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.

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 A Cognitive Stylistic Analysis of Characterization in Golding’s Lord of the Flies

2021 ◽  
Vol 60 (1) ◽  
pp. 21-40
Author(s):  
Ahmed Srieh ◽  
Mahdi Kareem
Keyword(s):  
Cognitive Process ◽  
Literary Work ◽  
The Other ◽  
Stylistic Analysis ◽  
The Novel ◽  
Human Beings ◽  
Fictional Character ◽  
Lord Of The Flies ◽  
The One

Characterization is commonly known in stylistics to be the cognitive process in the readers' minds when comprehending a fictional character in a literary work .In one approach, it is assumed that characters are the outcome of the interaction between the words in the text on the one hand and the contents of our heads on the other. This paper is an attempt to understand how characterization is achieved by applying Culpeper’s (2001) model which seems to be to present a method of analysis that is more objective and more systematic in analyzing characters. Two characters are selected for discussion; Ralph and Jack from Golding’s (1954) Lord of the Flies. The novel talks about the corruption of human beings and the capacity of evil they have. The results show that Ralph and Jack are antithetical in many aspects; Ralph represents the rational civilized boy whereas Jack represents the savage brutal boy.

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 The Societal Crisis and The Human Dignity: Epistemological View

wisdom ◽  
2015 ◽  
Vol 2 (5) ◽  
pp. 47
Author(s):  
Ana Bazac
Keyword(s):  
Social Relations ◽  
Methodological Individualism ◽  
The Other ◽  
The Social ◽  
Will To Live ◽  
Individual Consciousness ◽  
The One ◽  
The Individual ◽  
Autonomous State ◽  
Real State

The paper aims at emphasising the significances of the concept of dignity through the lens of the relational character of this concept. Even though it appeared in modernity as substantive/essence, as an autonomous state that might be attached to man – and it was developed in the frame of methodological individualism –, dignity is a construct depending on the historical and social relations, thus the culture and values dominant in a certain time. And, because the consideration of the others is assumed by the individual who internalises the intertwining and force of values in the way he seems to not detach his own being from dignity, the paper demonstrates that, although there is an ontological basis of dignity – the human conatus – the concept of dignity is incomprehensible without connect it to, or more, without integrating it within the social complex.First of all, the individual translation of the human conatus in the concept of dignity supposes the social character of man. The instruments of the individual, necessary for his survival, are social. The language through which he expresses his self-consciousness as his own dignity is social. The nuances his self-consciousness transposes as feelings and their expressions are borrowed from the culture known by the individual.But leaving this alone, and considering as a beginning of the analysis only the individual’s feeling of dignity as transposition of his/her will to live, this feeling is vague, ineffable and evanescent if it would not have the positive or negative reactions of society towards it. Indeed, society is the ultimate criterion of the individual consciousness of dignity, because it accredits this individual feeling. If, by absurd, there was no society – or the individual would live in an individual niche and would not know anything about society (but, for the sake of our philosophical experiment, he could express through meaningful words his feelings) – the individual would not be sure that he has a constitutive dignity and he deserves dignity. Only the others authorise this feeling, whether they endorse it or not, having the function of a thermometer measuring the individual belief.Methodological individualism is contradictory concerning the concept of dignity: on the one hand, it lauds to sky this concept (in its essentialist variant) as related to the individual, and on the other hand, it neglects the consequences of social relations over the real state of dignity of all the human beings.Finally, the paper links this relational standpoint to both the surpassing of the abstract individual and the clash of universalistic and particularistic values.

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’.

scholarly journals Interpreting Jane Austen’s Writing Style: Adaptations of the Novel Northanger Abbey

2020 ◽  
pp. 221-233
Author(s):  
Hlushchenko Olena Volodymyrivna ◽  
Kornielaieva Yevheniia Valeriivna ◽  
Moskaliuk Olena Viktorivna
Keyword(s):  
Eighteenth Century ◽  
Jane Austen ◽  
Literary Work ◽  
Research Paper ◽  
The Novel ◽  
Writing Style ◽  
Gothic Fiction ◽  
Northanger Abbey ◽  
The Individual ◽  
Spelling Word

The research paper focused on revealing the individual writing style of Jane Austen based on the novel Northanger Abbey and interpretations of its various adaptations. The purpose of the article is to prove that the individual author’s style can be reconstructed due to different stylistic devices that help the reader to understand the message of a literary work more profoundly and take into account in the process of film adaptations. An author’s style is characterized by numerous factors including spelling, word choices, sentence structures, punctuation, use of literary stylistic devices (irony, metaphors, rhyme, etc.) and organization of ideas, narration structure, and overall tone of the narration. The main analytic procedures used in the research are keyness, collocation, and cluster. The authors also define that the novel under analysis is a parody of Gothic fiction. The author ruined the conventions of eighteenth-century novels by making her heroine fall in love with the character before he has a serious thought of her and exposing the heroine’s romantic fears and curiosities as groundless. The article deals with adaptation as an integral part of the concept of intersemiotic translation. It is possible to say that adaptation is an attempt to translate the content of the adapted material into its screening; intersemiotic translation focuses on the analysis and interpretation of semiotic codes in the scope of adapted material. Seven basic operations used to differentiate the range of adaptation are substitution, reduction, addition, amplification, inversion, transaccentation, compression.

scholarly journals On the Simplest Reading of Bartol’s Alamut

Asian Studies ◽  
2016 ◽  
Vol 4 (1) ◽  
pp. 215-227
Author(s):  
Tahereh AHMADIPOUR
Keyword(s):  
Literary Work ◽  
The Novel ◽  
Historical Criticism ◽  
The Core ◽  
Relevant Evidence ◽  
Social Events ◽  
History Of ◽  
The One ◽  
Core Part ◽  
History Book

Bartol’s Alamut as a valuable Slovenian literary work has been exposed to several interpretations for more than 70 years. The simplest or maybe the most credulous reading of this book is the one that considers it as a history book. This reading deems that the novel literally narrates the political and social events of Iran in the 11th century, the time that the Ismailis with Hasan Sabbah as the leader ruled over Alamut Castle. In this article the novel’s most important interpretations have been provided by discussing the deliberate critical essays through content analysis and historical criticism of the happenings. Then by using some important historical documents and relevant evidence, some events and persons of that time have been detected. The main aim of the article is to show that while Bartol incorporated a vast knowledge of the history of the Middle East as the core part of his novel, he also regarded his own nation and the miserable events of his own country. As a matter of fact he sent a harsh message through creating his own Hasan Sabbah, without any concern for the history.

scholarly journals Особенности образа современного русского интеллигента на примере романа Алексея Варламова Затонувший ковчег (1997)

2020 ◽  
Vol 45 (2) ◽  
Author(s):  
Natalia Królikiewicz
Keyword(s):  
Literary Work ◽  
Social Processes ◽  
The Novel ◽  
Crisis Period ◽  
Literary Research ◽  
Moral Perfection ◽  
The Social ◽  
Russian Intelligentsia ◽  
Reason And Faith ◽  
The Individual

The article focuses on the image of the modern Russian intellectual, depicted in the artistic text of Aleksey Varlamov, the Sunken Ark. Understanding the phenomenon of the Russian intelligentsia in the analysed literary work is associated with the problem of the opposition of reason and faith in the process of the personality formation of the modern intellectual. The analysis carried out in the text allows not only to trace and better understand the social processes of the crisis period in Russia, but also to notice their enormous impact on the consciousness of the main hero-intellectual Ilya Petrovich. The use of the methodology of historical and literary research in the work is adequate to the problems posed. The novel under analysis, as a kind of warning, has a deep philosophical undertone that touches upon the problems of faith, unbelief, freedom of the individual and the pursuit of moral perfection. Varlamov’s intellectual, as a typical “hero of our time”, regardless of his weakness, defenselessness and internal rupture, seems to be most needed in life.

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.

The Curious Case of Professor Godbole: A Passage to India Re-Examined

PMLA ◽  
1961 ◽  
Vol 76 (4-Part1) ◽  
pp. 426-435
Author(s):  
David Shusterman ◽  
Paul Fussell
Keyword(s):  
The Elderly ◽  
Physical World ◽  
Frame Of Reference ◽  
The Self ◽  
The Novel ◽  
Human Relationships ◽  
Human Reality ◽  
Individual Consciousness ◽  
The One ◽  
The Universe

Although many critics of E. M. Forster's A Passage to India have mentioned that Professor Godbole, the Hindu educator, behaves somewhat queerly during the course of the novel, no one, so far as I can discover, since the book's publication in 1924 has seemed to have any serious doubt that Godbole is a man of genuine goodwill or that he is the source of much that is good. This conventional attitude has been expanded upon within recent years by several critics who have put Godbole forward as Forster's primary spokesman for cosmic and divine truth. Forster's point, they claim, is that Hinduism is closer to this truth than any other religion; the author is using Godbole to make this revelation known. To James McConkey, one of the proponents of the Godbolean viewpoint, “the full measure of the success” of Forster's Indian novel “suggests that Forster has finally come to terms with himself and his universe.” These terms are imparted through Godbole “the only person in all the novels who becomes the character-equivalent of the Forsterian voice.” Godbole's position is “one of detachment from human reality and from the physical world, a detachment obtained by as complete a denial of individual consciousness as is possible, that denial and remove bringing with them a sense of love and an awareness of unity.” Hindu metaphysics “bears a number of definite relationships to the stabilized Forsterian philosophical position.” It is Godbole who is “the one most responsible for whatever sense of hope is granted” in the last section of the novel. The “way of Godbole is the only possible way: love, even though to exist it must maintain a detachment from the physical world and human relationships, offers the single upward path from the land of sterility and echoing evil.” To Hugh Maclean, another Godbolean adherent, Mrs. Moore, the elderly Englishwoman, finds completeness only after death through the intercession of Godbole; the latter “excludes nothing” from his spiritual life, and because of this he “will be able [ultimately] to encompass everything.” It is only Godbole whose mind has seized on the order of the universe. Forster is advocating above everything else that people should become like Godbole, one who is able to accomplish the “absorption of the self within a transcendental frame of reference.”

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