Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 411
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Colonial Discourse ◽  
The Impact ◽  
The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

scholarly journals This Is My World: A Submariner’s Battlefield Diary

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Yekaterina Postnikova ◽  
Viktoriya Volkova
Keyword(s):  
Literary Criticism ◽  
Personal Growth ◽  
Point Of View ◽  
Personal History ◽  
The Other ◽  
Source Analysis ◽  
Extreme Conditions ◽  
Historical Method ◽  
Great Patriotic War ◽  
Red Army

Battlefield diaries written by simple soldiers and seamen are unique, rare, and practically uncensored sources of war anthropology. The authors combine the comparative historical method of literary criticism with source analysis, which enables them to consider the Great Patriotic War from the point of view of personal history and reveal the peculiarities of wartime ego-documents. The authors refer to the battlefield diary of G. I. Sennikov, a submariner of the Northern Fleet, written between 1943 and 1946. The diary combines the genres of a diary and an ego-document. The peculiarity of the text is the fact that it combines the functions of a battlefield diary (keeping the author’s memories, having a therapeutic effect, etc.) and those of the individualisation process which helps the author to construct and preserve their own personality (self-identification, self-expression, philosophical, analytical, and vicarious functions, etc.) in the extreme conditions of war (from Murmansk between 1943 and 1944 to Crimea between 1944 and 1946). The autobiographic narrative bears the typical features of a diary, reflecting the development of a young Red Army sailor, i. e. severe selfcriticism, the “other” individuality which the author painfully becomes aware of, a frank and quite often uncomplimentary analysis of situations related to sexual relations. Additionally, the diary reflects the crucial stages in the sailor’s personal growth. The author of the diary builds a world of his own and works out his own ethical code; also, he creates a life plan and sets goals for himself.

The eye/I upon the event: a study of narrative voice in Robert Penn Warren's All the King's Men

1987 ◽  
Vol 8 (1) ◽  
pp. 53
Author(s):  
Maria Lúcia Barbosa de Vasconcellos
Keyword(s):  
Point Of View ◽  
Narrative Discourse ◽  
The Other ◽  
Major Theme ◽  
The Novel ◽  
Temporal Perspective ◽  
Narrative Prose ◽  
Linguistic Level ◽  
King's Men ◽  
The Relationship

This thesis is a study of the relationship between the narrating self and its enunciation in Robert Penn Warren's All the king's men. The concept of point of view is surveyed and discussed and the poetics of narrative is opposed to the poetics of drama, since All the king's men is a novelization of a play by the same author. It is argued that narrative prose allows for a temporal perspective and is thus the adequate genre for the portrayal of man trapped in the complex tensions of time, a major theme of the novel. The narrative discourse is then analyzed through the categories of time, mode and voice, with the narrator's hesitation being examined in terms of function at the linguistic level. Finally, the fragmented and specular pattern of the enunciation is investigated by examining the insertion of the Cass Mastern episode in the narrative. A concluding reflexion focuses on the other voices which permeate the narrator's discourse and confirm the fragmented configuration of the text.

“La marquise sortit à cinq heures”

PMLA ◽  
1969 ◽  
Vol 84 (6) ◽  
pp. 1644-1648
Author(s):  
Albert Chesneau
Keyword(s):  
Structural Analysis ◽  
The Other ◽  
Past Tense ◽  
First Person ◽  
The Novel ◽  
Other Hand ◽  
Third Person ◽  
Present Tense ◽  
Nouveau Roman ◽  
The Ideal

Simple structural analysis applied to passages cited from the works of André Breton elucidates the reasons for his condemnation of the statement La marquise sortit à cinq heures (see his Manifeste du surréalisme, 1924) as non-poetic. This study demonstrates the opposition existing between the above-mentioned realist sentence, essentially non-subjective (third-person subject), non-actual (past tense predicate), contextual (context can be supposed), and prosaic (lack of imagery), and on the other hand a theoretic surrealist sentence, essentially subjective (first-person subject), actual (present tense predicate), and non-contextual, producing a shock-image. In reality, Breton's surrealistic phrase does not always contain all of these qualities at once. However, in contrast to the condemned phrase which contains none at all, it does always manifest at least one of these characteristics, the most important having reference to the evocative power of the shock-image. A final comparison with a sentence quoted from Robbe-Grillet, the theoretician of the “nouveau roman”, proves that even though it may appear objective, the surrealist phrase is really not so. In conclusion, the four characteristics of the ideal surrealist sentence—subjectivity, actuality, non-contextuality, and ability to produce shock-images—create a poetics of discontinuity opposed to the classical art of narration as found traditionally in the novel. (In French)

scholarly journals EMANSIPASI GENDER DALAM MIDDLESEX KARYA JEFFREY EUGENIDES (Gender Emancipation in Middlesex by Jeffrey Eugenides)

ALAYASASTRA ◽  
2018 ◽  
Vol 14 (2) ◽  
Author(s):  
Chrisna Natalia
Keyword(s):  
Queer Theory ◽  
Judith Butler ◽  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Mixed Order ◽  
Three Stages ◽  
Gender Spectrum

ABSTRAK Tulisan ini membahas emansipasi gender dalam novel Middlesex karya Jeffrey Eugenides.Adapun tujuannya ialah untuk: (1) mengetahui struktur cerita novel, (2) mengetahui bagaimana spektrum gender berkembang dalam novel ini, (3) mengetahui bagaimana dan mengapa emansipasi gender direpresentasikan dalam novel ini. Penelitian ini dilakukan dengan merujuk kepada teori queer, yang muncul dari feminisme, yang digagas oleh Judith Butler. Hasil penelitian menunjukkan bahwa novel ini ditulis menggunakan sudut pandang orang pertama, plot episodikal beralur maju mundur, latar simbolik terintegrasi, dan tone depresi yang berubah menjadi riang. Penelitian ini juga menunjukkan bahwa spektrum gender berkembang melalui tiga tahapan, yaitu belum berkembang, berkembang, dan matang. Selain itu, novel ini juga menunjukkan bahwa untuk mengurangi diskriminasi, gender harus dipisahkan dari jenis kelamin. Hal itu karena gender tidak muncul secara alamiah seperti jenis kelamin. Gender adalah generalisasi dari performa individu. Kata kunci: gender biner; diskriminasi; genderqueer; kebebasan. ABSTRACT This study is about gender emancipation in a novel entitled Middlesex by Jeffrey Eugenides. The objectives of the study are, (1) to find out how the element of the novel is developed, (2) to find out how the spectrum of gender in this novel is developed, (3) to find out how gender emancipation presented in this novel. The analysis is done based on queer theory, which is derived from feminism from Judith Butler. The result shows that Middlesex is written by using the first person point of view named Call Stephanides, episodical plot with mixed order, simbolic integrated settings, and varieties of tones such as depressions and joy. The result shows that gender spectrum development is divided into three stages, which are being undeveloped, developed, and advanced. This novel also suggests that in order to decrease discrimination, gender must be separated from sex. Gender does not come naturally as sex but it is developed from perfomance. Keywords: binarism, discrimination, genderqueer, freedom

scholarly journals An Analysis of Students’ Ability in Applying Modulation Technique in Translating Collocation “The Lost Symbol” Novel by Dan Brown

2019 ◽  
Vol 3 (1) ◽  
pp. 182
Author(s):  
Detti Lismayanti ◽  
Angga Pratama
Keyword(s):  
Content Analysis ◽  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Modulation Technique ◽  
Literal Translation ◽  
Other Hand ◽  
Translation Technique ◽  
Modulation Techniques ◽  
Low Ability

The objective of this research was to analyze how students’ ability in applying modulation techniques in translating collocation from the novel “The Lost Symbol” by Dan Brown. The research was a content analysis of descriptive qualitative. There were 25 students taken as respondent, there were represented from each class. The data were collected by using a translation test which was contained six types of collocation. The finding showed that students’ability is dominant in collocation type of adjective and noun because to translate it just simple and the phrase of the word is most familiar in their activities not also in translation subject but other skill language material. In the other hand, the students’ low ability to translate collocation of Verb and expression with a preposition because they could not just use the literal translation but they have to adapt it or changing their point of view and use their cognitive and focus on the context, which makes relevant and coherent. However, overall the average of students ability must be improved it with learning more and lecturer must be able to focus on students’ weakness in applying translation technique, especially on modulation to get the progress by the students’ translation well.

scholarly journals Pensamiento crítico versus razón arrogante

2005 ◽  
pp. 11-27
Author(s):  
Carlos Pereda
Keyword(s):  
Point Of View ◽  
The Other ◽  
First Person ◽  
Critical Thought ◽  
Ethical Implications ◽  
The Third ◽  
Third Person ◽  
Multiple Levels ◽  
The One ◽  
The Third Person

In this article, several levels in which can be proposed/presented the old dilemma of liberty and determinism are discussed and which is the task of critical thought or, particularly, of this critical thought that is philosophy. On the one hand, this dilemma is confronted in its metaphysical side. On the other, its epistemological and ethical implications are considered. Along this multiple levels I particularly consider the crash between the point of view of the first person and the third person.

scholarly journals Anachronisms in Charles Dickens’s ‘Great Expectations’: A Case Study Based on Gerard Genette’s Structural Narratology: الإيقاع الزمني في رواية تشارلز ديكنز "آمال عظيمة" دراسة حالة في ضوء تقنيات السرد البنائي عند جيرارد جينيت

2021 ◽  
Vol 5 (14) ◽  
pp. 130-117
Author(s):  
Rajaa Radwan Hilles Rajaa Radwan Hilles
Keyword(s):  
Linear Order ◽  
Narrative Structure ◽  
Point Of View ◽  
Current Paper ◽  
First Person ◽  
Logical Relation ◽  
The Novel ◽  
Great Expectations ◽  
Sequence Of Events

This paper deals with the narrative order of time in Charles Dickens’s novel Great Expectations. Time is crucial in narratological structure as it establishes a logical relation for events in the narrative. Besides, a narrative develops its point of view through the voices in the narrative. This point of view is called focalization. This paper assumes that the sequence of events in Dickens’s Great Expectations does not follow a linear order and consequently, the point of focalization changes throughout the narrative. Accordingly, the current paper intends to investigate the order of narration in the novel. It intends to explore the ultimate thematic concern of the novel as well. The discussion will be in the light of Gerard Genette’s narratological structure and will be applied on Dickens’s Great Expectations. It is the 13th novel in his independent literary works. It has been published unillustrated in 36 weekly instalments in All the Year Round from 1860 through 1861. Then, it has been published in three volumes by Chapman & Hall in1861. The narrative voice has a great impact on the story’s timeline and on the readers because it is narrated in the first-person voice by the protagonist, Philip Pirrip. (Davis, 2007: P 126) The analysis is based on Genette’s theorization of time order in telling a story and communicating a broader point of view that the author intends to make throughout the whole narrative structure.

scholarly journals L’influence du genre à la transmission de la mémoire : Cas de Dora Bruder de Patrick Modiano

2019 ◽  
Vol 3 ◽  
pp. 00022
Author(s):  
Fauzan Hanif
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Patrick Modiano ◽  
Cultural Experiences ◽  
The Moment ◽  
The Relationship

<p class="Abstract">Such cultural experiences have a possibility to be embedded in a memory of one generation. But there are mostly in form of traumatic experiences. And then, we learn that these memories could be transferred onto their children, or we could say it as “post generation”. In the novel <i>Dora Bruder</i>, such things happen when the author, Patrick Modiano, plays his attribute in composing genres to arrange and transfer his message. The story mainly concerns as the narrator try to find a missing girl named Dora Bruder. She was gone in 1941, or in the moment when Nazi was occupying France. This research aims to discover the relationship between the role of genre on emerging the message, particularly the traumatic ones by using the concept of genre and postmemory. From the analysis we conclude that Modiano use genres to transfer his message traumatic. It exists in form of the impression of absence. From the sensation of absence, he continues to transmit consecutively another impression of hollow, doubt, and also hope. For transferring his message and memory, Modiano mixes real documents and his fiction. He manifest them by constructing a story of another person and narrating it from the first-person point of view. He uses this technique to identify himself, because the “shared idea” of one’s could be related with another’s.</p>

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