scholarly journals Logos of narration in a philological novel

2021 ◽  
Vol 27 (3) ◽  
pp. 222-227
Author(s):  
Natal'ya V. Ivdenko
Keyword(s):  
Narrative Strategy ◽  
The Subject

The article is devoted to studying connection of the narrative strategy with the features of a philological novel. The strategy realises “event” of communication between the subject and the addressee of the narration as well as it is a marker of the genre variety. As a result the strategy turns out to be associated with the categories of genre and discourse. On the basis of the works of different scientists, the problem of the correlation of the concepts is considered. The hypothesis is put forward that the logos of narration serves as a «mediator» between the strategy and genre features of a philological novel. On the basis of Charles Sanders Peirce’s doctrine about the typology of signs, the logos of narration in Vladimir Novikov’s novel «A Romance with Language» and David John Lodge’s novel «Nice Work» is explored. The analysis reveals the presence of iconic and metabolic logos in Vladimir Novikov’s novel while emblematic, in Lodge’s novel. The features of discursiveness in the novels testify to its connection with the genre features of a philological novel (playing with the reader, irony, provocativeness and the search for an ideal recipient). As an indicator of narrative modality (it is one of the elements of the strategy), the logos of narration becomes a «mediator» between the strategy and the characteristics of the genre in question.

scholarly journals The peculiarities of sociopolitical news discourse on the example of regional news public pages in the social network VKontakte

2021 ◽  
pp. 1-17
Author(s):  
Olesya Yur'evna Gorchakova ◽  
Anastasiya Vyacheslavovna Larionova ◽  
Yuliya Konstantinovna Aleksandrova ◽  
Evgenii Yur'evich Petrov
Keyword(s):  
Social Network ◽  
Value Judgments ◽  
Narrative Strategy ◽  
News Content ◽  
News Reports ◽  
News Discourse ◽  
The Social ◽  
The Media ◽  
The Subject ◽  
Empirical Material

The subject of this research is the news content of public pages in the social network VKontakte. The goal consists in examination of peculiarities of organization of the regional news discourse, comparison of Tomsk and Novosibirsk news public pages. For achieving the set goal, the article employs the methods of qualitative (manual coding and machine learning) and quantitative data processing (content analysis, thematic analysis, psycholinguistic analysis). The empirical material contains regional news reports on sociopolitical topics, available for public viewing in the social network VKontakte (Tomsk and Novosibirsk). Analysis is conducted on the 3,786 postings in Novosibirsk and 887 postings in Tomsk. The author determines peculiarities and differences of media consumption depending on the region. It is noted that the federal news enjoy greater popularity among the users of the social network VKontakte; Tomsk residents are more concerned with the news reports covering regional events. The article reveals the specifics of creating news content characterized by the tendency towards narrativization of the news discourse. The prevalent narrative strategy of the media authors of regional news public pages consists in factual interpretation of the material with responses of high-ranking officials, authorized representatives of various structures, as well as regular persons (their opinions and attitudes, value judgments).

Learning to Hate

2020 ◽  
pp. 84-115
Author(s):  
Anna Toropova
Keyword(s):  
Social Order ◽  
Film Noir ◽  
The Body ◽  
Direct Role ◽  
Narrative Strategy ◽  
The Subject ◽  
The Spectator ◽  
Post War ◽  
Defence Strategies

With the return of the thriller genre onto Soviet screens in the late 1930s, cinema took a direct role in cultivating feelings of paranoid hatred for enemies. A body of films staging conspiracy, sabotage, and dark plots deployed the image of a persecutory ‘other’ to draw the defensive contours of Soviet identity. The Stalinist thriller’s mechanisms of paranoid projection and ‘splitting’ manufactured a sense of narcissistic self-mastery by directing outwards the ego-hostile forces internal to the subject. These paranoid defence strategies depended, however, on a risky process of negotiation. To create an image of a unified and harmonious social order, the thriller vividly represented threats to Soviet borders and identity, exposing their precariousness and fragility. Focusing on the genre’s deployment of the figure of duplicitous enemy and the narrative strategy of suspense, this chapter shows how the thriller’s characteristic unsettling of familiar patterns of identification turned the enemy’s ‘otherness’ into an object of fascination as well as repulsion. The thriller’s capacity to collapse boundaries between ‘Soviet’ and ‘unSoviet’ was nowhere more apparent than in the body of ‘dark’ films that emerged during the post-war period. Gesturing towards film noir’s pervasive sense of enclosure, loneliness, and anxiety, post-war thrillers like Secret Mission (dir. Mikhail Romm, 1950) and A Scout’s Exploit (dir. Boris Barnet, 1947) no longer permitted the spectator to identify with a position of narcissistic self-mastery. These ‘dark’ post-war thrillers conjured up a universe in which systems of knowledge proved unstable and identity structures vulnerable to contamination.

‘Pushing the envelope’: The Representation of Jazz, Sex and Violence in Fred Khumalo’s Bitches’ Brew

2020 ◽  
Vol 47 (1) ◽  
pp. 69-95
Author(s):  
Jabulani Mkhize
Keyword(s):  
Subject Matter ◽  
Black Masculinity ◽  
The Novel ◽  
Narrative Strategy ◽  
Call And Response ◽  
The Subject ◽  
And Gender ◽  
Bitches Brew ◽  
Jazz Performance ◽  
The Relationship

This paper, primarily, explores the extent to which Fred Khumalo’s novel, Bitches’ Brew, can be considered a jazz novel by looking at both its subject matter and form. It argues that the transgressive power of Khumalo’s novel lies in its use of epistolary form as a narrative strategy that is akin to a jazz solo, marked as it is by a dialogical narrative that is similar to the call and response pattern that bears an affinity to a jazz performance. In terms of the subject matter, the central thrust of the argument is that the over-arching predominance of sex and violence in the text threatens to overshadow the musicality of the text, even as masculinity and misogyny are considered as the other side of the coin of jazz. In its exploration of the jazz and gender interface, this paper highlights how the phallocratic logic that informs and dominates the novel is indicative of the fact that Khumalo may have ‘pushed the envelope’ too far in his representation of masculinity and misogyny in jazz culture in his writing of this work. That Khumalo's novel fails to interrogate the relationship between jazz and black masculinity, but rather endorses and valorises it, serves to reinforce the stereotype of misogyny in jazz culture. Keywords: Fred Khumalo, Bitches’ Brew, jazz, musicality, masculinity, misogyny

scholarly journals NARRATIVE STRATEGIES IN L. ULITSKAYA ’S NOVEL THE KUKOTSKY ENIGMA

2020 ◽  
Vol 11 (3) ◽  
pp. 65-75
Author(s):  
I.S. Bukal ◽  
Keyword(s):  
Short Stories ◽  
Research Methodology ◽  
Research Result ◽  
The Novel ◽  
Narrative Strategies ◽  
Problem Statement ◽  
Narrative Strategy ◽  
The World ◽  
The Subject ◽  
Points Of View

Problem statement and goal. Lyudmila Ulitskaya is one of the most widely read contemporary Russian authors. L. Ulitskaya’s works are popular not only in Russia, but also in other countries. They arouse genuine research interest both among literary critics and linguists. Currently, there are more than two dozen dissertations, many review chapters in monographs, as well as scientific articles devoted to the analysis of such works of the author as novellas Sonechka, The Funeral Party, Women’s Lies; collections of short stories Poor Relatives, Girls, Gift not made with hands; novels Sincerely your Shurik, Medea and Her Children, Daniel Stein, Interpreter, The Big Green Tent. L. Ulitskaya’s novel The Kukotsky Enigma remains the least studied text of the author. In this article, the content of this novel is analyzed for narratology. The researcher reflects on one of the topical literary problems: the influence of narrative strategies on the reception of the author’s text. The research was based on the works by V. Tyupa, Yu. Lotman, N. Leiderman, and M. Lipovetsky. The research methodology is based on historical-cultural and structural-typological approaches. The subject of the research is the specifics of the implementation of narrative strategies in L. Ulitskaya’s novel The Kukotsky Enigma. Research result. Based on the analysis of L. Ulitskaya’s novel The Kukotsky Enigma, it is shown how the narrative strategy of the work affects its potential reception. Based on the concept by V. Tyupa, who defined the narrative strategy as a set of three equivalent bases (the narrative picture of the world, the narrative modality, and the narrative intrigue), the researcher identifies the changes that the narrative strategy undergoes in the course of the plot development, notes how these changes affect the poetics of the novel and its axiological content. Conclusion. The narrative strategy by which the narrative of the novel in question is organized can be defined as “the strategy of breaking the horizon of readers’ expectations”. Multiple changes in the narrative instance fill the work with a variety of points of view, creates a sense of ghostly, ephemeral events, and encourages the reader to independently search for the truth. The content of the novel is not directly dependent on the chronology of events. Fragments of the story are arranged inversely, segmentally, so that their juxtaposition contributes to the fullest understanding of the content. The narratives presented in the novel actualize the “ontological intrigue”, based on the representation of individual mythopoetic models and revealing the plot of comprehension of truth and purpose.

Kleists Teichoskopie auf die Moderne. Über Kollektive, Meuten, Subjekte und das Tier-Werden im Trauerspiel Penthesilea

2015 ◽  
Vol 9 (2) ◽  
Author(s):  
Martin Bartelmus
Keyword(s):  
Group Formation ◽  
Human Being ◽  
Human Beings ◽  
Separation And Purification ◽  
Specific Group ◽  
Narrative Strategy ◽  
Female Protagonist ◽  
The Subject ◽  
Human Actors ◽  
The Way

AbstractIn Kleist’s so called »Trauerspiel«Assuming this perspective on the text it is now possible to negotiate subjectivity and individuality as ideological constructions. This allows for approaching its deconstruction as well as other modes of being such as group-formation, hybrid and the pack. By associating Penthesilea to her dogs Kleist’s text aims at the fragile status of human beings in the Modernity. Penthesilea is thus turned into an animal. As a murderous pack the female protagonist stands amongst being aTo understand Kleist’s »ethnological view« on the constitutive self-descriptions of Modernity, it is expedient to read Penthesilea as an ontological experiment. With the help of the concept of theTo meet the significance of Penthesilea’s tragedy it is indeed necessary not to stop at the point of understanding the Becoming-Animal as a subversive and critical act. With Bruno Latour’s ethnological view on Modernity it is possible to re-construct Kleist’s strategy of talking about Becoming-Animal as shift to reconsider the way of assembling human and non-human actors. The pack will be understood as a specific group-formation and the Becoming-Animal as a mode of existence. In his latest workModernity, Latour argues, has always constituted Nature as an objective external place, whereas Society has always been constituted as the place of subjects. Around 1800 the practices of separation and purification of hybrids and group-formations are expressed through a dispositive of humanism that emerges amidst the tension of the discourses of romanticism, classicism, medicine, psychology, anthropology, and philosophy of the subject. The aim of the present article is to show that the entanglement of those mentioned theories by Latour and Deleuze/Guattari is important for the understanding of Kleist’s critical view on the fragile constructedness of the subject as a human being.Therefore the play makes use of a narrative strategy which is highly apt to show those compounds: the »teichoscopy«. With this seemingly detached way of observation Kleist is able to report not only on the practices of separation and purification, but also on the hybrids and group-formations.The article adopts this strategy to observe both sites of Kleist’s understanding of the Modernity. Hence, section 2 of the analysis starts with a first teichoscopy on hybrids and group-formations in the (self-)descriptions of Amazons and Greeks.On the basis of the state of war the protagonists in the play are always associated with animals, things and other humans. With the focus on Achilles and Penthesilea it is significant how language is involved in constructing, out of these hybrids, the dichotomy between subject and object and therefore unambig­uous ontological statuses. However, with the term of Becoming-Animal that dichotomy is suddenly uncertain. On this account the aim is to understand animals and things not asThat leads to the second teichoscopy in section 3. The focus shifts now to Penthesilea’s process of Becoming-Animal. This allows to show the power of Modernity as well as their concepts of »human« and »animal«. Therefore Penthesilea’s association with her dogs and the slaughter of her lover Achilles – as a dog, like a dog and with her dogs – is not displayed in the play, but it is reported by the Amazons. This uncertain form of report points to the crux of Kleist’s tragedy: Penthesilea and her dogs undermine the established regulatory power and the dispositive of humanism around 1800. Still, Kleist does not persist in an elaborated ideal. For that he demonstrates the counter-mechanisms of Modernity on Penthesilea: this includes turning Penthesilea literally into an animal, or in other words, transforming the Becoming-Animal into a solid state of being by means of performative speech.Under those circumstances the perspective changes in section 4: the play abandons the strategy of teichoscopy in favour of the monologue to execute on Penthesilea a radical re-subjectivation. The asymmetry of Modernity results in a desperate suicide: the pack yields the subject, instead of the group-formation a single human being comes to existence. Penthesilea has to remove all other non-human actors like her bow and her dogs from herself to understand herself as a human being in the way of Modernity.Consequently Becoming-Animal – as implied – is a mode of existence outside of established institutions. This mode breaks with the old institutions of Modernity established by the

scholarly journals Metalepsa jako strategia narracyjna w dziełach literackich i filmowych (analiza zjawiska na wybranych przykładach)

2015 ◽  
pp. 384-475
Author(s):  
Magdalena Karkiewicz
Keyword(s):  
Short Story ◽  
Western Europe ◽  
Higher Order ◽  
The Novel ◽  
Narrative Strategy ◽  
Forbidden Transition ◽  
Starting Point ◽  
The Subject ◽  
Gerard Genette ◽  
Ontological Uncertainty

Logically forbidden transition, the impossible transgression, fictional characters moving through the boundaries between levels of (un)reality and the attempt to cross the ‘frames’ of artistic presentation constitute the essence of the subject of this dissertation: the metalepsis. This term, originally derived from the rhetoric, was annexed to narratology field in 1972 by a French theoretician, Gérard Genette. In his book Figures III, he described a narrative metalepsis (ʻla métalepse narrativeʼ) as ʻany intrusion by the extradiegetic narrator or narratee into the diegetic universe (or by diegetic characters into a metadiegetic universe, etc.), or the inverse.ʼ The definition became a starting point for further research on metalepsis, which in recent years has gained particular popularity in Western Europe. It was noticed that metalepsis is particularly characterized by the comic potential and Woody Allen’s movie ‘Purple Rose of Cairo’ is a perfect example of it. However, the influence range of this figure seems to go far beyond the mere evocation of emotions. The analyzed examples of the use of metalepsis as a narrative strategy, for example a short story written by Julio Cortázar The Continuity of Parks, have emphasized the specificity of impact of this figure on the recipient. By corresponding with such phenomena as ʻmise en abymeʼ or ʻtext in the textʼ, metalepsis draws attention to the recipients, the readers or the viewers themselves and puts them in ontological uncertainty concerning their own existence. Since heroes of the fictional worlds can move between levels of diegesis, leave the novel or the cinema screen, read the book about their own fate or suddenly realize that they are the imaginary creatures created by some higher creative’s instance and ruled by a higher order, then how can we be sure that we are for r e a l ?

The narrative strategies of the Soviet graphic stories for children (a comparative analysis of the graphic stories about Clever Masha with D. Kharms’s and N. Gernet’s texts)

2020 ◽  
Vol 7 (2) ◽  
pp. 379-402
Author(s):  
Aleksandra Andreevna Brykova
Keyword(s):  
Comparative Analysis ◽  
Narrative Strategies ◽  
Original Stories ◽  
Narrative Strategy ◽  
Young Readers ◽  
Different Types ◽  
The Subject ◽  
Pedagogical Function ◽  
Children's Speech

The article discusses the narrative strategies of original graphic stories about Clever Masha (published in “Chizh” magazine in 1934-1937) and reprinted versions of these stories, which texts were written by N. Gernet (firstly published in 1965). Syntactic and pragmatic analyses help us to show, that both these strategies have common principles of textual coherence and chronological continuation. At the same time the narrative strategy of the original stories actualizes chronotope and dynamic elements of the plot and contains the subject vocabulary duplicating the visual part of the stories so that it demonstrates lot in common with the representative and iconic type of children’s speech. Meanwhile the narrative strategies of Gernet’s texts show the higher level of creolization because of usage of different types of predicates, more complicated way of representation and changing the monologic type of speech to the dialogical one. Moreover, the narrative strategy of the reprinted stories focuses on adult’s narration instead of children’s oral narration in the original stories which means the explicit cooperation with the readers influencing their perception and forming their views and opinions, so that now these stories don’t fulfill the entertaining, but the pedagogical function encouraging young readers to behave as Clever Masha does.

scholarly journals On the back burner: Depictions of fascism in contemporary TV drama

2021 ◽  
Vol 24 (4) ◽  
pp. 45-58
Author(s):  
Paweł Kaczmarski
Keyword(s):  
Central Element ◽  
Narrative Strategy ◽  
The Subject ◽  
The Absolute

The article seeks to describe and examine one of the possible (and arguably increasingly popular) approaches to the subject of fascism in contemporary TV drama: a narrative strategy that is defined by its willingness to go beyond the depiction of fascism as the absolute political Other, but nonetheless aims to produce a compelling and thorough critique of fascism. This is largely achieved by turning the subject of fascism into an ostensibly non-central element of the plot. By examining a number of contemporary TV series (The Crown, The Man in the High Castle, Peaky Blinders, Pennyworth and The Knick), and drawing certain analogies to Jonathan Littell’s The Kindly Ones, I aim to showcase the narrative effectiveness of a thus defined “back-burner” strategy — while linking this effectiveness to the formal possibilities opened up by contemporary TV drama.

Words

PMLA ◽  
1935 ◽  
Vol 50 (4) ◽  
pp. 1320-1327
Author(s):  
Colbert Searles
Keyword(s):  
Subject Matter ◽  
Assistant Professor ◽  
The Subject

THE germ of that which follows came into being many years ago in the days of my youth as a university instructor and assistant professor. It was generated by the then quite outspoken attitude of colleagues in the “exact sciences”; the sciences of which the subject-matter can be exactly weighed and measured and the force of its movements mathematically demonstrated. They assured us that the study of languages and literature had little or nothing scientific about it because: “It had no domain of concrete fact in which to work.” Ergo, the scientific spirit was theirs by a stroke of “efficacious grace” as it were. Ours was at best only a kind of “sufficient grace,” pleasant and even necessary to have, but which could, by no means ensure a reception among the elected.

Artificial satellite orbit computations

1966 ◽  
Vol 25 ◽  
pp. 363-371
Author(s):  
P. Sconzo
Keyword(s):  
Artificial Satellite ◽  
Satellite Orbit ◽  
Artificial Satellites ◽  
Orbital Elements ◽  
Differential Correction ◽  
Gravitational Effects ◽  
Short Intervals ◽  
The Subject ◽  
Introductory Discussion ◽  
Orbit Computation

In this paper an orbit computation program for artificial satellites is presented. This program is operational and it has already been used to compute the orbits of several satellites.After an introductory discussion on the subject of artificial satellite orbit computations, the features of this program are thoroughly explained. In order to achieve the representation of the orbital elements over short intervals of time a drag-free perturbation theory coupled with a differential correction procedure is used, while the long range behavior is obtained empirically. The empirical treatment of the non-gravitational effects upon the satellite motion seems to be very satisfactory. Numerical analysis procedures supporting this treatment and experience gained in using our program are also objects of discussion.

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