THE INFLUENCE OF THE ARCHETYPE OF THE WAY ON THE FORMATION OF THE PERSONALITY IN THE NOVEL PAPER TOWNS BY JOHN GREEN

2021 ◽  
Vol 1 (97) ◽  
pp. 9-28
Author(s):  
Наталія Юріївна Бондар
Keyword(s):  
Skin Color ◽  
Growing Up ◽  
The Novel ◽  
Historical Method ◽  
Holistic Analysis ◽  
The Individual ◽  
Metaphorical Extension ◽  
Short Time ◽  
Good And Evil ◽  
The Way

The article deals with the influence of the archetype of the way on the formation of the personality in the novel Paper Towns by John Green. The purpose of this article is to determine the originality of the image of an American teenager and to identify the influence of the archetype of the way on the formation of the personality, as well as to consider the archetype of the way as a real path of the character in the novel Paper Towns by John Green, taking into account the individual author’s interpretation. This object of research has been chosen because through it one can comprehend the specifics of the psychology of a teenager and define the artistic features that distinguish the author’s stylistics and worldview. The comprehensive research methodology has been used in the work: the synthesis of the comparative historical method, holistic analysis, elements of mythopoetic and hermeneutic methods. In the novel Paper Towns by John Green mythopoetic consciousness presupposes ontological ambivalent intentions in the archetype of the child / teenager (good and evil children). The metaphorical extension of the archetype of the child / teenager has been revealed in this article. All the images of teenagers are given in the development, on the way to growing up. The originality of the archetype of the way here lies in the fact that it merges with the concepts of Space and Chaos, confirming the idea of the unity of mankind. The metaphors themselves are also peculiar, associated with the archetype of the way: inanimate strings, gradually turning into living blades of grass, intertwined with roots with all that exists. During the search for Margo, Quentin grows up significantly, becomes more tolerant to their friends, and he learns to take responsibility for him. The image of Margo is the image of a rebel against any lack of freedom that it is inevitable in the “golden cage”. It is also revealed how Quentin is influenced by the new world opened during his trips, and his personal environment: for example, Radar opens his eyes to the fact that he does not need to demand too much from others. Both Margo is changed (from a “paper” girl – to a real one) and Ben and Radar are changed (false interests go into the background; everyone learns to expose himself to risks and troubles for the sake of friendship and human salvation). Ben and Radar are also shown in the development, in a short time they learn to understand each other and distinguish false values from true ones. These changes occur with all the teenagers, regardless of their skin color and nationality, and such an interpretation of the insignificance of formal differences is also a new word of the author.

scholarly journals The Metaphors of Quests, Labyrinths and the Dance of Kali in Christopher Koch’s The Year of Living Dangerously

2016 ◽  
Vol 1 (2) ◽  
Author(s):  
Sathyabhama Daly
Keyword(s):  
Moral Dilemma ◽  
The Novel ◽  
Contemporary Society ◽  
Cultural Divide ◽  
The World ◽  
Moral Choices ◽  
Good And Evil ◽  
The Way

Ovid’s myth of the Cretan labyrinth, constructed by Daedalus to hide the Minotaur, the monster that is a result of Pasiphae’s lust, and Dante’s labyrinth of Hell, in The Inferno, are literary allusions that conjure images of imprisonment and moral dilemma. In this paper, I explore the metaphor of the labyrinth in The Year of Living Dangerously (YLD) and the way in which Koch integrates this metaphor with Christian, Hindu and Buddhist myths so as to engage with the cultural divide that continues to influence Christian and non-Christian worldviews. The labyrinth metaphor emerges through the imagery of the novel which focuses on caves, shadows, circuitous paths, entrapment, and moral choices. In the novel, the metaphor of the labyrinth is conveyed through the underworld imagery of Indonesian society and through the Wayang Bar, the citadel of the journalists trapped in a world of political intrigue and of good and evil. Metaphorically evoking the medieval concept of the world as a perilous maze, Koch uses the labyrinth as a way of imaging the search for the sacred in contemporary society.

scholarly journals Od kulturowego pojmowania przestrzeni ku rozważaniom o wieczności. Dyskurs przestrzenny w powieści Brisbane Jewgienija Wodołazkina

2021 ◽  
Vol 46 (2) ◽  
pp. 79-91
Author(s):  
Monika Sidor
Keyword(s):  
Internal Structure ◽  
Reading Process ◽  
The Novel ◽  
Cultural Understanding ◽  
City Space ◽  
Autobiographical Fiction ◽  
The Individual ◽  
The Way

This article deals with different aspects of space in the text of Eugene Vodolazkin’s novel Brisbane as well as in its studies and reception. Successive parts of the research are devoted to lieux de mémoire in autobiographical fiction, cultural understanding of the space of the home and places which traditionally create the image of Kiev and the individual mythology of this city. Space perceived in the way modified by culture is a certain frame in which both the hero of Vodolazkin lives and a receiver reads the novel. It is also an important component of the work’s internal structure, the factor responsible for certain genre associations that determine the direction of the reading process. In all these forms of functioning, space is thematically related to the reflection on death. The author concludes that the understanding of space leads to the rejection of the physical future and the affirmation of eternity understood in a religious way, in line with medieval tradition.

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.

scholarly journals Die politiek van die mens-hondverhouding in Op ’n dag, ’n hond van John Miles

Literator ◽  
2018 ◽  
Vol 39 (1) ◽  
Author(s):  
Adéle Nel
Keyword(s):  
Human Life ◽  
Moral Agent ◽  
Theoretical Framework ◽  
Nonhuman Animal ◽  
The Novel ◽  
The Past ◽  
Good And Evil ◽  
The Way

The politics of the human-dog relationship in Op ’n dag, ’n hond by John Miles. This article investigates the way in which the human-dog relationship is presented in the novel Op ’n dag, ’n hond by John Miles. The premise of this article is that the novel can be read within the theoretical framework of Posthumanism, in which the embodied communalities of humans and animals (dogs) are emphasised. Despite the differences between the human and nonhuman animal, it is possible to constitute relationality, based on their shared physical mortality. The investigation will focus on the visual paradigm of the novel: the reciprocal view between dog and human, human and dog, which contradicts anthropocentricism and establishes an intersubjective relationship. The dog as guide embodies a moral agent that causes the teacher to look downward, into the underworld, as well as backward to the past. This, in turn, foregrounds the issues of loyalty and betrayal, and the balance between good and evil in a human life.

scholarly journals Orwellʼs Panoptic Society: Methods of Gaining and Maintaining Power in Nineteen Eighty-Four

2020 ◽  
Vol 22 (22) ◽  
pp. 299-319
Author(s):  
Aleksandra Stojanović ◽  
Keyword(s):  
Power Relations ◽  
The Novel ◽  
Disciplinary Power ◽  
Totalitarian Regime ◽  
Group Psychology ◽  
Entire Society ◽  
The Individual ◽  
The Way

The goal of the paper is to demonstrate Orwell’s society as a panoptic one, employing all of the elements of Jeremy Bentham’s Panoptical model, as well as presenting it through Foucault’s conception of the shift from punishment to discipline as stated in Discipline and Punish: The Birth of the Prison. Panopticon will be presented not as a model of a prison as it was initially intended to be, but as a concept which can be applied to the entire society. The two types of power, the power of sovereignty and disciplinary power shall be applied to the novel with the aim of finding parallels between the two mentioned systems, as well as some possible contraditions and deciding which system is in place in Nineteen Eighty-Four. Constant surveillance, establishing routines and controlling activity will be discussed in terms of mechanisms for gaining and maintaining power. Hate is seen as another mechanism for establishing power and one of the key emotions implemented in group psychology of a totalitarian regime. We shall discuss the role of the collective and the individual in power relations and the way they form ”collective individualism” – a society in which one may notice both a unity of the group and an isolated individual.

Jonathan Lethem's Genre Evolutions

2009 ◽  
Vol 43 (3) ◽  
pp. 425-440 ◽  
Author(s):  
JAMES PEACOCK
Keyword(s):  
Detective Fiction ◽  
The Novel ◽  
Literary Influence ◽  
Ethical Concerns ◽  
Asking Questions ◽  
The Individual ◽  
Occasional Music ◽  
The Way

This article proceeds from the observation that all of Lethem's novels subvert traditional genres in some way, and argues that the way genres mutate or evolve reflects one of his central ethical concerns – evolution itself. Many of the characters in Gun, with Occasional Music (1994) are “evolved animals” that have undergone “evolution therapy” and can now talk, walk upright, and carry weapons. As the narrator Metcalf observes, these animals are characteristically reluctant to acknowledge their animal lineage. Here one sees evolution's contradiction: it purports to be progress, but is also a melancholic forgetting of origins. In a world where a drug called Forgettol abstracts people from their own memories, it is the detective's job, though he is despised for it, to continue asking questions and remind people of shared culpability and connected narratives. Metcalf, this paper suggests, is engaged in a struggle to maintain the novel as detective fiction, to resist the encroaching sci-fi elements which symbolize the death of community through increasing dependence on an unethical science of forgetting. Amnesia Moon (1995) depicts a postapocalyptic America in which the typical “evolutionary” reaction to the unspecified catastrophe is a retreat into a blinkered regionalism which, like Forgettol or evolution therapy, encourages the individual to forget any sense of wider responsibility. The article concludes with reflections on literary influence and the evolution of Lethem's own work in subsequent novels.

scholarly journals Travelling as a quest for identity in the novels of J. M. G. Le Clézio and B. Wongar: Walg and Desert

2016 ◽  
Vol 9 (2) ◽  
pp. 483
Author(s):  
Jelena Arsenijević-Mitrić
Keyword(s):  
North Africa ◽  
Spiritual Healing ◽  
Western World ◽  
Growing Up ◽  
The Novel ◽  
Joseph Campbell ◽  
The People ◽  
Individuation Process ◽  
Cultural Dominance ◽  
The Individual

Novels Walg and the Desert preserve the motifs of the quest for identity, caused misbalance and the spiritual healing, as well as the notion to blend the individual into the archetypical heritage. At the very base of these stories lies the journey in order to achieve the spiritual reconstruction. Wongar and Le Clézio follow the process of growing up of their heroines, which tend to maintain the connection with their original being and, at the same time, maintain a connection with the world surrounding them, whilst succeeding in the process to resist the alienation. Regarding the individuation process and the archetype of initiation, this study is based on research conducted by Jolande Jacobi, Mircea Eliade, Marie-Louise von Franz, and Joseph Campbell. Through stories of the strife which their heroines survived, authors simultaneously write about the exodus of nations which are seen in the novel. The colonizers, in both novels, tend to deprive the people of their nomadic spirit, and of their connection with the very soil, which is characteristic for both Aborigines of Australia, as well as for Berber tribes of North Africa. Western world has been, in the visions of these two authors, represented as essentially violent and destructive. The exclusiveness of rationalism and of pragmatism leads to the dangerous waters of waywardness and to the creation of cultural dominance, founded upon physical, intellectual and spiritual submission of other cultures.

Hierarchical switching in a multi-dimensional task space is not induced by specific task cues

2001 ◽  
Vol 209 (2) ◽  
pp. 105-117 ◽  
Author(s):  
Thomas Kleinsorge ◽  
Herbert Heuer ◽  
Volker Schmidtke
Keyword(s):  
Specific Task ◽  
Task Space ◽  
Basic Pattern ◽  
Task Representation ◽  
Switching Mechanism ◽  
Factorial Combination ◽  
Individual Task ◽  
The Individual ◽  
The Way

Summary. When participants have to shift between four tasks that result from a factorial combination of the task dimensions judgment (numerical vs. spatial) and mapping (compatible vs. incompatible), a characteristic profile of shift costs can be observed that is suggestive of a hierarchical switching mechanism that operates upon a dimensionally ordered task representation, with judgment on the top and the response on the bottom of the task hierarchy ( Kleinsorge & Heuer, 1999 ). This switching mechanism results in unintentional shifts on lower levels of the task hierarchy whenever a shift on a higher level has to be performed, leading to non-shift costs on the lower levels. We investigated whether this profile depends on the way in which the individual task dimensions are cued. When the cues for the task dimensions were exchanged, the basic pattern of shift costs was replicated with only minor modifications. This indicates that the postulated hierarchical switching mechanism operates independently of the specifics of task cueing.

If Looks Could Kill

2020 ◽  
Vol 3 ◽  
pp. 81-84
Author(s):  
Karen Chan
Keyword(s):  
Skin Color ◽  
Daily Rhythm ◽  
Significant Rate ◽  
Chinese Canadian ◽  
First Time ◽  
The Way

For me, rhythm means having consistency. The piece highlights my own experience with the disruption of my daily rhythm due to COVID-19. The first half shows my routine and interactions prior to COVID-19 while the second half shows my experiences in the present day. Prior to the virus, I had a day to day routine that was filled with noise. Everyday moved quickly and I established a daily rhythm. However, when COVID-19 spread, it changed everything. I felt like I didn’t have a routine anymore because I wasn’t allowed to go anywhere. Time was moving much slower and worst of all, xenophobia was growing at a significant rate. As a Chinese Canadian, this was the first time I truly felt the weight of the color of my skin. COVID-19 changed the way that I consistently assumed that the color of my skin wasn’t something that strangers would significantly care about. However, as I got on a bus, I unintentionally scared a woman simply because of my skin color. From that point, I knew that xenophobia would affect the way people perceived me everyday. The woman was scared of the virus— which in turn was scared of me—and I was scared that she would thwart her anger towards me because I am Chinese. If looks could kill, then the woman and I ironically both feared each other. Now, due to COVID-19, I am adapting to a new routine. A routine where the color of skin rings louder than any other sound.

Reverence, Revision and Creaturely Life: Whitehead’s Political Theology of Enjoyment

2018 ◽  
Author(s):  
Beatrice Marovich
Keyword(s):  
Political Theology ◽  
Free Society ◽  
Actual Entity ◽  
Symbolic Code ◽  
Strategic Motivation ◽  
The Individual ◽  
The Way

‘The art of free society’, A.N. Whitehead declares in his essay on symbolism, is fundamentally dual. It consists of both ‘maintenance of the symbolic code’ and a ‘fearlessness of [its] revision’. This tension, on the surface paradoxical, is what Whitehead believes will prevent social decay, anarchy, or ‘the slow atrophy of a life stifled by useless shadows’. Bearing in mind Whitehead’s own thoughts on the nature of symbolism, this chapter argues that the figure of the creature has been underappreciated in his work as a symbol. It endeavors to examine and contextualize the symbolic potency of creatureliness in Whitehead’s work, with particular attention directed toward the way the creature helps him to both maintain and revise an older symbolic code. In Process and Reality, ‘creature’ serves as Whitehead’s alternate name for the ‘individual fact’ or the ‘actual entity’—including (perhaps scandalously, for his more orthodox readers) the figure of God. What was Whitehead’s strategic motivation for deploying this superfluous title for an already-named category? In this chapter, it is suggested that his motivation was primarily poetic (Whitehead held the British romantic tradition in some reverence) and so, in this sense, always and already aware of its rich symbolic potency.

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