I. L. Caragiale’s characters and the art of word in the decoding of the comic language (A sequence for the teacher’s activity for the philological disciplines / studies at school)

2021 ◽  
pp. 69-75
Author(s):  
Mihaela Danaila-Moisa ◽  
Keyword(s):  
Collective Mind ◽  
Literary Character

The literary character is the tool that an author uses in order to give new connotations to the words, so that he shares the desired message, thus creating either a sober tone or a comic spirit. The characters of I. L. Caragiale impose themselves in the collective mind through the art of words and the subliminal message transmitted with the help of seemingly insignificant lexemes.

Style et idéologie. De la version longue à la version brève de la Vie de Jean l’Aumônier, due à Léonce de Néapolis

2020 ◽  
Vol 113 (1) ◽  
pp. 1-34
Author(s):  
Pablo Cavallero
Keyword(s):  
Cultural Change ◽  
Social Hierarchy ◽  
Short Version ◽  
Original Text ◽  
Textual Tradition ◽  
The Social ◽  
Literary Character

Abstract The changes in the short version of Leontios of Neapolis’ Life of John the Almsgiver are analyzed in order to evaluate their cause and to expose their literary character. It is shown that the saint’s oaths are suppressed due to a misunderstanding of a passage in the Prologue, and by respect of the Evangelical commandment. The short version also eliminates pagan concepts of fortune, emphasises the social hierarchy, the accordance between words and thoughts, the action of God as a cause of miracles, and avoids to name God as a reason. The short version raises the stylistical level of the text using the methods of the Metaphrast which is common in the 10th century. The textual tradition also allows to date it into this century. The long version is surely the original text, and the changes made to it show a cultural change between the 7th and 10th centuries.

Voce voco. Ariadne in Ovids Heroides und die ‘weibliche’ Stimme

Mnemosyne ◽  
2012 ◽  
Vol 65 (2) ◽  
pp. 219-237
Author(s):  
Christoph Pieper
Keyword(s):  
Literary Tradition ◽  
Female Voice ◽  
Male Dominance ◽  
Second Step ◽  
Roman Literature ◽  
Literary Character ◽  
The Future ◽  
In The Beginning ◽  
Female Perspective

Abstract The article analyses how Ovid in the 10th letter of his Heroides experiments with the concept of a female voice within Roman literature. Ovid constructs Ariadne as a literary speaker against the background of (1) the Augustan elegiac tradition with its mostly male speakers, (2) the earlier phases of the Ariadne-myth in which Ariadne’s fate is determined by men (Theseus and Bacchus), and (3) the reception of this myth in Catullus’ famous ecphrasis in carmen 64. In the beginning of Heroides 10, Ovid shows how Ariadne develops consciousness of her own ability to speak. She develops from a heterodiegetic (epic) narrator to a homodiegetic (elegiac) speaker. In a second step, however, Ovid demonstrates that Ariadne is not only generally inexperienced in the field of literature, but that her attempt to re-shape her own story from a female perspective must necessarily fail. Her literary character cannot be separated from the previous (male) myth. At the end of the letter, she accepts her own literary immaturity when she asks Theseus to be the future narrator of her own fate. By showing that Ovid in his Ariadne-letter actually stages the failure of his protagonist’s attempt to free herself from a male literary tradition, I suggest that the Heroides should not be read as female literature, but as texts which reaffirm male dominance within Roman literary society.

scholarly journals The Tragic Mulatta and Storytelling in Their Eyes Were Watching God

2019 ◽  
Vol 26 ◽  
pp. 71-88
Author(s):  
Ana Belén Pérez García
Keyword(s):  
Twentieth Century ◽  
Zora Neale Hurston ◽  
A Priori ◽  
Female Identity ◽  
Female Character ◽  
Black Race ◽  
Antebellum Literature ◽  
Literary Character ◽  
White Person ◽  
Do So

The figure of the tragic mulatta placed its origin in antebellum literature and was extensively used in the literature of the nineteenth and twentieth century. Much has been written about this literary character in a time when the problem of miscegenation was at its highest point, and when studies established that races were inherently different, meaning that the black race was inferior to the white one. Many authors have made use of this trope for different purposes, and Zora Neale Hurston was one of them. In her novel Their Eyes Were Watching God, Hurston creates Janie, a mulatta that a priori follows all the characteristics of this type of female character who, however, breaks away from most of them. She overcomes all stereotypes and prejudices, those imposed on her because of her condition of interracial offspring, and is able to take charge of her own life and challenge all these impositions feeling closer to her blackness and celebrating and empowering her female identity. In this vein, storytelling becomes the liberating force that helps her do so. It will become the tool that will enable her to ignore the need of passing as a white person and provide her with the opportunity to connect with her real identity and so feel free and happy, breaking with the tragic destiny of mulatta characters. Keywords: storytelling, tragic mulatta, blackness, Hurston.  

scholarly journals Two Sisters: the Sculptor Hanna Nałkowska in the Light of Zofia Nałkowska’s Novel Węże i Róże

2019 ◽  
Vol 67 (4 SELECTED PAPERS IN ENGLISH) ◽  
pp. 125-150
Author(s):  
Magdalena Kasa
Keyword(s):  
Main Character ◽  
Literary Character ◽  
Polish Version ◽  
The World ◽  
Real Person

The Polish version of the article was published in Roczniki Humanistyczne vol. 65, issue 4 (2017). The article focuses on Ernestyna Śniadowiczówna, the main character in a novel by Zofia Nałkowska, Węże i róże [Snakes and Roses] (1913). The main purpose of the work is to show that the character had its real counterpart in Zofia’s younger sister, the sculptor Hanna Nałkowska. The words of Zofia herself were crucial, who in her Diary confessed that all her novels were autobiographical to some extent. Still, researchers have not paid sufficient attention to the significant similarities between Ernestyna and Hanna Nałkowska. Węże i róże is the only piece in the writer’s output in which she analyzed the issues related to art and pointed out some characteristics of the artist. Zofia was writing her novel when Hanna was entering the world of art. A comparison between Ernestyna Śniadowiczówna and Hanna Nałkowska, as well as the information from Zofia’s Dziennik and reminiscences of their friends show that the literary character is likely to be based on a real person.

scholarly journals Οι νεοελληνικές τύχες του Αλκιβιάδη ως το τέλος του 19ου αιώνα

2016 ◽  
Vol 25 ◽  
pp. 1
Author(s):  
Στέση Αθήνη
Keyword(s):  
Greek Literature ◽  
Historical Drama ◽  
Greek Culture ◽  
Modern Greek ◽  
Literary Character ◽  
The World ◽  
European Family

 The beginning of the closer acquaintance of Modern Greek literature with Alcibiades’ forceful personality is located during the years of Greek Enlightenment, with the discovery of the world of History and the “return to the antiquity” through foreign texts, translated into Greek. Nevertheless, Alcibiades’ appearance as a literary character was delayed compared with his reach European literary fortunes. Alcibiades appears in 1837 through Alcibiades byAugustusGottliebMeissner, a translated “bildungsroman” from German, and half a century later through a second translation, from Italian this time, the homonymous FelicioCavallotti’s historical drama (1889). Examining closely these two texts and considering their presence in the source literatures as well as the terms of their reception in Greek it is concluded that Socrates’ disciple array with literary raiment served the ideological schema aiming at the strengthening of the relations between Modern Greek culture and antiquity and simultaneously the European family.

Heinrich von Kleist: Studies in His Works and Literary Character

1965 ◽  
Vol 17 (2) ◽  
pp. 158
Author(s):  
Roger A. Nicholls ◽  
Walter Silz ◽  
F. C. Richardson
Keyword(s):  
Heinrich Von Kleist ◽  
Literary Character
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