scholarly journals Existencial experience of death in the Ukrainian and English prose works of the interwar decades

2019 ◽  
pp. 75-85
Author(s):  
Ivanna Devdiuk
Keyword(s):  
The Novel ◽  
Existential Philosophy ◽  
Attitude To Death ◽  
To The Lighthouse ◽  
Archetypal Criticism ◽  
The Subject ◽  
Objective Fact ◽  
Post War ◽  
Boundary Situation ◽  
Main Factor

The article is devoted to the study of death as an existential phenomenon. The topicality of the research is due to the lack of comparative studies of the problem. Its aim is to comprehend the existential of death in the prose of the Ukrainian and English authors of the interwar decades. The research is made on the material of the works by V. Pidmohylny (“Ostap Sheptala”, “A Story without a Title”) and the novel “Honor” by M. Mohyliansky, “The Painted Veil” by S. Maugham and “To the Lighthouse” by V. Woolf. The subject of the study is the philosophical reflections of the characters as subjective thinkers, in the plane of which the authors’ visions of death are actualized. Theoretical and methodological basis is the concepts of the representatives of the existential philosophy (S. Kierkegaard, M. Heidegger, K. Jaspers, A. Camus), in which death is seen as the basic existential of human existence. The main heroes’ attitude to death is considered in the plane of distinguishing of death as an event and as a boundary situation or a phenomenon of death and a phenomenon of mortality. In the course of the study, it was found that an important prerequisite for acquiring thanatological experience by the personages is ‘the death of Another’, which gives rise to a sense of guilt, inducing the personages to active actions. For Ostap Sheptala, Horodovsky, Kitty, Mr. Ramsay, a direct meeting with the death of close people means a boundary situation in which the existence of their own finitude is revealed, which is the main factor in their becoming as individuals as well as in gaining freedom. Instead, in the images of Kalin and Walter, who are in the captivity of their own ambitions, the perception of the ‘death of the Other’ is represented as an objective fact. Their suicide is a consequence of despair, caused by the awareness of their own weakness, which leads to a rejection of oneself. The last is considered as one of the forms of evasion from death. Common for the characters as the spokesman for authors’ views is the state of alienation and loneliness caused by the dehumanization of post-war reality. Prospects for further studies are seen in the study of the problem through the prism of archetypal criticism, as well as the expansion of the arsenal of investigated works.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Patterns: Rosamond Lehmann

2018 ◽  
Author(s):  
Vike Martina Plock
Keyword(s):  
Coming Of Age ◽  
Public Image ◽  
Market Forces ◽  
The Novel ◽  
Fashion Industry ◽  
To The Lighthouse ◽  
Fashion Magazines ◽  
Female Authorship ◽  
Rosamond Lehmann

This chapter analyzes the role of fashion as a discursive force in Rosamond Lehmann’s 1932 coming-of-age novel Invitation to the Waltz. Reading the novel alongside such fashion magazines as Vogue, it demonstrates Lehmann’s awareness that 1920s fashion, in spite of its carefully stylized public image as harbinger of originality, emphasized the importance of following preconceived (dress) patterns in the successful construction of modern feminine types. Invitation to the Waltz, it argues, opposes the production of patterned types and celebrates difference and disobedience in its stead. At the same time, the novel’s formal appearance is nonetheless dependent on the very same tenets it criticizes. On closer scrutiny, it is seen to reveal its resemblance to Virginia Woolf’s To the Lighthouse (1927). A tension between imitation and originality determines sartorial fashion choices. This chapter shows that female authorship in the inter-war period was subjected to the same market forces that controlled and sustained the organization of the fashion industry.

Le potentiel théâtral chez David Foenkinos. Analyse du roman, du scénario et du film La Délicatesse

2020 ◽  
Vol 65 (2) ◽  
pp. 297-319
Author(s):  
Aluaș Alina
Keyword(s):  
Text Processing ◽  
Careful Analysis ◽  
The Novel ◽  
Work Analysis ◽  
Personal Myth ◽  
The Subject

"The Theatrical Potential in David Foenkinos’ Work. Analysis of the Novel, the Scenario and the Film “La Délicatesse”. Our interest, especially when it comes to the subject of literature, is to show the manner in which the text processing done by the author (script writer/director) brings to light the guidelines of the novelistic text’s semantics, which under careful analysis reveals a kind of personal myth of the novelist. The skewed, syncopated, interrupted writing which disrupts the chronotope serves the needs of the script as well as the director’s selective vision. Unconsciously, the novel seems to follow the structure of the theatrical model. These traits can also be found in the cinematographic structure of the film. Keywords: love, eroticism, delicacy, theatricality, scenario, film. "

Comedy, Class, and Nation

2018 ◽  
Author(s):  
Philip Tew
Keyword(s):  
Youth Culture ◽  
Public Life ◽  
The Novel ◽  
Traditional Values ◽  
Adequate Account ◽  
Cultural Narrative ◽  
Cultural Commodification ◽  
Comic Novel ◽  
Post War ◽  
Recurrent Motifs

This chapter studies the comic novel. If British and Irish culture in the post-war decades underwent some radical social and political upheavals, the novel registered and critiqued these transformations in part through the development of a particular comic mode. Comedy in British and Irish novels published from 1940 to 1973 often turned around the difficult intersection of class and nation. Alongside this overarching attention to class and nation, a number of other recurrent motifs can be traced in the comic novel of the period, such as the representation of cultural commodification, the decline of traditional values, and the emergence of new forms of youth culture. In the context of such widespread changes to the narratives that shaped public life, the comic novel expressed an ironic scepticism concerning the capacity of any cultural narrative to offer an adequate account of contemporary identities.

HUNTING GWENDOLEN: ANIMETAPHOR INDANIEL DERONDA

2012 ◽  
Vol 40 (1) ◽  
pp. 99-115 ◽  
Author(s):  
Chase Pielak
Keyword(s):  
The Novel ◽  
Daniel Deronda ◽  
Animal Imagery ◽  
The World ◽  
The Subject ◽  
Animal Representations

In George Eliot'sDanielDeronda, animal vitality figures prominently in shaping the human shell, to use an opening animal metaphor. Approaching the significance of the animal leads to a reading of Gwendolen Grandcourt's character as a responsible creature. Gwendolen is Eliot's heroine, one half of the pair of protagonists around whom the novel revolves. Eliot's fantastic character takes shape in three movements, each punctuated by its own animal metaphor: Gwendolen morphs from Lamia to mastered-animal to white doe. Animal imagery appears at the edge of the human, the point at which humanity gains and loses subjectivity, and Gwendolen's novel is fundamentally one of finding her place in the world, her singularity, her responsibility. Images of animals stand in the linguistic gaps – in the places words fail – to figure the subject.1Animals appear at the end of the ability of language to mean. Nevertheless, this analysis is not intended to encompass the complex range of animal representations in George's Eliot's oeuvre, or even to catalog every example inDaniel Deronda. Instead, it suggests the possibility of using animal metaphor as a map for reading a Victorian heroine.

CLASSIFICATION OF RUSSIAN CULTURE-BOUND TERMS AND THEIR EQUIVALENTS BASED ON THE TRANSLATION OF “QUIET FLOWS THE DON” BY M. A. SHOLOKHOV

2020 ◽  
Vol 76 (4) ◽  
pp. 149-155
Author(s):  
SVETLANA S. UZHAKINA ◽  
Keyword(s):  
English Language ◽  
Great Influence ◽  
Political Life ◽  
Daily Routine ◽  
The Novel ◽  
Russian Culture ◽  
The Subject ◽  
Cultural Component ◽  
Historical Epoch

The classification of Russian culture-bound terms used in the novel “Quiet Flows the Don” by M. A. Sholokhov and in its translation into the English language. The novel “Quiet Flows the Don” by M.A. Sholokhov and its translation into English done by Robert Daglish have served as the source for the research of culture-bound terms. These terms have been classified on the basis of the subject division offered by S. Vlakhov and S. Florin. It is proved that the interest to the study of culture-bound terms is still important. The relevance of the research is determined by the fact that despite numerous research papers in this field the origin, classification and translation of these terms still need some investigation. The aim of the present study is to classify the culture-bound terms taken from the novel “Quiet Flows the Don” by M.A. Sholokhon and its translation into the English language. As a result, there have bben taken 407 samples of the lexical units with a cultural component which were classified according to the subject principal offered by S. Vlakhon and S. Florin. The culture-bound terms have a great influence on a foreign reader as they are cultural units that transmit the information of the daily routine and the historical epoch described in the novel. The culture-bound terms taken from the novel “Quiet Flows the Don” by M.A. Sholokhov and its translation are analyzed and classified. The division of the culture-bound terms according to the subject principal allowed to reveal that most terms refer to the daily routine, social and political life and military terms.

scholarly journals Cylindrical Micelles by the Self-Assembly of Crystalline-b-Coil Polyphosphazene-b-P2VP Block Copolymers. Stabilization of Gold Nanoparticles

Molecules ◽  
2019 ◽  
Vol 24 (9) ◽  
pp. 1772 ◽  
Author(s):  
Maria de los Angeles Cortes ◽  
Raquel de la Campa ◽  
Maria Luisa Valenzuela ◽  
Carlos Díaz ◽  
Gabino A. Carriedo ◽  
...  
Keyword(s):  
Gold Nanoparticles ◽  
Block Copolymers ◽  
Self Assembly ◽  
Cationic Polymerization ◽  
The Self ◽  
The Novel ◽  
Selective Solvent ◽  
The Core ◽  
Cylindrical Micelles ◽  
Main Factor

During the last number of years a variety of crystallization-driven self-assembly (CDSA) processes based on semicrystalline block copolymers have been developed to prepare a number of different nanomorphologies in solution (micelles). We herein present a convenient synthetic methodology combining: (i) The anionic polymerization of 2-vinylpyridine initiated by organolithium functionalized phosphane initiators; (ii) the cationic polymerization of iminophosphoranes initiated by –PR2Cl2; and (iii) a macromolecular nucleophilic substitution step, to prepare the novel block copolymers poly(bistrifluoroethoxy phosphazene)-b-poly(2-vinylpyridine) (PTFEP-b-P2VP), having semicrystalline PTFEP core forming blocks. The self-assembly of these materials in mixtures of THF (tetrahydrofuran) and 2-propanol (selective solvent to P2VP), lead to a variety of cylindrical micelles of different lengths depending on the amount of 2-propanol added. We demonstrated that the crystallization of the PTFEP at the core of the micelles is the main factor controlling the self-assembly processes. The presence of pyridinyl moieties at the corona of the micelles was exploited to stabilize gold nanoparticles (AuNPs).

scholarly journals O romance de Ricardo Lísias: janelas escancaradas para o sujeito hipermoderno

2016 ◽  
Vol 51 (4) ◽  
pp. 491
Author(s):  
Ana Cláudia Munari ◽  
Taíssi Alessandra Cardoso da Silva
Keyword(s):  
Media Studies ◽  
Contemporary Literature ◽  
The Self ◽  
Police Chief ◽  
The Novel ◽  
The Media ◽  
The Subject ◽  
Media Narratives ◽  
Self Reference ◽  
Critical Production

A partir da análise dos romances de Ricardo Lísias e da sua produção autocrítica, este trabalho busca entender algumas relações entre a literatura de autoficção e a publicização do sujeito autor imerso no universo midiático. Partindo de uma revisão bibliográfica que conceitua os objetos aqui circunscritos e de uma apreciação anterior sobre a produção literária de jovens escritores brasileiros selecionados pela revista Granta em 2012, estreitamos nossa focalização no movimento do romancista em direção à escrita de si e à autorreferência. Nesse sentido, analisamos e contextualizamos a modalidade de escritura denominada autoficção, especialmente no que tange às aproximações entre as instâncias do narrador e do autor e entre biografemas e ficção (FIGUEIREDO, 2013; KLINGER, 2012), e evocamos estudos da Sociologia e da Comunicação de modo a caracterizar a sociedade da qual emerge o corpus deste estudo (LIPOVESTKY, 2004; SANTAELLA, 2012). A partir desse contexto, investigamos as obras literárias – O céu dos suicidas (2012), Divórcio (2013) e Delegado Tobias (2014) – e as narrativas midiáticas de Ricardo Lísias e identificamos nelas estratégias da publicidade.********************************************************************The novel by Ricardo Lísias: wide open windows to the subject hypermodernAbstract: Through the analysis of the novels of Ricardo Lísias and its self-critical production, this work intends to understand some relationships between the self-fiction literature and the popularization of the subject author immersed in the media universe. Starting from a literature review that conceptualizes the objects herein bounded and an earlier assessment of the literary production of young Brazilian writers selected by Granta magazine in 2012, we strengthened  ur focus on the novelist's movement toward the writing itself  nd self-reference. Pursuing this aim, we analyzed and contextualized the form of writing named autofiction, especially with regard to the similarities between instances of the narrator and the author and between biographema and fiction (FIGUEIREDO, 2013; KLINGER, 2012). We also evoked Sociology and Media Studies to characterize the society of which emerges the corpus of this study (LIPOVESTKY, 2004; SANTAELLA, 2012). From these premises, we investigated the literary works – Céu dos suicidas (Heaven suicide, 2012), Divórcio (Divorce, 2013) and Delegado Tobias (Tobias, the police chief, 2014) – and the media narratives of Ricardo Lísias and finally we identified his advertising strategies.Keywords: Self-ficction; Contemporary literature; Hypermodernity; Ricardo Lísias

scholarly journals Female Assertion as an Antidote to Male Dominance: Mother Archetypes in Achebe’s Novels—Things Fall Apart, No Longer at Ease, and A Man of the People

2019 ◽  
Vol 1 (1) ◽  
pp. 13-19
Author(s):  
Jeremiah Mutuku Muneeni
Keyword(s):  
Women Characters ◽  
Male Dominance ◽  
Unit Of Analysis ◽  
Representation Of Women ◽  
Gender Balance ◽  
The People ◽  
Archetypal Criticism ◽  
The Subject ◽  
Things Fall Apart ◽  
Intense Debate

There has been an intense debate with regards to Chinua Achebe’s (mis)representation of women in his creative works, especially his first four novels. Some scholars have argued that Achebe is a patriarchal writer who has relegated women to the periphery. Nevertheless, a few have read subtle nuances of gender balance in his works. This paper is a continuation of this debate. Specifically, it argues that Achebe has created Mother Archetypes in his novels and if the same is not recognized, he will continue to be demonized as a gender insensitive writer. The unit of analysis is three of the five Achebe’s novels namely: Things Fall Apart, No Longer at Ease, and A Man of the People. The paper interrogates the aforementioned novels within the framework of archetypal criticism, with the aim of unearthing and examining Mother Archetypes inherent in them. The paper identifies religion, education, and justice as the spheres of life in which Achebe has created, empowered and elevated Mother Archetypes to be at par with their male counterparts. However, owing to the breadth of the subject, the paper dwells on education. The paper concludes that creation of empowered Mother Archetypes in Achebe’s novels is a symbolic relay in which women characters hand in the symbolic empowerment baton to the next woman in the next novel until the last one where the creation of a woman major character, Beatrice, wins the race against male dominance.

scholarly journals Immigrants in Finland as a Problem Discussed in Leena Lehtolainen’s Minne Tytöt Kadonneet

2014 ◽  
Vol 16 (1) ◽  
pp. 66-76
Author(s):  
Martyna Kokotkiewicz
Keyword(s):  
Detailed Analysis ◽  
Social Issues ◽  
Crime Fiction ◽  
The Novel ◽  
Main Subject ◽  
Racial Hatred ◽  
The Subject ◽  
Different Cultures

Abstract Leena Lehtolainen belongs to the most appreciated Finnish authors of crime fiction. One of the significant features of her works is that she discusses some most alarming social issues in them. The problem concerning immigration and its different aspects can definitely be considered as an example of such an issue. Since the problem of cultural antagonisms, racial hatred and xenophobia has been widely discussed by many other Scandinavian authors of crime fiction as well, it is worth analyzing how Lehtolainen herself approaches the problem. The aim of this article is to discuss some aspects concerning the problems of immigrant societies in Finland, basing on one of Leena Lehtolainen’s novels, Minne tytöt kadonneet, which main subject could be described as a collision of two completely different cultures and attitudes to the reality. Its aim is not, however, to discuss any formal aspects of the text, since such a kind of detailed analysis cannot be the subject of one article only. That is why the article concentrates on the plot of the novel and its possible relations to some actual problems the Finnish society faces. Taking it all into consideration it may be seen as an introduction to a wider analysis of Leena Lehtolainen’s works.

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