scholarly journals N. Chernyshevsky as a character of the novel “Gift” by V. Nabokov: poetics and semantics of the image

2019 ◽  
Keyword(s):  
Second Order ◽  
The Other ◽  
Semantic Features ◽  
The Novel ◽  
The Status ◽  
History Of ◽  
Artistic Work

The article is devoted to the identification of the poetological and semantic features of the image of N. Chernyshevsky as a character of the novel “Gift” by V. Nabokov. An analysis of the latest scientific works devoted to various aspects of the interpretation of Nabokov’s novel has showed such understanding of the structure of the image of protagonist of the fourth chapter, in which the historical and biographical components are of particular importance. However, it seems to the author of this article that it should be considered as an element of the “second order” concerning to re-translators of the deep semantics of the image. N. Chernyshevsky, who appeared in Nabokov’s “Gift” in the status of a character of the artistic work, is an image devoid of any direct references concerning to his real prototype. For this reason, the author of the article considers it not as a self-sufficient semantic equivalent in the structure of the text, but as an immanent element of this structure, which exists exclusively in the other-being of an artifact. It is also shown in the article that in the image of N. Chernyshevsky are actualized those traits, that make it possible to correlate the character with the literary type of the “little man” in that typological realization that is found in the writings of Pushkin and Gogol. In the works of these authors, the “little man” appears in oppositional relations not with another character (a senior person), but with Fate itself, or rather, with irrational metaphysical forces. The plot of the fourth chapter of “Gift” is also constructed by Nabokov as the “history of misfortune” of an offended being, but it is fundamentally significant that the causes of this misfortune are in no way connected with the external circumstances of N. Chernyshevsky’s life. Happiness as a feeling of fullness of life, as an insight in the combination of its trifles the intent of mysterious forces, is unattainable for the “little people” of Pushkin, Gogol and Nabokov, who suffer from the narrowness of their “spiritual horizons”, which are containing only material, transient, earthly.

scholarly journals Ludzie w zawieszeniu (Siergiej Lebiediew, Dzieci Kronosa)

2020 ◽  
Vol 30 ◽  
pp. 11-28
Author(s):  
Aleksandra Zywert
Keyword(s):  
Human Nature ◽  
The Other ◽  
The Novel ◽  
The Status ◽  
History Of ◽  
German Minority ◽  
Totalitarian Regimes ◽  
Russian Germans

In the novel The Goose Fritz, Sergei Lebedev puts the spotlight on the still-relevant problem of the history of Russian Germans, a question which adds depth to discussion about the complex past of the country. Russian Germans, as the author portrays them, live in a state of suspension, bearing a mark of foreignness in both Russia and Germany. Functioning almost from the very beginning between two totalitarian regimes (tsarist and then Soviet regimes on one side, and on the other, fascism), each of which forces people to divest themselves of their own past in favor of an identity aligned with the more “correct” politics of the time and place, Russian Germans have lost the memory of generations and remain “an uprooted people”. In this context, Lebedev’s story concerns human nature as such, as well as a problem of great importance for contemporary Russia: the status of the German minority and the prospect of their migration to Germany.

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

PMLA ◽  
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.”

scholarly journals Genrens tøven

2007 ◽  
Vol 35 (103) ◽  
pp. 108-137
Author(s):  
Carsten Sestoft
Keyword(s):  
Seventeenth Century ◽  
The Novel ◽  
Book Market ◽  
English Novel ◽  
The Social ◽  
The Status ◽  
Historical Semantics ◽  
History Of ◽  
Insight Into ◽  
Or History

Romanens status i det 17. århundredes Frankrig The hesitations of a genre: The status of the novel in seventeenth-century FranceIn answering the question: What was the novel in seventeenth-century France? – this article provides insight into some important points of the early history of the genre. The contradiction between its non-existence in official (Aristotelian) poetics and its existence as a popular commodity on the book market was, in the course of the seventeenth century, reconciled in the emergent category of belles lettres as a plurality of genres mainly defined by their public of honnêtes gens, while attempts at legitimizing the novel as belonging to such Aristotelian genres as epic or history generally failed; and at the end of the century a number of convergences – between epic and novel, between the designations roman and nouvelle, and between the ‘high’ and ‘low’ forms of the novel – seem to point to the fact that the social existence of the genre had been strengthened, even if it was the English novel of the eighteenth century that could be said to reap the profits of this stronger position. Using historical semantics and cultural sociology to study the status of the novel in seventeenth-century France thus leads to a clearer understanding of the specificity of the novel as a literary and cultural genre.

scholarly journals Giono, Translator or Reader of Moby-Dick?

2016 ◽  
Vol 27 (1) ◽  
pp. 17-42
Author(s):  
Isabelle Génin
Keyword(s):  
The Other ◽  
The Novel ◽  
Moby Dick ◽  
Reading Experience ◽  
Paradoxical Situation ◽  
The Status ◽  
Word Translation ◽  
Jean Giono ◽  
The One ◽  
Selection Of

The article discusses the interaction between reading and translating, in the case of the first unabridged translation of Moby-Dick into French by Jean Giono, Lucien Jacques and Joan Smith, published by Gallimard in 1941. After a brief survey of the status of that translation—an important cultural landmark in France—the paper examines what the paratext (Giono’s diary, notes and letters) and the typescripts reveal about a seemingly paradoxical situation: Giono’s keen reading of Moby-Dick on the one hand and the simplification and clarification strategies adopted in the translation on the other hand. A selection of stylistic analyses illustrates both the choices made by the translators and the part played by each participant in the project. It appears that Giono did not necessarily misread Moby-Dick, underestimating its scope and significance. Instead, after reading the novel, he grew indifferent to its translation and concentrated his energy on his own writing in which he re-invested his reading experience. As to the other co-translators, Joan Smith provided a word-for-word translation of the text that made no attempt at interpreting the text, while Lucien Jacques strove to re-write Smith’s literal first draft, in spite of his difficult position as a non-reader (albeit an enthusiastic one) of Moby-Dick.

Rapports intertextuels et (re)constructions identitaires dans le roman Bois rouge de Jean-Marie Touratier

2021 ◽  
pp. 17-30
Author(s):  
Loredana Stănică ◽  
Keyword(s):  
The Other ◽  
16Th Century ◽  
The Novel ◽  
Military Leader ◽  
Jean De Lery ◽  
History Of ◽  
The Military ◽  
The Antarctic ◽  
The Relationship ◽  
Great Complexity

Published in 1993, the novel Bois rouge by Jean-Marie Touratier brings to life the history of the short-lived French colony of Brazil, the Antarctic France, whose existence, reduced to only five years (1555-1560), was described in the travelogues written in the 16th century by André Thevet (Les Singularitez de la France Antarctique - The New Found World, or Antarctike) and Jean de Léry (Histoire d’un voyage faict en la terre du Brésil – History of a Voyage to the Land of Brazil). Beneath the appearance of a simple story told by an ironic voice, sometimes even satirical towards the military leader of the French colony, the Knight of Malta Nicolas Durand de Villegagnon and his chaplain, André Thevet, future cosmographer of the kings of France, the novel delves into issues of great complexity, such as (the issue of) identity and the relationship to the Other (the American “savage”).

The Discovery of X-Rays: a Probable Case of Second Order Observation

2018 ◽  
Vol 19 (4) ◽  
pp. 403
Author(s):  
Marco Aurélio Clemente Gonçalves ◽  
Mariele Regina Pinheiro Gonçalves ◽  
Pablo Eduardo Ortiz
Keyword(s):  
History Of Science ◽  
Second Order ◽  
Point Of View ◽  
X Rays ◽  
Historical Reconstruction ◽  
X Ray ◽  
Probable Case ◽  
The Status ◽  
History Of

The discovery of x-rays, one of the most beautiful experiments ever carried out, generates numerous controversies and these, in turn, can trigger a series of counterproductive information regarding not only the History of Science but also the teaching  activity. The aim of this article is to resolve these controversies concerning what ocurred and highlight the important role of the German physicist Wilhelm Conrad Röntgen, highlighting not only his genius but, especially in this case in particular, his condition of second-order observer. It is not uncommon to find information in various media refering to this discovery under the claim that it was the result of a fortuitous event, and this denotes a profound lack of knowledge about the facts or a disrespect for the renowned discoverer. Such allegations about the event depreciate the extraordinary discovery that impacts humanity, from the deed  to the present. Thus, through a brief historical reconstruction, it was tried to present here what had happened judiciously. With this respect, the brilliant scientist is given the status of a second-rate observer, from the philosophical point of view. This condition resonates with the diachronic aspect of the History of Science, according to the perspective presented here, and it is also supported by the time taken by the discoverer from the beginning of his research until the end of it. Keywords: X-Ray. Second-Order Observer. History of Science. ResumoO descobrimento dos raios-x, um dos mais belos experimentos já realizados, gera inúmeras controvérsias e essas, por sua vez, podem desencadear uma série de informações contraproducentes no tangente não só a História da Ciência como também à atividade de ensino. O presente artigo tem como objetivo dirimir tais polêmicas com respeito ao ocorrido e destacar o importante papel do físico alemão Wilhelm Conrad Röntgen, destacando não só sua genialidade, mas sobretudo, neste caso em particular, a sua condição de observador de segunda ordem. Não é raro encontrar em diversos meios de comunicação informações com respeito a referida descoberta sob a alegação de que a mesma fora fruto de um caso fortuito e isso denota profundo desconhecimento sobre os fatos, ou então, desrespeito com o renomado descobridor. Tais alegações sobre o sucedido depreciam a descoberta extraordinária que impacta a humanidade, desde o feito até a atualidade. Assim, através de breve reconstrução histórica, buscou-se aqui apresentar o ocorrido criteriosamente. Com este respeito passa-se a atribuir ao brilhante cientista a condição de observador de segunda ordem, do ponto de vista filosófico. Tal condição encontra ressonância no aspecto diacrônico da História da Ciência, segundo a perspectiva aqui apresentada e está amparada, também, pelo tempo empreendido pelo descobridor desde o início de sua pesquisa até a finalização da mesma. Palavras-chave: Raios-x. Observador de Segunda Ordem. História da Ciência.

scholarly journals Language of Russian Charity: Verbs

2020 ◽  
Vol 22 (4 (202)) ◽  
pp. 293-310
Author(s):  
Valeria S. Kuchko ◽  
◽  
Keyword(s):  
Russian Language ◽  
Semantic Features ◽  
Semantic Field ◽  
Specific Context ◽  
Old Russian ◽  
The Status ◽  
History Of ◽  
The Subject ◽  
The Russian Language ◽  
National Corpus

This article studies Russian verbs which name the action of gratuitous material assistance to those in need, i.e. благотворить, благотворительствовать, благодетельствовать, меценатствовать, жертвовать, спонсировать, and their few derivatives. The author focuses on the history of their origin and use in the Russian language, the development of their meanings, semantic features, and functioning in the text. The analysis of these characteristics of the life of the word in the language allows the author to identify and formulate some norms of the use of these verbs in modern charity discourse for those who speak and write about charity. The study is based on historical and modern lexicographic sources, such as explanatory dictionaries of the Old Slavic Language, Old Russian Language, Russian language of different time periods, as well as examples of word usage, retrieved from The National Corpus of the Russian Language. In spite of the fact that the verbs studied realise the predicate of a situation of charity and designate the subject’s action of providing a poor or deprived object with material support, they considerably differ in terms of time of their appearance in the language, periods of usage, and semantic capacity. The analysis demonstrates that there is no verb that could claim the status of a nuclear verbal lexeme of the semantic field of charity: the word with the widest neutral semantics благотворить has almost fallen out of use, the verbs благодетельствовать and меценатствовать have a narrower application, while жертвовать imposes semantic restrictions on the choice of words for the positions of the object and the instrument of charity, and in the case of the verb спонсировать a specific context of “market” charity is important, in which the subject receives a certain benefit from their contribution.

scholarly journals معايير التأثر والتأثير بين رواية زينب وفريدة هانم: دراسة مقارنة (The Criteria of Influence and Effect between the Novel of Zainab and Faridah Hanum: A Comparative Study)

1970 ◽  
Vol 2 (1) ◽  
Author(s):  
روسني بن سامة (Rosni Bin Samah)
Keyword(s):  
Comparative Study ◽  
The Other ◽  
Creative Work ◽  
The Novel ◽  
Other Hand ◽  
The Status ◽  
Literary Circles

ملخص البحث:تعد رواية فريدة هانم الماليزية أول رواية فنية في الأدب الماليزي الحديث، حيث اتفق الأدباء والباحثون على ذلك، ولكنهم اختلفوا في أصليتها الإبداعية لوجود تصوير البيئة المصرية لأحداثها. ومن جهة أخرى عاش البطل في الرواية من بدايتها حتى نهايتها في القاهرة، ومنهم من رأى بأنها رواية مترجمة من الرواية العربية، ومن منهم من رأى بأنها رواية إبداعية ابتدعها الراوي بتصوير البيئة المصرية. وتهدف هذه الدراسة إلى الكشف عن حقيقة أمرها بتجلية معايير تأثرها برواية زينب، حيث قام الباحث بالمقارنة بين الروايتين، وتوصلت النتائج إلى أن رواية فريدة هانم الماليزية تأثرت برواية زينب المصرية ولكن راويها لا يترجم تلك الرواية بل قام بالاطلاع عليها ثم صاغها بصياغته الجديدة مع رعاية البيئة المصرية وعاء لها.الكلمات المفتاحية: رواية هانم المصرية- رواي هانم الماليزية- معاير الرواية -المقارنة- التشابه.Abstract:Faridah Hanum is regarded as the first  Malay novel in Modern Malay Literature by the literary circles and researchers but they are in disagreement on the originality of its creativity features since its setting is Egyptian. On the other hand, its hero lived in Cairo from the beginning of the story until the end. Some of them viewed that it is a translated version of an Arabic novel while others still see it as a creative work with an Egyptian background. This study aims at discovering the truth about the status of the novel through pointing out the influences of the Arabic novel “Zainab” on it. This is done through comparing between the two novels. It is concluded that the Malay novel “Faridah Hanum” indeed had been influenced by “Zainab”, but it is not a translation but rather the writer happened to have read the Zainab novel but later on tried to put the story in  a new plot though he did retain the Egytian background as the setting.Keywords: Hanum Egyptian Novel–  Hanim the Malaysian novelist– Standards of Novel – Comparison– Similarities.Abstrak:Faridah Hanum dianggap sebagai novel Melayu pertama dalam kesusasteraan Melayu moden oleh kumpulan sasterawan dan penyelidik-penyelidik namun mereka masih lagi berada dalam percanggahan tentang keasliannya kerana persekitarannya yang berlatarkan sebuah negara asing: Mesir kerana wiranya tinggal di Kaherah dari permulaan cerita sehinggalah ke penghujungnya. Sebahagian dar mereka melihat yang ia adalah satu terjemahan satu novel Arab manakala yang lain masih menyaksikan ia adala satu hasil kerja kreatif dengan hanya menggunakan latar belakang Mesir. Kajian ini bertujuan untuk menemukan beberapa fakta tentang status novel tersebut dengan melihat kepada pengaruh-pengaruh novel Arab “Zainab”  yang terdapat padanya. Ini dilaksanakan melalui perbandingan antara dua novel tersebut. Kesimpulannya, novel Melayu “Faridah Hanum” sememangnya telah dipengaruhi oleh “Zainab”, namun ia bukan satu terjemahan tetapi penulis telah berpeluang  membaca novel Zainab dan kemudiannya cuba untuk meletakkan cerita dalam satu plot baru walaupun dia mengekalkan latar belakang Mesir sebagai persekitaran ceritanya.Kata kunci: Orang Mesir– Hanum– Hanim novelis Malaysia– Piawaian Novel– Persamaan-persamaan– Perbandingan.

scholarly journals Global Middle Ages ou as virtudes do anacronismo. A lição do texto medieval

2019 ◽  
Vol 02 ◽  
pp. 117-149
Author(s):  
Carlos Carreto
Keyword(s):  
Middle Ages ◽  
Medieval Literature ◽  
Global Perspective ◽  
The Other ◽  
New Meanings ◽  
The World ◽  
The Status ◽  
History Of ◽  
Literature Mapping ◽  
History Of Literature

Has the Middle Ages invented globalization or revealed a clear consciousness of globality? On the other hand, may this anachronistic notion prove to be an appropriate and productive operative and analytical concept for rethinking medieval literature beyond its territorial and linguistic boundaries and the epistemological view of the world imposed by a (neo)positivist conception of the history of literature? Mapping the medieval literature in a global perspective implies a methodological repositioning and a process of deterritorialization of the concepts themselves that leads us to reinvest motives, forms, structuring notions (from the chivalric queste to the concept of romance as translatio, passing through the status of the marvelous) with new meanings and, consequently, new cultural and poetic implications.

scholarly journals The Boundaries of Funniness and the Dilution of Audience Identity in the Musical-Dramatic Art

2021 ◽  
Vol 3 (3) ◽  
pp. 61-82
Author(s):  
Viktor L. Levchenko ◽  
Nina I. Kovalova
Keyword(s):  
The Other ◽  
Musical Performance ◽  
Museum Exhibits ◽  
The Status ◽  
History Of ◽  
European Theatre ◽  
The Aesthetic ◽  
The One

This paper sets out to examine the transformation of comedy in the history of European theatre. Musical performance extends the semiotic space of the original genre into a field of fluid and open meanings and signs incorporating and suggesting many interpretations, some of which are ironic. It is argued in contemporary aesthetics that, on the one hand, art cannot exist without a discourse interpreting it, while on the other, there exists the demand to avoid interpretation, which at once legitimizes the aesthetic effect and castrates the object of art. Provocation is used as an instrument for solving the problems of observing the object of art in a new way and understanding modern reality, and provocation is not complete without irony and self-irony. Wit, irony, and comicality are transformed as fitting into the style of the absurd and deconstructing the border between the funny and the serious. The purpose of such provocations is to put the viewer into a position of uncertainty and aesthetic shock, and this stupor inexorably leads the beholder to encounter the object of art and nurtures a new understanding of their own self. This clash of the spectator’s viewpoint created by provocative shows dispossesses theatre productions of the status of “museum exhibits”. This paper will examine the organicness of elements of the laughter culture and comic devices for musical and dramatic theatre.

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