scholarly journals THE POETICS OF REALISM AND THAT OF SOCIALIST REALISM

2019 ◽  
Vol 2 (2) ◽  
pp. 19-23
Author(s):  
Lirim Sulko
Keyword(s):  
18Th Century ◽  
Socialist Realism ◽  
Communist Regime ◽  
Literary Genre ◽  
The Novel ◽  
New Man ◽  
Suitable Form ◽  
The One ◽  
The Individual ◽  
Psychological Novel

When discussing the poetics of realism, we consider the fact that the indisputable dominant literary genre is the novel which, since the 18th century, in the context of romantization, turned out to be a suitable form for expressing the basic contradiction of romantization, the one between the individual and the community, where the hero is a direct expression of the archetype of the romantic individual. Later, in the nineteenth century, the novel became the main literary genre in Western literature as well, which, through the development of the psychological novel (the non-psychological, pre-psychological novel, is only a form of epic or satire) becomes an expression of the individualist vocation characterizing western civilization, when the latter has finally passed from the traditional (holistic) society to modern (individualist) society. Even in the poetics of socialist realism, the novel remains the most favorite lyrical genre (in addition to poems and lyrical poetry) being directly linked to the base paradigm of the communist regime, which was the creation of a ‘New Man’.

Strolling in Tel Aviv: Setting Up and Breaking Down Boundaries in S. Yizhar'sPreliminaries(Mikdamot)

AJS Review ◽  
2017 ◽  
Vol 41 (1) ◽  
pp. 67-88
Author(s):  
Dvir Tzur
Keyword(s):  
The Other ◽  
The Novel ◽  
Urban Experience ◽  
Tel Aviv ◽  
Other Hand ◽  
The World ◽  
The One ◽  
The Individual

The article discusses the image of Tel Aviv, the first Hebrew city, as it is described in the novelPreliminariesby S. Yizhar (Yizhar Smilansky), one of Israel's best-known authors. In this novel, which engages with the question of home and borders, borders function as a double-edged sword: on the one hand, they define home and create a circumscribed place for the protagonist and his family. On the other hand, the novel dwells on the urge to cross borders and shatter the distinction between home and the world. In this regard, Tel Aviv is sometimes described as a pleasant, “normal” city, yet at other times it is written as a perilous place—since it divides between Jews and Arabs. Tel Aviv is also the place where one can imagine a great future or see a concealed history. It is a total urban experience, encapsulating the individual.

scholarly journals Nu vil jeg fortælle Jer mere – Fortællingen om Uglenspeil fra folkebog til roman

2016 ◽  
Vol 13 ◽  
pp. 54-82 ◽  
Author(s):  
Simona Zetterberg Gjerlevsen
Keyword(s):  
Comparative Analysis ◽  
18Th Century ◽  
Literary Genre ◽  
The Novel ◽  
English Novel ◽  
Literary Forms ◽  
Narrative Techniques ◽  
The Relationship

Now I will tell you more – The story of Uglenspeil from the Volksbuch to the Novel.“Nu vil jeg fortælle Jer mere – Fortællingen om Uglenspeil fra folkebog til roman” [Now I will tell you more – The story of Uglenspeil from the Volksbuch to the Novel] addresses one of the most frequently debated matters in the historiography of the novel, namely the question of continuity and rupture: did the novel grow out of earlier forms, or rise as a profoundly new genre? Whereas the question of legacy informs the historiography on the English novel, there are surprisingly few investigations of the 18th century Danish novel and its relation to previous literary forms. This article investigates the relationship between the novel and the most widely read literary genre before the novel in Denmark, namely the volksbuch. It does so through a comparative analysis of Carl August Thielo's novel Den Unge Uglenspeil, eller det slet opdragne Menneske [The Young Uglenspeil, or the Person who was brought up badly] (1759) and the Volksbuch Tiile Ugelspegel (1669) (in Jacobsen, Olrik and Paulli 1930). These works are particularly informative for understanding the relationship between the two genres as Thielo’s novel is built on – and at the same time comments on – the earlier genre. The article argues that the differences between the texts concerning fictionality, narrative techniques, structure, and their levels of reflections are so fundamental that the novel cannot be regarded a genre that simply grew out of the former. Especially with regard to fictionality, it becomes clear that the volksbuch and the novel are two very different genres. Whereas the novel comes to admit its own fictional status, the volksbücher were perceived of and intended to be taken as true stories. For those reasons, the article concludes that compared to previously most popular prose genre in Denmark, the Danish novel is to be considered a profoundly new genre.

scholarly journals Pyotr Chardynin’s The Idiot as a Phenomenon of Creative Reinterpretation of Dostoevsky’s Novel

2019 ◽  
Vol 11 (4) ◽  
pp. 34-42
Author(s):  
Anastasia Ryabokon’
Keyword(s):  
Film Adaptation ◽  
The Novel ◽  
Human Beings ◽  
National Cinema ◽  
Garden Of Eden ◽  
Human Personality ◽  
The World ◽  
The One ◽  
The Individual ◽  
Main Protagonist

The essay explores the artistic and expressive features of the world's first film adaptation of Dostoevsky's novel The Idiot, directed in 1910 by Pyotr Chardynin. The author substantiates the degree of influence of one of the most important philosophical concepts of the novel that of a split in the human personality on Russian national consciousness at the beginning of the 20th century. The analysis of the figurative system of the film shows that its semantics and the images of its characters were ahead of its time and, therefore, deserve closer critical attention.In the The Idiot the idea of Dostoevsky about a human beings separateness in the world is revealed in the four main characters Prince Myshkin, Parfyon Rogozhin, Nastasya Filippovna and Aglaya who are not complete, full-fledged personalities but separate components of a harmonious human personality. These characters, like puzzle pieces, possess mutually complementary qualities. Thus, Prince Myshkin, the bearer of the highest spirituality, is contrasted with the earthly and passionate Rogozhin. And the images of Nastasya Filippovna and Aglaya are connected, respectively, with the images of Heavenly Love and Earthly Love. If the characters of the novel could unite with each other in love and harmony, the world would get a complete harmonious person, like the one created by God for the Garden of Eden. However, such a merger seems impossible within the limits of earthly existence. In Dostoevsky's novel the individual parts of the soul could not unite into a harmonious whole. Egoism, passion, pride and imperfection of human nature do allow the protagonists to unite and lead them towards personal disintegration.In Russian national cinema, Dostoevskys idea of human beings separateness undergoes a number of transformations. The changes introduced by Pyotr Chardynin into the film adaptation of the novel mostly relate to the image of the films main protagonist Nastasya Filippovna, whom the filmmaker associates with a dying Russia. Chardynin also transforms other protagonists. Prince Myshkin is the only carrier of the highest spirituality, while Nastasya Filippovna, Aglaya and Rogozhin are earthly and passionate. At the end of the film, Nastasya Filippovnas murderer Rogozhin, dressed in a Russian folk costume, sobs at the bedside of the dead tsarina, while heavenly prince Myshkin who was not accepted by her in her lifetime, comforts the sinner. Chardynins film transforms the idea of a split in the human personality into the idea of the Russian separateness from God, the internal split within the Russian world and, as a consequence, that worlds inevitable death.

scholarly journals NARASI KRIMINALITAS DAN KISAH PERCINTAAN DALAM NOVEL TJERITA NONA GAN JAN NIO ATAWA PERTJINTA’AN DALEM RASIA (1914) KARYA TAN BOEN KIM: KAJIAN PASCAKOLONIAL

2019 ◽  
Vol 3 (2) ◽  
pp. 213
Author(s):  
Dwi Susanto
Keyword(s):  
Social Context ◽  
Cultural Construction ◽  
Material Object ◽  
Literary Genre ◽  
The Novel ◽  
Colonial Era ◽  
Liminal Spaces ◽  
Construction Of Identity ◽  
The Social ◽  
The One

Crime and romance were common themes in Chinese Indonesian literature during the colonial era. Although this literary genre falls into a subgenre, it aesthetically provides a covert narration of intermixing worlds: East and West. This paper examines the practices of liminality and identity construction in Tan Boen Kim’s Tjerita Nona Gan Jan Nio atawa Pertjinta’an dalem Resia (1914). The construction of identity in liminal spaces in the novel is interpreted through postcolonial lens, especially based on the concepts of hybridity and ambivalence. The material object of this study is the novel, and the formal object is the meeting of the subjects in the liminal space. The data are collected from the content of the text, the topic, the social context, and other relevant sources. The interpretation technique is performed through deconstructive reading and circular reading between the text and the social context. Based on the analysis, it is found that Tan Boen Kim preserved the moral traditions on the one hand but promoted liberalism on the other hand. It is also found that the author’s attitude in “moderation” (moderate-tradition) position is based upon his choices of cultural construction which is between moderate and tradition—thus making his strategy characterized by ambivalence.

scholarly journals THE DICHOTOMOUS STRUCTURE OF THE TEXTUAL WORLD OF IVAN FRANKO’S NOVEL "LEL’ AND POLEL’" IN THE ASPECT OF LINGUOPOETICS OF MOTIVENESS

2021 ◽  
pp. 114-127
Author(s):  
M. Zaoborna
Keyword(s):  
Literary Work ◽  
The Novel ◽  
Narrative Strategies ◽  
French Studies ◽  
Semantic Organization ◽  
Individual Consciousness ◽  
Intertextual Connections ◽  
The One ◽  
The Individual ◽  
Effect Of Polarity

Based on literary studies, the article highlights the text of Ivan Franko's novel "Lel’ and Polel’" from the perspective of motif as a linguistic text category. In this respect, the motive is defined as linked with the personality of the author (narrator) impulse to create the text, related to the psychological aspect of text-creation and actualized by means of certain lingual signals. Understanding the motive as a text-creating category is expressed against the background of the stages of text generation that structure the trajectory of research considerations: situation → actualization of meanings → motive → intention → text concept → semantic organization of text. At the same time, given the presumption of modern French studies on the implicit autobiography of the writer's novels, the conceptual core of the study turns out to be the thesis of the personal senses of the author (narrator) as the basis for the motive. Thus, the effective summarizing positions of the analysis are centered around the linguistic signals associated with the individual consciousness of the sense-creating activity of the writer. In this respect, the intertextual field of the novel is determined to be relevant for grasping the sense, the basis for deriving the motive for creating the text "Lel’ and Pole’l". Intertextual connections, on the one hand, emphasize and maintain the effect of polarity in the text of the novel, and on the other hand, actualize the state of mental dichotomy that the writer experienced throughout his life. On this basis, an implicit presuppositional assessment of life in general and of the man in particular as dual phenomena has been derived, which correlates with the sense-being problem of Franko's life. As a result, the proposed theoretical construct of the logic of understanding the motivation of the text in relation to the novel "Lel’ and Polel’" has been concretized with the conclusive position: the spiritual and mental world of the writer → ambivalent evaluative sense as a basis for the formation of motive → motive, realized in the image of twin brothers → the intensity of explanatory psychology → textual concept as a logos of human destiny. Therefore, the dichotomous structure of the textual world of the novel "Lel’ and Polel’" is realized as a consequence of emanating the nature of the author's motive for the meaningful organization of the text. At the same time, the specificity of the figurative embodiment of the motive, which is consistent with the figurative-conceptual paradigm of text units formed on the basis of changing narrative strategies of the author, connected by means of associative cohesion, determines the centripetal nature of the text of this literary work.

“Observe, Write!”

2020 ◽  
pp. 49-70
Author(s):  
Arne Höcker
Keyword(s):  
Literary Form ◽  
Institutional Framework ◽  
Literary Discourse ◽  
Literary Genre ◽  
The Novel ◽  
Empirical Psychology ◽  
Fictional Narrative ◽  
Karl Philipp Moritz ◽  
Psychological Knowledge ◽  
Psychological Novel

This chapter examines how Karl Philipp Moritz invoked the psychological productivity of novelistic storytelling in publishing the “psychological novel” Anton Reiser (1785–1790) as part of his project of empirical psychology or Erfahrungsseelenkunde. This use of fictional narrative for the representation of dispassionate observation, and the choice of engaging a literary genre for the production of psychological knowledge assigned irreducible cognitive qualities to literature. Anton Reiser is not only another case of Moritz's extensive psychological project but also a paradigmatic case for the importance of literary form in the observation and recording of psychic phenomena. The institutional framework of the novel is not just the Magazin zur Erfahrungsseelenkunde, but literary discourse as an epistemological rather than aesthetic enterprise. Ultimately, Anton Reiser is a literary exercise in establishing a perspective from which self-observation becomes possible.

scholarly journals Post-Aural Story-Telling and the Iranian Flaneurs: A Benjaminian Reading of Sina Dadkhah’s Yousef Abad, Street 33

2019 ◽  
Vol 8 (4) ◽  
pp. 1
Author(s):  
Bakhtiar Sadjadi ◽  
Bahareh Nilfrushan
Keyword(s):  
Charles Baudelaire ◽  
Urban Literature ◽  
The Novel ◽  
Modern Aspect ◽  
The Everyday ◽  
The One ◽  
The Individual ◽  
The Mind ◽  
Central Characters ◽  
The City

The city has fascinated the street wanderer as the contemplation of modern life. Walter Benjamin’s conception of ‘flâneur,’ originally borrowed from Charles Baudelaire, could be taken as the true legacy of such fascination. There is always a sense of nostalgia being revealed through the flânerie of the city stroller passing through the metropolis, its shopping centers, and boulevards nourishing the mind of the bohemic storyteller with tales of post-aural experience and memory. Adapting Walter Benjamin’s concept of ‘flânerie’ in the streets of Paris to those of Tehran, the present paper attempts to explore Sina Dadkhah’s Yousef Abad, Street 33 in order to demonstrate the post-aural stories of the flaneurs in an Iranian milieu. This article focuses on the modern aspect of the Iranian contemporary society and explores the immediate consequences of modernity on the individual subjectivity of the characters represented in the novel. Considering Dadkhah’s novel as a product of the urban literature of a generation dealing with modernity of the arcades and other lures of the megapolis on the one hand and feeling of nostalgia for their past spirit on the other, the paper simultaneously reveals the close affinity between the subjectivity of the characters and Benjaminian tenets of flânerie and modern storytellers. The flaneurs represented in the novel, by rambling through and about the city of Tehran, are turning to be the storytellers who narrate their ‘post-aural’ experiences. In Yousef Abad, Street 33 the central characters are, as fully manifested in the paper, deeply engaged in the experiences of a modern sense of living while wandering to console their wistful longings despite the everyday challenges.

PORTRAIT OF THE CHARACTER PUGACHEV IN A.S. PUSHKIN’S NOVEL THE CAPTAIN’S DAUGHTER: FROM THE ORIGINAL TO THE TRANSLATION

2020 ◽  
Vol 10 (Special) ◽  
pp. 97-104
Author(s):  
Thuong Linh Vu
Keyword(s):  
Original Work ◽  
18Th Century ◽  
The Other ◽  
The Novel ◽  
Other Hand ◽  
Late 18Th Century ◽  
The One

The novel The Captain's Daughter by Pushkin has been acknowledged by researchers as a prose encyclopedia about Russian life in the late 18th century. In this work, Pushkin proved himself not only a responsible historian, but also a talented portrait painter. This article is aimed at clarifying the art of creating the portrait of the character Pugachev in Pushkin's novel The Captain's Daughter. By making a comparison between the original and the translation by Professor Cao Xuan Hao, we have found that the translator has made fairly accurate depictions of the characters. However, there remain some limitations in the Vietnamese translation, including the incorrect translation of several portrait features of the characters and the omission of some details. These drawbacks, on the one hand, have reduced the expressiveness of the characters’ portraits; on the other hand, they have hindered the readers from fully perceiving the spirit of the original work.

Reading Manipulation In Runaway Horses by Mishima Yukio

Poetics Today ◽  
2019 ◽  
Vol 40 (4) ◽  
pp. 683-698
Author(s):  
Thomas Garcin
Keyword(s):  
Reading Strategies ◽  
The Other ◽  
Literary Genre ◽  
Close Reading ◽  
The Novel ◽  
Mishima Yukio ◽  
Political Novels ◽  
Negative Comments ◽  
Ideological Perspective ◽  
The One

In her seminal work, Authoritarian Fictions: Ideological Novels as a Literary Genre, Susan Rubin Suleiman emphasizes the co-optational dimension of romans à thèse, which seem addressed to readers who are already converted to the ideological perspective of these works. Political novels therefore tend to divide readers into two categories: proponents on the one hand, denigrators on the other. Based on a close reading of Runaway Horses (1969), Mishima Yukio’s most overtly ideological fictional work, this article is meant to enrich Suleiman’s model by showing that the most elaborate authoritarian fictional works use specific rhetorical tactics to soften or compensate for the excess of their message and to appeal to nonsympathizers. Focusing on chapters 9 and 10 of Runaway Horses, where the novel shifts from a classical and realist tone (chapters 1 to 8) to an ideological and authoritarian one (chapters 9 to 40), the article analyzes three of these rhetorical tactics: (1) the lightning rod, which consists of attracting criticisms about one specific and clearly delineated locus of the text, fulfilling an apotropaic function and serving as a foil for the rest; (2) prolepsis, which anticipates the reader’s likely negative comments and thus becomes in tune with his perspective; and (3) the tactic of enlarging the audience by which the narrator reincorporates a sectarian ideology into a larger and more universal ensemble. The conclusion questions the place of the reader and investigates the reading strategies that he or she may adopt in order to respond to this manipulation.

scholarly journals Dehumanization in the Novel of Socialist Realism

2018 ◽  
Vol 1 (1) ◽  
pp. 4-10
Author(s):  
Lirim Sulko
Keyword(s):  
Literary Work ◽  
Socialist Realism ◽  
Reading Process ◽  
The Novel ◽  
Totalitarian Regime ◽  
New Man ◽  
Total Information ◽  
Psychological Structure

Yuri Lotman affirms that the concept of the text is not absolute, but makes sense in a relationship with a historical, cultural and psychological structure that accompanies it. He considers every text "... determined by those socio-historical, national and psycho-anthropological reasons, which form the artistic models of life” [1] So in a totalitarian regime, in other words dehumanized, the novel of socialist realism not only avoids the modern literary tendency, but manages to show dehumanization even in its formal-narrative aspect. Thus, in the conditions when the totalitarian regime aims at installing a 'new man', the novel of socialist realism also through censorship aims its promotion ('the new man’). In the formal-narrative aspect, the novel of Socialist realism emphasizes the authoritative mode of confession, in the sense of full submission of the character (meaning the reader, who is identified with the character throughout the reading process) to the total information within the literary work owned by the author in cooperation with the narrator, but at the same time proclaims as 'heretic' the narrative ways that liberated the character from the submission without glory of the pair author-narrator. As such, it (the novel of socialist realism) is / becomes thus a direct expression of dehumanization.   [1]Y. Lotman,"The Text and extra-textual artistic structures", quoted by F. Dado in "Uninterpretate Literature", Bota Shqiptare, Tiranë, 2010, f. 126.

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