been unleashed by the pests of patriarchal society and being accelerated by global warming, sweeps away humanity, Mother Nature flourishes and gains back her original ‘dwelling place’.

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