قراءة نقدية سيميائية في بناء الشخصية المركزية والدلالة في قصة (هدهد العطار) للكاتبة كلارا سروجي-شجراوي = Critical Reading of Main Character Structure and Significance through Semiotics in the Story (Hoopoe Attar) by Clara Srouji-Shajrawi

المجمع ◽  
2020 ◽  
pp. 321-342
Author(s):  
ريان ، محمود
Keyword(s):  
Main Character ◽  
Critical Reading ◽  
Character Structure

scholarly journals The Influence of Nature toward the Main Character’s Self-Realization in David Malouf’s An Imaginary Life: an Eco-Critical Reading

2019 ◽  
Vol 8 (1) ◽  
pp. 8
Author(s):  
Faridz Al-Anshari ◽  
Marliza Yeni
Keyword(s):  
Research Methods ◽  
Secondary Data ◽  
Primary Data ◽  
The Novel ◽  
Main Character ◽  
Critical Reading ◽  
Critical Perspective ◽  
Library Research ◽  
Past Life ◽  
Descriptive Method

This article discusses David Malouf’s novel entitled An Imaginary Life from an eco-critical perspective. It examines certain symbols from nature that appear in the novel during the journey of Ovid, the main character, in the exile. The data is collected by applying library research methods. Primary data are all symbols from nature related to Ovid’s journey and the formation of his new identity in the exile. Meanwhile, the secondary data are all information from books and articles related with archetypal symbols and criticism. The result of analysis is presented by the descriptive method. The analysis results in two conclusions. Firstly, nature that is presented as wild at the beginning of the story turns into a home for the main character at the end of the story. Secondly, nature, represented by some symbols, evidently plays an important role in making Ovid embrace his new life and forms new identity apart from his past life as a famous poet back in Rome.

scholarly journals Cold War as Method

Prism ◽  
2019 ◽  
Vol 16 (2) ◽  
pp. 408-431
Author(s):  
Petrus Liu
Keyword(s):  
Cold War ◽  
Cultural Revolution ◽  
Chinese Language ◽  
Self Determination ◽  
Main Character ◽  
Critical Reading ◽  
Critical Methodology ◽  
The Cold War ◽  
Contemporary Chinese ◽  
Identity Formations

Abstract This essay proposes a reconceptualization of the Cold War as a critical methodology for the study of contemporary Chinese-language cultures and literatures. Arguing that the Cold War is not over but simply transformed, the author redefines it as an enduring “problematic of the present,” an emotional structure that continues to shape the contours of literature, academic discourse, and identity formations in ways of which we are not always fully conscious. Hence the Cold War is best understood as a “cultural palimpsest” where the old dilemma of communism versus anticommunism is rewritten into a contemporary idiom of colonialism versus self-determination. After developing the concept of Cold War as method, the second part of the essay offers a concrete example through a critical reading of Swordsman II, a 1992 martial arts film adapted from Jin Yong's 1967 novel. While the film has generally been analyzed for its representation of (queer) sexuality, the essay shows that it is the Cultural Revolution and its Cold War legacies that explain the emergence of its main character.

Interactive Experience and Identification as Predictors of Attributing Responsibility in Video Games

2018 ◽  
Vol 30 (1) ◽  
pp. 3-15
Author(s):  
Nathan Walter ◽  
Yariv Tsfati
Keyword(s):  
Video Game ◽  
Psychological Research ◽  
External Factors ◽  
Theoretical Expectation ◽  
Main Character ◽  
Attribution Of Responsibility ◽  
Attributions Of Responsibility ◽  
Violent Video Game ◽  
Grand Theft Auto Iv ◽  
Interactive Experience

Abstract. This study examines the effect of interactivity on the attribution of responsibility for the character’s actions in a violent video game. Through an experiment, we tested the hypothesis that identification with the main character in Grand Theft Auto IV mediates the effect of interactivity on attributions of responsibility for the main character’s antisocial behavior. Using the framework of the fundamental attribution error, we demonstrated that those who actually played the game, as opposed to those who simply watched someone else playing it, identified with the main character. In accordance with the theoretical expectation, those who played the game and came to identify with the main character attributed the responsibility for his actions to external factors such as “living in a violent society.” By contrast, those who did not interact with the game attributed responsibility for the character’s actions to his personality traits. These findings could be viewed as contrasting with psychological research suggesting that respondents should have distanced themselves from the violent protagonist rather than identifying with him, and with Iyengar’s (1991) expectation that more personalized episodic framing would be associated with attributing responsibility to the protagonist.

Personality, Character, and Character Structure Revisited

1995 ◽  
Vol 40 (11) ◽  
pp. 1053-1054
Author(s):  
Ruth Ochroch
Keyword(s):  
Character Structure

Ignoring a Main Character: A Rookie Director’s Mistake

PsycCRITIQUES ◽  
2011 ◽  
Vol 56 (20) ◽  
Author(s):  
C. Albert Bardi
Keyword(s):  
Main Character

The Undoing of a Man: Cuckoldry in Heywood's Edward IV

2017 ◽  
Vol 24 (2) ◽  
pp. 246-267
Author(s):  
Jonathan Wright
Keyword(s):  
Early Modern ◽  
Early Modern Literature ◽  
Early Modern England ◽  
Self Control ◽  
Modern Literature ◽  
Spiritual Needs ◽  
Critical Reading ◽  
Social Construct

Manhood was a complex social construct in early modern England. Males could not simply mature or grow from boys to men. Instead, they had to assert or prove they were men in multiple ways, such as growing a beard, behaving courageously in battle, exercising self-control in walking, talking, weeping, eating, and drinking, pursuing manly interests, exhibiting manly behaviors, avoiding interests or behaviors typically ascribed to women, marrying a woman and providing for her physical, sexual, and spiritual needs, and living and dying as a faithful Christian. Once a male became a “man” in the eyes of others, his efforts shifted from “making” himself manly to maintaining or defending his reputation as a “true man.” All men could undermine their manhood through their own actions or inactions, but the married man could also lose his reputation through his wife's infidelity. Numerous literary husbands in early modern literature live anxiously with the knowledge they might suffer a cuckold's humiliation and shame. Matthew Shore, who “treasures” his wife to a fault in Thomas Heywood's two-part play Edward IV, is an exceptional example of such a husband. This critical reading of Edward IV explores the complexity of manhood in Heywood's day by showing various males trying to assert or defend their manhood; explaining why husbands had reasons to fear cuckoldry; analyzing how Jane Shore's infidelity affects her husband; following Matthew Shore's journey from trusting husband to distrusting, bitter cuckold, to forgiving husband; and examining his seemingly inexplicable death at the end of the play.

Creativity as a Haven: An Angel at My Table (Jane Campion, 1990)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Mental Illness ◽  
New Zealand ◽  
Coming Of Age ◽  
Main Character ◽  
Personal Investment ◽  
Jane Campion

Through a comparison with Janet Frame’s Autobiography, from which it is adapted, this chapter analyses Jane Campion’s An Angel at My Table as the first New Zealand film to present all three of the main maturational phases characteristic of the coming-of-age genre, but as experienced by a Pākehā girl. Identifying the effects of a repressive environment as the source of the emotional stresses that lead the main character, Janet, to be institutionalized for schizophrenia, the discussion shows how she finds respite in fictive creativity and a world of the imagination. It also shows Campion’s personal investment in the story as a displaced representation of her own mother’s fight with mental illness.

POLA NARASI PADA ANTOLOGI CERPEN TARIAN SALJU KARABAN

2019 ◽  
Vol 6 (1) ◽  
pp. 95-113
Author(s):  
Novi Diah Haryanti
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Main Character ◽  
The Past ◽  
Child Relationship ◽  
Mother And Child ◽  
Narrative Patterns

Abstract: This study aims to look at narrative patterns in the collection of short stories "Karaban Snow Dance" (TSK). From the fifteen short stories, the researchers took five main stories, namely the Karaban Snow Dance (Tarian Salju Karaban), The Fall of a Leaf (Gugurnya Sehelai Daun),  Canting Kinanti Song (Tembang Canting Kinanti), Jagoan Men Arrived (Lelaki Jagoan Tiba), and Origami Pigeon (Merpati Origami). Of the five short stories, environmental themes and honesty appear most often. The place setting depicted shows the environment that is close to the author or according to the author's origin. The main characters in the four short stories are children, only one short story Male Hero Tiban (Lelaki Jagoan Tiban/LJK) who uses adult takoh as the main character. The child leaders in LJK only appear in the past stories of the main characters. The five short stories do not show a picture of whole parents (father and mother). The warm relationship between mother and child appears clearly, in contrast to the father-child relationship that is almost negligent. The five short stories also represent how children become heroes for their family, friends, and environment.Abstrak: Penelitian ini bertujuan untuk melihat pola narasi pada kumpulan cerpen Tarian Salju Karaban (TSK). Dari limabelas cerpen yang ada, peneliti mengambil lima cerpen utama yakni “Tarian Salju Karaban”, “Gugurnya Sehelai Daun”, “Tembang Canting Kinanti”, “Lelaki Jagoan Tiba”, dan “Merpati Origami”. Kelima cerpen menampilkan tema lingkungan dan kejujuran. Latar tempat yang digambarkan memperlihatkan lingkuangan yang dekat dengan penulis atau sesuai dengan asal usul penulis. Tokoh utama dalam keempat cerpen tersebut ialah anak-anak, hanya satu cerpen “Lelaki Jagoan Tiban” (LJK) yang menggunakan takoh dewasa sebagai tokoh utama. Tokoh anak dalam LJK hanya muncul dalam cerita masa lalu tokoh utama. Kelima cerpen tersebut tidak memperlihatkan gambaran orangtua utuh (ayah dan ibu). Relasi yang hangat antara ibu dan anak muncul dengan jelas, berbeda dengan relasi bapak-anak yang nyaris alpa. Kelima  cerpen tersebut juga merepresentasikan bagaimana anak-anak menjadi pahlawan bagi keluarga, sahabat, dan lingkungannya.  

Sign in / Sign up

Export Citation Format

Share Document