CRITIQUE OF IDEOLOGY BIN GEORGE ORWELL’S NOVEL 1984: A HANS-GEORG GADAMER’S HERMENEUTICS READING

2019 ◽  
Vol 7 (2) ◽  
pp. 113-126
Author(s):  
Daniel Ahmad Fajri ◽  
Romel Noverino
Keyword(s):  
The Novel ◽  
Communication Paradigm ◽  
History Of ◽  
Current Context ◽  
Three Stages ◽  
Symbolic Interactions ◽  
High Level ◽  
Hans Georg Gadamer ◽  
Undergraduate Thesis ◽  
Critique Of Ideology

This study is to analyze George Orwell’s novel 1984 that published in 1949. This study uses descriptive qualitative method. The analysis of this undergraduate thesis focuses on hermeneutical reading of the text. This study aims to find out critique of ideology concept by reading both the text and the researcher (as interpreter) horizons to get a current meaning of the text. This study applies philosophical hermeneutics of Hans-Georg Gadamer and Jurgen Habermas’s critical theory to analyze the novel. After interprets the horizon of the text with three stages of analysis (understanding, historical consciousness, and history of effect), then the prejudice/presupposition (Habermas’ critique of ideology) appear dialectically as interpreter horizon to read the 1984 in its current context. The result proves that, although the work of structure of power in Orwell's life and interpreter are different - Orwell who live in the tension of world ideologies (with fascism, soviet communism, and other totalitarian power) and interpreter in the late-capitalism era (with liberal consensus domination), but analysis of critique of ideology in the 1984 novel in the current context relates to several things. Among other things are, total domination of the system like distorting symbolic interactions and how power works supported - manifested in high-level technology with its propaganda and supervision of civil society. At this point, to resist against totalitarian system, both Orwell and Habermas are similar as well - a process of rationalization with a communication paradigm with emancipatory mission to give a progressive free individual formation in the society.

scholarly journals Mythical images in the novel “The Great Wang” by N. A. Baykov

Litera ◽  
2021 ◽  
pp. 89-96
Author(s):  
Shuangting Cheng
Keyword(s):  
Chinese Culture ◽  
Far East ◽  
The Novel ◽  
Ecological Literature ◽  
The Far East ◽  
Lotus Flower ◽  
Ecological Problems ◽  
Man And Nature ◽  
History Of ◽  
Current Context

This article analyzes the mythical images in the novel “The Great Wang” by N. A. Baykov. In this work, the writer depicts such mythical images as the tiger – Great Wang, the wise old man – Tong Li, and the lotus flower. The tiger is assigned a significant role in many works by N. A. Baykov – the novels “The Great Wang”, “Tigress”, “The Black Captain”, “On The Hills and Woods of Manchuria”, as well as the scientific articles “The Manchurian Tiger”, “Tigers in The Far East”, "Tiger Hunting" , etc. The unique peculiarity of the novel under review lies in combination of the expressive techniques of Western literature with the exotic themes of Eastern nature, simple natural worldview of inhabitants of the East. The specifics of the novel lies in the fact that the idea “The Great Wang” is based on the Chinese folk myths and legends, which attach a rather mystical and mythical hue. All forest animals anthropomorphized by the writer have their own thoughts and emotions. The conclusion is made that using mythical images, the well versed in the Chinese culture and folklore writer, combined mythical images with his narrative, and expressed his opinion on the man – nature relations. N. A. Baykov was against anthropocentrism, and advocated for the harmonious coexistence of man and nature. In the current context of deterioration of environmental situation, the reflected in “The Great Wang” ecological problems deserve attention of each one of us. The name of N. A. Baykov should be inscribed in the history of the world ecological literature.

scholarly journals THE INFLUENCE OF F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT” ON THE WORKS OF VIETNAMESE WRITERS

2021 ◽  
pp. 60-67
Author(s):  
Тхи Хоан Нгуен
Keyword(s):  
General Idea ◽  
The Novel ◽  
Cultural Space ◽  
Crime And Punishment ◽  
Foreign Literature ◽  
Russian Novel ◽  
Special Place ◽  
History Of ◽  
High Level ◽  
First Time

В статье впервые дано общее представление о влиянии «Преступления и наказания» Ф. М. Достоевского на творчество вьетнамских писателей на протяжении целого столетия. Автор обращает внимание, что роман «Преступление и наказание» занимает особое место в культурном пространстве Вьетнама, оказывая влияние на поэтику художественных произведений вьетнамских прозаиков, их мировоззренческие и эстетические ориентиры. В работе наглядно иллюстрируется процесс вхождения «Преступления и наказания» в культуру Вьетнама, который шел через творческую адаптацию романа. Автор отмечает, что сложные философские проблемы, которые поднимались в романе Ф. М. Достоевского, вызывали большой интерес у вьетнамских читателей, а у ряда вьетнамских писателей и стремление к подражанию. Исследование показало, что «Преступление и наказание» оказало заметное влияние не только на сюжет, идею художественных произведений, но и на языковой стиль многих известных вьетнамских романистов в ходе модернизации вьетнамской литературы. Интерес к роману великого русского писателя сохраняется сегодня на высоком уровне, что способствует развитию культурных связей между двумя народами. В статье делается вывод о незаменимой позиции романа «Преступление и наказание» в сердцах вьетнамских читателей. Научная новизна настоящего исследования определяется изучением творческой адаптации романа Ф. М. Достоевского в литературной практике вьетнамских художников слова на протяжении XX-XXI веков, а также обозначением различных линий в рецепции известного русского романа во Вьетнаме. Результаты исследования могут быть использованы на занятиях по истории русской и зарубежной литератур, будут интересны учителям-словесникам, а также всем увлеченным художественной литературой и культурой. The article for the first time gives a general idea of the influence of “Crime and Punishment” by F. M. Dostoevsky on the works of Vietnamese writers for a whole century. The author observes that the novel “Crime and Punishment” occupies a special place in the cultural space of Vietnam, influencing the poetics of the artistic works of Vietnamese prose writers, their ideological and aesthetic guidelines. The work clearly illustrates the process by which “Crime and Punishment” enters into the culture of Vietnam, which went through the creative adaptation of the novel. The author notes that the complex philosophical problems that were raised in the novel by F. M. Dostoevsky aroused great interest among Vietnamese readers, and a number of Vietnamese writers also had a desire to imitate. The study showed that “Crime and Punishment” had a noticeable impact not only on the plot, the idea of literary works, but also on the language style of many famous Vietnamese novelists during the modernization of Vietnamese literature. Interest in the novel of the great Russian writer remains today at a high level, which contributes to the development of cultural ties between the two peoples. The article concludes about the irreplaceable position of the novel “Crime and Punishment” in the hearts of Vietnamese readers. The scientific novelty of this study is determined by the study of the creative adaptation of the novel by F. M. Dostoevsky in the literary practice of Vietnamese authors during the 20th-21st centuries, as well as the designation of various lines in the reception of the famous Russian novel in Vietnam. The results of the research can be used in classes on the history of Russian and foreign literature, and will be of interest to teachers of literature as well as to all those who are interested in fiction and culture.

scholarly journals Orientalism in Joseph Conrad’s novel Almayer’s Folly (1895): a post-colonial approach

COMMICAST ◽  
2020 ◽  
Vol 1 (2) ◽  
pp. 41
Author(s):  
Muhammad Iqbal
Keyword(s):  
Joseph Conrad ◽  
The Novel ◽  
Post Colonial ◽  
Malay Archipelago ◽  
Colonial Theory ◽  
Binary Division ◽  
History Of ◽  
Undergraduate Thesis ◽  
The Ideal

He represents the false critic toward colonialism which depicted him as the author in the neutral side in the history of colonialism.  In this undergraduate thesis, the writer attempts to reveal the pattern of Joseph Conrad’s Orientalism by find the image and stereotype of the Orient and Occident, the Fantasy of Western colonialism, the hegemony that legitimate the colonial authorities toward the Malay Archipelago and finds the evidence that proves him as the part of author who supports colonialism. The writer uses Edward’s Said Orientalism theory as the major post-colonial theory in this study to investigate the pattern of Orientalism and the evidence of Joseph Conrad as the colonialist author. The writer uses the technique of writing this undergraduate thesis by dividing the extrinsic and intrinsic element of the novel Almayer’s Folly (1895). In the finding and discussion of this undergraduate thesis, the writer reveals the pattern of Orientalism and the evidence of Joseph Conrad as the pro-colonialism author through the binary division in the novel which creates the stereotype of the Orient and compares to the ideal Victorian character depicted in his white characters in the novel. Then, Conrad creates the Western Fantasy toward the Oriental Malay Archipelago as the object for the Westerner in search of adventure, career and positioning the imaginary narrative of European territory as the happy land for the major characters.

Nikolay Sieber in the history of prerevolutionary Russian economic thought

2018 ◽  
pp. 95-110
Author(s):  
L. D. Shirokorad
Keyword(s):  
Economic Theory ◽  
Political Economy ◽  
Organic Synthesis ◽  
Marginal Utility ◽  
Economic Thought ◽  
History Of ◽  
Three Stages

This article shows how representatives of various theoretical currents in economics at different times in history interpreted the efforts of Nikolay Sieber in defending and developing Marxian economic theory and assessed his legacy and role in forming the Marxist school in Russian political economy. The article defines three stages in this process: publication of Sieber’s work dedicated to the analysis of the first volume of Marx’s Das Kapital and criticism of it by Russian opponents of Marxian economic theory; assessment of Sieber’s work by the narodniks, “Legal Marxists”, Georgiy Plekhanov, and Vladimir Lenin; the decline in interest in Sieber in light of the growing tendency towards an “organic synthesis” of the theory of marginal utility and the Marxist social viewpoint.

A Confrontation between Two Doctrines: The Birth of Struggle for Hegemony in Hebrew Children's Literature during the 1930s and 1940s

2008 ◽  
Vol 1 (2) ◽  
pp. 139-155 ◽  
Author(s):  
YAEL DARR
Keyword(s):  
Children's Literature ◽  
Educational System ◽  
Single Channel ◽  
Children’S Literature ◽  
The Political ◽  
Literary Creation ◽  
History Of ◽  
High Level ◽  
First Time ◽  
Literary Quality

This article describes a crucial and fundamental stage in the transformation of Hebrew children's literature, during the late 1930s and 1940s, from a single channel of expression to a multi-layered polyphony of models and voices. It claims that for the first time in the history of Hebrew children's literature there took place a doctrinal confrontation between two groups of taste-makers. The article outlines the pedagogical and ideological designs of traditionalist Zionist educators, and suggests how these were challenged by a group of prominent writers of adult poetry, members of the Modernist movement. These writers, it is argued, advocated autonomous literary creation, and insisted on a high level of literary quality. Their intervention not only dramatically changed the repertoire of Hebrew children's literature, but also the rules of literary discourse. The article suggests that, through the Modernists’ polemical efforts, Hebrew children's literature was able to free itself from its position as an apparatus controlled by the political-educational system and to become a dynamic and multi-layered field.

The Coherence of Mary Barton: Romance, Realism, and Utopia

2015 ◽  
Vol 5 (3) ◽  
pp. 185-200
Author(s):  
Robert Z. Birdwell
Keyword(s):  
Thomas Carlyle ◽  
The Novel ◽  
Second Stage ◽  
The Third ◽  
Third Stage ◽  
Three Stages ◽  
Mode Of Production

Critics have argued that Elizabeth Gaskell's first novel, Mary Barton (1848), is split by a conflict between the modes of realism and romance. But the conflict does not render the novel incoherent, because Gaskell surpasses both modes through a utopian narrative that breaks with the conflict of form and gives coherence to the whole novel. Gaskell not only depicts what Thomas Carlyle called the ‘Condition of England’ in her work but also develops, through three stages, the utopia that will redeem this condition. The first stage is romantic nostalgia, a backward glance at Eden from the countryside surrounding Manchester. The second stage occurs in Manchester, as Gaskell mixes romance with a realistic mode, tracing a utopian drive toward death. The third stage is the utopian break with romantic and realistic accounts of the Condition of England and with the inadequate preceding conceptions of utopia. This third stage transforms narrative modes and figures a new mode of production.

“What Freedom?”

2019 ◽  
Vol 74 (3) ◽  
pp. 305-331
Author(s):  
John Owen Havard
Keyword(s):  
South America ◽  
French Revolution ◽  
The Political ◽  
The Novel ◽  
Free Condition ◽  
Narrative Design ◽  
Economic Liberalism ◽  
History Of ◽  
Ways Of Thinking ◽  
John Owen

John Owen Havard, “‘What Freedom?’: Frankenstein, Anti-Occidentalism, and English Liberty” (pp. 305–331) “If he were vanquished,” Victor Frankenstein states of his monstrous creation in Mary Shelley’s Frankenstein (1818), “I should be a free man.” But he goes on: “Alas! what freedom? such as the peasant enjoys when his family have been massacred before his eyes, his cottage burnt, his lands laid waste, and he is turned adrift, homeless, pennyless, and alone, but free.” Victor’s circumstances approximate the deracinated subject of an emergent economic liberalism, while looking to other destitute and shipwrecked heroes. Yet the ironic “freedom” described here carries an added charge, which Victor underscores when he concludes this account of his ravaged condition: “Such would be my liberty.” This essay revisits the geographic plotting of Frankenstein: the digression to the East in the nested “harem” episode, the voyage to England, the neglected episode of Victor’s imprisonment in Ireland, and the creature’s desire to live in South America. Locating Victor’s concluding appeal to his “free” condition within the novel’s expansive geography amplifies the political stakes of his downfall, calling attention to not only his own suffering but the wider trail of destruction left in his wake. Where existing critical accounts have emphasized the French Revolution and its violent aftermath, this obscures the novel’s pointed critique of a deep and tangled history of English liberty and its destructive legacies. Reexamining the novel’s geography in tandem with its use of form similarly allows us to rethink the overarching narrative design of Frankenstein, in ways that disrupt, if not more radically dislocate, existing rigid ways of thinking about the novel.

Frontiers of Visibility

Transfers ◽  
2013 ◽  
Vol 3 (2) ◽  
pp. 24-46 ◽  
Author(s):  
Franziska Torma
Keyword(s):  
Twentieth Century ◽  
Current Understanding ◽  
Machine Age ◽  
History Of ◽  
Three Stages ◽  
The 1950S ◽  
The 1960S ◽  
Popular Images ◽  
Cinematic Technology

This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous diving equipment led to a modern incarnation of the “mermen“ myth. From the 1950s to the 1970s, cinematic technology was able to create visions of entire oceanic ecosystems. Underwater films contributed to the period of machine-age exploration in a very particular way: they made virtual voyages of the ocean possible and thus helped to shape the current understanding of the oceans as part of Planet Earth.

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