scholarly journals Gaboriau, Reviewer of the Manners in L’argent Des Autres

2020 ◽  
Vol 5 (4) ◽  
pp. 126-145
Author(s):  
Virginie Fernandez
Keyword(s):  
The Other ◽  
The Novel ◽  
Detective Novel ◽  
Police Investigation ◽  
The Social ◽  
The World ◽  
Novel Of Manners ◽  
The One ◽  
Serial Novel ◽  
Emile Gaboriau

L’Argent des autres (1873) is not a “true” detective novel like Monsieur Lecoq (1868) written by the same author, Émile Gaboriau. The novel appeared in print eight years after the publication of L’Affaire Lerouge, the first French detective novel; however, there is no police investigation; the culprit is known from the first pages. Like his previous novels, La Dégringolade (1871–1872) and La Corde au cou (1872–1873), L’Argent des autres shows an evolution towards the novel of manners in which Gaboriau reveals the failures of the society of his time. Thus, the novel depicts a dark picture of Parisian finance. Furthermore, if there is a criminal in this serial novel, it is a woman! Gaboriau takes his reader into the viscera of the world of money and discloses the social mechanics of those who live off the money of others. Gaboriau denounces the appetites of the morally corrupt society through the description of fictional spaces, such as the Comptoir de crédit mutuel, the office of the newspaper Le Pilote financier, the office of the speculator Lattermann, on the one hand, and of actual emblematic places such as the Bourse, the large boulevards or the Bois de Boulogne on the other

Benson and Miller in Perspective

1979 ◽  
Vol 3 (3-4) ◽  
pp. 242-244 ◽  
Author(s):  
Bruce Kuklick
Keyword(s):  
Social Sciences ◽  
Social Policy ◽  
Applied Science ◽  
The Other ◽  
Social Knowledge ◽  
The Past ◽  
The Social ◽  
The World ◽  
The One ◽  
Stock Of Knowledge

Despite differences in coloration Miller and Benson are birds of a feather. Although he is no Pollyanna, Miller believes that there has been a modest and decent series of advances in the social sciences and that the most conscientious, diligent, and intelligent researchers will continue to add to this stock of knowledge. Benson is much more pessimistic about the achievements of yesterday and today but, in turn, offers us the hope of a far brighter tomorrow. Miller explains Benson’s hyperbolic views about the past and future by distinguishing between pure and applied science and by pointing out Benson’s naivete about politics: the itch to understand the world is different from the one to make it better; and, Miller says, because Benson sees that we have not made things better, he should not assume we do not know more about them; Benson ought to realize, Miller adds, that the way politicians translate basic social knowledge into social policy need not bring about rational or desirable results. On the other side, Benson sees more clearly than Miller that the development of science has always been intimately intertwined with the control of the environment and the amelioration of the human estate.

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.”

Post-Yugoslav Serbian Literature and Its Roots in the Social and Political Changes

2018 ◽  
Vol 14 (1) ◽  
pp. 101-118
Author(s):  
Milan Orlić
Keyword(s):  
Social Context ◽  
The Other ◽  
Cultural Discourse ◽  
World Language ◽  
Cultural Paradigms ◽  
The Social ◽  
Post Modernism ◽  
The World ◽  
Socialist Realist ◽  
The One

Post-Yugoslav literature and culture came out of the stylistic formations of Yugoslav modernism and postmodernism, in the context of European cultural discourse. Yugoslav literature, which spans the existence of “two” Yugoslavias, the “first” Yugoslavia (1928–1941) and the “second” socialist Yugoslavia (1945–1990), is the foundation of various national literary and cultural paradigms, which shared the same or similar historical, philosophical and aesthetic roots. These were fed, on the one hand, by a phenomenological understanding of the world, language, style and culture, and on the other, by an acceptance of or resistance to the socialist realist aesthetics and ideological values of socialist Yugoslav society. In selected examples of contemporary Serbian prose, the author explores the social context, which has shaped contemporary Serbian literature, focusing on its roots in Serbian and Yugoslav 20th century (post)modernism.

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 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 SOME FEATURES OF MUSLIM LAW: NEW TRENDS IN ITS DEVELOPMENT

THE BULLETIN ◽  
2021 ◽  
Vol 389 (1) ◽  
pp. 278-283
Author(s):  
N.L. Seitakhmetova
Keyword(s):  
Public Relations ◽  
Social Relations ◽  
The Other ◽  
Human Being ◽  
Legal Systems ◽  
Integration Process ◽  
Global Order ◽  
The Social ◽  
The World ◽  
The One

The essence of the integration process in Muslim law has expressed in the enlargement and consolidation of the social relations through the definite points, objects of the concentration of the tension and gradual incorporation of the human being into the community with the system of the relations, with the global order, based on the balance of the regulating influence of the legal systems of the different states and synchronic of the regulating behavior in the different societies. The movable force of the process of the integration is inside the system of the society and social relations in the world scale. Muslim law is an Islamic doctrine about the rules of behavior of the Muslims. The main content of Muslim law is the rules of behavior of believers, that follow from the Sharia and sanctions for non-compliance with these regulations. It was formed in the VII-X centuries in the connection with the formation of the Muslim state - Caliphate. The formation of Muslim law was caused, on the one hand, by the need to bring the actual law in line with the religious norms of Islam, on the other hand, by the need to regulate public relations on the principles, based on the religious and ethical teachings of Islam.

Social Indicators: A Comparison Among Selected Countries

2019 ◽  
Vol 4 (2) ◽  
pp. 123-144
Author(s):  
Badar Alam Iqbal ◽  
Mohd Nayyer Rahman ◽  
Munir Hasan
Keyword(s):  
World Bank ◽  
Growth And Development ◽  
Social Indicators ◽  
High Growth ◽  
The Other ◽  
Lower Income ◽  
The Social ◽  
The World ◽  
The Difference ◽  
The One

The difference between growth and development is not subtle but substantially huge and the gap is ever increasing. The dividing line is social indicators. Countries witnessing high growth rates for decades are not equal performers in development when social indicators are observed. India is an emerging economy on the one hand and a developing on the other hand but a lower income country as per World Bank statistic. While India holds economic indicators that appears to be promising to the world and investors that is not the case with social indicators. The present study is an attempt to critically review the social indicators for India and to trace the trajectory of fall or growth in such indicators while comparing with selected countries.

Male-Female Characters’ Tenor of Discourse in Akachi Ezeigbo’s The Last of the Strong Ones

2015 ◽  
Vol 8 (3) ◽  
pp. 167
Author(s):  
Innocent Sourou Koutchade ◽  
Severin Mehouenou
Keyword(s):  
Social Role ◽  
The Other ◽  
The Novel ◽  
Female Characters ◽  
Male And Female ◽  
The Social ◽  
Class 1 ◽  
Role Relationships ◽  
The One

<p class="1"><span lang="X-NONE">This article attempts to explore male-female characters’ tenor of discourse in the novel entitled: <em>The Last of the Strong Ones</em> by Akachi Ezeigbo. According to Halliday’s (1978), the tenor of the discourse is the social role relationships played by interactants. It is associated with the grammar of interpersonal meanings which is, in turn, realized through the mood patterns of the grammar. The paper, through the analysis of mood system, modality and vocatives, reveals how male and female characters establish relationships between each other. The tenor of their discourse unveils how women are oppressed by patriarchy on the one hand, as well as how they fight against the system, on the other. From these linguistic choices, the work concludes that there exists an atmosphere of tension, distance, aggression and dominance between some characters of the novel. </span></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.

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