scholarly journals Connection and Disconnection in Tom’s Midnight Garden

2019 ◽  
Author(s):  
AWEJ-tls for Translation & Literary Studies ◽  
Mouhiba Jamoussi
Keyword(s):  
Real World ◽  
The Self ◽  
The Other ◽  
The Novel ◽  
The Real ◽  
The Past ◽  
The Fantastic ◽  
The Individual

This paper entitled ‘Connection and Disconnection in Tom’s Midnight Garden’ aims to challenge a particular reading of Philippa Pearce’s novel Tom’s Midnight Garden (1958) as nostalgic and concerned with aging and death. Tom’s Midnight Garden is regarded by some literary critics as a nostalgic work concerned with the past rather than the present. Its protagonist Tom is sometimes considered as disconnected from the real world and living in the fantastic. This paper will argue that, quite the contrary, Tom’s Midnight Garden stands against disconnection, between the child and the adult, the fantastic and the real, and the past and the present. Tom’s Midnight Garden celebrates connection through the interrelation between the self and the other, through a fantastic world constantly interwoven with the real, and a past tightly tied to the present. This paper relies on a thorough reading of the novel, on findings on the child-adult relationship, and on the effects of connection and disconnection on the individual.

Ghost Meat

2021 ◽  
Vol 59 (2) ◽  
pp. 66-80
Author(s):  
Catherine Belling
Keyword(s):  
Real World ◽  
Historical Trauma ◽  
The Novel ◽  
Linear Topology ◽  
The Real ◽  
Ethical Implications ◽  
The Past ◽  
Fictional Representations ◽  
The Devil

Abstract The ambivalent attraction of feeling horror might explain some paradoxes regarding the consumption of representations of atrocities committed in the real world, in the past, on actual other people. How do horror fictions work in the transmission or exploitation of historical trauma? How might they function as prosthetic memories, at once disturbing and informative to readers who might otherwise not be exposed to those histories at all? What are the ethical implications of horror elicited by fictional representations of historical suffering? This article engages these questions through the reading of Mo Hayder’s 2004 novel The Devil of Nanking. Hayder exploits horror’s appeal and also—by foregrounding the acts of representation, reading, and spectatorship that generate this response—opens that process to critique. The novel may productively be understood as a work of posttraumatic fiction, both containing and exposing the concentric layers of our representational engagement with records of past atrocity. Through such a reading, a spherical rather than linear topology emerges for history itself, a structure of haunted and embodied consumption.

scholarly journals Interplay of Fantasy and Realism in Salman Rushdie’s Midnight’s Children

2020 ◽  
Vol 11 (2) ◽  
pp. 324
Author(s):  
Mohsin Hassan Khan ◽  
Qudsia Zaini ◽  
Md Jakir Hossain
Keyword(s):  
The Novel ◽  
Fine Line ◽  
The Real ◽  
The Past ◽  
Midnight's Children ◽  
Familiar World ◽  
The Fantastic ◽  
Human Desire

Fantasy and realism are the traits to be found in every culture and individual. Fantasy was often dismissed for being a thing associated with children. This was a practice found to be rampant in the past or it was rather a matter of the past so to say. After centuries of oblivion, people have started giving importance to fantasy when there is a lot of chaos in the society. Fantasy as a genre that helps us to band together, explain, change and form an opinion on reality. Fantasy can surely tempt the human desire, for more than the familiar world of the readers, into ease, anyway from reality and communicate with immense imagination that the readers can connect to. With this in mind, the paper tries to analyze Rushdie’s Midnight’s Children the bizarre and the fantastic blurs the boundaries between the real and plausible in the novel, thereby problematizing the identities of gender, parenthood, and nationality, and renders the readers into a state of uncertainty by incorporating oblique references or links. It also aims to critically analyze and discuss how the lines between fantasy and reality are blurred in literature. The importance of this study is to connect the fine line of fantasy with reality in literature and to present perceptions to the readers on how literature is understood differently by different people.

The development of capability: the content of potential and the potential of content

2004 ◽  
Vol 46 (1) ◽  
pp. 7-10 ◽  
Author(s):  
Reva Brown ◽  
Sean McCartney
Keyword(s):  
Real World ◽  
The Other ◽  
The Real ◽  
Other Hand ◽  
The One ◽  
Definition Of ◽  
The Individual ◽  
As If

All too often discussion of Capability proceeds as if it is clear what ‘Capability’ is: and that all that is required is the ascertaining of means for developing it. This paper seeks to explore the meanings of Capability. It provides two broad meanings, and discusses the paradoxes inherent in the application of these to the real world of management and business. On the one hand, Capability is defined as Potential, what the individual could achieve. Potential is an endowment, which is realised by the acquisition of skills and knowledge, i.e. the acquisition of Content. On the other hand, Capability is defined as Content: what the individual can (or has learned to) do. This Content has been acquired by, or input into, the individual, who then has the Potential to develop further. So there are different routes to Capability, depending on the definition of Capability one chooses. All of this impinges on the development of Capability. This leads us on to a consideration of whether the ‘Development of Capability’ is a meaningful concept.

scholarly journals Fantastic beginning in the novel by L. I. Borodin “It Never Happened”

2021 ◽  
pp. 73-80
Author(s):  
Ol'ga Stanislavovna Sukhikh
Keyword(s):  
Internal Conflict ◽  
Literary Study ◽  
The Novel ◽  
The Real ◽  
The Past ◽  
Holistic Analysis ◽  
The Fantastic ◽  
The Way

The novel “It Never Happened” by L. I. Borodin is analyzed from the perspective of peculiarities of the embodiment of fantastic beginning therein. The author employs the holistic analysis of the text. The goal of this research consists in studying the synthesis of the fantastic and the real alongside determining the nature of the extraordinary in the novel; analysis of its key function and methods of its introduction into the artistic world. It is established that the synthesis of the fantastic and the real is associated with fact that Borodin does not intend  to create an image of some extraordinary world, but seeks to actualize his emotions and find the way to resolve the internal conflict via fantastic means –  journey of the narrator into the past. The relevance and novelty are defined by the fact that the work of L. I. Borodin has not previously become the object of comprehensive literary study, although it is interesting from the perspective of problematic and poetics, reflection of the theme of guilt, which is meaningful in the works of L. Borodin. It is proven the crucial function of the fantastic in the novel “It Never Happened” is associated with psychologism. The extraordinary in the plotline is a “derivative” from the emotional drama of the narrator, the strongest desire to redeem himself, and repair what was done in childhood.

Tacitus' Conception of the Function of History

1936 ◽  
Vol 6 (16) ◽  
pp. 9-17
Author(s):  
R. L. Roberts
Keyword(s):  
Human Body ◽  
Moral Character ◽  
Ancient World ◽  
The Other ◽  
Raw Material ◽  
Classical Literature ◽  
The Real ◽  
The Past ◽  
The Individual

There were various conceptions of the function of history current in the ancient world. There was always one school of so-called historians who wrote with the motive of giving pleasure uppermost in their minds. The absence of a novel from classical literature left romance to invade history and oratory, and writers of this school might often be more properly called historical novelists than historians. They were especially susceptible to the influence of declamation and the rhetorical worship of style. For this school, in brief, history was nothing but the raw material for the literary artist. A second school, of which Polybius is the most prominent representative, held that history should be the training-ground of politicians, statesmen, and soldiers, who may learn from the past how to discover the real significance of events. Polybius naturally attached more importance to truth (which, he says, is to history what the eye is to the human body) than did those who wrote only for entertainment. Thirdly, there was the view that it is the function of history to teach men of all stations the lessons of the past, and by so teaching form and strengthen the individual moral character. This last is the view of Tacitus, though his conception of the function of history is broad enough to embrace the other two in a properly subordinate measure.

Magic As Art in Lord Dunsany's The King of Elfland's Daughter

2018 ◽  
Vol 48 (2) ◽  
pp. 265-280
Author(s):  
Augusta Hardy
Keyword(s):  
Real World ◽  
The Novel ◽  
Material World ◽  
The Real ◽  
The Past ◽  
Non Fiction ◽  
The Creation ◽  
Poetic Representation ◽  
Fairy Story

In The King of Elfland's Daughter, Lord Dunsany crafts a fairy-story in which magic serves as an allegory for art. Elfland is a place of art, its timeless beauty created and sustained through magic; and its influence extends to the real world in the form of artistic inspiration. Indeed, elfin magic functions as art does: it preserves the past, renews one's vision, and imbues the material world with meaning. Dunsany's portrayal of art as magic in the novel is a poetic representation of his understanding of art as discussed in his non-fiction works. The novel concludes with a moment that symbolizes the creation of art: Earthly fields enchanted by elfin magic represent the familiar beauties of nature ‘enchanted’ into flights of fancy by the poet's words.

The Reconstrual of Imagination and Romance

2018 ◽  
Author(s):  
Peter Knox-Shaw
Keyword(s):  
Eighteenth Century ◽  
Real World ◽  
Jane Austen ◽  
The Self ◽  
The Novel ◽  
The Real ◽  
Long Eighteenth Century

Emma has often convincingly been assigned to the “quixotic” novel, a genre much favored by the long eighteenth century and admired on occasion by Jane Austen herself. But whereas novels of this type invariably end with a joint renunciation of imagination and romance in deference to a greater realism, Emma shows imagination to be integral to an apprehension of the real world, and to require, for its fidelity, a principle long enshrined by romance. Austen’s understanding of imagination as both necessary and all-pervasive—held in common with a number of contemporary philosophers who built on David Hume’s analysis of the “productive” and “magical” faculty that underlay all perception—in no way lessened her sense of its ambivalence, and Emma shows how its work of construction is constantly undermined by received stereotypes as well as by insidious subterfuges of the self. The novel celebrates an empirical habit of mind, fortified by the virtue of benevolence.

scholarly journals An Abstract Expressionist: A Study of Kurt Vonnegut’s Bluebeard

2019 ◽  
Vol 7 (3) ◽  
pp. 8-15
Author(s):  
Thirupathi Reddy Maram
Keyword(s):  
The Other ◽  
Past Century ◽  
The Novel ◽  
The Real ◽  
The Past ◽  
Abstract Expressionist ◽  
Other Hand ◽  
Works Of Art ◽  
Life Itself ◽  
Human Desire

The novel, Bluebeard (1987) presents a dialogue between abstract and representational painting, pointing out both the value and shortcomings of each school. It may end by imagining a type of art in which the usual boundaries separating the real and the artificial fall away; an art that is able to capture the complexity, sorrow, and beauty of life itself. On the other hand, it focuses on human’s cruelty to human. However, the novel also shows that even in the midst of war and death and sorrow the innate human impulse is a creative one. The novel discovers the human desire to create as it investigates the nature of new art itself. Vonnegut was mostly inspired by the grotesque prices paid for works of art during the past century. He thought not only of the mud-pies of art, but of children’s games as well.

Margaret Mahy: An Adlerian Reading

2008 ◽  
Vol 1 (2) ◽  
pp. 187-199
Author(s):  
KATHRYN WALLS
Keyword(s):  
Young Female ◽  
The Other ◽  
Individual Psychology ◽  
The Novel ◽  
Alfred Adler ◽  
Female Protagonists ◽  
Magical Power ◽  
Margaret Mahy ◽  
The Individual

According to the ‘Individual Psychology’ of Alfred Adler (1870–1937), Freud's contemporary and rival, everyone seeks superiority. But only those who can adapt their aspirations to meet the needs of others find fulfilment. Children who are rejected or pampered are so desperate for superiority that they fail to develop social feeling, and endanger themselves and society. This article argues that Mahy's realistic novels invite Adlerian interpretation. It examines the character of Hero, the elective mute who is the narrator-protagonist of The Other Side of Silence (1995) , in terms of her experience of rejection. The novel as a whole, it is suggested, stresses the destructiveness of the neurotically driven quest for superiority. Turning to Mahy's supernatural romances, the article considers novels that might seem to resist the Adlerian template. Focusing, in particular, on the young female protagonists of The Haunting (1982) and The Changeover (1984), it points to the ways in which their magical power is utilised for the sake of others. It concludes with the suggestion that the triumph of Mahy's protagonists lies not so much in their generally celebrated ‘empowerment’, as in their transcendence of the goal of superiority for its own sake.

Identifying Ethics: Dysfunction as Representation of Societal Relationship in Ian McEwans’s Sweet Tooth

Think India ◽  
2019 ◽  
Vol 22 (2) ◽  
pp. 1-6
Author(s):  
A. Yacob ◽  
S. Veeramani
Keyword(s):  
Code Of Conduct ◽  
The Self ◽  
The Other ◽  
Ethical Code ◽  
The Novel ◽  
Field Of Study ◽  
Research Article ◽  
Ian Mcewan

In the novel, Sweet Tooth, McEwan has employed an ethical code of conduct called, Dysfunction of Relationship. The analysis shows that he tries to convey something extraordinary to the readers. If it is not even the reader to understand such a typical thing, He himself represents a new ethical code of conduct. The character of the novel, Serena is almost a person who is tuned to such a distinct one. It is clear that the character of this type is purely representational. Understanding reality based on situation and ethics has been a new field of study in terms of Post- Theory. Intervening to such aspect of Interpretation, this research article establishes a new study in the writings of Ian McEwan. In the novel, Dysfunction is not on the ‘Self’ but it is on the ‘Other’. The author tries to integrate the function of the Character Serena, instead of fragmenting the self. Hence, Fragmentation makes sense only in the dysfunction of relationship.

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