scholarly journals Literary Perspective in Autobiography: Book "Days" and "My life" Comparison Study

2018 ◽  
Vol 227 (1) ◽  
pp. 45-83
Author(s):  
Assist. Prof. Dr. Eman Abdu-Dakeel Esae ◽  
Lecturer. Dr. Julan Hussian Judy
Keyword(s):  
Cultural Background ◽  
The Self ◽  
Historical Background ◽  
Clear Picture ◽  
The Novel ◽  
Comparison Study ◽  
Modern Arabic ◽  
The Voice ◽  
Creative Vision

Autobiography is the written type that related to "I" author, which is relevant to his experience life and written: their worries, affairs, sorrows, and concerns. Hence this study appeared to show how to diagnosis the nature of literary for this type, drawing it's historical background and it's relationship with literary trends in the modern Arabic prose especially the novel, which was nearest to it and most impact in its development, then stand on the denotations type of autobiography, the role of motivation, cultural background, creative vision and the talent in formulating the referential aspect through my book "days" and "my life" the two outcome out the study of comparison which settlement in the field of Arabic autobiography in modern way, telling similar accidents in many times, and telling autobiography of life in different ways that giving a clear picture of comparison through literary perspective then stand on the more accurate literary concept of this writing type about the self, finally we stand on how to draw the literary perspective and determine it in the field of autobiography through managing the most important construction of telling the narrative as an important tool of comparison to diagnosis the literary perspective by studying how to tell and use the voice, the kind of description, it's function of comparison, the measure of availability in choosing text to differentiate the function of the study for these texts which as long as stopped by critics. The study concluded that the literary function of autobiography is unstable in which it is found in one study and absent from another.   

Le premier moment de l’art dans À la recherche du temps perdu de Marcel Proust – une « leçon d’idéalisme » ?

2020 ◽  
pp. 25-40
Author(s):  
Larisa Botnari
Keyword(s):  
Essential Role ◽  
Marcel Proust ◽  
The Self ◽  
Philosophy Of Art ◽  
The Novel ◽  
Philosophical Interpretation ◽  
German Philosopher ◽  
Lost Time ◽  
Aesthetic Thinking

Although very famous, some key moments of the novel In Search of Lost Time, such as those of the madeleine or the uneven pavement, often remain enigmatic for the reader. Our article attempts to formulate a possible philosophical interpretation of the narrator's experiences during these scenes, through a confrontation of the Proustian text with the ideas found in the System of Transcendental Idealism (1800) of the German philosopher F. W. J. Schelling. We thus try to highlight the essential role of the self in Marcel Proust's aesthetic thinking, by showing that the mysterious happiness felt by the narrator, and from which the project of creating a work of art is ultimately born, is similar to the experiences of pure self-consciousness evoked and analyzed by Schellingian philosophy of art.

Stutter and phenomena: The phenomenology and deconstruction of delayed auditory feedback

2020 ◽  
Vol 5 (2) ◽  
pp. 197-213
Author(s):  
Roshaya Rodness
Keyword(s):  
Auditory Feedback ◽  
The Self ◽  
Husserlian Phenomenology ◽  
Human Consciousness ◽  
Delayed Auditory Feedback ◽  
The Voice ◽  
Internal Division

Jacques Derrida’s early critique of Husserlian phenomenology discusses the production of the ‘phenomenological voice’ as the consummate model of human consciousness. Challenging Husserl’s conviction that consciousness is produced from the self-enclosed act of ‘hearing-oneself-speak’, Derrida points to vocality as the complex site of the self’s relationship to presence and exteriority. The internal division between hearing and speaking, he argues, introduces difference into the generation of conscious life. The use of delayed auditory feedback (DAF) as a prosthetic for stuttering provides an opportunity to engage Derrida’s insights on the connection between consciousness and voice with an ear to the speech of people who stutter. DAF, which may reduce or increase dysfluency depending on the speech of the user, introduces a series of delays, alterations and supplements to speech that underwrite the heterogeneous experience of conscious life. What can the philosophy of deconstruction add to conversations about the function of DAF, and what can theory about and experiences with DAF teach us about the self’s presence to itself and the role of alterity in shaping speech? What does stuttering teach us about the necessity of dysfluency for all speech? This article examines the relation between the voice and the phenomenological voice, and between stuttering and prosthetics. Concluding with an analysis of Richard Serra’s experimental recording, Boomerang (1974), it argues that voice is always already prostheticized with alterity, and that in hearing-oneself-speak we exist with voice in an expansive and unfinished conversation with our own mystery.

Dilemmas of a subculture: An analysis of BDSM blogs about Fifty Shades of Grey

Sexualities ◽  
2019 ◽  
Vol 23 (5-6) ◽  
pp. 987-1008
Author(s):  
Lucie Drdová ◽  
Steven Saxonberg
Keyword(s):  
Mass Media ◽  
Public Debate ◽  
The Self ◽  
The Novel ◽  
The Public ◽  
Documentary Analysis ◽  
Self Image ◽  
The Mass Media ◽  
The Voice ◽  
Fifty Shades Of Grey

Recently, much has been written in the mass media about the novel and film Fifty Shades of Grey. It was widely portrayed as an example of BDSM (a common abbreviation for the terms bondage, discipline, dominance, submissivity, sadism and masochism) subculture and used as a symbol of sadomasochistic identity. But is this public view based on the self image of BDSM subcultural members or is it a figment of the imagination of writers and journalists? This article presents the voice of BDSM activists, who are silenced and excluded from the public debate. Using a virtual ethnographic method, we analyse the BDSM blogosphere as a platform for subcultural expressions of opinion. We combine this with a documentary analysis. In doing so, we examine how BDSM subculture members perceive themselves in contrast to the mainstream view of them pictured in the book Fifty Shades of Grey. This article investigates to what extent the subcultural conception of BDSM corresponds to the book's depiction and where it differs fundamentally.

The Ambivalence of Testimony in Elizabeth Bowen’s

2020 ◽  
pp. 109-122
Author(s):  
Ana Ashraf
Keyword(s):  
The Self ◽  
The Novel ◽  
Political Commitment ◽  
Women's Experience ◽  
Binary Division ◽  
Post War ◽  
Romance Plot

Ana Ashraf’s exploration of Bowen’s novel demonstrates how, in the post-war milieu, ambivalent narratives of testimony and witnessing challenged the ideology of war and the machinery of propaganda. The novel’s metafictional style emphasizes the self-reflexive nature of witness and testimony. Interweaving personal and political spheres in an experimental form that juxtaposes the classic romance plot and the traditional spy novel, The Heat of the Day offers a feminine view of the masculine world of intelligence. In its presentation of the conflict between love and patriotism, the novel’s treatment of treachery appears unstable and unusual. It also highlights the role of literary testimony in challenging the dominant narrative of war. Demonstrating the ‘intermodern’ preoccupation with political commitment during periods of war, the novel exemplifies an ‘interfeminist’ awareness of the notion of ‘women’s time’, the marginalisation of women’s experience of war and the binary division between fact and fiction.

Written on the Body: Ekphrasis, Perception and Deception in Heliodorus' Aethiopica

Ramus ◽  
2002 ◽  
Vol 31 (1-2) ◽  
pp. 111-125 ◽  
Author(s):  
Tim Whitmarsh
Keyword(s):  
Solid Material ◽  
The Body ◽  
The Self ◽  
Skin Colour ◽  
The Novel ◽  
White Space ◽  
Physical Form ◽  
The Moment

Novels have so much solid and monolithic bulk when they sit in a hand or on a shelf; inside, the pages are forests of symbols, as though even in books of such magnitude the sentences needed compression to fit on to pages. How different to poetic volumes, beguilingly slender, their pages brilliant with blank, white space, across which the spindly words stretch like gossamer. In terms of content, however, novels are rarely as monolithic as their physical form suggests. From earliest times since, the genre has dealt, centrally, with themes of metamorphosis, transubstantiation, the fundamentally permeable nature of the self. The solid material aspect of the novel often masks a central preoccupation with the fluidity of identity.In the compass of this article, I want to explore the central role accorded by Heliodorus, arguably the greatest of ancient novelists, to questions of perceptual deception, to seeing and seeming; and in particular, I want to explore the role of artworks within Heliodorus' narrative economy. The narrative turns, as is well known, on the amazing paradox of an Ethiopian girl born white. Charicleia's skin colour is a visual trap, an illusion. Given that her freakish pigmentation is the result of her mother's glancing at an art-work at the moment of conception, Charicleia can almost be said to be a walking ekphrasis, an embodiment of the illusory traps of the unreal.

scholarly journals From Agatha Christie’s The Mirror Crack’d from Side to Side to Rituparno Ghosh’s Shubho Muharat: Film Authorship and Transcultural Adaptation

2021 ◽  
Vol 13 (4) ◽  
Author(s):  
Akaitab Mukherjee ◽  
Keyword(s):  
Third Space ◽  
Cultural Background ◽  
The Self ◽  
The Novel ◽  
Authorial Intention ◽  
Cultural Texts ◽  
Transcultural Adaptation ◽  
Textual Politics ◽  
Film Authorship

In her book A Theory of Adaptation Linda Hutcheon uses the term “transcultural adaptation” to illustrate different context in which literary or other cultural texts are adapted. This relocation of text through adaptation often adds multiple interpretations or alters textual politics. Hutcheon further argues that transcultural adaptation can transform the text in unpredictable direction. The paper seeks to explicate eminent Bengali film director Rituparno Ghosh’s (1961-2013) Shubho Muharat (The First Day of the Shoot, 2003) which is influenced by Agatha Christie’s (1890-1976) novel The Mirror Crack’d from Side to Side (1962). The essay untangles Ghosh’s strategy to add Indian socio-cultural background in the western text. He expresses authorial intensions when he re-narrates of the novel on screen. The paper argues that the transcultural adaptation creates a “Third Space of enunciation” where the auteur uses the traits of detective film and repeats authorial intention. Following Janet Staiger’s reinterpretation of auteurism the essay argues that duplication of authorial impulse is Ghosh’s “technique of the self”.

scholarly journals FLORAL COMPONENT AS THE ENTRY OF VIRA VOVK’S SPIRITUALITY: SELF-IDENTIFICATION WITHIN THE CONTEXT OF HER CREATIVE WORK

2021 ◽  
pp. 25-31
Author(s):  
Oleksandra Hul ◽  
Artur Bracki
Keyword(s):  
World View ◽  
The Self ◽  
Historical Background ◽  
Creative Work ◽  
Special Significance ◽  
Ukrainian Text ◽  
Life Path ◽  
The One ◽  
Young Writer

The article analyzes the life path of Vira Vovk and key images of her work with a special emphasis on the role of plant symbols, and the influence of sacred ideas on the artist and her faith in God. Attention in the article focuses on the self-identification of Vira Vovk as a purely Ukrainian poetess with her own life position. At the same time, the course of analysis of the author's biography and bibliography circles around her sincere love and devotion to Ukraine, in particular – the admiration of the beauty of her native land, the granting of special significance and symbolic meaning to floral dimension, which is clearly illustrated by examples of donna Vira's lyrical lines. The sacred level and divine beliefs are covered, on the one hand, on the examples of the artist's poetry, on the other – taken from the sphere of journalism about Vira Vovk, namely, from interviews with poetess within literary evenings, conferences, round tables. The article outlines significant instructions to the younger generation of writers: here we are talking about the use of Ukrainian images, plots, historical background of our Motherland, without the involvement of foreign motifs and style. We will try to reveal the secret of "lameness" of the Ukrainian text through the eyes of Vira Vovk and the role of the Ukrainian author's style in the context of the formation of a young writer. In addition to the purely literary level and the analysis of the emigration author's work, we also intent to show Vira Vovk as a sophisticated person, whose literary roots germinated deeply from the Ukrainian land, absorb the entire color of the Ukrainian mentality, world view and reveals in her work. The means of expressiveness outline the divine direction of her poetry: her faith, exclusive intuition, openness to people and purity of thought.

scholarly journals “Duermen bajo las aguas” (1955), de Carmen Kurtz: entre la autocensura y el asomo de una voz crítica en la posguerra española = “Duermen bajo las aguas” (1955), of Carmen Kurtz: between the self-censhorship and the emergence of a critical voice in the Spanish post-war

2018 ◽  
pp. 35 ◽  
Author(s):  
Inmaculada Rodríguez-Moranta
Keyword(s):  
The Self ◽  
The Novel ◽  
Franco Regime ◽  
Social Nature ◽  
Role Of Women ◽  
Post War

<p class="Pa15">El artículo se enmarca en el análisis y recuperación de la obra narrativa de Carmen Kurtz (1911-1999), cuya producción novelística para adultos comprende trece obras de carácter realista y social. <em>Duermen bajo las aguas </em>(Premio Ciudad Barcelona, 1955) no tuvo problemas con la censura, y quizás por ello resul­ta una obra especialmente interesante. Se tratará de analizar cómo, en su primera incursión en la novela, la escritora se debatió entre la autocensura y el asomo de una voz crítica, pues, si bien evitó tratar de manera directa los efectos de la guerra y la posguerra española –trasfondo del relato-, introdujo una velada crítica a los mitos difundidos por el Régimen franquista en relación al papel de la mujer a través de su protagonista, Pilar, personaje en el que se centra este trabajo.</p><p class="Pa15"><span lang="EN-US">The article is part of the analysis and recovery of the narrative work of Carmen Kurtz (1911-1999), whose novelistic production for adults includs thirteen works of a realistic and social nature. <em>Duermen bajo las aguas </em>(Ciudad de Barcelona Reward, 1955) had no problems with the censorship, and perhaps for that reason it becomes a particularly interesting work. It will be tried to analyze how, in her first incursion in the novel, the writer was debated between the “self censorship” and the appearance of a critical voice, because, although she avoided to treat in direct way the effects of the war and the Spanish postwar pe­riod - background of the story -, introduced a critic veiled of the myths spread by the Franco regime in relation to the role of women through its protagonist, Pilar, a character in which this work is centered.</span></p>

scholarly journals “I’m a I’m a Scholar at the Moment”: The Voice of the Literary Critic in the Works of American Scholar-Metafictionists

2016 ◽  
Vol 26 (1) ◽  
pp. 36-51
Author(s):  
Wojciech Drąg
Keyword(s):  
Literary Criticism ◽  
Negative Attitude ◽  
The Self ◽  
The Novel ◽  
Literary Critic ◽  
American Scholar ◽  
Snow White ◽  
The Moment ◽  
The Voice

Abstract In her seminal book on metafiction, Patricia Waugh describes this practice as an obliteration of the distinction between “creation” and “criticism.” This article examines the interplay of the “creative” and the “critical” in five American metafictions from the late 1960s, whose authors were both fictional writers and scholars: Donald Barthelme’s Snow White, John Barth’s Lost in the Funhouse, William H. Gass’s Willie Masters’ Lonesome Wife, Robert Coover’s Pricksongs and Descants and Ronald Sukenick’s The Death of the Novel and Other Stories. The article considers the ways in which the voice of the literary critic is incorporated into each work in the form of a self-reflexive commentary. Although the ostensible principle of metafiction is to merge fiction and criticism, most of the self-conscious texts under discussion are shown to adopt a predominantly negative attitude towards the critical voices they embody – by making them sound pompous, pretentious or banal. The article concludes with a claim that the five works do not advocate a rejection of academic criticism but rather insist on its reform. Their dissatisfaction with the prescriptivism of most contemporary literary criticism is compared to Susan Sontag’s arguments in her essay “Against Interpretation.”

Sign in / Sign up

Export Citation Format

Share Document