scholarly journals El monstruo humano. El yo homosexual en El amor del revés (2016), de Luisgé Martín

2021 ◽  
Vol 21 ◽  
pp. 73-93
Author(s):  
Carlos Alayón Galindo
Keyword(s):  
Literary Text ◽  
The Voice ◽  
Identity Elements

The aim of this research is to study Luisgé Martin’s El amor del revés. This autobiography will be approached not only as a literary text, but also as a testimony of what it meant to be a homosexual man in the early Spanish democracy and in the following years. Therefore, the analysis will be centered on the interaction between concepts like homosexuality and difference. It will be focused on those identity elements that shape the autobiographer’s self, and the voice that recognizes itself as homosexual and writes itself from that position. In order to achieve that objective, a sociological approximation based on the ideas of scholars such as Brubaker, Cooper, Guasch, Eribon and Mira will be applied.

scholarly journals Identity Formation and Discourse of Power: A Study of Us, Them and Othering in Nervous Conditions

2018 ◽  
Vol 8 (4) ◽  
pp. 262
Author(s):  
Fehmida Manzoor ◽  
Fouzia Rehman Khan
Keyword(s):  
Discourse Analysis ◽  
Identity Formation ◽  
Critical Discourse Analysis ◽  
Research Method ◽  
Literary Text ◽  
Critical Discourse ◽  
Historical Events ◽  
Historiographic Metafiction ◽  
Official History ◽  
The Voice

This study was designed to trace the deconstruction of authoritative officialized history in fiction through Postmodern Historigraphic Metafiction. Historiographic Metafiction dismantles the metanarrative of official history and raises the voice of silenced subaltern thus generates mininarratives. The study is thus grounded in Postmodern Historiographic Metafictional theory of Linda Hutcheon for investigation of the “subversive strategies” of officialized history and deconstruction of positively accentuated binary of “us” and negatively accentuated binary of “them” in the backdrop of postcolonial literary text Nervous Conditions. Norman Fairclough’s model of Critical Discourse Analysis is taken up as a research method for the analysis of fictionalized historical work under study. Finally, text is analyzed leading to the conclusion of the study. The study shows that fiction unveils the official overriding history and provides new perspectives of untold historical events.

POETICS OF MYTH IN N. IZHENDEY’S POEM “THE VOICE OF THE UNBORN CHILD”

2021 ◽  
pp. 134-141
Author(s):  
Ирина Владимировна Софронова ◽  
Юрий Михайлович Артемьев ◽  
Юрий Николаевич Исаев
Keyword(s):  
Semantic Space ◽  
Literary Text ◽  
Transitional Period ◽  
Generation Gap ◽  
Unborn Child ◽  
Semantic Meaning ◽  
The People ◽  
History Of ◽  
Good And Evil ◽  
The Voice

В научной статье рассматриваются мифологические образы, мотивы, детали, используемые в творчестве чувашского поэта Николая Ижендея (Петрова). Целью работы является определение роли и значения поэтики мифа в поэме «Суралман ача сасси» («Голос нерожденного ребенка»). Посредством поэтики мифа поэт создает новый вариант мифа о происхождении Ардури (Лешего), применяет для этого представление народа о добром и злом началах, загробном мире, духах предков, описание обрядов, связанных с рождением ребенка. Нестабильное положение в обществе приводит к разрушению связи между поколениями. На этом фоне автор рассматривает проблему судьбы чувашского языка, будущего нации. Предупреждает нас о возможных трагических последствиях, изображая смерть нерожденного ребенка. Мифологические образы и детали позволили поэту передать специфику смутного, переходного периода развития истории страны и народа. Мифологизм способствует углублению семантического пространства художественного текста, придает трагизм сказанному. Смысловое значение используемых поэтом мифологических образов типично и для других авторов чувашской литературы. В завершение статьи делается вывод о том, что поэт использует поэтику мифа для создания своеобразного художественного мира, для описания актуальных проблем современности. The article considers mythological images, motives, details employed in the works of the Chuvash poet Nikolay Izhendey (Petrov). The aim of the work is to determine the role and significance of the poetics of myth in the poem “Shuralmanachasassi” (“The voice of the unborn child”). Through the poetics of the myth, the poet creates a new version of the myth of the origin of Arshuri (wood spirit), bases on the idea of the people of good and evil principles, the afterlife, the spirits of ancestors, the description of the rituals associated with the birth of a child. The unstable situation in society leads to the generation gap. Against this background, the author examines the problem of the fate of the Chuvash language, the future of the nation; warns us against possible tragic consequences by depicting the death of an unborn child. Mythological images and details allowed the poet to convey the specifics of the vague, transitional period in the development of the history of the country and the people. Mythologism contributes to the deepening of the semantic space of the literary text, adds tragedy to what was said. The semantic meaning of the mythological images used by the poet is typical for other authors of the Chuvash literature. At the end of the article, the author concludes that the poet uses the poetics of myth to create a kind of artistic world, to describe the pressing problems of our time.

scholarly journals STRINDBERGS VREDE STEMME

1970 ◽  
Vol 41 (116) ◽  
pp. 121-134
Author(s):  
Lilian Munk Rösing
Keyword(s):  
Literary Text ◽  
Background Music ◽  
Implied Author ◽  
Definition Of ◽  
The Voice

STRINDBERG’S ANGRY VOICE | The article argues that the affect or emotion of a literary text could be regarded as a dimension of its voice and tone. ”Voice” is found on the level of the narrator, ”tone” on the level of the implied author. In cinematic metaphors the article proposes ”voice” to be analogous with the voice-over in film, and ”tone” to be analogous with the background music. The article develops its concept of textual voice from Horace Engdahl, and its concepts of affect, emotion and tone from Sianne Ngai. The literary text to be analysed is August Strindberg’s Le Plaidoyer d’un fou that is known as one of the texts in which he voices his monomaniac misogynist anger. The article tries to describe the quality of this angry voice through analysing structures of narration, genre, address, and style, discovering feverish volatility and paranoia to be its characteristics. The feverish volatility is shown to be linked to the shifting images of Woman that the text exposes. The paranoia is understood through Sianne Ngai’s definition of paranoia as an ”ugly feeling”, and jealous paranoia as connoting femininity. Thus the voice and tone of Strindberg’s text are discovered to be much more complex than simple misogynist aggression.

scholarly journals MEANS OF EXPRESSING AFFECT IN A WORK OF ART: DIDACTIC ASPECT

2021 ◽  
pp. 110-117
Author(s):  
Марина Геннадьевна Алексеева ◽  
Вера Александровна Фролова
Keyword(s):  
Emotional Intelligence ◽  
Foreign Language ◽  
Affective State ◽  
Literary Text ◽  
Educational Process ◽  
Emotional States ◽  
Future Teachers ◽  
Work Of Art ◽  
The Voice

Выделяются два дополнительных индикатора аффективного состояния персонажей художественного драматического теста: контекстуальный и физиологический. В случае со вторым индикатором речь идет об изменении громкости голоса - понижении тона, повышении тона или о его контрастном чередовании, на что указывается в авторских ремарках. Умение дифференцировать оттенки эмоциональных состояний на основе анализа художественного текста способствует развитию эмоционального интеллекта обучаемых, «вчувствованию» в художественный текст на иностранном языке. Занятия по аналитическому чтению формируют, таким образом, одну из дополнительных компетенций будущих преподавателей - способность воспринимать и интерпретировать эмоции других участников образовательного процесса. The article highlights two additional indicators of the affective state of the characters of the artistic dramatic test: contextual and physiological. In the case of the second indicator, we are talking about a change in the volume of the voice - a decrease in tone, an increase in tone or its contrast alternation, which is indicated in the author's remarks. The ability to differentiate shades of emotional states based on the analysis of a literary text contributes to the development of emotional intelligence of students, «feeling» in a literary text in a foreign language. Analytical reading classes thus form one of the additional competencies of future teachers - the ability to perceive and interpret the emotions of other participants in the educational process.

scholarly journals Style features in Chalk Door Novel

2018 ◽  
pp. 1-14
Author(s):  
Assist. prof. Dr. Moayad Mahdi Faisal ◽  
Assist. prof. Dr. Ahmed Heyal Jihad
Keyword(s):  
Literary Text ◽  
Narrative Text ◽  
The Novel ◽  
Literary Genres ◽  
Linguistic Structure ◽  
Semantic Level ◽  
Arab Culture ◽  
Linguistic Approach ◽  
The Voice

       This research examines a distinctive narrative text (the chalk door) of a prominent writer at the level of Iraqi and Arab culture, writer (Ahmed Saadawi). This research examines that novel in the light of the stylistic linguistic approach, which relies on the linguistic structure of the literary text to study it, no doubt That fiction is one of the most appropriate literary genres for stylistic study, for the richness of the narrative text in different linguistic compositions and methods. The study included the three stylistic levels of study: morphological level, grammar level, and semantic level, surpassing level of the voice, which we cannot study in these texts. This study revealed distinctive stylistic features, which were performed by the texts of the novel, which will be disclosed in detail in the course of the research.

Post-communist Interpretation of History in the Albanian Literature in Kosovo

2020 ◽  
Vol 29 (3) ◽  
pp. 91-107
Author(s):  
Lindita Tahiri ◽  
Muhamet Hamiti
Keyword(s):  
Literary Text ◽  
Literary Texts ◽  
The Novel ◽  
Modernist Literature ◽  
Historical Discourse ◽  
Third Person ◽  
The Moment ◽  
The Relationship ◽  
The Voice ◽  
Fictional Truth

This article focuses on stylistic choices in the novel Im atë donte Adolfin (My father loved Adolph) by the Albanian author in Kosovo Mehmet Kraja (2005) as a strategy to generate a post-communist perspective of interpreting history. By blending first-person narration as confidentiality and third-person narration as conventionality (Barthes, 1978), the possessive construction ‘my father’ in this literary text serves both as referential label and deictic, generating dual focalization (Phelan, 2005). The heterodiegetic narrator is positioned simultaneously as a neutral eye witnessing narrator and as a signal of subjectivity. Even in cases of intradiegetic role the narrator remains detached interweaving his voice with the voice of the character. The synchronized overt and distant narratorial stances in this novel correspond with the demonstration of historical discourse as both subjective and factual narration. The relationship between fiction and truth has been widely treated in the post-modern intellectual thought, and as Borg (2010) points out in his study on Beckett and Joyce, the radical narrative innovations are “examples of a peculiarly modernist engagement with the nature of factual and fictional truth” (p. 179), suggesting that in modern literary texts “every event exists factually and fictionally at the same time” (p. 187). As a resonance to Borg’s analysis of modernist literature, in Kraja’s novel the knowledge about history consists of both factual and imaginative elements, bringing “the moment of truth in all its potential” (p. 191).

Voices within Ovid’s House of Fama

Mnemosyne ◽  
2014 ◽  
Vol 67 (1) ◽  
pp. 65-92
Author(s):  
Peter Kelly
Keyword(s):  
Literary Text ◽  
The Body ◽  
The Self ◽  
Complex Relationship ◽  
The Voice

Abstract Ovid’s depiction of the House of Fama, the goddess of Rumour, in Book XII of the Metamorphoses illustrates a complex relationship between voice, identity and text. This paper will argue that Ovid, through the House of Fama, reveals how the impossibility of maintaining the integrity of corporeality is related to the implausibility of claiming authority over any literary text. Ovid uses the concept of the rumour to inscribe the breakdown of the boundaries of the body and identity, in the context of the breakdown of the unity of the literary text, revealing how the voice we call our own, that is central to our sense of the singularity of the self, is made up of the voices of other people, and how the literary text is understood to be an unstable amalgamation of the voices of other authors.

scholarly journals THE POETICS OF MYTHOLOGISM IN N. IJENDEY's POEM “THE VOICE OF THE UNBORN CHILD”

2021 ◽  
Vol 31 (5) ◽  
pp. 1069-1076
Author(s):  
I.V. Sofronova ◽  
Yu.M. Artemyev ◽  
O.G. Vladimirova
Keyword(s):  
Semantic Space ◽  
Literary Text ◽  
Transitional Period ◽  
Unborn Child ◽  
What Is Said ◽  
The World ◽  
Good And Evil ◽  
The Voice

This article deals with mythological images, motifs, elements used in the works of Chuvash poet Nikolai Ijendey (Petrov). The Chuvash mithology identifies the representatives of good and evil that exist parallel to each other and to the world of people. The main content of the article is to identify characteristics of these images on the example of the poem "The Voice of the Unborn Child". In the course of our work we relied on the scientific works of leading Chuvash mythologists, folklorists and researchers; used a comparative and descriptive methods. In the result of the conducted research the authors come to the conclusion that the poet creates a new version of the myth about the origin of Арçури (Forest Spirit, Leshy), applies in this case people's idea of good and evil principles, the afterlife, spirits of ancestors, a description of the rituals associated with the birth of a child. Mythological images and details allowed the poet to convey the specifics of the vague transitional period in the development of the country's history and people. They deepen the semantic space of a literary text, add tragedy to what is said. The meaning of mythological images used by the poet is typical for other authors of the Chuvash literature.

scholarly journals Peculiarities of Voice, Intonation and Speech Tone of the Actor in the Role

2021 ◽  
Vol 4 (2) ◽  
pp. 199-207
Author(s):  
Mykhailo Barnych ◽  
Ihor Matiiv ◽  
Olena Venher
Keyword(s):  
Speech Act ◽  
Literary Text ◽  
Basic Principles ◽  
Ordinary Life ◽  
Role Identification ◽  
Voice Control ◽  
Speech Control ◽  
The Voice ◽  
Emotional Condition

The purpose of the article is to study the peculiarities of the voice work during the role of the actor by studying the main aspects of the speech act implementation, the work of the registers and the speech apparatus; to carry out a comparative analysis of different types of the actor’s existence in the role and reading of the literary text. The research methodology is based on the main principles of the actor’s speech tools, the definition and comparison of different methods of voice, support, breathing, and the use of basic actor’s techniques in the process of reading a literary text by separating and embodying them during the actor’s speech act. The scientific novelty of the research is to study the main aspects of existence during artistic reading and the use of non-standard for acting voice techniques, interpreting them for use during the role. Identification of new approaches to the implementation of speech, the creative act and the latest ways to express the psycho-emotional state of the character through the use of unusual principles of the speech apparatus in ordinary life situations. Conclusions. The results of studies identify the basic principles of the human speech apparatus and the problems of voice control during the arousal of the psycho-emotional condition of the actor in the role, problems and errors in various methods and scientific works of masters in the field of stage language. Through experiments and interpretations of various approaches to working with voice, new, universal methods of speech control have been borrowed, borrowed by studying the process of reading a literary text by actors and applying these principles to the role.

scholarly journals THE TASK OF THE MATURE PHILOLOGIST: THE METHOD OF ANSATZPUNKT IN AUERBACH

2020 ◽  
pp. 90-96
Author(s):  
Kamelia Spassova
Keyword(s):  
Literary Text ◽  
Historical Change ◽  
Academic Experience ◽  
Dynamic Aspect ◽  
The Past ◽  
The Bible ◽  
The Usa ◽  
Contemporary Education ◽  
The Voice ◽  
Point Of Departure

: The study explores the theoretical and political postulates of the article “Philologie der Weltliteratur” (1952) through the notions of figure, historical perspectivism and kairos. Auerbach suggests the point of departure as a philological approach, which is an antidote to the tendencies of homogenization, globalization and standardization. The concept of Ansatzpunkt is characterized by: concreteness and synthesis, but it also has a dynamic aspect, namely the potential for centrifugal radiation. Auerbach’s aesthetic historicism could be understood through the prism of relativism, sensitivity and the materiality of language, i.e. through style. His approach is based on a historical change fulfilled in the plurality of stylistic usage, and therefore the voice of the literary text should be grasped and heard. Auerbach emphasizes that the concept of contemporary education has no longer the sense of historicity. He notes, by the perspective of the diversity of his academic experience, including his university years in Istanbul and the USA, that a whole generation of literary scholars, who appeared on the academic scene between the two world wars, vanished and they could hardly be substituted. For those scholars, the knowledge of Greek and Latin and reading the Bible is part of their basic skills, which they have acquired in their secondary education. However, such skills are no longer self-evident for younger scholars. So, the point of departure is an instrument for synthesis, which can provide the historical sense – the possibility to give life to the past events. The task of the mature philologist is to reconsider the Weltliteratur from the perspective of such starting points as Auerbach did in “Mimesis”.

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