scholarly journals Iris Hanika's Treffen Sich Zwei: Reception, Analysis and Interpretation

2021 ◽  
Author(s):  
◽  
Kerry Alistair Nitz
Keyword(s):  
Quantitative Analysis ◽  
Qualitative Approach ◽  
The Other ◽  
The Novel ◽  
Quantitative Evidence ◽  
Literary Context ◽  
Narrative Functions ◽  
The One ◽  
High Level ◽  
The Relationship

<p>Iris Hanika’s commercially and critically successful novel Treffen sich zwei makes use of several techniques in the characterisation of its protagonists. Many of its reviews focus on the author’s deliberate placement of links to a wider literary context. Their interest extends from questions of genre-mixing through to the identification of direct quotes from other authors’ works. The critical preoccupation with intertexts demonstrates their importance for the readers’ response to the novel. More specifically, certain reviews highlight the important role intertexts play in the characterisation of the protagonists. This study catalogues the intertexts, metaphors and parodies in Treffen sich zwei and, by means of quantitative analysis, identifies high-level patterns in the use of these techniques. In particular, patterns are identified between, on the one hand, the different narrative functions of the intertexts and, on the other hand, the different ways in which they are interwoven in the text. The data also shows that distinct patterns are associated with each of the two protagonists and that certain patterns change in the course of the novel in parallel with the changes in the relationship between them. This quantitative evidence is supported by a more detailed, qualitative approach, which examines how specific intertexts or metaphors are used for the purposes of characterisation. In addition, variations in voice are used to distinguish the two main protagonists in a manner consistent with the intertexts and metaphors. It is thanks to the combination of these techniques that the theme of meeting encapsulated in the title, Treffen sich zwei, is woven into the textual fabric of the novel.</p>

scholarly journals Iris Hanika's Treffen Sich Zwei: Reception, Analysis and Interpretation

2021 ◽  
Author(s):  
◽  
Kerry Alistair Nitz
Keyword(s):  
Quantitative Analysis ◽  
Qualitative Approach ◽  
The Other ◽  
The Novel ◽  
Quantitative Evidence ◽  
Literary Context ◽  
Narrative Functions ◽  
The One ◽  
High Level ◽  
The Relationship

<p>Iris Hanika’s commercially and critically successful novel Treffen sich zwei makes use of several techniques in the characterisation of its protagonists. Many of its reviews focus on the author’s deliberate placement of links to a wider literary context. Their interest extends from questions of genre-mixing through to the identification of direct quotes from other authors’ works. The critical preoccupation with intertexts demonstrates their importance for the readers’ response to the novel. More specifically, certain reviews highlight the important role intertexts play in the characterisation of the protagonists. This study catalogues the intertexts, metaphors and parodies in Treffen sich zwei and, by means of quantitative analysis, identifies high-level patterns in the use of these techniques. In particular, patterns are identified between, on the one hand, the different narrative functions of the intertexts and, on the other hand, the different ways in which they are interwoven in the text. The data also shows that distinct patterns are associated with each of the two protagonists and that certain patterns change in the course of the novel in parallel with the changes in the relationship between them. This quantitative evidence is supported by a more detailed, qualitative approach, which examines how specific intertexts or metaphors are used for the purposes of characterisation. In addition, variations in voice are used to distinguish the two main protagonists in a manner consistent with the intertexts and metaphors. It is thanks to the combination of these techniques that the theme of meeting encapsulated in the title, Treffen sich zwei, is woven into the textual fabric of the novel.</p>

Volunteering involvementand agency, communion and ethics

2020 ◽  
Vol 586 (1) ◽  
pp. 27-38
Author(s):  
Adam Grabowski
Keyword(s):  
The Other ◽  
Sense Of Agency ◽  
Children And Youth ◽  
Pedagogical Practice ◽  
Ethical Codes ◽  
Agency And Communion ◽  
Selfless Action ◽  
The One ◽  
High Level ◽  
The Relationship

The aim of this paper was to check whether there exists a relationship between volunteering involvement and the level of communion, agency and degree of support for ethical codes. The questions concerned whether persons involved in volunteering (compared to those not involved) are characterized, on the one hand, by a higher intensity of agency and communion, on the other, a higher level of declared support for ethical codes (ethics of autonomy, universal good, dignity and collectivism). In order to find the answer, a study was carried out in which participated 37 people involved in hospice volunteering (including 19 women) and 34 non-volunteers (including 18 women).The results of the study show the existence of an assumed relationship in the case of agency and communion. As for ethical codes, the results did not provide evidence of the relationship between the level of their support and volunteering. The results of the presented study lead to the conclusion that selfless action for the benefit of the other people is associated with a high level of agency and communion, and not only with a high ethical level. Hence the postulate for pedagogical practice to shape and develop a sense of agency and communion in children and youth.

scholarly journals Escribir historias desde una balsa

2019 ◽  
Author(s):  
Ilaria Magnani
Keyword(s):  
The Other ◽  
Falkland Islands ◽  
The Novel ◽  
Military Dictatorship ◽  
Ideological Position ◽  
Epistolary Writing ◽  
The One ◽  
The Relationship ◽  
Literary Quality

They are in a raft – real or metaphorical – and from there they try to rescue their lives and their stories, the characters of Sobrevivientes (2012), a novel by Argentine writer and journalist Fernando Monacelli awarded with the Clarín Prize. The text is inserted in the group not very extensive, but at this point not negligible by number and literary quality, of narratives that thematise the Falkland Islands war and, like the previous ones, presents a strong anti-heroic vein. The novel combines the years of military dictatorship and the war that ended it and looks at the consequences of the two events from a private and intimate environment. It not only denies the heroism of the combatants but tacitly equates them, as victims, with the opponents of the regime. The analysis is proposed, on the one hand, to consider this new ideological position, on the other hand, to emphasise the formal aspects of the novel – located between epistolary writing and intimate diary – and in the relationship with the other narratives of the war of the South Atlantic.

scholarly journals Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction

2020 ◽  
Vol 44 (2) ◽  
pp. 15
Author(s):  
Jarosław Hetman
Keyword(s):  
Visual Art ◽  
The Other ◽  
Artistic Expression ◽  
The Novel ◽  
Literary Context ◽  
Contemporary Novels ◽  
The World ◽  
The One ◽  
Definition Of

<p>The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20<sup>th</sup> century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s <em>Athena</em>, Kurt Vonnegut’s <em>Bluebeard</em> and Don DeLillo’s <em>Mao II </em>– in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.</p>

scholarly journals Poetic Frameworks and Narrative Procedures of Bosnia and Herzegovina Novels about Kulin Ban

2021 ◽  
Vol 6 (4(17)) ◽  
pp. 57-72
Author(s):  
Melida Travančić
Keyword(s):  
Past History ◽  
The Other ◽  
The Novel ◽  
Historical Events ◽  
Narrative Texts ◽  
The Past ◽  
Historical Figures ◽  
The One ◽  
The Relationship ◽  
The Way

This paperwork presents the literary constructions of Kulin Ban's personality in contemporary Bosnian literature on the example of three novels: Zlatko Topčić Kulin (1994), Mirsad Sinanović Kulin (2007), and Irfan Hrozović Sokolarov sonnet (2016). The themes of these novels are real historical events and historical figures, and we try to present the way(s) of narration and shape the image of the past and the way the past-history-literature triangle works. Documentary discourse is often involved in the relationship between faction and fiction in the novel. Yet, as can be seen from all three novels, it is a subjective discourse on the perception of Kulin Ban today and the period of his reign, a period that could be characterized as a mimetic time in which great, sudden, and radical changes take place. If the poetic extremes of postmodernist prose are on the one hand flirting with trivia, and on the other sophisticated meta- and intertextual prose, then the Bosnian-Herzegovinian romance of the personality of Kulina Ban fully confirms just such a range of stylistic-narrative tendencies of narrative texts of today's era.

scholarly journals The freedom of alienated reflexive subjectivity inThe Stanley Parable

2018 ◽  
Vol 26 (1) ◽  
pp. 116-134 ◽  
Author(s):  
Feng Zhu
Keyword(s):  
Subject Matter ◽  
Computer Games ◽  
The Other ◽  
First Person ◽  
The Novel ◽  
Modern Subject ◽  
Quest For Meaning ◽  
Theory Of The Novel ◽  
The One ◽  
The Relationship

The Stanley Parable (Galactic Cafe, 2013) is a game that self-reflexively meditates on the relationship between the structure in which choices are presented to the player in first-person exploration games and contemporary concerns over freedom. It takes, as its subject matter, its own ‘variable expressiveness’, yet must also delimit that expressiveness in order to direct the player towards a self-reflexive mindset. The article proposes, by analysing three of the endings in the game, that this endeavour necessitates the game to compromise its ‘gameness’ and to move towards being a Lukácsian novel caught in an endless interiority; it must maintain a tension between giving the player freedom and room for expression, on the one hand, and being tightly focused on reflections concerning freedom and meaning, on the other. This reveals something about what computer games must sacrifice in order to grasp at meaning and also what would be required for a work to indicate that in which freedom consists. It will be argued that neither of the two kinds of subjectivity that are detailed by Lukács ((1971) The Theory of the Novel. Cambridge, Massachusetts: MIT Press) – the Homeric subject without interiority and the alienated modern subject on a Sisyphean quest for meaning – are compatible with freedom. Instead, the carefully conceived tensions to which The Stanley Parable gives rise initiates a ‘dance’ that gestures towards freedom inhering in a subjectivity which avoids these possibilities. This could only be accomplished by being more than both a game and a novel. The implications bear upon the form of a medium that can most suitably function as a homology for the aforementioned subjectivity that transcends the two Lukácsian poles.

scholarly journals Elements of the Mime in Horace’s Epode “Quid tibi vis, mulier”

2019 ◽  
Vol 67 (3 SELECTED PAPERS IN ENGLISH) ◽  
pp. 45-61
Author(s):  
Wojciech Kopek
Keyword(s):  
The Other ◽  
Literary Context ◽  
Rhetorical Figures ◽  
Polish Version ◽  
Ars Poetica ◽  
The One ◽  
The Relationship ◽  
New Comedy ◽  
Character Types

The Polish version of the article was published in Roczniki Humanistyczne vol. 61, issue 3 (2013). The aim of this article is to discover the literary context for Horace’s Epode 12 by juxtaposing it with Herondas’ mimes, particularly Mime 5, titled The Jealous Woman. The description of the relationship between these works is based on the ancient theory of rhetoric and on elements of Horace’s Ars poetica. It has been established that Epode 12 has numerous features of the literary mime: it is an apparent dialogue (sermocinatio, παρῳδή) recited by a single performer (mime), most probably in the scenery of an ancient feast. A participant in the feast becomes an actor, who first performs the role of a male lover (iuvenis) and then the role of a superannuated female lover (mulier). These character types are typical of both Old and New Comedy styles, but the whole dramatic setting seems to bear the greatest resemblance to Mime 5, in which the same literary protagonists are found in a scene analogous to a lovers’ quarrel. On the one hand, specific rhetorical figures (imitatio / μίμησις) indicate that the literary original was used in a creative manner. On the other, Mime 5 can also be used in the interpretation of Epode 12. This interpretation can be built on the processes of liberation and subjugation as part of the lovers’ relationship (actual subjugation in Mime 5 and metaphorical—financial—in Epode 12, where the iuvenis is the mulier’s “kept man”).

scholarly journals Psychoanalytic Reading of Love and Desire in Somerset Maugham’s Of Human Bondage

2017 ◽  
Vol 5 (1) ◽  
pp. 58
Author(s):  
Amin Ettehadi ◽  
Roohollah Reesi Sistani
Keyword(s):  
The Other ◽  
The Novel ◽  
Main Character ◽  
Human Love ◽  
Gradual Loss ◽  
The One ◽  
The Relationship

<p><em>The present study was a comprehensive psychoanalysis of the idea of love and desire in Somerset Maugham’s Of Human Bondage. The study explored the relationship Philip Carey, the main character, develops with Other people throughout the novel. To further enrich the analysis, Lacan’s theory of human love and desire was employed to provide a psychoanalytic examination of Philip Carey’s bond of love for Mildred, on the one hand, and his gradual loss of identity in his desire towards her, on the other. The study inspected the nature of Philip’s desire for Mildred and shows how he turnd to a desiring subject in his bond to her and finally reached a state of selflessness and depended heavily on Mildred as the object of his desire which drove him towards self-contempt and a masochistic denial of real facts in his life.</em></p>

scholarly journals RESISTENSI DALAM NOVEL STUDENT HIDJO KARYA MAS MARCO KARTODIKROMO: KAJIAN POSKOLONIAL

2021 ◽  
Vol 22 (1) ◽  
pp. 32
Author(s):  
Nando Zikir Mahattir ◽  
Novi Anoegrajekti ◽  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Qualitative Methods ◽  
Postcolonial Theory ◽  
Descriptive Analysis ◽  
The Other ◽  
Material Object ◽  
Research Use ◽  
The Novel ◽  
Colonial Discourse ◽  
The One ◽  
The Relationship

This research use Mas Marco's novel Student Hidjo as material object. The Postcolonial theory will be used to analys Student Hidjo novel’s by Mas Marco. Postcolonial is a set of theories to explore the effects of colonialism in various documents and behaviors, including literature. This study uses qualitative methods to obtain the necessary data from the novel. This type of analysis uses descriptive analysis. The analysis will use deconstruction method. This is in accordance with postcolonialism which is a reversal of the colonial discourse. Such a method is useful for reversing the colonial discourse which presents the relationship between colonizers >< colonized in the novel.. The relationship that seemed stable was undermined by the subjectivity of the colonized through their resistance. The various resistances presented by the colonized were understood by the postcolonialists as a form of an ambivalent legacy of colonialism. The ambivalent side occurs because the resulting resistance strikes both sides. On the one side attacking the invaders, but on the other side attacking resisting subject. Keywords: postcolonial, deconstruction, colonizers, colonized, ambivalent

scholarly journals “Everywhere Felt and Nowhere Seen”: Chinua Achebe’s Things Fall Apart and the “Sovereign Paradox"

2020 ◽  
Vol 5 (1) ◽  
pp. 1-14
Author(s):  
Johanna Skibsrud
Keyword(s):  
Narrative Text ◽  
The Other ◽  
State Of Exception ◽  
The Novel ◽  
Giorgio Agamben ◽  
Order Language ◽  
The Subject ◽  
Things Fall Apart ◽  
The One ◽  
The Relationship

This paper argues that Chinua Achebe’s Things Fall Apart reflects what Giorgio Agamben refers to as the “sovereign paradox” on two levels: first—as reflected by the subject of the novel—on the juridico-political level, and second, on the level of the language and structure of the novel itself.  The relationship between these two levels is made clear by Agamben, who uses language as the prime example of the “sovereign paradox” implicit to the juridical order.  “Language,” he writes, “is the sovereign who, in a permanent state of exception, declares that there is nothing outside language and that language is always beyond itself” (21).  Obeirika’s words in Things Fall Apart: “There is no story that is not true” (Achebe 14), illustrates this “sovereign paradox” by pointing on the one hand to the omniscient authority of the narrative text, while on the other directly undermining that authority.  I argue that it is by doing away with the binary system of what can and should be considered true and untrue that the reflexive narrative – of which Achebe’s novel is a prime example – positions itself in a “permanent state of exception” (Agamben 21). Things Fall Apart establishes for itself “a zone of indistinction” (Agamben 47) characterized by the very impossibility of arriving at the “truth” as such, or “of distinguishing between outside and inside, nature and exception” (37). A “zone of indistinction” is constructed on a textual as well as a political-historical level by the novel’s transgression of its own narrative borders.

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