Humanistic Intention of Dystopia in "The Giver" by Lois Lowry

Purpose. The aim of this piece is to study the manifestations of humanistic pursuits in a literary fiction work. The main interest is related to the interpretation of those existential and sociocultural concepts that underlie the dystopian novel by Lois Lowry. The theoretical basis of the study is based on works on phenomenology and the theory of reader reception. The method of phenomenology is a descriptive method: the phenomena of consciousness cannot be reduced to limited cognitive forms, and therefore language and means of description are important along with their ability to reveal consciousness through phenomena. Originality of the study lies in the investigation of the humanistic aspect of a dystopian society, depicted in the modern literary fiction. The main attention is focused on the phenomenological identification of existential ideas and their manifestation in the literary characters of the given work. The conclusions speak about the tendencies of humanization and dehumanization of a man and society in the context of philosophical, ethical and aesthetic issues, which are the most important and urgent problems of our time. The current study finds out that in the modern dystopian literature and philosophy, the main subject of attention is a human. This human is perceived and depicted as a phenomenon that cannot be grasped by the notions of intimation and essence. The human is a creature whose freedom presupposes a constant departure from nature and habitual reality to the realm of transcendent through the desire to comprehend his or her certain way of existence.

Recurring Lexis and Reader-Reception in Horace’s Odes: The Formation of a Lyric Opus

<p>This study investigates perceived patterns of lexical recurrence in consecutive or closely proximate poems in Books 1-3 of the Odes of the Roman poet Horace and considers the significance these may have for the structure and organization of this work and its interpretive reception by readers. An initial discussion and demonstration of the types of lexical recurrence observed and their frequency prompts the question of the extent to which these recurrent lexical usages are intentional on the part of the author and hence whether they were factors in determining the order in which the poems of each book are arranged. This question is investigated firstly through statistical analysis, which shows that there is no statistically significant greater clustering effect apparent in the lexical patterns observed than had the odes been arranged in random order. Nevertheless, given than certain recurrences between closely adjacent poems do stand out because of the identity or close similarity of their grammatical or morphological forms and/or metrical location, and that this phenomenon has been perceived by other commentators, the significance that might be attributed to these as poetic effects falls within the domain of reader-reception theory. A summary review of the principal tenets of this theory as developed especially by Ingarden, Gadamer, Jauss and Iser is undertaken in order to derive a sound theoretical method by which the recurrence patterns may be analysed and coherent meaning may be constructed from them. This method is then applied to analysis of a prominent cluster of lexical recurrences over the final five poems of Odes 1 (1.34-1.38). The question of how far such meaning may have corresponded to the intentions of the author Horace is then addressed. A distinction is made, following Bakhtin, between the “primary”, historical author who composed the work and the “secondary” authorial consciousness who engages the reader through the text. While intentions of the former are ultimately unknowable, the secondary author “Horace” does declare intentions for his work through his texts which the reader may then reconstruct. The thesis posits that the poetic ambition of Horace within this textual horizon was first to acquire an erudite and discerning audience capable of accepting him and appreciating his artistry, and then to develop a distinctive generic vehicle by which to engage this audience in dialogue about matters of importance in the Roman social, political and cultural worlds. The development of an audience is a major theme of his Satires Book 1, while the book of Epodes is the framework for his attempt to adapt the iambic metre of Archilochus to his dialogic purpose. The analysis shows that this latter project proved unfruitful because of the indelible association of iambic with invective. The concluding chapter shows that it was the adoption of archaic Greek lyric metres other than iambic that finally provided Horace with the poetic vehicle he sought to write verse that both adhered to the Callimachean aesthetic of brevity and technical perfection and allowed engagement with serious as well as frivolous themes. It examines the manner by which the three Books of Odes, read sequentially as a single opus, firstly familiarize their readers with these archaic metres and the range of lyric themes they can encompass before leading them to an acceptance that lyric can also address important public issues, notably in the “Roman Odes” of Book 3. The perception of the patterns of lexical recurrence throughout the three books is a significant factor in promoting this dialogic engagement of the reader with the text.</p>

Recurring Lexis and Reader-Reception in Horace’s Odes: The Formation of a Lyric Opus

<p>This study investigates perceived patterns of lexical recurrence in consecutive or closely proximate poems in Books 1-3 of the Odes of the Roman poet Horace and considers the significance these may have for the structure and organization of this work and its interpretive reception by readers. An initial discussion and demonstration of the types of lexical recurrence observed and their frequency prompts the question of the extent to which these recurrent lexical usages are intentional on the part of the author and hence whether they were factors in determining the order in which the poems of each book are arranged. This question is investigated firstly through statistical analysis, which shows that there is no statistically significant greater clustering effect apparent in the lexical patterns observed than had the odes been arranged in random order. Nevertheless, given than certain recurrences between closely adjacent poems do stand out because of the identity or close similarity of their grammatical or morphological forms and/or metrical location, and that this phenomenon has been perceived by other commentators, the significance that might be attributed to these as poetic effects falls within the domain of reader-reception theory. A summary review of the principal tenets of this theory as developed especially by Ingarden, Gadamer, Jauss and Iser is undertaken in order to derive a sound theoretical method by which the recurrence patterns may be analysed and coherent meaning may be constructed from them. This method is then applied to analysis of a prominent cluster of lexical recurrences over the final five poems of Odes 1 (1.34-1.38). The question of how far such meaning may have corresponded to the intentions of the author Horace is then addressed. A distinction is made, following Bakhtin, between the “primary”, historical author who composed the work and the “secondary” authorial consciousness who engages the reader through the text. While intentions of the former are ultimately unknowable, the secondary author “Horace” does declare intentions for his work through his texts which the reader may then reconstruct. The thesis posits that the poetic ambition of Horace within this textual horizon was first to acquire an erudite and discerning audience capable of accepting him and appreciating his artistry, and then to develop a distinctive generic vehicle by which to engage this audience in dialogue about matters of importance in the Roman social, political and cultural worlds. The development of an audience is a major theme of his Satires Book 1, while the book of Epodes is the framework for his attempt to adapt the iambic metre of Archilochus to his dialogic purpose. The analysis shows that this latter project proved unfruitful because of the indelible association of iambic with invective. The concluding chapter shows that it was the adoption of archaic Greek lyric metres other than iambic that finally provided Horace with the poetic vehicle he sought to write verse that both adhered to the Callimachean aesthetic of brevity and technical perfection and allowed engagement with serious as well as frivolous themes. It examines the manner by which the three Books of Odes, read sequentially as a single opus, firstly familiarize their readers with these archaic metres and the range of lyric themes they can encompass before leading them to an acceptance that lyric can also address important public issues, notably in the “Roman Odes” of Book 3. The perception of the patterns of lexical recurrence throughout the three books is a significant factor in promoting this dialogic engagement of the reader with the text.</p>

Institutions, platforms and the production of debut success in contemporary book culture

Bestsellers, defined by the high sales numbers they achieve and the hype they generate, are success stories that periodically galvanise the contemporary book industry. Most publishers actively seek to produce bestsellers, using a range of strategies. Contemporary bestsellers, particularly from peripheral markets and by debut authors, are produced through the strategic joining of two co-existing modes of capitalism: conglomerate capitalism and platform capitalism. This article analyses the publication pathways and reception of two debut bestsellers by Australian authors: Hannah Kent’s Burial Rites and Heather Morris’ The Tattooist of Auschwitz. To analyse these case study titles, we constructed publishing histories, collected five media reviews for each book from reputable publications and literary journals, and scraped the top 100 reviews on Goodreads. These case studies show how the particular textual qualities of each book, highlighted in publishers’ marketing material, shape the media and reader reception of each book, and the mechanisms and strategic alliances with traditional institutional and platform networks at work in producing success in post-digital book culture. Bestsellers show the logics and systems of an industry in flux, and the strategies that can support a debut work to reach a mass audience.

LICIK ATAU CERDIK? SERANGKAIAN TANGGAPAN DARING KEPADA SI KANCIL/A TRICKY OR CLEVER? THE RESPONSES ON CYBERSPACE TO THE MOUSE DEER

Abstrak Penelitian ini bertujuan untuk meneliti tanggapan daring terhadap (cerita) Si Kancil. Data penelitian diambil dari google.id dan google.com pada rentang November 2019—Januari 2020 berbentuk teks-teks tanggapan. Penelitian ini menggunakan metode deskriptif kualitatif dengan teori resepsi pembaca. Tanggapan yang ditemukan berbentuk; interpretasi, kritik sastra, dan konkretisasi. Nada tanggapan berkategori; positif, netral, dan negatif. Tanggapan interpretasi berisi; pengaruh Si Kancil pada pembentukan karakter, implikasi budayanya, nilai-nilai dalam cerita, dan sejarahnya. Tanggapan kritik sastra berupa sorotan adanya kemungkinan pengaruh negatif Si Kancil terhadap karakter pembaca, dan solusi mengatasinya. Tanggapan konkretisasi berbentuk; menerjemahkan dalam bahasa Inggris, transfer media, dan menggubah cerita Si Kancil. Ditemukan kecenderungan orang asing/non-Indonesia lebih bisa menemukan sisi positif dari Si Kancil, dengan cara mengolah cerita Si Kancil sehingga layak dikonsumsi oleh anak-anak. Sebagian penanggap orang Indonesia ada yang menganggap Si Kancil bernilai negatif, ada yang menyarankan untuk menghapus cerita ini, dan ada yang menganggap cerita bangsa lain lebih hebat. Kata kunci: cerita Si Kancil, resepsi pembaca, tanggapan daring Abstract This study aims to examine online responses to the (Kancil) mouse deer. The research data was taken from google.id and google.com in the range of November 2019-January 2020 in the form of response texts. This research uses descriptive qualitative method with reader reception theory. The response found is shaped; interpretation, literary criticism, and concretization. The tone of response categorized; positive, neutral, and negative. Interpretation responses contain; Si Kancil’s in uence on character formation, cultural implications, values in the story, and its history. Literary criticism responses in the form of highlights of the possibility of the negative in uence of the Mouse Deer on the reader’s character, and solutions to overcome them. Concretization response takes the form of; translate in English, transfer media, and compose the story of The Mouse Deer. It was found that the tendency of foreigners / non- Indonesians was more able to nd the positive side of The Mouse Deer, by processing the Mouse Deer’s story so that it was suitable for consumption by children. Some of the Indonesian respondents consider that the Mouse Deer is negative, some suggest removing this story, and some consider the story of other nations to be more powerful. Keywords: The Mouse Deer story, reader reception, online responses

IMAGE OF V. PETROV-DOMONTOVYCH IN MEMOIRS AND CORRESPONDENCE OF HIS CONTEMPORARIES-EMIGRANTS

Actuality. The modern study of literature now does not give the answer for a question, if it is possible to create a character of a man from the life by facilities of nonfiction narration, however, it is convincing and full-blooded in the reader’s perception as an artistic image. Stating the Subject of the Study: forming of character-image of writer V. Petrov-Domontovych in the circle of the Ukrainian emigrants of the post-war wave due to their remembrances, letters, and essays. Research methodology: through the comparative hermeneutic interpretation of texts, and also later fiction texts that formed the character-image of V. Petrov. Stating the Aim of the Study. Other mechanisms of reader reception work in nonfiction genres, then in fiction, id est it becomes possible another result – the character of real V. Petrov. Results of the Study and originality. The image of Victor Petrov, formed in the memory of representatives of Ukrainian literary emigration and recorded in their memoirs and correspondence, is no less ambivalent, than images of characters in the fictional works of Victor Domontovych. Expatriate contemporaries saw their colleague differently and remembered in different situations, however, it is significant that people, in many respects disagree with moral assessments, hostile to others (as Ihor Kachurovsky, who always biased towards Yuri Sherekh-Shevelov and even repeated stereotyped allegations against him after his death) they were largely controversial in the estimation of V. Petrov. On the one hand, V. Domontovych deserved respect as a talented prose writer; on the other hand, V. Petrov was a mystery as a person. His collaboration with the Soviet special services did not cause unequivocal condemnation, since the circumstances of his "disappearance" from Munich in 1949 remained unclear. Most of those people who spoke about this event immediately after it was treated to the disappeared man with compassion because they suspected the "human beings"-brothers (Yuriy Lavrinenko) from the Soviet side. Image of V. Petrov mostly appears "split", as well as images of characters in the novels of V. Domontovich. The practical significance. In non-fictional texts, the researcher can trace the path of the formation of the image and stereotype, returning and approaching the prototype.

Constructing Authors and Readers in the Appendices Vergiliana, Tibulliana, and Ouidiana

This volume juxtaposes, for the first time, the set of appendical works associated with three of the most well-known poets of the Augustan age, the Appendices Vergiliana, Tibulliana, and Ouidiana. Scholars who work on these texts tend to treat them in isolation or in comparative contexts to the authentic texts of those authors. This book instead treats them in the light of one another, and asks of them a different set of literary-critical and reader-reception questions from those typically posed. Whereas much previous scholarship has been interested in who wrote these texts, our chapters ask questions such as: why and when did authors want to insert themselves and their works into the canon?; what are the effects of our preconceived notions of quality on our interpretations of these texts? The chapters of the volume focus, for the most part, on individual texts, but the questions they ask and answer have significant implications for the corpus of appendical texts as a whole.

Impersonation

Impersonator narratives exist at the intersection of literature and history; they serve as interventions during flash points in history. Impersonation takes a number of different forms, but in all cases it is contingent on reader reception. There are narrative impersonations in which reader and writer are willing collaborators and in which readers feel little to no discomfort with an author’s assumption of a voice far from his or her public identity; any novel written in first person is in a sense an impersonation. Yet even when author and reader agree that the work is fictional, this compact between fiction reader and writer can become disrupted when readers question the author’s right to assume a specific voice. There are literary hoaxes, which generally (although not always) involve a body of work whose author is supposedly dead (and thus it is impossible for any actual impersonation to take place). The most analytically productive for textual scholars, however, are the most committed impersonators—those who (at least part-time) inhabit the literary personae they have created. For this last group of impersonators, as is true for some of the others, success depends on having a readership with fixed ideas about the identities the impersonator chooses to inhabit. The impersonator succeeds through a deep understanding of stereotypes and, through his or her success, further imprisons his or her readers in caricatured thinking about race and identity. Yet the unmasking of the impersonator offers the possibility of liberation to readers, in that it forces them to consider the preconceptions that led them to believe in these false narratives, no matter how implausible. Impersonation can be a means for its practitioners to escape historical traps, or identities that no longer work for them; it can be a way for practitioners to put a historically understood label (Holocaust survivor, AIDS victim) on their private, uncategorizable pain or trauma. Impersonation is meaningless without the underlying belief in an authentic voice. And these authentic voices are usually from speakers outside the literary canon.