FUGITIVE IMAGES (VISUAL CULTURE IN MICHEL TOURNIER’S NOVEL THE GOLDEN DROP)

2021 ◽  
pp. 256-279
Author(s):  
Sergey N. Zenkin ◽  
Keyword(s):  
Postcolonial Theory ◽  
Visual Image ◽  
Specific Aspect ◽  
Visual Images ◽  
The Novel ◽  
Michel Tournier ◽  
Visual Objects ◽  
French Writer ◽  
The Subject ◽  
Original Concept

In the work of the French writer Michel Tournier, the novel The Golden Drop (1985) stands out for the massive presence within its plot of various visual images – photographs, drawings, mannequins, etc.; the hero, a young Algerian immigrant in France, develops in relation to those images. Their interaction can be described ideologically in the sense of postcolonial theory or through the opposition of the “symbolic” Islamic culture and the “figurative” European one; however, the author of the novel outlines his own, original concept of a visual image associated with the personality of the subject, but escaping his control due to its serial multiplicity. In this specific aspect, Tournier practically works out the problem of the intradiegetic image – a visual image included in a narrative plot. Encountering visual objects, some of which depict himself, the hero of Tournier’s novel remains unchanged, does not undergo any “education”, does not acquire, as a result of his adventures, either an ideal image or an ideal sign-symbol. Arriving from afar, he still does not recognize himself as a participant in European history, indicated in the novel by allusions to the student revolution of 1968

scholarly journals Didactic Symbol of Visual Images in EFL Textbook: Multi-modal Critical Discourse Analysis

2020 ◽  
Vol 8 (1) ◽  
pp. 51
Author(s):  
Titin Purwaningtyas
Keyword(s):  
Discourse Analysis ◽  
Critical Discourse Analysis ◽  
Teaching And Learning ◽  
Visual Image ◽  
Critical Discourse ◽  
Visual Images ◽  
Analysis Method ◽  
Multimodal Discourse ◽  
Image Appearance ◽  
The Subject

The textbook plays an essential role for students in the teaching and learning process. Imagery, combined with texts in the textbook, makes subjects easy to understand. Images are generally used to convey things we can't tell in the text. Visual images help students make sense of output and input around them. This study investigates the representation of the visual image in the EFL textbook proposed by using a multimodal discourse analysis method. The researcher used the framework from Kress van Leeuwen. Information from all visual images consist of 158 images in the Indonesian EFL textbook is collected as the data in this study. The results showed that females (70%) portions were more commonly portrayed than males ( 30%). In terms of social roles, females have the same proportion of occupations as males. In terms of image appearance, the foreign and Indonesian cultures portrayed to show the tolerance culture. This study aims to explore the meaning of the integrated use of semiotic resources, such as visual image representation in the textbook. The researcher expected students and teachers as textbook users could increase their understanding with the subject of teaching and learning by interpreting the visual images effectively. This study recommends to the textbook user that visual images appearances can strengthen the text or written material in the textbook. Also, it suggests textbook publishers be more concerned and synchronize between the written content and the visual representation portrayed not to occur misinterpretation among the textbook users.

scholarly journals ANGUISH IN ALEXANDER DUMAS’ NOVEL THE COUNT OF MONTE CRISTO

2019 ◽  
Vol 3 (2) ◽  
pp. 217-224
Author(s):  
Hidayati Hidayati ◽  
Arifuddin Arifuddin ◽  
Zainab M Z. ◽  
Aflina Aflina
Keyword(s):  
Qualitative Method ◽  
Social Reality ◽  
Social Contexts ◽  
The Novel ◽  
Sociology Of Literature ◽  
Literary Works ◽  
Literary Research ◽  
Research Guidelines ◽  
French Writer ◽  
The Subject

The research is conducted based on the novel The Count of Monte Cristo, written by a French writer Alexander Dumas. The focus goes to anguish experienced by the protagonist of the novel, Edmond Dante, a young and handsome sailor with a brilliant prospects in career making him plunged into life of anguish. He is arrested for no reason, sent to jail with inhuman treatment. Descriptive qualitative method is applied to reveal that literary works are mirrors of all the occurrences in society. This is in line with the sociology of literature also implemented here as the approach to further analysis of the subject matters having three aspects to be used as a literary research guidelines: social contexts of the author, already showed by the author, literature as the reflection of society, revealed through the text tending to social reality and functions of literature as entertainer or remodel of society, exposed through the responses of the readers. The results show that the novel contains anguish subdivided into Non-procedural Arrest and Inhuman Imprisonment covering the whole study.

scholarly journals Metaphor in M. Proust’s Artistic World: From the Being of Art to the Art of Being

2020 ◽  
pp. 146-162
Author(s):  
Natalia Astrakhan
Keyword(s):  
The Novel ◽  
Involuntary Memory ◽  
Artistic Style ◽  
The Past ◽  
Time Space ◽  
French Writer ◽  
Philosophy Of Dialogue ◽  
Associative Connection ◽  
The Subject ◽  
Individual Existence

The article deals with the functions of metaphor in the artistic world of M. Proust. In the context of the novel sequence In Search of Lost Time, metaphor becomes a mechanism to implement involuntary memory, which allows to combine the present (impressions) and the past (memories). Metaphor, given by the associative connection between impressions and memories, becomes the main constructive law of the artistic model of reality created by the French writer. The multifunctionality of metaphor correlates with the three forms of the subject of consciousness that appears in the context of the artistic whole of the novel sequence as an author, a narrator and a character. The author organizes the work of involuntary memory, based on the metaphor; the narrator balances what has been fished out of the past against the present with the help of experience associations; the character experiences the impressions by going through discoveries and disappointments. Proust’s lyrical epos gives the subject the ability to move beyond the hellish circle of the present into timeless dimensions. The novels created by the author and the character, intersect creating the effect of full being, allowing the subject of creative consciousness to recover its identity by overcoming painful contradictions of individual existence in the artistic creativity as in the dialogical interaction with the other. By using the formal and the hermeneutical methods with the emphasis on the philosophy of dialogue, the article explores the peculiarities of metaphor functioning at the macro- and microlevels. The former allows to construct the experimental picture of the world at the intersection of different time-space spheres that correlate with each other due to the spiritual and intellectual efforts of the subject. The latter allows us to consider the artistic image based on metaphor the core of the modernist writer’s artistic style and the way to the new concept of artist and art.

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.

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. "

Analysis of the Complementarity and Clarification Captions Bring to Road Carnage Print Media Images: A Case of The Herald Newspaper

2020 ◽  
Vol 16 (2) ◽  
Author(s):  
Josephat Mutangadura ◽  
J C Mann ◽  
L Odendaal
Keyword(s):  
Print Media ◽  
Visual Image ◽  
Visual Images ◽  
Media Images ◽  
Verbal Form ◽  
The Road ◽  
Communication Activity

Most visuals in media stories either complement or are complemented by captions that accompany them. This study sought to establish the complementary and clarifying effect of captions that go with road carnage images in The Herald newspaper, a local daily published in Zimbabwe. A study was carried out which involved an interview with photo-journalists from the stable and an analysis of three visual images chosen from the publication. It was established that even as a visual, image can stand alone (but not always); it can tell 95 per cent of the story but will only be complete with an accompanying caption. It was also established that captions need not tell the obvious, but provide that which the picture will be lacking to complete the road carnage story. Captions, therefore, help complete the story as regards the when, where, how, who and what of the depiction. The visual image and the caption combine to complete a communication activity as the verbal and non-verbal form of languages. The study recommends that captions should be edited not only by photo-editors and journalists, but also by practising language people.

Using augmented reality for navigation in space. Creating Visual Dictionaries

2020 ◽  
Author(s):  
Aida Khakimova ◽  
Oleg Zolotarev ◽  
Lyudmila Sharapova ◽  
Daler Mirzoev ◽  
Aleksanra Belaya ◽  
...  
Keyword(s):  
Augmented Reality ◽  
Visual Image ◽  
Cultural Codes ◽  
The Subject ◽  
Spatio Temporal ◽  
The City

The image of the city is a spatio-temporal continuum in which everything is interconnected, it exists as a single monolith expressing itself in the general atmosphere. The visual image of the city may contain two planes of meanings: culturally ratified and universally valid, expressed by cultural codes, and also significant only to those who are viewing the image. Therefore, the content of the visual image depends on who the subject of perception is, what he pays attention to and in what situation the process of perception of the image occurs.

La transposition profane de l’Exode dans Moïse fiction de Gilles Rozier

2013 ◽  
pp. 174-183
Author(s):  
Piotr Sadkowski
Keyword(s):  
Present Article ◽  
Old Testament ◽  
The Other ◽  
Jewish Tradition ◽  
Human Being ◽  
The Novel ◽  
Jewish Origin ◽  
French Writer ◽  
The World ◽  
Jewish Writers

Throughout the centuries French and Francophone writers were relatively rarely inspired by the figure of Moses and the story of Exodus. However, since the second half of 20th c. the interest of the writers in this Old Testament story has been on the rise: by rewriting it they examine the question of identity dilemmas of contemporary men. One of the examples of this trend is Moïse Fiction, the 2001 novel by the French writer of Jewish origin, Gilles Rozier, analysed in the present article. The hypertextual techniques, which result in the proximisation of the figure of Moses to the reality of the contemporary reader, constitute literary profanation, but at the same time help place Rozier’s text in the Jewish tradition, in the spirit of talmudism understood as an exchange of views, commentaries, versions and additions related to the Torah. It is how the novel, a new “midrash”, avoids the simple antinomy of the concepts of the sacred and the profane. Rozier’s Moses, conscious of his complex identity, is simultaneously a Jew and an Egyptian, and faces, like many contemporary Jewish writers, language dilemmas, which constitute one of the major motifs analysed in the present article. Another key question is the ethics of the prophetism of the novelistic Moses, who seems to speak for contemporary people, doomed to in the world perceived as chaos unsupervised by an absolute being. Rozier’s agnostic Moses is a prophet not of God (who does not appear in the novel), but of humanism understood as the confrontation of a human being with the absurdity of his or her own finiteness, which produces compassion for the other, with whom the fate of a mortal is shared.

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.

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