Traduire Barthes – regards nostalgiques et ambivalents

Transilvania ◽  
2021 ◽  
pp. 33-36
Author(s):  
Deliana Vasiliu
Keyword(s):  
Eastern Europe ◽  
Publishing House ◽  
Roland Barthes ◽  
The Other ◽  
The Novel ◽  
Real Challenge ◽  
The Universe ◽  
Present Text

Translating Barthes in the 1980s, in Romania, was a real challenge. The present text is intended to recall the discovery of that unclassifiable “writer” at the time when, in 1983, we proposed to the Universe Publishing House in Bucharest to publish a sort of Essential Barthes into Romanian, entitled “The Novel of The Writing”. It will therefore be a nostalgic, but at the same time ambivalent and, as far as possible, critical look on what the writings and especially the writing of Roland Barthes nourished the “happy” readers who were the literary figures of communist Romania. For, in fact, behind all this was “hunger”: a desire to know something else, to harmonize with the other, to cross barriers, to be somewhere else than in the standardized world of Eastern Europe.

scholarly journals TEORI DIALOGISME BAKHTIN DAN KONSEP-KONSEP METODOLOGISNYA

2017 ◽  
Vol 1 (2) ◽  
pp. 235
Author(s):  
Fadlil Munawwar Manshur
Keyword(s):  
Human Life ◽  
Human Existence ◽  
The Other ◽  
Literary Genre ◽  
The Novel ◽  
Other Hand ◽  
The Universe

This paper discusses the theory advanced by Bakhtin about dialogism and methodological concepts. This theory to formulate the concept of human existence on the other, which is based on the idea that humans judge him from the viewpoint of others. Humans understand the moments of consciousness and take it into account through the eyes of others. According to this theory, the essence of human life is a dialogue. The Method of heteroglossia talks about signs in the universe of individuals because of the word "heteros" means "other" or different, while "glossia" means the tongue or language. In this method mentioned that people are saying needs to be heard, and the author also has the same rights that words need to be heard. A word is born from dialogue to address the problems of life. On the other hand, Bakhtin sees carnival method has spawned a new literary genre, the polyphonic novel. The polyphonic novel is a novel that is characterized by a plurality of voice or consciousness, and the voices or the overall awareness dialogical. Polyphonic essentially a "new theory of authorial viewpoint". Polyphonic appear in fiction when the position of the author freely allowed to interact with the characters. The characters in the novel are freely polyphonic appear to argue with each other and even with the author.

The Philosopher’s Poet

2018 ◽  
Author(s):  
Strachan Donnelley
Keyword(s):  
Alfred North Whitehead ◽  
The Other ◽  
The Novel ◽  
Creative Activity ◽  
Tragic Vision ◽  
Human Love ◽  
The Universe

This chapter presents a reading of Boris Pasternak’s Doctor Zhivago that brings out the philosophy that permeates the work and compares it with the philosophical cosmology of Alfred North Whitehead. Whereas Whitehead wears his speculative cosmology on his sleeve, Pasternak cloaks his philosophy in his art, in his characters and their conversations, and in the imaginative world he creates. The dramatic and relational focus of the novel is “life in others,” which means that life essentially involves both worldly activity and worldly “suffering,” or undergoing. This is behind the bewildering interconnections and mutual influences of Doctor Zhivago’s characters. The mutual penetration and real connection of lives, each in the other, is the backbone of the novel, undergirding its tragic vision. Doctor Zhivago is the story of individual, interconnected lives crucifying and resurrecting one another, again and again. The final ingredient of Pasternak’s cosmic harmony, without which we cannot fully understand the interrelations of life, death, form, and art, is eros, love. Pasternak’s cosmological vision is that individuals are essentially involved with one another and with the universe abroad. Life renews itself out of death, and human love and creative activity are the truest and fullest expressions of cosmic reality.

scholarly journals Offervilje. Om ret og rimelighed blandt venner og fjender og om at komme og dømme levende og døde i Max Kestners film "I am Fiction"

2013 ◽  
Vol 28 (70) ◽  
Author(s):  
Louise Brix Jacobsen ◽  
Henrik Skov Nielsen ◽  
Rikke Andersen Kraglund
Keyword(s):  
Freedom Of Expression ◽  
Publishing House ◽  
The Other ◽  
The Novel ◽  
Main Character ◽  
Artistic Collaboration ◽  
Other Hand ◽  
The Dead ◽  
The One ◽  
Alleged Victim

Louise Brix Jacobsen, Rikke Andersen Kraglund & Henrik Skov Nielsen: “Selfsacrifice. On Right and Reasonableness among Foes and Friends, and on Judging the Living and the Dead in Max Kestner’s film I am Fiction”In 2011, the performance artist Thomas Skade-Rasmussen Strøbech lost a lawsuit against his former friend and collaborator Helge Bille Nielsen and the publishing house of Gyldendal. This led to a debate about copyright, freedom of expression, identity, and the line between fiction and reality. In 2008, Nielsen or Das Beckwerk published the novel The Sovereign where Strøbech – seemingly without his knowledge and apparently against his will – is the main character. About a year after losing the lawsuit Strøbech and film director Max Kestner gives his version of the events before, during, and after the trial in the film I am Fiction (Identitetstyveriet). This article analyzes I am fiction in order to show how the film on the one hand outlines Strøbech’s version of the events as a story about a victim but on the other hand undermines this version with humor and irony and points towards an artistic collaboration between alleged victim and villain.

scholarly journals Dos libros y una novela: la función sintagmática y paradigmática de los espacios en Rayuela

2014 ◽  
Vol 11 (1) ◽  
pp. 28
Author(s):  
Libertad Garzón Hurtado
Keyword(s):  
Key Words ◽  
Typical Feature ◽  
The Other ◽  
The Novel ◽  
Narrative Space ◽  
Textual Cohesion ◽  
Present Text

ResumenEl presente texto se pregunta por el sentido de los “dos libros” contenidos en Rayuela y anunciados por Cortázar en el Tablero de dirección al inicio de la novela. Se propone aquí un análisis semióticoestructural centrado en dos modalidades del espacio narrativo que representan dos modos de cohesión textual: la sintagmática de los macro-espacios y la paradigmática de los micro-espacios en la novela. Mediante este análisis se intenta mostrar cómo la narrativa resultante de cada uno de los órdenes posibles de lectura (el consecutivo y el salteado) se sostiene sobre ejes de construcción distintos, dando lugar a dos sistemas comunicativos diferentes: uno característico de la narrativa, y el otro de la poesía.Palabras clave: Espacio narrativo, Cortázar, Rayuela, frontera semiótica, ejes sintagmático y paradigmático, novela poética.*************************************************Two books and one novel: the syntagmatic and paradigmatic function of Rayuela’s spacesAbstractThe present text considers the question for the sense of the two books contained in Rayuela, which were, also, announced by Cortazar in the Direction board at the beginning of the novel. A semioticstructural analysis is proposed here centred in two modalities of the narrative space that represent two ways of textual cohesion: the syntagmatic one of the macro-spaces and the paradigmatic one of micro-spaces in the novel. Through this study we intend to show how the resulting narrative of each one of the possible reading orders (the consecutive reading and the jump reading) stands over different construction axis, giving way to two different communicative systems: one which is a typical feature of narrative, and the other one a typical feature of poetry.  Key words: Narrative space, Cortázar, Rayuela, semiotic border, syntagmatic and paradigmatic functions, verse/poetry novel.**************************************************Dois livros e uma novela: a função sintagmática e paradigmática dos espaços em Rayuela ResumoEste texto pregunta pelo sentido dos “dois livros” presentes em Rayuela e anunciados por Cortázar  no Tabuleiro de Direção no início da novela. Propõe-se aqui uma análise semiótico-estrutural centrada  em duas modalidades do espaço narrativo que representam dois modos de coesãon textual: a sintagmática dos macro-espaços e a paradigmática dos micro-espaços na novela. O objetivo dessa análise é mostrar como a narrativa resultante de cada uma das ordens possíveis de leitura (sequencial ou pula-pula) se apoia em eixos de construção distintos, dando lugar a dois sistemas comunicativos diferentes: um, característico da narrativa, e o outro,   poesia. Palavras-chave: Espaço narrativo, Cortázar, Rayuela, fronteira semiótica, eixes sintagmático e paradigmático, novela poética

scholarly journals Finding Rhythm in Julio Cortázar's Los Premios

Paragraph ◽  
2010 ◽  
Vol 33 (2) ◽  
pp. 215-229
Author(s):  
Peter Dayan ◽  
Carolina Orloff
Keyword(s):  
New Age ◽  
The Other ◽  
The Novel ◽  
Works Of Art ◽  
Key Points ◽  
The Universe ◽  
Falling In Love

One character in Cortázar's novel (Persio) truly believes in cosmic rhythm. This belief is characteristic of a magical view of the universe central to 1960s (proto-‘New Age’) counterculture. The other characters in Los Premios, like the implied narrator, reject Persio's essentialism; they dismiss the notion that there is really any rhythm common to art, humanity, and the universe. However, there are key points in the narrative, inspired by falling in love and by works of art, at which their world does appear patterned by just such a rhythm, a ‘swing cósmico’. The novel itself turns out to depend on the intermittent conviction of this rhythm, not objectively embedded in anything, but always seen, living, and dying in time; the price of art is the acceptance of this rhythmed mortality.

scholarly journals MEMBACA KISAH NABI DAUD MENGGUNAKAN SEMIOTIKA ROLAND BARTHES

2020 ◽  
Vol 19 (2) ◽  
pp. 129
Author(s):  
Jarot Nanang Santoso ◽  
Indal Abror
Keyword(s):  
Roland Barthes ◽  
The Other ◽  
Symbolic Code ◽  
Action Code ◽  
The Universe ◽  
The Ideal

Roland Barthes’s semiotics, as a science that is concerned in coding, was applied in analyzing the story of the Prophet David. Application of multilevel readings; Heuristic readings and retroactive readings in the story of the Prophet David consisting of 25 lexia texts of the Koran, were found to be of significance identified from certain codes, including: a) hermeunetic code / puzzle code, b) symbolic code “David” symbol from the ideal leader, c) the semic code or the “ark” connotative code means the importance of preserving and preserving relics, d)   the proaretic code / action code “David fell” means humility acknowledging mistakes not looking at someone’s status, e) gnomic code or code Cultural “Goliath and its troops” means that there will always be those who spread damage, and during this time God’s intervention will also contribute to protecting the universe through the other party who spread goodness, and so on.

«Vorrei diventare una scrittrice importante»

2020 ◽  
Author(s):  
Sabina Ciminari
Keyword(s):  
Publishing House ◽  
Second World War ◽  
The Other ◽  
The Novel ◽  
World War ◽  
Other Hand ◽  
Autobiographical Texts ◽  
The One ◽  
Second World

The Storia di Anna Drei (1947) is analysed through a double level of reading inside the story that makes a good job of shedding light on the imaginary of the author, Milena Milani. On the one hand, there are retraced the stages of the conception of her first novel, as the writer recalled them in her autobiographical texts, in relation to the setting (Rome) she described in the novel she wrote in Venice and to the building, through her pages, of her figure as a writer. On the other hand, the story of the first edition of the novel, published in the series “Medusa degli italiani”, is investigated, following her participation in the Mondadori Prize, with which the publishing house had intended to open and renew its catalogue after the Second World War.

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.

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