scholarly journals THE SOPHIAN MYTH IN THE NOVEL BY V.P. ASTAFYEV “THE SHEPHERD AND THE COWGIRL”

2019 ◽  
Vol 29 (5) ◽  
pp. 839-847
Author(s):  
G.M. Ibatullina ◽  
M.V. Alekseenko
Keyword(s):  
The Novel ◽  
Main Character ◽  
Original Image ◽  
Sign System ◽  
Feminine Principle ◽  
The Feminine

The article discusses the figurative and semantic paradigms of the sophiological myth in the story by V.P. Astafyev “The Shepherd and the Cowgirl”. The image of the main character of the story Lucy is endowed with a number of symbolic connotations and has a complex archetypal structure. The Sophian archetype is represented here in its two invariants: the Christian and the Gnostic; the keys to understand the heroine are also the Theotokos archetype, the archetypes of the Virgin, the Beloved, the Mistress, Psyche, and the Kabbalistic archetype Shekhinah, which is closely related to the original image of Sophia. The Sophian model of a feminine principle is reflected both in the personality-psychological, spiritual and moral characteristics of the heroine, and in the logic of the image of her fate. The study leads to the conclusion that the mythologeme of Sophia in its different modes (Sophia the Wisdom of God, Sophia the Gnostic, Eternal Femininity) in the paradigm of Lucy's image is one of the semantic dominants; in addition, in the mythopoetic sign system of the work, the Sophian archetype, along with the archetypes of Theotokos and Shekhinah, can be considered the cultural representative of the “feminine” archetype - the archetype of a Woman in its specific gender-existential aspect.

scholarly journals Interpretation of symbols of female destiny in the novel “Zuleikha Opens Her Eyes” by G. Yakhina

Litera ◽  
2021 ◽  
pp. 147-157
Author(s):  
Elena Iakovleva
Keyword(s):  
Historical Development ◽  
Literary Realism ◽  
The Novel ◽  
Social Changes ◽  
The Past ◽  
Everyday Practices ◽  
Feminine Principle ◽  
The Feminine ◽  
New Foundations

Many aspects of the life of Tatar women of the past remain obscure for others, which is substantiated by the tradition. This prompts the study of the topic in the genre of literary realism. Analysis is conducted on the fate of Tatar woman in the novel “Zuleikha Opens Her Eyes” by G. Yakhina. The hermeneutical method reveals the key symbols of life of the woman, which reveal what is hidden. Such symbols as coffer, kiln, baby cradle, bird, son, honey embody the feminine principle and have national roots. The symbol of train resembles the progress and new foundations of existence, which partially disclose the hidden aspects of the life of Tatar women. Social changes affected the fate of Tatar women, giving an opportunity for self-realization and attainment of happiness. The novelty of this research lies in the analysis of the hidden in the life of Tatar women, dynamics of its evolution in the context of shift in sociocultural dominants caused by historical development. The acquired conclusions can be valuable in reconstruction of the fate of Tatar women of the XIX – XX centuries, determination of the finest nuances and details unknown to others, as well as restoration of the cultural-historical picture of their everyday practices. The interpretation of fate of the heroine of the novel through symbols allows applying a similar method to the analysis of other literary works dedicates to the female theme in culture.

When Oyono's “Boy” Speaks Dutch: Two Readings in One Language

PMLA ◽  
2013 ◽  
Vol 128 (1) ◽  
pp. 112-118
Author(s):  
Jeroen Dewulf
Keyword(s):  
World View ◽  
The Novel ◽  
Colonial History ◽  
Main Character ◽  
East Indies ◽  
Dutch Translation ◽  
The Feminine ◽  
Two Cities ◽  
French Colonial ◽  
Belgian Congo

De Huisjongen, The dutch translation of ferdinand oyono's une vie de boy, was published in 1980 by kosmos and released in two cities: Amsterdam, where the publisher had its headquarters, and Antwerp, the site of its Belgian branch. For Flemish (Dutch-speaking Belgian) readers, the Catholic and French colonial environment described in the novel represented a world that in many ways felt familiar. In the once deeply Catholic Flanders, where French used to be the language spoken by the elite and where the memories of the former colony Belgian Congo are still vivid, people could easily identify with Oyono's main character, Toundi.In the Netherlands, however, the memories of the nation's colonial history are characterized by a predominantly Protestant world-view that primarily evokes images from Southeast Asia. There, in the former Dutch East Indies, it was not the masculine “boy” but the feminine babu who took care of the household. This explains the decision by the then twenty-seven-year-old Dutch translator of Oyono's novel, today's best-selling author Herman Koch, not to use boy in the title but to opt for huisjongen (lit., “house youth”). The idea of having a “boy” as housekeeper clearly sounded strange to this Dutch translator.In view of the different associations the novel must have evoked among Dutch and Flemish readers, this article presents two separate analyses of the same translation. One reflects a Dutch perspective on De huisjongen and interprets Toundi, a child diarist doomed to die at the hands of oppressors, as an African Anne Frank. The other reads the novel from a Flemish perspective and interprets Toundi as an African variant of Manneken Pis, the roguish street boy from Brussels who derides the authorities.

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

Hubungan Intertekstual Novel Candra Kirana dan “Tjerita Panji Angreni”: Perspektif Riffaterre

ATAVISME ◽  
2020 ◽  
Vol 23 (1) ◽  
pp. 104-116
Author(s):  
Muhammad Rosyid H.W.
Keyword(s):  
Content Analysis ◽  
Gender Equality ◽  
The Novel ◽  
Main Character ◽  
The People

Penelitian ini bertujuan membahas hubungan intertekstual novel Candra Kirana karya Ajip Rosidi dengan "Tjerita Panji Angreni". Unsur apa saja dan bagaimana novel Candra Kirana memiliki hubungan intertekstual dengan "Tjerita Panji Angreni' sebagai teks hipogramnya adalah pertanyaan penelitian ini. Dalam menelaah hubungan intertekstual ini, penulis menggunakan teori intertekstual Michael Riffaterre yang menitikberatkan pada analisis isi dengan metode pembacaan heuristik dan hermeneutik. Temuan penelitian ini adalah bahwa novel Candra Kirana menunjukkan hubungan intertekstual dengan Tjerita Panji Angreni melalui unsur tema, citra tokoh, dan alur cerita. Meskipun demikian, novel Candra Kirana juga mentransformasikan makna-makna progresif yang berbeda dengan "Tjerita Panji Angreni", seperti makna nasionalisme yang berupa cinta akan kerajaan, makna kesetaraan gender yang berupa kesetiaan laki-laki, keberanian, kekuatan, perjuangan dan ketidakpasrahan perempuan, makna kerakyatan dengan pelibatan tokoh utama dari kalangan rakyat dan makna religiusitas yang berbentuk dasar niat Panji dalam mencari pasangan hidup.[Intertextuality on Novel Candra Kirana and "Tjerita Panji Angreni": Riffaterres Perspective] This research aims to discuss the intertextuality of Candra Kirana novel by Ajip Rosidi with "Tjerita Panji Angreni". What elements and to what extend Candra Kirana novel has an intertextual relationship with Tjerita Panji Angreni as the hipogram text were the questions of this research. In examining this intertextual relationship, the writer used Michael Riffaterre's intertextual theory which focused on content analysis with heuristic and hermeneutic readings. The findings of this study were that the novel Candra Kirana showed intertextuality with the "Tjerita Panji Angreni" through elements of themes, character images, and story lines. Even so, Candra Kirana's novel also transformed progressive meanings that differ from the Tjerita Panji Angreni such as the meaning of nationalism in the form of love for the kingdom, the meaning of gender equality in the form of male loyalty, courage, strength, struggle and women's insecurity, the meaning of populist with engagement the main character of the people and the meaning of religiosity in the form of Panji's intention in finding a life partner.Keywords: intertextuality; novel; "Tjerita Panji Angreni"

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.

ISU FEMINISME DALAM NOVEL PUTRI KARYA PUTU WIJAYA

2017 ◽  
Vol 5 (2) ◽  
pp. 133
Author(s):  
Arriyanti Arriyanti
Keyword(s):  
Gender Stereotypes ◽  
Human Being ◽  
The Novel ◽  
Main Character ◽  
Ways Of Thinking ◽  
Women Rights

This paper discusses about issues of feminism in a novel titled Putri written by Putu Wijaya. The discussing about women issues will be analyzed by applying feminism ways of thinking. Issues of feminism will be seen by looking at the main character of the novel. Feminism issues in the novel appear because of the behavior and attitude of the heroine in struggling her will. The rejection toward different gender stereotypes which tends to cut women rights as human being and member of society is the reflection of the heroine‘s attitude.AbstrakTulisan ini mengkaji isu feminisme yang terkandung di dalam novel Putri karya Putu Wijaya. Pembahasan wacana perempuan ini dikupas dengan memanfaatkan kajian feminis. Isu feminisme ini diamati dari tokoh utama cerita, yaitu Putri. Isu feminisme dalam novel Putri muncul karena adanya sikap dan perilaku tokoh utama perempuan dalam mewujudkan dan memperjuangkan keinginannya. Penolakan terhadap perbedaan stereotip gender yang cenderung mengebiri hak-hak perempuan sebagai manusia dan anggota masyarakat merupakan wujud perilaku tersebut.

TYPES OF HEDONISM ON THE MAIN CHARACTER SIR WALTER ELLIOT IN THE NOVEL PERSUASION BY JANE AUSTEN

2020 ◽  
Vol 8 (1) ◽  
pp. 30-43
Author(s):  
Enggin Valufi ◽  
Retno Budi Astuti
Keyword(s):  
Qualitative Method ◽  
Jane Austen ◽  
18Th Century ◽  
The Novel ◽  
Main Character ◽  
Philosophical Approach ◽  
High Culture ◽  
Descriptive Qualitative

Hedonism is a view of life in philosophy that seeks to avoid pain and make pleasure as the main goal in life. People who embrace hedonism tend to over-pursue pleasure. The hedonism lifestyle is mostly carried out by 18th century people especially the nobles who live in high culture. They are as close to hedonism as they are in the Persuasion novel by Jane Austen. Sir Walter Elliot the main character is a nobleman who did a lot of hedonism. Hedonism which is seen as too glorifying personal pleasure to ignore others. The purpose of this study was to find out the types of hedonism done by Sir Walter Elliot in Persuasion. This research uses descriptive qualitative method because all data are in the form of sentences. The researcher uses a philosophical approach and analyzes data using Weijers' theory as the main theory. The results of this study found that Sir Walter Elliot performed two types of hedonism, namely aesthetic hedonism and selfish hedonism.

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.

Paranoid Interpretation, Desire's Nonobject, and Nella Larsen's Passing

PMLA ◽  
2004 ◽  
Vol 119 (2) ◽  
pp. 282-295 ◽  
Author(s):  
Brian Carr
Keyword(s):  
The Novel ◽  
Main Character ◽  
Racial Passing ◽  
Race And Sexuality ◽  
Delusional Jealousy

This article claims that much of the contemporary scholarship on Nella Larsen's Passing attempts to correct the delusional apprehensions of the novel's main character, Irene Redfield. I suggest that this corrective effort ultimately places critics in the paranoid orbit they aim to diagnose. Critics are unable to escape the logic of paranoia primarily because they read Irene's paranoia according to a conventional tropology of paranoia, homosexuality, and delusional jealousy. The paranoid gesture tries to prove that Passing is “really about” homosexuality and simply passing itself off as a novel about racial passing. I work through the psychoanalytic concepts of desire and paranoia to show how the novel incessantly thematizes the processes by which race and sexuality are substantialized in the scholarship. Ultimately, it is because Passing rigorously drains identitarian categories of substance that the novel is available to the paranoid substantializing of critics.

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