scholarly journals “Trascinando muli e sofferenze”: la Grecia lontana di Mario Rigoni Stern

2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Sergio Di Benedetto
Keyword(s):  
The Other ◽  
Personal Life ◽  
The Novel ◽  
Other Hand ◽  
The Mediterranean ◽  
Military Campaign ◽  
Greek Landscape ◽  
Of Greece

This article aims to analyse the reasons for the unexpected absence of Greece in Mario Rigoni Stern’s works about the Italian military campaign against Greece during the winter of 1940-1941. As a young soldier, Rigoni Stern fought in that terrible war in the Albanian mountains, close to the Greek line, and recounted those events many years later. I focus in particular on Quota Albania (1971), in an attempt to show that the novel is not only a memoir, but rather a Bildungsroman, in which he recounts his personal life, his disillusionment with Italian disorganisation and the difficult conditions he endured, the cold and hunger. Furthermore, I would like to explain that the surprising indifference to Greek events is linked not only to the author’s narrative intention, but also to the fact that in the final battle Rigoni Stern did not go to Greece, and never returned thereafter. On the other hand, his unfamiliarity with the Mediterranean justifies the lack of descriptive details of the Greek landscape.

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 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.

scholarly journals A Key for Determining the African Species of Anopheles (Sensu Lato)

1912 ◽  
Vol 3 (3) ◽  
pp. 241-250 ◽  
Author(s):  
F. W. Edwards
Keyword(s):  
Mediterranean Region ◽  
New Records ◽  
British Museum ◽  
The Other ◽  
Reasonable Doubt ◽  
Close Connection ◽  
African Species ◽  
Other Hand ◽  
Specific Rank ◽  
The Mediterranean

The compilation of the following key has been a matter of no little difficulty, mainly owing to the close connection of the species in some of the groups, which sometimes makes it almost impossible to assign specific limits. The difficulty has in some cases been increased through the paucity of material, which prevents any adequate conception of the range of variability being obtained. This is particularly the case with some of the species coming from the Mediterranean region, which are very closely allied, and of which, as a rule, the British Museum possesses very few specimens. Names have only been sunk here as synonyms in those cases where there appeared to be no reasonable doubt, either after a comparison of the types, or of the descriptions, when these were sufficiently detailed. Eventually, therefore, it may be found that some forms which are here given specific rank will have to be regarded at most as varieties. Since so many figures of Anopheline wings, etc., have already appeared, it is not deemed necessary to add to their number. Some new records have been included, but on the other hand some old ones, which appeared to be questionable, have been omitted. As with the writer's previous papers, this key is merely intended to supplement the detailed descriptions which will be found in other works.

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.

scholarly journals Los bronces orientalizantes del Museo de Huelva : El "Thymaterion" de la Joya

1999 ◽  
Author(s):  
Elena María Orta García
Keyword(s):  
The Other ◽  
East Mediterranean ◽  
The South ◽  
Municipal District ◽  
Other Hand ◽  
La Joya ◽  
The Mediterranean ◽  
Archaeological Excavations

Se trata en esta serie de «Los Bronces orientalizantes del Museo de Huelva» de realizar un estudio estilístico y de los programas iconográficos, de una serie de objetos de bronce, recuperados en las excavaciones arqueológicas de La Joya, en el término municipal de la ciudad de Huelva, que se exhiben o conservan en el Museo de Huelva. Si bien estos bronces fueron publicados dentro de su contexto en las correspondientes Memorias de la Serie E.A.E. no han sido objeto de un estudio pormenorizado. Por otra parte cuando tratamos de comprender la difusión del Arte clásico en la periferia del Mediterráneo siguiendo a Boardman' nos damos cuenta de las lagunas que existen a la hora de comprender cómo llega al sur peninsular esta corriente artística, que proviene del Mediterráneo oriental y que comienza a conformar lo que los especialistas han dado en llamar el arte tartésico y en el que hunde sus raíces sin duda el llamado arte ibérico. Nuestro estudio de hoy se ciñe al de una pieza única y singular, el Thymaterion o candelabro de La Joya, objeto suntuario de arte orientalizante de los siglos VIII-VII a. de C, probable obra de un metalurgo tartéssico. We try in this series «Orientaiizing bronzes of Huelva Museum» to accomplish a stylistic study and also of the inocographic programmes, of a series of bronze objects, recuperated in the archaeological excavations of «La Joya», in the municipal district of Huelva city, that are shown or kept in Huelva Museum. Though these bronzes were published in their context in the memoirs of the Series E.A.E. they have not been studied in deep one by one. On the other hand when we try to understand the diffusion of Classical Art in the outskirts of the Mediterranean, following Boardman we realise of the missing that exist when we try to understand how this artistic influence reaches the south of the península, that comes fron the East Mediterranean and that begins to shape what the specialists have begun to name as «Tartessic Art» in which the «Iberian Art» has its origins.

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.

Dragon and Eagle: A Comparison of the Roman and Chinese Empires

1961 ◽  
Vol 2 (3) ◽  
pp. 11-22
Author(s):  
S. A. M. Adshead
Keyword(s):  
Roman Empire ◽  
The Other ◽  
Class Conflict ◽  
The Black Sea ◽  
Trade Routes ◽  
Other Hand ◽  
The Mediterranean ◽  
River Valleys ◽  
Chinese Empire ◽  
Stability Of Structure

In this paper I want to compare the history and structure of the Roman and Chinese empires and in particular to point out some striking contrasts between them.. We may talk about “the Chinese and the Roman empires” and use the same word “empire” to describe them both. Are we, however, justified in so doing? The thesis of this paper is that although the Chinese and Roman empires had a number of superficial characteristics in common, they were really quite different kinds of institutions or sets of institutions, and were based on quite different sorts of society. There are two fundamental contrasts between the Roman and the Chinese empires. Firstly, the Roman empire was maritime, mercantile, urban and militaristic. It was based on the Mediterranean and the unity of the trade routes, crisscrossing the Mediterranean and spilling out into the black Sea. The Chinese empire, on the other hand, was territorial, agricultural, rural and civilian. It was based on the river valleys of the Hwang Ho and Yangtse and on the unity of agricultural techniques over this area. Secondly, the Roman empire was socially unharmonious, was torn by class conflict, and was highly unstable. The Chinese empire, on the other hand, was socially harmonious, had no irreconcilable class conflicts and was highly stable. Unless these two contrasts, of structure and stability of structure, are recognised, the use of the same word “empire” to describe both China and Rome is misleading in the extreme.

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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