A FEMINIST-STYLISTIC ANALYSIS IN WOMAN AT POINT ZERO NOVELS

2021 ◽  
pp. 57-68
Author(s):  
Amsaldi Wahyu Kristian Sinulingga ◽  
M. Yurilsya ◽  
M. Barru Siddiq
Keyword(s):  
Physical Characteristics ◽  
The Other ◽  
Stylistic Analysis ◽  
The Novel ◽  
Female Characters ◽  
Writing Style ◽  
Physical Strength ◽  
Other Hand ◽  
Or Practice ◽  
Gender Specific

This study describes the feminist stylistics in Woman at Point Zero novel. Woman at Point Zero is a novel about feminism, woman that demand equality and justice. The methods used is descriptive qualitative. The objective of this study is to find out the word, phrase / sentence, and discourse level presented in gender-specific in Woman at Point Zero novel. The result of this study uncovered the writing style or practice of the said author that has to do with the presentation of gender. Female characters differ from the male in that there are more descriptions given to them which pertain to their thoughts, emotions, experiences, vulnerability towards men, and their physical characteristics. Males, on the other hand, are described according to their physical strength, personalities, attitudes, which dominate females. The novel contains descriptions of women and men focusing on their physique, some of which displaying sensual appeal.

scholarly journals A Feminist Stylistic Analysis of “Broken Verses” by Kamila Shamsie

2019 ◽  
Vol 9 (6) ◽  
pp. 214
Author(s):  
Amna Noor Hussain ◽  
Tahira Jabeen
Keyword(s):  
Women Characters ◽  
Physical Characteristics ◽  
Levels Of Analysis ◽  
Stylistic Analysis ◽  
The Novel ◽  
Physical Strength ◽  
Female Consciousness ◽  
The Difference

This research employed the feminist stylistic framework of Sara Mills in determining the difference between Kamila Shamsie’s women and men characters in her novel “Broken Verses”. The selected novel was analyzed using the model provided by Sara Mills, which aims to investigate texts at the level of word, phrase/sentence. The research identified dominant and recurring features in the novel. Women characters differ from the men in that there are more descriptions given to them which pertain to their thoughts, emotions, experiences, vulnerability towards men, and their physical characteristics. Men are described according to their physical strength, personalities, attitudes, which dominate women. Overall, the research shows that at these levels of analysis, the novel consistently foregrounds the female consciousness and experience. At the same time, the novel also magnifies the pervading dominance of men over women in many circumstances.

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.

scholarly journals TEORI DIALOGISME BAKHTIN DAN KONSEP-KONSEP METODOLOGISNYA

2017 ◽  
Vol 1 (2) ◽  
pp. 235
Author(s):  
Fadlil Munawwar Manshur
Keyword(s):  
Human Life ◽  
Human Existence ◽  
The Other ◽  
Literary Genre ◽  
The Novel ◽  
Other Hand ◽  
The Universe

This paper discusses the theory advanced by Bakhtin about dialogism and methodological concepts. This theory to formulate the concept of human existence on the other, which is based on the idea that humans judge him from the viewpoint of others. Humans understand the moments of consciousness and take it into account through the eyes of others. According to this theory, the essence of human life is a dialogue. The Method of heteroglossia talks about signs in the universe of individuals because of the word "heteros" means "other" or different, while "glossia" means the tongue or language. In this method mentioned that people are saying needs to be heard, and the author also has the same rights that words need to be heard. A word is born from dialogue to address the problems of life. On the other hand, Bakhtin sees carnival method has spawned a new literary genre, the polyphonic novel. The polyphonic novel is a novel that is characterized by a plurality of voice or consciousness, and the voices or the overall awareness dialogical. Polyphonic essentially a "new theory of authorial viewpoint". Polyphonic appear in fiction when the position of the author freely allowed to interact with the characters. The characters in the novel are freely polyphonic appear to argue with each other and even with the author.

scholarly journals FEMALE VOICES IN NEPALI NOVELS

2020 ◽  
Vol 7 (12) ◽  
pp. 216-223
Author(s):  
Ashok Thapa ◽  
Sushil Rajbhandari
Keyword(s):  
The Other ◽  
The Political ◽  
Female Characters ◽  
Democratic Socialism ◽  
Psychological Issues ◽  
Societal Norms ◽  
Other Hand ◽  
Communist Ideology ◽  
Norms And Values ◽  
Political Spectrum

The female characters created by BP Koirala and Pradip Nepal in Narendra Dai and Swapnil Shahar respectively have been compared and contrasted in this paper. Although Koirala and Nepal represent two poles of the Nepalese political spectrum, with Koirala pursuing democratic socialism doctrine and Nepal following communist ideology, the characters they create in their novels do not completely reflect the political schooling of their creators. The female characters in both the novels share some common traits of characters which most of the women in the Nepalese society, even today, exude, such as compassion, sacrifice, and docility. However, these female characters also display enough courage to rebel against the prevalent patriarchal dominance. The plot of Nepal’s novel is considerably politically colored, and thus the female characters in his novel discuss progressive ideas and even act accordingly. Koirala’s novel on the other hand deals more with socio-psychological issues and these conditions the dispositions of his characters. Nevertheless, his female characters too display rebellious traits and speak back to the patriarchal hegemony both through words and actions. As compared to Nepal, however, Koirala seems to have better succeeded in creating well-rounded female characters that not only abide by the then societal norms and values but also display mutiny against unjust treatment.

scholarly journals Over de referentiële waarde van Juffrouw Lina (1888) van M. Emants, van Chateaubriand (1908) van E. Masoin en van de gevalsstudies van J.M. Charcot

1970 ◽  
Vol 62 ◽  
pp. 273-288
Author(s):  
Elke Van Nieuwenhuyze
Keyword(s):  
Case Studies ◽  
The Other ◽  
The Novel ◽  
Other Hand ◽  
French Writer ◽  
Starting Point ◽  
The One ◽  
Jean Martin Charcot

The aim of this article is to trace the referential value of juffrouw Lina (1888)as part of its narrative organisation by means of the narrativist historical theoryof Frank Ankersmit. This starting point demands a confrontation of thisnaturalist novel by Marcellus Emants with the contemporary medical biographyof the French writer and politician Chateaubriand by the Belgian physicianErnest Masoin on the one hand and with some case studies of hystericsby the famous French docter Jean-Martin Charcot on the other hand. lt willbe argued that the narrativity of the novel plays a key-role in the constructionof its referential value on various levels.

FROM “CALM CHAOS” TO “COLIBRI”. THE WORKS OF SANDRO VERONESI

2021 ◽  
pp. 122-131
Author(s):  
Tatiana A. Bystrova ◽  
Keyword(s):  
Italian Literature ◽  
The Other ◽  
The Novel ◽  
High Demand ◽  
Surrounding World ◽  
Other Hand ◽  
The One ◽  
First Time

The paper examines two key novels by Sandro Veronesi, the modern Italian writer, Calm Chaos (2006) and Colibri (2020). Both novels were awarded Italy’s main literary prize, the Premio Strega, which is a unique precedent. The relevance of the article comes from the high demand for research on contemporary Italian literature on the one hand and from the novelty of the proposed interpretation for the novel Calm Chaos on the other hand. For the first time, the protagonist of Calm Chaos, Pietro Palladini, is presented not as a preacher of eternal values, returning the reader to the theme of knowing oneself and the surrounding world, but as a mad visionary with clear signs of psychopathy and schizophrenia. The analysis of Veronesi’s latest novel Colibri reveals the character’s evolution and the writer’s narrative manner. The theme of psychiatry in the life of a modern person appears to be one of the key ones in Veronesi’s work.

conflict between tradition and modernity in Amitav Ghosh’s ‘The Shadow lines’

2021 ◽  
Vol 1 (4) ◽  
pp. 31-37
Author(s):  
Mona Beniwal ◽  
◽  
Dr. Anshu Raj Purohit
Keyword(s):  
The Other ◽  
The Novel ◽  
Traditional Values ◽  
Other Hand

The novel presents a variety of characters, each has his own journey. Since the novel puts forth the time of partition (Indo- Bangladesh) and time after it, characters can be seen with traits which are both traditional and modern. It is due to their upbringing and values that their mind has certain inclinations. Because of her traditional values Thamma shows repulsion towards Ila and Tridib. The later ones on the other hand has their own personal set of beliefs to live their lives. Such disparity in thoughts gives a hint of clashes between them in many parts of the novel. However, even the traditional characters carry a spirit of freedom and modernity within them. Also modern characters have an urge to cling to their roots too.

Anxieties of Representation: The Serial Illustrations to Hardy's The Return of the Native

1996 ◽  
Vol 51 (1) ◽  
pp. 84-110
Author(s):  
Pamela Dalziel
Keyword(s):  
The Other ◽  
The Novel ◽  
Fallen Woman ◽  
Other Hand

The selectivity and obliquity of Arthur Hopkins's illustrations for the 1878 Belgravia serialization of The Return of the Native result in a distorted reading of Hardy's text, especially through their avoidance of the passionate and subversive and their tendency to represent the novel as substantially more conventional than it actually is. Hopkins's Thomasin and Venn are represented as unambiguously and conventionally "good"; there is no visual acknowledgment of the more radical Thomasin or the more threatening Venn. Wildeve is essentially avoided as a pictorial subject, as is the problematic Clym of the novel's final books. Eustacia, on the other hand, figures prominently in the illustrations, initially-in keeping with her departure from hegemonic notions of viruous femininity-as a somewhat "masculine" figure. Follwoing Hardy's insistence that she be rendered more conventionally attractive. Hopkins rather incongruously transforms her into an object of desire, only to revert in the final illustration to his less than sympathetic reading: refusing to participate in the erotics of death of Hardy's text, Hopkins punishes the "fallen woman" by reducing her to a misshapen corpse. Hardy's essential toleration-and in some instances actual encouragement-of what now seem "unrepresentative" representations of his work appears to have been related to his own anxiety about the novel's success and based on the recognition that the very conventionality of the illustrations could be a valuable ally in his struggle to render publishable a text that pushed persistently against the limits of the then acceptable.

Effects of Types of Featural Information on Interpretation by Young Children of Novel Words at the Superordinate Level

2000 ◽  
Vol 90 (1) ◽  
pp. 73-80 ◽  
Author(s):  
Takahiro Tamura
Keyword(s):  
Young Children ◽  
Target Item ◽  
The Other ◽  
The Novel ◽  
Number Of Children ◽  
Other Hand ◽  
Novel Words

In this experiment with a Novel Label Task, 48 children ages 5 to 6 years were given a novel word for a target item, e.g., a dog. They were also given one of two types of featural information for the target item, a feature naturally common to animals, i.e., “This has a heart inside,” or an accidental feature uncommon to animals, i.e., “This gets a splinter.” As a result, the number of children who interpreted the novel word at the superordinate level (animal) increased significantly when they were given the feature naturally common to animals. On the other hand, there was no significant increase for an accidental feature. Further, the children were given the instruction that all animal items in this task had the same featutes as the target item. As a result, although the number of children who interpreted the novel word at the superordinate level (animal) increased significantly when they were given both the feature naturally common to animals and also the accidental feature, there were more when the instruction was with the feature naturally common to animals than with the accidental feature. The findings were discussed in relation to the factors corresponding to young children's interpretation of a novel word at the superordinate level.

“La marquise sortit à cinq heures”

PMLA ◽  
1969 ◽  
Vol 84 (6) ◽  
pp. 1644-1648
Author(s):  
Albert Chesneau
Keyword(s):  
Structural Analysis ◽  
The Other ◽  
Past Tense ◽  
First Person ◽  
The Novel ◽  
Other Hand ◽  
Third Person ◽  
Present Tense ◽  
Nouveau Roman ◽  
The Ideal

Simple structural analysis applied to passages cited from the works of André Breton elucidates the reasons for his condemnation of the statement La marquise sortit à cinq heures (see his Manifeste du surréalisme, 1924) as non-poetic. This study demonstrates the opposition existing between the above-mentioned realist sentence, essentially non-subjective (third-person subject), non-actual (past tense predicate), contextual (context can be supposed), and prosaic (lack of imagery), and on the other hand a theoretic surrealist sentence, essentially subjective (first-person subject), actual (present tense predicate), and non-contextual, producing a shock-image. In reality, Breton's surrealistic phrase does not always contain all of these qualities at once. However, in contrast to the condemned phrase which contains none at all, it does always manifest at least one of these characteristics, the most important having reference to the evocative power of the shock-image. A final comparison with a sentence quoted from Robbe-Grillet, the theoretician of the “nouveau roman”, proves that even though it may appear objective, the surrealist phrase is really not so. In conclusion, the four characteristics of the ideal surrealist sentence—subjectivity, actuality, non-contextuality, and ability to produce shock-images—create a poetics of discontinuity opposed to the classical art of narration as found traditionally in the novel. (In French)

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