Iris Hanika's Treffen Sich Zwei: Reception, Analysis and Interpretation

<p>Iris Hanika’s commercially and critically successful novel Treffen sich zwei makes use of several techniques in the characterisation of its protagonists. Many of its reviews focus on the author’s deliberate placement of links to a wider literary context. Their interest extends from questions of genre-mixing through to the identification of direct quotes from other authors’ works. The critical preoccupation with intertexts demonstrates their importance for the readers’ response to the novel. More specifically, certain reviews highlight the important role intertexts play in the characterisation of the protagonists. This study catalogues the intertexts, metaphors and parodies in Treffen sich zwei and, by means of quantitative analysis, identifies high-level patterns in the use of these techniques. In particular, patterns are identified between, on the one hand, the different narrative functions of the intertexts and, on the other hand, the different ways in which they are interwoven in the text. The data also shows that distinct patterns are associated with each of the two protagonists and that certain patterns change in the course of the novel in parallel with the changes in the relationship between them. This quantitative evidence is supported by a more detailed, qualitative approach, which examines how specific intertexts or metaphors are used for the purposes of characterisation. In addition, variations in voice are used to distinguish the two main protagonists in a manner consistent with the intertexts and metaphors. It is thanks to the combination of these techniques that the theme of meeting encapsulated in the title, Treffen sich zwei, is woven into the textual fabric of the novel.</p>

Iris Hanika's Treffen Sich Zwei: Reception, Analysis and Interpretation

<p>Iris Hanika’s commercially and critically successful novel Treffen sich zwei makes use of several techniques in the characterisation of its protagonists. Many of its reviews focus on the author’s deliberate placement of links to a wider literary context. Their interest extends from questions of genre-mixing through to the identification of direct quotes from other authors’ works. The critical preoccupation with intertexts demonstrates their importance for the readers’ response to the novel. More specifically, certain reviews highlight the important role intertexts play in the characterisation of the protagonists. This study catalogues the intertexts, metaphors and parodies in Treffen sich zwei and, by means of quantitative analysis, identifies high-level patterns in the use of these techniques. In particular, patterns are identified between, on the one hand, the different narrative functions of the intertexts and, on the other hand, the different ways in which they are interwoven in the text. The data also shows that distinct patterns are associated with each of the two protagonists and that certain patterns change in the course of the novel in parallel with the changes in the relationship between them. This quantitative evidence is supported by a more detailed, qualitative approach, which examines how specific intertexts or metaphors are used for the purposes of characterisation. In addition, variations in voice are used to distinguish the two main protagonists in a manner consistent with the intertexts and metaphors. It is thanks to the combination of these techniques that the theme of meeting encapsulated in the title, Treffen sich zwei, is woven into the textual fabric of the novel.</p>

DIE WEIBLICHE LEICHE BEI DOSTOEVSKIJ

THE FEMALE CORPSE IN DOSTOEVSKY The concept of the “beautiful female corpse” of E. Bronfen is used to analyse the narrative functions of the dead woman in Dostoevsky’s “Idiot” (“The Idiot”, 1868) and “Krotkaja“ (“A Gentle Creature“, 1876).

Clothing, Conformity, and Power: Garment Imagery in the Book of Esther

Recent scholarship has shown a burgeoning interest in the narrative functions and implications of references to dress and adornment in the Hebrew Bible. Yet the many references to the various clothing items and associated acts of dressing and undressing in the book of Esther have been less explored. In fact, the book of Esther weaves a complex tapestry of garment imagery, and untangling this tapestry is essential to properly interpreting this text. Through dress, characters can communicate their conformity to certain conventional expectations, affecting the ways in which other characters relate and behave towards them. Characters can utilize dress to express their protest, or conversely hide their true intentions. Crucially, differences in clothing develop distinctions between the power and status of the various characters. Clothing therefore has discrete and important functions in the book of Esther, providing new access to understanding characterisation and plot.

Eyes and speech in English, Finnish and Czech children’s literature

This study explores cross-linguistically, in English, Czech and Finnish, eye-behaviour that occurs in children’s fiction in the vicinity of character speech. We explore how authentic eye behaviour, as an important part of non-verbal communication, is rendered in fictional worlds. While there are more similarities than differences across the languages in the characteristics and narrative functions of fictional eye-behaviour, the linguistic encoding differs substantially due to typological differences between the languages. The same semantic roles are often expressed by divergent syntactic means. The divergence is reflected primarily in the relative weight of different word-order principles, the different means of indicating simultaneity, as well as the role of inflection in Finnish and Czech.

The narrative function of temporal signs: toward a semio-narratology approach

Both narrative semiotics and semio-narratology are concerned with the relationship between “history” and “structure,” and consequently the academic focus in these areas has shifted to time. Do “temporal signs” exist? How is time semiotized by signs in narration? How do the narrative functions of temporal signs work? This paper answers these questions and explores semio-narratology, in a break with the ahistorical discourses of narrative semiotics, by way of a detailed analysis of The True Story of Ah Q and other works of modern fiction.

Narrative Functions in Burton’s Sleepy Hollow Movie

Narrative is the primary aspect of literary work. The quality of work is represented by narrative. In prose and drama, they both involve story and characters to present events in narrative. The writer chose to analyze narrative functions because the writer wanted to examine the validity of Propp’s theory which considers character’s action as fundamental element of narrative structure. In this research, the writer aimed to find out the narrative functions by analyzing character’s action and to know how the functions are depicted in the movie of Tim Burton’s Sleepy Hollow. The reason of this movie is analyzed since Sleepy Hollow movie had never been analyzed by other researchers. In analysis, the writer used Vladimir Propp’s model since it emphasizes character’s action as fundamental element of narrative structure. This research used formal method which excludes discussions concern with the creator as the main subject of research. the result showed that Sleepy Hollow movie is constructed by 25 functions such as interdiction, violation, reconnaissance, delivery, complicity, villainy, lack, mediation, beginning counteraction, departure, the first function of the donor, the hero’s reaction, provision or receipt of a magical agent, guidance, struggle, initial misfortune or lack is liquidated, return, pursuit, rescue, unrecognized arrival, difficult task, exposure, transfiguration, punishment, and wedding.

The Birth of a Hollywood Spectacle: Visual Expression and Narrative Functions of Costumes in Cecil B. DeMille’s Silent Films

The article explores the functions of film costumes in the works of Cecil B. DeMille, the American film director, whose pictures of the late 1910s and early 1920s are notable for their artistic achievements in the field of set and costume design. On the material of certain films from his “matrimonial cycle”, the author analyses the narrative and spectacular functions of costumes, while making an emphasis on the director’s role in the development of the artistic uniqueness and visual extravagance of Hollywood films of this period. The films of this cycle display some key strategies in film costume function- ing and design methods that would be adopted by the Hollywood film industry to become the new production standard in this field.

The Mouth (Marginal Gloss)

This chapter is the first of three in Part Two: ‘Glossing Beatrice’, each of which considers Dante’s so-called ‘divisions’, the prose portions in which he describes the different parts of his poetic compositions. Although both medieval and modern critics have dismissed this textual component, these chapters highlight their important hermeneutic, institutional, and narrative functions in the work. This chapter investigates several minor textual interventions in Dante’s text that have major implications, including the editorial modification of ‘viso’ (face) into ‘riso’ (smile) in the canzone Donne ch’avete intelletto d’amore that is motivated by a desire to make the poem align with Dante’s discussion of it in the division. This emendation introduces the issue of Beatrice’s embodiment and the place of Dante’s carnal desires in his exaltation of her, a theme that radiates throughout the tradition in adaptations of Dante’s poem from Petrarch to Pascoli, D’Annunzio, and Mandelstam. The final section examines Dante’s return to the poem in Purgatorio 24, where the significant variant ‘chiodo’ (nail) may reflect the novelty of Dante’s use of the book form to express his love for Beatrice.

Music Lovers. Listening in (and to) Composer Biopics

In composer biopics, listening to music is as important a feature as composing and performing; it fulfils a multitude of narrative functions and deeply affects the films’ ideological construction of music. The chapter discusses twenty-six scenes from sixteen biopics about “classical” composers to map typical (and some untypical) ways of intradiegetic listening to music, differentiating between types of listeners (“general listeners,” mostly in concert settings; listeners with a personal relationship to the protagonists; other musicians as expert witnesses; the composers themselves) and different narrative functions and structures, such as different types of focalization. It also discusses basic features of the relationship between the extrafictional listening of audiences in the cinema to such intradiegetic listeners, as a springboard for further study of listening in musician biopics.