«The good comic novel»: la narrativa comica di Henry Fielding e l’importanza dell’esempio cervantino

2021 ◽  
Author(s):  
Annalisa Martelli
Keyword(s):  
Don Quixote ◽  
Henry Fielding ◽  
Previous Literature ◽  
The Self ◽  
Tom Jones ◽  
Spanish Novel ◽  
Comic Novel

«The good comic novel». La narrativa comica di Henry Fielding e l’importanza dell’esempio cervantino analyses the influence of Don Quixote on Henry Fielding’s fiction, starting with a survey of the reception of the Spanish novel in England. Joseph Andrews and Tom Jones are analyzed and compared with the Spanish novel, from which Fielding overtly borrowed some characters, episodes, and Cervantes’ parodic strategies. Fielding’s and Cervantes’s narrative proceeded from the parodic deconstruction and subsequent innovation of previous literature, with the main purpose of teaching and amusing the reader at the same time. Finally, the volume examines the role of Fielding and Cervantes in the rise of the fictional and the self-conscious novel.

scholarly journals Reason and Life. Phenomenological Interpretations of Don Quixote

2014 ◽  
pp. 235
Author(s):  
Dalius Jonkus
Keyword(s):  
Don Quixote ◽  
The Self ◽  
Life World ◽  
Don Quijote

Don Quixote is not only a novel which represents Spanish culture, but a hero that reveals the relation between life and reason. I will compare two interpretations of Don Quixote. The first phenomenological interpreta-tion belongs to Ortega Y Gasset, and the second to Lithuanian philosopher Algis Mickūnas. The interpretations of Don Quixote are related to the question about an ideal. What is the role of ideals in culture? Are ideals principles con-structed by reason? Do these principles deny the reality of life, or are ideals related to the self life-world rationality? Then what does the idealism of Don Quixote mean? Does it represent a utopian rationality or does it seek to show values that are not reduced to circumstance? Ortega criticizes Don Quixote as an idealist, who can’t find any ideal values in the nearest environment. Mickūnas suggests interpreting Don Quixote’s idealism as a phenomenological bracketing, which allows one to doubt the blind dependence on this life-world and question its value.Don Quijote no es únicamente una novela que representa la cultura española, sino también un héroe que revela la relación entre vida y razón. Compararé dos interpretaciones de Don Quijote. La primera interpretación fenomenológica pertenece a Ortega y Gasset y la segunda al filósofo lituano Algis Mickūnas. Las interpretaciones de Don Quijote se relacionan con la cuestión acerca de los ideales. ¿Cuál es el papel de los ideales en la cultura? ¿Son los ideales principios construidos por la razón? ¿Niegan tales ideales la realidad de la vida o bien se encuentran los ideales relacionados con la racionalidad misma del mundo de la vida? ¿Qué significa entonces el idealismo de Don Quijote? ¿Representa acaso una racionalidad utópica o trata más bien de mostrar valores que no se hallan reducidos a la circunstancia? Ortega critica a Don Quijote como un idelista, que no es capaz de encontrar valores ideales en su entorno más próximo. Mickūnas propone inter-pretar el idealismo de Don Quijote como un poner entre paréntesis de tipo fenomenológico, que nos permite dudar de la ciega dependencia del mundo vital y cuestionar su valor.

The role of the self in creative expression

2014 ◽  
Author(s):  
Kristin Donnelly ◽  
Radmila Prislin ◽  
Ryan Nicholls
Keyword(s):  
Creative Expression ◽  
The Self

The role of the self in organizational justice

2007 ◽  
Author(s):  
D. Ramona Bobocel ◽  
Russell E. Johnson ◽  
Joel Brockner
Keyword(s):  
Organizational Justice ◽  
The Self

The role of egocentrism in estimating social evaluations of the self

2004 ◽  
Author(s):  
John Chambers ◽  
Nick Epley ◽  
Paul Windschitl
Keyword(s):  
The Self

From Container to Claustrum: Projective Identification in Couples

2014 ◽  
Vol 4 (2) ◽  
Author(s):  
Tamara Feldman
Keyword(s):  
Psychological Health ◽  
Projective Identification ◽  
The Self ◽  
The Other ◽  
Intimate Partners ◽  
And Control ◽  
The Relationship ◽  
As If

This paper is a contribution to the growing literature on the role of projective identification in understanding couples' dynamics. Projective identification as a defence is well suited to couples, as intimate partners provide an ideal location to deposit unwanted parts of the self. This paper illustrates how projective identification functions differently depending on the psychological health of the couple. It elucidates how healthier couples use projective identification more as a form of communication, whereas disturbed couples are inclined to employ it to invade and control the other, as captured by Meltzer's concept of "intrusive identification". These different uses of projective identification affect couples' capacities to provide what Bion called "containment". In disturbed couples, partners serve as what Meltzer termed "claustrums" whereby projections are not contained, but imprisoned or entombed in the other. Applying the concept of claustrum helps illuminate common feelings these couples express, such as feeling suffocated, stifled, trapped, held hostage, or feeling as if the relationship is killing them. Finally, this paper presents treatment challenges in working with more disturbed couples.

Cartesian Fingerprints in Beckett's Imagination Dead Imagine

2012 ◽  
Vol 21 (2) ◽  
pp. 223-243
Author(s):  
Irit Degani-Raz
Keyword(s):  
The Self ◽  
Levels Of Abstraction ◽  
The Media ◽  
The Mind ◽  
Limiting Case

The idea that Beckett investigates in his works the limits of the media he uses has been widely discussed. In this article I examine the fiction Imagination Dead Imagine as a limiting case in Beckett's exploration of limits at large and the limits of the media he uses in particular. Imagination Dead Imagine is shown to be the self-reflexive act of an artist who imaginatively explores the limits of that ultimate medium – the artist's imagination itself. My central aim is to show that various types of structural homologies (at several levels of abstraction) can be discerned between this poetic exploration of the limits of imagination and Cartesian thought. The homologies indicated here transcend what might be termed as ‘Cartesian typical topics’ (such as the mind-body dualism, the cogito, rationalism versus empiricism, etc.). The most important homologies that are indicated here are those existing between the role of imagination in Descartes' thought - an issue that until only a few decades ago was quite neglected, even by Cartesian scholars - and Beckett's perception of imagination. I suggest the use of these homologies as a tool for tracing possible sources of inspiration for Beckett's Imagination Dead Imagine.

Samuel Beckett's Disruptive Translations of ‘je voudrais que mon amour meure’

2019 ◽  
Vol 28 (2) ◽  
pp. 163-178
Author(s):  
Trask Roberts
Keyword(s):  
Samuel Beckett ◽  
The Self ◽  
Irish Poetry ◽  
Poetic Translation

Self-translators are often granted freedoms in their translations unimaginable for standard translators. Whereas a standard translation usually prizes sameness (or invisibility as Lawrence Venuti argues), the self-translator may instead highlight difference or disruption. A burgeoning subfield of criticism has outlined the ways in which one of the most famous of these self-translators, Samuel Beckett, makes use of his role as translator to further the reach of his work beyond the constraints of a monolingual text. Whereas most of this criticism has taken aim at Beckett's prose and theater, this essay asks what can be gleaned about Beckett's translation style from his early poetry. Here I focus on Beckett's four-line, untitled poem which begins ‘je voudrais que mon amour meure’ (‘I would like my love to die’). Originally published in 1948 in the bilingual journal Transition Forty-eight, this poem would go on to be edited, translated, reedited, and retranslated over the course of nearly thirty years. The various iterations and translations of the poem are not always harmonious and instead force the reader to consider more deeply the themes of the poem and to question the role of translation. I read the poem in light of Beckett's 1934 essay ‘Recent Irish Poetry’ as well as consider it in response to W.B. Yeats' 1899 poem ‘He Wishes His Beloved Were Dead’. By situating the poem in this context, I argue that this poem is a manifestation of Beckett's argument in the essay that poetry must take into account the division between poet and object. His short poem demonstrates this division as well as that between original and translation and thus allows us a window onto his translation project at large. Considering Beckett's poetic translation permits us to consider how a complementarity of intention towards language does not necessarily entail complementary translations.

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