“Formalism” in Polish Literary Scholarship

Slavic Review ◽  
1972 ◽  
Vol 31 (3) ◽  
pp. 574-582
Author(s):  
Zbigniew Folejewski
Keyword(s):  
Short Story ◽  
Russian Language ◽  
The Novel ◽  
Literary Scholarship ◽  
Russian Formalism ◽  
Literary Research ◽  
Roman Jakobson ◽  
The One ◽  
The University ◽  
The Impact

In discussing the contribution of the Polish “Formal” or “Integral” School to the development of literary research, one of the difficulties is whether to view it mainly as an echo of Russian Formalism or as a scholarly movement in its own right. There is no doubt that the often strikingly suggestive theoretical slogans and undeniable practical achievements of the Russian Formalists—such as Shklovsky's insights on the theory of the novel, V. I. Propp's Morphology of the Folktale, M. A. Petrovsky's Morphology of the Short Story, and the research of Boris Tomashevsky, Viktor Zhirmunsky, and Roman Jakobson in the field of poetry—all greatly attracted those Polish scholars who were looking for a coherent, strictly literary set of criteria, discouraged as they were by the inflation of biographism and psychologism in literary research. Yet the impact of Russian Formalism was limited in scope and in many respects rather indirect. On the one hand, the reaction against the one-sidedness of the psychological school came in Poland independently, and in some ways even earlier than in Russia. For this the Polish scholars did not need to go to Russia—they had both ancient (Aristotle) and more modern sources (German, Italian, French, and others). On the other hand, many of the Polish scholars did not even know the Russian language, though they knew some Western languages very well. (The scholar who was to become the foremost promoter of Formalism, Manfred Kridl, knew very little Russian when he came to teach at the University of Wilno. It was under the influence and with the help of a group of students that he became familiar with the writings of the Formalists.)

A STUDY ON HOW LONG AND SHORT SENTENCES SHOW THE STORY’S PACING IN ANTHONY HOROWITZ’S RAVEN’S GATE

JURNAL SPHOTA ◽  
2019 ◽  
Vol 11 (2) ◽  
pp. 22-31
Author(s):  
I Wayan Sidha Karya ◽  
Ida Bagus Adhika Mahardika
Keyword(s):  
Empirical Study ◽  
Harry Potter ◽  
Sentence Length ◽  
The Novel ◽  
Story Line ◽  
General Audience ◽  
Grammatical Form ◽  
Average Sentence ◽  
The One ◽  
The Impact

Long and short sentences affect the reader’s pace of reading story since they have to farce the complexity of the sentences and words used in it. In this study the impact of the use of long and short sentences on the pace of the story as implemented by Anthony Horowitz, a novelist, in his novel Raven’s Gate, is being explored. Especially the researchers looked at what types of long and short sentences were being used in the novel and how they were building up the story line and their effect on the pace of the story. A sentence with the length of up-to fourteen (14) words is considered to be short and the one over 14 words is considered to be long in spite its grammatical form, whether it is simple or complex. The criteria are based on empirical study as mentioned by Casi Newell in the AJE (American Journal Experts) retrieved from https://www.aje.com/en/arc/editing-tip-sentence-length/, that “the average sentence length in scientific manuscripts is 12-17 words,” with JK Rowling—the writer of Harry Potter—who can be considered to be representative of a modern English writer with a general audience, having the average of 12 words. For convenience we take the liberty of taking 14 words for the longest sort sentences and those which have 15 or more words are considered to be long sentences

scholarly journals POETICS OF CYCLIZATION IN THE PROSE OF YURIY BUYDA

2020 ◽  
Vol 12 (2) ◽  
pp. 72-80
Author(s):  
Marina P. Abasheva ◽  
◽  
Mariya V. Kurilenko ◽  
◽  
Keyword(s):  
Short Story ◽  
Social Communication ◽  
Russian Literature ◽  
General Interest ◽  
The Novel ◽  
Text Generation ◽  
Semiotic Analysis ◽  
Literary Forms ◽  
The Social ◽  
The One

The article studies the poetics of the contemporary writer Yuriy Buyda in the context of the contemporary Russian short story. The analysis of historically specific forms of Buyda’s cyclization is considered as part of the general tasks of historical poetics in studying the evolution of literary forms. Structural and semiotic analysis of the writer’s works reveals that his prose forms peculiar cycles-clusters, ‘archipelagos’, where a cycle of stories appears to be related to novels. This connection is primarily determined by the setting, but also by recurring heroes and a specific – cumulative rather than cyclical – plot that traces its origin to myth. Through the example of one such cluster of texts – the cycles Zhungli, Gates of Zhungli (Vrata Zhungley) (2011), Lions and Lilies (L’vy i Lilii) (2013), the novel Blue Blood (Sinyaya krov’) and related works – the paper investigates the nature and logic of the depicted world, the mechanisms of its intra-textual connections, as well as the genesis due to both the nature of the author’s artistic thinking and the social, historical and literary, biographical context. Thus, we can observe a tendency of transcending the genre boundaries of a story or novel in favor of hypertext rhizomatic formations – based on mythologizing strategies. These features correlate with the general interest of contemporary Russian literature in collections of short stories, on the one hand, and the contemporary novel’s leaning to disintegration of a single narrative and fragmentation, on the other. It is possible that the tendencies toward hypertext strategies for text generation are determined by the general properties of modern thinking and social communication since today the social morphology of society is built in the form of networks.

scholarly journals Unfaithful translation and translation purposes: The Discovery of America by Joachim Heinrich Campe, in Romanian version

Diacronia ◽  
2021 ◽  
Author(s):  
Iulia Elena Zup
Keyword(s):  
Original Text ◽  
The Novel ◽  
Geographical Knowledge ◽  
Translation Strategies ◽  
Moral Virtues ◽  
Analysis Strategies ◽  
The One ◽  
The Masses ◽  
The University ◽  
Target Culture

This paper investigates the purpose of using certain translation strategies in the Romanian version of the novel Die Entdekkung von Amerika (1781) by Joachim Heinrich Campe, translated from German by the merchant and teacher Nicola Nicolau from Brașov and published at the Printing House of the University of Buda in 1816 with the title Descoperirea Americii. Starting from the skopus theory developed by Hans Vermeer, the purposes of producing the Romanian version are analysed, in comparison with those of writing the original text and of the translations in other languages. At the textual level, through the comparative analysis, strategies are highlighted, especially omissions and interpolations, which help to achieve the goals of the translator or the text. Thus, through the transfer between the source and the target culture, one can observe the maintenance of the pedagogical Enlightenment goals, of instructing the masses regarding moral virtues and historical and geographical knowledge, and the addition of the one of cultivating the Romanian language.

scholarly journals SOCIAL AND HUMANITARIAN TECHNOLOGIES IN THE TEACHING OF HUMANITIES IN THE UNIVERSITY

2018 ◽  
pp. 32-38
Author(s):  
Максим Поздняков ◽  
Maksim Pozdnyakov
Keyword(s):  
Higher Education ◽  
Research Literature ◽  
Russian Language ◽  
Teaching Philosophy ◽  
Philosophical Debate ◽  
Psychology Pedagogy ◽  
The Individual ◽  
Education Psychology ◽  
The University ◽  
The Impact

The article discusses the place and role of social and humanitarian technologies in the system of higher education of the Russian Federation, specifically in the teaching of Humanities like: philosophy, logic, psychology, history, Russian language, etc. The author takes into account the broad understanding of technology as it is used in the current research literature. So technology is a sequence of steps to transform the starting material into the final product, in this case the social and humanitarian technologies is the totality of rational influence methods on individuals and social groups with a view to their transformation in the desired direction. Basing on this understanding, the author makes the conclusion that the teaching of the Humanities, first, is a technology itself, and secondly, it should provide the student with this kind of technology. The article analyzes the causes leading to the increased need to provide students with these technologies, as well as the problems associated with the current state of teaching humanitarian disciplines, in particular the impact of the increased pragmatism of students on the perception of humanitarian material, the increased availability of information, the obsolescence of some teaching formats. The author outlines his experience in the field of teaching philosophy, which interprets as one of the components of social and humanitarian technologies. The main technology, which the philosophy should teach, is the technology of persuading an individual or group. It should be stored as a tool and a result of course. He thinks key methods of demonstration and of forming this kind of technology to be the analysis of philosophical dialogues, philosophical debate and interpretation of texts with an opaque meaning unknown for students. Consideration of these methods is provided with recommendations to improve their effectiveness. Keywords: social and humanitarian technologies, technology, impact on the individual, Humanities, philosophy, logic, thinking, knowledge, teaching philosophy, higher education, psychology, pedagogy, competences, personality

Charles Dickens: The Woolf Afterlife

2020 ◽  
Vol 10 (3) ◽  
pp. 292-310
Author(s):  
Michael Hollington
Keyword(s):  
Charles Dickens ◽  
Virginia Woolf ◽  
Jane Austen ◽  
The Novel ◽  
Fyodor Dostoevsky ◽  
Bleak House ◽  
Familiar Essay ◽  
The One ◽  
The Impact ◽  
Critical Writings

This essay begins with a survey of attitudes towards Charles Dickens in the extended Stephen family, as these were inherited by the modernist writer Virginia Woolf. On the one hand, there is the strongly negative view of her Uncle Fitzy (Sir James Fitzjames Stephen), and the lukewarm, rather condescending opinion of her father Leslie Stephen. On the other, there is the legacy of enthusiastic attention and appropriation from William Makepeace Thackeray's two daughters – her aunt Anne Thackeray Ritchie and (posthumously) Min, Leslie Stephen's first wife. In the second section I survey Woolf's critical writings on Dickens, adding a glance at the opinions of her husband Leonard. In both, there is an evolution towards greater attention and enthusiasm. Besides Woolf's familiar essay on David Copperfield (1849–50), I give prominence to lesser-known writings, in particular to her laudatory assessment and analysis of Bleak House (1852–3). The third and final part concerns signs of the influence of Dickens in Woolf's first novel, The Voyage Out (1915). The earlier, satiric part of the novel shows the impact both of Jane Austen and Dickens as ironists and humourists. During the tragic conclusion, influenced by a reading of Fyodor Dostoevsky, Jane Austen drops out, but Dickens is retained.

Circle Nine by A. Hetzel

2011 ◽  
Vol 1 (2) ◽  
Author(s):  
Sarah Mead-Willis
Keyword(s):  
English Literature ◽  
The Novel ◽  
Rare Book ◽  
University Of Alberta ◽  
Special Collections ◽  
Literary Allusion ◽  
The One ◽  
The University

Heltzel, Anne. Circle Nine. Somerville, Mass.: Candlewick Press, 2011. Print. Why are hapless females in YA novels always named Abby? I don’t know, the amnesiac narrator of Circle Nine would reply. That’s just what it says on my necklace.  So begins Anne Heltzel’s debut thriller: a teenaged girl awakens on the pavement outside a burning building with no memories and no name, save the one she wears in gold around her neck. With her is a mysterious, charismatic youth named Sam, who claims to be her friend. Sam persuades Abby to retreat from the fire and into the woods, where they hide in the safety of his “cave-palace”: a glittering subterranean paradise full of shimmering fabrics and sumptuous furniture. There, the two of them sip pomegranate wine, discuss fine literature, and forswear all contact with the outside world, which Sam likens to an Aleghierian hell (hence the book’s title). We suspect this a fantasy, invented by Abby to protect herself from an uglier cave and an uglier Sam, to say nothing of the ugly events occluded by her smoke-kippered memory. The question is: whose fantasy is it? What sixteen-year-old with cheap bling on her neck would retreat into a happy place wrought with literary allusion, Platonic cave metaphors, and Oriental carpets? This is clearly the reverie of the author herself, still in love with her various muses. Abby’s fantasyland, though out of character, is not necessarily a detriment to the novel itself. Indeed, we could do without the predictable combination of flashbacks and sleuthing by which Abby reconstructs her true identity, and abide instead within her doomed and darkly luminous otherworld. For it is there that Heltzel’s storytelling is at its boldest, her writing most sensuous and wild, and it is here that the novel promises—if only briefly—to be something other than the dreary chestnut about a naïve girl brought low by bad luck and sly men.Recommended with reservations: 2 out of 4 starsReviewer: Sarah Mead-Willis Sarah is the Rare Book Cataloguer at the University of Alberta's Bruce Peel Special Collections Library. She holds a BA and an MLIS from the University of Alberta and an MA in English Literature from the University of Victoria.

scholarly journals Ivanhoe by Walter Scott in the Creative Perception of Ivan Turgenev. Article One

2020 ◽  
pp. 5-15
Author(s):  
Ivan O. Volkov ◽  
◽  
Emma M. Zhilyakova ◽  
Keyword(s):  
Short Story ◽  
The Novel ◽  
Research Attention ◽  
Speech Characteristics ◽  
Walter Scott ◽  
Ordinary Person ◽  
The One ◽  
The Relationship ◽  
Universal Nature ◽  
Obvious Similarity

In the article, on the material of Ivan Turgenev’s library and his short story “The Jew”, the issue of reading and creative perception is examined. Turgenev’s perception of Ivanhoe by Walter Scott is in the focus. The research attention is developing from the interpretation of several Turgenev’s notes left in the English version of the novel to the analysis of the creative perception of the images of Isaac and Rebecca, which became the ideological and semantic basis of “The Jew”. The reading of Ivanhoe in the original in the early 1840s became for the writer a penetration into Scott’s individual writing system. Turgenev’s few notes indicate that he became acquainted with Scott’s creative manner: the ability to voluminously weave comic elements into the pathetic-heroic atmosphere of action, the combination of historical and artistic material, the boldness of the ironic tone, and the mastery of speech characteristics. The reader’s perception of Scott’s novel was soon replaced by its creative interpretation, as a result of which “The Jew” appeared. Following the example of the English novelist, the object of Turgenev’s artistic reflection is a Jewish father and his daughter, who find themselves in a socio-historical and moral-psychological crisis — the Patriotic War of 1812 and the Foreign Campaigns of the Russian Army. There is an obvious similarity between Scott’s Rebecca and Turgenev’s Sarah: from the elements of the external description and the details of the portrait to the moral and psychological characteristics. The two young girls are especially united by the sense of pride and the awareness of their dignity, which clearly manifest themselves in the moments of danger that threatens them. Besides, the relationship between the Jewish girl and the Russian officer in Turgenev’s story vaguely resembles the situation of Rebecca and Ivanhoe. But the love line in “The Jew” does not develop in full. Considering William Shakespeare’s and Gotthold Lessing’s experience, following Walter Scott, Turgenev reflects on the universal nature of the “humiliated tribe”. The Russian writer depicts the psychology of the experiences of the Jew Girshel, accused of spying for the French. In the tradition of objectivity and epic literature, inherited from Scott, Turgenev draws a tragic line related to the position of an ordinary person. But, unlike the English novelist, Turgenev brings the torment of the character to the highest limit – the death penalty. At the same time, the Russian writer explicates sharp contradictions in the image of his character that turns out to be a carrier of suffering, on the one hand, and a source of laughter, on the other. This shows Turgenev’s orientation on the features of Shakespeare’s image of a person, in which the tragic invariably coexists with the comic. Walter Scott sensitively learned the law of ambivalence from Shakespeare, too.

scholarly journals Metonímia e realismo em “A enxada”, de Bernardo Élis

2018 ◽  
Vol 27 (2) ◽  
pp. 59-76
Author(s):  
Maria Cecília Boechat
Keyword(s):  
Short Story ◽  
Theoretical Foundation ◽  
Roland Barthes ◽  
Literary Realism ◽  
The Novel ◽  
Social Content ◽  
Figures Of Speech ◽  
Figure Of Speech ◽  
Roman Jakobson ◽  
Tzvetan Todorov

Resumo: Análise do conto “A enxada”, de Bernardo Élis, publicado em Veranico de janeiro (1966) e tornado antológico por Alfredo Bosi, que o selecionou para compor sua coletânea O conto brasileiro contemporâneo (1975). A análise procura mostrar um dos procedimentos estruturantes da narrativa, que consiste no recorrente e variado uso da metonímia. A relação entre essa figura de linguagem e o realismo literário foi estudada por linguistas como Román Jakobson e Tzvetan Todorov e pelo semiólogo Roland Barthes, cujos trabalhos consistem no fundamento teórico da análise proposta. Nessa perspectiva, o objetivo é mostrar que, embora o conto de Bernardo Élis, por seu forte conteúdo social, tenha sido explorado principalmente em seu viés sociológico, a relação que a narrativa estabelece com a realidade rural brasileira não se pretende factual ou documental, mas encontra-se explicitamente mediada pela linguagem e pela tradição literária brasileira, em que se insere pela retomada de um episódio do romance A bagaceira (1928), de José Américo de Almeida.Palavras-chave: Realismo; Figuras de linguagem; Bernardo Élis.Abstract:Analysis of the short story “A enxada”, written by Bernardo Élis, published in the book Veranico de Janeiro (1966) and turned anthological by Alfredo Bosi, who selected it to be included in his collection O conto brasileiro contemporâneo (1975). This study aims to show one of the structural procedures of the narrative, which consists in recurrent and varied use of metonymy. The relation between this figure of speech and literary Realism was studied by linguists such as Román Jakobson and Tzvetan Todorov and by the semiologist Roland Barthes, whose works are comprised of the theoretical foundation of the analysis proposed. From this perspective, the focus of this article is to prove that, even though the story of Bernardo Élis, due to its powerful social content, has been explored mainly through its sociological bias, the connection that the narrative establishes with the Brazilian rural reality does not intend to be factual or documental. Nonetheless, it is found clearly mediated by language and the Brazilian literary tradition in which it is placed with the recallof an episode from the novel A bagaceira (1928), written by José Américo de Almeida.Keywords: realism; figures of speech; Bernardo Élis.

scholarly journals Musical code and musical ecfrasis in the novel by I. Franco “William Tell”

2019 ◽  
Keyword(s):  
Short Story ◽  
Verbal Description ◽  
The Novel ◽  
The People ◽  
Inner World ◽  
The Rich ◽  
Litmus Test ◽  
The One ◽  
Relationship Of

The article analyzes the novel by I. Franco “William Tell” through the prism of musical code and musical ecfrasis. So far, none of the French scholars has paid attention to the plot-forming role of the Rossini’s opera in the short story, but in the first part of the four-part short story the young couple is going to the opera, in the following parts Franco gradually reveals the heroine’s perception of the overture to the opera, and then its individual scenes. After the end of the opera, Olya novelistically unexpectedly, on the external-eventual plane of the novel, declares that she is not in love with Volodko, but on the internal, spiritual and psychological - thanks to the verbal description of the music and its perception by the heroes - this becomes natural. With the help of musical ecfrasis, the depth of Olya’s impression of the Rossini’s opera and the heroine’s psychological sensitivity to what she heard become clear. Moreover, Franco finds his “niche” in the image of the heroine's understanding of opera music: while foreign writers of the mid-19th century most often describe the feelings and emotions that heroes evoke in music, Franco, relying on picture programmability (landscapes of his native land and ideal representations of the heroine about family happiness), which Olya accompanies the heard music, reveals the rich inner world of the girl and her ideals. Rossini’s romantic heroic-patriotic opera “Wilhelm Tell”, her musical images and stage performance become a litmus test in the novel: the relationship of the characters to the opera performance, impressions of it become an important way of revealing their characters. Volodka’s superficial attitude to music as entertainment, on the one hand, and Olya’s ability under the influence of music to see the true meaning of life, correcting her worldview from pastorally romantic to heroic-romantic, on the other hand, make it possible to understand the different life positions of the heroes - the intellectual adaptive Volodka’s service to the people of Olya, and, in fact, the ideological and artistic concept of the writer himself.

scholarly journals THE WOMEN’S SUFFERING IN THE NOVEL THE HANDMAID’S TALE BY MARGARET ATWOOD

2020 ◽  
Vol 8 (2) ◽  
pp. 332-342
Author(s):  
Abbas Abbas
Keyword(s):  
Women Characters ◽  
Social Problem ◽  
Social Problems ◽  
Severe Depression ◽  
Literary Work ◽  
The Novel ◽  
Literary Research ◽  
The Social ◽  
The Republic ◽  
The Impact

The research discusses social problems experienced by women in a literary work entitled The Handmaid's by Magaret Atwood Magaret. The social problems in question are discussed the social problem of women that happened in the novel The Handmaid’s Tale and described the impact of social problem on women characters in the novel. The suffering that befell women handmaids such as Offred, Ofglen, Janine, and others occurs in a country called the Republic of Gilead. The research uses the Structuralism Approach, a literary research method that emphasizes structural aspects in the form of character, plot, setting, theme, and others. Gender study in literature becomes the perspective of this research which highlights social injustice towards female characters in the fictional story. The research data are then analyzed by using qualitative research methods and explained descriptively. The results of this study indicate that during the reign of the Gilead Republic, women experienced various social problems in the form of separation from family, not getting proper education, restrictions on freedom, forced childbirth for elite families, and the obligation to perform certain rituals. The social problems experienced by these women resulted in severe depression that almost claimed their lives.

Sign in / Sign up

Export Citation Format

Share Document