scholarly journals Analisis Cerita Pendek “Der Tänzer Malige” Karya Johannes Bobrowski

Author(s):  
Rosnaini Rosnaini ◽  
Ambo Dalle ◽  
Syamsu Rijal

The type of this research is descriptive qualitative. The purpose of this research is to describing theme, characters, plor, setting, message, and point of view in the short story “Der Tänzer Malige” by Johannes Bobrowski. The data in this study were obtained from reading the short story “Der Tänzer Malige” by Johannes Bobrowski. Data collection using library techniques, which are in the from of reading and notes technique on the object of research. The results of this study are as follws, a description of the theme elements: soldiers, character elements: main characters and extras, plot elements: mixed plot, background elements: place setting (village and army barracks) and time setting (August 1939 at the end of the season. Heat), the element of mandate: a high social  spirit, the element of perspective: the third person point of view (Er).the interrelationship between the intrinsic elements of the short story, where the theme, character, plot, space and time setting, mandate, and point of view, shows a structure that influences one another. These elements cannot be separated from one another.

2012 ◽  
Vol 38 (4-5) ◽  
pp. 477-483 ◽  
Author(s):  
Akeel Bilgrami

This short essay analyzes the deception and self-deception in talk of ‘the clash of civilizations’ and proceeds to diagnose what is wrong in the standard understanding of Islam in the Western media today by looking to the abiding history of colonial relations with Islam down to this day and also looking to the relation between ideals of democracy and the formation of religious identities. The essay closes with some remarks about the nature of identity and the importance to one's own agency of the distinction between the first and the third person point of view in Muslim self-understanding.


2017 ◽  
Vol 27 ◽  
pp. 59-70
Author(s):  
Witold Kowalczyk

This article examines Anton Chekhov’s short story (Quag)mire (Тина, 1886), which gave rise to a great deal of controversy among contemporaneous critics and authors. Some of their commentaries were pejorative, in spite of the fact that Chekhov himself regarded the story as successful. Since the critics frequently referred to the reader’s thoughts and feelings, the article proposes to analyse the story by virtue of cognitively-inspired literary methodology, with emphasis laid on (cognitive) empathy. Particularly useful is also the Deictic Shift Theory, which involves the reader’s engagement in the tracing of “relocated” deictic centres, as well as the Conceptual Metaphor Theory. Accordingly, Kowalczyk argues, debauchery is a mire can be considered the story’s central conceptual metaphor, while the story’s title, Тина (Tina), literally a (quag)mire, provides a key to its interpretation. In the story, told by the third-person narrator, the reader empathically identifies her/himself with Alexandr Sokolsky, a Russian officer, as if “entering” the deictic field created  "around" him. Together the protagonist, the reader —via a sequence of consecutive deictic shifts — is empathetically familiarized with Susanna, a Russified Jewish woman. Through several actions and utterances, Susanna attempts to question the negative stereotype of a Jew, commonplace in Russia, but fails. Arguably, the reader’s evoking the biblical story of the genuinely virtuous Susanna, implied in Chekhov’s text, entails her/his negative perception of Chekhov’s fictional female. This cultural undercurrent may be deemed responsible for the story’s unfavourable reception by Jewish readers, who interpreted Тина (Tina) in terms of a literary attack on their society. In light of the cognitive-literary approach delineated above, Chekhov’s story in question indeed proves to be anti-semitic.


Author(s):  
Carlos Pereda

In this article, several levels in which can be proposed/presented the old dilemma of liberty and determinism are discussed and which is the task of critical thought or, particularly, of this critical thought that is philosophy. On the one hand, this dilemma is confronted in its metaphysical side. On the other, its epistemological and ethical implications are considered. Along this multiple levels I particularly consider the crash between the point of view of the first person and the third person.


2021 ◽  
Vol 30 (1) ◽  
pp. 170
Author(s):  
Netanias Mateus De Souza Castro

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.


2004 ◽  
Vol 24 (33) ◽  
pp. 183
Author(s):  
Claudia Campos Soares

<p>“Campo geral” - primeira novela de <em>Corpo de baile</em>, de Guimarães Rosa  - é narrada em terceira pessoa, mas seu leitor apreende a realidade  ficcional da forma como ela é percebida por um menino que tem entre  sete e oito anos de idade. O narrador está muito próximo de Miguilim, o  que lhe permite a expressão das nuances mais delicadas da subjetividade  do menino.  A realidade ficcional é apreendida, pois, da perspectiva de uma criança.  Além disto, esta criança é extremamente sensível e não se identifica com  os valores utilitaristas que vigoram em seu meio. Por isto é arredia e  introspectiva, quase isolada; e costuma temer os adultos quase como o  contágio de uma doença ruim. Por fim, Miguilim, a criança sob cuja  visão nos é dado acompanhar os acontecimentos ficcionais, é míope,  metáfora-síntese das limitações de sua perspectiva. Devido a tudo isto,  só temos informações vagas e imprecisas acerca de graves acontecimentos  que ocorrem na estória.  O ponto de vista de “Campo geral”, entretanto, conjuga esta “visão  imperfeita” (a de Miguilim) com a possibilidade de ver um pouco além  dela. Ainda que o campo de visão do leitor seja limitado às possibilidades  do menino míope, o autor cria outras condições de reconhecimento do  ambiente e dos conflitos familiares que cercam Miguilim para além de  sua capacidade de visão. De forma indireta, e aparentemente quase  acidental, ele nos dá a ver o que o menino não pode de várias formas.  São estas formas, e o jogo de elucidação e ocultamento que armam, que  este estudo se propõe a investigar.</p> <p>“Campo geral”, the first novel of <em>Corpo de Baile</em>, narrates the story of a 7  year-old boy, Miguilim, in the third person. The reader, however,  apprehends the ficcional reality as it was perceived by this boy. The  narrator is very close to Miguilim and this proximity provides him the  possibility to express the more slight details of the character´s  subjectiveness and makes the reader to capture the boy’s subtle perception  of his surrounded reality.  Miguilim is an extremely tender child who rejects the pragmatic values  of the adult world. As a consequence, he is a solitary and introspective,  almost lonely child, who evades from adult contact. In addition, Miguilim  is also myopic, metaphor-synthesis of his own limited perception of the  surrounded reality. Given this scenario, readers grasp only vague and  imprecise information of the serious events that take place in the story.  However, the point of view of “Campo geral” associates that “imperfect  vision” (from Miguilim) with the possibility of seeing a little bit far from  it. Even though the reader is limited to interpret the story from a myopic  kid’s perception, the author creates situations where familiar conflicts  and events surrounding Miguilim might be apprehend beyond his own  perception. Indirectly and almost accidentally, the author reveals to the  reader what the kid cannot see himself. This study intends to investigate  this game of elucidation and concealment created by Guimarães Rosa in  the point of view of “Campo geral”.</p>


2021 ◽  
Vol 4 (1) ◽  
pp. 134
Author(s):  
Rian Abdus Salamudin ◽  
Efransyah Efransyah

The title of this research is analyzing the Deixis of Song Lyrics in Adele entitled “All I Ask”. The researchers used a descriptive qualitative method in this research. This research are aimed to find out the types of deixis (Personal, Spatial, and Temporal) and the most dominant deixis which found in the lyrics of Adele's song. Based on the results and discussion, the researchers concluded that all deixis which proposed by Yule are found in Adele’s song lyrics. Personal deixis is mostly found in 38 occurrences dominate in this song. The words are “I, me, we, our, ours, us, and my” as the first person deixis, “you, and your” as the second person deixis, and “they and it” as the third person deixis. In the second position is spatial deixis, this, and in your eyes which found in 5 occurrences. The third position is temporal deixis, coming next, tomorrow, and last night which found in 3 occurrences. Keywords:  Deixis, Song, Lyric 


Gesture ◽  
2018 ◽  
Vol 17 (1) ◽  
pp. 158-175 ◽  
Author(s):  
Fey Parrill ◽  
Kashmiri Stec

Abstract Events with a motor action component (e.g., handling an object) tend to evoke gestures from the point of view of a character (character viewpoint, or CVPT) while events with a path component (moving through space) tend to evoke gestures from the point of view of an observer (observer viewpoint, or OVPT). Events that combine both components (e.g., rowing a boat across a lake) seem to evoke both types of gesture, but it is unclear why narrators use one or the other. We carry out two manipulations to explore whether gestural viewpoint can be manipulated. Participants read a series of stories and retold them in two conditions. In the image condition, story sentences were presented with images from either the actor’s perspective (actor version) or the observer’s perspective (observer version). In the linguistic condition, the same sentences were presented in either the second person (you…) or the third person point of view (h/she…). The second person led participants to use the first person (I) in retelling. Gestures produced during retelling were coded as CVPT or OVPT. Participants produced significantly more CVPT gestures after seeing images from the point of view of an actor, but the linguistic manipulation did not affect viewpoint in gesture. Neither manipulation affected overall gesture rate, or co-occurring speech. We relate these findings to frameworks in which motor action and mental imagery are linked to viewpoint in gesture.


2019 ◽  
Vol 47 (1) ◽  
pp. 28-69
Author(s):  
Anke Holler

Abstracts Erlebte Rede (free indirect style) is a narrative technique used to present reports of consciousness which to some extent blends direct and indirect speech. It is characterized by the interaction of specific linguistic markers which allow the presentation of a character’s point of view while simultaneously maintaining the narrative frame. A character’s thoughts are expressed in the third person, indicative and narrative tense giving the impression that the voice of both the narrator and the character somehow overlap. This contribution summarizes the research on erlebte Rede, focussing on German. Regarding narratological aspects, I discuss linguistic problems specific to identification and analysis of texts which employ erlebte Rede. This paper primarily addresses the use of erlebte Rede in fiction, although it is also found in non-fiction.


2018 ◽  
Vol 72 (5) ◽  
pp. 1055-1067 ◽  
Author(s):  
Sarah D Creer ◽  
Anne E Cook ◽  
Edward J O’Brien

Readers do not always adopt the perspective of the protagonist; however, they will under certain conditions. Experiments 1a and 1b showed that readers will take the perspective of the protagonist from the third-person point of view, but only when explicitly instructed to do so. Experiment 2 demonstrated that reading from the first-person point of view is a text-based manipulation that encourages readers to adopt the perspective of the protagonist. The results of Experiments 3a and 3b replicated the findings of Experiments 1a and 2. Experiment 4 established that simply increasing readers’ attention to the text does not lead to adoption of the protagonist’s perspective; moreover, this suggests that when it does occur, protagonist perspective adoption is not the result of increased attention, but strategic processing.


2020 ◽  
Vol 8 (6) ◽  
pp. 103
Author(s):  
Komenan Casimir

Todorov’s syntactic, verbal and semantic aspects of the literary text, onomastics and Mauron’s psychocriticism, underlie this paper whose goal is to show that Chinua Achebe’s “Chike’s School Days” is an autrebiography verbalizing Achebe’s early schooling. As two major thematic Ariadne’s threads, the religious, familial and onomastic connections between Chike and Achebe, as well as Achebe’s untimely love for Shakespeare’s language, have been used to compose an autrebiograhical short story, a shortened fiction about the self, which is narrated not in the first-person (“I”), but rather in the third-person (“He”). It is with such a detachment device that Achebe writes about Chike, a character who is nobody else but his double.


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