scholarly journals Fording the stream of changes: The concept of border-zone in the novel by Dubravka Ugresic

2020 ◽  
pp. 364-382
Author(s):  
Nataliya V. Zlydneva
Keyword(s):  
Cultural Context ◽  
Narrative Structure ◽  
Transitional Period ◽  
Border Zone ◽  
The Novel ◽  
Stream Of Consciousness ◽  
Art Cinema ◽  
Poetic Structure ◽  
Text Organization ◽  
The Social

The article aims to identify correspondences / parallels between the lit-erary text and the “text” of the historical time. The novel of the modern Croatian writer D. Ugresic “Fording the Stream of Consciousness” is taken as a basis: it is considered against the background of the events of the 1980s in Croatia. As the core of the poetic structure of the work, the concept of border-zone stands out. The latter can be traced at different levels of the text organization: in the composition, the plot, the characters, the narrative structure as a whole. The novel describes vari-ous boundaries (mental, existential, state, linguistic). Their function in the poetics of the novel is based on the principles of postmodernism: this is literature on literature. The social and cultural context in which the novel arose also demonstrates the concept of boundary by which the characteristics of the transitional era can be described. The 1980s in Croatia marked the state of transition in politics, economy as well as culture. The article discusses various types of art, cinema, literature and print media that set the main tone. It is shown that in literature, art, and cinema this was a boom period. Access to new frontiers is described by the concept of border-zone, which manifests itself in various ways of breaking the usual hierarchy in art: intertextuality, combining high and low genres (in fi lms and literature), enhancing the role of marginal (youth press), hybridization of media (pictorial turn). The sense of border-zone existence gave rise to “garbage poetics” as a contra-cultural phenomenon of the time. The novel of D. Ugresic contains all these signs of a transitional period. It also relies on the deeper layers of the liter-ary tradition, revealing correspondences with the Balkan model of the world. In this regard, the article touches upon the issue of the bridge in I. Andric’s prose, as well as the stairs in the story of A. Solan. Destruc-tion as the leading principle of postmodernism, the theme of the death of the novel, that manifested themselves in the piece of D. Ugresic, became a refl ection of the transitional time of Croatia, its culture, marked by the symbolic border of existence.

scholarly journals Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax

2018 ◽  
Author(s):  
Luka Bešlagić
Keyword(s):  
Cultural Context ◽  
Narrative Structure ◽  
Spoken Language ◽  
Experimental Film ◽  
The Novel ◽  
Moving Image ◽  
Avant Garde ◽  
Moving Images ◽  
Narrative Cinema ◽  
Movie Script

This paper analyses the experimental film Sonne halt! by Ferry Radax, an Austrian filmmaker renowned for his unconventional approach to cinematic practice. Filmed and edited between the end of the 1950s and early 1960s, the film at first may appear to be a belated homage to the previous European experiments in avant-garde cinema, already carried out a few decades earlier. However, since there have been no great ‘historical avant-garde’ movements in Vienna in the period between the two world wars – according to the novel argument made by Klaus Kastberger – it was already the middle of the 20th century when the ‘original’ avant-garde strategies were finally acknowledged in Austria, and simultaneously appropriated by the ‘neo-avant-garde’. In this peculiar historico-cultural context Sonne halt!, in its fragmentary non-narrative structure which resembles Dadaist or Surrealist playfulness and openness, innovatively and radically interweaved two disparate film registers: moving image and spoken language. Various sentences arbitrarily enounced throughout the film – which have their origin in Konrad Bayer’s unfinished experimental, pseudo-autobiographical, montage novel der sechste sinn – do not constitute dialogues or narration of a traditional movie script but rather a random collection of fictional and philosophical statements. At certain moments there is a lack of rapport between moving image and speech – an experimental attempt by Ferry Radax to challenge one of the most common principles of sound and narrative cinema. By deconstructing Sonne halt! to its linguistic and cinematic aspects, this article particularly focuses on the role of verbal commentaries within the film. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Bešlagić, Luka. "Interweaving Realities: Spoken Language and Moving Images in the Sonne halt!, Experimental Film by Ferry Radax." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.228

FROM ELIZABETH GASKELL’S MARY BARTON TO HER NORTH AND SOUTH:PROGRESS OR DECLINE FOR WOMEN?

2000 ◽  
Vol 28 (2) ◽  
pp. 345-358 ◽  
Author(s):  
Pearl L. Brown
Keyword(s):  
Social Change ◽  
Social Problems ◽  
Narrative Structure ◽  
Self Awareness ◽  
The Novel ◽  
Social Conflicts ◽  
Social Purpose ◽  
The Social ◽  
Mature Work ◽  
North And South

ASSESSMENTS OF ELIZABETH GASKELL’S two novels of social purpose typically conclude that North and South, published in 1855, is a more mature work stylistically and ideologically than Mary Barton, published in 1848. North and South is said to integrate the narrative modes of romance and realism more effectively than Mary Barton (Felber 63, Horsman 284), and to provide a more complicated narrative structure (Schor, Scheherezade 122–23), a more complex depiction of social conflicts (Easson 59 and 93) and a more satisfactory resolution of them (Duthie 84, Kestner 170). North and South is also said to deal with “more complex intellectual issues” (Craik 31). And the novel’s heroine, Margaret Hale, has been seen as Gaskell’s most mature creation — a woman who grows in self-awareness as she adapts to an alien environment (Kestner 164–166) and, unlike Mary Barton, becomes an active mediator of class conflicts (Stoneman 120), the central consciousness that brings together “the lessons of social change and romance” (Schor, Scheherezade 127).1 The reconciliation of these conflicts she inspires through her influence over both mill owner and worker has been praised as a more effective and credible narrative resolution to the social problems depicted in the novel than the reconciliation between mill owner and worker in Mary Barton (David 36).

The transformation of reality and the Arabic novel's aesthetic response

1994 ◽  
Vol 57 (1) ◽  
pp. 93-112 ◽  
Author(s):  
Sabry Hafez
Keyword(s):  
Cultural Context ◽  
Social Role ◽  
Arab World ◽  
Arabic Literature ◽  
The Novel ◽  
Aesthetic Response ◽  
Literary Genres ◽  
The Social ◽  
Rapid Pace ◽  
Modern Arabic

The rapid pace of the change sweeping through the Arab world over the last few decades has profoundly affected both its various cultural products and its writers' perception of their national identity, social role and the nature of literature. The aim of this paper1 is to discuss the major changes in the sociopolitical reality of the Arab world, the cultural frame of reference and the responses of one of the major literary genres in modern Arabic literature: the novel. It is assumed here that there is a vital interaction between the novel and its socio-cultural context, in that novels encode within their very structure various elements of the social reality in which they appear and within whose constraints they aspire to play a role. Their generation of meaning is enmeshed in a variety of cultural, psychological and social processes, and their reception therefore brings into operation an array of experiences necessary for the interpretive act.

scholarly journals THE STUDY OF FEMINISM IN THE NOVEL NAYLA BY DJENAR MAESA AYU

2019 ◽  
Vol 3 (1) ◽  
pp. 27
Author(s):  
Ni Ketut Veri Kusumaningrum ◽  
I Wayan Rasna ◽  
Gde Artawan
Keyword(s):  
Narrative Structure ◽  
The Novel ◽  
The Public ◽  
Library Research ◽  
The Social ◽  
Show Business ◽  
The Status ◽  
Role Of Women ◽  
Relationship Of

This research aims to determine (1) the narrative structure of novel Nayla by Djenar Maesa Ayu, (2) the role of women figure in the novel Nayla by Djenar Maesa Ayu, (3) the struggle of women figure in the novel Nayla by Djenar Maesa Ayu. This research uses feminism study with qualitative research. The data was collected by using library research. The library method was used at finding out the data in the novel Nayla by Djenar Maesa Ayu and in other literature which supports this research. The analyzed data are narrative structure, the role of women figure and the struggle of women figure in the novel Nayla by Djenar Maesa Ayu. The data were analyzed through the stage of reduction, presentation and data collection. The subject of this research is the novel Nayla by Djenar Maesa Ayu, the object of this research is the narrative structure, the role of women figure and the struggle of women figure in the novel Nayla by Djenar Maesa Ayu. The result of this research refers to (1) The Narrative structure in the novel Nayla by Djenar Maesa Ayu was include figure, characterization, plot and background. (2) The role of women figure in the novel Nayla by Djenar Maesa Ayu was found in the social domain, domestic and public. (3) The struggle of women figure in the novel Nayla by Djenar Maesa Ayu was manifested by struggling in maintaining in the status as women, the struggle in maintaining the gender. The form of feminism was described in the novel Nayla as never surrender, not dependent to the parents, and behaves deviate. Novel Nayla to present the relationship of gender that leads to a superior. Novel Nayla as the main character show business to make a women who has the dignity of which is equivalent to the men. Based on the results of analysis and advice for women in order to improve the quality of the field of education, domestic, and the public so that gender equality can be achieved.

scholarly journals PSEUDO-DOCUMENTARY DISCOURSE IN F. BEIGBEDER’s NOVEL “AU SECOURS PARDON”

2021 ◽  
Vol 31 (2) ◽  
pp. 374-381
Author(s):  
S.N. Lyubarets
Keyword(s):  
Narrative Structure ◽  
The Novel ◽  
Complex Processes ◽  
Cultural Life ◽  
The Social

The narrative structure of the novel “Au secours pardon” by F.Biegbeder includes rich documentary materials and such pseudo-documentary fragments as letters, witness testimonies, extracts from interrogation reports, official reports and materials from heroin Lena Doycheva blog. This principle of text composition opens the possibility to understand the author’s intention and to extend our knowledge of the novel contents. The readers are actively drawn both into the processes of the social and cultural life of modern Russia and into the complex processes of humanity globalization.

scholarly journals Nova Sapho — Um novo olhar sob(re) a paisagem literária portuguesa

CEM ◽  
2020 ◽  
pp. 169-182
Author(s):  
Clara Maria Silva
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
The Novel ◽  
Literary Canon ◽  
The Social ◽  
Feminine Sexuality

It’s our main goal to bring Nova Sapho of Visconde de Vila-Moura to the surface of the Portuguese literary landscape. Situated in the twentieth century, three years before the orphic modernist movement, this novel does not integrate the Portuguese’s literary canon. In Aníbal Fernandes’ words this is «the only and main example of the decadent movement in portuguese prose» (my translation) which explores feminine sexuality as marginal to the social and cultural context. Understanding decadent features within this work is our main goal and it will provide an introductory stance to the novel, being Anna M. Klobucka’s and Óscar Lopes’ studies the only investigation found about it.

scholarly journals literature of transition period and the upbringing of the youth

2021 ◽  
Vol 5 (S4) ◽  
pp. 2470-2475
Author(s):  
Shahobov Kamoldin Biloldinovich
Keyword(s):  
Young People ◽  
Social Problems ◽  
Transition Period ◽  
Transitional Period ◽  
The Novel ◽  
Financial Difficulties ◽  
The Social ◽  
Artistic Interpretation ◽  
The Right ◽  
Work Abroad

The article analyzes the concept of transition in the Uzbek literature, the importance of the works created at different stages of the transition period on the education of the youth, and the artistic interpretation of social problems in the transition period. The transformation to the market economy has also influenced the lifestyle of people that it has been even seen in the relationships of people living in different ways, facing financial difficulties or profits to earn that a lot of people who have left to work abroad, is also the majority of the works described in modern Uzbek prose. Such novels are "Isyonvaitoat" by U.Hamdam, the novel of "Mashaqqatlargirdobi" by Zulfiya the daughter of Qurolboy. In conclusion, it can be said that the study and interpretation of the social problems raised in the literature of the transitional period are of great importance in the education of young people. The teacher, mentor's role is also unique in teaching such interpretations to students, to young people in the right direction, to teach them to feel love towards and to love the art.

El Acoso: Alejo Carpentier's War on Time

PMLA ◽  
1963 ◽  
Vol 78 (4-Part1) ◽  
pp. 440-448
Author(s):  
Frances Wyers Weber
Keyword(s):  
Narrative Structure ◽  
External Action ◽  
The Novel ◽  
Stream Of Consciousness ◽  
Inner Life ◽  
Psychological Study ◽  
Short Novel ◽  
Chronological Sequence ◽  
Rapid Pacing ◽  
The City

The Protagonist of Alejo Carpentier's short novel El acoso is an informer fleeing from men who would avenge the deaths he has caused. The pursuit and punishment of an informer, not a new plot, is usually developed with rapid pacing and suspense. But Carpentier modifies this traditional story of the chase by breaking it into a mosaic of fragmentary incidents and remembrances arranged without chronological sequence. Adopting certain techniques of the stream-of-consciousness writers, he reduces external action to a minimum and uses interior monologues and confused shreds of memory to show the inner life of his characters. Yet his work is not primarily a psychological study: the combination of two apparently disparate approaches to the novel (one a story line based on a closelyknit, causal-temporal progression and the other a narrative structure determined in part by the flux and shift of consciousness) creates a static and almost allegorical depiction of Betrayal in its various modes and incarnations. This duality of presentation is also evident in the subject matter: definite historical happenings, tied to actual sites in the city of Havana, are the factual ingredients in a drama that seems to be just one possible version of a constant theme. Uniting the particular and the abstract, intertwining the external chain of events (shattered and rearranged according to noncausal principles) with pictures of internal chaos, Carpentier presents both the vision of a traitorous, degenerate world in which man plays out certain prescribed roles and the artistic or literary organization of this drama of the fall. Underlying these elements and binding them together is one of Carpentier's repeated themes—the representation, domination, or denial of time.

Between the eye and the gaze: Maternal shame in the novel We Need to Talk about Kevin

2018 ◽  
Vol 29 (2) ◽  
pp. 214-230 ◽  
Author(s):  
Ortal Slobodin
Keyword(s):  
Cultural Context ◽  
Social Power ◽  
Feminist Criticism ◽  
Psychological Research ◽  
Power Relationships ◽  
The Novel ◽  
The Gaze ◽  
Moral Standards ◽  
The Social ◽  
Social Gaze

This paper seeks to understand the social power of maternal shame, using a framework that integrates feminist criticism of contemporary motherhood ideologies with philosophical theories that discuss shame in the broader context of visual perception. By using Lionel Shriver’s (2005) novel We Need to Talk about Kevin, the paper illustrates how shame operates in the interplay between the socio-cultural, gendered ideals of motherhood and mothers’ representations of these ideals. Specifically, the paper suggests that today’s mothers operate under a social gaze that expects them to meet the cultural and moral standards of “good” motherhood. This internalized societal judging gaze and the perception of failing to meet these standards are often the source of maternal shame. In line with philosophical accounts which focus on the primacy of vision in shame, I argue that empathy (“seeing with the eyes of the other”) is the most powerful antidote to shame. While shame is induced by a judging gaze, empathy develops through connected gazes, each acknowledging the other’s subjectivity. Locating shame within a socio-cultural context can provide invaluable insights for psychological research and practice that pay critical attention to positionality, reflexivity, and the power relationships inherent in contemporary motherhood.

What Is Novel in Hegel's Phenomenology of Spirit

2019 ◽  
pp. 1-24
Author(s):  
Antón Barba-Kay
Keyword(s):  
Narrative Structure ◽  
The Novel ◽  
Phenomenology Of Spirit ◽  
Fictional Narrative ◽  
The Social ◽  
Modern Self ◽  
The Relationship ◽  
Formal Features

AbstractWhile it has long been commonplace to advert to the Phenomenology of Spirit's peculiar prosaic form, there has been no sustained, thematic attempt to understand the relationship between that form—as a continuous, quasi-fictional narrative—and the work's philosophical content. I argue that some of what has been felt to be outlandish about the form may be better accounted for by reading it as connected to purposeful literary decisions, decisions in turn exhibiting philosophical claims about the new mode of modern self-understanding that the argument is concerned with advancing. Extending Allen Speight's suggestions that Hegel sees literature as closely connected to his theory of agency, I argue that the Phenomenology's narrative should be understood as itself specifically and deliberately novelesque. I focus on three points that help clarify the book's form as not simply in keeping with, but as expressing aspects of its content: (1) the narrative structure of consciousness (as a unified, unfolding activity through which Hegel explores the notion of actuality), (2) the theatricalizing counterpoint between the ‘in itself’ and ‘for itself’ (as a dramatic device that Hegel connects to the social underpinnings of consciousness), and (3) the role of confession and forgiveness in the argument (as a theme that Schlegel had singled out as essential to the novel, and that Hegel repurposes both to criticize and to overcome Romanticism). I do not say that the Phenomenology is itself a novel, but that construing some of its formal features and gestures as evoking the genre of the novel can help us to see more of what is philosophically at stake in them, and therefore in the work as a whole.

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