scholarly journals The Freedom Fight: A Novel of Resistance and Freedom. A Translation by Pamela J. Olubunmi Smith of Adébáyọ̀ Fálétí’s Ọmọ Olókùn Ẹṣin

2021 ◽  
Vol 3 (2) ◽  
pp. 1-8
Author(s):  
Michael Oladejo Afolayan
Keyword(s):  
First Person ◽  
The Novel ◽  
Abuse Of Power ◽  
Calculated Risk ◽  
In The Beginning

The story entailed in Ọmọ Olókùn Ẹṣin (The Freedom Fight) is straightforward. Àjàyí, the titular hero, starts off with the direct first-person narrative. The story starts off straight from the horse’s mouth, setting the stage for all other active agents to render their own sides of the events, to which everyone else is not privy. Here is the snippet of the novel directly from the author’s blurb: Àjàyí, son of Council Chief Olókùn Ẹṣin of Àgùn, seeks independence on behalf of his Òkè Ògùn kinsmen, independence from the oppressive Òkò, one of the principal regions of Yorùbáland. To this end he and his many friends – among them Àyọwí from Igboho, and Ibiwumi, the Otu Baale’s ̀ daughter – who help him narrate this story, suffered untold hardships. In the beginning, the very countrymen he sought to liberate were opposed to the talk of independence because no one could really grasp the idea. However, in the end, Àjàyí prevailed. Where shall we begin this tale? Which among the story’s many episodes should one emphasize – is it Kọ́lájọ’s demonic rampage, or Ibiwumi’s calculated risk, or Lagbogun’s greed and flagrant abuse of power and privilege? Incidents abound – highlights herein include the riot in Baba-Ode Townships; the fight at Idi Araba; the bizarre encounter in the market 200 Michael Oladejo Afolayan center at Igboho; even the scuffle outside Baale of Ìgbẹtì’s compound; and, ́ of course, many more of Àjàyí’s numerous acts of valour and defiance.

The problem of language identity in Volodymyr Vynnychenko’s novel I want! in contemporary sociocultural context

2020 ◽  
Vol 2019 (2 (11)) ◽  
pp. 211-227
Author(s):  
Ekaterina V. Baydalova ◽  
Keyword(s):  
National Identity ◽  
Russian Literature ◽  
The Novel ◽  
Sociocultural Context ◽  
Main Character ◽  
Life Goal ◽  
Language Identity ◽  
National Question ◽  
In The Beginning ◽  
Ukrainian Society

The novel by Volodymyr Vynnychenko I want! (1915) was, on one hand, his literary answer to the discussion on the national question in Ukrainian society, and, on the other, it was his reaction to the accusations of him being a renegade resulting from his shift towards Russian literature. In 1907-1908, after the publication of his dramas and novels which were impregnated with the idea of “being honest with oneself” (it implied that all thoughts, feelings, and acts were to be in harmony), his works could be more easily published in Russian than in Ukrainian. This situation was taken by his compatriots as a betrayal against his native language and the national cause. In the novel I want! the problem of language identity is directly linked with national identity. In the beginning of the novel the main character, poet Andrey Halepa, despite being ethnic Ukrainian, spoke, thought, and wrote poems in Russian, and consequently his personality was ruined and his actions lacked motivation. It seems that after his unsuccessful suicide attempt and under the influence of a “conscious” Ukrainian, Halepa got in touch with his national identity and developed a life goal (the “revival” of the Ukrainian nation and the building of a free-labour enterprise). However, in the novel, national identity turns out to be incomplete without language identity. Halepa spoke Ukrainian with mistakes, had difficulty choosing suitable words, and discovered with surprise the meaning of some Ukrainian words from his former Russian friends. The open finale emphasises the irony of the discourse around a fast national “revival” without struggle and effort, and which only required someone’s will.

The use of second person pronouns in a literary work

2014 ◽  
Vol 43 (2) ◽  
Author(s):  
Helen de Hoop ◽  
Lotte Hogeweg
Keyword(s):  
Literary Work ◽  
First Person ◽  
The Novel ◽  
Main Character ◽  
Second Person ◽  
Person Pronoun

AbstractFor this study we investigated all occurrences of Dutch second person pronoun subjects in a literary novel, and determined their interpretation. We found two patterns that can both be argued to be functionally related to the de-velopment of the story. First, we found a decrease in the generic use of second person, a decrease which we believe goes hand in hand with an increased distancing of oneself as a reader from the narrator/main character. Second, we found an increase in the use of the descriptive second person. The increased descriptive use of second person pronouns towards the end of the novel is very useful for the reader, because the information provided by the first person narrator himself becomes less and less reliable. Thus, the reader depends more strongly on information provided by other characters and what these characters tell the narrator about himself.

Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

scholarly journals Boden Black (A Novel) and With Axe and Pen in the New Zealand Alps: Differences Between Overseas and New Zealand Written Accounts of Climbing Mount Cook 1882-1920 and the Emergence of a New Zealand Voice in Mountaineering Literature

2021 ◽  
Author(s):  
◽  
Jura Fearnley
Keyword(s):  
New Zealand ◽  
Family Members ◽  
Southern Alps ◽  
Critical Study ◽  
First Person ◽  
The Novel ◽  
Writing Style ◽  
Natural Landscape ◽  
Site Specific ◽  
Mackenzie Basin

<p>This thesis has two components: creative and critical. The creative component is the novel Boden Black. It is a first person narrative, imagined as a memoir, and traces the life of its protagonist, Boden Black, from his childhood in the late 1930s to adulthood in the present day. The plot describes various significant encounters in the narrator’s life: from his introduction to the Mackenzie Basin and the Mount Cook region in the South Island of New Zealand, through to meetings with mountaineers and ‘lost’ family members. Throughout his journey from child to butcher to poet, Boden searches for ways to describe his response to the natural landscape. The critical study is titled With Axe and Pen in the New Zealand Alps. It examines the published writing of overseas and New Zealand mountaineers climbing at Aoraki/Mount Cook between 1882 and 1920. I advance the theory that there are stylistic differences between the writing of overseas and New Zealand mountaineers and that the beginning of a distinct New Zealand mountaineering voice can be traced back to the first accounts written by New Zealand mountaineers attempting to reach the summit of Aoraki/Mount Cook. The first mountaineer to attempt to climb Aoraki/Mount Cook was William Spotswood Green, an Irishman who introduced high alpine climbing to New Zealand in 1882. Early New Zealand mountaineers initially emulated the conventions of British mountaineering literature as exemplified by Green and other famous British mountaineers. These pioneering New Zealand mountaineers attempted to impose the language of the ‘civilised’ European alpine-world on to the ‘uncivilised’ world of the Southern Alps. However, as New Zealand mountaineering became more established at Aoraki/Mount Cook from the 1890s through to 1920, a distinct New Zealand voice developed in mountaineering literature: one that is marked by a sense of connection to place expressed through site-specific, factual observation and an unadorned, sometimes laconic, vernacular writing style.</p>

scholarly journals Nicholas Urfe’s Masculine Trap or the Construction of Manhood, its Ambivalences and Limitations in John Fowles’s The Magus

2017 ◽  
pp. 73-86
Author(s):  
Irina Strout
Keyword(s):  
Western Society ◽  
The Novel ◽  
John Fowles ◽  
Lone Wolf ◽  
Male Characters ◽  
Power And Control ◽  
Male Power ◽  
Personal Level ◽  
In The Beginning ◽  
And Control

Western society and its fiction faces the overwhelming problem of masculinity and its modeling. The era of war, capitalism, the challenges of feminism affect the ideology within which men are constructed both as individuals and as a social group. John Fowles’s fi ction tackles the crucial issue of male power and control as masculinity is put to test and trial in his 1965 novel The Magus. The defi nition of manhood, male virility and social respectability of the period shape the 20th century male characters in Fowles’s fi ction. This paper aims to explore how John Fowles investigates the role of masculinity and power myths on the personal level of relationship and a wider scale of war and capitalism in The Magus. Notions of masculinity off er the protagonist, Nicholas Urfe, a sense of a superiority and power over women in the course of the novel. Among the goals of the project is to examine the mythical journey of Nicholas, which becomes a testing ground of his masculinity and maturity, as well his trial and ‘disintoxication,’ which is intended to help him to reevaluate his life and his relationships with women. One of the issues posed is whether Nicholas Urfe is reborn as a new man at the end of his search for redemption or if he remains the same egotistic, ‘lone wolf’ as he appears in the beginning of the novel.

scholarly journals OJEBETA “THE SELF AWAKENED” IN BUCHI EMECHETA’S THE SLAVE GIRL

2018 ◽  
Vol 6 (10) ◽  
pp. 95-99
Author(s):  
Mary Stella Ran B. ◽  
Poli Reddy R.
Keyword(s):  
Christian Education ◽  
Small Degree ◽  
The Self ◽  
African Women ◽  
Self Awareness ◽  
The Novel ◽  
Buchi Emecheta ◽  
The People ◽  
In The Beginning

The novel “The Slave Girl” by Buchi Emecheta exposes the plights of African women and portrayal of their struggle as slaves and ultimately how they come up the problem and becomes a self-awakened.  In this paper, one can see Ojebeta starting her life as a slave and finally becomes an owner of a house by passing so many phases of life as a slave. In the beginning, she is sold into domestic slavery by her own brother.  She has become the victim to her brother’s traits.  She has become a scapegoat to the plans of African patriarchy.  The intention of Buchi Emecheta is to recreate the image of women through feminism.   Emecheta’s fiction is blended with reality representing socio historical elements of the prevailing society and its environment besides questioning the pathetic conditions of the people in general and women in particular. One can observe the narration of innocence of childhood grown into adulthood by attaining certain amount of freedom with the Christian education which she has received with which she has attained a small degree of self-awareness.

scholarly journals Gæst hos virkeligheden. Sprogets landflygtighed i "Løgneren" af Martin A. Hansen og "Det svundne er en drøm" af Aksel Sandemose

2018 ◽  
pp. 116-131
Author(s):  
Jørgen Veisland
Keyword(s):  
Migratory Birds ◽  
First Person ◽  
The Novel ◽  
Compelling Evidence ◽  
The Past ◽  
To Come

Central motifs and episodes form interesting and significant links between Aksel Sandemose’s novel Det svundne er en drøm, published in 1946, and Martin A. Hansen’s novel from 1950, Løgneren. The motifs of truth versus lie, and the intermingling of the two, and of the split subject, manifest themselves in the protagonists who share a common first name, Johannes. The texts are an attempt to write diaries that transcend the borderline between past and present, fiction and reality, truth and lying. The diary form, composed in the first person as an alternative to the novel form proper, is viewed by both protagonists as an experiment that questions the ability of language to portray reality accurately and truthfully. Furthermore, the diaries break with chronology in order to come to terms with a darkness within, an essentially unknown, demonic territory that prevents knowledge and truth from emerging. Central episodes in the two diaries are practically identical, e.g. the drowning accident that takes place in both texts, the absence of the ‘I’ of the diary from home, and the sense of alienation from home. Additionally, significant symbols recur in both texts, e.g. a necklace and migratory birds. The protagonists’ relationships to women are all but identical and involve an examination of the past and of guilt that becomes a potential key to resolving what constitutes guilt, conscience, home and exile. The two texts form an intertext and there is compelling evidence pointing to Sandemose’s diary having profoundly influenced Hansen’s narrative.

Hybridity Sucks

2016 ◽  
Author(s):  
Monika Mueller
Keyword(s):  
The Novel ◽  
Cultural Traditions ◽  
Abuse Of Power ◽  
Caribbean Culture ◽  
Historical Figure ◽  
The Social ◽  
African Caribbean ◽  
The Caribbean ◽  
Jamaican Creole ◽  
Female Power

This chapter argues that in his 1929 novel The White Witch of Rosehall Herbert G. de Lisser relies on Haitian voodoo combined with European vampirism to present the murderous “white witch” Annie Palmer—who is based on a historical figure—as an emblem of gender transgression and abuse of power. In addition to imbuing her with extraordinary, supernatural female power, de Lisser casts Annie Palmer as a European-Jamaican Creole. She is bolstered in her evil machinations both by the social status bestowed upon her by her white heritage and her acquired knowledge of African Caribbean culture. Thus, she also becomes a larger symbol of the colonial presence in the Caribbean. In the context of the period the novel was written in, Annie Palmer’s fusion of cultural traditions results in an evil hybridity that she cleverly uses to her own murderous advantage.

scholarly journals Psychological Impact of Corona Lockdown in Germany: Changes in Need Satisfaction, Well-Being, Anxiety, and Depression

2020 ◽  
Vol 17 (23) ◽  
pp. 9083
Author(s):  
Malte Schwinger ◽  
Maike Trautner ◽  
Henrike Kärchner ◽  
Nantje Otterpohl
Keyword(s):  
Depressive Symptoms ◽  
Psychological Impact ◽  
Well Being ◽  
Psychological Needs ◽  
Need Satisfaction ◽  
Basic Psychological Needs ◽  
Anxiety And Depression ◽  
The Novel ◽  
Educational Levels ◽  
In The Beginning

All over the world; measures have been implemented to contain the novel Sars-CoV-2 virus since its outbreak in the beginning of 2020. These measures—among which social distancing and contact restrictions were most prominent—may have an overall effect on people’s psychological well-being. The present study seeks to examine whether lockdown measures affected people’s well-being; anxiety; depressive symptoms during the lockdown and whether these effects could be explained by reduced satisfaction of the basic psychological needs of autonomy and relatedness. N = 1086 participants of different ages and educational levels from all over Germany reported strong declines in autonomy and well-being; small declines in relatedness satisfaction; moderate increases in anxiety and depressive symptoms. These effects were stronger for people with moderate to bad subjective overall health. Latent change modeling revealed that, especially, decreases in autonomy satisfaction led to stronger decreases in well-being as well as stronger increases in anxiety and depressive symptoms; whereas decreases in relatedness had much weaker effects. Our results imply differential effects depending on individual preconditions; but also more generally that peoples’ need for autonomy was most strongly affected by the lockdown measures, which should be considered as important information in planning future lockdowns.

“La marquise sortit à cinq heures”

PMLA ◽  
1969 ◽  
Vol 84 (6) ◽  
pp. 1644-1648
Author(s):  
Albert Chesneau
Keyword(s):  
Structural Analysis ◽  
The Other ◽  
Past Tense ◽  
First Person ◽  
The Novel ◽  
Other Hand ◽  
Third Person ◽  
Present Tense ◽  
Nouveau Roman ◽  
The Ideal

Simple structural analysis applied to passages cited from the works of André Breton elucidates the reasons for his condemnation of the statement La marquise sortit à cinq heures (see his Manifeste du surréalisme, 1924) as non-poetic. This study demonstrates the opposition existing between the above-mentioned realist sentence, essentially non-subjective (third-person subject), non-actual (past tense predicate), contextual (context can be supposed), and prosaic (lack of imagery), and on the other hand a theoretic surrealist sentence, essentially subjective (first-person subject), actual (present tense predicate), and non-contextual, producing a shock-image. In reality, Breton's surrealistic phrase does not always contain all of these qualities at once. However, in contrast to the condemned phrase which contains none at all, it does always manifest at least one of these characteristics, the most important having reference to the evocative power of the shock-image. A final comparison with a sentence quoted from Robbe-Grillet, the theoretician of the “nouveau roman”, proves that even though it may appear objective, the surrealist phrase is really not so. In conclusion, the four characteristics of the ideal surrealist sentence—subjectivity, actuality, non-contextuality, and ability to produce shock-images—create a poetics of discontinuity opposed to the classical art of narration as found traditionally in the novel. (In French)

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