scholarly journals A Snare in the Narrative Structure: An Exploration of Hermeneutic Code in "The Kite Runner"

2020 ◽  
Vol V (II) ◽  
pp. 23-31
Author(s):  
Syed Maqsood Alam ◽  
Amir Jamil ◽  
Abdul Khaliq
Keyword(s):  
Narrative Structure ◽  
The Novel ◽  
Code Theory ◽  
Semantic Code ◽  
Symbolic Code ◽  
Cultural Code ◽  
The One

The present paper studies the novel The Kite Runner by Khalid Hosseini through the lens of Barthe's narrative code theory. The paper primarily focuses on the Hermeneutic code works underlyingly to the narrative. The researchers in the present chapter analyze the mysterious and puzzling elements in the novel, which help in the formation of the text: the current study, the novel The Kite Runner through the Hermeneutic code of Barthes. Barthes gives the five codes theory in his book S/Z. The codes are Hermeneutic code, Proairetic code, Symbolic code, Cultural code and Semantic code. The Hermeneutic code is also termed as jamming, snare and delay or enigma code. The present study is important in the field of narratology because it minutely focusses on the one thread of the narrative to understand the role played by Hermeneutic code in the formation of the narrative structure.

Threads of Transmission in Muḥammad Barrāda’s Luʿbat al-nisyān

2019 ◽  
pp. 141-158
Author(s):  
Hoda El Shakry
Keyword(s):  
Mikhail Bakhtin ◽  
Narrative Structure ◽  
Historical Narrative ◽  
The Other ◽  
The Novel ◽  
Literary Critic ◽  
Theological Discourse ◽  
Narrative Time ◽  
The One ◽  
Critical Writings

Literary critic and novelist Muḥammad Barrāda’s (b.1938) experimental 1987 Luʿbat al-Nisyān [the Game of Forgetting] is considered the Arabic postmodernist novel par excellence. The “nuṣ riwāʾī” [novelistic text] oscillates between historical, narrative, and meta-narrative time, as well as between diegetic and meta-textual narrators. Rather than aligning its authorial decentering and rhizomatic narrative structure with the collapsing of theological discourse as a totalizing force, this chapter reads Luʿbat al-Nisyān through Qurʾanic narratology and intertextuality. It situates the novel, on the one hand, in relation to Barrāda’s extensive critical writings on literary experimentation [tajrīb] and translation of Mikhail Bakhtin. On the other, it theorizes the work through narrative and formal modes and inflected by the Qurʾan—such as iltifāt, or rhetorical code-switching. Moreover, Luʿbat al-Nisyān’s use of multiple narrative perspectives and genealogies critically interrogates the hermeneutical practices surrounding the documentation, verification, and transmission of the apostolic tradition of hadith.

The end of the affair: Catholic plots and sinful detectives

2020 ◽  
Vol 6 (1) ◽  
pp. 31-45
Author(s):  
Simão Valente
Keyword(s):  
Detective Fiction ◽  
Narrative Structure ◽  
The Novel ◽  
Divine Intervention ◽  
Human Choice ◽  
Double System ◽  
Private Detective ◽  
Clear Link ◽  
Narrative Time ◽  
The One

AbstractThe first paragraph of Greene’s The End of the Affair establishes a clear link between two of the major themes of the novel: storytelling and Catholicism. Maurice Bendrix, the first-person narrator, considers whether it is his craft as a professional writer that leads him to begin telling his story the way he does, or, were he a believer, whether the hand of God played a role in organizing the events that he retells. The order in which a story is told is pitted against the chronological order of the events depicted, this contrast in turn masking the one between human choice and divine intervention. The gist of the story is the affair Bendrix conducted with Sarah Miles, and its unexpected and unexplained end at her behest a year before the opening scene, at the height of the Blitz. That mystery is the crux of the plot, for Bendrix’s obsession with uncovering it leads him to hire a private detective, Parkis, whose exploits allow Greene to appropriate the narrative structure of detective fiction to frame his work, especially in what concerns what Franco Moretti called a “double system of meanings”, following Todorov’s work on detective fiction: the superficial level of investigation hides the deeper level of the crime which is only revealed at the end. My suggestion is that Greene’s novel operates under this system, superimposing it to his concerns with jealousy, religion, and how to tell it. The concern with God, however posits issues of authorship and narrative that go beyond the classical detective story. The interplay between narrative time and experienced time expressed in the novel’s initial paragraph is in this way rendered more complicated by a detective story’s reliance on its conclusion for it to “work”. Although the The End of the Affair opens by emphasizing its own opening, both title and structure point to the source of meaning: the end.

scholarly journals THE CHARACTERIZATION OF MARGIO IN NOVEL ENTITLED LELAKI HARIMAU BY EKA KURNIAWAN

JURNAL BASIS ◽  
2020 ◽  
Vol 7 (1) ◽  
pp. 159
Author(s):  
Ellif Shiffiyn Khairaa
Keyword(s):  
Qualitative Method ◽  
Narrative Structure ◽  
The Novel ◽  
Human Relations ◽  
Moral Value ◽  
Good Communication ◽  
The Family ◽  
The One ◽  
Gerard Genette

This researched aims to analyze the characterization of Margio as the main character of the novel entitled Lelaki Harimau by Eka Kurniawan. This study used narrative structure by Gerard Genette which focused on frequency concept to analyze the characterization. The descriptive qualitative method used to reveal and make a deep analysis of the characterization of Margio. The data is taken by reread the novel and written the quotations of the dialogue which focused on the characterization of Margio. The result of this study is Margio has strong characterization and he is the one who connected to the other characters in the novel. He is known as a lovable, obedient to their parents, and a strong man. The moral value of this novel is the key to a perfect family is the good communication of each member of the family. This study is important in how we learned the complexity of human relations, especially in the family.

Joyce’s Literary Tradition in Mikhail Shishkin’s Prose and Its Evocation in the Story “The Blind Musician”

2021 ◽  
pp. 40-59
Author(s):  
Ludmila V. Comuzzi ◽  
Keyword(s):  
Life Stories ◽  
Literary Tradition ◽  
Narrative Structure ◽  
The Other ◽  
The Novel ◽  
Classical Literature ◽  
20Th Century Literature ◽  
Large Excess ◽  
The One ◽  
Century Literature

In this article, Mikhail Shishkin is presented as a literary successor to James Joyce’s modernist tradition of writing. The nature of the ties connecting his creative method with that of Joyce is considered in two aspects which also qualify the narrative structure of his texts, namely the autobiographical and intertextual ones. While the autobiographical features of Joyce’s works can be estimated by his numerous biographies and archives, the facts from Shishkin’s life, the writer being our contemporary, can mostly be judged on by their creative interpretations in his own literary works. However, in its degree of truthiness, Shishkin’s autobiographical prose is in large excess over that of Joyce’s who would rather tend to aesthetic transformations of his life in the art forms. The two writers’ life stories themselves demonstrate a noticeable parallelism: both are linguistically sensitive; both did similar jobs along with their primary, literary occupation (a teacher, a journalist, a lecturer, a translator); for both, mother’s death of cancer and the child’s illness are reflected in recurrent literary motifs; both left for Switzerland to write about homeland from the meta-distance of the artist. Shishkin follows Joyce’s strategy of interlacing the intimate, painful episodes of his personal life into the literary texture of his writings. The very episodes of the lives of the two writers belonging to different national and historical cultures are quite identical, too. It is only that Shishkin goes further than Joyce in directness and candour, thus putting Joyce’s principle of mimesis on edge. This ultimate autobiographicity makes Shishkin, on the one hand, a successor to the tradition of Russian classical literature (remember his “love for Akaki Akakievitch”), as well as the tradition of truth in the 20th-century literature. On the other hand, it attaches him to the postmodern trend of transforming text into reality. Anyway, unlike postmodernists who are destroying literary discourse together with the characters articulating it, Shishkin “plays” with it in order to bring the novel back to life. Aesthetically, Shishkin reproduces and expounds Joyce’s theory of the “rhythm of beauty”, his technique of radical intertextuality and anastomosis connections of “all in all”. The story “The Blind Musician” has every trait of modernist poetics outlined above. The plays with light and darkness set by the cyclic rhythm of the day/night alternation and by regular shifts from mimetic to mythopoetic (intertextual) discourse are the structural narrative devices similar to those used by Joyce. Joyce’s characters, like Minotaurs, are wandering blindly through the labyrinth of Dublin until they arrive at the visionary moment of epiphany, when the beauty of a trivial truth lights up in their minds. Shishkin’s ideology is also modernist in character, since his “new linguoworld” is created as a mode of reconciling man with this world’s imperfections and as a mode of clarifying its sense.

scholarly journals OVERCOMING THE BOUNDARIES OF EVERYDAYNESS IN NIALL GRIFFITHS`S NOVEL «STUMP»

2021 ◽  
pp. 121-127
Author(s):  
Ganna Stovba
Keyword(s):  
Everyday Life ◽  
Open Space ◽  
Human Life ◽  
Narrative Structure ◽  
Natural World ◽  
Point Of View ◽  
The Body ◽  
The Novel ◽  
The World ◽  
The One

The paper presents the research of poetics of the fourth novel «Stump» (2004) written by contemporary Welsh Anglophone author Niall Griffiths. The early works of Niall Griffiths have long been associated with the off-center tendency in contemporary British fiction, with novels written by Scottish authors such as Irvine Welsh, James Kelman, John King. This study attempts to demonstrate that Welsh writer doesn’t merely articulate the problems of the fringe groups of the society as well as shocking and taboo topics. Also to overcome the common postcolonial approach to Griffiths`s works which focuses on the concepts of «colonial othering», «forms of disability» etc. in the novels, the author of the article proposes the existential philosophy as methodological basis for this research. The study concentrates over the central problem of the human Being-in-the-world, the human life in the world of everydayness in Griffiths`s novel «Stump». Understanding «the everyday life», «everydayness» as common, routine life, full of daily automatic human actions (according to B. Waldenfels) the author aims to consider the boundaries of everyday life and the experience of overcoming the borders of everydayness in the novel discussed.The analysis demonstrates that narrative structure of the novel combines several modes and forms of narration. Interior monologue with steam of consciousness fragments is the form of representing the first plot line focusing on the one day of nameless recovering alcoholic who has lost his left arm to gangrene. «Style indirect libre» in first person plural form is used to finish each of the chapter devoted to one-armed hero and expresses his contradictory point of view on the «12 steps addiction recovery» program. The non-diegetic impersonal narrator (according to V. Shmid classification) introduces the second plot line devoted to the two gangsters who have set out from Liverpool on a mission to find and punish the one-armed man for a past misdeed. Their continual dialog sometimes is interrupted by the omnipresent narrator voice who conveys in form of indirect speech one of the gangster`s thoughts and his perceptive and ideological «point of view». A Griffiths`s fictional space can be divided on close/open, secular/sacral, everyday/non-everyday types. In the novel Wales natural world is opposed to any closed and narrow spaces. One-armed protagonist fills himself free and happy in the open space, where he communicates with birds, animals and meets a pantheistic God. Oppositely, two gangsters are afraid of open space in the middle of dangerous nature of Wales, when they leave native Liverpool. Having the works of K. Jaspers and M. Merleau-Ponty as the basis for our research, we conclude that the body for one-armed hero is an existential and temporal border, which transforms each moment of his life into an endless «boundary situation» (germ. Grenzsituation, according to K. Jaspers). A journey to unknown Wales gives a start to personal transformations for one of the gangsters – Alastair. Crossing the geographical border becomes a time of «boundarysituation» in Alastair`s existence. Consequently, the motives of the real Being, existential self-identity, meeting with the transcendent are concerned with the experience of overcoming the everydayness, crossing its boundaries.

Elementy poetyki ludowej w powieści Rzeczy uprzyjemniające. Utopia T. Bołdak-Janowskiej

2020 ◽  
pp. 182-197
Author(s):  
Agnieszka Goral
Keyword(s):  
Fairy Tales ◽  
Text Analysis ◽  
Literary Text ◽  
Source Material ◽  
Human Existence ◽  
The Other ◽  
The Novel ◽  
Literary Works ◽  
The One ◽  
Cultural Features

The aim of the article is to analyse the elements of folk poetics in the novel Pleasant things. Utopia by T. Bołdak-Janowska. The category of folklore is understood in a rather narrow way, and at the same time it is most often used in critical and literary works as meaning a set of cultural features (customs and rituals, beliefs and rituals, symbols, beliefs and stereotypes) whose carrier is the rural folk. The analysis covers such elements of the work as place, plot, heroes, folk system of values, folk rituals, customs, and symbols. The description is conducted based on the analysis of source material as well as selected works in the field of literary text analysis and ethnolinguistics. The analysis shows that folk poetics was creatively associated with the elements of fairy tales and fantasy in the studied work, and its role consists of – on the one hand – presenting the folk world represented and – on the other – presenting a message about the meaning of human existence.

STRUKTUR NARASI NOVEL CA BAU KAN, KARYA REMY SYLADO ANALISIS SEMIOTIK

2017 ◽  
Vol 4 (1) ◽  
pp. 70
Author(s):  
Sri Sabakti
Keyword(s):  
Narrative Structure ◽  
Literary Analysis ◽  
The Novel ◽  
Basic Scheme ◽  
Library Research ◽  
The Mean

This research is aimed to expose the narrative structure of the novel Ca Bau Kan by using semiotical theory. The source of the data is the novel Ca Bau kan written by Remy Silado and published by KPG, eight edition, 2004. The data is collected by doing the library research. The teory applied in this research is the emiotical theory, especially the literary analysis of Subur Laksono Wardoyo that the analysis of the text of prose can be applied by using three fases; the analysis of the basic scheme narrative, the analysis of mean signifier, and the analysis of syntagmatics and pragmatics. The result of this research showed that the narrative structure in the novel CBK that (1) the life of Tinung before being a ca bau kan, (2) the life of Tinung as a ca bau kan, and (3) the life of Tinung after not being a ca bau kan anymore. Based on the narrative structure, it was found that “ Love is only one. No measurement is needed” is the mean signifier and able to be clarified by the analysis of syntagmatics-paradigmatics based on the biner oposition of weak x strong.AbstrakPenelitian ini bertujuan mengungkapkan stuktur narasi dalam novel Ca Bau Kan (CBK) dengan menggunakan teori semiotika. Penelitian ini menggunakan sumber data novel CBK karya Remy Silado yang diterbitkan oleh KPG, cetakan kedelapan tahun 2004. Pengumpulan data dilaksanakan dengan teknik kepustakaan. Teori yang digunakan dalam penelitian ini adalah teori semiotika, khususnya analisis sastra menurut Subur Laksono Wardoyo bahwa analisis teks prosa dapat dilakukan melalui tiga tahap, yaitu: analisis skema naratif dasar, analisis signifier utama, dan analisis sintagmatik-paradigmatik. Hasil penelitian menggambarkan bahwa struktur narasi pada novel CBK adalah sebagai berikut: 1) kehidupan Tinung sebelum menjadi ca bau kan, 2) kehidupan Tinung sebagai ca bau kan, dan 3) kehidupan Tinung setelah tidak menjadi ca bau kan. Berdasarkan struktur narasi, maka didapatkan bahwa “Cinta cuma satu, kagak perlu takaran” merupakan penanda utama dan dapat diperjelas melalui analisis sintagmatik-paradigmatik yang didasarkan atas sebuah oposisi biner lemah x kuat.

Dombey and Son

2008 ◽  
Author(s):  
Charles Dickens ◽  
Dennis Walder
Keyword(s):  
Family Relationships ◽  
The Sun ◽  
The Novel ◽  
The Earth ◽  
The Future ◽  
Original Illustrations ◽  
The One

Dombey and Son ... Those three words conveyed the one idea of Mr. Dombey's life. The earth was made for Dombey and Son to trade in, and the sun and moon were made to give them light.' The hopes of Mr Dombey for the future of his shipping firm are centred on his delicate son Paul, and Florence, his devoted daughter, is unloved and neglected. When the firm faces ruin, and Dombey's second marriage ends in disaster, only Florence has the strength and humanity to save her father from desolate solitude. This new edition contains Dickens's prefaces, his working plans, and all the original illustrations by ‘Phiz’. The text is that of the definitive Clarendon edition. It has been supplemented by a wide-ranging Introduction, highlighting Dickens's engagement with his times, and the touching exploration of family relationships which give the novel added depth and relevance.

scholarly journals The Energy-Efficient Processing of Fine Materials by the Micropyretic Synthesis Route

2012 ◽  
Vol 2012 ◽  
pp. 1-8 ◽  
Author(s):  
H. P. Li
Keyword(s):  
Energy Efficient ◽  
Processing Time ◽  
Combustion Temperature ◽  
Processing Parameters ◽  
The Novel ◽  
Diffusion Controlled ◽  
Efficient Processing ◽  
The One ◽  
Processing Techniques ◽  
Diffusion Controlled Reaction

Energy-efficient processing of TiB compound with nanowhiskers by micropyretic synthesis is investigated in this paper. Micropyretic synthesis not only offers shorter processing time but also excludes the requirement for high-temperature sintering and it is considered as the one of the novel energy-saving processing techniques. Experimental study and numerical simulation are both carried out to investigate the correlation of the processing parameters on the microstructures of the micropyretically synthesized products. The diffusion-controlled reaction mechanism is proposed in this study. It is noted that nanosize TiB whiskers only occurred when the combustion temperature is lower than the melting point of TiB but higher than the extinguished temperature. The results generated in the numerical calculation can be used as a helpful reference to select the proper route of processing nanosize materials. The Arrhenius-type plot of size and temperature is used to calculate the activation energy of TiB reaction. In addition to verifying the accuracy of the experimental measures, the reaction temperature for producing the micropyretically synthesized products with nanofeatures can be predicted.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

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