Camus' L'etranger

PMLA ◽  
1956 ◽  
Vol 71 (5) ◽  
pp. 865-887 ◽  
Author(s):  
Carl A. Viggiani
Keyword(s):  
World View ◽  
Complete Analysis ◽  
The Novel ◽  
Critical Writing ◽  
Use Of Time ◽  
The World

Most of the critical writing on L'Etranger has been focused on the world view or philosophy that it expresses. This is certainly legitimate, especially since Camus himself sees the novel as an incarnation of “a drama of the intelligence.” As a result, however, some of the formal and imaginative aspects of L'Etranger have been neglected, with the further result that the full meaning of the novel has remained hidden. On the surface, L'Etranger gives the appearance of being an extremely simple though carefully planned and written book. In reality, it is a dense and rich creation, full of undiscovered meanings and formal qualities. It would take a book at least the length of the novel to make a complete analysis of meaning and form, and the correspondences of meaning and form, in L'Etranger. My purpose here is less ambitious. I should like first to take up aspects of the novel that have not yet been studied sufficiently, principal among them (and in this order), the use of time and structure as thematic devices, myth, names, patterns of character and situation, and symbols, and then, in conclusion, to use the knowledge gained as the basis for an explication of the meaning of the novel as a whole. Frequent and fairly lengthy references will be made to others of Camus' books, simply because the novel is incomprehensible except in the context of all his works; it is hoped that what may appear to be digressions will be justified by the light they throw on the novel.

scholarly journals Semantico-Functional Features of Expressive Derivatives in the Artistic Discourse of V. Makanin

2018 ◽  
Vol 7 (4.36) ◽  
pp. 983 ◽  
Author(s):  
Anastasia S.Volskaya ◽  
Olga A. Chupryakova ◽  
Svetlana S. Safonova ◽  
Gulnaz T. Karipzhanova
Keyword(s):  
World View ◽  
Word Formation ◽  
The Novel ◽  
Leading Role ◽  
The World ◽  
Important Means ◽  
Functional Features ◽  
The Individual ◽  
Abstract Feature ◽  
Individual Style

The paper is devoted to the study of semantic and functional features of expressive derivatives, both usual and occasional, in the artistic gist of the novel “Asan” by V. Makanin, as well as their role in structuring the individual-author’s linguistic picture of the world. It has been proven that the derivation of expressive lexemes is the result of improvisation according to established patterns, and that the formation of occasional substantives, adjectives and verbs involved the main methods of the Russian word derivation. It is noted that in the artistic discourse of V. Makanin, in the substantive word-formation, suffixation plays a leading role, which takes place in the sphere of abstractness and includes such lexical-semantic groups as expressive substantives with the meaning of a person, expressive substantives with the meaning of abstracted action or an abstract feature with connotation, as a rule, negative and/or reduced colloquial connotation. While in the sphere of adjectival and verbal word formation, confixation and prefixation, as the formation of expressiveness, is most productive. The paper considers the phenomenon of semantic word formation, describes the formation of semantic derivatives, including in the field of occasional vocabulary. Expressive derivatives in the artistic discourse of V. Makanin are a bright sign of his individual style, an important means of expressing the world view and outlook of the writer.  

Design in Deloney's Jack of Newbury

PMLA ◽  
1973 ◽  
Vol 88 (2) ◽  
pp. 233-239 ◽  
Author(s):  
Max Dorsinville
Keyword(s):  
Middle Class ◽  
World View ◽  
The State ◽  
The Novel ◽  
Way Of Life ◽  
Literary Value ◽  
Greco Roman ◽  
Political Conception ◽  
The Social ◽  
The World

Jack of Newbury's surface realism in characters, setting, and speech has led to an underestimation of its historical and literary value. A close reading reveals the consistent use of the Greco-Roman ethical-political conception of the state, epitomized in the figure of the ruler. Deloney shows his familiarity with this tradition, probably known to him through Erasmus and Sidney, in the three controlling motifs of his novel. First, the middle class of weavers, represented in Jack's household and dramatized in allegories and symbols, is portrayed as a self-sufficient state where peace and harmony reign. Second, this state is shown to be such because of the nature of its ruler, Jack, a benevolent, generous, wise man. Third, the middle-class way of life—hard work, thriftiness, material gains—serves as princely education; accordingly, Jack, from a menial position, goes on to become ruler of the state. Jack of Newbury, as a systematical reordering of an aristocratic tradition, represents the world view of the emergent middle class; and as such, a momentous shift in the social temper of the Renaissance and an important step in the evolution of the novel.

scholarly journals MODELLING OF THE CHILDHOOD WORLD IN THE NOVEL “MARGHERITA DOLCEVITA” BY S. BENNI

2020 ◽  
Vol 1 (9(77)) ◽  
pp. 111-113
Author(s):  
Iryna Kushnir,
Keyword(s):  
World View ◽  
Family Values ◽  
Growing Up ◽  
The Novel ◽  
Self Identity ◽  
Her Family ◽  
The World ◽  
Home Space ◽  
Existential Dimension ◽  
First Time

In the article the problem of the childhood in the novel “Margherita Dolcevita” by S. Benni has been studied. The well-known Italian author shows the particular situation when the child comes into collision with the world of adults for the first time. That’s why the main character 15-year-old Margherita became an active adolescent who fights for her family and the main family values. The narrative subjectified child’s “I” reflects the world-view of the XXI century where adults are enchanted by the power of consumerism. Margherita struggles for salvation of the family because she is the only child who can find forces to resist the evil in his own pure soul. The process of modeling of the childhood world is accomplished due to the symbolization of the home space as hearth in contrast with modern soulless neighbors’ world embodied by their black house. Margherita became the core to assemble all generations of her family together. The following microdominants of modeling of the childhood world have been defined: existential dimension of home and family, discontinued connection between family generations, the way to self-identity through the life trials and growing up. The formal peculiarities of the novels such as visuality, unity of composition, burning conflict to show as if from within a difficult emotional and psychological situation in which the character is found have been investigated. This novel by its title “Margherita Dolcevita” gives the child answer to the challenge of the world which she would like to preserve as kind and joyful. The studied novel is rated between the best examples of literature on child’s problems and childhood. Unfortunately this writer remains quite unknown to Ukrainian audience. This fact shows the topicality of this research.

scholarly journals Realitas Sosial dalam Novel Laut Bercerita Karya Leila S. Chudori: Analisis Strukturalisme Genetik

2019 ◽  
Vol 8 (2) ◽  
pp. 129-137
Author(s):  
Ema Zuliyani Sembada ◽  
MAharani Intan Andalas
Keyword(s):  
Interpersonal Relationships ◽  
World View ◽  
Social Reality ◽  
New Order ◽  
The Novel ◽  
The Social ◽  
The World ◽  
The Government ◽  
Relationship Of ◽  
The Relationship

ABSTRAK Realitas sosial tidak hanya terjadi di dunia nyata, tetapi juga tergambar dalam karya sastra. Penelitian ini bertujuan untuk mengetahui realitas sosial dalam novel Laut Bercerita karya Leila S. Chudori dan mengetahui pandangan dunia pengarang dalam novel mengenai realitas sosial yang dikaji melalui analisis strukturalisme genetik. Penelitian ini menggunakan metode pendekatan kualitatif dengan metode dialektik dari Lucien Goldmann. Dari hasil penelitian, ditemukan realitas sosial dalam novel melalui hubungan antartokoh dalam novel serta hubungan tokoh dengan objek yang ada di sekitarnya. Selain itu, terdapat fakta yang berkait dengan realitas sosial dalam novel. Pandangan dunia yang ditemukan dalam novel tersebut yaitu, pengarang menentang keotoriteran rezim Orde Baru yang sewenang-wenang, mengecam penghilangan paksa dan mendukung HAM, serta mengkritik pemerintah yang lambat dalam menyelesaikan kasus hilangnya aktivis. Kata kunci: realitas, sosial, strukturalisme genetik, Laut Bercerita ABSTRACT Social reality does not only occur in the real world, but also illustrated in literature. This study aims to determine the social reality in the novel Laut Bercerita by Leila S. Chudori and find out the world view of the author in the novel regarding the social reality studied through analysis of genetic structuralism. This study uses a qualitative approach with the dialectical method of Lucien Goldmann. From the results of the study, found social reality in the novel through interpersonal relationships in the novel and the relationship of characters to the objects around them. In addition, there are facts that relate to social reality in the novel. The world view found in the novel, namely, the author opposed the arbitrary authorization of the New Order regime, condemned enforced disappearances and supported human rights, and criticized the government which was slow in resolving cases of activist disappearances. Keywords: reality, social, genetic structuralism, Laut Bercerita

scholarly journals Pandangan Dunia Pengarang Dalam Novel Putri Karya Putu Wijaya

2021 ◽  
Vol 1 (2) ◽  
pp. 83
Author(s):  
Nur Hamidah
Keyword(s):  
Social Life ◽  
Daily Activity ◽  
World View ◽  
Family Education ◽  
The Novel ◽  
Dialectical Method ◽  
Novel Structure ◽  
The World

Abstract Putri is a novel by Putu Wijaya part two that focuses on issues of Indonesian tradition in a specially with a female sword.  This study was apply with genetic structuralism, to see the world view author. The method used in this research is the dialectical method. Data and source obtained from the words and paragraphs in the novel through the documentation process and interview with author and narasumber from Bali. The result and discussion of research inlcude, (1) novel structure, namely characters and themes. Characters in a Putri novel shows a picture social life of Balinese, while the theme is a Balinese tradition. (2) social life is influenced by family, education, where to live, and daily activity affect of  creation. (3) the world view by Putu Wijaya in a  Putri novel related with a traditions which grows and develops with the modernization. Putu Wijaya with a Balinese women succeede in making changes with the society’s view of Balinese tradition and women in the process totradition is in contact with the modernization of the realm, the freedom, social politic, and economic should be aligned and equal towards. Keyword : Putri novels, novel structure, author’s social life, author world view

scholarly journals Jerzy Stempowski o Soli ziemi Józefa Wittlina

2013 ◽  
Vol 14 (1) ◽  
pp. 51
Author(s):  
Magdalena Chabiera
Keyword(s):  
World View ◽  
Traumatic Events ◽  
First World War ◽  
The Novel ◽  
World War ◽  
The Earth ◽  
The First World War ◽  
The World ◽  
Artistic Values ◽  
First World

Jerzy Stempowski on Józef Wittlin’s Salt of the Earth [Sól Ziemi] In a 1936 text dedicated to Józef Wittlin’s novel Jerzy Stempowski tries to position it within the context of the contemporary political, social and cultural events. He also analyses the artistic values of the novel in relation to the changes of the world-view caused by the traumatic events of the First World War

Stirring Things Up: Dashiell Hammett's Continental Op

1980 ◽  
Vol 14 (3) ◽  
pp. 443-455 ◽  
Author(s):  
John S. Whitley
Keyword(s):  
Organized Crime ◽  
World View ◽  
Popular Fiction ◽  
Human Behaviour ◽  
First Person ◽  
The Novel ◽  
Detective Story ◽  
Urban Streets ◽  
The World

Following the example of Steven Marcus, we may point to a number of features or incidents in Dashiell Hammett's novels which seem to break sharply with previous conventions of the detective story. I do not refer to the important changes of direction brought about by the “hard-boiled” school and instanced by such matters as the professional detective, organized crime, dark urban streets and a spare, colloquial, “tough” style. Rather, I wish to concentrate on features which are unexpected even in the context of “toughguy” writing and which occur unexpectedly in order deliberately and provocatively to remind the reader, in the midst of an easily-identifiable style, of other styles and methods of enquiry into human behaviour and, ultimately, of another and very different world-view which must be placed against the world-view of the rest of the novel. By adopting this technique, Hammett succeeds in drawing attention not only to the limitations of his particular kind of popular fiction but also to ways in which these very limitations can be used. The aspects of Hammett's novels to which I began by referring are not separated stylistically from the rest of the novel. But they nonetheless suggest to the reader that the first-person narrator might have to be viewed in a context other than that in which he normally presents himself for the reader's judgement (and, frequently, approval).

Coda: The Rosetta Stone

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Digital Media ◽  
The Novel ◽  
Digital Code ◽  
Media Technologies ◽  
Rosetta Stone ◽  
The World ◽  
Western Imagination ◽  
Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

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