L’absence chez Michel Butor. L’Emploi du temps et Degrés

2012 ◽  
pp. 66-80
Author(s):  
Michał Mrozowicki
Keyword(s):  
Human Memory ◽  
Point Of View ◽  
Narrative Discourse ◽  
The Novel ◽  
Michel Butor ◽  
Starting Point ◽  
One Year ◽  
The Moment ◽  
Narrative Mode ◽  
The City

Michel Butor, born in 1926, one of the leaders of the French New Novel movement, has written only four novels between 1954 and 1960. The most famous of them is La Modification (Second thoughts), published in 1957. The author of the paper analyzes two other Butor’s novels: L’Emploi du temps (Passing time) – 1956, and Degrés (Degrees) – 1960. The theme of absence is crucial in both of them. In the former, the novel, presented as the diary of Jacques Revel, a young Frenchman spending a year in Bleston (a fictitious English city vaguely similar to Manchester), describes the narrator’s struggle to survive in a double – spatial and temporal – labyrinth. The first of them, formed by Bleston’s streets, squares and parks, is symbolized by the City plan. During his one year sojourn in the city, using its plan, Revel learns patiently how to move in its different districts, and in its strange labyrinth – strange because devoid any centre – that at the end stops annoying him. The other, the temporal one, symbolized by the diary itself, the labyrinth of the human memory, discovered by the narrator rather lately, somewhere in the middle of the year passed in Bleston, becomes, by contrast, more and more dense and complex, which is reflected by an increasinly complex narration used to describe the past. However, at the moment Revel is leaving the city, he is still unable to recall and to describe the events of the 29th of February 1952. This gap, this absence, symbolizes his defeat as the narrator, and, in the same time, the human memory’s limits. In Degrees temporal and spatial structures are also very important. This time round, however, the problems of the narration itself, become predominant. Considered from this point of view, the novel announces Gerard Genette’s work Narrative Discourse and his theoretical discussion of two narratological categories: narrative voice and narrative mode. Having transgressed his narrative competences, Pierre Vernier, the narrator of the first and the second parts of the novel, who, taking as a starting point, a complete account of one hour at school, tries to describe the whole world and various aspects of the human civilization for the benefit of his nephew, Pierre Eller, must fail and disappear, as the narrator, from the third part, which is narrated by another narrator, less audacious and more credible.

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

scholarly journals Vuoret ja kaupunki vastakohtaisina tiloina Alisa Ganijevan teoksissa

2016 ◽  
pp. 7-22
Author(s):  
Anni Lappela
Keyword(s):  
Central Element ◽  
Point Of View ◽  
The Novel ◽  
Way Of Life ◽  
The Real ◽  
Key Concepts ◽  
The City ◽  
Geographical Space

Mountains and City as Contrary Spaces in the Prose of Alisa Ganieva I analyze Alisa Ganieva’s novel Prazdnichnaia gora (2012) and her novella Salam tebe, Dalgat! (2010) from a geocritical (Westphal, Tally) point of view. Ganieva was born in 1985 in Moscow, but she grew up in Dagestan, in North Caucasia. Since 2002, she has lived in Moscow. All Ganieva’s novels are set in present-day Dagestan, not only in the capital Makhachkala but also in the countryside.  I study the ways the two main spaces and main milieus, the mountains and the city, oppose each other in Prazdnichnaia gora. I also analyze how this opposition constructs the utopian and dystopian discourses of the novel. In this high/low opposition, the mountains appear as the utopian place of a better future, and the city in the lowlands is depicted as a dystopian place of the present-day life. The texts’ multilayered time is also part of my analysis, which follows Westphal’s idea of the stratigraphy of time. Furthermore, the mountains are associated with the traditional way of life and the Soviet past. In this way, the mountains have two kinds of roles in the texts. Nevertheless, the city is a central element of the postcolonial dystopian discourse of Prazdnichnaia gora. In my opinion, Ganieva’s texts problematize referentiality, one of the key concepts of geocriticism. Whilst the city tends to be very referential, the mountains escape the referential relationship to the “real” geographical space.

scholarly journals “In a Sea of Wonders:” Eastern Europe and Transylvania in the Irish-Language Translation of Dracula

2020 ◽  
Vol 12 (1) ◽  
pp. 70-83
Author(s):  
Sorcha De Brún
Keyword(s):  
Original Work ◽  
Figurative Language ◽  
Language Translation ◽  
Point Of View ◽  
Eastern European ◽  
The Novel ◽  
European Language ◽  
Irish Language ◽  
Starting Point ◽  
History Of

Abstract The publication of the Irish-language translation of Dracula in 1933 by Seán Ó Cuirrín was a landmark moment in the history of Irish-language letters. This article takes as its starting point the idea that language is a central theme in Dracula. However, the representation of Transylvania in the translation marked a departure from Bram Stoker’s original. A masterful translation, one of its most salient features is Ó Cuirrín’s complex use of the Irish language, particularly in relation to Eastern European language, character, and landscapes. The article examines Ó Cuirrín’s prose and will explore how his approaches to concrete and abstract elements of the novel affect plot, character, and narration. The first section explores how Dracula is treated by Ó Cuirrín in the Irish translation and how this impacts the Count’s persona and his identity as Transylvanian. Through Ó Cuirrín’s use of idiom, alliteration, and proverb, it will be shown how Dracula’s character is reimagined, creating a more nuanced narrative than the original. The second section shows how Ó Cuirrín translates Jonathan Harker’s point of view in relation to Dracula. It shows that, through the use of figurative language, Ó Cuirrín develops the gothic element to Dracula’s character. The article then examines Ó Cuirrín’s translations of Transylvanian landscapes and soundscapes. It will show how Ó Cuirrín’s translation matched Stoker’s original work to near perfection, but with additional poetic techniques, and how Ó Cuirrín created a soundscape of horror throughout the entirety of the translation.

The eye/I upon the event: a study of narrative voice in Robert Penn Warren's All the King's Men

1987 ◽  
Vol 8 (1) ◽  
pp. 53
Author(s):  
Maria Lúcia Barbosa de Vasconcellos
Keyword(s):  
Point Of View ◽  
Narrative Discourse ◽  
The Other ◽  
Major Theme ◽  
The Novel ◽  
Temporal Perspective ◽  
Narrative Prose ◽  
Linguistic Level ◽  
King's Men ◽  
The Relationship

This thesis is a study of the relationship between the narrating self and its enunciation in Robert Penn Warren's All the king's men. The concept of point of view is surveyed and discussed and the poetics of narrative is opposed to the poetics of drama, since All the king's men is a novelization of a play by the same author. It is argued that narrative prose allows for a temporal perspective and is thus the adequate genre for the portrayal of man trapped in the complex tensions of time, a major theme of the novel. The narrative discourse is then analyzed through the categories of time, mode and voice, with the narrator's hesitation being examined in terms of function at the linguistic level. Finally, the fragmented and specular pattern of the enunciation is investigated by examining the insertion of the Cass Mastern episode in the narrative. A concluding reflexion focuses on the other voices which permeate the narrator's discourse and confirm the fragmented configuration of the text.

scholarly journals Quarantine conditions of education and life of Osyp Bodiansky in 1830–1831 (according to the letters of the Bodіansky brothers)

2021 ◽  
Vol 4 ◽  
pp. 96-103
Author(s):  
Vita Bova
Keyword(s):  
Significant Contribution ◽  
Sequence Of Events ◽  
Historical Figure ◽  
The Social ◽  
History Of ◽  
One Year ◽  
The Moment ◽  
The City ◽  
Political Realities ◽  
Academic Year

The chronological boundaries of this study cover one academic year. That was the last year of Osyp Bodiansky’s studies at the Poltava (Pereiaslav) Seminary. The main source base consists of Osyp and Fedir Bodiansky’s letters from Pereiaslav addressed to their parents. The article aims to study the quarantine period of Osyp Bodiansky’s life in Pereiaslav during the second cholera pandemic. It is an attempt to recreate one year of Osyp Bodiansky’s life from the moment he arrived to study before leaving for Moscow. The sequence of events helps to answer the question: where did O. Bodiansky live, how did he earn from the conditions, what was distance education in 1830–1831 like, how did he manage to avoid cholera? This year began with finding a good apartment and a trip to Kyiv to buy some books. O. Bodiansky planned to re- ceive 660 rubles from the conditions. In October, the seminary was quarantined and all the students were sent home. There were two attempts to resume the study, but cholera reached Pereiaslav and the study did not take place. O. Bodiansky completed a full seminar course in Pereiaslav only in September 1831 and went to continue his studies at Moscow University. The main focus of the article is the quarantine conditions of study in the seminary and the life in the city. This study has a prosopographic context, which contributes to the retrospective of the social portrait of O. Bodiansky and the city of that time. Osyp Bodyansky was one of those who studied in this city and kept in touch with the locals throughout his life. His character was formed here together with the desire to know the truth, love for the Ukrainian way of life.The relevance of the study of such a historical figure as O. Bodiansky, who made a significant contribution to the preservation and development of Ukrainian history and culture in the Moscow ideology, is dictated by the socio-political realities of today when Ukrainian culture once again needs protection and promotion. This is a human-dimensional vision of both the history of a particular region (in this case, Pereiaslav in the early nineteenth century) and the understanding of a person of a particular era and region as a person, not a known historical figure without any ideological involvement.

scholarly journals L’influence du genre à la transmission de la mémoire : Cas de Dora Bruder de Patrick Modiano

2019 ◽  
Vol 3 ◽  
pp. 00022
Author(s):  
Fauzan Hanif
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Patrick Modiano ◽  
Cultural Experiences ◽  
The Moment ◽  
The Relationship

<p class="Abstract">Such cultural experiences have a possibility to be embedded in a memory of one generation. But there are mostly in form of traumatic experiences. And then, we learn that these memories could be transferred onto their children, or we could say it as “post generation”. In the novel <i>Dora Bruder</i>, such things happen when the author, Patrick Modiano, plays his attribute in composing genres to arrange and transfer his message. The story mainly concerns as the narrator try to find a missing girl named Dora Bruder. She was gone in 1941, or in the moment when Nazi was occupying France. This research aims to discover the relationship between the role of genre on emerging the message, particularly the traumatic ones by using the concept of genre and postmemory. From the analysis we conclude that Modiano use genres to transfer his message traumatic. It exists in form of the impression of absence. From the sensation of absence, he continues to transmit consecutively another impression of hollow, doubt, and also hope. For transferring his message and memory, Modiano mixes real documents and his fiction. He manifest them by constructing a story of another person and narrating it from the first-person point of view. He uses this technique to identify himself, because the “shared idea” of one’s could be related with another’s.</p>

The Scope of International Relations

1948 ◽  
Vol 1 (1) ◽  
pp. 142-146 ◽  
Author(s):  
Frederick S. Dunn
Keyword(s):  
International Relations ◽  
Ambiguous Word ◽  
Point Of View ◽  
Striking Similarity ◽  
Real Property ◽  
Starting Point ◽  
Vested Interests ◽  
Critical Scrutiny ◽  
The Moment ◽  
In The Beginning

Four able and penetrating writers have recently given us their considered views on the nature and scope of international relations as a branch of higher learning.* While each of them starts from a somewhat different intellectual viewpoint, they display a striking similarity of conception of the general place of international relations (hereafter referred to as IR) in the spectrum of human knowledge. I propose here, not to subject these writings to critical scrutiny, but to use them as a starting point for a brief inspection of the scope of international relations as it now seems to be taking form in the work of the leading scholars in the field.It is necessary to note in the beginning that “scope” is a dangerously ambiguous word. It suggests that the subject matter under inquiry has clearly discernible limits, and that all one has to do in defining its scope is to trace out these boundaries in much the manner of a surveyor marking out the bounds of a piece of real property. Actually, it is nothing of the sort. A field of knowledge does not possess a fixed extension in space but is a constantly changing focus of data and methods that happen at the moment to be useful in answering an identifiable set of questions. It presents at any given time different aspects to different observers, depending on their point of view and purpose. The boundaries that supposedly divide one field of knowledge from another are not fixed walls between separate cells of truth but are convenient devices for arranging known facts and methods in manageable segments for instruction and practice. But the foci of interest are constantly shifting and these divisions tend to change with them, although more slowly because mental habits alter slowly and the vested interests of the intellectual world are as resistant to change as those of the social world.

Un Mundo Donde Quepan Muchos Mundos: A Postcolonial Legal Perspective Inspired by the Zapatistas

Global Jurist ◽  
2009 ◽  
Vol 9 (2) ◽  
pp. 1-40 ◽  
Author(s):  
Judith Schacherreiter
Keyword(s):  
Mexican Revolution ◽  
Legal Analysis ◽  
Global Context ◽  
Agrarian Question ◽  
Las Casas ◽  
Legal Perspective ◽  
Starting Point ◽  
History Of ◽  
The Moment ◽  
The City

On January 1, 1994, the day when NAFTA entered into force, a group of indigenous appeared from the Lacandon jungle in Chiapas, occupied the city hall of San Cristóbal de las Casas, presented themselves as the Zapatista Army and announced: “We are the product of 500 years of fighting. […] But today we say: It is enough." This was the beginning of a rebellion which attracted international attention and is still going on today. Taking the announcement seriously, this article traces the history of 500 years from a legal perspective. By considering also the international dimension of this history, it shall be revealed that the reasons for the Zapatista revolt range from the Lacandon jungle through Chiapas, Mexico, Latin America, to the world and its global order. The article will focus on their demand for “land and freedom" which leads to the so-called agrarian question and the long history of bloody disputes about land, means of existence, natural resources, autonomy, sovereignty, power, dominance, oppression, life and death.The history of Mexican land law (sometimes as a legal reflection, sometimes as a result and sometimes as an origin of these disputes) shows with outstanding clarity international structures of hegemony. Foreign influence and legal transfer in accordance with European and U.S. economic interest have been shaping this area of law since colonization. On the other hand, history also gave birth to strong counter-hegemonic movements: the Mexican Revolution at the beginning of the 20th century and today the Zapatista rebellion.The objective of the article is the following: By putting the Zapatista struggle for land in the historical and global context, their “anti-systemic" or “postcolonial" quality shall be revealed. Against this background, the legal analysis of their rebellion shall be used to develop cornerstones of a postcolonial legal perspective. Hence, independent from the chronological order, the theoretical starting point is January 1, 1994. History will be approached as a memory that flashes on this day in the moment of uprising.

scholarly journals REPRESENTASI SOSIAL SANTRI DAN KOTA DALAM NOVEL HUBBU KARYA MASHURI (SEBUAH TINJAUAN SOSIOLOGI SASTRA)

SUAR BETANG ◽  
2019 ◽  
Vol 14 (1) ◽  
Author(s):  
Imam Muhtarom
Keyword(s):  
Real Life ◽  
Social Representation ◽  
Point Of View ◽  
The Novel ◽  
Sociology Of Literature ◽  
Outer World ◽  
The City

Mashuri’s Hubbu is all about the life of a santri which was not always inline with the schools’ rules. This novel takes a picture of a failed santri. The main actor of the novel, Jarot, have had not succeed of holding the schools principles. He broke the rules when attending lectures in Surabaya. This is a sociology of literature point of view paper. It figures out the city’s social realities which change the life of the actor. It also identifies how the novel get its social basic. In this sense, Hubbu is a social representation of reality. The novel provides values dispute when a santri live in outer world which is actually his real life. He should adapt to this different environment without losing his previous status? He can also be rolled up by seculary values offered by the life of the city.

scholarly journals SURVEY METHODS FOR SEISMIC VULNERABILITY ASSESSMENT OF HISTORICAL MASONRY BUILDINGS

2017 ◽  
Vol XLII-5/W1 ◽  
pp. 55-59 ◽  
Author(s):  
M. Ballarin ◽  
C. Balletti ◽  
P. Faccio ◽  
F. Guerra ◽  
A. Saetta ◽  
...  
Keyword(s):  
Social Life ◽  
Seismic Vulnerability ◽  
Survey Methods ◽  
Point Of View ◽  
Andrea Mantegna ◽  
Po Valley ◽  
The Government ◽  
One Year ◽  
The University ◽  
The City

On 20<sup>th</sup> and 29<sup>th</sup> of May 2012, two powerful earthquakes struck northern Italy. The epicentres were recorded respectively in Finale Emilia (magnitude 5.9 Ml) and Medolla (magnitude 5.8 Ml) in the province of Modena, though the earthquake was formed by a series of seismic shakes located in the district of the Emilian Po Valley, mainly in the provinces of Modena, Ferrara, Mantova, Reggio Emilia, Bologna and Rovigo. Many monuments in the city of Mantova were hit by the earthquake and, among these, Palazzo Ducale with the well-known Castello di San Giorgio which host the noteworthy “Camera degli Sposi”. This building, the most famous of the city, was so damaged that it was closed for more than one year after the earthquake. The emblem of the Palace and Mantova itself, the previously cited “Camera degli Sposi” realized by Andrea Mantegna, was damaged and all the economic and social life of the city was deeply affected. Immediately after the earthquake, the Soprintendenza per i Beni Architettonici e Paesaggistici of Brescia, Cremona and Mantova establish an agreement with the University Iuav of Venice, requiring an analysis and assessment of the damage in order to proceed with the development of an intervention project. This activity turned out to be very important not only from the point of view of the recovery of the architectural and artistic heritage but also because the city's economy is based primarily on tourism. The closure of one of the most important monuments of Mantova has led to a significant and alarming decline in the government income.

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