scholarly journals Paintings That Did Not Become Icons: Pictorial Art in Dostoevsky’s Novels The Insulted and The Injured and The Adolescent

2021 ◽  
Vol 6 (3) ◽  
pp. 148-165
Author(s):  
Tatyana A. Kasatkina
Keyword(s):  
External World ◽  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Personal Change ◽  
Fictional World ◽  
Spiritual Meaning ◽  
Spiritual World ◽  
Highly Effective

Dostoevsky’s philosophy and theology cannot be extracted from his work in the form of explicit statements; instead, they manifest themselves via a complexly structured figurative text; the author’s strategy consists in stepping back in order to implicitly involve the reader in a process of personal discoveries and personal change. This article focuses on philosophical and theological thoughts in Dostoevsky’s works that are associated with the narratives about paintings which the artist paints against the client’s demand to explicitly express their spiritual meaning. This kind of storyline recurs at least twice in Dostoevsky’s works and appears to be highly effective from a philosophical and theological point of view. In the novel The Insulted and the Injured, it demonstrates what happens “on the other side” of the icon, while in The Adolescent, it serves to reveal the images of the spiritual world in their everyday array and to teach the reader to recognize these images not only within the fictional world of the text but also without, in the external world with which she interacts.

Author's characters and the character of the author: The typical in fiction

2011 ◽  
Vol 40 (2) ◽  
Author(s):  
Tahir Wood
Keyword(s):  
Direct Relationship ◽  
Point Of View ◽  
The Other ◽  
Specific Reference ◽  
Fictional Characters ◽  
The Novel ◽  
Fictional World ◽  
John Fowles ◽  
The Social ◽  
The One

AbstractThis article situates the semantics of fictional characters within a broader framework of authorial communication. It argues that theories of character in the novel will be deficient to the extent that characters are not conceptualised as motivated creations of an author. The influential approach of Georg Lukács effectively excluded the point of view of the author in favour of a direct relationship between the fictional work and processes of history, as an instance of the particular related to the universal. But here it is argued that the notion of the typical should rather be seen as a relation between the social milieu of the authorial experience on the one hand and the figure-ground construction of character on the other. This constitutes part of a project to examine the question of realism on a renewed basis, particularly in terms of the authorial presence within the fictional world, and the case is argued with specific reference to a novel by John Fowles.

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.

Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

The eye/I upon the event: a study of narrative voice in Robert Penn Warren's All the King's Men

1987 ◽  
Vol 8 (1) ◽  
pp. 53
Author(s):  
Maria Lúcia Barbosa de Vasconcellos
Keyword(s):  
Point Of View ◽  
Narrative Discourse ◽  
The Other ◽  
Major Theme ◽  
The Novel ◽  
Temporal Perspective ◽  
Narrative Prose ◽  
Linguistic Level ◽  
King's Men ◽  
The Relationship

This thesis is a study of the relationship between the narrating self and its enunciation in Robert Penn Warren's All the king's men. The concept of point of view is surveyed and discussed and the poetics of narrative is opposed to the poetics of drama, since All the king's men is a novelization of a play by the same author. It is argued that narrative prose allows for a temporal perspective and is thus the adequate genre for the portrayal of man trapped in the complex tensions of time, a major theme of the novel. The narrative discourse is then analyzed through the categories of time, mode and voice, with the narrator's hesitation being examined in terms of function at the linguistic level. Finally, the fragmented and specular pattern of the enunciation is investigated by examining the insertion of the Cass Mastern episode in the narrative. A concluding reflexion focuses on the other voices which permeate the narrator's discourse and confirm the fragmented configuration of the text.

scholarly journals An Analysis of Students’ Ability in Applying Modulation Technique in Translating Collocation “The Lost Symbol” Novel by Dan Brown

2019 ◽  
Vol 3 (1) ◽  
pp. 182
Author(s):  
Detti Lismayanti ◽  
Angga Pratama
Keyword(s):  
Content Analysis ◽  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Modulation Technique ◽  
Literal Translation ◽  
Other Hand ◽  
Translation Technique ◽  
Modulation Techniques ◽  
Low Ability

The objective of this research was to analyze how students’ ability in applying modulation techniques in translating collocation from the novel “The Lost Symbol” by Dan Brown. The research was a content analysis of descriptive qualitative. There were 25 students taken as respondent, there were represented from each class. The data were collected by using a translation test which was contained six types of collocation. The finding showed that students’ability is dominant in collocation type of adjective and noun because to translate it just simple and the phrase of the word is most familiar in their activities not also in translation subject but other skill language material. In the other hand, the students’ low ability to translate collocation of Verb and expression with a preposition because they could not just use the literal translation but they have to adapt it or changing their point of view and use their cognitive and focus on the context, which makes relevant and coherent. However, overall the average of students ability must be improved it with learning more and lecturer must be able to focus on students’ weakness in applying translation technique, especially on modulation to get the progress by the students’ translation well.

COMMODITIES, OWNERSHIP, AND THE EUSTACE DIAMONDS: THE VALUE OF FEMININITY

2010 ◽  
Vol 38 (1) ◽  
pp. 39-52 ◽  
Author(s):  
Jen Sattaur
Keyword(s):  
Moral Worth ◽  
Legal Issues ◽  
The Other ◽  
The Novel ◽  
Fictional World ◽  
Commodity Culture ◽  
Recent Commentary ◽  
Female Condition ◽  
Different Types

In an 1867 treatise on diamonds and precious stones, Harry Emanuel writes the following: [I]n the process of cutting, flaws and imperfections are often laid bare, which go much deeper than the appearance of the rough diamond would predict; and, on the other hand, the colour, apparent in the rough stone, is sometimes found to arise from the presence of flaws or specks, which are removed in cutting, thus leaving the stone white. (70) From such a description, it is easy to see the parallel to the female condition, and particularly the female condition, as it is popularly portrayed in the mid-nineteenth century. With the emphasis on purity and hidden flaws, it is not difficult to understand why the diamond could hold such symbolic significance for the female wearer, by functioning as an indicator not only of personal wealth, but of moral worth. Trollope's The Eustace Diamonds (1871), a novel which can be said to revolve around this metaphor, is essentially a novel about worth: absolute vs. transitory worth, actual vs. symbolic worth, and especially monetary vs. moral worth. Lizzie's character, the legal issues surrounding the diamonds, and the convoluted marriage arrangements which are perpetuated by or affected by the presence of the diamonds are all, in one way or another, concerned with the different types of value – moral, symbolic, monetary, etc. – placed upon commodity objects: objects which, by their very nature, can never be permanently owned, as their value lies in their exchangeability. I will return later to a discussion of the diamonds themselves. There has been considerable recent commentary on the role of commodities – whatever their worth – and of commodity culture within Trollope's novel; such readings, however, concentrate on the purely symbolic role played by commodity objects – and primarily the diamonds – in the novel; it is worth, by contrast, examining how Trollope utilizes the discourses and associations of actual commodity objects as he deploys them within his fictional world. This paper will examine the ways in which Trollope uses four commodity objects in particular – books of poetry, hunting horses, the safe box, and finally, the Eustace diamonds themselves – and the contemporary discourses surrounding them to defend the essentially mercenary character of Lizzie as a woman shaped by the demands that a commodity-driven society places upon her.

scholarly journals La presència de les unitats fraseològiques en Jardí vora el mar, de Mercè Rodoreda i les variacions de la traducció castellana

2016 ◽  
pp. 79
Author(s):  
Trinidad Escudero Alcamí
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Merce Rodoreda ◽  
Spanish Translation ◽  
Scant Attention

http://dx.doi.org/10.5007/1980-4237.2014n16p79Com a conseqüència del punt de vista narratiu escollit per Mercè Rodoreda, Jardí vora el mar (1967) és, sens dubte, l’obra amb més força fraseològica de l’autora. Aquest fet, inevitablement, hagué de complicar la tasca de traduir la novel·la al castellà a Joan Francesc Vidal i Jové, traducció que va ser publicada el 1975 per l’editorial Planeta amb el títol Jardín junto al mar. Donada l’escassa atenció que la crítica especialitzada ha prestat a aquesta obra i la mancança d’estudis que analitzen l’ús que Mercè Rodoreda fa de la llengua a les seues obres, en aquest article, ens plantegem dos objectius: d’una banda, analitzar l’ús que Mercè Rodoreda fa de les unitats fraseològiques a la novel·la; i de l’altra, comprovar quina ha estat la variació fraseològica duta a terme en la traducció al castellà de l’obra.ABSTRACT Because of the narrative point of view chosen by Mercè Rodoreda, Jardí vora el mar (1967) is, undoubtedly, the work with more phraseological force written by the author. This fact inevitably had to complicate the task of translating the novel into Spanish for Joan Francesc Vidal i Jové, whose translation was published by Planeta in 1975 titled Jardín junto al mar. Given the scant attention that the critics have paid to this novel and the lack of studies examining the use that Mercè Rodoreda makes of the language in her novels, in this article, we consider two objectives: firstly, to analyse how Mercè Rodoreda uses phraseological units in the novel; and on the other, which has been the phrasal variation held in the Spanish translation of this work.Keywords: Mercè Rodoreda; Jardí vora el mar; phraseology; translation.

scholarly journals The image of a person of another nationality in the fantastic works of Oleg Divov

2020 ◽  
pp. 167-175
Author(s):  
Maria N. Krylova
Keyword(s):  
Science Fiction ◽  
Political Correctness ◽  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Russian Science ◽  
Modern Culture ◽  
Ethnic Affiliation ◽  
National Differences ◽  
Original Concept

The article is devoted to the analysis of the image of a person of a different nationality, who is created in his works by the modern Russian science fiction writer Oleg Divov. Based on the analysis of the author’s three novels, “The Best Solar Crew,” “Technical Support” and “Elephants’ Homeland,” his original attitude to the problem of the national and ethnic affiliation of a person is revealed. The aim of the study was to analyze the image of a person of a different nationality in the books of O.I. Divov and to represent a person of a different nationality in the context of the image of the “Other”. The tasks were set to identify the author’s treatment of the image of a person of a different nationality, to detect interpretations of this image in various works. The scientific novelty of the study was provided both by the novelty of the text material introduced into the scientific circulation, and by the approach to the problem of the image of the “Other” in modern literature from the point of view of the optionality of observing the principles of tolerance and political correctness, more precisely, new ways of observing these principles. In the reviewed works of the writer, heroes of different nationalities appear, and the national differences between them are not hidden, but, on the contrary, stand out in relief, are brought to the fore. Representatives of each of the nationalities (Russians, Jews, Germans, Americans, French, Chukchi, and others) are portrayed as people with undeniable merits, and at the same time – ironically, with humor. The writer does not demonstrate any stable national preferences: in the novel “The Best Solar Crew”, Russians are glorified first of all, and in the novel “The Land of Elephants” – the Chukchi. Despite ridicule, reflecting the stereotypical perception of a particular nation, the description of none of them becomes nationalistic. The author creates an original concept of perception of heroes of a different nationality, opposing the popular in modern culture of tolerance, showing the importance of national differences and the uselessness of silencing them.

The Sacred Fount: The Narrator and the Vampires

PMLA ◽  
1961 ◽  
Vol 76 (4-Part1) ◽  
pp. 407-412 ◽  
Author(s):  
Norma Phillips
Keyword(s):  
Henry James ◽  
The Self ◽  
The Other ◽  
The Novel ◽  
Fictional World ◽  
Rebecca West ◽  
Human Relationships

Criticism of Henry James's controversial novel The Sacred Fount has tended rather insistently to take one of two interpretive directions. Since Edmund Wilson's famous essay “The Ambiguity of Henry James” appeared in 1934 and made everyone more aware of the potential complexity of James's handling of the focus of narration, the perhaps more frequently encountered approach to the novel has been one which regards it, like The Turn of the Screw and In the Cage, as principally another Jamesian experiment with a narrator of doubtful omniscience. The other approach, one still found in many treatments of the novel, tends rather to accept completely the narrator's version of events at Newmarch and looks for the meaning and significance of the work in his most obvious preoccupation during the weekend in which those events occur, the vampire theme of fulfillment and depletion in intense human relationships. Both approaches are valid. Indeed, one of the impressive aspects of the serious criticism of The Sacred Fount is that nearly all of the important attempts at analysis have been and remain true to some degree. Leon Edel, following and building on the hints of Wilson, has shown that the novel clearly is about “appearance and reality,” and R. P. Blackmur has pointed out the parabolic nature of the story and called attention to The Sacred Fount as the “nightmare nexus” in the Jamesian struggle “to portray the integrity of the artist and… the integrity of the self.” Even Rebecca West, in her witty dismissal of the book some years ago, was correct—more correct than she knew perhaps since she gives James no credit for a deliberate and skillfully manipulated irony—-in recognizing and mocking the disparity between the passion, pride, and labor expended by the incredibly egocentric, narcissistic narrator and the, if not completely trivial, at least gossamer issues involved. But the irony, like the ambiguity, is both constant and conscious. Unlike the narrator, to whom James has frequently been compared, James presides confidently over his fictional world like, in Lady John's words, “a real providence,” who “knows” (p. 176).

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