scholarly journals The Structures and Functions of the Imperative Constructions in Dickens' Hard Times

2020 ◽  
Vol 31 (2) ◽  
pp. 520-540
Author(s):  
Hana'a Abass Suleiman
Keyword(s):  
Foreign Language ◽  
The Other ◽  
The Novel ◽  
Distinctive Features ◽  
Hard Times ◽  
Shed Light

This paper intends to shed light on the different forms and functions of the imperative sentences in the novel of Hard Times. This novel is found to fulfill the purpose of the study. One of its most distinctive features is the excessive use of imperative structures. The results show that imperatives are commonly used by the characters of the novel. This study aims to analyze the imperative utterances in the novel and to show their forms and functions according to Alexander Model 1997 which is adopted to achieve the purpose of the study. The frequency and percentage of every type of the imperative used in the novel are given in specific tables to show how many times each form is used more than the other which would reveal Dickens’s intention to express advice, suggestion, request, etc. The data collected from the corpus of Hard Times' text. The study limits itself to analyze the imperative structures and shows the functions according to Alexander Model. It is hoped that this study will be valuable for those who study English as a foreign language and those also who are interested in English linguistics.

scholarly journals Потенциал иронии в творчестве Людмилы Петрушевской (на примере романа Нас украли. История преступлений)

2020 ◽  
Vol 45 (2) ◽  
Author(s):  
Юлия Брюханова
Keyword(s):  
Foreign Language ◽  
The Other ◽  
The Novel ◽  
Ontological Status ◽  
Common Features ◽  
Significant Element ◽  
Philosophical Aspect ◽  
The Status ◽  
The Common ◽  
The One

Many researchers of Lyudmila Petrushevskaya’s works draw attention to the irony which is the significant element of her prose, drama and poetry. It is important that the ironic principle manifests itself not only as an artistic technique but also as a philosophical aspect. Irony demonstrates the ambivalence of reality. On the one hand, it ridicules and profanes everything. On the other hand, irony gives the certitude of the ontological status of reality. We can see a good example of this function of irony in the novel Nas ukrali. Istoriya prestupleniy (2017). This novel shows the common features of Petrushevskaya’s works – the unity of ironic potential and language. In this case, language is not only the style but first of all the ontological element. This is why the language becomes almost a character in Petrushevskaya’s novel. Irony opens the vital potential of the linguistic personality. As a result, one of the heroes imitates foreign speech but doesn’t speak a foreign language. Irony also helps to reveal the ambivalent nature of life. It shows that our “umora” in Sanskrit and in ancient Indian is “humour” and “death”. So, the game and profanity not only reduce the status of the hero, the image, or the reader’s expectations but, first of all, fill the gap between words, ideas, feelings, and people.

scholarly journals Medical Latin of F. M. Dostoevsky

2021 ◽  
Vol 3 (4) ◽  
pp. 130-145
Author(s):  
Anna A. Skoropadskaya
Keyword(s):  
Foreign Language ◽  
Russian Translation ◽  
Primary Source ◽  
Modern Society ◽  
The Other ◽  
Secret Society ◽  
The Novel ◽  
Professional Affiliation ◽  
Medical Terms ◽  
Textual Description

In F. M. Dostoevsky’s works and working notes there are medical terms and expressions written in Latin. The article provides a textual description of these foreign language inserts and analyzes their stylistic and ideologically meaningful functions. The Latin names of diseases used by Dostoevsky denote fever, feverish states and act more as stylistic means. Terminological inserts are also used in relation to the image of a doctorresident from the story “Notes from the House of the Dead”. On one hand, the inserts mark the hero’s professional affiliation, and on the other, they graphically mark the boundaries of the prisoner’s “rest” in the hospital. The use of a Latin aphorism, which goes back to the dictum of Hippocrates, in the novel “The Adolescent” is noteworthy. It is known that Dostoevsky relied on the published protocols of the trial of N. A. Dolgushin’s secret society. One of the protocols contained the saying of Hippocrates written on the wall of Dolgushin’s room, but in Russian translation. In his working notes, Dostoevsky always writes an aphorism in Latin. This gives grounds to assume that through an appeal to the Latin primary source, the writer shows the transformation of humanistic values in modern society at the substantive and stylistic levels.

The Silent Side of Polyphony: On the Disappearances of “Silentium!” from the Draft s of Dostoevskii and Bakhtin

Slavic Review ◽  
2016 ◽  
Vol 75 (3) ◽  
pp. 678-701
Author(s):  
Jason Cieply
Keyword(s):  
The Other ◽  
The Novel ◽  
Negative Theology ◽  
History Of The Novel ◽  
Gradual Development ◽  
History Of ◽  
Brothers Karamazov ◽  
Shed Light

In drafts, correspondence, and diaries from the mid-1870s, Fedor Dostoevskii makes repeated allusions to Fedor Tiutchev’s paradoxical articulation of the inefficacy of the word in “Silentium!” but removes them from the printed versions of his texts. The only exception is Brothers Karamazov, where Dmitrii reproduces garbled fragments of the poem under interrogation and in commenting on Ivan’s silence-like speech. I use these “traces” of “Silentium!” to shed light on Dostoevskii’s conscious experimentation with authorial silence in novels conventionally understood in terms of the polyphonic proliferation of speech. Beginning with Mikhail Bakhtin’s own allusion to “Silentium!” in the unpublished Author and Hero in Aesthetic Activity, the theorist came to emphasize the role of silence in polyphony. Drawing on Jacques Derrida’s acknowledgement of the affinity between negative theology and the negative path to affirmation taken in deconstruction, I show how Bakhtin comes to conceive of the history of the novel as the gradual development of apophatic strategies for approximating the unspoken interior world of the other in writing.

scholarly journals Un bric-à-brac de la Belle Époque

2020 ◽  
Author(s):  
Lídia Carol Geronès
Keyword(s):  
Essential Elements ◽  
Critical Reception ◽  
The Other ◽  
The Novel ◽  
Figure Of Speech ◽  
Belle Époque ◽  
Post War ◽  
The One ◽  
Literary Devices ◽  
Shed Light

Fortuny (1983) by Pere Gimferrer is the only novel (at least to date) that the author has written in Catalan and it represents one of the most unique novels of contemporary Hispanic narrative. The aims of the present study are mainly two: to shed light on one of the most important, but least studied, works by Pere Gimferrer, the greatest representative of Hispanic creativity for the Post-War Generation, and to analyse critical reception of the work and show how the novel has evolved from the time of publication in 1983 until today. This essay consists of three major parts: the study of critical reception, the narratological analysis of the text and the unveiling of the textual, but above all visual, references that make up the novel. The latter allows us to explain two essential elements of the novel: the imaginary Fortuny on the one hand and, on the other, the novel’s intertextual concrete figure of speech, its ekphrasis. The study of this intentionally visual character of the novel not only wanted to highlight the importance of two arts to which Gimferrer has always paid special attention – we refer to cinema and painting – but has also demonstrated the desire of the writer to innovate the Catalan narrative scene, using different literary devices to push the limits of the genre novel.

Life by the River: a Prehistoric Landscape at Grendon, Northamptonshire

2005 ◽  
Vol 71 ◽  
pp. 333-360 ◽  
Author(s):  
Jonathan Last ◽  
Ian Baxter ◽  
Tony Brown ◽  
Nina Crummy ◽  
Natasha Dodwell ◽  
...  
Keyword(s):  
Bronze Age ◽  
Human Activity ◽  
Iron Age ◽  
The Other ◽  
Early Bronze Age ◽  
Distinctive Features ◽  
Environmental Sequence ◽  
Age Features ◽  
River Valleys ◽  
Shed Light

This paper describes the development of a prehistoric landscape by the river Nene at Grendon Lakes, partly revealed in the 1970s and partly during excavations in 1998 and 2001, which are reported in full. Two major phases of archaeological activity are evident, one interpreted as Neolithic–Early Bronze Age, the other as Iron Age. The gap between these is bridged by an environmental sequence reconstructed with the aid of a pollen core from an adjacent palaeochannel, which shows that human activity continued in the intervening period. The landscape is comparable in form, though not in scale, with that investigated 13 km downstream at Raunds, and helps shed light on the distinctive features of Midlands river valleys like the Nene in prehistory. In conclusion it is suggested that the different characters of the Neolithic and Iron Age features at Grendon mask some underlying similarities in the way they structured people's movements and encounters.

A Politics of Intensity: Some Aspects of Acceleration in Simondon and Deleuze

2017 ◽  
Vol 11 (4) ◽  
pp. 498-517
Author(s):  
Yuk Hui ◽  
Louis Morelle
Keyword(s):  
Conceptual Framework ◽  
The Other ◽  
Generic Concept ◽  
Philosophical Thought ◽  
Ontological Ground ◽  
Shed Light

This article aims to clarify the question of speed and intensity in the thoughts of Simondon and Deleuze, in order to shed light on the recent debates regarding accelerationism and its politics. Instead of starting with speed, we propose to look into the notion of intensity and how it serves as a new ontological ground in Simondon's and Deleuze's philosophy and politics. Simondon mobilises the concept of intensity to criticise hylomorphism and substantialism; Deleuze, taking up Simondon's conceptual framework, repurposes it for his ontology of difference, elevating intensity to the rank of generic concept of being, thus bypassing notions of negativity and individuals as base, in favour of the productive and universal character of difference. In Deleuze, the correlation between intensity and speed is fraught with ambiguities, with each term threatening to subsume the other; this rampant tension becomes explicitly antagonistic when taken up by the diverse strands of contemporary accelerationism, resulting in two extreme cases in the posthuman discourse: either a pure becoming, achieved through destruction, or through abstraction that does away with intensity altogether; or an intensity without movement or speed, that remains a pure jouissance. Both cases appear to stumble over the problem of individuation, if not disindividuation. Hence, we wish to raise the following question: in what way can one think of an accelerationist politics with intensity, or an intensive politics without the fetishisation of speed? We consider this question central to the interrogation of the limits of acceleration and posthuman discourse, thus requiring a new philosophical thought on intensity and speed.

Margaret Mahy: An Adlerian Reading

2008 ◽  
Vol 1 (2) ◽  
pp. 187-199
Author(s):  
KATHRYN WALLS
Keyword(s):  
Young Female ◽  
The Other ◽  
Individual Psychology ◽  
The Novel ◽  
Alfred Adler ◽  
Female Protagonists ◽  
Magical Power ◽  
Margaret Mahy ◽  
The Individual

According to the ‘Individual Psychology’ of Alfred Adler (1870–1937), Freud's contemporary and rival, everyone seeks superiority. But only those who can adapt their aspirations to meet the needs of others find fulfilment. Children who are rejected or pampered are so desperate for superiority that they fail to develop social feeling, and endanger themselves and society. This article argues that Mahy's realistic novels invite Adlerian interpretation. It examines the character of Hero, the elective mute who is the narrator-protagonist of The Other Side of Silence (1995) , in terms of her experience of rejection. The novel as a whole, it is suggested, stresses the destructiveness of the neurotically driven quest for superiority. Turning to Mahy's supernatural romances, the article considers novels that might seem to resist the Adlerian template. Focusing, in particular, on the young female protagonists of The Haunting (1982) and The Changeover (1984), it points to the ways in which their magical power is utilised for the sake of others. It concludes with the suggestion that the triumph of Mahy's protagonists lies not so much in their generally celebrated ‘empowerment’, as in their transcendence of the goal of superiority for its own sake.

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.

Identifying Ethics: Dysfunction as Representation of Societal Relationship in Ian McEwans’s Sweet Tooth

Think India ◽  
2019 ◽  
Vol 22 (2) ◽  
pp. 1-6
Author(s):  
A. Yacob ◽  
S. Veeramani
Keyword(s):  
Code Of Conduct ◽  
The Self ◽  
The Other ◽  
Ethical Code ◽  
The Novel ◽  
Field Of Study ◽  
Research Article ◽  
Ian Mcewan

In the novel, Sweet Tooth, McEwan has employed an ethical code of conduct called, Dysfunction of Relationship. The analysis shows that he tries to convey something extraordinary to the readers. If it is not even the reader to understand such a typical thing, He himself represents a new ethical code of conduct. The character of the novel, Serena is almost a person who is tuned to such a distinct one. It is clear that the character of this type is purely representational. Understanding reality based on situation and ethics has been a new field of study in terms of Post- Theory. Intervening to such aspect of Interpretation, this research article establishes a new study in the writings of Ian McEwan. In the novel, Dysfunction is not on the ‘Self’ but it is on the ‘Other’. The author tries to integrate the function of the Character Serena, instead of fragmenting the self. Hence, Fragmentation makes sense only in the dysfunction of relationship.

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