scholarly journals Anachronisms in Charles Dickens’s ‘Great Expectations’: A Case Study Based on Gerard Genette’s Structural Narratology: الإيقاع الزمني في رواية تشارلز ديكنز "آمال عظيمة" دراسة حالة في ضوء تقنيات السرد البنائي عند جيرارد جينيت

2021 ◽  
Vol 5 (14) ◽  
pp. 130-117
Author(s):  
Rajaa Radwan Hilles Rajaa Radwan Hilles
Keyword(s):  
Linear Order ◽  
Narrative Structure ◽  
Point Of View ◽  
Current Paper ◽  
First Person ◽  
Logical Relation ◽  
The Novel ◽  
Great Expectations ◽  
Sequence Of Events

This paper deals with the narrative order of time in Charles Dickens’s novel Great Expectations. Time is crucial in narratological structure as it establishes a logical relation for events in the narrative. Besides, a narrative develops its point of view through the voices in the narrative. This point of view is called focalization. This paper assumes that the sequence of events in Dickens’s Great Expectations does not follow a linear order and consequently, the point of focalization changes throughout the narrative. Accordingly, the current paper intends to investigate the order of narration in the novel. It intends to explore the ultimate thematic concern of the novel as well. The discussion will be in the light of Gerard Genette’s narratological structure and will be applied on Dickens’s Great Expectations. It is the 13th novel in his independent literary works. It has been published unillustrated in 36 weekly instalments in All the Year Round from 1860 through 1861. Then, it has been published in three volumes by Chapman & Hall in1861. The narrative voice has a great impact on the story’s timeline and on the readers because it is narrated in the first-person voice by the protagonist, Philip Pirrip. (Davis, 2007: P 126) The analysis is based on Genette’s theorization of time order in telling a story and communicating a broader point of view that the author intends to make throughout the whole narrative structure.

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.

Back in Time: The Bildungsroman and the Source of Moral Agency

Good Form ◽  
2019 ◽  
pp. 124-152
Author(s):  
Jesse Rosenthal
Keyword(s):  
Common Sense ◽  
Moral Agency ◽  
Narrative Structure ◽  
Moral Intuition ◽  
The Novel ◽  
Great Expectations ◽  
Miss Marjoribanks ◽  
Object Of Study ◽  
Sensus Communis ◽  
Physical Sensation

This chapter focuses on the Bildungsroman, studying the philosophical and literary significance of the novel of development. Through readings of Margaret Oliphant's Miss Marjoribanks (1866), Johann Wolfgang von Goethe's Wilhelm Meister's Apprenticeship, Charles Dickens's Great Expectations, and John Stuart Mill's Autobiography, it suggests that the ethical foundations of the concept of Bildung—and in particular the idea of sensus communis (common sense)—made form in the Bildungsroman, lay the groundwork for one's own understanding of what makes a novel count as an object of study. The operating principle in the narrative structure of the Bildungsroman is the discovery that one is already a member of a community, and that one's decisions can be understood as stemming from that community. Proper cultivation means the development of a character that can understand and respond to the pre-existing, yet unconscious, shared consensus: the sensus communis. This sort of reciprocity between individual and community is actually a better description of how moral intuition worked, at its more refined levels, than references to physical sensation.

scholarly journals EMANSIPASI GENDER DALAM MIDDLESEX KARYA JEFFREY EUGENIDES (Gender Emancipation in Middlesex by Jeffrey Eugenides)

ALAYASASTRA ◽  
2018 ◽  
Vol 14 (2) ◽  
Author(s):  
Chrisna Natalia
Keyword(s):  
Queer Theory ◽  
Judith Butler ◽  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Mixed Order ◽  
Three Stages ◽  
Gender Spectrum

ABSTRAK Tulisan ini membahas emansipasi gender dalam novel Middlesex karya Jeffrey Eugenides.Adapun tujuannya ialah untuk: (1) mengetahui struktur cerita novel, (2) mengetahui bagaimana spektrum gender berkembang dalam novel ini, (3) mengetahui bagaimana dan mengapa emansipasi gender direpresentasikan dalam novel ini. Penelitian ini dilakukan dengan merujuk kepada teori queer, yang muncul dari feminisme, yang digagas oleh Judith Butler. Hasil penelitian menunjukkan bahwa novel ini ditulis menggunakan sudut pandang orang pertama, plot episodikal beralur maju mundur, latar simbolik terintegrasi, dan tone depresi yang berubah menjadi riang. Penelitian ini juga menunjukkan bahwa spektrum gender berkembang melalui tiga tahapan, yaitu belum berkembang, berkembang, dan matang. Selain itu, novel ini juga menunjukkan bahwa untuk mengurangi diskriminasi, gender harus dipisahkan dari jenis kelamin. Hal itu karena gender tidak muncul secara alamiah seperti jenis kelamin. Gender adalah generalisasi dari performa individu. Kata kunci: gender biner; diskriminasi; genderqueer; kebebasan. ABSTRACT This study is about gender emancipation in a novel entitled Middlesex by Jeffrey Eugenides. The objectives of the study are, (1) to find out how the element of the novel is developed, (2) to find out how the spectrum of gender in this novel is developed, (3) to find out how gender emancipation presented in this novel. The analysis is done based on queer theory, which is derived from feminism from Judith Butler. The result shows that Middlesex is written by using the first person point of view named Call Stephanides, episodical plot with mixed order, simbolic integrated settings, and varieties of tones such as depressions and joy. The result shows that gender spectrum development is divided into three stages, which are being undeveloped, developed, and advanced. This novel also suggests that in order to decrease discrimination, gender must be separated from sex. Gender does not come naturally as sex but it is developed from perfomance. Keywords: binarism, discrimination, genderqueer, freedom

scholarly journals Poetics of Narrative in Kazuo Ishiguro’s Novel “A Pale View of Hills”

2019 ◽  
pp. 57-64
Author(s):  
Yaryna Oprisnyk
Keyword(s):  
Current Paper ◽  
First Person ◽  
The Novel ◽  
Psychological Processes ◽  
Narrative Strategies ◽  
Verbal Expression ◽  
Verbal Language ◽  
Japanese Aesthetics ◽  
Narrative Techniques

The current paper explores the narrative strategies and poetics of intermediality in Kazuo Ishiguro’s first novel “A Pale View of Hills” (1982). Particular attention is paid to the notions of narrative unreliability and subjectivity exemplified by the ambiguous first-person narrative in the novel. The researcher focuses on the narrative techniques, as well as on the numerous lexical and other literary means that emphasize the unreliability of the narrator, who is also the protagonist. It allows revealing the hidden emotions and tendency to self-deceit. In addition, the paper traces the features of Japanese aesthetics and literature in the novel. The most peculiar among them are concise verbal expression, lack of emotion, and audiovisuality, which is primary concentration of the narrative on the visual and auditory images, rather than on the characters’ internal psychological processes. A range of narrative strategies and special literary effects in “A Pale View of Hills”, being characteristic for the art of cinematography, make the novel a vivid example of the cinematographic (cinematic) literature, which requires a different, more image-oriented perception of the reader. Among such techniques, the most notable are the enhanced symbolism of sensual images; revealing the characters’ actual feelings and thoughts through their non-verbal language and dialogues; fragmented and elliptic nature of the narrative that resembles the technique of montage; and the plasticity of chronotope, which is represented by the active use of flashbacks in the novel.

scholarly journals Lingual Aspects of Mystical Narration in V. Shevchuk’s Novel “The Beginning of Horror”

2020 ◽  
pp. 109-125
Author(s):  
Florij Batsevych
Keyword(s):  
Narrative Analysis ◽  
Narrative Structure ◽  
Point Of View ◽  
The Novel ◽  
Unreliable Narrator ◽  
Narrative Structures ◽  
Christian View ◽  
Flow Of Time ◽  
The Individual

In recent decades, the researchers of artistic stories have paid their attention to the narrative analysis of a set of weird texts of mystical and absurd content, works of “black humour”, fantastic (khymerna) prose created by a non-anthropic narrator or by an author in a changed state of consciousness. These texts serve the field of actualizing atypical and non-usual narrative structures, the sphere of meaningful changes within the bounds of narrative categories and, which is important, of forming special communicative senses of aesthetic nature. The basic problems of the linguistic analysis of “unnatural” stories are identifying the types of changes in the narration constituents, reasons of these changes and narrative categories (first of all, events, participants, objects, chronotope characteristics, points of view, moduses, modalities, etc.). The article analyses one of the texts of mystical content aiming at the revealing of some specificities of the structure and functioning of the so-called “unnatural artistic narrations”. The object of the research is V. Shevchuk’s novel “The Beginning of Horror”. The subject of the analysis is lingual means of the narrative structure formation, the author’s objectification of the mystical artistic sense and lingual “signals” of a reader’s perception of these senses. The most important semantic means of creating mystical atmosphere of the story are predicates that ascribe the names of their referents atypical dynamic and static features connected with the Christian view of the infernal world. It helps to form narrative events that root in weird situations, which cannot take place in reality. Non-dispositional nature of these situations correlates with the reference to the mystery that goes far beyond the bounds of a usual perceptive and psycho-mental background. Among the pragmatic means of creating mystical atmosphere of the main hero’s story as well as of the novel in general, we specify the individual inimitative perception of the flow of time and modality of “real unreality” formed by the role of an unreliable narrator and a vague point of view of the described event with its perceptive, ideological and time planes of objectification. Due to the increasing interest to various expressions of the esoteric, the increase of the number of artistic works of such content and growth of their popularity, we consider it topical to proceed in further investigations of lingual-narrative aspects of “unnatural” stories, in particular, the ones with the modus of mystical in them.

scholarly journals L’influence du genre à la transmission de la mémoire : Cas de Dora Bruder de Patrick Modiano

2019 ◽  
Vol 3 ◽  
pp. 00022
Author(s):  
Fauzan Hanif
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Patrick Modiano ◽  
Cultural Experiences ◽  
The Moment ◽  
The Relationship

<p class="Abstract">Such cultural experiences have a possibility to be embedded in a memory of one generation. But there are mostly in form of traumatic experiences. And then, we learn that these memories could be transferred onto their children, or we could say it as “post generation”. In the novel <i>Dora Bruder</i>, such things happen when the author, Patrick Modiano, plays his attribute in composing genres to arrange and transfer his message. The story mainly concerns as the narrator try to find a missing girl named Dora Bruder. She was gone in 1941, or in the moment when Nazi was occupying France. This research aims to discover the relationship between the role of genre on emerging the message, particularly the traumatic ones by using the concept of genre and postmemory. From the analysis we conclude that Modiano use genres to transfer his message traumatic. It exists in form of the impression of absence. From the sensation of absence, he continues to transmit consecutively another impression of hollow, doubt, and also hope. For transferring his message and memory, Modiano mixes real documents and his fiction. He manifest them by constructing a story of another person and narrating it from the first-person point of view. He uses this technique to identify himself, because the “shared idea” of one’s could be related with another’s.</p>

scholarly journals Narrar e ser: a pessoalidade do narrador de Eu receberia as piores notícias de seus lindos lábios / Narrating and Being: The Us Narrator’s Personality Eu receberia as piores notícias de seus lindos lábios

2021 ◽  
Vol 30 (1) ◽  
pp. 170
Author(s):  
Netanias Mateus De Souza Castro
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Safe Distance ◽  
History Of The Novel ◽  
The Third ◽  
The Us ◽  
Third Person ◽  
History Of ◽  
The Third Person

Resumo: A história do romance viu, diante de si, formas diversas de narrar, conforme aponta os escritos de Theodor W. Adorno, por exemplo. Desde narradores impessoais, mantendo a distância segura que lhe confere a narrativa em terceira pessoa até os casos em que o que se narra é algo diretamente relacionado ao próprio narrador. Esse parece ser o caso do romance de Marçal Aquino, Eu receberia as piores notícias de seus lindos lábios, que conta o envolvimento amoroso de Cauby e Lavínia a partir do olhar do próprio Cauby. Esse narra de um modo cuja relação de si mesmo com a narrativa fica explícita, tamanha é sua passionalidade em relação às suas vivências e ao ato de narrar. Isso se manifesta tanto na linguagem, em termos de escolhas narrativas, quanto nas ações do narrador-personagem-protagonista que narra e vive aquilo que narra. Suas características mais notáveis são a passionalidade, a capacidade de registrar fotograficamente detalhes da narrativa e o rompimento com técnicas narrativas tradicionais.Palavras-chave: narrador; primeira pessoa; romance brasileiro contemporâneo; Eu receberia as piores notícias de seus lindos lábios.Abstract: The history of the novel saw, before it, different ways of narrating, as pointed out by the writings of Theodor W. Adorno, for example. From impersonal narrators, maintaining the safe distance that the third person narrative gives him until the cases in which what is narrated is something directly related to the narrator himself. This seems to be the case with Marçal Aquino’s novel I would receive the worst news from his beautiful lips, which tells of Cauby and Lavínia’s loving involvement from the point of view of Cauby himself. He narrates in a way whose relationship with himself and the narrative is explicit, such is his passion for his experiences and the act of narrating. This manifests itself both in language, in terms of narrative choices, and in the actions of the narrator-character-protagonist who narrates and experiences what he narrates. Its most notable characteristics are passionality, the ability to photographically record details of the narrative and break with traditional narrative techniques.Keywords: narrator; first person; contemporary Brazilian romance; Eu receberia as piores notícias de seus lindos lábios.

The use of deictic reference in identifying point of view in Grazia Deledda’s Canne al Vento and its translation into English

Target ◽  
2011 ◽  
Vol 23 (1) ◽  
pp. 62-76 ◽  
Author(s):  
Jane Johnson
Keyword(s):  
English Translation ◽  
Functional Model ◽  
Narrative Structure ◽  
Point Of View ◽  
The Novel ◽  
Mental Processes ◽  
Free Indirect Discourse ◽  
Indirect Discourse ◽  
Grazia Deledda

Point of view in narrative has been identified in literary stylistics through the use of deixis, modality, transitivity and Free Indirect Discourse. These findings have also been applied to literature in translation (Bosseaux 2007). This article focuses on deictic cues in the narrative structure of Canne al Vento by Grazia Deledda in the original Italian and the English translation, following an earlier study focussing on constructing a particular point of view through mental processes of perception, the translation of which did not always reflect that point of view (Johnson 2010). Data emerging from a corpus-assisted study is examined qualitatively using a systemic-functional model in order to assess to what extent the point of view constructed by these cues in the ST is conveyed in the novel in translation.

Narrated perception revisited: The case of Jane Austen’sEmma

2012 ◽  
Vol 21 (2) ◽  
pp. 170-188 ◽  
Author(s):  
Elena Pallarés-García
Keyword(s):  
Point Of View ◽  
The Novel ◽  
Narrative Technique ◽  
Free Indirect Discourse ◽  
Textual Evidence ◽  
Form And Function ◽  
Indirect Discourse ◽  
Objective Fact ◽  
And Function

Jane Austen’s Emma (1816) is generally considered an ambiguous and unreliable narrative in terms of point of view (Morini, 2009: 53–57; Wallace, 1995: 77–97). These qualities are often attributed to the extensive use of free indirect discourse (Finch and Bowen, 1990: 5–6; Mezei, 1996: 72–75). This article aims to demonstrate that another narrative technique is also responsible for the ambiguity and unreliability of the novel. ‘Narrated perception’ (NP) portrays the sensory perceptions of a fictional character by describing events as they are experienced by that character (Fludernik, 1993: 305–309). NP has been pointed out by some critics to be a distinct narrative technique, but in general perception is included within the broader category of free indirect discourse (FID), and occasionally as an aspect of free indirect thought (FIT). This article suggests that there are some subtle differences between NP and FID/FIT, and thus it can be beneficial to examine NP separately. In fact, NP is frequently similar to pure narration in terms of form and function. As a case study, this article presents a stylistic analysis of a number of passages containing NP in Emma which do not typically feature in studies of FID/FIT. The analysis provides textual evidence of (1) the presence of Emma’s sensory perceptions within what looks like narration, (2) the close connection between perception, thought and emotion, and (3) the difficulty of distinguishing between perception and narration in some cases, which suggests the potential of NP to mislead the reader by presenting as a seemingly objective fact what later on turns out to be Emma’s mistaken assessment.

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