scholarly journals 'As if History Could Be Circumvented'

2003 ◽  
Vol 9 ◽  
Author(s):  
Stef Craps
Keyword(s):  
The Novel ◽  
Way Of Life ◽  
Modus Vivendi ◽  
Real Change ◽  
As If

Graham Swift's debut novel The Sweet Shop Owner recounts the final day in the life of an ageing shopkeeper whose wife has died and who is estranged from his daughter. It diagnoses the demise of a way of life based on the principles of predictability, immobility and economic circularity. This paper shows how the impasse in the narrative present is accounted for by the characters' failure seriously to engage with trauma. The mechanisms of denial to which they take recourse prove inimical to life, and yet remain in place right until the end of the novel. Tantalizing flashes of an alternative modus vivendi are offered through the rebellion of the protagonist's daughter against the oppressive regime imposed by her parents, but the suggestion that there is no possibility of achieving real change is at least equally prominent in the text. Envisaging the possibility of genuine renewal appears to be a deeply problematic undertaking. In exposing the ravages wreaked by a determined evasion of a catastrophic history, The Sweet Shop Owner inaugurates Swift's search for a way of coming to terms with trauma that would create the conditions for the invention of a more humane, just and less destructive future, a quest which is taken up and doggedly pursued in the author's later novels.

Dmenisions of Human Behavior in The Novel “The Foreigner” By Arun Joshi

IJOHMN ◽  
2016 ◽  
Vol 2 (2) ◽  
pp. 4
Author(s):  
Abhishek Verma
Keyword(s):  
Human Behavior ◽  
Upper Class ◽  
Poor People ◽  
The Novel ◽  
Modern Age ◽  
As If ◽  
Available Resources

In the modern age of globalization and modernization, people have become selfish and self-centered.  Feeling of sympathy and kindness towards poor people have almost bolted from the hearts of those who have richly available resources.  They leave needy people running behind their luxurious chauffer-driven cars.  Poor and marginalized people keep shouting for help for their dear ones but upper class people trying to show as if they did not hear any long distant sound crept into their eardrums.  This trauma, agony, pain and sufferings is explored in the novel, The Foreigner.

scholarly journals Vuoret ja kaupunki vastakohtaisina tiloina Alisa Ganijevan teoksissa

2016 ◽  
pp. 7-22
Author(s):  
Anni Lappela
Keyword(s):  
Central Element ◽  
Point Of View ◽  
The Novel ◽  
Way Of Life ◽  
The Real ◽  
Key Concepts ◽  
The City ◽  
Geographical Space

Mountains and City as Contrary Spaces in the Prose of Alisa Ganieva I analyze Alisa Ganieva’s novel Prazdnichnaia gora (2012) and her novella Salam tebe, Dalgat! (2010) from a geocritical (Westphal, Tally) point of view. Ganieva was born in 1985 in Moscow, but she grew up in Dagestan, in North Caucasia. Since 2002, she has lived in Moscow. All Ganieva’s novels are set in present-day Dagestan, not only in the capital Makhachkala but also in the countryside.  I study the ways the two main spaces and main milieus, the mountains and the city, oppose each other in Prazdnichnaia gora. I also analyze how this opposition constructs the utopian and dystopian discourses of the novel. In this high/low opposition, the mountains appear as the utopian place of a better future, and the city in the lowlands is depicted as a dystopian place of the present-day life. The texts’ multilayered time is also part of my analysis, which follows Westphal’s idea of the stratigraphy of time. Furthermore, the mountains are associated with the traditional way of life and the Soviet past. In this way, the mountains have two kinds of roles in the texts. Nevertheless, the city is a central element of the postcolonial dystopian discourse of Prazdnichnaia gora. In my opinion, Ganieva’s texts problematize referentiality, one of the key concepts of geocriticism. Whilst the city tends to be very referential, the mountains escape the referential relationship to the “real” geographical space.

scholarly journals DISCOURSE OF NEUROSIS IN S. PROTSYUK’S NOVEL “ROSE OF RITUAL PAIN”

2021 ◽  
pp. 13-22
Author(s):  
Chernysh A.Ye.
Keyword(s):  
Oedipus Complex ◽  
The Novel ◽  
Natural Consequence ◽  
Ideal Self ◽  
Way Of Life ◽  
Unconscious Processes ◽  
Multiple Personality ◽  
Communication Problems ◽  
Wide Range ◽  
Anxiety Depression

The purpose of the article is to analyze the mechanism of the emergence and functioning of the discourse of neurosis of Vasyl Stefanyk on the material of the artistic and biographical novel by S. Protsyuk “Rose of Ritual Pain”.Methods of analysis, synthesis, description, interpretation, psychoanalytic methodology, postcolonial reading were used to analyze the set goal.Research results. The novel presents a wide range of artistic psychoanalytic tools – unconscious processes of mental development of the hero, traumas and traumatic events in the life of Vasily Stefanyk, a body of mental inspirations, built on numerous fears, neuroses, pain, a number of associations and suggestions, well-associated images and visionary discourses, indepth archetypes. It was found that neurosis is a natural consequence of the intensified struggle of various incarnations of Vasyl Stefanyk, which he tried to reconcile with each other. Significant aspects of the appearance and functioning of the neurotic state of the hero added children’s trauma, fears, complexes, stress, excessive anxiety. Internal tension and early childhood trauma formed deeply associated images of the beast with the bloody paw and the Bullet of Alarm as fundamental neurotic factors. The Oedipus complex and the conflict between the real idea of oneself and one’s ideal self also significantly developed the neurotic way of life of Vasyl Stefanyk. It is established that the image of Vasyl Stefanyk in the novel is marked by dispersive tension, excessive anxiety, which led to the emergence of a depressive, melancholic and partly infantile worldview. It was found that creativity helped the character to alleviate tension, fears, guilt, sins.Conclusions. The image of Vasyl Stefanyk in the novel is marked by neurosis, the key components of which are excessive anxiety, depression, actually neurotic and mental disorders in behavior, fears and addictions, communication problems, the Oedipus complex, multiple personality. Important psychoanalytic codes for the interpretation of the neurotic type of personality are the deep personal associations of the Bullet of Alarm and the beast with the bloody paw, which express the neurotic discourse of the protagonist’s performance.Key words: neurosis, fear, trauma, anxiety, association. Мета статті – на матеріалі художньо-біографічного роману С. Процюка «Троянда ритуального болю» проаналізувати механізм появи і функціонування дискурсу неврозу Василя Стефаника.Для аналізу поставленої мети використано дослідницькі прийоми систематизації, класифікації та узагальнення, застосовано психоаналітичну методологію, постколоніальне прочитання.Результати дослідження. У романі представлений широкий художній психоаналітичний інструментарій – неусвідомлені процеси психічного розвитку героя, травми і травматичні події у житті Василя Стефаника, корпус душевних інспірацій, розбудованих на численних страхах, неврозах, болях, низка асоціацій і сугестій, вдало засоційованих образів тривоги і неспокою, хитросплетених сновидного й візійного дискурсів, поглибленої архетипіки. Зʼясовано, що невроз є закономірним наслідком утривавленої боротьби різних іпостасей Василя Стефаника, які він намагався примирити між собою. Вагомих аспектів появи і функціонування невротичного стану героя додали дитячі травми, страхи, комплекси, стреси, надмірна тривожність. Внутрішня напруга й рання дитяча травма виформували глибоко засоційовані образи звіра із кривавою пащекою і Кулі Тривоги як засадничих невротичних факторів. Едіпів комплекс і конфлікт між реальним уявленням себе та своїм ідеальним Я також вагомо розвивали невротичний спосіб життєукладу Василя Стефаника. Встановлено, що образ Василя Стефаника в романі відзначається дисперсійною напругою, надмірною тривожністю, що призвело до появи депресійного, меланхолійного і почасти інфантильного світоставлення. Зʼясовано, що творчість допомагала персонажеві притлумлювати напругу, страхи, відчуття провини, гріхи.Висновки. Образ Василя Стефаника в романі маркований неврозом, ключовими складниками якого є надмірна тривога, депресія, власне невротичні і психічні зриви в поведінці, страхи і залежності, проблеми в комунікації, Едіпів комплекс, множинна особистість. Важливими психоаналітичними кодами потрактування невротичного типу особистості є глибинні осібні асоціації Кулі Тривоги та звіра із кривавою пащекою, що увиразнюють невротичний дискурс виповнення головного героя.Ключові слова: невроз, страх, травма, тривога, асоціація.

scholarly journals Displaced sentential complements to nouns in German

2021 ◽  
Vol 66 (4) ◽  
pp. 519-547
Author(s):  
Andreas Blümel
Keyword(s):  
The Novel ◽  
Complement Clause ◽  
Internal Gap ◽  
As If ◽  
Lexical Factors

AbstractThis article makes the novel observation that in German, CPs functioning as complements to nouns can appear to the left of their associated DP-internal gap position. It surveys the phenomenon and, based on a number of diagnostics, argues that the noun complement clause exhibits properties as if its surface position is movement-derived. Based on parallel observations in PP-extraction from DP, I show that the same constraints on movement apply modulo construction-specific properties of DPs with a noun complement clause. The findings buttress previous approaches to extraction from DPs that highlight differentiating and controlling lexical factors. Given the delicacy of the judgments involved in this phenomenon, the article is mostly devoted to laying out its descriptive properties. Tentative suggestions as to an analysis are offered in the end.

any real doubt about the ending. Heliodoros redirected curiosity from outcome to explanation. The second problem is lack of direc­ tion and unity: romance was prone to fall apart into a series of exciting but only loosely connected adventures, at the end of which the protagonists recovered their lost happiness and simply lived out the rest of their lives as if nothing had happened. By leaving central questions unanswered Heliodoros is able to hold large spans of text together, and the most important answers, when they do arrive, involve decisive change for the protagonists. Both these strategies imply an interpretatively active reader. The opening of the novel is deservedly famous.11 A gang of bandits come across a beached ship, surrounded by twitching corpses and the wreckage of a banquet. Through their eyes, and with their ignorance of what has taken place, the reader is made to assimilate the scene in obsessive but unexplained visual detail. In the midst of the carnage sits a fabulously beautiful young woman, nursing a fabulously handsome young man. It does not take long to identify them as the hero and heroine of the novel, and learn that their names are Theagenes and Charikleia, but Heliodoros tantalizes us over further details. Thus at the very beginning of the novel two riddles are established: what has hap­ pened on the beach? and who exactly are the hero and heroine? Heliodoros prolongs the reader’s ignorance by his characteristic use of partial viewpoint. Sometimes, as with the bandits, there is a fictional audience whose specific perceptions act as a channel of partial information to the reader, but elsewhere Heliodoros as narrator simply relates what an uninformed witness of the events would have seen or heard. For example, we are only allowed to find out about the hero and heroine as they speak to others r are spoken about: Heliodoros as author knows all about them but keeps quiet in favour of his recording but not explaining narrative voice. The opening scene is eventually disambiguated by Kalasiris, an Egyptian priest. He regales Knemon, a surrogate reader within the text who shares the real reader’s curiosity about the protagonists, with a long story, beginning in Book 2, of how he met Charikleia at Delphi, witnessed the birth of her love for Theagenes and helped the lovers to elope. He chronicles their subsequent experiences, until at the end of Book 5, half-way through the novel, the story circles back to its own beginning and at last resolves the mystery of the scene on the beach.

2014 ◽  
pp. 327-327
Keyword(s):  
Young Woman ◽  
Partial Information ◽  
The Novel ◽  
Narrative Voice ◽  
The Real ◽  
Opening Scene ◽  
Visual Detail ◽  
As If

Preparing the Novel: Spiralling Back

Paragraph ◽  
2008 ◽  
Vol 31 (1) ◽  
pp. 109-120
Author(s):  
JONATHAN CULLER
Keyword(s):  
The Novel ◽  
Collège De France ◽  
Change Of Life ◽  
As If

La Préparation du roman, Barthes's course at the Collège de France which was interrupted by his death in 1980, announces a change of life: not giving up analysing literature and culture to write a novel but `preparing the novel', working as if he were going to write a novel. Barthes's approach to the novel is quite singular. With no interest in narrative, nor in extracting the meaning from experience, he treats the novel as a sort of notation, and perversely takes Haiku as a model. This new project constitutes in many respects a regression to literary and cultural ideas Barthes had previously rejected. Most seriously, it involves a turn away from reflection on language, which had been crucial to Barthes's work. But there are other ways in which the change in approach brings new insights to a thinking of the novel and of literature.

Design in Deloney's Jack of Newbury

PMLA ◽  
1973 ◽  
Vol 88 (2) ◽  
pp. 233-239 ◽  
Author(s):  
Max Dorsinville
Keyword(s):  
Middle Class ◽  
World View ◽  
The State ◽  
The Novel ◽  
Way Of Life ◽  
Literary Value ◽  
Greco Roman ◽  
Political Conception ◽  
The Social ◽  
The World

Jack of Newbury's surface realism in characters, setting, and speech has led to an underestimation of its historical and literary value. A close reading reveals the consistent use of the Greco-Roman ethical-political conception of the state, epitomized in the figure of the ruler. Deloney shows his familiarity with this tradition, probably known to him through Erasmus and Sidney, in the three controlling motifs of his novel. First, the middle class of weavers, represented in Jack's household and dramatized in allegories and symbols, is portrayed as a self-sufficient state where peace and harmony reign. Second, this state is shown to be such because of the nature of its ruler, Jack, a benevolent, generous, wise man. Third, the middle-class way of life—hard work, thriftiness, material gains—serves as princely education; accordingly, Jack, from a menial position, goes on to become ruler of the state. Jack of Newbury, as a systematical reordering of an aristocratic tradition, represents the world view of the emergent middle class; and as such, a momentous shift in the social temper of the Renaissance and an important step in the evolution of the novel.

Fiction Cares: J. M. Coetzee's Slow Man

2020 ◽  
Vol 53 (3) ◽  
pp. 399-418
Author(s):  
Benjamin Lewis Robinson
Keyword(s):  
Ethics Of Care ◽  
The Novel ◽  
Good Will ◽  
The Cost ◽  
As If

Abstract J. M. Coetzee's Slow Man considers “care” in contemporary liberal-capitalist societies, including the ostensibly frivolous care of and care for literature. In contrast to grander affects and occupations, care often seems to be “just care,” as if it fails to live up to certain criteria of reality in much the same way that one says something is “just fiction.” If in its literary investigation of such serious issues as disability, aging, and immigration, Slow Man turns into a reflection on the ontology of fiction, this is not mere metafictional frivolity—for care shares the disparaged form of fiction. Coetzee's Elizabeth Costello writings, of which Slow Man appears to be the last, advocate in fiction an “ethics of care.” They are concerned with modes of attention that lack the categorical determinacy of the discourse of rights and of justice and are instead characterized by what I propose to call “justness.” In this light, the novel can be read as examining the skepticism and disappointment with which, on account of this justness, earnest pleas for an ethics of care, or apologies for fiction, are met. The advocacy of care, as of fiction, requires not only good will but also good humor, even if this comes at the cost of being taken seriously. Accordingly, Slow Man proves to be one of the most heavy-going but also lighthearted of Coetzee's novels. It is, after all, “just a joke.”

scholarly journals WATAK TOKOH PROTAGONIS DALAM FILM KARTINI KARYA HANUNG BRAMANTYO (ANALISIS STRUKTURAL)

2020 ◽  
Vol 3 (2) ◽  
pp. 293
Author(s):  
Supriyati Supriyati ◽  
Fitria Wulandari
Keyword(s):  
The Novel ◽  
As If

This research is aimed at describing the protagonist character in the film Kartini by  Hanung Bramantyo. This research is descriptive. The result of the research shows that: (1) the aspect of generosity found in the novel Kartini which means that she likes to give a help to other people. (2) the aspect of honesty found in the character Kartini who likes to be honest to other people. (3) the aspect of sincerity which means that she likes to be sincere towards people who give her compliments as if she is not a person with reputation while she is. (4) the aspect of smart in which she always knows how to make a decision to solve problems. (5) the aspect of independence in which she always tries to send scholarship proposal to continue her study in Netherlands without bothering others. (6) the aspect of loyalty to friends in which she (7) the aspect of defence in which she always defends and fights for woman’s and she is brave to say the truth whenever she faces problems. Based on the result of the analysis, it can be found that the most dominant aspect is sincerity and defend. Meanwhile the less dominant aspect is generosity and independence.

scholarly journals Re-Reading Chinua Achebe’s Things Fall Apart: A Postcolonial Perspective

2019 ◽  
Author(s):  
A.K.M. Aminur Rashid
Keyword(s):  
Cultural Practices ◽  
Chinua Achebe ◽  
The Novel ◽  
Way Of Life ◽  
The Past ◽  
Igbo People ◽  
Christian Culture ◽  
Things Fall Apart ◽  
The Individual ◽  
To Receive

Being a postcolonial narrative, Things Fall Apart experiences a wide critical acclaim. From the pen of Chinua Achebe, the Igbo cultural complexity has come into being a theme that opens up a historical account of the clash of two cultures. Okonkwo, a very well-known public figure in his community falls under the threat of a new culture brought by the white missionaries preaching the gospels of the Christianity. After the arrival of the Christian culture, the first collision that takes place is the division at the individual, and then at the societal levels. When a number of the Igbo people, including Okonkwo’s son, change their religion, it creates chaos and confusions throughout the community. Although the Igbo people have a well-established way of life, the Europeans do not understand. That is why they show no respect to the cultural practices of the Igbo people. What Achebe delivers in the novel is that Africans are not savages and their societies are not mindless. The things fall apart because Okonkwo fails at the end to take his people back to the culture they all shared once. The sentiments the whites show to the blacks regarding the Christianity clearly recap the slave treatment the blacks were used to receive from the whites in the past. Achebe shows that the picture of the Africans portrayed in literature and histories are not real, but the picture was seen through the eyes of the Europeans. Consequently, Okonkwo hangs himself when he finds his established rules and orders are completely exiled by his own people and when he sees Igbo looses its honor by falling apart.

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