Imágenes siniestras: El dolor de los demás (2018) de Miguel Ángel Hernández

Elementy poetyki ludowej w powieści Rzeczy uprzyjemniające. Utopia T. Bołdak-Janowskiej

10.31338/2544-3135.si.2020-13.9 ◽

2020 ◽

pp. 182-197

Author(s):

Agnieszka Goral

Keyword(s):

Fairy Tales ◽

Text Analysis ◽

Literary Text ◽

Source Material ◽

Human Existence ◽

The Other ◽

The Novel ◽

Literary Works ◽

The One ◽

Cultural Features

The aim of the article is to analyse the elements of folk poetics in the novel Pleasant things. Utopia by T. Bołdak-Janowska. The category of folklore is understood in a rather narrow way, and at the same time it is most often used in critical and literary works as meaning a set of cultural features (customs and rituals, beliefs and rituals, symbols, beliefs and stereotypes) whose carrier is the rural folk. The analysis covers such elements of the work as place, plot, heroes, folk system of values, folk rituals, customs, and symbols. The description is conducted based on the analysis of source material as well as selected works in the field of literary text analysis and ethnolinguistics. The analysis shows that folk poetics was creatively associated with the elements of fairy tales and fantasy in the studied work, and its role consists of – on the one hand – presenting the folk world represented and – on the other – presenting a message about the meaning of human existence.

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Dombey and Son

10.1093/owc/9780199536283.001.0001 ◽

2008 ◽

Author(s):

Charles Dickens ◽

Dennis Walder

Keyword(s):

Family Relationships ◽

The Sun ◽

The Novel ◽

The Earth ◽

The Future ◽

Original Illustrations ◽

The One

Dombey and Son ... Those three words conveyed the one idea of Mr. Dombey's life. The earth was made for Dombey and Son to trade in, and the sun and moon were made to give them light.' The hopes of Mr Dombey for the future of his shipping firm are centred on his delicate son Paul, and Florence, his devoted daughter, is unloved and neglected. When the firm faces ruin, and Dombey's second marriage ends in disaster, only Florence has the strength and humanity to save her father from desolate solitude. This new edition contains Dickens's prefaces, his working plans, and all the original illustrations by ‘Phiz’. The text is that of the definitive Clarendon edition. It has been supplemented by a wide-ranging Introduction, highlighting Dickens's engagement with his times, and the touching exploration of family relationships which give the novel added depth and relevance.

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The Energy-Efficient Processing of Fine Materials by the Micropyretic Synthesis Route

Journal of Nanomaterials ◽

10.1155/2012/727656 ◽

2012 ◽

Vol 2012 ◽

pp. 1-8 ◽

Cited By ~ 4

Author(s):

H. P. Li

Keyword(s):

Energy Efficient ◽

Processing Time ◽

Combustion Temperature ◽

Processing Parameters ◽

The Novel ◽

Diffusion Controlled ◽

Efficient Processing ◽

The One ◽

Processing Techniques ◽

Diffusion Controlled Reaction

Energy-efficient processing of TiB compound with nanowhiskers by micropyretic synthesis is investigated in this paper. Micropyretic synthesis not only offers shorter processing time but also excludes the requirement for high-temperature sintering and it is considered as the one of the novel energy-saving processing techniques. Experimental study and numerical simulation are both carried out to investigate the correlation of the processing parameters on the microstructures of the micropyretically synthesized products. The diffusion-controlled reaction mechanism is proposed in this study. It is noted that nanosize TiB whiskers only occurred when the combustion temperature is lower than the melting point of TiB but higher than the extinguished temperature. The results generated in the numerical calculation can be used as a helpful reference to select the proper route of processing nanosize materials. The Arrhenius-type plot of size and temperature is used to calculate the activation energy of TiB reaction. In addition to verifying the accuracy of the experimental measures, the reaction temperature for producing the micropyretically synthesized products with nanofeatures can be predicted.

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Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽

10.2307/461042 ◽

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.”

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Concept of Rivalry in D.H. Lawrence’s Sons and Lovers

Jordan Journal of Modern Languages and Literature ◽

10.47012/jjmll.12.4.2 ◽

2020 ◽

Vol 12 (4) ◽

pp. 443-454

Keyword(s):

Twentieth Century ◽

Attachment Theory ◽

Sibling Rivalry ◽

Oedipus Complex ◽

The Other ◽

The Novel ◽

Men And Women ◽

Qualitative Pattern ◽

The One ◽

Theory Competition

Sons and Lovers (1913) is one of D.H. Lawrence’s most prominent novels in terms of psychological complexities characteristic of most, if not all, of his other novels. Many studies have been conducted on the Oedipus complex theory and psychological relationship between men and women in Lawrence’s novels reflecting the early twentieth century norms of life. This paper reexamines Sons and Lovers from the perspective of rivalry based on Alfred Adler’s psychological studies. The discussion tackles the sibling rivalry between the members of the Morels and extends to reexamining the rivalry between other characters. This concept is discussed in terms of two levels of relationships. First, between Paul and William as brothers on the one hand, and Paul and father and mother, on the other. Second, the rivalry triangle of Louisa, Miriam and Mrs. Morel. The qualitative pattern of the paper focuses on the textual analysis of the novel to show that Sons and Lovers can be approached through the concept of rivalry and sibling Rivalry. Keywords: Attachment theory, Competition, Concept of Rivalry, Favoritism, Sibling rivalry.

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

JURNAL SPHOTA ◽

10.36733/sphota.v11i2.1195 ◽

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

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“An Indigenous Sovereignty of the Imagination”: Reenvisioning the Great Australian Novel in Alexis Wright's Carpenteria

Genre ◽

10.1215/00166928-9263065 ◽

2021 ◽

Vol 54 (2) ◽

pp. 195-219

Author(s):

Liz Shek-Noble

Keyword(s):

Third Space ◽

Indigenous Communities ◽

The Other ◽

Mutual Understanding ◽

The Novel ◽

Two Cultures ◽

Women Novelists ◽

Homi Bhabha ◽

White Settler ◽

The One

Alexis Wright's second novel, Carpentaria, received critical acclaim upon its publication by Giramondo in 2006. As the recipient of the Miles Franklin Literary Award in 2007, Carpentaria cemented Wright's position as the country's foremost Indigenous novelist. This article places Carpentaria within contemporary discussions of “big, ambitious novels” by contemporary women novelists by examining the ways the novel simultaneously invites and resists its inclusion into an established canon of “great Australian novels” (GANs). While critics have been quick to celebrate the formal innovations of Carpentaria as what makes it worthy of GAN status, the novel nevertheless opposes the integrationist and homogenizing myths that accompany canonization. Therefore, the article finds that Wright's vision of a future Australia involves moments of antagonism and mutual understanding between white settler and Indigenous communities. This article uses the work of Homi Bhabha to argue that Carpentaria demonstrates the emergence of a third space wherein negotiation between these two cultures produces knowledge that is “new, neither the one nor the other.” In so doing, Wright shows the resilience of Indigenous knowledge even as it is subject to transformation upon contact with contradictory ideological and epistemological frameworks.

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Fielding and Richardson

PMLA ◽

10.2307/460828 ◽

1966 ◽

Vol 81 (5) ◽

pp. 381-388

Author(s):

William Park

Keyword(s):

Twentieth Century ◽

Eighteenth Century ◽

Human Nature ◽

General Type ◽

Common Ground ◽

The Other ◽

The Novel ◽

Tom Jones ◽

The Common ◽

The One

But the Discovery [of when to laugh and when to cry] was reserved for this Age, and there are two Authors now living in this Metropolis, who have found out the Art, and both brother Biographers, the one of Tom Jones, and the other of Clarissa.author of Charlotte SummersRather than discuss the differences which separate Fielding and Richardson, I propose to survey the common ground which they share with each other and with other novelists of the 1740's and 50's. In other words I am suggesting that these two masters, their contemporaries, and followers have made use of the same materials and that as a result the English novels of the mid-eighteenth century may be regarded as a distinct historic version of a general type of literature. Most readers, it seems to me, do not make this distinction. They either think that the novel is always the same, or they believe that one particular group of novels, such as those written in the early twentieth century, is the form itself. In my opinion, however, we should think of the novel as we do of the drama. No one kind of drama, such as Elizabethan comedy or Restoration comedy, is the drama itself; instead, each is a particular manifestation of the general type. Each kind bears some relationship to the others, but at the same time each has its own identity, which we usually call its conventions. By conventions I mean not only stock characters, situations, and themes, but also notions and assumptions about the novel, human nature, society, and the cosmos itself. If we compare one kind of novel to another without first considering the conventions of each, we are likely to make the same mistake that Thomas Rymer did when he blamed Shakespeare for not conforming to the canons of classical French drama.

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Von den Lesewelten zur Lebenswelt. Überlegungen zu der Frage, warum uns fiktionale Literatur berührt

Journal of Literary Theory ◽

10.1515/jlt-2018-0015 ◽

2018 ◽

Vol 12 (2) ◽

pp. 260-278

Author(s):

Christoph Demmerling

Keyword(s):

Human Life ◽

The Novel ◽

Philosophical Perspective ◽

Life World ◽

Anna Karenina ◽

The Future ◽

New Perspective ◽

The One

Abstract The following article argues that fictional texts can be distinguished from non-fictional texts in a prototypical way, even if the concept of the fictional cannot be defined in classical terms. In order to be able to characterize fictional texts, semantic, pragmatic, and reader-conditioned factors have to be taken into account. With reference to Frege, Searle, and Gabriel, the article recalls some proposals for how we might define fictional speech. Underscored in particular is the role of reception for the classification of a text as fictional. I make the case, from a philosophical perspective, for the view that fictional texts represent worlds that do not exist even though these worlds obviously can, and de facto do, contain many elements that are familiar to us from our world. I call these worlds reading worlds and explain the relationship between reading worlds and the life world of readers. This will help support the argument that the encounter with fictional literature can invoke real feelings and that such feelings are by no means irrational, as some defenders of the paradox of fiction would like us to believe. It is the exemplary character of fictional texts that enables us to make connections between the reading worlds and the life world. First and foremost, the article discusses the question of what it is that readers’ feelings are in fact related to. The widespread view that these feelings are primarily related to the characters or events represented in a text proves too simple and needs to be amended. Whoever is sad because of the fate of a fictive character imagines how he or she would fare if in a similar situation. He or she would feel sad as it relates to his or her own situation. And it is this feeling on behalf of one’s self that is the presupposition of sympathy for a fictive character. While reading, the feelings related to fictive characters and content are intertwined with the feelings related to one’s own personal concerns. The feelings one has on his or her own behalf belong to the feelings related to fictive characters; the former are the presupposition of the latter. If we look at the matter in this way, a new perspective opens up on the paradox of fiction. Generally speaking, the discussion surrounding the paradox of fiction is really about readers’ feelings as they relate to fictive persons or content. The question is then how it is possible to have them, since fictive persons and situations do not exist. If, however, the emotional relation to fictive characters and situations is conceived of as mediated by the feelings one has on one’s own behalf, the paradox loses its confusing effect since the imputation of existence no longer plays a central role. Instead, the conjecture that the events in a fictional story could have happened in one’s own life is important. The reader imagines that a story had or could have happened to him or herself. Readers are therefore often moved by a fictive event because they relate what happened in a story to themselves. They have understood the literary event as something that is humanly relevant in a general sense, and they see it as exemplary for human life as such. This is the decisive factor which gives rise to a connection between fiction and reality. The emotional relation to fictive characters happens on the basis of emotions that we would have for our own sake were we confronted with an occurrence like the one being narrated. What happens to the characters in a fictional text could also happen to readers. This is enough to stimulate corresponding feelings. We neither have to assume the existence of fictive characters nor do we have to suspend our knowledge about the fictive character of events or take part in a game of make-believe. But we do have to be able to regard the events in a fictional text as exemplary for human life. The representation of an occurrence in a novel exhibits a number of commonalities with the representation of something that could happen in the future. Consciousness of the future would seem to be a presupposition for developing feelings for something that is only represented. This requires the power of imagination. One has to be able to imagine what is happening to the characters involved in the occurrence being narrated in a fictional text, ›empathize‹ with them, and ultimately one has to be able to imagine that he or she could also be entangled in the same event and what it would be like. Without the use of these skills, it would remain a mystery how reading a fictional text can lead to feelings and how fictive occurrences can be related to reality. The fate of Anna Karenina can move us, we can sympathize with her, because reading the novel confronts us with possibilities that could affect our own lives. The imagination of such possibilities stimulates feelings that are related to us and to our lives. On that basis, we can participate in the fate of fictive characters without having to imagine that they really exist.

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Constanza en "Deseos"

Triangle ◽

10.17345/triangle11.51-64 ◽

2020 ◽

pp. 51

Author(s):

María Anguera Gómez ◽

Marina Silva Alcántara

Keyword(s):

The Novel ◽

The One

In this article, the figure of Constanza in Deseos and its relevance withrespect to other characters is analyzed. In Constanza, we find an important emotionalpsychology on which much of the work takes place. It is important to highlightthe relationship between Constanza and the cemetery, it allows us to get to knowthe character: her life, her feelings, her past, her history and her desires. Constanzais the one who most identified with the title, Deseos, she not only has a desire, butshe is the protagonist of the others's desires, which makes her the center of manycomments and thoughts of different characters. This would therefore be one of thereasons for its importance in the novel. In addition, it should be noted that thedesire that determines the life of Constanza is the one that best symbolizes the plotof the novel. Finally, to prove her relevance, we must say that is Constance, locatedat the gates of the cemetery, which appears on the cover of the novel, and that thesentence of his desire is the one that appears on the back to give the reader an ideaof the psychology that can be found in the novel.

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