scholarly journals Nostalgia in the Novel (ALWAN and AFSANE) by Mamosta Jaafar

2021 ◽  
Vol 8 (3) ◽  
pp. 58-78
Author(s):  
Awara Kamal Saleh
Keyword(s):  
The Past ◽  

     Nostalgia for the past is a phenomenon that is present in most members of society, but its impact varies from one person to another, and nostalgia appears in humans in cases of distance and alienation from the homeland, in other words when a person is uprooted from his roots and spends his life in the diaspora, and here nostalgia for the past dominates his thinking and reflections . And nostalgia leaves a deep impact on the  author. That is why the book resorts to the world of writing to get rid of the pain of alienation. And back again to the world of childhood. With this hope, they can interrupt for a moment from the present time and return to the time of youth. Here, they can make a magical trip to the past in order to give their souls and themselves a moment of calm and stability. In this research, we have tried to embody the types of nostalgia in the novel (ALWAN and AFSANE).

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer

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.”


Oceánide ◽  
2020 ◽  
Vol 13 ◽  
pp. 85-94
Author(s):  
Margarita Estévez-Saá

The purpose of this contribution is to study three young writers who have offered, in the past three years, in a distinctively new voice, further instances of the Irish writers’ endless ability to experiment with the form of the novel. Sara Baume’s "A Line Made by Walking" (2017), Anna Burns’s "Milkman" (2018), and Eleanor O’Reilly’s "m for mammy" (2019) are three representative instances of the potential of the form of the novel in the hands of Irish women writers. Each of these novels deserve a study in its own due to their complexity and interest, but analysing them together offers us a unique opportunity to assess the thriving state of novel writing in Ireland, especially in the hands of Irish women writers.The three novels object of our study deal with identity crises, and they similarly represent their protagonists as struggling against society and its structures, be it the family, local communities, the world of art, nature or politics. Furthermore, the three authors have been able to devise alternative narrative styles, techniques and even endings that enabled them to render the complexities of the topics dealt with as well as to represent the unstable condition of their protagonists. In addition, Baume, Burns and O’Reilly have significantly chosen as protagonists female characters with artistic or intellectual aspirations who allow the authors to endow their respective narratives with metaliterary meditations on the possibilities as well as limits of language, words and wordlessness.


Author(s):  
I. I. Blauberg

Marcel Proust’s works contain a lot of ideas consonant with the ideas that were actively discussed by philosophers of his time. Many philosophers focused on the issues of perception, memory, will, freedom, personal identity, etc., which constituted an important part of academic curriculum. Proust familiarized himself with the issues studying philosophy at the Lyceum (he was taught by Alphonse Darlu) and at the Sorbonne. In his novel In Search of Lost Time, Proust describes an existential experience of his character viewing these issues from a particular perspective, through the prism of the main character’s lifelong search of his calling. He gradually proceeds from philosophical psychology exploring the interaction of memories and impressions in a particular perception, to philosophy proper, to metaphysics aimed at understanding the truth, at going beyond time. The article traces some moments of this transition, shows that for Proust it is not just the work of memory that is important but the emphasis on those states of consciousness where the present and the past coincide, merge, and thereby we go beyond time, to eternity. The author analyzes some images and signs that accompanied the character of the novel on the way to the realization of his calling. Particular attention is paid to the Proustian interpretation of the role of art in changing and enriching the perception of the world, as well as the importance in human life of a habit in which positive and negative aspects are highlighted. Proust himself believed that a work of art is an optical instrument through which the readers begin to discern in themselves what they would otherwise fail to see. His own novel was such an instrument.


2021 ◽  
pp. 221-235
Author(s):  
A. V. Yampolskaya

The author examines works by Paolo Cognetti in light of the myth he has created about a wild boy from the Alps and the wise mountain folk inhabiting various corners of the world. The myth, including the appeal to return to one's roots, to life in harmony with nature, has resonated with many people who are feeling out of place in modern urban civilisation. At the same time, Cognetti has developed his distinctive poetics by combining traditions of the American short story and those of Italian prose and by proposing a compelling stylistic ideal. The article dwells on the origins of Cognetti's writing, its defining features and Italian as well as foreign influences on his works. Cognetti's principal work, the novel The Eight Mountains [Le otto montagne], is analysed along with autobiographical stories The Wild Boy: A Memoir [Il ragazzo selvatico. Quaderno di montagna] and Without Ever Reaching the Summit: A Himalayan Journey [Senza mai arrivare in cima: Viaggio in Himalaya]. The myth of a savage and idealisation of the past help to explain Cognetti's popularity and the fact that he has lent his voice to a whole generation.


2020 ◽  
Author(s):  
Sarah Wang ◽  

As the novel coronavirus continues ravaging communities worldwide, children and adults are spending more time than ever before on their electronic devices. Social networking websites, streaming platforms, and video games accumulate hours of usage. Students and employees are turning to remote learning and working. Even before the COVID-19 pandemic, teleworking was already on the rise. In the US, the population of employees working remotely increased from 19.6% in 2003 to 24.1% in 2015, and in Sweden, the prevalence of working from home jumped from 5.9% in 1999 to 19.7% in 2012 (Feldstead & Henseke, 2017). Research conducted by the Trades Union Congress (TUC) reported that the teleworking rate in the UK increased by at least 20% over the past decade. There are currently no official reports on the increase of remote working in 2020. However, given the current pandemic situation along with the rapid advancement of technology each day, the numbers are expected to be at an all-time high. This may introduce the world to a new set of health problems: the Digital Eye Strain syndrome.


2020 ◽  
Vol 6 (2) ◽  
pp. 78
Author(s):  
Ljiljana Pticina

The paper presents the analysis of genre definition of Pekić’s prose. Genre definition of the prose work The time of miracles is mainly analysed and explained, which theoreticians define differently, determining it as a chain, stories, but also as a novel. The analysis of the corpus, that is, the works The time of miracles and New Jerusalem is conducted through the prism of Bakhtin’s theory on the novel, with a brief resistance of Lukacs’ theory to Bakhtin’s when it comes to the analysis of Pekić’s prose. After the explanation of the characterisation of The time of miracles as a novel, we deal with chronotope, as genre definition, where the most common chronotopes that we encounter in Pekić’s prose are indicated. The novelties that Pekić brings to Serbian literature are reflected in one complete novelistic image, a parallel world, documented by historical sources, the witness’ stories, archeological sites. Generally speaking, the central point of his work is occupied by problematising man’s position in the world in general – so, also in the past, present, but in the future as well. And precisely that and such his relation towards culture and existence – erudite, problematising, predictive, revealing – is “analogous to the correlations between chronotope within the work“ (Bakhtin, 1989, p. 386).


Author(s):  
Nadezhda I. Pavlova

The article is to study a mythological subtext of the novel “Children of mine” by G. Yakhina, which appeared at different levels: composition, plot, construction of the system of characters ' images. Main character of the novel, Jacob Bach, and his beloved Clara are reunited into a single whole, not only as lovers, but also as representatives of two interrelated and complementary principles of German culture-folklore and literature. The interaction of this pair of heroes should be considered in this symbolic context. Thus, the novel develops a fundamentally significant for its conception motif of prophecy, which implies a subtext about the creation of the world-Logos, which is further developed in the narrative, when the image of the main character fulfills the function of guardian of the cultural memory of the Volga Germans. At the same time, the act of creativity is synonymous with creation, which allows us to grasp in a complex novel whole the repeatability of components of a closed cycle of “myth-life”, fully realized in its narrative structure. Mythological world surrounding Bach is in opposition to the space of Soviet history, embodied in the image of the agitator Hoffmann. There is an inverted picture of the world: historical world as dead and the world of culture as a living world. Thus, in the novel, the poles of life and death exchange places in relation to the present and the past. In view of this conception, one can read a deep intention of the writer representing the word of culture as giving immortality and life in eternity.


2020 ◽  
Vol 17 (2) ◽  
pp. 231-244
Author(s):  
Meruert B. Yeleussizova

The article is devoted to the study of the complex motive home-antidome in the work of F. Dostoevsky The Brothers Karamazov. Studying the motive as a key unit of narratology, the author comes to the conclusion that in Dostoevskys poetry a special role is played by antinomic motives, the multidirectional semantic potential of which contributes to the complexity of the poetic dialectic of the writer. Thus, the motive of the home in Dostoevskys novel is inextricably linked with the motives of homelessness, wandering, the search for the place in the world by the heroes of the novel. Each of the heroes of the novel is a bearer of the motive function of home. The image of old Karamazov is associated with the idea of desacralizing the house as an intimate, family space. Each of the brothers is in a transit situation, not having, according to the thesis of Yu.M. Lotman, fastening to a certain topos. Homelessness becomes for heroes of the work the starting point of a spiritual search. Using the methods of linguistic-poetic and literary analysis, the author of the article concludes that the motives of the anti-home in the Brothers Karamazov novelty explicate the writers idea of a person and his place in the world, and in a broader sense, of the past and future of Russia, which has lost touch with previous generations and faith in God.


Author(s):  
C. Parker Krieg

      This essay examines the role of myth in and as cultural memory through a reading of the novel, Archipelago (2013), by the Trinidadian-British author Monique Roffey. Against conceptions of the Anthropocene as a break from the past—a break that repeats the myth of modernity—I argue that Roffey’s use of cultural memory offers a carnivalesque relation to the world in response to the narrative’s account of climate change trauma. Drawing on Bakhtin’s classic study of the carnival as an occasion for contestation and renewal, as well as Cheryl Lousely’s call for a “carnivalesque ecocriticism,” this essay expands on the recent ecocritical turn to the field of Memory Studies (Buell; Goodbody; Kennedy) to illustrate the way literature mediates between mythic and historical relations to the natural world. As literary expressions, the carnivalesque and the grotesque evoke myth and play in order to expose and transform the social myths which govern relations and administrate difference. Since literature acts as both a producer and reflector of cultural memory, this essay seeks to highlight the literary potential of myth for connecting past traumas to affirmational modes of political engagement. Resumen     Este ensayo examina el papel del mito en y como memoria cultural analizando la novela Archipelago (2013), escrita por la autora trinitense-británica Monique Roffey. Frente a la idea del Antropoceno como una ruptura con el pasado—una ruptura que repite el mito de la modernidad—este trabajo argumenta que el uso de la memoria cultural de Roffey ofrece una relación carnavalesca con el mundo en respuesta al trauma del cambio climático detallado en la novela. Basando mi argumento en la teoría clásica de Bakhtin sobre el carnaval como una ocasión para la contestación y la renovación, así como la llamada de Cheryl Lousely por una “ecocrítica carnavalesca,” este ensayo amplía el reciente giro de la ecocrítica hacia el campo de los estudios de memoria (Buell; Goodbody; Kennedy) para ilustrar cómo la literatura media entre las relaciones míticas e históricas con el mundo natural. Como expresiones literarias, lo carnavalesco y lo grotesco evocan el mito y el juego para revelar y transformar los mitos sociales que gobiernan las relaciones y gestionan la diferencia. Ya que la literatura actúa tanto como productora y como espejo de la memoria cultural, este ensayo busca destacar el potencial literario del mito para conectar traumas del pasado con modos de compromiso político más afirmativos.


2020 ◽  
Vol 2 (1) ◽  
pp. 24-27
Author(s):  
Frederick Luis Aldama

Literature can play an important role in shaping our responses to the COVID-19 pandemic. It can offer us significant insights into how individuals treated the trauma of pandemics in the past, and how to survive in a situation beyond our control. Considering the changes and challenges that the coronavirus might bring for us, we should know that the world we are living in today is shaped by the biological crisis of the past. This understanding can help us deal with the challenges in the current pandemic situation. Literature can show us how the crisis has affected the lives of infected individuals. By exploring the theme of disease and pandemic, which is consistent and well-established in literature (Cooke, 2009), we come across a number of literary works dealing with plagues, epidemics and other forms of biological crises. Among the prominent examples of pandemic literature is Albert Camus’s The Plague (1947), narrating the story of a plague sweeping the French Algerian city of Oran. The novel illustrates the powerlessness of individuals to affect their destinies. Jack London’s The Scarlet Plague (1912) is another story depicting the spread of the Red Death, an uncontrollable epidemic that depopulated and nearly destroyed the world. The book is considered as prophetic of the coronavirus pandemic, especially given London wrote it at a time when the world was not as quickly connected by travel as it is today (Matthews, 2020). Furthermore, Edgar Allan Poe’s The Masque of the Red Death (1842) is a short story on the metaphorical element of the plague. Through the personification of the plague, represented by a mysterious figure as a Red Death victim, the author contemplates on the inevitability of death; the issue is not that people die from the plague, but that people are plagued by death (Steel, 1981). Moreover, Mary Shelley’s The Last Man (1826) is another apocalyptic novel, depicting a future which is ravaged by a plague. Shelley illustrates the concept of immunization in this fiction showing her understanding about the nature of contagion. Pandemic is also depicted in medieval writings, such as Giovanni Boccaccio’s The Decameron and Geoffrey Chaucer’s The Canterbury Tales illustrating human behaviour: the fear of infection increased sins such as greed, lust and corruption, which paradoxically led to infection and consequently to both moral and physical death (Grigsby, 2008). In ancient literature, Homer’s Iliad opens with a plague visited upon the Greek camp at Troy to punish the Greeks for Agamemnon’s enslavement of Chryseis. Plague and epidemic were rather frequent catastrophes in   ancient world. When plague spread, no medicine could help, and no one could stop it from striking; the only way to escape was to avoid contact with infected persons and contaminated objects (Tognotti. 2013). Certainly, COVID-19 has shaken up our economic systems and affected all aspects of our living. In this respect, literature can give us the opportunity to think through how similar crises were dealt with previously, and how we might structure our societies more equitably in their aftermath. Thus, in order to explore what literature tells us about the pandemic, the following interview is conducted with Frederick Aldama, a Distinguished Professor of English at the Ohio State University.


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