O estatuto do narrador e da matéria narrada no Satyricon de Petrônio

Nuntius Antiquus ◽

10.17851/1983-3636.5.0.83-91 ◽

2010 ◽

Vol 5 ◽

pp. 83

Author(s):

Sandra Maria Gualberto Braga Bianchet

Keyword(s):

Literary Work ◽

First Century ◽

First Person ◽

Font Size ◽

Literary Genres

ABSTRACT: The Satyricon of Petronius (first century a.D.) is taken as a literary work of which there is no precedent; compared to all other known works produced up to its time, it has unique characteristics. Nevertheless it reshapes many literary genres, either in prose or in verse, by means of parody, and restates a new way of making fiction: independent from inspiration by Muses, dependent on first-person narrator. It is intended here to focus on some traces of this new modus narrandi found in Petronius’ Satyricon. KEYWORDS: Satyricon; Petronius; Latin novel; parody; first-person narration.

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The use of second person pronouns in a literary work

Journal of Literary Semantics ◽

10.1515/jls-2014-0008 ◽

2014 ◽

Vol 43 (2) ◽

Cited By ~ 3

Author(s):

Helen de Hoop ◽

Lotte Hogeweg

Keyword(s):

Literary Work ◽

First Person ◽

The Novel ◽

Main Character ◽

Second Person ◽

Person Pronoun

AbstractFor this study we investigated all occurrences of Dutch second person pronoun subjects in a literary novel, and determined their interpretation. We found two patterns that can both be argued to be functionally related to the de-velopment of the story. First, we found a decrease in the generic use of second person, a decrease which we believe goes hand in hand with an increased distancing of oneself as a reader from the narrator/main character. Second, we found an increase in the use of the descriptive second person. The increased descriptive use of second person pronouns towards the end of the novel is very useful for the reader, because the information provided by the first person narrator himself becomes less and less reliable. Thus, the reader depends more strongly on information provided by other characters and what these characters tell the narrator about himself.

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From representation to enactment: temporal perspectives on literary objects in East and Central European structuralism and Ingarden’s phenomenology

Frontiers of Narrative Studies ◽

10.1515/fns-2018-0036 ◽

2018 ◽

Vol 4 (s1) ◽

pp. s146-s171

Author(s):

Michał Mrugalski

Keyword(s):

Literary Work ◽

Point Of View ◽

Philosophical Tradition ◽

General Context ◽

Direct Realism ◽

First Person ◽

Temporal Perspective ◽

Central European ◽

Temporal Properties ◽

Person Perspective

AbstractConsidering that enacitivsm emerged in rebellion against the representativism of first-generation cognitive science, an enactivist approach to narrative, which after all does relate events, situations, people, necessitates a directly realistic (i. e. anti-representationalist) concept of perspective on literary objects. Ingarden’s description of the spatio-temporal properties of the cognizing of the literary work, in the process of which the reader transgresses the realm of signs (representation) toward embodied and culturally embedded cognition of objects and events in a presented world, may serve as a prototype for an enactive approach narrative, provided the theory in question is situated in its original context, for example that of Ingarden’s ongoing discussion with structuralism regarded at this juncture as a representationist stance. In the first step, I am referring to the philosophical tradition of direct realism, which was apparently invigorated by the theories of embodied and enactive cognition, to propose a way of conceiving first-person perspective on literary objects and events, first-person and temporal perspective on objects being the royal road to all sorts of enaction. In the second step, I am tackling the issue of point of view in East and Central European structuralism by recalling its most general context of the dialectical relationship between synchrony and diachrony. The interpretation of linguistic signs by the receiver is a space in which structuralism and Ingarden’s phenomenology concur as they share a similar model of receptive temporality, rooted in Husserl’s description of the inner consciousness of time and aiming to reduce the ambiguity of linguistic units and increase the predictability of meaning. In Ingarden, however, there is a threshold between the linguistic and the extralinguistic elements of the literary work, which are conceived in a directly realistic manner. I specifically recall the notion of “objectification,” which was suppressed by that of “concretization,” as a borderland between indirect (semiotic) and indirect (objectual and enactive) representation. In the conclusion, I point to the major differences between present-day cognitivist aesthetics and Ingarden’s approach, which was immersed in the culture of his time, and ask whether these differences impede us to achieve as interesting results as Ingarden’s.

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QUEER CRITICISM AS A POST-MODERNIST APPROACH

Journal of University of Human Development ◽

10.21928/juhd.v1n1y2015.pp132-143 ◽

2015 ◽

Vol 1 (1) ◽

pp. 132

Author(s):

Hamdi Hameed Yousif

Keyword(s):

Literary Criticism ◽

Literary Work ◽

First Century ◽

Critical Approach ◽

The Social ◽

Late Twentieth ◽

The Common ◽

Characteristic Features ◽

The One ◽

Late Twentieth Century

One of the post-modernist approaches to literary criticism is the queer criticism which has not been evaluated properly. Queer criticism can refer to any piece of literary criticism that interprets a text from a non-straight perspective. Therefore, it includes both lesbian and gay criticism. The aim of this paper, therefore, is to trace the social and political reasons behind the emergence of Queer criticism in the late twentieth century till it acquired momentum in the twenty-first century. After trying to define the terms related to the Queer criticism, the paper tries to examine the poetics of queer (gay and lesbian) literary works and to point out the main characteristic features of this critical approach by identifying the criteria and the textual evidence by which a literary work is labeled queer. It, also tries to shed light on the common features between queer criticism and feminism, on the one hand, and queer criticism and the deconstructuralist approach on the other hand. The final section of the study is a critique which points out the negative aspects of this approach.

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The Popularity of The Wattpad Application in Increasing Millennial Generation’s Literacy Through Literary Works.

10.31219/osf.io/74h2v ◽

2022 ◽

Author(s):

Aidatul Fitriyah ◽

Risa Febriani Aulia Nisa' ◽

Moses Glorino Rumambo Pandin

Keyword(s):

Quantitative Methods ◽

Technological Development ◽

Literary Work ◽

Vital Role ◽

Literary Works ◽

Literary Genres ◽

Survey Results ◽

Age Range ◽

Quantitative And Qualitative Methods ◽

Limited Scope

Background: Nowadays, people's enthusiasm for reading literature is getting lower. On the other hand, we can use technological development to look for literary works. Purpose: Based on this problem, researchers are interested in researching how Wattpad applications can increase literacy in literary work. Method: Researchers use quantitative and qualitative methods. Quantitative methods through surveys online, and the resulting population consists of 75 respondents from the millennial generation. The sample criteria in this study were Wattpad users with an age range ranging from 13 years to 25 years. Then, researchers used interview methods using 15 informants to strengthen survey results online. Result: Wattpad is a platform that provides literary work. It helps the reader to access the story freely. This application offers many variations of literary genres. Wattpad has a function to entertain and give knowledge through stories supplied by authors. It shows that Wattpad has a vital role in increasing literary interest, especially millennials. Recommendation: This research should be carried out long before the due date. But, this incident is out of reach for researchers because we have to prepare anything before doing research. Furthermore, sampling that is used must have more limited scope to get specific result data. For example, we use sample respondents from East Java residents. Limitation: This research has limited research time to meet the expected number of respondents. The source data is from a user Wattpad range between 13 and 25 years old.

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Taking Herod to Task: Source Critical and New Historical Methods of Reading Herod’s Trial

Journal for the Study of Judaism ◽

10.1163/15700631-15031212 ◽

2019 ◽

Vol 50 (3) ◽

pp. 403-422

Author(s):

Ari Finkelstein

Keyword(s):

Intellectual History ◽

Critical Analysis ◽

Jewish History ◽

Literary Work ◽

First Century ◽

History Of ◽

Jewish Historian ◽

Historical Methods

AbstractFor nearly three decades scholars of the first-century Jewish historian, Flavius Josephus, have debated this author’s methodologies and goals in writing his Jewish Antiquities. While source-critics view Josephus as a compiler, new historians have chosen to read Antiquities as primarily a literary work which reveals social, political, and intellectual history. A series of recent publications place these methodologies side by side but rarely coordinate them, which leaves out important insights of each group. At stake is how we moderns read Jewish history of the first century CE. I explore how parallel accounts of Herod’s trial while he was Tetrarch of the Galilee in Jewish War and in Antiquities can be justified by employing source-critical analysis as a first step to explain the changes made to the text of Antiquities before turning to new historians’ methodologies. We can better understand the function of Herod’s trial in Antiquities through this process.

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An Inward Gaze at Home: Amateur First Person DV Documentary Filmmaking in Twenty-First Century China

Amateur Filmmaking : The Home Movie, the Archive, the Web ◽

10.5040/9781628929935.ch-020 ◽

2014 ◽

Author(s):

Tianqi Yu

Keyword(s):

First Century ◽

First Person ◽

Documentary Filmmaking ◽

Twenty First Century ◽

At Home

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Teaching with New Critics

CLEaR ◽

10.1515/clear-2017-0010 ◽

2017 ◽

Vol 4 (2) ◽

pp. 34-40

Author(s):

Anton Pokrivčák

Keyword(s):

Literary Work ◽

First Century ◽

New Criticism ◽

Teaching Literature ◽

Real Nature ◽

Literary Theories ◽

Anglo American ◽

Literary Work Of Art ◽

New Critics ◽

Linguistic Structures

Abstract Anglo-American New Criticism was one of the most important movements in the twentieth century literary theories. It stressed the objectivity of a literary work of art and claimed that literary critics as well as teachers should concentrate, primarily, on the text, its linguistic structures and the ambiguities of meaning resulting from them, and only secondarily on the text´s extraliterary relationships. After the New Critics´ popularity in the early decades of the last century, in its second part they were refused as pure formalists, supposedly unable to see the real nature of a literary work in its social circumstances. The article attempts to reassess New Criticism as a movement which contributed significantly to the reading and teaching literature and claims that their importance has not diminished even in the twenty-first century.

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NEO-VICTORIAN STUDIES

Victorian Literature and Culture ◽

10.1017/s1060150311000416 ◽

2012 ◽

Vol 40 (1) ◽

pp. 339-346 ◽

Cited By ~ 4

Author(s):

Margaret D. Stetz

Keyword(s):

Nineteenth Century ◽

Twentieth Century ◽

Victorian Novel ◽

Vantage Point ◽

Point Of View ◽

First Century ◽

The Novel ◽

Literary Genres ◽

Victorian Studies ◽

Remarkable Effect

Long ago, Margery Williams'sThe Velveteen Rabbit(1922) taught us that toys become real when they are loved. Literary genres, however, become real when they are parodied. The neo-Victorian novel, therefore, must now be real, for its features have become so familiar and readily distinguishable that John Crace has been able to have naughty fun at their expense inBrideshead Abbreviated: The Digested Read of the Twentieth Century(2010), where John Fowles'sThe French Lieutenant's Woman(1969) stands as representative of the type. Crace's treatment of Fowles's first-person narrator results in a remarkable effect: the ironic commentary upon the nineteenth century from a twentieth-century vantage point that runs throughout the novel gets subjected, in turn, to ironic commentary from a twenty-first-century point-of-view:

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Synoptic Parousia Parables and the Apocalypse

New Testament Studies ◽

10.1017/s0028688500008882 ◽

1977 ◽

Vol 23 (2) ◽

pp. 162-176 ◽

Cited By ~ 4

Author(s):

Richard Bauckham

Keyword(s):

First Century ◽

First Person ◽

Creative Activity ◽

Early Christian ◽

Literary Composition ◽

The Church ◽

Made In ◽

Additional Assumptions

In the continuing discussion of the possible role of Christian prophets in the formation of the tradition of the words of Jesus, reference continues to be made to the relevance or irrelevance of the words of the exalted Christ transmitted by the prophet John in the Apocalypse. They remain the only un-disputed example from the first century of prophetic utterances made in the name of Christ in the first person, and for advocates of the creative activity of the Christian prophets they are therefore invaluable evidence that such utterances could be made. Their use as evidence for the role of prophecy in the formation of the Synoptic tradition involves, admittedly, additional assumptions not easily demonstrable. We must suppose that John's prophecy is typical of the content of early Christian prophecy in general, and also that this late first-century work is faithfully representative of the earlier prophets whom alone we can suppose to have been responsible for originating logia which actually entered the Synoptic tradition. The uniqueness of John's prophetic status vis-à-vis that of the church prophets has been cogently argued by D. Hill, and it seems that at least we cannot infer otherwise un-attested characteristics of early Christian prophecy in general from the contents of the Apocalypse alone. In any case the Apocalypse is surely untypical in being a lengthy and closely integrated literary composition, with its own distinctive stylistic traits. Partly for this reason the words of Christ reported in it are for the most part quite unsuitable for transference to the lips of the Jesus of the Synoptic tradition, at least without substantial adaptation.

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