scholarly journals Resurfacing the Disappeared: The Author in Fish-Hair Woman by Merlinda Bobis

Plaridel ◽  
2017 ◽  
Vol 14 (2) ◽  
pp. 73-90
Author(s):  
Jaimee Faith J. Santos
Keyword(s):  
Literary Criticism ◽  
The Self ◽  
The Other ◽  
Other Hand ◽  
The Subject ◽  
Humanist Tradition ◽  
The One ◽  
The Disappeared

The subject of my paper is the author. I aim to explore how the self-conscious author functions in Fish-Hair Woman (2012), a metafictional novel by Merlinda Bobis. I begin with a brief discussion of how the author is constructed, first, in Philippine literary criticism, and second, in light of the collapse of the humanist tradition of valorizing the writer, which prompted the proclamation of the author’s “death” and rendered her irrelevant to the text and to criticism. But does the author stay dead? In metafiction, in particular, the author manages to “write” herself into the text using self-consciousness. I find that, while it is impossible to overlook the author’s decentered status, it is equally untenable to ignore how an overt “manifestation” of the author functions within the text. Through my reading of Fish-Hair Woman, I attempt to examine how the author’s self-consciousness results in two seemingly contradicting implications. On the one hand, the author’s constant references to herself allows her to “live” through the text, reinforcing the Barthesian notion that the author limits the text and its possible interpretations. On the other hand, the author’s constant references to herself as a subject exposes the author’s own limitations. This, in turn, “re-opens” the text, by giving room to questions about other perspectives that are not or cannot be represented in the text.

Stories and the Self

2020 ◽  
Vol 32 (2) ◽  
pp. 47-58 ◽  
Author(s):  
Stefan Krause ◽  
Markus Appel
Keyword(s):  
Meta Analysis ◽  
The Self ◽  
The Other ◽  
Lower Degree ◽  
Contrast Effects ◽  
Self Perception ◽  
Self Perceptions ◽  
Other Hand ◽  
The One ◽  
Implicit And Explicit

Abstract. Two experiments examined the influence of stories on recipients’ self-perceptions. Extending prior theory and research, our focus was on assimilation effects (i.e., changes in self-perception in line with a protagonist’s traits) as well as on contrast effects (i.e., changes in self-perception in contrast to a protagonist’s traits). In Experiment 1 ( N = 113), implicit and explicit conscientiousness were assessed after participants read a story about either a diligent or a negligent student. Moderation analyses showed that highly transported participants and participants with lower counterarguing scores assimilate the depicted traits of a story protagonist, as indicated by explicit, self-reported conscientiousness ratings. Participants, who were more critical toward a story (i.e., higher counterarguing) and with a lower degree of transportation, showed contrast effects. In Experiment 2 ( N = 103), we manipulated transportation and counterarguing, but we could not identify an effect on participants’ self-ascribed level of conscientiousness. A mini meta-analysis across both experiments revealed significant positive overall associations between transportation and counterarguing on the one hand and story-consistent self-reported conscientiousness on the other hand.

Keeping Company with Sondheim’s Women

2014 ◽  
Author(s):  
Stacy Wolf
Keyword(s):  
Musical Theater ◽  
Married Couples ◽  
Feminist Perspective ◽  
The Self ◽  
The Other ◽  
Female Characters ◽  
Other Hand ◽  
The One

This chapter examines the eight female characters inCompany, what they do in the musical, and how they function in the show’s dramaturgy, and argues that they elicit the quintessential challenge of analyzing musical theater from a feminist perspective. On the one hand, the women tend to be stereotypically, even msogynistically portrayed. On the other hand, each character offers the actor a tremendous performance opportunity in portraying a complicated psychology, primarily communicated through richly expressive music and sophisticated lyrics. In this groundbreaking 1970 ensemble musical about a bachelor’s encounters with five married couples and three girlfriends, Sondheim’s female characters occupy a striking range of types within one show. From the bitter, acerbic, thrice-married Joanne to the reluctant bride-to-be Amy, and from the self-described “dumb” “stewardess” April to the free-spirited Marta,Company’s eight women are distillations of femininity, precisely sketched in the short, singular scenes in which they appear.

Productivity of French and Dutch (semi-)copular constructions and the adverse impact of high token frequency

2021 ◽  
Author(s):  
Niek Van Wettere
Keyword(s):  
Frequency Distribution ◽  
The Other ◽  
Adverse Impact ◽  
Frequent Type ◽  
Token Frequency ◽  
Semantic Classes ◽  
Other Hand ◽  
The Subject ◽  
The One

Abstract This paper examines the productivity of the subject complement slot in a set of French and Dutch (semi-)copular micro-constructions. The presumed counterpart of productivity, conventionalization in the form of high token frequency, will also be taken into account in the analysis of the productivity complex. On the one hand, it will be shown that prototypical copulas generally have a higher productivity than semi-copulas, although there are some semi-copulas that can rival the productivity of prototypical copulas. On the other hand, it will be demonstrated that high token frequency is in general detrimental to productivity, on the level of the entire subject complement slot and on the level of the different semantic classes. However, the shape of the frequency distribution also seems to play a role: multiple highly frequent types are in my data more detrimental to productivity than one extremely frequent type, although the semantic connectedness of the types in the distribution might also be an explanatory factor.

The ‘Pistola’ of Cerveri de Girona

Traditio ◽  
1948 ◽  
Vol 6 ◽  
pp. 161-185
Author(s):  
Kurt Lewent
Keyword(s):  
The Other ◽  
Love Affair ◽  
Other Hand ◽  
Good Taste ◽  
Moral Argumentation ◽  
The Subject ◽  
Way Of Thinking ◽  
The One ◽  
The Cost ◽  
Troubadour Poetry

Cerveri was decidedly no poetical genius, and often enough he follows the trodden paths of troubadour poetry. However, there is no denying that again and again he tries to escape that poetical routine. In many cases these attempts result in odd and eccentric compositions, where the unusual is reached at the cost of good taste and poetical values. On the other hand, it must be admitted that Cerveri's efforts in this respect were not always futile. His is, e.g. an amusing satire upon bad women. One of his love songs, characteristically called libel by the MS (Sg), assumes the form of a complaint submitted to the king as the supreme earthly judge, in which the defendant is the lady whose charms torture the lover and have made him a prisoner. This poem combines the traditional praise of the beloved and a flattery addressed to the king. Its slightly humoristic tone is also found in a song entitled lo vers del vassayll leyal. Here Cerveri, basing himself on a certain legend connected with St. Mark, gives the king advice in his love affair. Again the poet kills two birds with one stone, flattering the sovereign and pointing, for obvious purposes, to his own poverty. The latter is the only topic of a remarkably personal poem in which the author complains bitterly that, while many of his playmates have become rich in later years, the only wealth he himself did amass were the chans gays and sonetz agradans which he composed for other people to enjoy. Cerveri even tries to renew the traditional genre of the chanson de la mal mariée by adding motifs of—presumably—his own invention. This tendency towards a more independent way of thinking and greater originality in its poetical presentation could not be better illustrated than by the two poems which the MS calls Lo vers de la terra de Preste Johan and Pistola The one puts the poet's moral argumentation against the background of the medieval legend of Prester John, the other, which forms the subject of the present study, sets its teachings in a still more solemn framework, the liturgy of the Mass.

A Propos De Ta Sa Fuqin Si-Le

1987 ◽  
Vol 16 (2) ◽  
pp. 237-257
Author(s):  
Robert Iljic
Keyword(s):  
The Other ◽  
Proper Noun ◽  
Intransitive Verb ◽  
Other Hand ◽  
Accepted Standard ◽  
The Subject ◽  
The One ◽  
Contemporary Chinese

The sentences of the type above mentioned are characterized, on the one hand, by the cooccurrence of bă with an intransitive verb, on the other hand, by the classifier ge following bă and introducing a noun relative to a unique referent. This type of sentence, quoted by most major contemporary Chinese grammars, and to be traced in baihuà texts, doesn't seem, nowadays, to pertain any longer to a universally accepted standard. This paper demonstrates that in these sentences, as in all bă constructions, bă actually marks a patient (even if the latter may be the subject-of an intransitive verb); besides, given its position before bă, a certain agentivity is always conferred to a noun in topic position, even if this agentivity, taken to its far end, boils down to the only desire of having been able to do something to prevent a given event (a point in case: the death of a father); finally, the function of ge before a proper noun or a noun semantically determined as unique, which can be found in some other sentences, isn't to count, that is, to indicate a quantity. but to emphasize the qualitative value of the noun (the father insofar as he is a father), the effect being to underline the value (price) that the speaker attaches to a given person or thing, hence the modal connotation ascribed to such sentences.

scholarly journals THE CRITICISM OF LITERALISM IN READING THE QUR'AN THROUGH NASR HAMID ABU ZAYD HERMENEUTICS

2019 ◽  
Vol 4 (1) ◽  
Author(s):  
Naupal Naupal
Keyword(s):  
The Other ◽  
Hermeneutic Circle ◽  
Text Interpretation ◽  
Arab Culture ◽  
Other Hand ◽  
Interpretation Process ◽  
The Subject ◽  
The Times ◽  
The One

Abu Zayd believes that understanding the Qur'an is not limited to explanations or comments. It involves an interpretation process for capturing the significance (maghza) from the literal text. Interpretation also requires a presupposition that the Qur'an itself does not produce literal absolutes and certainty. The presupposition needs an interpretation that illustrates the possibility of accepting the diversity of Qur'anic interpretations in the times. By using Abu Zayd's hermeneutics, the Qur'an is an icon of Islam and at the same time a representation of Arab culture itself which is not necessarily literally absolute, but is open to interpretation. Hans Georg Gadamer's hermeneutic circle that inspired Hermeneutics of Abu Zayd emphasized that in understanding and applying the meanings of the text, the subject played a role in the text rather than the other way around. This study aims to open opportunities that the Qur'an on the one hand is an objective thing seen from the content of its truth, that is seen from its universal message, but on the other hand it is subjective, because it is bound by the interpretation of the text. This research is also intended to avoid the sacredness of the ordination of a single interpretation of the Qur'an which has resulted in the emergence of fundamentalism which has recently become so prevalent in global Islamic societies, not least in Indonesia.

scholarly journals Mytens tvang

1999 ◽  
Author(s):  
Lars Albinus
Keyword(s):  
Blind Spot ◽  
The Other ◽  
Instrumental Reason ◽  
Ancient Greek ◽  
Self Reflection ◽  
Negative Dialectics ◽  
Other Hand ◽  
The Subject ◽  
The One

The purpose of the article is to show how the negative dialectics of Adorno gets involved with a concept of myth that is questionable in several respects. First of all, Adorno tries to combine, but rather conflates, two understandings of myth. On the one hand, the concept of myth is defined as the ancient Greek mythos, in which the subject of man is projected on to nature; on the other hand, myth is defined as the backfire of enlightenment, in which self-reflection becomes the blind spot of instrumental reason. Along these lines of argument, Adorno’s interpretation of Homer, which, at any rate, is highly inspiring, attempts to demonstrate that Odysseus is already enlightened in that he keeps the myth at bay in order to gain his self. The point is, as a matter of dialectic necessity, that he just ends up in myth once again, albeit in the second sense, namely by being a victim of his own self-denial. A question that seems to remain unanswered, though, is how the two kinds of myth are related. Further, Adorno draws on a problematic distinction between myth and literature in order to claim that Homer separates himself from the realm of myth. By adopting Adorno’s own game of interpretation, however, it is possible to regard myth as such, including the Homeric one, as being contingently open-ended rather than just a matter of dialectic determination.

scholarly journals El marco epistolar de los artículos de crítica literaria de Mme d'Épinay

2019 ◽  
Vol 28 ◽  
pp. 77-88
Author(s):  
María Ángeles Llorca-Tonda
Keyword(s):  
Literary Criticism ◽  
The Other ◽  
Literary Style ◽  
Other Hand ◽  
The One

The aim of this paper is to analyse the literary criticism that Mme d'Épinay consecrates to the Correspondance littéraire of Grimm and Meister. The epistolary framework in which the critical articles studied are presented deserves particular attention, since it allows us, on the one hand, to establish the different functions developed by Louise d'Épinay in the circle of Grimm's collaborators, and, on the other hand, to highlight the dialogic structure that will dominate the literary style of Mme d'Épinay. El presente trabajo tiene como objetivo analizar la obra de crítica literaria que Mme d’Épinay consagra a la Correspondance littéraire de Grimm y de Meister. El marco epistolar en el que se presentan los artículos críticos estudiados merece una atención particular, ya que nos permite, por un lado, establecer las diferentes funciones desarrolladas por Louise d’Épinay en el círculo de los colaboradores de Grimm, y por otro lado, poner de manifiesto la estructura dialógica que dominará el estilo literario de Mme d’Épinay.

The Animistic Way: Contemporary Paganism and the Posthuman

Poligrafi ◽  
2021 ◽  
pp. 107-127
Author(s):  
Victoria Dos Santos
Keyword(s):  
Natural World ◽  
Julia Kristeva ◽  
The Other ◽  
Relational Ontology ◽  
Other Hand ◽  
The World ◽  
Human World ◽  
The Subject ◽  
The One ◽  
Contemporary Paganism

This article aims to explore the affinities between contemporary Paganism and the posthuman project in how they approach the non-human natural world. On the one hand, posthumanism explores new ways of considering the notion of humans and how they are linked with the non-human world. On the other hand, Neopaganism expands this reflection to the spiritual domain through its animistic relational sensibility. Both perspectives challenge the modern paradigm where nature and humans are opposed and mutually disconnected. They instead propose a relational ontology that welcomes the “different other.” This integrated relationship between humans and the “other than human” can be understood through the semiotic Chora, a notion belonging to Julia Kristeva that addresses how the subject is not symbolically separated from the world in which it is contained.

The sense and the meaning of cultural-historical theory of L. S. Vygotsky

2017 ◽  
Vol 4 (1) ◽  
pp. 35-47
Author(s):  
Elena Kravtsova
Keyword(s):  
The Other ◽  
Projective Method ◽  
Genetic Method ◽  
Modern Psychology ◽  
Other Hand ◽  
The Subject ◽  
Basic Concepts ◽  
The One ◽  
Historical Theory

L. S. Vygotsky’s principal idea, lying in the base of cultural-historical theory, is the primacy of sense over meaning. There are serious reasons to believe that this part of cultural-historical theory was not completely understood both by his disciples and his opponents. That’s why many Vygotsky’s conclusions and discoveries remained untapped. while others were implemented in science and practice quite di˙erently from what he suggested. Vygotsky once wrote that features of the particular science deeply related to its method. That’s why he introduced the experimental-genetic method (projective method in modern psychology), which allows modeling the processes of development. One of the basic concepts of cultural-historical theory is the concept of “cultural de-velopment”. A Cultural person, for Vygotsky, is the person, who can control not only their own behavior and actions but also their own psychic processes. On the one hand, modern psychology doesn’t deny the role of volition in child’s development. But on the other hand, the volition itself is typically understood as one’s ability to submit to laws and rules. More than that – it’s rather easy to create conditions where a person will submit to laws and rules, but it doesn’t develop his ability to control himself. In Vygotsky’s opinion, there are natural psychic functions, which in the process of learning transform into cultural ones. In this context, the main goal of learning is to create conditions for developing person’s ability to be the subject of his own behavior, activity and psychic.

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