scholarly journals Pour la réception de l'"ambiguïté générique " du roman autobiographique

2019 ◽  
Vol 27 (1) ◽  
pp. 53-73
Author(s):  
Brahim Ahmed Said
Keyword(s):  
Literary Genre ◽  
Literary Field ◽  
The Third ◽  
Artistic Interpretation

Nuestra contribución se centrará en la certificación del género de la novela autobiográfica para una posible recepción. Desde que Philippe Gasparini teorizó sobre este género literario (2004) y se puso de manifiesto su principal característica, a saber, la “ambigüedad genérica” que la define, las teorías abundan sin que se haya logrado aún postular en cuanto a su recepción. Mezclando ficción y realidad, este género desafía en cierto modo la lógica a la vez que incita a la intriga. Es teniendo cuenta de esta mezcla contra natura que se origina nuestra argumentación. Se trata de poner de manifiesto esta ambigüedad mediante la interpretación artística ante todo, sin pretender imponer alguna validez práctica con semejante propuesta. Eso mismo es lo que invocamos con el tercer pacto de lectura del género, a través de la redefinición de los términos ficción y realidad en el ámbito literario. This contribution will focus on the confirmation of the genre of the autobiographical novel and stakes a case for its possible reception. Since the theorisation of this literary genre by Philippe Gasparini (2004), and the identification of its main characteristic, namely its defining "genre-related ambiguity", theories abound yet continually fail to postulate as to its reception. Mixing fiction and reality, this genre challenges logic whilst also provoking intrigue. It is by tackling this unnatural amalgam that our argument stems. It is above all a question of valuing this ambiguity through an artistic interpretation, without claiming the practical validity of such a proposal. This is what we are claiming in the third reading pact of the genre, through the redefinition of the terms fiction and reality in the literary field. Notre contribution insistera sur l’attestation du genre roman autobiographique et sur une proposition pour une possible réception. Depuis la théorisation de ce genre littéraire par Philippe Gasparini (2004), et la mise évidence de sa principale caractéristique à savoir son « ambiguité générique » qui le définit, les théories abondent et n’arrivent toujours pas à postuler quant à sa réception. Mêlant fiction et réalité, ce genre défit dans un certain sens la logique et incite en même temps à l’intrigue. C’est en tenant compte de cet amalgame contre-nature que notre propos prend sa source. Il s’agit de valoriser cette ambiguïté par le biais d’une interprétation artistique avant tout, sans prétendre à une validité pratique d’une telle proposition. C’est ce que nous invoquons par le troisième pacte de lecture du genre, en passant par la redéfinition des termes fiction et réalité dans le champ littéraire.

scholarly journals Nandhi Kalambagam’s Agam Songs and its Rhetoric

2021 ◽  
Vol 3 (1) ◽  
pp. 247-254
Author(s):  
Suja S
Keyword(s):  
Ninth Century ◽  
Number System ◽  
Literary Genre ◽  
Literary Works ◽  
Literary Style ◽  
College Curriculum ◽  
The Third ◽  
Literary Composition ◽  
System Operating

As a result of the proliferation of Short literary composition genres (Prabandas), various catalog texts (Paattiyal) arose as a continuation of the tradition of finding literature and giving grammar explanations therefor. Panniru Paatiyal, Venpaa Paatiyal, Chidambara Paatiyal, Navaneetha Paatiyal, Prabandha Deepika, Ilakkana vilakkam, Thonnuul vilakkam etc. and even some grammar books that deal with five grammar forms (Ainthilakkanam) are involved in this grammatical endeavor and have given grammar to different numbers of Short Literary Compositions. These numerical differences record the development of the literature as a result of the passage of time. This number extends from 54 to 360. This genre of 96 Short Literary Works can be attributed to the fact that the number system operating in the set tradition is also applied to Short Literary Works and to be a permanent one. The name of the literary genre, Kalambakam, is given in various ways by dividing its name. There are various reasons for the mix of 18 types of elements (15-21), the proliferation of many types of compositions, and the mixing of Agappaadalkal (Agam songs). This can be explained by the fact that the name is derived from a variety of hybrids rather than one character. Nandikkalambakam, the first and foremost of the Kalambaka literatures, was sung with the third Nandi Varman of the Pallava dynasty as the Leader of the song. 25 years Nandi ruled from (847-872) with Kanchi as his capital, the Pallava dynasty and the wars fought to expand the territory of many Nandikalambaka songs.  Although there are some differences in the view of Nandivarman's reign, it is accepted by scholars that he belonged to the ninth century and that Nandi Kalambakam, who led him to the song, and the ninth century. Even though this literature is in our school and college curriculum, its literary style beauty and glossary competency are unknown to the so called scholars too. So this article tries to explain the above said features of the Nandhi Kalambakam.

Syair Sufistik Kyai Djamal dalam Perspektif Strukturalisme Levi-Strauss

2020 ◽  
Vol 16 (2) ◽  
pp. 379-414
Author(s):  
Siswoyo Aris Munandar ◽  
Elia Malikhaturrahmah
Keyword(s):  
Folk Songs ◽  
Preliminary Review ◽  
Oral Literature ◽  
Literary Field ◽  
Regional Literature ◽  
The Third ◽  
Problem Formulations ◽  
The One ◽  
Insight Into

The fact is that many young Javanese today do not know wayang characters, wayang stories, folk songs, and children's games. This proves the lack of appreciation of the younger generation for studying literature and culture in their region. They consider that regional literature is ancient and out of date. This causes regional literature and culture to gradually become extinct. Syi'ir Jawi Budi Utami is oral literature written by Kiai Djamal. This research was conducted as an effort to understand syi'ir Kiai Djamal by using the Levi-Strauss structuralism analysis which examines literary works not only from the literary field but also from the field of anthropology. The author focuses this research on two problem formulations, namely, why did Kiai Djamal write syi'ir Jawi Budi Utami and what is the structure of syir Jawi Budi Utami. The method used for data collection is documentation and is processed by descriptive-analytical methods. The purpose of this research is to enrich the discourse and insight into the study of the concept of Levi-Strauss structuralism as well as as a reference or preliminary review for the development of studies on the Sufistic syi'ir of Kiai Djamal in Levi-Strauss structuralism, on the one hand, the application of Levi-Strauss structuralism analysis to other objects. This research found that the principles of writing syi'ir Kiai Djamal consist of five episodes, namely: first Kiai Djamal introduces the phases of a Muslim, namely syari'ah, thoriqoh, and haqiqoh. The second episode of Kiai Djamal introduces one of the tarekat, namely the Syadziliyyah Tarekat, followed by the following chapters regarding the explanation of the Syadziliyyah Tarekat. The third episode is the Qodiriyah Order. The fourth episode is the Tarekat An-Naqsabandiyah in brief. The fifth episode is a continuous explanation of the previous chapter. This shows the structure of writing Syi'ir Kiai Djamal. Also, the researcher sees that the context in syi'ir Kiai Djamal is an unconscious reflection of Kiai Djamal with the discovery of signifier and signified, langue and parole, form and content and phonemes in syi'ir Kiai Sufistik Djamal. Faktanya anak-anak muda Jawa saat ini banyak yang tidak mengenal tokoh-tokoh wayang, cerita wayang, lagu daerah, dan dolanan anak. Hal ini membuktikan kurangnya apresiasi generasi muda untuk mempelajari sastra dan budaya daerahnya sendiri. Mereka menganggap bahwa sastra daerah bersifat kuno dan ketinggalan zaman.  Hal ini menyebabkan sastra dan budaya daerah lambat laun akan mengalami kepunahan. Syi’ir Jawi Budi Utami merupakan salah satu sastra lisan yang ditulis oleh Kiai Djamal. Penelitian ini dilakukan sebagai upaya untuk memahami syi’ir Kiai Djamal dengan menggunakan analisis strukturalisme Levi-Strauss yang mengkaji karya sastra tidak hanya dari bidang sastra saja tetapi juga dari bidang antropologi. Penulis memfokuskan penelitian ini pada dua rumusan masalah yaitu, mengapa Kiai Djamal menulis syi’ir Jawi Budi Utami dan bagaimana struktur dalam syir Jawi Budi Utami. Metode yang digunakan untuk pengumpulan data adalah dokumentasi, dan diolah dengan metode deskriptif analitis. Tujuan penelitian ini adalah memperkaya wacana dan wawasan tentang kajian konsep strukturalisme Levi-Strauss serta sebagai referensi atau tinjauan awal untuk pengembangan kajian atas syi’ir sufistik Kiai Djamal dalam strukturalisme Levi-Strauss di satu sisi, aplikasi analisis strukturalisme Levi-Strauss terhadap objek lain.  Penelitian ini menemukan bahwa prinsip penulisan syi’ir Kiai Djamal terdapat lima episode, yaitu: pertama Kiai Djamal memperkenalkan fase-fase seorang muslim yaitu syari’ah, thoriqoh dan haqiqoh. Episode kedua Kiai Djamal memperkenalkan salah satu tarekat yaitu Tarekat Syadziliyyah disusul bab-bab setelahnya mengenai penjelasan Tarekat Syadziliyyah. Episode ketiga adalah Tarekat Qodiriyah. Episode keempat adalah Tarekat An-Naqsabandiyah secara singkat. Episode kelima adalah penjelasan bab sebelumnya secara sambung  menyambung. Hal ini menunjukkan struktur dari penulisan Syi’ir Kiai Djamal. Selain itu peneliti melihat bahwa konteks yang ada dalam syi’ir Kiai Djamal merupakan cerminan nirsadar dari Kiai Djamal dengan ditemukannya signifier dan signified, langue dan parole, form dan content serta fonem dalam syi’ir Kiai Sufistik Djamal.  

Introduction

2013 ◽  
pp. 1-10
Author(s):  
Michael Fishbane ◽  
Joanna Weinberg
Keyword(s):  
Early Modern ◽  
Literary Genre ◽  
Cultural Performance ◽  
The Third ◽  
Cultural Pedagogy ◽  
And Diffusion ◽  
Historical Periods

This chapter summarizes the four fundamental historical periods of development. The first period roughly covers the first to fifth centuries where certain foundational elements of literary genre, translation, displacement, and diffusion are considered. The next period takes up the fifth to eleventh centuries and focuses on the deepening and thickening of the midrashic enterprise as it expands into liturgy, theological polemics, narrative elaborations, and cultural performance. The third period includes the development of intense lexical annotation of midrashic texts and traditions, their acute scholastic examination, assorted uses of midrashic teachings for cultural pedagogy, and creative uses of Midrash to deepen the sense of history and time. The last period considers some of the early modern and modern traditions of Midrash and its transformations.

The Shīʿī Reception of Muʿtazilism (I)

2016 ◽  
Author(s):  
Hassan Ansari
Keyword(s):  
Ninth Century ◽  
Literary Genre ◽  
Northern Iran ◽  
Profound Impact ◽  
Literary Traditions ◽  
The Third

This chapter focuses on two trends among the Zaydīs during the end of the third/ninth century: those who were close to theḥadīthfolk and thus opposed to Muʿtazilism, and those who had adopted Muʿtazilite doctrines. It considers Zaydism in Rayy, northern Iran and Khurāsān, where several Zaydī families played an important role in studying and expounding Bahshamite theology among the Zaydīs of Iran during the fifth/eleventh and early sixth/twelfth centuries. It also examines the roles played by Abū Zayd al-ʿAlawī, the author of theKitāb al-Ishhādwhich is a refutation of the Twelver Shīʿīs’ notion of the imamate, addressing specifically their belief in the occultation (ghayba) of the ‘hidden Imam’, and had a profound impact on the literary genre of Zaydī refutations of Twelver Shīʿism. The chapter concludes by discussing different literary traditions among the Zaydīs in Iran.

Jean-Paul Sartre’s Mallarmé: Hero of an Ontological Drama, Agent of the Counter-revolution

2018 ◽  
Author(s):  
Robert Boncardo
Keyword(s):  
Extensive Reading ◽  
Literary Field ◽  
The Third ◽  
Jean Paul ◽  
The Family ◽  
Marxist Analysis ◽  
Depth Study

This first chapter presents an in-depth study of Jean-Paul Sartre’s career-long engagement with Mallarmé. Beginning with a discussion of Sartre’s notorious side-lining of poetry in favour of committed literature, the chapter asks why Sartre nevertheless chose to devote so many pages to Mallarmé, particularly in his incomplete existential biography Mallarmé, or, The Poet of Nothingness. The chapter begins with an extensive reading of this latter work, tracking Sartre’s trenchant Marxist analysis of the post-1848 literary field in France before exploring his account of Mallarmé’s personal trajectory. Finally, it turns to the third volume of Sartre’s The Family Idiot and argues for the consistency of Sartre’s reading of Mallarmé as a nihilist and as a political quietist.

»Bildung und Wissen, und zwar in volkstümlicher Weise, dem allgemeinen Verständnis zugänglich machen«

2019 ◽  
Vol 44 (1) ◽  
pp. 240-254
Author(s):  
Christoph Jürgensen
Keyword(s):  
Nineteenth Century ◽  
Literary Genre ◽  
Literary Field ◽  
Traditional Form ◽  
Cultural Field ◽  
Paul Heyse

Abstract The nineteenth-century journal Westermanns Monatshefte was a publication that aimed to collect and register the contemporary knowledge of its time for a bourgeois audience. In doing so, the journal served – as this article will show – as a tradition-generating institution within the cultural field. With respect to the literary field in particular, this cultural journal tried to promote a traditional form of novella as a leading literary genre, an endeavour which can particularly be seen in the journal’s collaboration with Paul Heyse.

Decision and Responsibility in the Tragedy of Aeschylus

1966 ◽  
Vol 86 ◽  
pp. 78-85 ◽  
Author(s):  
Albin Lesky
Keyword(s):  
Free Choice ◽  
Human Action ◽  
Literary Genre ◽  
Divine Intervention ◽  
The Third ◽  
Human Agent ◽  
Classical Studies ◽  
History Of ◽  
Frame Work ◽  
Personal Decision

In the paper that I read to the Third International Congress of Classical Studies in London in 1959 I tried to delimit the sphere of human reflexion and freedom of decision, as opposed to the sphere of divine intervention, in Homeric poetry. The conclusion I reached was that there was a mutual and often indissoluble fusion of these two spheres. In trying here to say something about the significance of personal decision in the dramas of Aeschylus, I am in fact continuing my inquiry in a different literary genre. But the problems are basically the same: in both cases the question is what significance the poet ascribes to the personal decisions of the human agent within the frame-work of a basically God-governed ‘Welt-bild’, how the limitations upon his freedom are defined, and what degree of responsibility is thus entailed.I began the previous paper with my thanks to Bruno Snell, who was the first to clarify these problems of free human action with which we are faced in epic poetry, and I must now begin by thanking him again. Professor Snell, in his book Aischjlos und das Handeln im Drama, which appeared in 1928, emphatically placed the personal decision of the human agent in the centre of his interpretation of Aeschylus; he even went so far as to regard a decision based on free choice as the most important element in the development of a genuinely tragic conflict. I cannot enter upon the history of these problems; however, I should like to emphasise the importance of the question and the interest it has recently aroused in scholarly discussion.

Scriabin – piano music in the context of the composer’s creative ideology. Part 3

2019 ◽  
Vol 2 (12) ◽  
pp. 161-174
Author(s):  
Mateusz Piechnat
Keyword(s):  
Piano Music ◽  
Musical Language ◽  
Peak Experience ◽  
Piano Works ◽  
The Third ◽  
General Performance ◽  
Artistic Interpretation ◽  
Aesthetic Aspect ◽  
Mystical Experiences ◽  
Music Piece

The article is the third part of the text devoted to the profile and piano works of Alexander Scriabin. The composer had an extraordinary piano talent and the ability of coloured hearing. He worked out an innovative musical language based on a unique harmonic style. He was an unprecedented visionary of art, he had knowledge on philosophical topics, he was also a mystic who wanted to save the mankind thanks to his creative output. The article’s author asks questions about the reasons of this radical evolution of Scriabin’s musical language, the reflection of his personality and creative views and the connections of music with mystical experiences. As he believes, finding a way to a possibly authentic explanation of these issues may contribute to a better understanding of the composer’s creative intentions in the context of the artistic interpretation of his piano works. The third part of the cycle presents the interpretation of Scriabin’s mysticism in aesthetic aspect. The author of the article shows three perspectives of this phenomenon, i.e.: presentation of mystical topics in the programme of a piece, treating a music piece as a transcendent being and using a composition as a carrier of mystical experiences. An important element of this description is the reference to psychological findings of Abraham Maslov concerning the special perception accompanying such experiences (peak experience). The article concludes with a few reflections of a general performance-related character.

Tabloul prozei contemporane și valențele realismului în Istoria literaturii române contemporane: 1990-2020 de Mihai Iovănel

Transilvania ◽  
2021 ◽  
pp. 115-122
Author(s):  
Victor Cobuz
Keyword(s):  
Literary Criticism ◽  
Contemporary Fiction ◽  
Literary Field ◽  
Main Interest ◽  
The Third ◽  
Critical Approaches ◽  
History Of ◽  
Literary Histories ◽  
Romanian Literature

In an era in which literary histories are written by collective of academics trying to transcend the national paradigm in which these works were once wrote, The History of Contemporary Romanian Literature: 1990-2020 by Mihai Iovănel is an intellectual effort that may seem obsolete. Nevertheless, Mihai Iovănel’s book proposes new ways of understanding the contemporary Romanian literary field that were not taken into consideration by previous similar critical endeavours. This paper aims to investigate how The History of Contemporary Romanian Literature constructs an overview of the Romanian fiction wrote in the last three decades and the critical approaches deployed for this purpose. The main interest of this article will be how does Mihai Iovănel discusses Romanian contemporary fiction and how does he instrumentalizes the concept of realism. We will look more closely at the third part of the book, “The Evolution of Fiction,” but the discussion will not omit the relation of this chapter with others. The paper will concentrate on the concepts put forward by Mihai Iovănel to systematize the complex subfield of contemporary Romanian fiction, like capitalist realism, the famous term coined by Mark Fisher. Also, we will try to see how The History of Contemporary Romanian Literature relate to previous literary histories or books of literary criticism that resembles Mihai Iovănel’s work in some respects or that have similar goals but different methods.

scholarly journals THE EXPRESSION OF NATIONAL SPIRIT IN “DAYS GONE BY” BY ABDULLA KADIRI

2020 ◽  
pp. 3-16
Keyword(s):  
Twentieth Century ◽  
Scientific Concept ◽  
The Novel ◽  
The Third ◽  
The World ◽  
National Spirit ◽  
Artistic Interpretation ◽  
Folk Literature ◽  
The Will ◽  
Aesthetic Thinking

The scientific concept of the article is that the national literary-aesthetic thinking is of primary criterion in evaluating a writer’s work and the essence of literature is determined by the artistic interpretation of the national spirit. The best examples of folk literature in the world, regardless of the language in which it is written, is on the agenda as a question number one to be analyzed scientifically in terms of the expression of the national spirit. Abdulla Kadiri’s novel “Days Gone By” has been analyzed in twentieth century Uzbek literature as a work that can meet this criterion. According to the author, the national spirit is reflected in the novel “Days Gone By” on the basis of the following three principles: 1) the interpretation of specific customs, traditions, values, dreams and aspirations of the nation, embodying the spirit of the nation; 2) an expression of the nation’s potential to look at itself in a critical spirit; 3) poetic depiction of fixed beliefs inherent in national personalities in the play. In turn, the first of these principles embodies the morals of the nation, the second - the will, and the third - the beliefs, and this trinity forms the national spirit as a whole. At the end of the article, the research results are theoretically summarized.

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