The Realistic Novel and the Creation of Literary Characters: William Faulkner‘s The Sound and the Fury

Tekstualia ◽  
2016 ◽  
Vol 1 (44) ◽  
pp. 71-78
Author(s):  
Żaneta Nalewajk
Keyword(s):  
Twentieth Century ◽  
Contextual Factors ◽  
The Other ◽  
The Novel ◽  
Surrounding World ◽  
Sound And The Fury ◽  
Literary Character ◽  
The Creation ◽  
Literary Characters

The article discusses William Faulkner’s The Sound and the Fury with respect to the construction of the literary character as a refl ection of major conventions of the novel in the fi rst half of the twentieth century. One important issue concerns the trustworthiness of characters-narrators, which has to do with the modernist transformations of novelistic techniques. Another important question concerns the identity of the characters- -narrators as it emanates from their motivations and self-projections. Finally, there is the problem of the dependence of identity on situational parameters and contextual factors. The character’s identity is not essentialist and independent, it does not exist in itself and for itself, but is strictly relational and thus shaped through a connection to the other, both in the micro- and the macrosocial sphere. Lat but not least, the article addresses the limited nature of individual cognitive efforts: the knowledge, which the characters communicate, refl ects their discontinuous perception of the surrounding world.

Concept of Rivalry in D.H. Lawrence’s Sons and Lovers

2020 ◽  
Vol 12 (4) ◽  
pp. 443-454
Keyword(s):  
Twentieth Century ◽  
Attachment Theory ◽  
Sibling Rivalry ◽  
Oedipus Complex ◽  
The Other ◽  
The Novel ◽  
Men And Women ◽  
Qualitative Pattern ◽  
The One ◽  
Theory Competition

Sons and Lovers (1913) is one of D.H. Lawrence’s most prominent novels in terms of psychological complexities characteristic of most, if not all, of his other novels. Many studies have been conducted on the Oedipus complex theory and psychological relationship between men and women in Lawrence’s novels reflecting the early twentieth century norms of life. This paper reexamines Sons and Lovers from the perspective of rivalry based on Alfred Adler’s psychological studies. The discussion tackles the sibling rivalry between the members of the Morels and extends to reexamining the rivalry between other characters. This concept is discussed in terms of two levels of relationships. First, between Paul and William as brothers on the one hand, and Paul and father and mother, on the other. Second, the rivalry triangle of Louisa, Miriam and Mrs. Morel. The qualitative pattern of the paper focuses on the textual analysis of the novel to show that Sons and Lovers can be approached through the concept of rivalry and sibling Rivalry. Keywords: Attachment theory, Competition, Concept of Rivalry, Favoritism, Sibling rivalry.

Homosexualité, Islam et désacralisation du pouvoir royal dans Le jour du Roi d'Abdellah Taïa

2021 ◽  
pp. 127-143
Author(s):  
Taïeb Berrada
Keyword(s):  
The Other ◽  
The Novel ◽  
Identification Process ◽  
Male Characters ◽  
Oedipal Complex ◽  
The Creation

In his novel Le jour du Roi Abdellah Taïa explores the theme of alterity in its relation to two political and symbolic forces: expressing one’s self in the language of the Other and narrating homo-erotic and homosexual relationships in Morocco under the dictatorship of Hassan II. It is the translation of these two aspects that leads to the creation of a new narrative about homosexual Franco-Moroccan identity. This narrative, in turn, reveals the instability of a model of identification subjected to a normalizing sexual apparatus controlling bodies and minds in a place where homosexuality is still punishable by law. This renders the identification process for the two main characters of the novel particularly problematic as they can no longer sustain it without going back to the sources of foundational myths and more particularly to the original murder in Islam. This article argues that the killing of one character by the other goes back to the original murder of Abel by Cain, a model which becomes emancipated from the Western Oedipal complex, translating a new conception of a love relation between two male characters. By so doing, it calls for a reevaluation of the normativity imposed by the king who is using his power based on a patriarchal interpretation of religious legitimacy in view of political gain.

Fielding and Richardson

PMLA ◽  
1966 ◽  
Vol 81 (5) ◽  
pp. 381-388
Author(s):  
William Park
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Human Nature ◽  
General Type ◽  
Common Ground ◽  
The Other ◽  
The Novel ◽  
Tom Jones ◽  
The Common ◽  
The One

But the Discovery [of when to laugh and when to cry] was reserved for this Age, and there are two Authors now living in this Metropolis, who have found out the Art, and both brother Biographers, the one of Tom Jones, and the other of Clarissa.author of Charlotte SummersRather than discuss the differences which separate Fielding and Richardson, I propose to survey the common ground which they share with each other and with other novelists of the 1740's and 50's. In other words I am suggesting that these two masters, their contemporaries, and followers have made use of the same materials and that as a result the English novels of the mid-eighteenth century may be regarded as a distinct historic version of a general type of literature. Most readers, it seems to me, do not make this distinction. They either think that the novel is always the same, or they believe that one particular group of novels, such as those written in the early twentieth century, is the form itself. In my opinion, however, we should think of the novel as we do of the drama. No one kind of drama, such as Elizabethan comedy or Restoration comedy, is the drama itself; instead, each is a particular manifestation of the general type. Each kind bears some relationship to the others, but at the same time each has its own identity, which we usually call its conventions. By conventions I mean not only stock characters, situations, and themes, but also notions and assumptions about the novel, human nature, society, and the cosmos itself. If we compare one kind of novel to another without first considering the conventions of each, we are likely to make the same mistake that Thomas Rymer did when he blamed Shakespeare for not conforming to the canons of classical French drama.

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.

Two Treatments of a Subject: Proust's “La Regarder Dormir” and Valéry's La Dormeuse

PMLA ◽  
1956 ◽  
Vol 71 (5) ◽  
pp. 900-909
Author(s):  
Henry A. Grubbs
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Present Status ◽  
The Other ◽  
Recent Survey ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Prose Fiction ◽  
Figure Of Speech ◽  
Late Nineteenth

A critical cliché often heard today is that Proust was fundamentally a poet rather than a novelist. The historians of literature and the critics do not put it quite as crudely as that, but their remarks frequently permit such an assumption on the part of the reader. Thus the Castex and Surer manual, in its twentieth-century volume, finds in “toute l'œuvre [de Proust] un climat d'intense Poesie” (p. 82). And Georges Cattaui, in his recent survey of the present status of Proust, though he does not in so many words call Proust a poet or his novel a poem, does say that Proust is above all the heir “de Nerval, de Baudelaire, de Mallarmé,—de ces poètes qui lui ont enseigné l'art de transfigurer les choses, l'art de délivrer la beauté prisonnière … ” Now all this is true if it is merely taken as a vivifying figure of speech, if it merely means that Proust was not a realistic novelist, and that he shows the influence of the great French poets of the late nineteenth century, or that, to use a convenient term, he was a symbolist, like his contemporaries, Claudel, Gide, and Valéry. But it has so often been said in our time that the twentieth century has seen the breaking down of the distinctions between the novel and poetry, that it seems to me useful to demonstrate, by studying two treatments of the same subject, one that of a novelist, Proust, the other that of a poet, Valéry, that there remains a fundamental and profound difference between the intent and the method of prose fiction and of poetry, at least the type that is today called “pure” poetry.

An Attempt to exhaust Memory. The Function of the List in the Works of Georges Perec

2019 ◽  
Vol 1 ◽  
pp. 37-46
Author(s):  
Jagoda Kryg
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Georges Perec ◽  
The Past ◽  
French Writer ◽  
The Creation ◽  
The One

The aim of the article is to analyse the function of the list in the works of Georges Perec, a French writer of the second half of the twentieth century. Writing by enumeration was one of the most important literary strategies practiced by the author and it took various forms depending on the specific text. Enumeration in Perec’s work can thus be perceived as a mnemontechnical tool, thanks to which it becomes a way to force one's memory to remember what is forgotten. This mne-motechnical aspect will be particularly important in the literary project called Lieux où j’ai dormi. Simultaneously, the creation of literary lists and enumerations can be linked to author’s need to control his surrounding reality. From this perspective, the list gives the illusion of double control. On the one hand, it fights the obliteration of traces of the past, and on the other, by recording even the most trivial elements of the reality, it seems to be a way to consolidate it.

scholarly journals Mythology of object world in Maxim Garetsky’s works

2020 ◽  
Vol 65 (3) ◽  
pp. 345-354
Author(s):  
L. P. Leska
Keyword(s):  
Human Life ◽  
Central Place ◽  
Partial Identification ◽  
The Other ◽  
The Novel ◽  
Complete Protection ◽  
Fine Line ◽  
Surrounding World ◽  
The One ◽  
Native Root

A hypothetical proposition is stated that mythologization of objects in M. Garetsky’s works is a way to harmonize the surrounding world and man in it, and also a precise picture of the reality, a sign of changes and calamities.In accordance with M. Garetsky’s mythopoetical concept, the tragic spirit of human life is vivid in simultaneous personi­ fication of objects and objectivation of people; it is revealed in such moments as hiding face (“Winter”), or partial identification of man with clothes (“Guiet current”). Complete and irrevocable objectivation of man is presented by the author in the story “Winter” and the novel “Guiet current”.In the story “Winter” the central place, or a scene where objects attack man is a mythological image of a house, which fulfills various content and conceptual functions in the author’s mythmaking. On the one hand, the house is a protective hearth, which gives man complete protection, like in the stories “In a Sauna”, “Native Root”. On the other hand, it is a place of uncomfortable and constrained human life.It is stressed that in M. Garetsky’s descriptions we see a transition from life precision to dethronement of social myth. There is a similar fine line between life plane and myth in the story “In a Sauna”, but this work, unlike the story “Tar”, depicts not destruction of myth, but its growth and reinforcement, which is symbolically revealed in sentences and in magical charms (the story “Winter”).

Składniowa „mówioność” w powieści Doroty Masłowskiej „Kochanie, zabiłam nasze koty”

2019 ◽  
Vol 10 ◽  
pp. 153-167
Author(s):  
Magdalena Nowakowska ◽  
Keyword(s):  
Spoken Language ◽  
The Other ◽  
The Novel ◽  
Other Hand ◽  
Literary Characters ◽  
The One ◽  
Colloquial Style

Syntactic treatments, which imitate spoken language, are crucial determinants of the colloquial style, alongside lexis. Responsible for the impression of interacting or communing with the spontaneously created text, which is a record of the living language of the narrator and characters, they are concerned with numerous simplifications and schemes. Among many diversified linguistic phenomena found in the novel by D. Masłowska, entitled “Kochanie, zabiłam nasze koty” (English title: “Honey, I killed our cats”, seemingly contradictory syntactic tendencies are used; the elliptical nature of syntax on the one hand, and, on the other hand, numerous repetitions both with regards to lexis and the construction of sentences. The segmentation or breaking up of utterances, as well as their excessive expansions, is similarly contradictory. Drawing from the spoken language aims to connect the at times unreal word depicted in the novel with the reality of the recipient, and to present the literary characters in a reliable way, more often than not associated with ordinariness.

Auto-Intertext of the Novel of Ivan Turgenev «Stuchit»

2015 ◽  
Vol 4 (6) ◽  
pp. 60-64
Author(s):  
Бобылев ◽  
B. Bobylev
Keyword(s):  
Verbal Behavior ◽  
The Other ◽  
The Novel ◽  
Ego States ◽  
The Creation ◽  
Other World ◽  
Relationship Of ◽  
The Relationship

In this article B. Bobylev analyses the intertextual relations of the novel of Ivan Turgenev “Stuchit” (Knocks) with other stories of the writer. It defines the place of the story in a series of “A Sportsman’s sketches” and the whole work of the writer in general. The article identifies key themes and symbols that define the specifics of the worldview of the author. It affirms the idea of a deep connection of the Turgenev’s image of knocking with the search for meaning, the mystery of human’s existence. It also covers the role mythopoetic tradition in the creation of a system of verbal images of the story and in the development of the idea of parallel existence of the earthly world with the other world. The article studies verbal and non-verbal behavior of the characters, assesses the relationship of peasants and landowners within the theory of ego states of Eric Berne.

scholarly journals IS ULYSSES REALLY HARD TO UNDERSTAND?

2017 ◽  
Vol 5 (2) ◽  
pp. 48-58
Author(s):  
Meng Gao
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
James Joyce ◽  
The Novel ◽  
Response Theory ◽  
Reader Response Theory ◽  
The World ◽  
The Creation ◽  
Representative Work

As a representative work of modern stream consciousness novel written by James Joyce in twentieth century, Ulysses differs the traditional novel from the aspects such as the creature source of figure and plot, narration structure, a great number of metaphors and allusions usage and translation version. Therefore, its audiences are almost specialists and scholars who are dedicated to the study of Ulysses and few readers could accept it. The essay will review the novel from the stand of ordinary reader from the perspective of reader response theory to analyze the reason for which it becomes a great challenge for readers all over the world so that there could be some available ways for reader to understand the creation origin of the novel and to interpret it better. Finally, the essay hope that the value of the novel could be propagated and its novel creation could be accepted.

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