Growing up of Laszlo Garaczi and his «Lemur»

2021 ◽  
pp. 45-60
Author(s):  
Angelika Molnar
Keyword(s):  
Growing Up ◽  
The Novel ◽  
Main Character ◽  
Socialist Society ◽  
The Poor ◽  
The World ◽  
Adult World ◽  
Autobiographical Work ◽  
The 1960S ◽  
The One

The article draws attention to the feature of postmodern discourse in a qua-si-autobiographical work, which in fact, is not the organization of memory, but fo-cusing on the events of the speech flow. In Laszlo Garaczi’s novel «What Fun We Have on This Coach Ride!», on the one hand, the life of a typical schoolboy of the 1960s is considered, and on the other hand, through this prism, the main problems of socialist society are revealed. Through deconstructing a devastated old language and creating a new one, the approach applied exposes the process of the adult world degradation (the world of parents and teachers, which seemed to represent a stable position in society), it shows them as the poor with the dictatorial tendencies of people, whose human and professional prestige is removed in parallel by (no)education of the teenager, the main character in the novel, who faces both the crisis of personal identity and the experience of socialism.The purpose of the linguopoetic analysis is to reveal the main metaphors and similes in the text of the novel. They cover both the process of the lemur’s growing up and his image appearing in different forms, as well as the meaning of «riding a bus». It contributes to the understanding of the novelsense.Summing up even such a brief study of the sample belonged to Hungarian proseallows the author to emphasize the importance of postmodern attitude to the tropes for both the reading general public and for a narrow circle of specialists.

scholarly journals POLYPHONY AND THIRST FOR HAPPINESS: THE IMAGE OF CHILDHOOD IN CHARLOTTE BRONTË’S ‘JANE EYRE’

2020 ◽  
Vol 12 (4) ◽  
pp. 90-99
Author(s):  
Svetlana B. Koroleva ◽  
◽  
Marina Yu. Kovaleva ◽  
Keyword(s):  
Spiritual Development ◽  
Jane Eyre ◽  
Growing Up ◽  
The Novel ◽  
Spiritual World ◽  
Multi Stage ◽  
The World ◽  
The One ◽  
Type Of Behavior

The article is devoted to the image of childhood as one of the most complex aesthetic elements in Charlotte Brontë’s novel Jane Eyre. The paper argues that there are two primarily important characteristics of the image in the novel: polyphony – that is, the presence of different points of view on the child and the adult – and thirst for happiness. Special attention is paid to the polyphony of voices describing the heroinenarrator. The paper also focuses on the role of the motifs of orphanhood, rejection and loneliness, on the one hand, and of search for happiness, on the other, in developing the image of childhood. The authors argue that the heroine-narrator not only overcomes ordeals but also accomplishes a multi-stage way of growing up – from vague impressions and sensations to a clear awareness, the development of principles and understanding of the structure of the world; from complete alienation from the world to the ability to empathize and open her heart to another; from creative inclinations and instinctiveness to enterprise, spiritual development, upholding her ‘naturalness’ and her own way. The paper researches Brontë’s technique of accuracy in details as applied to depict the development of the heroine-narrator’s spiritual world and her outer image and type of behavior. At the same time, it focuses on two versions (synchronic and in retrospect) of depicting Jane’s vision of her own behavior and character. There are also analyzed the ways of comparing and contrasting different child images in the novel: the one based on certain religious-didactic signals (Jane vs. Mrs. Reed’s children) and the one based on the religious system of values (Jane and Helen). The paper particularly emphasizes the role of natural tenacity (and naturalness in general) and the Protestant at its core model of responsible and natural behavior based on the feeling of love in leading the heroine-narrator to matrimonial happiness.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

scholarly journals BIG AND SMALL WORLDS OF CHILDREN CHARACTERS IN ‘A LITTLE PRINCESS’ BY F. H. BURNETT

2020 ◽  
Vol 12 (3) ◽  
pp. 70-78
Author(s):  
Varvara A. Byachkova ◽  
Keyword(s):  
Charles Dickens ◽  
Fairy Tale ◽  
Literary Tradition ◽  
Small World ◽  
Protective Mechanism ◽  
The Novel ◽  
Main Character ◽  
Small Worlds ◽  
The World ◽  
Space Organization

The article raises the topic of space organization in writings by Frances Hodgson Burnett. The object of analysis is the novel A Little Princess. The novel, addressed primarily to children and teenagers, has many similarities with David Copperfield and the works of Charles Dickens in general. The writer largely follows the literary tradition created by Dickens. The space of the main character is divided into three levels: the Big world (states and borders), the Small world (home, school, city) and the World of imagination. The first two worlds give the reader a realistic picture of Edwardian England, the colonial Empire, through the eyes of a child reveal the themes of unprotected childhood, which the writer develops following the literary tradition of the 19th century. The Big and Small worlds also perform an educational function, being a source of experience and impressions for the main character. In the novel, the aesthetic of realism is combined with folklore and fairy-tale elements: the heroine does not completely transform the surrounding space, but she manages to change it partially and also to preserve her own personality and dignity while experiencing the Dickensian drama of child disenfranchisement, despair and loneliness. The World of imagination allows the reader to understand in full the character of Sarah Crewe, demonstrates the dynamics of her growing up, while for herself it is a powerful protective mechanism that enables her to pass all the tests of life and again become a happy child who can continue to grow up and develop.

scholarly journals CELIE: A PORTRAYAL OF AN AFRO-AMERICAN WOMAN'S REJECTION OF TRADITIONAL VALUES

2017 ◽  
Vol 2 (2) ◽  
pp. 129
Author(s):  
Ekawati Marhaenny Dukut ◽  
Nuki Dhamayanti
Keyword(s):  
Women Characters ◽  
Alice Walker ◽  
The Novel ◽  
Main Character ◽  
Traditional Values ◽  
Female Characters ◽  
American Women ◽  
The Color Purple ◽  
The World ◽  
Color Purple

The world of literature can be a medium of expressing the writer's expressions and ideas. Universal topics such as, love, death, and war often become subject mailers in the world of literature. In the novel, of The Color Purple. Alice Walker describes the oppression experienced by Afro American women in the female characters of Celie, Nellie, Shug Avery, Sofia, and Mary Agnes who faced sexual discrimina!ions in a patriarchal society. Womanhood, education, and lesbianism are factors that help the Afro American women to free themselves from traditional values. The Color Purple puts into words the process of its main character, Celie, who tries to reject and escape from the male domination of her world. The other Afro American women characters that help Celie to find her selfidentity represent the manifestation of the rejection of the traditional values. This article. which uses the socio-historical alld feminism approach. is intended to analyse the Afro-American women's rejection of traditional values by focusing on the major character of' Walker's The Color Purple. Celie. as she develops from being a victim of traditional values to the rejoiceful discovery of her selfidentity.

scholarly journals O JORNAL COMO ELEMENTO DE TRANSFIGURAÇÃO DA HISTÓRIA EM O ANO DA MORTE DE RICARDO REIS DE SARAMAGO

2003 ◽  
Vol 60 ◽  
Author(s):  
Gerson Luiz Roani
Keyword(s):  
Authoritarian Regimes ◽  
European History ◽  
Daily Routine ◽  
The Novel ◽  
The World ◽  
History And Literature ◽  
Jose Saramago ◽  
The One ◽  
Radical Approach

Este artigo investiga o diálogo entre a História e a Literatura no romance O Ano da Morte de Ricardo Reis de José Saramago. Nessa obra, vislumbra-se uma atitude inovadora e radical de interlocução com a História, que não se limita a uma mera representação de acontecimentos do passado português. Saramago investe no jogo do fingimento pessoano, inventando para Ricardo Reis um cotidiano e uma queda na conturbada História européia de 1936, que o poeta modernista não poderia prever para o seu mais clássico heterônimo. O discurso ficcional assume uma função restauradora, preenchendo vazios, lacunas e os silêncios do discurso historiográfico. Nesse processo, um dos recursos romanescos utilizados para a transfiguração da História consiste na inserção, na trama narrativa, de textos jornalísticos de 1936, que focalizam a situação histórica portuguesa e européia, nesse ano crucial, em que se consolidaram os regimes totalitários de índole fascista. O aproveitamento desses fragmentos da imprensa portuguesa proporciona uma minuciosa recosntituição das circunstâncias sociais, políticas e históricas de Portugal, criando uma atmosfera cotidiana que bem poderia ser a experimentada por Ricardo Reis, em 1936. Abstract The purpose of this paper is to carry out research on History and Literature in the novel O ano da morte de Ricardo Reis (translated as The year of the death of Ricardo Reis) by Portuguese writer José Saramago. The work stands out by its new and radical approach of a dialogue with History, but which is not limited to a mere representation of Portuguese past events. In Saramagos novel, the latter is revisited through the fictional recreation of one of his heteronyms, Ricardo Reis. The author probes into Pessoa’s play of pretence, inventing a daily routine for Ricardo Reis and plunges into the 1936 disturbances of European History, which the modernist poet could not have foreseen for his most classic heteronym. By giving Ricardo Reis an existence within new fictional parameters, the novel questions the validity of the guiding motto of this fictional figure’s attitude, that is, wise is the one who is contented with the spectacle of the world, which means that at a time of overwhelming social, ideological and political turbulence, the absence of historical conscience is unacceptable. Fictional discourse assumes then a restorative function, filling empty spaces, gaps and silences of historiographic discourse. In this process, one of the novelistic resources used in the transfiguration of History consists of the insertion, within the narrative’s plot, of 1936 newspapers’ texts. These articles focus on the European and Portuguese historical situation in this crucial year when authoritarian regimes of fascist character were being consolidated. The utilization of these fragments of the Portuguese press offers a detailed reconstitution of Portugal’s historic, social and political circumstances, thus creating a quotidian atmosphere that Ricardo Reis would have experienced in 1936.

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 THE ARTISTIC WORLD OF MODERN CHILDREN'S PROSE

2020 ◽  
pp. 200-205
Author(s):  
A. Ashimbaeva ◽  
◽  
Z. Tursynali ◽  
S. Sabigazina ◽  
◽  
...  
Keyword(s):  
Children's Literature ◽  
Children’S Literature ◽  
Mutual Understanding ◽  
Main Task ◽  
Growing Up ◽  
Main Character ◽  
The Past ◽  
Ethical Education ◽  
Parents And Children ◽  
The One

The article tells that the main character traits are laid in childhood. It is during this period of growing up that a worldview and ideas about morality are formed, one of the main sources of which, of course, is children's literature. It is for this reason that, over time, people began to understand the need for the existence of works especially for children. Modern children's prose is developing, transforming, no worse than the one that was before. The problems of the past are being replaced by more urgent and fresh ones. The works of the latest children's literature are a treasure trove of the most important diverse information that you need to be able to reveal, discern, and read between the lines. Thus, the latest literature pushes us ourselves to seek morality, hidden meaning, which leads to the development of various spheres of personality. Today children's literature begins to return to its main task - the ethical education of the younger generation. Writers talk about morality, morality, mutual understanding between parents and children.

scholarly journals On the Reflection of Naturalism in the Main Character in The Call of the Wild

2018 ◽  
Vol 8 (11) ◽  
pp. 1530
Author(s):  
Xiu Zeng
Keyword(s):  
American Literature ◽  
Jack London ◽  
The Novel ◽  
Main Character ◽  
Human Beings ◽  
Literary Naturalism ◽  
Artistic Creation ◽  
Fighting Spirit ◽  
The Will ◽  
The One

Jack London is one of the most outstanding and celebrated critical realists in American literature in the 20th century, he is well recognized in his artistic creation of literary works with the feature of naturalism. The Call of the Wild is one of his naturalistic works filled with adventure and fighting spirit. The main character of the novel is a dog named Buck. By concentrating on Buck's gradual reversion from a civilized pet to a primordial beast, Jack London demonstrates the power of heredity and environment in determining and shaping one’s mind and behaviors. Naturalists believe that mankind is the product of environment, the power of heredity and force of environment are greater than the will of human beings. It is not the strongest of the species that can survive, but the one most responsive to changes. Humans have to adapt themselves to the environment for survival. In The Call of the Wild, the principle of literary naturalism is mainly reflected in the effects of the hereditary and environmental factors on the fate of the main character, Buck.

scholarly journals Offervilje. Om ret og rimelighed blandt venner og fjender og om at komme og dømme levende og døde i Max Kestners film "I am Fiction"

2013 ◽  
Vol 28 (70) ◽  
Author(s):  
Louise Brix Jacobsen ◽  
Henrik Skov Nielsen ◽  
Rikke Andersen Kraglund
Keyword(s):  
Freedom Of Expression ◽  
Publishing House ◽  
The Other ◽  
The Novel ◽  
Main Character ◽  
Artistic Collaboration ◽  
Other Hand ◽  
The Dead ◽  
The One ◽  
Alleged Victim

Louise Brix Jacobsen, Rikke Andersen Kraglund & Henrik Skov Nielsen: “Selfsacrifice. On Right and Reasonableness among Foes and Friends, and on Judging the Living and the Dead in Max Kestner’s film I am Fiction”In 2011, the performance artist Thomas Skade-Rasmussen Strøbech lost a lawsuit against his former friend and collaborator Helge Bille Nielsen and the publishing house of Gyldendal. This led to a debate about copyright, freedom of expression, identity, and the line between fiction and reality. In 2008, Nielsen or Das Beckwerk published the novel The Sovereign where Strøbech – seemingly without his knowledge and apparently against his will – is the main character. About a year after losing the lawsuit Strøbech and film director Max Kestner gives his version of the events before, during, and after the trial in the film I am Fiction (Identitetstyveriet). This article analyzes I am fiction in order to show how the film on the one hand outlines Strøbech’s version of the events as a story about a victim but on the other hand undermines this version with humor and irony and points towards an artistic collaboration between alleged victim and villain.

scholarly journals Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction

2020 ◽  
Vol 44 (2) ◽  
pp. 15
Author(s):  
Jarosław Hetman
Keyword(s):  
Visual Art ◽  
The Other ◽  
Artistic Expression ◽  
The Novel ◽  
Literary Context ◽  
Contemporary Novels ◽  
The World ◽  
The One ◽  
Definition Of

<p>The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20<sup>th</sup> century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s <em>Athena</em>, Kurt Vonnegut’s <em>Bluebeard</em> and Don DeLillo’s <em>Mao II </em>– in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.</p>

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