scholarly journals The Produced Self: Conflicts of Depersonalization in Edith Wharton’s The House of Mirth

2019 ◽  
Vol 27 ◽  
pp. 259-274
Author(s):  
Jesús Blanco Hidalga
Keyword(s):  
Point Of View ◽  
Social Darwinism ◽  
Central Character ◽  
The Novel ◽  
Indirect Discourse ◽  
The Subject ◽  
Fredric Jameson ◽  
Social Views ◽  
Textual Strategies ◽  
Mode Of Production

American critic Fredric Jameson has referred to the modern centred subject as a consequence of the historical development of capitalism: both a product of and compensation for the processes of reification and fragmentation brought about by our mode of production. For the critic, realism and modernism played a fundamental part in the consolidation of modern individuality through the use of textual strategies such as point of view and free indirect discourse, which conjure up the literary illusion of a unified self. These are procedures deftly used by Edith Wharton to build our novel’s central character, Lily Bart. At the same time, however, this individuality is inevitably threatened by Wharton’s particular views of society, influenced by social Darwinism, and by her acute awareness of social processes of reification and commodification. This article explores the conflict between Wharton’s proposal of a unified self and the reality of depersonalization reflected by the novel. Likewise, this essay examines the strategies of containment through which the novelist seeks to assuage this contradiction and compensate for the almost unbearable loss that her social views entail for the subject.

scholarly journals The semantics of Lermontov's poetic myth of the Demon N. S. Leskov’s “The Islanders”

Litera ◽  
2021 ◽  
pp. 1-9
Author(s):  
Vurgun Georgievich Mekhtiev
Keyword(s):  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Semantic Transparency ◽  
Special Contribution ◽  
Romantic Poetry ◽  
The Subject ◽  
Literary Myth ◽  
The Demonic

The subject of this research is the negative-axiological, satirical layers of the novel “The Islanders”, associated with the image of the demonic character, which M. Y. Lermontov turned into the archetype and poetic myth in the Russian literature. The object of this research is the stylistic techniques and ideological motifs of N. S. Leskov underlying “desacralization” of the romantic myth. The author meticulously examines the following aspects: 1) role of Lermontov's poem “The Demon” and romantic poetry of the 1840s in creation of the myth of the demonic character; 2) semantic deformations that led Leskov to wander from the conventional meanings of the myth ; 3) satirical modus used as the key technique in creation of the the image of Istomin. Particular attention is given to Leskov’s satire in its function of “recoding” of the myth. The conclusion is made that the image of the painter Istomin is appointed with the task to dispel the romantic myth. Therefore, the axiological-emotional lexis, as well as elements of satire that reflect the point of view of the “subjective” narrative are arrayed around him. All of that imparts semantic transparency to the character, which contradicts the “mysterious code” of the myth of romanticism. The author’s special contribution consists in the establishment of correlation between the myth of about the demon and the myth of Prometheus, which is important for assessing the complexity and multifacetedness of the semantic core of the phenomenon under review. The novelty of this research lies in revelation of underlying motif of the satirical style of N. S. Leskov. Its point is not to create a “myth about the myth” or an “anti-myth”; the novel forms the “non-myth” to achieve complete elimination of the literary myth of the demonic character. The writer uses satire for typification, rather than individualization of the character.

scholarly journals OUT OF TIME CHARACTERS IN LITERARY WORKS OF 1859: “FAMILY HAPPINESS” BY LEV TOLSTOY, “OBLOMOV” BY IVAN GONCHAROV, “A HOUSE OF GENTLEFOLK” BY IVAN TURGENEV

2020 ◽  
Vol 30 (5) ◽  
pp. 859-869
Author(s):  
G.M. Rebel
Keyword(s):  
Large Scale ◽  
Historical Context ◽  
Private Life ◽  
Point Of View ◽  
The Novel ◽  
Literary Process ◽  
Historical Specificity ◽  
The Subject ◽  
Lev Tolstoy ◽  
Xix Century

The article is a comparative structural, thematic and genre analysis of the works by Lev Tolstoy, Ivan Turgenev and Ivan Goncharov. The study had the following objectives: to give the genre definitions of “Family Happiness”, “Oblomov” and “A House of Gentlefolk” on the basis of structural, ideological and thematic features of the works; to compare the novels of Turgenev and Goncharov as different genre modifications; to justify the ideological character of the novel “A House of Gentlefolk”; to analyze the ideological controversy of the characters of Turgenev’s novel. As a result, the following conclusions were made. Tolstoy's “Family Happiness:, which is traditionally identified as a novel, in this case should be qualified as a novella: it has the predominant point of view which belongs to the narrator; the subject of the description are the episodes of private life presented outside of the socio-historical context of the era. Goncharov's “Oblomov” and Turgenev's “A House of Gentlefolk” present a multi-faceted, epically voluminous, large-scale picture of reality in two fundamentally different versions of the genre novel modifications. Despite the fact that in both novels the main characters are out of time, both works recreate the pre-reform atmosphere of the late 1850s, but perform it in fundamentally different ways. A mythologically-generalized, elegiac image of the past serfdom of Russia is presented in “Oblomov”. In “A House of Gentlefolk” the socio-historical specificity appears in close connection with real historical events, the lyrical beginning is organically combined with the polemical acuteness of the problem. The plot and the destinies of the characters in Turgenev's novel are determined by the ideological controversy, in which not only the main but also the secondary characters are subjectively or objectively involved, which ultimately determines the ideological character of the work. The proposed genre differentiation of the works of the three leading writers of the era allows us to give a dynamic cross-section of the literary process of the second half of the XIX century in the defining 1859 year of this period.

The use of deictic reference in identifying point of view in Grazia Deledda’s Canne al Vento and its translation into English

Target ◽  
2011 ◽  
Vol 23 (1) ◽  
pp. 62-76 ◽  
Author(s):  
Jane Johnson
Keyword(s):  
English Translation ◽  
Functional Model ◽  
Narrative Structure ◽  
Point Of View ◽  
The Novel ◽  
Mental Processes ◽  
Free Indirect Discourse ◽  
Indirect Discourse ◽  
Grazia Deledda

Point of view in narrative has been identified in literary stylistics through the use of deixis, modality, transitivity and Free Indirect Discourse. These findings have also been applied to literature in translation (Bosseaux 2007). This article focuses on deictic cues in the narrative structure of Canne al Vento by Grazia Deledda in the original Italian and the English translation, following an earlier study focussing on constructing a particular point of view through mental processes of perception, the translation of which did not always reflect that point of view (Johnson 2010). Data emerging from a corpus-assisted study is examined qualitatively using a systemic-functional model in order to assess to what extent the point of view constructed by these cues in the ST is conveyed in the novel in translation.

Narrated perception revisited: The case of Jane Austen’sEmma

2012 ◽  
Vol 21 (2) ◽  
pp. 170-188 ◽  
Author(s):  
Elena Pallarés-García
Keyword(s):  
Point Of View ◽  
The Novel ◽  
Narrative Technique ◽  
Free Indirect Discourse ◽  
Textual Evidence ◽  
Form And Function ◽  
Indirect Discourse ◽  
Objective Fact ◽  
And Function

Jane Austen’s Emma (1816) is generally considered an ambiguous and unreliable narrative in terms of point of view (Morini, 2009: 53–57; Wallace, 1995: 77–97). These qualities are often attributed to the extensive use of free indirect discourse (Finch and Bowen, 1990: 5–6; Mezei, 1996: 72–75). This article aims to demonstrate that another narrative technique is also responsible for the ambiguity and unreliability of the novel. ‘Narrated perception’ (NP) portrays the sensory perceptions of a fictional character by describing events as they are experienced by that character (Fludernik, 1993: 305–309). NP has been pointed out by some critics to be a distinct narrative technique, but in general perception is included within the broader category of free indirect discourse (FID), and occasionally as an aspect of free indirect thought (FIT). This article suggests that there are some subtle differences between NP and FID/FIT, and thus it can be beneficial to examine NP separately. In fact, NP is frequently similar to pure narration in terms of form and function. As a case study, this article presents a stylistic analysis of a number of passages containing NP in Emma which do not typically feature in studies of FID/FIT. The analysis provides textual evidence of (1) the presence of Emma’s sensory perceptions within what looks like narration, (2) the close connection between perception, thought and emotion, and (3) the difficulty of distinguishing between perception and narration in some cases, which suggests the potential of NP to mislead the reader by presenting as a seemingly objective fact what later on turns out to be Emma’s mistaken assessment.

scholarly journals DEPORTATION OF THE SOVIET GERMANS THROUGH THE EYES OF A CHILD IN THE NOVELETTE: EXPERIENCE OF REFLECTION AND AUTOREFLECTION

Keruen ◽  
2020 ◽  
Vol 66 (1) ◽  
Author(s):  
E.I. Zeyfert ◽  
Keyword(s):  
Present Article ◽  
The Other ◽  
Central Character ◽  
The Novel ◽  
German Culture ◽  
International Union ◽  
Main Plot ◽  
The Subject ◽  
Russian Germans

Data for study in the present article is the anthology of literature of the Russian Germans «The rumble of sounds is in the air» having been issued following the anthology of the Russian Germans literature of the second half of the XX – early XXI century «Towards the mistrustful sun». A genre palette of the new edition is the following: a novel, a novelette, a story, a miniature and a schwank. The book has been prepared for printing by the Institute of Ethnocultural Education in cooperation with the International Union of the German Culture. Due to the announced subject, i.e. deportation of the Soviet Germans through the eyes of a child, such works as «Our Yard» by Gugo Vorsmbekher, «The Nonfictional Landscape» by Olegа Klingа, «The Nonwoven of Fate» by Nellie Kossko and «The Melting Boat. The Karaganda novelet» by Elena Zeyfert, giving the experience of an autoreflection, are analyzed. Deportation of the Russian Germans through the child's eyes is shown at the Russian Germans mainly in the novelette; the subject is the character or the story-teller character. «The Nonfictional Landscape» by O. Klinga flickers between the novel and the story. Its poetics gravitates toward the specific for the novelette historical sight and two spheres of «friend or for». The genre of the novelette is interesting to the authors not only with the tendency to one main plot, the central character which is easy for attaching to the child. Constant is the historical sight of the novelette. The child can’t realize the originality of the situation which he is in. He just lives, noticing singularity of adults’ behavior remaining at that in the children’s world. He experiences recurrence of time altogether with the cycles of his own life. Such is Sasha of Klinga, Fritz of Vormsbekher, Emma of Kossko and Mariyka of Zeyfert. The other reason lies in the sphere of the internal movement of the plot and chronotope: the hero leaves from one valuable (and an existential point) in another and then comes back.

scholarly journals ANALISIS EKOKRITIK DALAM NOVEL KEKAL KARYA JALU KANCANA

2021 ◽  
Vol 9 (2) ◽  
pp. 141-158
Author(s):  
Apriyanti Sihotang ◽  
Een Nurhasanah ◽  
Slamet Triyadi
Keyword(s):  
Natural Environment ◽  
Descriptive Analysis ◽  
Point Of View ◽  
Environmental Crisis ◽  
Environmental Damage ◽  
The Novel ◽  
Figure Of Speech ◽  
Life Habits ◽  
The Subject ◽  
The Universe

This research is motivated by the amount of environmental damage that occurs and the lack of understanding of the position of humans with the natural environment, this study aims to build awareness to care for the universe so that it can form a generation that cares and loves its environment.  This study describe (1) the intrinsic elements of the novel Kekal by Jalu Kancana, (2) the environmental crisis in the novel Kekal by Jalu Kancana with an ecocritical approach. This study uses an approach with descriptive analysis method, which presents facts in the form of descriptions. The theory used in this research is Nurgiyantoro's intrinsic theory and literary ecocriticism, Greg Garrard's environmental crisis. The subject of this research is the novel Kekal by Jalu Kancana, the object of this research is the intrinsic elements and forms of environmental crisis in the novel Kekal by Jalu Kancana. The results of this study are: (1) intrinsic theory of the novels include the theme of environmental damage; a plot divided into five stages; characters and characterizations include Alit, Pepep, Tama, Alit's father, Mr. Murat, Kastia, Riski, Triyogo and Hassan; the background consists of place setting, namely Bandung and the area on the island of Sumatra, time setting (Morning, Afternoon, Evening, Four years ago, September, 2017), socio-cultural background (life habits of people who do not take care of the natural environment); the point of view of the main character's "I" first persona; language includes language variations and figure of speech; moral or mandate, namely loving the natural environment, (2) The environmental crisis in Jalu Kancana's Eternal novel includes Pollution, Wilderness, Apocalypse, Dwelling, Animals, Earth. Abstrak Penelitian ini dilatarbelakangi oleh banyaknya kerusakan lingkungan yang terjadi dan kurangnya pemahaman mengenai kedudukan manusia dengan lingkungan alam, serta membangun kesadaran untuk merawat alam semestra hingga dapat membentuk generasi yang peduli dan cinta dengan lingkungannya.  Tujuan penelitian ini untuk mendeskripsikan (1) unsur-unsur intrinsik novel Kekal karya Jalu Kancana, (2) krisis lingkungan dalam novel Kekal karya Jalu Kancana dengan pendekatan ekokritik. Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif analisis, yaitu menyajikan fakta-fakta dalam bentuk deskripsi. Teori yang digunakan dalam penelitian ini yaitu teori unsur intrinsik Nurgiyantoro dan ekokritik sastra, krisis lingkungan Greg Garrard. Subjek dalam penelitian ini adalah novel Kekal karya Jalu Kancana, objek penelitian ini adalah unsur-unsur intrinsik dan bentuk krisis lingkungan dalam novel Kekal karya Jalu Kancana. Hasil dari penelitian ini adalah: (1) Unsur intrinsik novel meliputi tema yaitu kerusakan lingkungan; plot yang terbagi dalam lima tahapan; tokoh dan penokohan di antaranya Alit, Pepep, Tama, Ayah Alit, Pak Murat, Kastia, Riski, Triyogo dan Hassan; latar terdiri dari latar tempat yaitu Bandung dan beberapa daerah di pulau Sumatra, latar waktu (Pagi, Siang, Malam, Empat tahun yang lalu, Bulan September, Tahun 2017), latar sosial budaya (kebiasaan hidup masyarakat yang tidak menjaga lingkungan alam); sudut pandang persona pertama “aku” tokoh utama; bahasa meliputi variasi bahasa dan majas; moral atau amanat yaitu mencintai lingkungan alam, (2) Krisis lingkungan dalam novel Kekal karya Jalu Kancana meliputi Pencemaran (Pollution), Hutan belantara (Wilderness), Bencana (Apocalypse), Perumahan/tempat tinggal (Dwelling), Binatang (Animals), Bumi (Earth). Kata Kunci:  Novel, Unsur Intrinsik, Ekokritik Sastra

scholarly journals Prototypological approach to the study of the deep nature of human: based on the materials of the novel by Boris Akunin “Aristonomy”

2019 ◽  
Vol 36 (6) ◽  
pp. 9-21
Author(s):  
O. Maltsev
Keyword(s):  
Human Perception ◽  
Point Of View ◽  
The Novel ◽  
Ability To Act ◽  
Average Person ◽  
Red Army ◽  
High Knowledge ◽  
The Subject ◽  
Four Blocks

The article presents a discursive psychological analysis based on the paradigm of prototypology based on the materials of the work of Boris Akunin “Aristonomy”. The main storylines of the work are considered in the context of the methodology of therapy of academician Yakovlev. The story, the interaction of the heroes of the image is filled, in fact, with the theory of therapy, revealing the human perception of the world in a two-system coding. The discursive scheme “image - name” is presented. The author uses the fate-analysis theory in the analysis of the main programs and lines of the fate of the heroes, in which the fundamental importance is given to understanding the significant role of the Other, the ability and inability to constancy of philosophy and choice. The archetypology of K.G. Jung and its prototypologization in the heroes of the novel is presented. The role of Significant Others in the creation of subsequent stages of fate is considered. The main analysis focuses on the subject of betrayal, its two types: forced betrayal, and betrayal as a special type of individual human philosophy. The image of Philip is presented in such qualities as complaisance, flexibility, inability to kill. Philip is fastidious person and flexible guy, "where the wind blows- the smoke goes." The hero deduces the key formula of life: “To find a man and make sure that he could not do without me. And then in life everything will happen automatically. There will be the best fate that can be.” It is considered that Philip betrays only out of necessity. Prototypologically, he is represented as a common Jester- commoner. When we talk about Philip we are dealing with the highest degree of fateful survival. The second hero, Anton, betrays “because of thoughts”, each time being guided by a special idea. This idealistic super-idea justifies his vile act and he does it consciously. It is proved that the most important thing for Anton is freedom. Everything that freedom gives at one time or another is the correct philosophy. Prototypologically, Anton is represented as the Sharikov-aristocrate. When analyzing a novel, we are dealing with two types of people: a crime who can act according to the situation but does not have high knowledge - this is Philip. And we are dealing with people who do not know how to act according to the situation - this is Anton, who is completely deprived of the ability to act, he rolls according to a scenario that is developing and constantly remains alive. Based on the analysis of the novel material "death row", we find four types of people: "noble-sheep", "corpses", "irreconcilable" and "divine lucky". The prototypology of betrayal is considered in the context of the absence of a philosophical level among the heroes. The problem of the “average person” is being raised as an important subject of therapy, represented by a typical resident of Europe. It is indicated that the subject of European therapy is a simple average person, and the subject of Yakovlev’s therapy is two types of traitors: crime and idealists. In this context, the prototypology of Florence is considered. From the point of view of the description of the stages of therapy according to Yakovlev, the author identifies four blocks in the novel “Aristonomy”: Petrograd, Switzerland, Crimea, and the Red Army. The need for step-by-step therapy is justified.  

scholarly journals ANALISIS STRUKTURAL OBJEKTIF DALAM NOVEL PESANTREN IMPIAN KARYA ASMA NADIA

EDU-KATA ◽  
2021 ◽  
Vol 7 (1) ◽  
pp. 9-16
Author(s):  
Zumrotul Ilmiyah
Keyword(s):  
Moral Education ◽  
Research Method ◽  
Point Of View ◽  
The Novel ◽  
Main Character ◽  
The Third ◽  
Analysis Technique ◽  
Rehabilitation Period ◽  
The Subject ◽  
Additional Figure

The research was conducted with the aim of (1) describing the objective structure aspects, (2) describing the value of moral education in the Asma Nadia Pesantren Impian novel. The object in this study is the aspect of objective structure and the value of moral education contained in the novel Pesantren Impian by Asma Nadia. The subject of his research was Asma Nadia's Dream Dream School. The instruments in this study were the researchers themselves, note books, ballpoint pens, and relevant books that could be used as reference material. Data collection techniques used by researchers used library techniques and note-taking techniques, namely by: (1) the researcher reads novel, (2) the author identifies the data, (3) records the results of the data relating to novel. The research method used by the researcher is the description method. The analysis technique used by researchers is the content technique of content analysis authors. The results of this study indicate that (1) the theme found in Asma Nadia's Pesantren Impian novel is the determination and effort of a woman to become a better person after undergoing a rehabilitation period in a pesantren. The main character is Girl, Rini is an additional figure, Teungku Umar, Teungku Hasan, Sinta and Santi. The background is divided into two types, namely the place setting and the time setting. The plot / groove used is a backlight or flash back. The point of view used is the third person's viewpoint of omniscience. (2) the value of moral education, namely respect, compassion and helpfulness.

Becoming-Animal Cinema Narrative

2018 ◽  
Author(s):  
Dennis Rothermel
Keyword(s):  
Case Studies ◽  
Special Kind ◽  
Point Of View ◽  
Free Indirect Discourse ◽  
Indirect Discourse ◽  
Mise En Scene ◽  
The Subject ◽  
Animal Perception ◽  
Film Language

This chapter connects distinctive animal territories to specific uses of film language through a series of case studies, most notably Robert Bresson’s Au hasard Balthazar (1966), Michelangelo Frammartino’s Le Quattro Volte (2011), Bela Tarr’s The Turin Horse (2011), and Ang Lee’s Life of Pi (2012). Significantly, becoming-animal cannot be represented by conventional point-of-view and shot-reverse-shot editing (the structural mainstay of filmic suture), because it ties the animal to the conventional (and thus delimiting) human vectorial space of Deleuze’s action-image. Instead, inspired by Pier Paolo Pasolini’s seminal essay, ‘The “Cinema of Poetry”’, the chapter notes that all four filmmakers resort to a form of free-indirect discourse, whereby animality fills up the film from the inside as formative of the representation rather than rendering the subject within the structure of representation. Not unlike T.S. Eliot’s objective correlative, where the character’s subjectivity is presented objectively in and through the mise-en-scène as well as individual focalisation (in this case the character is also on-screen), animal perception is able to be expressed by a form of camera self-consciousness, what Deleuze calls ‘cinema a special kind of cinema where the camera makes itself felt.

The Tragic Muse: the objective centre

1970 ◽  
Vol 4 (1) ◽  
pp. 73-89
Author(s):  
Alan W. Bellringer
Keyword(s):  
Henry James ◽  
Point Of View ◽  
Central Character ◽  
General Sense ◽  
Portrait Of A Lady ◽  
The Subject ◽  
The Individual

From what Henry James writes in the well-known passage on the novelist's ‘need of the individual vision’ (Preface to The Portrait of a Lady), one is surprised to find him attributing absolute objectivity to the central character in another of his novels. A valid subject, he had said, is the result of some direct impression or perception of life; it springs out of the soil of the artist's prime sensibility. To represent adequately what he felt mattered about Isabel Archer, James had decided to place ‘the centre of the subject in the young woman's own consciousness’. He had rejected the easy evasive trick of giving only the general sense of her effect upon the characters surrounding her. To make theirs the predominant point of view would have been an escape from any close account of the subject. What then induced James on a later occasion to reverse this procedure without scruple? One can look first at James's account of the effect which this novel was to produce.

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