scholarly journals Wahyu Alkitabiah dalam Tinjauan Hermeneutika Ricoeur

2020 ◽  
Vol 19 (2) ◽  
pp. 169
Author(s):  
Leo Kleden
Keyword(s):  
Cultural Context ◽  
Literary Genre ◽  
Divine Revelation ◽  
Scientific Language ◽  
Poetic Language ◽  
Literary Genres ◽  
Hermeneutic Philosophy ◽  
Original Audience

<p><em>This article attempts to explain the idea of revelation in the Scripture according to Paul Ricoeur's hermeneutic philosophy. This paper consists of two parts. The first part describes the theory of text in Ricoeur's hermeneutics. Ricoeur's most important contributions to this section are his description of threefold semantic autonomy: semantic autonomy with respect to the author's subjective intention outside the text, semantic autonomy with respect to the original cultural context in which the text was written, and semantic autonomy with respect to the original audience or addressee. An important consequence of semantic autonomy is that interpretation of a text is never reproductive but productive. The second part explains that the language of Scripture is much more like poetic language than scientific language. Poetic language is the language of disclosure, which expresses a deeper dimension of reality. The next five literary genres in the Scriptures are discussed, through which divine revelation is expressed: namely, narrative, prophetic, prescriptive, wisdom and hymnic genre. With that Ricoeur shows the richness of biblical revelation in its various dimensions, which together form “a polysemic and polyphonic concept of revelation”.</em></p><strong>Keywords</strong>:<em> text, discourse, literary genre, semantic autonomy, revelation, narrative, hymn</em>

Late Antique Letter Collections

2016 ◽  
Keyword(s):  
Late Antiquity ◽  
Literary Genre ◽  
Late Antique ◽  
Comprehensive Overview ◽  
Literary Genres ◽  
The Social ◽  
Letter Writer ◽  
The Individual ◽  
Letter Collection ◽  
Latin Letter

This volume provides the first comprehensive overview of the extant Greek and Latin letter collections of late antiquity (ca. 300-600 C.E.). Bringing together an international team of historians, classicists, and scholars of religion, it illustrates how letter collections advertised an image of the letter writer and introduces the social and textual histories of each collection. Nearly every chapter focuses on the letter collection of a different late ancient author—from the famous (or even infamous) to the obscure—and investigates its particular issues of content, arrangement, and publication context. On the whole, the volume reveals how late antique letter collections operated as a discrete literary genre with its own conventions, transmission processes, and self-presentational agendas while offering new approaches to interpret both larger letter collections and the individual letters contained within them. Each chapter contributes to a broad argument that scholars should read letter collections as they do representatives of other late antique literary genres, as single texts made up of individual components, with larger thematic and literary characteristics that are as important as those of their component parts.

Dieva īpašību atainojums latviešu tautasdziesmās teopoētikas kontekstā

2020 ◽  
pp. 390-404
Author(s):  
Eva Mārtuža
Keyword(s):  
Personal Experience ◽  
Folk Songs ◽  
Literary Genre ◽  
Divine Revelation ◽  
Specific Expression ◽  
Late 20Th Century ◽  
Intellectual Activity ◽  
Religious Texts ◽  
Cultural Phenomenon ◽  
Perceptions Of God

An innovative view to theological texts as a literary genre has been established in research of the modern religions and designated as theopoetics, because, irrespective of whether a theological text is written in the poetic genre, in the form of a story or the style of a more dense, theoretical prose, it is based on the poesis: innovative, intuitive and an imaginary composition of the authors where the central figure is God. Therefore, approximately ten thousand recorded and published folk songs, as well as other Latvian folklore texts about God, are equal to theopoetics as a genre of creative writing with its specific expression tools. Folk songs are a product of purposeful human spiritual/intellectual activity and imagination, a typical cultural phenomenon of the relevant society, which helps to study the public’s views about the perception of God. To approach adequately to analysis and interpretation of such texts, in the late 20th century, a new method of research on religious texts – theopoetics – was established. Theopoetics is a method of analysing religious texts that encourages us to look at the ancient metaphors of God from another angle. It explores the language possibilities of figuratively creating God’s patterns, unlike the previous “scientific” God’s theories as the systematic attempt of theology to find God through the living (“incarnated”) God. Theopoetics theorists accept reality as a source of divine revelation as well as personal experience and metaphor-influenced divine understanding in various religions. This method allows to establish the essence and possible interpretations of the basic metaphors used in every individual religion: 1) critically weigh up the previous explanations of God; 2) study the interaction of applied metaphors, models and concepts within religion; 3) offers the potential of transformative, revolutionary models, using the language and metaphor layer that is widely understandable and used by people in everyday life. Research of metaphors does not impose objective or general criteria for assessing understanding of God; therefore, the aim of theopoetical discourse is not to prevent competing interpretations but to multiply the number of perceptions of God, to extend the emotional feeling, and to reveal new opinions. Folk songs figuratively represent God in metaphors and comparisons, but the theopoetics method has not been applied in the previous studies of God either because it is a relatively new methodological system, or because God’s perception in the folk songs has not been the focus of researchers of contemporary religions.

Wang Guowei and the Establishment of Chinese Drama in the Modern Canon of Classical Literature

T oung Pao ◽  
2010 ◽  
Vol 96 (1) ◽  
pp. 165-201
Author(s):  
Regina Llamas
Keyword(s):  
Yuan Dynasty ◽  
Literary Genre ◽  
Classical Literature ◽  
Literary Value ◽  
Literary Genres ◽  
Critical History ◽  
History Of ◽  
The Right ◽  
The Yuan Dynasty ◽  
Universal Standard

AbstractThis essay examines the process by which Wang Guowei placed Chinese dramatic history into the modern Chinese literary canon. It explores how Wang formed his ideas on literature, drawing on Western aesthetics to explain, through the notions of leisure and play, the impetus for art creation, and on the Chinese notions of the genesis of literature to explain the psychology of literary creation. In order to establish the literary value of Chinese drama, Wang applied these ideas to the first playwrights of the Yuan dynasty, arguing that theirs was a literature created under the right aesthetic and creative circumstances, and that it embodied the value of "naturalness" which he considered a universal standard for good literature. By producing a scholarly critical history of the origins and nature of Chinese drama, Wang placed drama on a par with other literary genres of past dynasties, thus giving it a renewed status and creating at the same time a new discipline of research. Drama had now become an established literary genre.

scholarly journals A Comparative Study of Sadegh Hedayat’s The Blind Owl in the Light of the German Theory of Novella

2018 ◽  
Vol 9 (4) ◽  
pp. 98
Author(s):  
Ebrahim Estarami
Keyword(s):  
Comparative Study ◽  
Short Story ◽  
German Literature ◽  
Literary Genre ◽  
Literary Genres ◽  
Dramatic Structure ◽  
Human Trait ◽  
New Look

Using the novella as the European literary genre has divided the Iranian literary scholars due mostly to its unknown features. Lack of research in this area has caused many writers either to abandon this literary term or to opt for alternatives such as “novelette”,” long story”, “long short story” or “short story”. This article aims to introduce the theory and characteristics of the novella as a unique literary genre, based on German literature. Despite the Italian root of the novella, it reflects its Germanic roots as it was flourished in the 18th and 19th centuries Germany. In addition, the paper explores the concept of “long story” in Iranian literature as the synonym of the term novella. The Blind Owl clearly exhibits these characteristics of the genre, especially the dramatic structure and representing a new aspect of human trait. The analysis of The Blind Owl leads to a deeper understanding of one of the most important and well-formed European literary genres and a new look at Sadegh Hedayat’s ideology as a professional author in addition to familiarizing scholars with this genre.

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.

Conspiracy Literature in Early Renaissance Italy

2020 ◽  
Author(s):  
Marta Celati
Keyword(s):  
Fifteenth Century ◽  
Cultural Context ◽  
Italian Renaissance ◽  
Literary Genres ◽  
Political Literature ◽  
Narrative Approaches ◽  
Literature History ◽  
Renaissance Italy ◽  
Definition Of ◽  
Literary Output

The present work represents the first full-length investigation of Italian Renaissance literature on the topic of conspiracy. This literary output consists of texts belonging to different genres that enjoyed widespread diffusion in the second half of the fifteenth century, when the development of these literary writings proves to be closely connected with the affirmation of a centralized political thought and princely ideology in Italian states. The centrality of the issue of conspiracies in the political and cultural context of the Italian Renaissance emerges clearly also in the sixteenth century in Machiavelli’s work, where the topic is closely interlaced with the problems of building political consensus and the management of power. This monograph focuses on the most significant Quattrocento texts examined as case studies (representative of different states, literary genres, and of both prominent authors—Alberti, Poliziano, Pontano—and minor but important literati) and on Machiavelli’s works where this political theme is particularly pivotal, marking a continuity, but also a turning point, with respect to the preceding authors. Through an interdisciplinary analysis across literature, history, philology and political philosophy, this study traces the evolution of literature on plots in early Renaissance Italy, pointing out the key function of the classical tradition in it, and the recurring narrative approaches, historiographical techniques, and ideological angles that characterize the literary transfiguration of the topic. This investigation also offers a reconsideration and re-definition of the complex facets of fifteenth-century political literature, which played a crucial role in the development of a new theory of statecraft.

Poetic Language and Scientific Language

Diogenes ◽  
1977 ◽  
Vol 25 (100) ◽  
pp. 128-145
Author(s):  
Jean Starobinski
Keyword(s):  
Scientific Language ◽  
Poetic Language

scholarly journals Representativeness in Corpora of Literary Texts: Introducing the C18P Project

2016 ◽  
Vol 4 (2) ◽  
pp. 29-48
Author(s):  
Iris Gemeinböck
Keyword(s):  
Early Development ◽  
Literary Texts ◽  
Literary Genre ◽  
The Novel ◽  
Prose Fiction ◽  
Linguistic Features ◽  
Literary Genres ◽  
Victorian Era ◽  
Linguistic Research

Currently there are very few specialised corpora of literary texts that are tailored to the needs of literary critics who are interested in corpus stylistic analyses of prose fiction. Many existing corpora including literary texts were compiled for linguistic research interests and are often unsuitable for corpus stylistic purposes. The paper addresses three of the main problems: the absence of labelling of the texts for literary genre, the use of extracts, and the prevalence of linguistic periodisation schemes. C18P is a corpus of prose fiction designed specifically to address these issues. It traces the early development of the novel from 1700 up until the Victorian era. It can, for instance, be used for an analysis of the characteristic linguistic features of individual literary genres and forms. The following paper introduces the design of the corpus as well as some of its potential uses.

scholarly journals 'Salimu': from Memory to Literary Narrative in Twentieth-Century manding Culture

Afrika Focus ◽  
2019 ◽  
Vol 32 (1) ◽  
Author(s):  
Tai Tamari
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Literary Genre ◽  
Late Nineteenth Century ◽  
Poetic Language ◽  
Language Alternation ◽  
Late Nineteenth ◽  
Instrumental Accompaniment ◽  
The Village ◽  
Literary Narrative

This essay explores the creation of new literary narratives, many inspired by true incidents, from the late nineteenth century to the present, among Manding- (specifically Maninka-) speakers in Mali and Guinea. It simultaneously queries the relationships between Manding and Western literary categories, showing that the traits typically associated with African ‘epics’ – including poetic language, alternation of sung and recited passages to continuous instrumental accompaniment, and multi-generic qualities – characterise some (but not all) examples of several distinct Manding literary categories (fasa, tariku and maana); furthermore, these traits appear in narratives of various lengths, centred on sentimental as well as heroic themes. It then focuses on the stories and songs inspired by the apparently contradictory personality of Salimou Haidara (ca. 1930-1991), an eccentric who claimed sharifian descent. A performance by Amadou Kouyaté and Jekoriya Doumbia, a bard couple based in the village of Dabadou near Kankan (Guinea), is transcribed, translated, and analysed1. KEYWORDS: EPIC, LITERARY GENRE, GRIOTS, MANINKA, KANKAN (GUINEA), CHEIKH MOUHAMMAD CHÉRIF

scholarly journals The Epistemological Model of Vedantic Doxography According to the Sarvadarśanasaṃgraha for the Study of Indian Philosophy

2020 ◽  
Author(s):  
Alberto Pelissero
Keyword(s):  
Theoretical Model ◽  
Cultural Context ◽  
Indian Philosophy ◽  
Literary Genre ◽  
Epistemological Model

Since there is no proper Sankrit word corresponding to the English ‘doxography’, the literary genre of the compendium (saṃgraha) is examined, in the context of the school of the kevalādvaitavāda. The work chosen for the analysis is the Sarvadarśanasaṃgraha (Compendium of all the darśanas) by Mādhavācārya. Some critical remarks on the structure of this work allow to conclude that a possible alternative hermeneutical model used to explain the particular attitude of Indian doxography, such as ‘Inclusivism’, is not entirely satisfactory. The doxographic and hermeneutical structure of the Sarvadarśanasaṃgraha seems an entirely coherent theoretical model, within the limits of its own cultural context.

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