scholarly journals O JORNAL COMO ELEMENTO DE TRANSFIGURAÇÃO DA HISTÓRIA EM O ANO DA MORTE DE RICARDO REIS DE SARAMAGO

2003 ◽  
Vol 60 ◽  
Author(s):  
Gerson Luiz Roani
Keyword(s):  
Authoritarian Regimes ◽  
European History ◽  
Daily Routine ◽  
The Novel ◽  
The World ◽  
History And Literature ◽  
Jose Saramago ◽  
The One ◽  
Radical Approach

Este artigo investiga o diálogo entre a História e a Literatura no romance O Ano da Morte de Ricardo Reis de José Saramago. Nessa obra, vislumbra-se uma atitude inovadora e radical de interlocução com a História, que não se limita a uma mera representação de acontecimentos do passado português. Saramago investe no jogo do fingimento pessoano, inventando para Ricardo Reis um cotidiano e uma queda na conturbada História européia de 1936, que o poeta modernista não poderia prever para o seu mais clássico heterônimo. O discurso ficcional assume uma função restauradora, preenchendo vazios, lacunas e os silêncios do discurso historiográfico. Nesse processo, um dos recursos romanescos utilizados para a transfiguração da História consiste na inserção, na trama narrativa, de textos jornalísticos de 1936, que focalizam a situação histórica portuguesa e européia, nesse ano crucial, em que se consolidaram os regimes totalitários de índole fascista. O aproveitamento desses fragmentos da imprensa portuguesa proporciona uma minuciosa recosntituição das circunstâncias sociais, políticas e históricas de Portugal, criando uma atmosfera cotidiana que bem poderia ser a experimentada por Ricardo Reis, em 1936. Abstract The purpose of this paper is to carry out research on History and Literature in the novel O ano da morte de Ricardo Reis (translated as The year of the death of Ricardo Reis) by Portuguese writer José Saramago. The work stands out by its new and radical approach of a dialogue with History, but which is not limited to a mere representation of Portuguese past events. In Saramagos novel, the latter is revisited through the fictional recreation of one of his heteronyms, Ricardo Reis. The author probes into Pessoa’s play of pretence, inventing a daily routine for Ricardo Reis and plunges into the 1936 disturbances of European History, which the modernist poet could not have foreseen for his most classic heteronym. By giving Ricardo Reis an existence within new fictional parameters, the novel questions the validity of the guiding motto of this fictional figure’s attitude, that is, wise is the one who is contented with the spectacle of the world, which means that at a time of overwhelming social, ideological and political turbulence, the absence of historical conscience is unacceptable. Fictional discourse assumes then a restorative function, filling empty spaces, gaps and silences of historiographic discourse. In this process, one of the novelistic resources used in the transfiguration of History consists of the insertion, within the narrative’s plot, of 1936 newspapers’ texts. These articles focus on the European and Portuguese historical situation in this crucial year when authoritarian regimes of fascist character were being consolidated. The utilization of these fragments of the Portuguese press offers a detailed reconstitution of Portugal’s historic, social and political circumstances, thus creating a quotidian atmosphere that Ricardo Reis would have experienced in 1936.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

Strolling in Tel Aviv: Setting Up and Breaking Down Boundaries in S. Yizhar'sPreliminaries(Mikdamot)

AJS Review ◽  
2017 ◽  
Vol 41 (1) ◽  
pp. 67-88
Author(s):  
Dvir Tzur
Keyword(s):  
The Other ◽  
The Novel ◽  
Urban Experience ◽  
Tel Aviv ◽  
Other Hand ◽  
The World ◽  
The One ◽  
The Individual

The article discusses the image of Tel Aviv, the first Hebrew city, as it is described in the novelPreliminariesby S. Yizhar (Yizhar Smilansky), one of Israel's best-known authors. In this novel, which engages with the question of home and borders, borders function as a double-edged sword: on the one hand, they define home and create a circumscribed place for the protagonist and his family. On the other hand, the novel dwells on the urge to cross borders and shatter the distinction between home and the world. In this regard, Tel Aviv is sometimes described as a pleasant, “normal” city, yet at other times it is written as a perilous place—since it divides between Jews and Arabs. Tel Aviv is also the place where one can imagine a great future or see a concealed history. It is a total urban experience, encapsulating the individual.

scholarly journals Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction

2020 ◽  
Vol 44 (2) ◽  
pp. 15
Author(s):  
Jarosław Hetman
Keyword(s):  
Visual Art ◽  
The Other ◽  
Artistic Expression ◽  
The Novel ◽  
Literary Context ◽  
Contemporary Novels ◽  
The World ◽  
The One ◽  
Definition Of

<p>The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20<sup>th</sup> century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s <em>Athena</em>, Kurt Vonnegut’s <em>Bluebeard</em> and Don DeLillo’s <em>Mao II </em>– in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.</p>

scholarly journals The projection of colonialization and interculturalism throughout symbols in Forster's novel 'A passage to India'

2020 ◽  
pp. 100-110
Author(s):  
Sunaj Hadžija ◽  
Jahja Fehratović ◽  
Kimeta Hamidović
Keyword(s):  
Great Britain ◽  
The Novel ◽  
Indian Culture ◽  
Two Cultures ◽  
Cultural Minorities ◽  
The World ◽  
The Two Cultures ◽  
Racial Domination ◽  
The One ◽  
Negative Phenomena

Imperialism emerged in the late 19th century. Europe's supremacy in various areas of life which led to the view that Europe is above other parts of the world that are uncivilized and culturally fell behind, and that needed to be civilized. This attitude lead to negative phenomena such as racism - contesting the rights of other races and colonialism - conquering territories inhabitated by people of other cultures. The world seen from an imperialist perspective was most often the one colonized by Europe, postcolonial research has critized the way in which European colonial powers (especially England and France) created values of subordinate cultures and established relations between center and margins. However, the notion of discursive domination is spread quickly to all relations between colonizers and colonized, which is why this second group includes all gender and ethic groups that did not have cultural independece, but were marginalized and subjected to institutional repression. As different cultural minorities began to form resistance to agressive political, gender, and racial domination, postcolonialism also represents a disagreement with the passivity towards cultural supremacy which is symbolized in empires that no longer even existed. The novel A Passage to India represents Forster's interests in Indian culture, which was colonized by Great Britain. A Passage to India is an exploration of the spiritual and cultural contrast of the two cultures of East and West.

scholarly journals Pyotr Chardynin’s The Idiot as a Phenomenon of Creative Reinterpretation of Dostoevsky’s Novel

2019 ◽  
Vol 11 (4) ◽  
pp. 34-42
Author(s):  
Anastasia Ryabokon’
Keyword(s):  
Film Adaptation ◽  
The Novel ◽  
Human Beings ◽  
National Cinema ◽  
Garden Of Eden ◽  
Human Personality ◽  
The World ◽  
The One ◽  
The Individual ◽  
Main Protagonist

The essay explores the artistic and expressive features of the world's first film adaptation of Dostoevsky's novel The Idiot, directed in 1910 by Pyotr Chardynin. The author substantiates the degree of influence of one of the most important philosophical concepts of the novel that of a split in the human personality on Russian national consciousness at the beginning of the 20th century. The analysis of the figurative system of the film shows that its semantics and the images of its characters were ahead of its time and, therefore, deserve closer critical attention.In the The Idiot the idea of Dostoevsky about a human beings separateness in the world is revealed in the four main characters Prince Myshkin, Parfyon Rogozhin, Nastasya Filippovna and Aglaya who are not complete, full-fledged personalities but separate components of a harmonious human personality. These characters, like puzzle pieces, possess mutually complementary qualities. Thus, Prince Myshkin, the bearer of the highest spirituality, is contrasted with the earthly and passionate Rogozhin. And the images of Nastasya Filippovna and Aglaya are connected, respectively, with the images of Heavenly Love and Earthly Love. If the characters of the novel could unite with each other in love and harmony, the world would get a complete harmonious person, like the one created by God for the Garden of Eden. However, such a merger seems impossible within the limits of earthly existence. In Dostoevsky's novel the individual parts of the soul could not unite into a harmonious whole. Egoism, passion, pride and imperfection of human nature do allow the protagonists to unite and lead them towards personal disintegration.In Russian national cinema, Dostoevskys idea of human beings separateness undergoes a number of transformations. The changes introduced by Pyotr Chardynin into the film adaptation of the novel mostly relate to the image of the films main protagonist Nastasya Filippovna, whom the filmmaker associates with a dying Russia. Chardynin also transforms other protagonists. Prince Myshkin is the only carrier of the highest spirituality, while Nastasya Filippovna, Aglaya and Rogozhin are earthly and passionate. At the end of the film, Nastasya Filippovnas murderer Rogozhin, dressed in a Russian folk costume, sobs at the bedside of the dead tsarina, while heavenly prince Myshkin who was not accepted by her in her lifetime, comforts the sinner. Chardynins film transforms the idea of a split in the human personality into the idea of the Russian separateness from God, the internal split within the Russian world and, as a consequence, that worlds inevitable death.

scholarly journals Regime Type and COVID-19 Response

2020 ◽  
Vol 9 (3) ◽  
pp. 152-160 ◽  
Author(s):  
Ilan Alon ◽  
Matthew Farrell ◽  
Shaomin Li
Keyword(s):  
Political System ◽  
Authoritarian Regimes ◽  
Economic Consequences ◽  
Regime Type ◽  
The Novel ◽  
Huge Number ◽  
Policy Suggestions ◽  
The World ◽  
Heated Debate ◽  
Novel Coronavirus

From late 2019 to the first half of 2020, the world has witnessed the epic spread and destruction of the novel coronavirus which was discovered in Wuhan, China. The huge number of infections and deaths caused by the virus, the collapse of the healthcare system and the economic consequences have few modern equivalents. While governments of all countries are responding to the pandemic, a heated debate rages about which political system, democracy versus authoritarian, is better positioned to respond to the pandemic. While the worldwide effort to contain the virus continues, we offer a preliminary comparison between democracies and authoritarian regimes in their responses to COVID-19, and policy suggestions for democracies to improve their governance and their ability to respond to crises.

scholarly journals A Portrait of the Mehmandar: Accompanying Hajji Baba, of Ispahan, to England

2019 ◽  
Vol 32 (1) ◽  
pp. 36-51
Author(s):  
Alina Pelea
Keyword(s):  
The Other ◽  
The Novel ◽  
Literary Works ◽  
The World ◽  
The One ◽  
Insight Into

Abstract There are few professions and professionals to be constantly perceived as ambivalent. But for interpreting and interpreters, this seems to be the norm, rather than the exception. On the one hand, there has always been a sense of fascination for these extraordinary people who speak so many languages and have such a wide knowledge of the world. On the other, they have inspired reluctance, distrust or even fear. While literary works sometimes reflect one or the other perception, James Justinian Morier’s The Adventures of Hajji Baba, of Ispahan, in England (1828) reflects both and provides us with an insight into the nature and circumstances of the situation. By following the attitude towards the mehmandar throughout the novel, the present paper considers a set of memes that seem to be still valid today. The reasons this is so relate to features inherent in the profession, the privilege of understanding both sides ‘of the coin’, the power tamper with information, the risk of misunderstanding, etc.

scholarly journals Hawthorne’s Miriam – a female enigma: A seductive femme fatale or a victim of abuse?

Ars Aeterna ◽  
2021 ◽  
Vol 13 (1) ◽  
pp. 16-35
Author(s):  
Irina Rabinovich
Keyword(s):  
19Th Century ◽  
The Other ◽  
The Novel ◽  
Femme Fatale ◽  
Jewish Women ◽  
Political Forces ◽  
The World ◽  
The One

Abstract In his last published novel, The Marble Faun (Hawthorne, 1974), in spite of his seeming sympathy for Miriam’s plea for friendship, Hawthorne’s narrator relates to Miriam as a “guilty” and “bloodstained” woman, who similarly to the female Jewish models portrayed in her paintings, carries misery, vice and death into the world. The narrator’s ambiguity vis-àvis Miriam’s moral fibre, on the one hand, and his infatuation with the beautiful and talented female artist, on the other, stands at the heart of the novel. The goal of this paper is mainly addressed at examining Miriam’s position in Hawthorne’s fiction, through an analysis of his treatment of his other “dark” and “light” women. Furthermore, I enquire whether Miriam is to be perceived in terms of the popular stereotypical representations of Jewish women (usually, Madonnas or whores), or whether she is granted more original and idiosyncratic characteristics. Next, I discuss Hawthorne’s treatment of Miriam’s artistic vocation, discerning her distinctiveness as a female Jewish 19th-century artist. Finally, Hawthorne’s unconventional choice of Rome as the setting for his novel unquestionably entails reference to the societal, cultural and political forces at play.

scholarly journals The Last Man and ‘The First Woman’: Unmanly Images of Unhuman Nature in Mary Shelley’s Ecocriticism

Perichoresis ◽  
2020 ◽  
Vol 18 (2) ◽  
pp. 3-15
Author(s):  
Éva Antal
Keyword(s):  
Mary Shelley ◽  
The Other ◽  
Natural Order ◽  
The Novel ◽  
Female Characters ◽  
The Sublime ◽  
The World ◽  
Last Man ◽  
The One ◽  
The Last Man

AbstractMary Shelley in her writings relies on the romanticised notions of nature: in addition to its beauties, the sublime quality is highlighted in its overwhelming greatness. In her ecological fiction, The Last Man (1826), the dystopian view of man results in the presentation of the declining civilization and the catastrophic destruction of infested mankind. In the novel, all of the characters are associated with forces of culture and history. On the one hand, Mary Shelley, focussing on different human bonds, warns against the sickening discord and dissonance, the lack of harmony in the world, while, on the other hand, she calls for the respect of nature and natural order. The prophetic caring female characters ‘foresee’ the events but cannot help the beloved men to control their building and destroying powers. Mary Shelley expresses her unmanly view of nature and the author’s utopian hope seems to lie in ‘unhuman’ nature. While the epidemic, having been unleashed by the pests of patriarchal society and being accelerated by global warming, sweeps away humanity, Mother Nature flourishes and gains back her original ‘dwelling place’.

scholarly journals Probe on Myth and Hero, A Case Study of Harry Potter: Asserting Harry Potter as a Modern Mythical Hero

2021 ◽  
Vol 9 (2) ◽  
pp. 145-157
Author(s):  
Devu M Suresh
Keyword(s):  
Research Paper ◽  
Harry Potter ◽  
The Novel ◽  
Fictional Character ◽  
The World ◽  
The One

A Hero is the one who stands unique as his own, based on the presumption that, he is someone who has given his or her life to something bigger than oneself. Throughout this research paper, there have been undertaken many references and probes to the realm of ‘Hero’, obviously that of ‘Mythical Hero’, as the ideology concerning hero dates back it’s root in ancient myths and legends all over the world. Myriads of attempts have been made to the ‘Hero Myth Cycle’ proposed by Campbell, to assert the novel conception, concerning the well renowned fictional character, Harry Potter as a ‘Modern Mythical Hero’.

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