scholarly journals Art, Mysticism, and the Other: Kristeva’s Adel and Teresa

2018 ◽  
Vol 26 (2) ◽  
pp. 43-55
Author(s):  
Elaine P. Miller
Keyword(s):  
Young Woman ◽  
21St Century ◽  
Outer Edge ◽  
Muslim Woman ◽  
The Other ◽  
16Th Century ◽  
The Novel ◽  
Death Drive ◽  
Suicide Bomber ◽  
The Veil

Kristeva's Teresa My Love concerns the life and thought of a 16th century Spanish mystic, written in the form of a novel.  Yet the theme of another kind of foreigner, equally exotic but this time threatening, pops up unexpectedly and disappears several times during the course of the novel.  At the very beginning of the story, the 21st century narrator, psychoanalyst Sylvia Leclerque, encounters a young woman in a headscarf, whom Kristeva describes as an IT engineer, who speaks out, explaining that "she and her God were one and that the veil was the immovable sign of this 'union,' which she wished to publicize in order to definitively 'fix it' in herself and in the eyes of others." In this paper I ask what difference Kristeva discerns between these two women, a distinction that apparently makes Teresa's immanence simultaneously a transcendence, but transforms a Muslim woman in a headscarf immediately into an imagined suicide bomber.  Despite the problematic aspects of this comparison, we can learn something from them about Kristeva's ideas on mysticism and on art.  Both mysticism and art are products of the death drive, but whereas the suicide bomber and the animal directly and purely pursue death (again, on Kristeva's view) Teresa and Adel remain on its outer edge and merely play with mortality.  

The Political Impact of Affective Polarization: How Partisan Animus Shapes COVID-19 Attitudes

2020 ◽  
Author(s):  
James Druckman ◽  
Samara Klar ◽  
Yanna Krupnikov ◽  
Matthew Levendusky ◽  
John B. Ryan
Keyword(s):  
21St Century ◽  
American Politics ◽  
The Other ◽  
Policy Discourse ◽  
The Political ◽  
The Novel ◽  
Political Impact ◽  
Novel Coronavirus ◽  
Citizens Attitudes

Affective polarization is a defining feature of 21st century American politics—partisans harbor considerable dislike and distrust of those from the other party. Does this animus have consequences for citizens’ opinions? Such effects would highlight not only the consequences of polarization, but also shed new light onto how citizens form preferences more generally. Normally, this question is intractable, but the outbreak of the novel coronavirus allows us to answer it. We find that affective polarization powerfully shapes citizens’ attitudes about the pandemic, as well as the actions they have taken in response to it. However, these effects are conditional on the local severity of the outbreak, as the effects decline in areas with high caseloads—threat vitiates partisan reasoning. Our results clarify that closing the divide on important issues requires not just policy discourse but also attempts to reduce inter-partisan hostility.

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.

Rapports intertextuels et (re)constructions identitaires dans le roman Bois rouge de Jean-Marie Touratier

2021 ◽  
pp. 17-30
Author(s):  
Loredana Stănică ◽  
Keyword(s):  
The Other ◽  
16Th Century ◽  
The Novel ◽  
Military Leader ◽  
Jean De Lery ◽  
History Of ◽  
The Military ◽  
The Antarctic ◽  
The Relationship ◽  
Great Complexity

Published in 1993, the novel Bois rouge by Jean-Marie Touratier brings to life the history of the short-lived French colony of Brazil, the Antarctic France, whose existence, reduced to only five years (1555-1560), was described in the travelogues written in the 16th century by André Thevet (Les Singularitez de la France Antarctique - The New Found World, or Antarctike) and Jean de Léry (Histoire d’un voyage faict en la terre du Brésil – History of a Voyage to the Land of Brazil). Beneath the appearance of a simple story told by an ironic voice, sometimes even satirical towards the military leader of the French colony, the Knight of Malta Nicolas Durand de Villegagnon and his chaplain, André Thevet, future cosmographer of the kings of France, the novel delves into issues of great complexity, such as (the issue of) identity and the relationship to the Other (the American “savage”).

scholarly journals „Bűzlik az ország!”

2016 ◽  
Vol 55 (1-2) ◽  
Author(s):  
János Weiss
Keyword(s):  
21St Century ◽  
The State ◽  
The Other ◽  
The Novel ◽  
The Poor ◽  
The World ◽  
Contemporary Situation ◽  
A Minor ◽  
Minor Character

In the drama titled Az Olaszliszkai the author sums up the essence of our contemporary situation in a Shakespearean paraphrase: “The country stinks”. In Shakespeare’s Hamlet, a minor character utters one of the key sentences: ”Something is rotten in the state of Denmark”. Considering the consequences of “rottenness”, we can also speak of stinking. But now, not “something” stinks, the country itself has a stench – the country is Hungary at the beginning of the 21st century. Szilárd Borbély searched for the possible literary presentation of this stinking country. But what makes a country stink? That is, what can the metaphor of “stinking” hint at? Reading the novel, Nincstelenek [The Dispossessed], we tend to think that the country stinks of poverty. However, we have only shifted the question: what exactly does “human deepness” mean? How can we define its centre or rather its core? If I had to answer this question, I would point out violence first of all. The dispossessed – the poor, the small and the other – are the ones being targeted and ill-treated. The country stinks of their suffering. In this sense, “dispossession” generally features the world of the dramas, and the present paper discusses Az Olaszliszkai in this context.

RULE BOHEMIA: THE COSMOPOLITICS OF SUBCULTURE IN GEORGE DU MAURIER'STRILBY

2010 ◽  
Vol 38 (2) ◽  
pp. 547-570
Author(s):  
Kimberly J. Stern
Keyword(s):  
Young People ◽  
Young Woman ◽  
Young Person ◽  
The Other ◽  
The Novel ◽  
Stage Adaptations ◽  
The Way

In 1895, theCriticpublishedan anecdote about two young ladies discussing the popularity of George Du Maurier's novelTrilby(1894):“What is this ‘Trilby’ everybody is talking about?” asked one of these. “Oh,” replied the other, “it's a book – a novel.” “They say it is awfully bad,” said the first young person. “Yes, I've heard so; but it isn't so at all. I read it clear through, and there wasn't anything bad in it. I didn't like it either; there is too much French in it.” “French?” commented the first young woman; “well that's it, then – all the bad part is in French.” “I hadn't thought of that,” mused the other one, “I suppose that's just the way of it.”The dialogue provides an illuminating glimpse into the controversy surrounding the publication ofTrilby, a novel that brazenly celebrates a heroine who possesses “all the virtues but one” – chastity (35; pt. 1). AlthoughTrilbywas successful enough to inspire a spate of songs, literary parodies, and stage adaptations, its depiction of Paris's bohemian underground flouted mainstream Victorian values. TheConnecticut Magazinecharged Du Maurier with inspiring “comparative indifference” to sexual virtue, and readers everywhere worried that young people, like those depicted in the above vignette, would be unable to distinguish virtue from vice after reading the novel (“A Free Lance” 105).

scholarly journals Speak Like You Were Dead: Episteme of the Ghosted in Aravind Adiga’s The White Tiger

2021 ◽  
Vol 2 (1) ◽  
pp. 95-112
Author(s):  
Sharmila Mukherjee Mukherjee
Keyword(s):  
Human Capital ◽  
21St Century ◽  
Free Market ◽  
Well Being ◽  
The Other ◽  
Stage I ◽  
The Novel ◽  
White Tiger ◽  
The Voice

Aravind Adiga’s 2008 Man Booker Prize-winning novel, The White Tiger has been hailed as a paradigmatic narrative of postcolonial wealth-formation in the 21st century, and as a novel that speaks to the “shining” India of globalization in its transformative moment of an emergent centrality on the global stage. I argue that The White Tiger, by using counter-intuitive epistemes, is also a transnational novel whose primary motive is to offer a trenchant critique of global neoliberalism, and its underlying epistemes of violence and inequality. Through the voice of its protagonist Balram Halwai, the novel, I claim, projects the 21st century postcolonial nation of India as Capital’s colony—a thriving and free “market”, if you will—whose well-being, in turn, is predicated on the phagocytizing of the human capital of the other India that is hidden from the gazes of those who admiringly gawk at “shining” India of Capital.

scholarly journals Ongoing “bernhardisation”: Alexander Schimmelbusch’s novel“Murau Identity” (Die Murau Identität, 2014)

2019 ◽  
Vol 4 (4) ◽  
pp. 84-99
Author(s):  
Svetlana Novikova
Keyword(s):  
Detailed Analysis ◽  
20Th Century ◽  
21St Century ◽  
German Literature ◽  
The Other ◽  
The Novel ◽  
Public Figure ◽  
Austrian Literature ◽  
Thomas Bernhard ◽  
First Time

For the first time in German literature studies the article examines the novel “Murau Identity” (“Die Murau Identität”, 2014) by Alexander Schimmelbusch (1975) entirely devoted to the oeuvre and public figure of Thomas Bernhard (1931-1989), one of the most important authors in the Austrian literature of the 20th century. The article deals with the representation of Bernhard’s literary style and his public mask in the Schimmelbusch’s novel. Special attention is given to the Schimmelbusch’s interpretation of the characteristic stylistic, narratological, and semantic constants of Bernhardian works. In the article we reveal two main forms of the Bernhardian word’s representation in the novel: parody and stylization. They correspond with two different narrative plans – first person narratives, one of which belongs to the journalist-character, the other one – to the publisher-character. The detailed analysis of the Schimmelbusch’s novel helps to complement the picture of the creative reception of Bernhard’s works in the 21st century.

Emma: Character and Construction

PMLA ◽  
1956 ◽  
Vol 71 (4-Part-1) ◽  
pp. 637-650 ◽  
Author(s):  
Edgar F. Shannon
Keyword(s):  
Young Woman ◽  
The Other ◽  
The Novel ◽  
Modern Reader ◽  
The Awakening

Emma, justly described by Lord David Cecil as “Jane Austen's profoundest comedy,” has frequently been mistaken for mere “escape literature.” It has been applauded for its “engaging, dear, delicious, idiotic heroine,” moving in “a place of laughter and nonsense,” and excoriated because “it does not instruct … does not teach the modern reader … how to be and move in our world.” At the other extreme, it has lately provoked the sophisticated interpretation of Marvin Mudrick, who sees Emma as a disagreeable, even sinister, creature. A latent Lesbian, unwilling to commit her emotions, and devoid of tenderness, Emma, he believes, attains at the end of the novel simply “relief and temporary awareness.” The transcendent irony of the book for Mudrick is the author's having shown an apparently reformed Emma, whereas actually she remains imperious and ruthless. Joseph M. Duffy, Jr., who describes the novel as concerned with “the awakening of a normal, intelligent young woman to the possibilities of physical love,” has produced the most apposite recent study. But knowledge of physical love is only one aspect of Emma's awakening, and even Duffy is uncertain whether she is truly regenerate.

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.

KUASA PEREMPUAN BERCADAR DALAM NOVELAKULAH ISTRI TERORIS KARYA ABIDAH EL KHALIEQY (ANALISIS WACANATEUN A. VAN DIJK)

1970 ◽  
Vol 10 (2) ◽  
pp. 292-309
Author(s):  
Lailatul Khoiroh ◽  
Sulkhan Chakim
Keyword(s):  
Qualitative Research ◽  
Discourse Analysis ◽  
Social Cognition ◽  
Social Context ◽  
Three Dimensions ◽  
The Novel ◽  
Language Style ◽  
Simple Language ◽  
The Veil

The novel of “Akulah Istri Teroris” is the 14th masterpiece from Abidah El Khalieqy as a man letter that raises the theme of terrorist wife life which is always stereotyped by society including for those who wear the veil. It results to them who are still trying in winning their rights as women. This novel is so attractive to be observed because it bases on the reality and most of people still do not it yet so that we can know about the ideology and discourse construction that wants to deliver by the author. This research used a qualitative research with discourse approach of Teun A. Van Dijk. Van Dijk divides it into three dimensions: Textual dimension that examines the structure of text, the view of social cognition, understanding and mental awareness of the author and also social context according to the discourse that grows among of society. The result shows that all the information within the sentences of the novel have coherence and unity so that it creates shape and meaning. In addition, all the information wrap with attractive and simple language style. Discourse analysis that developed by Van Dijk found that this novel becomes one of media for representing the condition of terrorist wife who always get the stigma from various complexities issues but these women show the reader about the fortitude and strength to raise them up from adversity. Novel “Akulah Istri Teroris” merupakan karya ke-14 dari seorang sastrawan Abidah El Khalieqy yang mengangkat tema kehidupan istri teroris yang selalu distereotipkan oleh masyarakat termasuk di dalamnya mereka yang menggunakan cadar. Sehingga mereka terus berusaha untuk merebut hak-haknya sebagai perempuan. Novel ini menarik untuk diteliti karena berdasarkan realitas yang terjadi dan belum banyak diketahui masyarakat  luas, sehingga dari sisi kita dapat mengetahui ideologi dan konstruksi wacana yang ingin disampaikan oleh pengarang.Penelitian ini menggunakan penelitian yang bersifat kualitatif dengan pendekatan wacana Teun A. Van Dijk. Van Dijk membaginya kedalam tiga dimensi, yaitu dimensi teks yakni meneliti struktur dalam teks, kognisi sosial yang merupakan pandangan, pemahama dan kesadaran mental pengarang, dan konteks sosial yakni terkait wacana yang berkembang dalam masyarakat.Hasil penelitian menunjukkan bahwa setiap informasi dalam kalimat pada novel “Akulah Istri Teroris” adalah saling berhubungan dan memiliki unsur-unsur koherensi sehingga terbentuklah struktur wacana berupa bentuk dan makna. Selain itu informasi dikemas dalam gaya bahasa yang menarik dan sederhana. Tokoh digambarkan memiliki karakter yang kuat. Analisis wacana yang dikembangkan Van Dijk menemukan informasi bahwa novel “Akulah Istri Teroris” merupakan salah satu media untuk merepresentasikan tentang keadaan istri teroris yang selalu mendapat stigmatisasi dari berbagai rumitnya permasalahan yang terjadi, namun para perempuan ini memiliki ketegaran dan kekuatan untuk bangkit dari keterpurukan.

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