Association and Disassociation in Storm's Novellen: A Study on the Meaning of the Frame

PMLA ◽  
1951 ◽  
Vol 66 (4) ◽  
pp. 381-404
Author(s):  
R. M. Browning
Keyword(s):  
Oral Tradition ◽  
Systematic Investigation ◽  
Point Of View ◽  
Narrative Art ◽  
Life And Death ◽  
The Past ◽  
Actual Experience ◽  
Third Person ◽  
The Difference ◽  
Excellent Article

It has not escaped the notice of students of Storm's novelistic art that many of his Novellen employ the device known as the “frame,” nor have explanations been lacking as to its purpose. Most attention has not unnaturally been paid to the frames of the stories laid in the comparatively distant past—the so-called “Chroniknovellen” and the Schimmelreiler. The first systematic investigation of the use of the frame by Storm and his contemporaries is the study by Hans Bracher, Rahmen-erzahlung und Verwandtes bei G. Keller, C. F. Meyer und Th. Storm (Leipzig, 1909). This monograph examines the problem chiefly from the standpoint of the kind of frame encountered in these writers and the technical uses to which it is put. The question of the inner necessity of the frame is left largely unanswered, a fact of which Bracher himself is well aware. Georg Baesecke in a review of the book by H. Eichentopf, Th. St.s Erzdhlungskunst—in Zeitschrift f. deut. Philologie, XLI (1909), 520–531—has advanced the interesting theory that the frame is for Storm a means of freeing his hand and his conscience; the ego thereby shoves the responsibility for the truth of the epic material upon a third person. Baesecke arrives at this point of view by proceeding on the assumption that Storm's novelistic art grew out of his lyrical art, as the poet himself indeed asserted, though it has never been satisfactorily explained just what he meant by this dictum. Baesecke implies that in the lyrical production the ego is free to speak in its own right out of actual experience. That part of Thérèse Rockenbach's study which has been available to me, Th. St.s Chroniknovellen (Diss., Braunschweig, 1916), hardly throws new light on the “why” of the Stormian frame, though the author calls attention to interesting parallels between Storm's technique and that of others, especially Brentano, Stifter, and Raabe. Walter Brecht—“Storm und die Geschichte,” Deut. Vierteljahrss.,iii (1925), 444–462—remarks that the difference between Storm's frames and those of other writers lies not so much in the technique itself as in the “Flut von Stim-mung, die in dem meist unausgesprochenen Nebeneinander in Rahmen und Erzählung steigt.” Storm's central concern, Brecht feels, is the “relation between Then and Now.” The gap between the past and the present is nothing less than the gap between life and death, which is itself a “mysterious connection.” In the frame, which is the instrument by means of which Storm “perspectively elongates” the present into the past, this relationship becomes particularly evident. Franz Stuckert, in his excellent article, “Th. St.s novellistische Form”—Germ.-Roman. Monatss., 27. Jhg. (1939), 24–39—seeks the origins of Storm's narrative art in the oral tradition of storytelling and finds that the frame fulfills for the poet an inner need by creating a situation analogous to that of audience and story-teller.

A contrastive look at the present perfect/preterite opposition in English and Norwegian

2001 ◽  
Vol 3 (1) ◽  
pp. 3-40 ◽  
Author(s):  
Johan Elsness
Keyword(s):  
Zero Point ◽  
Time Span ◽  
Point Of View ◽  
Present Perfect ◽  
Parallel Corpus ◽  
Source Language ◽  
Past Time ◽  
The Past ◽  
Verb Forms ◽  
The Difference

This article deals with the opposition between the present perfect and the preterite in English and Norwegian from a contrastive point of view. The use of these verb forms is very similar in the two languages, and markedly different from that in closely related languages such as German and French, where the present perfect is used much more widely. In English and Norwegian the preterite is the norm if the reference is identified as being to past time which is clearly separate from the deictic zero-point, for instance through adverbial specification, while the present perfect is used of situations extending from the past all the way up to the deictic zero-point, and of situations located within such a time span. In many intermediate cases, where the reference is to a loosely defined past time, either verb form may be used in both languages, although several writers have claimed that the present perfect is more common in Norwegian than in English in such cases. The difference between the two languages is more distinct if the reference is to what can be seen as unique past time, in which case the present perfect is usually blocked in English but very common in Norwegian. Also, the so-called inferential perfect in Norwegian is not matched by any similar perfect use in English. These claims are amply confirmed by an investigation of the English–Norwegian Parallel Corpus (ENPC), where the present perfect is more frequent in the Norwegian as compared with the English sections, at the expense of the preterite. Moreover, there is found to be a marked difference between the original and the translated texts of the ENPC: the ratio between the present perfect and the preterite is generally higher in Norwegian than in English but not quite so high in Norwegian texts translated from English as in Norwegian original texts, and somewhat higher in English texts translated from Norwegian than in English original texts. This difference is ascribed to interference from the source language in the translated texts.

scholarly journals Child in Time. Autobiographic Battles of Vladimir Nabokov

2020 ◽  
Vol 38 (2) ◽  
pp. 337-363
Author(s):  
S. S. Avanesov
Keyword(s):  
Early Childhood ◽  
Vladimir Nabokov ◽  
Point Of View ◽  
Individual Freedom ◽  
Ordinary Objects ◽  
The Past ◽  
Mutual Transition ◽  
The Difference ◽  
Autobiographical Work ◽  
To Come

This article is devoted to the analysis of autobiography as a form of anthropological practice of yourself. The autobiography of Vladimir Nabokov’s “Other Shores” has been investigated from this perspective in connection with his other works. The philosophical side of Nabokov’s memoirs is considered here. This made it possible to formulate the main problems of the writer’s autobiographical work: the ratio of memory and imagination when plotting, the difference between fact and event in the structure of memory, the degree of individual freedom from coercion of objective historical circumstances, the possibility of discerning the meaning of one’s own biography long before the end of physical life. As a result of the study, Nabokov’s autobiography is characterized as a struggle against time for personal immortality. In this struggle, the writer is not so much expressing as creating yourself. He takes an active position in the act of remembrance, directing memory into the mainstream of the search for the meaning of his past, starting from early childhood. A person who remembers himself gets the opportunity to break out of the linear course of time, to distinguish repetitions in the past and read them as signs of his biography. Finally, reconfiguring biographic optics allows the author to come to a point of view from which he, through ordinary objects, begins to see not only the past and the future in their mutual transition, but also eternity. Thus, the writer avoids the main threat hanging over the mortal creature – the prospect of its annihilation.

scholarly journals The first-person perspective description error in naturalism

2021 ◽  
Vol 37 (3) ◽  
pp. 403-415
Author(s):  
Diana E. Gasparyan ◽  
Keyword(s):  
Point Of View ◽  
First Person ◽  
Person Perspective ◽  
Work Strategies ◽  
The World ◽  
Third Person ◽  
First Person Perspective ◽  
The Difference ◽  
Radical Naturalism ◽  
Third Person Perspective

In this article, it is shown that in some theories defending the non-reductive nature of the firstperson perspective it is possible to find a very inconsistent attitude. Such theories are associated by the author to a so-called moderate naturalism. The article demonstrates the difference between moderate and radical naturalism. Radical naturalism completely abandons the idea of subjectivity as unobservable from a third-person perspective. On the contrary, moderate naturalism defends the irreducibility of subjectivity, but believes subjectivity to be a part of the nature. As a case of moderate naturalism, the article considers the approaches of Lynne Baker and Thomas Metzinger. Exemplifying these approaches to the first-person perspective, it is shown that in the case of certain work strategies focused on the first-person perspective, it is possible that a so-called description error may appear, by which a description error of subjectivity — when it is placed in the world as a part of nature, existing according to its laws — is understood. The logic of this error points to one of Ludwig Wittgenstein’s statements about the incorrect placement of the eye in the perspective of the eye view itself. If the first-person perspective is introduced as a point of view (or a point of observation), then its subsequent shift to the observation result area leads to description error. If there is no observation, as well as no viewpoint, we lose the very idea of first-person perspective and actually take the position of radical naturalism.

scholarly journals Images of Miloje M. Vasić in Serbian Archaeology

2016 ◽  
Vol 8 (3) ◽  
pp. 681 ◽  
Author(s):  
Aleksandar Palavestra
Keyword(s):  
World War Ii ◽  
Oral Tradition ◽  
Point Of View ◽  
The Other ◽  
World War ◽  
Archaeological Material ◽  
The Past ◽  
The Subject ◽  
Research Questions ◽  
The One

Miloje M. Vasić, "the first academically educated archaeologist in Serbia", has a strange destiny in the Serbian archaeology. On the one hand, he has been elevated to the post of the "founding father" of the discipline, with almost semidivine status and iconic importance, while on the other hand, his works have been largely unread and neglected. This paradoxical split is the consequence of the fact that Vasić has been postulated as the universal benchmark of the archaeological practice in Serbia, regardless of his interpretation of the past on the grounds of the archaeological record – the essence of archaeology. Strangely, the life and work of Vasić have not been the subject of much writing, apart from several obituaries, two short appropriate texts (Srejović, Cermanović), and rare articles in catalogues and collections dedicated to the research of Vinča (Garašanin, Srejović, Tasić, Nikolić and Vuković). The critical analysis of his whole interpretive constellation, with "The Ionian colony Vinča" being its brightest star, was limited before the World War II to the rare attempts to rectify the chronology and identify the Neolithic of the Danube valley (Fewkes, Grbić, Holste). After the war, by the middle of the 20th century, the interpretation of Vasić has been put to severe criticism of his students (Garašanin, Milojčić, Benac), which led to the significant paradigm shift, the recognition of the importance of the Balkan Neolithic, and the establishment of the culture-historical approach in the Serbian archaeology. However, from this moment on, the reception of Vasić in the Serbian archaeology has taken a strange route: Vasić as a person gains in importance, but his works are neglected, though referred to, but almost in a cultic fashion, without reading or interpreting them. Rare is a paper on the Neolithic of the Central Balkans that does not call upon the name of Vasić and his four- volume "Vinča", in which Neolithic is not mentioned at all. This paradox becomes clearer if Vasić is regarded through the prism of the problematic, but not yet challenged and universally praised values in the Serbian archaeology: material, fieldwork and authority, as opposed to interpretation, which is regarded as ephemeral. From this point of view it becomes clear how the image of Vasić grows into the icon of the Serbian archaeology, while his work slides into the domain of the oral tradition, half-truths, and apocryphal anecdotes. Considering that the majority of the Serbian archaeological community shares the belief that there is an absolute archaeological method and "pure" archaeological material, both representing "the data not burdened by theory", the field journals of Vasić and his published works become the source of the "material", while his interpretation of the past is neglected. As long as these "data" are not considered in connection to the whole opus of Vasić, the research questions and strategies that directed his work, the Serbian archaeology will be inhabited by two separate images: one – forefather and founder, the researcher of the Neolithic Vinča, "the first real Serbian archaeologist", whose face gazes at us sternly from the bronze busts and enlarged photographs, and the other – vulnerable and insulted dreamer, convinced in his philhellene delusion. Only the integration of these two images will pay due homage to Miloje M. Vasić.

Agents and their Actions

Philosophy ◽  
1998 ◽  
Vol 73 (2) ◽  
pp. 219-245 ◽  
Author(s):  
MARIA ALVAREZ ◽  
JOHN HYMAN
Keyword(s):  
Philosophy Of Mind ◽  
Human Action ◽  
Point Of View ◽  
Philosophy Of Action ◽  
Theoretical Point ◽  
Reference Guide ◽  
The Past ◽  
General Terms ◽  
Significant Events ◽  
The Difference

In the past thirty years or so, the doctrine that actions are events has become an essential, and sometimes unargued, part of the received view in the philosophy of action, despite the efforts of a few philosophers to undermine the consensus. For example, the entry for Agency in a recently published reference guide to the philosophy of mind begins with the following sentence:A central task in the philosophy of action is that of spelling out the differences between events in general and those events that fall squarely into the category of human action.There is no consensus about what events are. But it is generally agreed that, whatever events may prove to be, actions are a species or a class of events. We believe that the received view is mistaken: actions are not events. We concede that for most purposes, the kind of categorial refinement which is involved in either affirming or denying that actions are events is frankly otiose. Our common idiom does not stress the difference between actions and events, at least not in general terms, because it has no need to. Perhaps it sounds a little odd to say that some events are performed; but if we balked at describing, say, the abdication of Edward VIII as one of the politically significant events in Britain in 1936, it could not be for metaphysical reasons. And since actions, like events, are datable — though often, as we shall see, only imprecisely — actions are said to take place and to occur. But an important class of actions consist in moving something; indeed, according to many philosophers, every action consists in moving something. And when we consider actions of this sort from a theoretical point of view it becomes imperative to distinguish between actions and events. Or so we shall argue.

scholarly journals The axiological diversity of the European far right in the first half of the 20th century

2019 ◽  
Vol 9 (1) ◽  
pp. 191-205
Author(s):  
Marcin Pisarski
Keyword(s):  
Political Institutions ◽  
Point Of View ◽  
Political Movements ◽  
Spiritual Values ◽  
Real Form ◽  
Far Right ◽  
The Past ◽  
The Enlightenment ◽  
The Subject ◽  
The Difference

AbstractThe subject of the article is the issue of axiological diversity of political movements of the far right, understood on the basis of metapolitics, i.e. religious, philosophical or civilizational values. The far right considered on this ground allows us to define the so-called ideological core, i.e. the characteristics of this political trend. The fundamental features of the far right in this approach are the primacy of spiritual values over material ones and radical social and political anti-egalitarianism, expressed in opposition to subsequent ideologies referring to the egalitarian ideals of the Enlightenment. The opposition to modernity, in its real form, was common to all the factions of the far right. The difference is visible, however, between the supporters of the restoration of old socio-political institutions and those who, under the influence of nihilism, rejected the possibility of returning to the past institutions, postulating the creation of new forms expressing the eternal traditional principles. From this point of view, it is possible to indicate the fundamental paths of development of the far right, which began in the first half of the 20th century, yet still retain their cognitive value in relation to the contemporary movements of this trend.

One point of view: Change and Changelessness

1980 ◽  
Vol 27 (9) ◽  
pp. 4-5
Author(s):  
Lola June May
Keyword(s):  
Junior High School ◽  
Elementary Mathematics ◽  
Mathematics Curriculum ◽  
Point Of View ◽  
High School Mathematics ◽  
The Past ◽  
The Difference ◽  
Inverse Operation ◽  
View Change ◽  
Made In

Some of the changes made in the elementary and junior high school mathematics curriculum during the past twenty years have been good. Subtraction is presented as the inverse operation of addition. The words subtrahend and minuend are seldom used anymore. The words addends and sum are used for the numbers both in addition and in subtraction. It is hard to find anyone who wants to go back to teaching children the difference between a minuend and subtrahend and how to spell the words. Instead of being pure memory of isolated facts and operations, elementary mathematics has begun to evoke a friendly feeling for numbers. For example, by naming different ways to make the number five (3 + 2, 7 − 2, 5 + 0, and so on), young children get a feeling for five. They see that they can manipulate counters and write many names for a number. This type of teaching makes the number five come alive; it is not just the answer to some isolated facts.

scholarly journals ‘SO YOU DON’T GET LOST IN THE NEIGHBORHOOD’ BY PATRICK MODIANO: POETICS OF THE ‘NOVEL ABOUT A NOVEL’

2020 ◽  
Vol 12 (2) ◽  
pp. 81-89
Author(s):  
Nina S. Bochkareva ◽  
◽  
Inga V. Suslova ◽  
Alexander D. Bazhanov ◽  
◽  
...  
Keyword(s):  
Literary Criticism ◽  
18Th Century ◽  
The Novel ◽  
Nobel Lecture ◽  
Self Reflection ◽  
The Past ◽  
Patrick Modiano ◽  
French Writer ◽  
Third Person ◽  
The Difference

The article analyzes the novel by the modern French writer Patrick Modiano So You Don’t Get Lost in the Neighborhood (‘Pour que tu ne te perdes pas dans le quartier’, 2014) in terms of the genre poetics of the ‘novel about a novel’. The paper explains the use of the terms ‘novel about a novel’, ‘metanovel’, etc. in modern literary criticism. As part of research, there was studied the writer’s Nobel Lecture, read by him in the year of the novel’s publication, and the works of Modiano’s researchers from different countries. The conclusion is drawn about the game structure of the ‘novel about a novel’, which is architecturally connected with the French modernist tradition (M. Proust, A. Gide, and others). Throughout the novel, the herowriter Jean Daragane dreams of his own life, combining memories and imagination (the process of creative work, according to Modiano). Plunging into the past, Jean Daragane discovers in childhood a source of his loneliness (loneliness is a condition of the writer’s work and the theme of the ‘novel about a novel’). Recorded in a multitude of overlapping texts belonging to different genres (fake passport, business card, note book, phone book, article, letter, police report, dossier, brochure, novel, poems, etc.), the palimpsest novel creates a communicative space of dialogue, which is the only possible way out of loneliness for the writer. Inside the ‘self-begetting novel’ is the story of the creation of the hero’s first novel The Black Color of Summer (‘Le Noir de l'été’) as one of the intersecting storylines. Among the different intertextual references, Natural History by the French naturalist of the 18th century Buffon and the collection of poems by the eight-year-old girl Minou Drouet Tree, My Friend (‘Arbre, mon ami’) (1957) constitute the immediate context of the novel created in the process of reading and testify to its lyrical and philosophical character. Thus, Modiano’s work draws closer to the lyrical type of Proust’s ‘novel about a novel’, although the detective component and third-person narrative reveal the influence of A. Gide. The reference to the tradition of the modernist ‘novel about a novel’ emphasizes the author’s belonging to the ‘intermediate generation’ of writers who represent the difference between monumental novels of the past and fragmentary works of the present as self-reflection of the genre.

scholarly journals The Use of Japanese Personal Pronoun based on Gender in “Narcissu” by Tomo Kataoka

2020 ◽  
Vol 5 (1) ◽  
pp. 50-57
Author(s):  
Hadiid Hideo Nusantara
Keyword(s):  
Foreign Language ◽  
Language Learners ◽  
Point Of View ◽  
Personal Pronoun ◽  
The Novel ◽  
Second Person ◽  
Foreign Language Learners ◽  
Third Person ◽  
The Difference ◽  
Descriptive Method

This article discussed the difference of Japanese pronouns based on gender from literature point of view. The database of this study was a novel entitled “Narcissu” by Japanese author Tomo Kataoka. The research method used in this research was descriptive method. In analysing the novel, author used the morphology theories by Harumi Tanaka (1982). The findings of this study showed that the use of personal pronoun including first-person pronouns, second-person pronouns, and third-person pronouns in the novel were influenced greatly by gender. The difference in using these personal pronouns were caused by the difference in man and woman’s perception. Based on the data, there were tendency that the speakers choose the best word to utter to their interlocutor based on their own perspective, influenced by the situation and the context. The findings of this study was expected to help foreign language learners to understand better about the use of Japanese personal pronoun based on gender, mainly in conversation.

Optical Properties of HVEM Accelerators

1975 ◽  
Vol 33 ◽  
pp. 180-181
Author(s):  
A. Strojnik ◽  
J.W. Scholl ◽  
V. Bevc
Keyword(s):  
Optical Properties ◽  
Electron Accelerator ◽  
Systematic Investigation ◽  
Electron Source ◽  
High Brightness ◽  
The Past ◽  
Wide Range ◽  
Optical Behavior

The electron accelerator, as inserted between the electron source (injector) and the imaging column of the HVEM, is usually a strong lens and should be optimized in order to ensure high brightness over a wide range of accelerating voltages and illuminating conditions. This is especially true in the case of the STEM where the brightness directly determines the highest resolution attainable. In the past, the optical behavior of accelerators was usually determined for a particular configuration. During the development of the accelerator for the Arizona 1 MEV STEM, systematic investigation was made of the major optical properties for a variety of electrode configurations, number of stages N, accelerating voltages, 1 and 10 MEV, and a range of injection voltages ϕ0 = 1, 3, 10, 30, 100, 300 kV).

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