scholarly journals Narzędzia językowe w sytuacji ekstremalnej. Stanisława Lema fantastyczne światy ze słów

2015 ◽  
pp. 159-207
Author(s):  
Ryszard Handke
Keyword(s):  
Science Fiction ◽  
Building Blocks ◽  
Point Of View ◽  
The Novel ◽  
Extreme Situation ◽  
The World ◽  
The Creation ◽  
Stanislaw Lem ◽  
Blind Faith ◽  
Linguistic Means

Linguistic Tools in an Extreme Situation. Stanisław Lem’s Fantastic Worlds Built with WordsThe present issue of "Colloquia Humanistica" contains Professor Ryszard Handke's two last essays, until now unpublished. They belong together and deal with the works of Stanisław Lem, namely with the creation of a sui generis dictionary of this outstanding sci-fi writer. Handke highlights the coming of a new age in the evolution of the genre, already foreshadowed in Lem's early novels. This new sci-fi abandons uncritical beliefs in the power of science leading man to the conquest of cosmos and to a perfection of Earth's civilization. In Handke's analysis, in his first essay discussing "Astronauts" and "Magellan's Nebula," and in the second devoted to "Eden," Lem's evolution starts from a blind faith in the Marxist progress of civilization based on materialistic technocracy and moves towards an increasingly open polemic with this point of view, clearly demonstrating the beginning of doubts or of caution against an excessive faith in progress. The author of the essays is principally interested in the linguistic layer of the novels, the sci-fi terminology designating phenomena, objects or equipments from the imagined future. Handke analyzes the world reflected in the language and attempts to assemble a corpus invented by Lem in order to create an illusion of the future. The language seen from the perspective of the two texts remains a meaningful platform, but not a transparent one. This is where the space of the author's game with the readers begins, the space of inter-textual, cultural references, where the mentioned earlier naiveté of the older science fiction breaks down and an element of doubt, surprise, or irony surfaces frequently. The use of concrete linguistic means is conditioned by the creation of a world displaying a clearly determined character that borrows its particularities from the linguistic image of a fictional quasi-reality. It also results from the applied technique of story telling, from ways of verifying narration and from mechanisms of the reader's understanding of the meaning of words as building blocks of the presented world. The first novel discussed by Handke – "Astronauts" (1951), remains in the essayist's view still in the optimistic current of science fiction; the "fantastic" terminology, while already foreshadowing Lem's later plays with words, is deeply rooted in the traditional perception of the technical world. In the later novel – "Magellan's Nebula" – the focus of interest veers to how to construct with words a world in extreme conditions, i. e. when mimetic support in creation and in spelling out relations between the linguistic signs and what they designate, is curtailed. That is why, the attention is not centered on the spaces where the author takes advantage of the possibility of referring to phenomena and names known to the broadcaster and to the receiver in the real reality. The narrational situation constructed in the novel relies also on the premise that not much had changed in these fields, despite the passage of centuries, because human nature remains significantly the same. Both novels, while a system of "fantastic" concepts has been imposed on the presented world, reflect in fact current socio-political problems that cannot be grasped outside of the context provided by the communist faith in progress. "Eden" on the other hand, shows Lem's wavering in his faith in progress. In the novel, Earth people face another civilization; the author of the essay compares this narrational situation to the building of utopia, only situated in the Cosmos. The linguistic layer here resembles Lem's mature works, where irony in the creation of words keeps the readers at a distance when they view the displayed world and makes them ponder the author's intention.

scholarly journals Powieść SF uwalniająca się od politycznych serwitutów

2015 ◽  
pp. 209-236
Author(s):  
Ryszard Handke
Keyword(s):  
Science Fiction ◽  
Building Blocks ◽  
Point Of View ◽  
The Other ◽  
The Novel ◽  
The World ◽  
The Creation ◽  
Stanislaw Lem ◽  
Blind Faith ◽  
Linguistic Means

Science-Fiction Novel Liberates Itself from Political DuesThe present issue of "Colloquia Humanistica" contains Professor Ryszard Handke's two last essays, until now unpublished. They belong together and deal with the works of Stanisław Lem, namely with the creation of a sui generis dictionary of this outstanding sci-fi writer. Handke highlights the coming of a new age in the evolution of the genre, already foreshadowed in Lem's early novels. This new sci-fi abandons uncritical beliefs in the power of science leading man to the conquest of cosmos and to a perfection of Earth's civilization. In Handke's analysis, in his first essay discussing "Astronauts" and "Magellan's Nebula," and in the second devoted to "Eden," Lem's evolution starts from a blind faith in the Marxist progress of civilization based on materialistic technocracy and moves towards an increasingly open polemic with this point of view, clearly demonstrating the beginning of doubts or of caution against an excessive faith in progress. The author of the essays is principally interested in the linguistic layer of the novels, the sci-fi terminology designating phenomena, objects or equipments from the imagined future. Handke analyzes the world reflected in the language and attempts to assemble a corpus invented by Lem in order to create an illusion of the future. The language seen from the perspective of the two texts remains a meaningful platform, but not a transparent one. This is where the space of the author's game with the readers begins, the space of inter-textual, cultural references, where the mentioned earlier naiveté of the older science fiction breaks down and an element of doubt, surprise, or irony surfaces frequently. The use of concrete linguistic means is conditioned by the creation of a world displaying a clearly determined character that borrows its particularities from the linguistic image of a fictional quasi-reality. It also results from the applied technique of story telling, from ways of verifying narration and from mechanisms of the reader's understanding of the meaning of words as building blocks of the presented world. The first novel discussed by Handke – "Astronauts" (1951), remains in the essayist's view still in the optimistic current of science fiction; the "fantastic" terminology, while already foreshadowing Lem's later plays with words, is deeply rooted in the traditional perception of the technical world. In the later novel – "Magellan's Nebula" – the focus of interest veers to how to construct with words a world in extreme conditions, i. e. when mimetic support in creation and in spelling out relations between the linguistic signs and what they designate, is curtailed. That is why, the attention is not centered on the spaces where the author takes advantage of the possibility of referring to phenomena and names known to the broadcaster and to the receiver in the real reality. The narrational situation constructed in the novel relies also on the premise that not much had changed in these fields, despite the passage of centuries, because human nature remains significantly the same. Both novels, while a system of "fantastic" concepts has been imposed on the presented world, reflect in fact current socio-political problems that cannot be grasped outside of the context provided by the communist faith in progress. "Eden" on the other hand, shows Lem's wavering in his faith in progress. In the novel, Earth people face another civilization; the author of the essay compares this narrational situation to the building of utopia, only situated in the Cosmos. The linguistic layer here resembles Lem's mature works, where irony in the creation of words keeps the readers at a distance when they view the displayed world and makes them ponder the author's intention.

scholarly journals Репрезентация животных в рассказе Севера Гансовского Зверек (1969)

2020 ◽  
pp. 191-201
Author(s):  
Karolina Gansovskaya
Keyword(s):  
Science Fiction ◽  
Animal Studies ◽  
Cognitive Model ◽  
Human Experience ◽  
Human Existence ◽  
The Novel ◽  
Mediating Role ◽  
The World ◽  
Human Animal ◽  
The Creation

The literary works of Sever Gansovsky are an excellent example of modern eco-literature. For many years, the writer worked with the genre of eco-science fiction, which is engaged into the study of the nature of human existence and the interaction of humans with non-human animals. The methods of Human-Animal Studies, applied to science fiction works, allowed us to analyze the writer’s novels in the context of the latest research in eco-literature and bioethics. The object of this study is the novel Little Animal, written in 1969. The novel tells a story of a small boy who is particularly cruel to animals. Little Animal represents the creation of a man as an exponent of a new eco-culture. The novel shows the formation of a new cognitive model of the world, in whichanimals are playing a mediating role between the man and the nature that is beyond the limits of human experience.

A Compact Embodiment of Pluralities and Denial of Origins: Atwood’s The Year of The Flood

2016 ◽  
Vol 1 (3) ◽  
pp. 141
Author(s):  
Rana Sağıroğlu
Keyword(s):  
Science Fiction ◽  
21St Century ◽  
Social Order ◽  
Margaret Atwood ◽  
Rapid Change ◽  
The Novel ◽  
The World ◽  
Narrative Techniques ◽  
Why Questions ◽  
Near Future

Margaret Atwood, one of the most spectacular authors of postmodern movement, achieved to unite debatable and in demand critical points of 21st century such as science fiction, postmodernism and ecocriticism in the novel The Year of The Flood written in 2009. The novel could be regarded as an ecocritical manifesto and a dystopic mirror against today’s degenerated world, tending to a superficial base to keep the already order in use, by moving away from the fundamental solution of all humanity: nature. Although Atwood does not want her works to be called science fiction, it is obvious that science fiction plays an introductory role and gives the novel a ground explaining all ‘why’ questions of the novel. However, Atwood is not unjust while claiming that her works are not science fiction because of the inevitable rapid change of 21st century world becoming addicted to technology, especially Internet. It is easily observed by the reader that what she fictionalises throughout the novel is quite close to possibility, and the world may witness in the near future what she creates in the novel as science fiction. Additionally, postmodernism serves to the novel as the answerer of ‘how’ questions: How the world embraces pluralities, how heterogeneous social order is needed, and how impossible to run the world by dichotomies of patriarchal social order anymore. And lastly, ecocriticism gives the answers of ‘why’ questions of the novel: Why humanity is in chaos, why humanity has organized the world according to its own needs as if there were no living creatures apart from humanity. Therefore, The Year of The Flood meets the reader as a compact embodiment of science fiction, postmodernism and ecocriticism not only with its theme, but also with its narrative techniques.

Intercultural Communication in Translingual Literary Text (based on the cycle of A. Zhaksylykov “Dreams of the Damned”)

2020 ◽  
Vol 2 (6) ◽  
pp. 241-251
Author(s):  
Olga A. Valikova ◽  
◽  
Nina V. Shchennikova ◽  
Sheker A. Kulieva
Keyword(s):  
Narrative Analysis ◽  
Literary Text ◽  
Modern World ◽  
The Novel ◽  
Narrative Strategies ◽  
New Novel ◽  
Original Culture ◽  
The World ◽  
The Creation ◽  
Artistic Images

The purpose of this article is to analyze the transcultural literary text as a space for the “meeting” of languages and cultures. The modern world exists in the conditions of global transculturalism (F. Ortiz), when sign systems interact, giving rise to new images of the world. The language, which translates into a wide communicative space the elements of the original culture for the author, experiences its influence on itself. The literary text acquires multidimensionality and “convexity” due to the inclusion in it of alternative genre forms, narrative strategies and tactics, archetypes. On the basis of the novel series “Dreams of the Damned”, written by the Kazakh writer A. Zhaksylykov, we demonstrate in this work the mechanisms of “internal intercultural interaction” between Kazakh and Russian cultures, using the methods of hermeneutic commentary, mythopoetic and narrative analysis. We come to the conclusion that cultural content requires the creation of adequate forms of artistic representation. The result is the creation of new novel forms of depiction, the complication of the artistic images of the world and the strengthening of the empathic effect that a literary text can provide.

scholarly journals Unsur Pembangun dalam Sastra Anak Novel Mata di Tanah Melus Karya Okky Madasari: Kajian Strukturalisme

2021 ◽  
Vol 4 (1) ◽  
pp. 87
Author(s):  
Nur Cahyati ◽  
Heny Friantary ◽  
Ixsir Eliya
Keyword(s):  
Children's Literature ◽  
Data Collection ◽  
Children’S Literature ◽  
Building Blocks ◽  
Point Of View ◽  
The Novel ◽  
Analysis Model ◽  
Content Analysis Method ◽  
Data Collection Instrument ◽  
Collection Data

Children's literature produced in Indonesia it self is not too much and studies are rarely carried out. Therefore, it is important to have an assessment of children's literature, especially novels. The research objective was to describe the building blocks in Okky Madasari's Mata di Tanah Melus novel. The approach used in this research is a structuralism approach. The research method used content analysis method. The data source is the novel Mata di Tanah Melus by Okky Madasari. The research time was carried out for one month. Data collection techniques using library techniques. The data collection instrument was the novel Mata di Tanah Melus by Okky Madasari. The data validity technique uses credibility testing techniques, namely increasing persistence and using reference materials. Data analysis in this study used Miles and Huberman's analysis model, namely data collection, data reduction, data presentation, and conclusions. The results showed that the building blocks found in the novel Mata di Tanah Melus, namely the facts of the story in the form of a forward plot. The main character is Matara, the supporting character consists of 18 people, the white character consists of 5 people, and the black character is the Hunters. The setting consists of 17 places. The time setting occurs in the morning, noon, and night. The socio-cultural background raises the culture of the Melus Tribe. The theme raised in the novel Mata di Tanah Melus is the theme of humanity. The means of the story are titles and points of view. The title of the novel contains two meanings and experiences semantic distortion. The point of view used is the main actor's first person point of view

scholarly journals LANGUAGE MEANS OF DESCRIPTION OF THE CONCEPT «LOVE OF LIFE» IN INDIVIDUAL AUTHOR’S PICTURE OF THE WORLD OF N. KAZANDZAKIS (ON THE EXAMPLE OF THE NOVEL «ZORBA THE GREEK»)

2020 ◽  
pp. 104-112
Author(s):  
Элина Павловна Чакалова ◽  
Зарина Ашотовна Фарамазян
Keyword(s):  
Literary Text ◽  
Theoretical Research ◽  
Behavioral Characteristics ◽  
The Novel ◽  
Greek Culture ◽  
The World ◽  
Characteristic Features ◽  
Geographical Characteristics ◽  
Of Greece ◽  
Linguistic Means

Концепт рассматривается как факт культуры и формирует систему знаний человека о мире, он позволяет нам конкретизировать наиболее характерные признаки изучаемой нами культуры. Цель данной статьи - выявление значимости лингвокультурного концепта «жизнелюбие» для понимания индивидуальной картины мира автора. Задача исследования состоит в том, чтобы описать и проанализировать лингвистические средства, которые наполняют один из характерных для греческой культуры концептов, на основе художественного текста, так как художественный текст предлагает авторские интерпретации ключевых понятий, составляющих национальную картину мира. Актуальность данного исследования определяется необходимостью выявить значимость лингвистических и этноспецифических особенностей в изучении поведенческих характеристик народа и греческого менталитета в ходе анализа языковых единиц и сопутствующих культурологических факторов, наполняющих концепт «жизнелюбие» в индивидуальной авторской картине мира. В статье рассматриваются примеры и из художественного текста «Грек Зорба» греческого классика Никоса Казандзакиса, анализируются языковые средства выражения указанного концепта. Содержание данного текста насыщено культурными, историческими и географическими понятиями и характеристиками, что позволило нам взять его за основу исследования культуры и менталитета Греции. В процессе изучения материала, а именно греческого художественного текста, мы применили методы эмпирического и теоретического исследования. Также использовались компонентный и контекстуальный методы изучения. В данном исследовании отмечается влияние концепта на языковую личность, так как языковая личность является собирательным образом представителя определенных культурно-языковых ценностей. Специфика языковой картины мира и идиолекта характеризует языковую личность автора. The concept is considered as a fact of culture and forms a system of human knowledge about the world, it allows us to reveal the most characteristic features of the Greek culture we are studying. The aim of this article is to identify the significance of the linguistic-cultural concept «Love of life» to understand the writer’s individual picture of the world. The objective of the study is to characterize the linguistic means that form one of the basic concepts of the Greek worldview based on the literary text, since the literary text shows author’s interpretations of key concepts that make up the national picture of the world. While studying this topic and analyzing the language units considered in the article, we were able to represent the relevance of the concept «Love of life» and related cultural factors to understand the author’s picture of the world, and this also allowed us to demonstrate the importance of linguistic and ethno-specific features in the study of the behavioral characteristics and Greek mentality. The article discusses the examples from the literary text «Zorba the Greek» by the Greek classic Nikos Kazantzakis and analyzes the linguistic means of expression. The content of this text is saturated with cultural, historical and geographical characteristics, which allowed us to consider it as a basis for studying the culture and mentality of Greece. In the direct study of textual material, empirical and theoretical research methods were used: analysis, synthesis, comparison, as well as component and contextual methods of study. The article underlines the influence of the concept on the linguistic personality formation, as we know the linguistic personality is a generalized image of the storage of cultural and linguistic values. The author’s linguistic personality is characterized by the specificity of his linguistic worldview and vocabulary.

scholarly journals THE ORTHODOX CONCEPT «SOUL» IN THE STORY «TAIGA» BY V. SHISHKOV

2021 ◽  
pp. 254-264
Author(s):  
Арсений Сергеевич Ефремов
Keyword(s):  
Point Of View ◽  
Human Soul ◽  
The World ◽  
Religious Concept ◽  
The Creation ◽  
Original Picture ◽  
Biblical Concepts

Повесть В.Я. Шишкова «Тайга» рассматривается с точки зрения воплощенной в нем христианской идеи. Автор исследует религиозный концепт душа , его взаимодействие с такими библейскими понятиями, как грех, праведность, жертвенность и ряд других. Делается вывод, что мотив человеческой души в христианском понимании является одним из ведущих в произведении Шишкова, он активно участвует в создании оригинальной картины мира, в основе которой лежат православные ценности. Исходя из анализа текста делается вывод о том, что традиционное восприятие повести «Тайга» как произведения революционно-демократической направленности не учитывает многих аспектов, связанных с православной верой, что существенно обедняет и сужает понимание ее идейного содержания. V. Shishkov’s novel «Taiga» is considered from the point of view of the Christian idea embodied in it. The author explores the religious concept of the soul, its interaction with such biblical concepts as sin, righteousness, sacrifice, and a number of others. It is concluded that the motive of the human soul in the Christian sense is one of the leading ones in the work of Shishkov, he actively participates in the creation of an original picture of the world, which is based on Orthodox values. Based on the analysis of the text, it is concluded that the traditional perception of the story «Taiga» as a work of revolutionary-democratic orientation does not take into account many aspects related to the Orthodox faith, which significantly impoverishes and narrows the understanding of its ideological content.

scholarly journals Powrót do (już) nie swojego domu. Analiza porównawcza „Powrotu z gwiazd” Stanisława Lema i „Cylindra Van Troffa” Janusza A. Zajdla

2021 ◽  
Vol 52 (3) ◽  
pp. 107-124
Author(s):  
Andrzej Jamiołkowski
Keyword(s):  
Comparative Analysis ◽  
Science Fiction ◽  
Culture Shock ◽  
The Other ◽  
Human Society ◽  
Wrong Direction ◽  
The Future ◽  
The Creation ◽  
New Vision ◽  
Stanislaw Lem

The article is an attempt at a comparative analysis of the novels: Return from the Stars by Stanisław Lem and Van Troff’s Cylinder by Janusz A. Zajdel. Both works belonging to Polish science fiction present visions of humanity in the future. Despite obvious differences (both novels were written in different circumstances, one novel is a dystopia, the other an anti-utopia) it is possible to find areas common to both works representing the Polish science fiction genre. The novels present a pessimistic vision of humanity in the future. The greatest similarity, however, can be observed in the creation of the main characters, who experience culture shock when faced with a new vision of human society. The protagonists find themselves confused, discordant and despairing. They see that the changes have gone in the wrong direction. But it is too late for them to do anything about it, except for accepting this reality or trying to escape from it back into the stars. 

"THE PLAGUE" BY A. CAMUS AND THE COVID-19 PANDEMIC: HUMANITY IN THE FACE OF AN EXISTENTIAL THREAT

2021 ◽  
pp. 7-21
Author(s):  
Sergey V. Ryazantsev ◽  
◽  
Alexey V. Smirnov ◽  
Keyword(s):  
Albert Camus ◽  
Nobel Prize Winner ◽  
The Novel ◽  
The World ◽  
The Face ◽  
World Tourism Organization ◽  
The Creation ◽  
Tourism Organization ◽  
The City ◽  
Second World

The novel of the Nobel Prize winner in literature Albert Camus "The Plague" became one of the most widely read books in Europe during the Covid-19 coronavirus pandemic. A number of researchers consider Camus to be an existentialist writer. Existentialism arises, after two bloody wars, to give answers to questions that concern humanity. Since Albert Camus wrote the novel during the Second World War, he understands the plague not only as a disease, but also as German soldiers, whom the inhabitants of France called the "brown plague" because the invaders wore brown shirts. As the inhabitants of the city of Oran resisted the plague on the pages of the work, so the inhabitants of France fought against Nazism and fascism. A. Camus in the novel "The Plague" describes the quarantine measures that take place in the city of Oran in the 40s of the XX century. The consequences of the epidemic and the behavior of the residents described in the novel have much in common with modern coronavirus realities: the decline of the economy, the growth of the number of unemployed, protests against the quarantine measures introduced; the introduction of curfews, the creation of new medicines, etc. In Russia, as in the pages of the novel, there is a decline in the economy. Thus, during the pandemic in Russia, the number of registered unemployed increased from 1.3 million people to 4.8 million, and the appeal to employment centers for support measures increased from 20% to 80%. Camus in his novel writes about the creation of an anti-plague serum, in Russia, the first in the world, a vaccine against coronavirus infection "Sputnik V" was created. The director of the hotel, described in the work, said that due to the epidemic and quarantine, the tourist business disappeared. According to the World Tourism Organization — tourism at the end of 2020 it has decreased by 77% compared to 2019, which is equivalent to the tourist activity that was recorded in the late 80s. Stray animals were shot in Oran, because they believed that they could be carriers of infection. In China, during the Covid-19 pandemic, pets were thrown out of windows because people believed that they could be the source of Covid-19, and in Denmark, more than 11 million minks were exterminated for the same reasons. The authors of this article attempted to analyze the development of the epidemiological process in the novel and plot the mortality rate from the plague according to the data of the work.

Wuthering Heights and the Limits of Vision

PMLA ◽  
1971 ◽  
Vol 86 (1) ◽  
pp. 51-62 ◽  
Author(s):  
David Sonstroem
Keyword(s):  
Emily Bronte ◽  
Point Of View ◽  
The Novel ◽  
Detailed Consideration ◽  
Wuthering Heights ◽  
The World

Interpretations of Wuthering Heights often focus upon the grand passions of Heathcliff and Catherine Earnshaw, and the striking bond between them. But full and detailed consideration of the novel discourages the assumption that Emily Brontë is wholeheartedly endorsing their point of view, or any other. She consistently presents all her characters, Heathcliff and Catherine included, as blind to the world as others see it, and consequently as holding views that do not do justice to the fullness of things. Largely because of their myopia, all are ever at odds with one another, often physically, but usually conceptually, engaging in indecisive wars of words, benighted battles of too limited views. The battles occur as well within Catherine and Heathcliff, whose divided hearts reflect the confused divisions in the world at large. And the reader is fully implicated in the inconclusive conflicts, for his formulations and sympathies are repeatedly betrayed. Wuthering Heights provides him with no standard of judgment that comprehends the restricted ones of the characters, no privileged point of view to relieve his uncertainties. Whatever her intentions, Emily Brontë is clearly not just throwing her being vicariously into the lives of Heathcliff and Catherine. She possesses strong critical impulses and many contrary views, only one of them being that of Heathcliff.

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