STRATEGIES FOR INTERPRETING I.A. BUNIN’S SHORT STORY “THE RAVEN” IN THE CONTEXT OF INTEGRAL ANALYSIS

2021 ◽  
pp. 106-111
Author(s):  
Н.Г. Сичинава
Keyword(s):  
Short Story ◽  
Literary Text ◽  
Literary Analysis ◽  
Psychological State ◽  
The Novel ◽  
Hidden Information ◽  
Inner World ◽  
Artistic Images ◽  
Foreign Speakers ◽  
The Aesthetic

Статья посвящена рассмотрению проблемы формирования основ филологического анализа и интерпретации художественного текста на материале новеллы И.А. Бунина «Ворон». Автор обосновывает необходимость интеграции лингвистического, лингвострановедческого и литературоведческого анализа для обеспечения максимально полного восприятия художественного дискурса инофонами. Зависимость понимания художественного текста и получаемого при его чтении эстетического эффекта от глубины восприятия словесно-художественных образов автор продемонстрирует на материале новеллы И.А. Бунина «Ворон». Средствами создания образов в рассказе являются символика имени; прямая или косвенная характеристики; портрет героя; действия и поступки героя; образы-детали; описание психологического состояния героя; изображение внутреннего мира героя через воспоминания; речь. Как показал анализ, в тексте бунинского рассказа значительный лексический пласт образуется за счет прецедентных феноменов. Процесс их декодирования можно рассматривать как важное средство экспликации текстовой информации. Прежде всего, в исследовательский объектив попадают прецедентные имена. Именно через них можно установить ассоциативные связи с теми понятиями-образами, которые были характерны для российского общества описываемой эпохи или русского лингвокультурного сообщества в целом. В раскрытии образов важную роль играют имплицирующие детали, актуализация которых в ряде случаев происходит через комментарии, заранее подготовленные преподавателем. Особый интерес вызывает проблема смыслового восприятия и понимания имени героини новеллы. Декодирование символики имени героини происходит на основе прецедентных текстов. Данная стратегия формирует у студентов способность узнавать, понимать и адекватно интерпретировать смысл художественного теста с интертекстуальными включениями. Кодирование культурной информации, которая впоследствии должна быть разгадана читателем, имеет место при введении в контекст новеллы определенных лексических единиц. Ключевые слова: художественный текст, интерпретация, прецедентный феномен, образ, язык, И.А. Бунин. The article is devoted to the problem of forming the foundations of philological analysis and interpretation of a fiction text based on the material of I. A. Bunin's short story “The Raven”. The author justifies the need to integrate linguistic, linguistic-cultural and literary analysis in order to ensure the fullest possible perception of fiction discourse by foreign speakers. The author demonstrates the dependence of the understanding of a literary text and the aesthetic effect obtained when reading it on the depth of perception of verbal and artistic images based on the material of I. A. Bunin's Novella "the Raven". The means of creating images in the story are: symbolism of the name; direct or indirect characteristics; portrait of the hero; actions and actions of the hero; images-details; description of the psychological state of the hero; image of the inner world of the hero through memories; speech. Explication of the information contained in the text can proceed along the path of decoding precedent phenomena. When using a precedent name, the author appeals to certain concepts-images that were well known to him and his contemporaries, but do not mean anything to the modern reader. Thus, decoding hidden information requires knowledge accumulated in a given linguistic and cultural community or by humanity as a whole. Implying details play an important role in the disclosure of images, which in some cases are updated through comments prepared in advance by the teacher. Of particular interest is the problem of semantic perception and understanding of the name of the heroine of the novel, which contains references to precedent texts. Decoding the symbolism of the heroine's name gives students the ability to recognize, understand and adequately interpret the meaning of an artistic test with intertextual inclusions. The encoding of cultural information, which must later be unraveled by the reader, takes place when certain lexical units are introduced into the context of the novel.

scholarly journals The Concept of “Thrownness” in Algis Budrys's Short Story “Wall of Crystal, Eye of Night”

2021 ◽  
Vol 40 (45) ◽  
pp. 111-121
Author(s):  
Svetozar Poštič
Keyword(s):  
Science Fiction ◽  
Short Story ◽  
Meaning Of Life ◽  
Literary Analysis ◽  
Being And Time ◽  
The Novel ◽  
Main Character ◽  
Physical Frailty ◽  
New Horizons ◽  
German Philosopher

This paper analyses the concept of thrownness and the related notions of immediacy and actuality in a 1961 short science fiction story “Wall of Crystal, Eye of Night” by Algis Budrys. It first defines the concept of thrownness (Geworfenheit), created and coined by the German philosopher Martin Heidegger in his classic book Being and Time, and it explains how this notion can be employed in literary analysis in general and applied to this work in particular. The article then analyses how certain stylistic devices in the short story, namely similes, change of pace and the presentation of an inner conflict in the main character, contribute to the feeling of authenticity. In other words, it attempts to exhibit the means used in a prose work to make it seem more realistic and immediate. Finally, the work also argues that science fiction is in many ways more real than other fictional works. Although it belongs to the genre that has traditionally been denied serious literary merit, the novel view and interpretation of this story aims to disclose new horizons of artistic expression that illuminate human mental and physical frailty and stimulate a valuable inquiry into the meaning of life.

scholarly journals The Logical Basis of a Literary Text, or What Does Porfiry Petrovich Hide in F. M. Dostoevsky’s “Crime and Punishment”?

2020 ◽  
Vol 27 (1) ◽  
pp. 239-259
Author(s):  
Valentina E. Vetlovskaya
Keyword(s):  
Literary Text ◽  
Crime Fiction ◽  
The Novel ◽  
Crime And Punishment ◽  
Logical Basis ◽  
The Aesthetic ◽  
The Individual

<p>The article explores the role of logical connections in an epic text. It is these connections, according to the author of the article, that connect the individual components of the narrative (motifs, complexes of motifs) and make up in the reader&rsquo;s perception for the missing elements. The reticence and failures to mention, common in fiction, appear in the narrative for various reasons. Sometimes due to the aesthetic principles of the writer who prefers ambiguity to a completed statement depriving readers of the opportunity to finish thinking over a vague idea. And sometimes, due to the author&rsquo;s conviction that there is no need to explain the idea implied by what has been earlier said. But it also happens that the omissions in the narrative are engendered by the requirements for the presentation of a chosen topic, for example in crime fiction. But these reasons may go together as it occurs in Crime and Punishment. These ideas are illustrated by the analysis of one of the themes of the novel Crime and Punishment.</p>

AESTHETIC FUNCTION OF INTERROGATIVE UTTERANCES IN G. SWIFT'S NOVEL "WATERLAND"

2021 ◽  
pp. 29-39
Author(s):  
KATERINA GLADKOVA
Keyword(s):  
Component Analysis ◽  
Literary Text ◽  
Contextual Analysis ◽  
Stylistic Analysis ◽  
The Novel ◽  
Inner World ◽  
The Individual

The article presents the results of the study of aesthetic function of interrogative utterances in the novel "Waterland" by G. Swift. The methods of component analysis, contextual analysis, and stylistic analysis were used in the research. The author assumes that interrogative utterances play the key role in representing imagery of the novel, facilitating thematical and conceptual unity, forming the chronotope and presentation of the inner world of the narrator. It was also found that interrogative utterances function in expressing emotivity and psychologism of a literary text as well as actualizing implicit senses, e. g. of certain images and episodes by means of such stylistic devices as aposiopesis, parenthesis, repetition, ellipsis and others. In general, the author assumes that in their aesthetic function interrogative utterances serve to convey the individual aesthetic model presented by the author in a literary text.

Intercultural Communication in Translingual Literary Text (based on the cycle of A. Zhaksylykov “Dreams of the Damned”)

2020 ◽  
Vol 2 (6) ◽  
pp. 241-251
Author(s):  
Olga A. Valikova ◽  
◽  
Nina V. Shchennikova ◽  
Sheker A. Kulieva
Keyword(s):  
Narrative Analysis ◽  
Literary Text ◽  
Modern World ◽  
The Novel ◽  
Narrative Strategies ◽  
New Novel ◽  
Original Culture ◽  
The World ◽  
The Creation ◽  
Artistic Images

The purpose of this article is to analyze the transcultural literary text as a space for the “meeting” of languages and cultures. The modern world exists in the conditions of global transculturalism (F. Ortiz), when sign systems interact, giving rise to new images of the world. The language, which translates into a wide communicative space the elements of the original culture for the author, experiences its influence on itself. The literary text acquires multidimensionality and “convexity” due to the inclusion in it of alternative genre forms, narrative strategies and tactics, archetypes. On the basis of the novel series “Dreams of the Damned”, written by the Kazakh writer A. Zhaksylykov, we demonstrate in this work the mechanisms of “internal intercultural interaction” between Kazakh and Russian cultures, using the methods of hermeneutic commentary, mythopoetic and narrative analysis. We come to the conclusion that cultural content requires the creation of adequate forms of artistic representation. The result is the creation of new novel forms of depiction, the complication of the artistic images of the world and the strengthening of the empathic effect that a literary text can provide.

scholarly journals Sacrilegious character of «The cross on Saturn» in the self-titled novel of Oles Ulianenko

2020 ◽  
Keyword(s):  
Research Methodology ◽  
The Self ◽  
The Other ◽  
Literary Analysis ◽  
The Novel ◽  
Aesthetic Appeal ◽  
Inner World ◽  
The Cross ◽  
Professional Evaluation ◽  
The One

Oles Ulianenko, one of the most talented and controversial Ukrainian writers of these days, has been dead for ten years. His literary works did not receive any appropriate professional evaluation though because literary scholars and critics applied either the wrong or unproductive research methodology due to some objective and subjective reasons. The aim of the article is to suggest an alternative, in comparison to traditional variants, theoretical literary analysis which is grounded on the principles of the corporal-mimetic method to interpret fiction done on the extremely controversial novel “The Cross on Saturn” by O. Ulianenko. Having analyzed the idea and artistic content of the novel “The Cross on Saturn”, the conclusion is made that, first, the book characters seem to function as simulacra of their shallowness because they lack the depth of inner world. But despite this fact, despite parody, superficial dialogues and surrogate actions, the main characters of the novel and the peripeteia, they find themselves in, do not lose aesthetic appeal because these characters do not need deep inner world since their function is not determined by what these trivial characters reflect in the text mirror but by what the text mirror reflects in them. Second, the shallowness is filled with the content conditioned by the incest precedent which provides the basis of Oles Ulianenko’s novel to the degree to what the writer creates the tragedy in its exact, namely ancient Geek, meaning of the notion according to which tragedy is, on the one hand, a story determined by an utterly artificial form and content and, on the other hand, it is a story which does not simply end by death, it is a story which cannot end by anything else but death. It seems as if nothing but tragedy could make it impossible for a man to have their animal essence to supersede their human part.

SPECIAL LANGUAGE MEANS IN BY JAMES JOYCE

2021 ◽  
pp. 42-54
Author(s):  
С.Н. Степура
Keyword(s):  
James Joyce ◽  
Distinctive Feature ◽  
Expressive Language ◽  
Literary Text ◽  
The Novel ◽  
Stream Of Consciousness ◽  
Norm Violation ◽  
The Aesthetic ◽  
Linguistic Means ◽  
Special Language

Постановка задачи. В статье рассматриваются средства выразительности в романе Дж. Джойса «Улисс», в тексте которого присутствуют практически все возможные стилистические приемы и фигуры речи. Базируясь на семантической двуплановости как отличительном признаке большинства образных средств, автор пытается проследить механизмы формирования языкового инструментария, характерного для модернистского произведения. Производится попытка понять, как происходит процесс порождения знаков в «Улиссе» и как их интерпретировать. Для этого особое внимание уделяется группе слов с большим семиотическим потенциалом. Результаты. Установлены некоторые языковые средства выразительности, характерные для романа «Улисс». Их отличительной особенностью является авторская индивидуальность, усиленная специфичностью романа «потока сознания», когда потенциал языка используется по-новому. Выводы. Образные средства способны придавать фигуральность любому художественному тексту. Однако создание модернистского романа «Улисс» потребовало от Джойса особых усилий в формировании языковых средств. Характерный признак данного произведения, поток сознания, спровоцировал использование лингвистического резерва несколько иным способом - бесконечными парадоксами, запутанными символами и ассоциациями. Нередко последнее связано с изменением семиозиса. Так, специфические средства создания образности в «Улиссе», заключающиеся в гротескности и эксцентричности, основываются на нарушении нормы языка, что приводит к многократному усилению эстетико-художественного эффекта в романе. Statement of the problem. The article examines the means of expression in J. Joyce's novel Ulysses , which contains virtually all possible stylistic devices: phonological, morphological, grammatical, syntactic and lexical. Based on the semantic duality as a distinctive feature of the majority of figurative means, the author tries to trace the mechanisms of the linguistic tools formation that could be characteristic of a modernist work. An attempt is made to understand how the process of generating signs in Ulysses takes place and thus how it can be interpreted. For this, special attention is paid to a group of words with great semiotic potential. Results. Some linguistic means of expressiveness characteristic of the novel Ulysses have been identified. Their main feature is the author's individuality reinforced by the specificity of the "stream of consciousness" novel, when the potential of the language is used in a new way. Conclusion. Different stylistic devices and expressive language means are able to make an impression and add figurativeness to any literary text. However, the creation of the modernist novel Ulysses required special efforts from Joyce in the formation of linguistic means. A distinctive feature of this work, the stream of consciousness, provoked the use of the linguistic potential in a slightly different way creating endless paradoxes, confusing symbols and associations. Often the latter is associated with the change in semiosis generation. Thus, the specific means of creating imagery in Ulysses lead to the language norm violation. In its turn, the grotesque and eccentricity bring multiple increase in the aesthetic and artistic effect in the novel.

scholarly journals Maupassant’s The Horla is a Portrayal of Human Frailties and a Critique of Anthropocentrism: An Ecocritical/Deep Ecological Perspective

2021 ◽  
Vol 4 (6) ◽  
pp. 229-236
Author(s):  
Mohammad Afzal Hossain Hossain
Keyword(s):  
Short Story ◽  
World View ◽  
Literary Text ◽  
Ecological Perspective ◽  
Psychological State ◽  
Analysis Method ◽  
Major Research ◽  
Human Race ◽  
Ecological Hierarchy ◽  
Horror Story

This research analyzes how nature, human and non-human, have been represented in Guy de Maupassant’s short story The Horla through an ecocritical lens. In its fundamental form, the ecocritical theoretical framework investigates how nature, landscape, and places have been represented in a literary text and explore how human and non-human interrelations have been portrayed. In this story, Maupassant has portrayed nature as a positive, healing force and delved into the anthropocentric and anthropomorphic constructivist attitude to non-human, invisible, emergent being, in this context, the Horla. The narrator’s anthropocentric world view has denied justice toward Horla to exist, fearing he will shake the human-centred ecological hierarchy. According to the Deep Ecological philosophical position or ecosophy, all things, including spiritual being that cannot be seen, are interconnected and have their necessary position in various modalities of Nature. Denial of the existence of a new emerging entity and the inability to schematize and adopt it will destroy the new being and the human race itself. The paper has deployed two major research methods; textual analysis and archival method. Apart from these two methods, discourse analysis method has also been used where deemed relevant and necessary. The paper finds that The Horla is not merely a generic horror story that has portrayed the inner psychological state of the narrator in a fantastique manner but also an expository one of human frailties and human denial of a being that deemed more intelligent and perfect than the human being, fearing to lose the anthropocentric dominance.

scholarly journals Musical code and musical ecfrasis in the novel by I. Franco “William Tell”

2019 ◽  
Keyword(s):  
Short Story ◽  
Verbal Description ◽  
The Novel ◽  
The People ◽  
Inner World ◽  
The Rich ◽  
Litmus Test ◽  
The One ◽  
Relationship Of

The article analyzes the novel by I. Franco “William Tell” through the prism of musical code and musical ecfrasis. So far, none of the French scholars has paid attention to the plot-forming role of the Rossini’s opera in the short story, but in the first part of the four-part short story the young couple is going to the opera, in the following parts Franco gradually reveals the heroine’s perception of the overture to the opera, and then its individual scenes. After the end of the opera, Olya novelistically unexpectedly, on the external-eventual plane of the novel, declares that she is not in love with Volodko, but on the internal, spiritual and psychological - thanks to the verbal description of the music and its perception by the heroes - this becomes natural. With the help of musical ecfrasis, the depth of Olya’s impression of the Rossini’s opera and the heroine’s psychological sensitivity to what she heard become clear. Moreover, Franco finds his “niche” in the image of the heroine's understanding of opera music: while foreign writers of the mid-19th century most often describe the feelings and emotions that heroes evoke in music, Franco, relying on picture programmability (landscapes of his native land and ideal representations of the heroine about family happiness), which Olya accompanies the heard music, reveals the rich inner world of the girl and her ideals. Rossini’s romantic heroic-patriotic opera “Wilhelm Tell”, her musical images and stage performance become a litmus test in the novel: the relationship of the characters to the opera performance, impressions of it become an important way of revealing their characters. Volodka’s superficial attitude to music as entertainment, on the one hand, and Olya’s ability under the influence of music to see the true meaning of life, correcting her worldview from pastorally romantic to heroic-romantic, on the other hand, make it possible to understand the different life positions of the heroes - the intellectual adaptive Volodka’s service to the people of Olya, and, in fact, the ideological and artistic concept of the writer himself.

PSYCHOLOGICAL KNOWLEDGE AS A CODING FACTOR OF A LITERARY TEXT

2021 ◽  
pp. 78-89
Author(s):  
N.L. Potanina ◽  
◽  
B.I. Tenyushev ◽  
Keyword(s):  
Scientific Knowledge ◽  
Essential Element ◽  
Literary Text ◽  
Modern World ◽  
The Novel ◽  
Topical Problem ◽  
American Writer ◽  
The Aesthetic ◽  
Psychological Knowledge

The article deals with such topical problem as the transfer of scientific knowledge to the aesthetic sphere. The novelty and relevance of the article is due to the fact that it contains a poetic analysis of the novel “Flowers for Algernon” by a modern American writer D. Keyes in the perspective of the cording factor as a principle for organizing an artistic text. The authors turn to the timely task of researching D. Keyes’s work with a view to the broader understanding some sing and semiosis problems of non-classical literary text. As a result of the meticulous analysis, the authors show a new poetic significance of the writer’s cognitive interpreting modern reality which became an essential element of organizing the text of the novel “Flowers for Algernon”. The principles of incorporating psychological knowledge into the construal of text meaning were determined. The accumulated evidence allow to justify the inclusion of the novel in the general art process of developing adequate poetic tools aimed at reflecting the changed ideas about the modern world.

scholarly journals Spatial Attractions: The Literary Aesthetics of Female Erotic Experience in the Colony

2021 ◽  
Vol 8 (2) ◽  
pp. 253-269
Author(s):  
Anna Ziajka Stanton
Keyword(s):  
Short Story ◽  
Female Sexuality ◽  
Albert Camus ◽  
The Body ◽  
The Novel ◽  
Colonial Literature ◽  
Literary Aesthetics ◽  
Male Activity ◽  
The Aesthetic ◽  
Colonial Contact

This article examines the aesthetics of representing female sexuality within colonial narratives of the West–East encounter. I consider two literary works whose female characters challenge the gendered metaphors of empire that predominated in a tradition of colonial literature and its postcolonial rewriting: the short story “La femme adultère” by the French-Algerian writer Albert Camus, and the novel Wāḥat al-ghurūb by Egyptian writer Bahāʾ Ṭāhir. In each text, the standard heterosexual troping of imperial conquest as a male activity directed at or against a feminized other is inverted to place a European woman’s sexually aroused body at the center of the drama of colonial contact. Reading these two texts against the grain of the aesthetic formulas that they employ to contemplate the political stakes of cross-cultural intimacies in a colonial setting, I argue that the phenomenological immediacy of how the female protagonist in each is shown to experience the eroticism of colonial space introduces a break in these formulas. The loss of narrative plausibility in each text that follows from these erotic interludes, I propose, ultimately testifies to the irreducibility of the body to either enforcing or disputing the epistemologies of the colonial project.

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