“The Parish Boy's Progress”: The Evolving Form of Oliver Twist

PMLA ◽  
1978 ◽  
Vol 93 (1) ◽  
pp. 20-32 ◽  
Author(s):  
William T. Lankford
Keyword(s):  
Point Of View ◽  
Narrative Form ◽  
The Novel ◽  
The Law ◽  
The City

Dickens progressively transforms the controlling conventions of Oliver Twist during the course of the novel to explore deeply rooted moral tensions involving innocence, evil, and the law. The opening satire degenerates into moralistic melodrama as Oliver changes from a typical parish boy to “the principle of Good.” But this sentimental Providentialism breaks down at the country funeral, and in the city the narrative form evolves to discover a more complex and humane morality. Although the plot remains occupied with the triumph of good, the symbolic pattern of the action suggests a hidden resemblance between Oliver and the thieves. The point of view moves toward closer identification with the harried, but increasingly humanized, criminals. The life of the novel resists repression even as the ending enforces the law. “The Parish Boy’s Progress” ends at the gallows, but Fagin takes Oliver’s place there.

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

L’absence chez Michel Butor. L’Emploi du temps et Degrés

2012 ◽  
pp. 66-80
Author(s):  
Michał Mrozowicki
Keyword(s):  
Human Memory ◽  
Point Of View ◽  
Narrative Discourse ◽  
The Novel ◽  
Michel Butor ◽  
Starting Point ◽  
One Year ◽  
The Moment ◽  
Narrative Mode ◽  
The City

Michel Butor, born in 1926, one of the leaders of the French New Novel movement, has written only four novels between 1954 and 1960. The most famous of them is La Modification (Second thoughts), published in 1957. The author of the paper analyzes two other Butor’s novels: L’Emploi du temps (Passing time) – 1956, and Degrés (Degrees) – 1960. The theme of absence is crucial in both of them. In the former, the novel, presented as the diary of Jacques Revel, a young Frenchman spending a year in Bleston (a fictitious English city vaguely similar to Manchester), describes the narrator’s struggle to survive in a double – spatial and temporal – labyrinth. The first of them, formed by Bleston’s streets, squares and parks, is symbolized by the City plan. During his one year sojourn in the city, using its plan, Revel learns patiently how to move in its different districts, and in its strange labyrinth – strange because devoid any centre – that at the end stops annoying him. The other, the temporal one, symbolized by the diary itself, the labyrinth of the human memory, discovered by the narrator rather lately, somewhere in the middle of the year passed in Bleston, becomes, by contrast, more and more dense and complex, which is reflected by an increasinly complex narration used to describe the past. However, at the moment Revel is leaving the city, he is still unable to recall and to describe the events of the 29th of February 1952. This gap, this absence, symbolizes his defeat as the narrator, and, in the same time, the human memory’s limits. In Degrees temporal and spatial structures are also very important. This time round, however, the problems of the narration itself, become predominant. Considered from this point of view, the novel announces Gerard Genette’s work Narrative Discourse and his theoretical discussion of two narratological categories: narrative voice and narrative mode. Having transgressed his narrative competences, Pierre Vernier, the narrator of the first and the second parts of the novel, who, taking as a starting point, a complete account of one hour at school, tries to describe the whole world and various aspects of the human civilization for the benefit of his nephew, Pierre Eller, must fail and disappear, as the narrator, from the third part, which is narrated by another narrator, less audacious and more credible.

Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

scholarly journals Vuoret ja kaupunki vastakohtaisina tiloina Alisa Ganijevan teoksissa

2016 ◽  
pp. 7-22
Author(s):  
Anni Lappela
Keyword(s):  
Central Element ◽  
Point Of View ◽  
The Novel ◽  
Way Of Life ◽  
The Real ◽  
Key Concepts ◽  
The City ◽  
Geographical Space

Mountains and City as Contrary Spaces in the Prose of Alisa Ganieva I analyze Alisa Ganieva’s novel Prazdnichnaia gora (2012) and her novella Salam tebe, Dalgat! (2010) from a geocritical (Westphal, Tally) point of view. Ganieva was born in 1985 in Moscow, but she grew up in Dagestan, in North Caucasia. Since 2002, she has lived in Moscow. All Ganieva’s novels are set in present-day Dagestan, not only in the capital Makhachkala but also in the countryside.  I study the ways the two main spaces and main milieus, the mountains and the city, oppose each other in Prazdnichnaia gora. I also analyze how this opposition constructs the utopian and dystopian discourses of the novel. In this high/low opposition, the mountains appear as the utopian place of a better future, and the city in the lowlands is depicted as a dystopian place of the present-day life. The texts’ multilayered time is also part of my analysis, which follows Westphal’s idea of the stratigraphy of time. Furthermore, the mountains are associated with the traditional way of life and the Soviet past. In this way, the mountains have two kinds of roles in the texts. Nevertheless, the city is a central element of the postcolonial dystopian discourse of Prazdnichnaia gora. In my opinion, Ganieva’s texts problematize referentiality, one of the key concepts of geocriticism. Whilst the city tends to be very referential, the mountains escape the referential relationship to the “real” geographical space.

scholarly journals REPRESENTASI SOSIAL SANTRI DAN KOTA DALAM NOVEL HUBBU KARYA MASHURI (SEBUAH TINJAUAN SOSIOLOGI SASTRA)

SUAR BETANG ◽  
2019 ◽  
Vol 14 (1) ◽  
Author(s):  
Imam Muhtarom
Keyword(s):  
Real Life ◽  
Social Representation ◽  
Point Of View ◽  
The Novel ◽  
Sociology Of Literature ◽  
Outer World ◽  
The City

Mashuri’s Hubbu is all about the life of a santri which was not always inline with the schools’ rules. This novel takes a picture of a failed santri. The main actor of the novel, Jarot, have had not succeed of holding the schools principles. He broke the rules when attending lectures in Surabaya. This is a sociology of literature point of view paper. It figures out the city’s social realities which change the life of the actor. It also identifies how the novel get its social basic. In this sense, Hubbu is a social representation of reality. The novel provides values dispute when a santri live in outer world which is actually his real life. He should adapt to this different environment without losing his previous status? He can also be rolled up by seculary values offered by the life of the city.

The Abstruse Syntax of Law in Wilkie Collins’s The Law and the Lady

Pólemos ◽  
2019 ◽  
Vol 13 (2) ◽  
pp. 265-281
Author(s):  
Michela Marroni
Keyword(s):  
Public Opinion ◽  
Point Of View ◽  
The Novel ◽  
Social Implication ◽  
Autobiographical Writing ◽  
Masculinity And Femininity ◽  
The Law ◽  
Sensation Novel

Abstract From the point of view of the British juridical system, The Law and the Lady can be interpreted as a sensation novel whose crucial albeit indirect message must be read in the context of Collins’s legal reformism. As well as challenging the Scottish verdict of Not Proven, the heroine of the novel, Valeria Brinton, presents herself as a woman detective who is anxious to prove her husband’s innocence before both the court and public opinion. Underlining the peculiarity of her mission is a destabilising tension which, in its social implication, is aimed to challenge the conformism and love of orthodoxy typical of the Victorian ethos. In this sense, Valeria’s gendered autobiographical writing, while giving full evidence to her resourceful womanhood, dramatises the blurring of the confine between masculinity and femininity and, at the same time, offers a representation of the old-fashioned and abstruse protocols of British law.

Modernity and Its Ruins in Of Love and Other Demons

2021 ◽  
pp. 537-557
Author(s):  
Nereida Segura-Rico
Keyword(s):  
Eighteenth Century ◽  
Magical Realism ◽  
Point Of View ◽  
The Novel ◽  
Colonial Latin America ◽  
Memento Mori ◽  
Binary Oppositions ◽  
Lettered City ◽  
Cartagena De Indias ◽  
The City

In Of Love and Other Demons (1994), García Márquez presents a tableau of daily life in the city of Cartagena de Indias in the eighteenth century with the opening paragraphs of the novel, situating the center of the action in the harbor and a ship with slaves that had arrived from Guinea. In order to depict the city and its inhabitants, the narrator adopts the point of view of a chronicler, positioning himself within the discourses of power of the metropolis in colonial Latin America. This article analyzes the subversion of those discourses of power that the narrative voice carries out from within, as it seemingly anchors the action in an identifiable space and time, only to dismantle the pretension of progress, historical or otherwise. The narrator-chronicler—an extension of the author-journalist in the introductory pages to the novel—intertwines competing philosophies and ideologies not through the all-encompassing view of magical realism but by laying bare the binary oppositions enacted by “the lettered city.” Having been born from the bones discovered in the crypt of the convent, the whole narrative becomes a memento mori, its development punctuated by instances of illness and demise, such as the corpses of the slaves afloat in the harbor, or the annihilation of reason, both literally and metaphorically, signified in a diagnosis of rabies. Thus, the novel cannot but be an extension of death, an ironic chronicling of a progress arrested by its material and moral ruins.

Raskolnikov’s Breaking the Law

2019 ◽  
Vol 20 (1) ◽  
pp. 55-76
Author(s):  
Jordi Morillas
Keyword(s):  
Careful Analysis ◽  
Point Of View ◽  
The Novel ◽  
Crime And Punishment ◽  
The Law ◽  
Marxist Interpretation

In this article we analyse the Marxist interpretation of F. M. Dostoevsky’s Crime and Punishment. Although Raskolnikov’s worldview may share some features with a socialist point of view, the hero of Dostoevsky’s first novel of ideas represents a complete ideological antithesis to Socialism. Thanks to a careful analysis of Raskolnikov’s utterances and with the help of Merezhkovsky’s reading of the novel, we conclude that if there is a Dostoevsky novel which resists a Socialist understanding, then this novel is Crime and Punishment.

scholarly journals In Search of the Meaning of Umberto Eco’s Narrative Metaphor “To Catch a Orange Dove”

2020 ◽  
pp. 256-277
Author(s):  
Alyona Tychinina
Keyword(s):  
Point Of View ◽  
Narrative Form ◽  
The Novel ◽  
Narrative Strategy ◽  
Literary Style ◽  
Methodological Basis ◽  
Figure Of Speech ◽  
The Relationship

The narrative specifics of Umberto Eco’s novel “The Island of the Day Before is regarded through a basic idea of the narrative metaphor “The Orange Dove”. The methodological basis of the study is a summary concept of the relationship between narrative and metaphor. These are O. Freidenberg’s hypothesis of metaphor as a future narrative form of plots and genres; F. Ankersmit’s narrative logic of metaphor’s transformation into a plot through a “point of view”; P. Recoeur’s “common innovative nucleus” in narrative and metaphor designed for productive imagination; G. Genette’s “narrative modality” and regulation of narrative information through metalepsis; R. Barthes’ dichotomy of “functions and indices” as an analogy of metonymic and metaphorical relations. In the article under discussion, we consider metaphor as a narrative principle that ensures its own presentation, generates its rhythm, creates personosphere, and involves a reader in an intellectual game. Such a way of metaphor formation marks U. Eco’s literary style. In his novel “The Island of the day Before”, the following distinctive range of metaphors play a very constructive role: metaphor of sleep, metaphor of love as a source of creative activities, metaphor of duality, metaphor of hatred. Above all, it is worth pointing out author’s epistemological metaphor, which is closely related to the search of truth: in the latter sense, the “Orange Dove” is associated with a post-modernist analogue of the “Blue Rose”, borrowed from the epoch of Romanticism. Due to the technique of metalepsis (“the figure of speech denoting author’s intrusion”), offered by G. Genette, the narrator demonstrates his metaphoric intentions through the discourse of a character-narrator. In conclusion, narrative metaphor of the novel directs the narrative strategy to a variety of its numerous versions, which may be implemented owing to reader’s competence.

scholarly journals Contemporary Najafi Poetry of (The Poet Ahmed Al-Dujaili and the Significance of the Place in his Poetry)

2021 ◽  
Vol 13 (2) ◽  
pp. 723-731
Author(s):  
Dr. Muna Salah Hasan
Keyword(s):  
Political Context ◽  
Point Of View ◽  
The Novel ◽  
Spatial Structures ◽  
Good Luck ◽  
Critical Studies ◽  
The Third ◽  
Artistic Vision ◽  
The Subject ◽  
The City

The city of Najaf is an environment full of scholars, writers and poets, and this benevolent city has produced stallions of poets, including the poet Sheikh Ahmed Al-Dujaili (1924-1991 AD), whose poetic output I chose in his Diwan (palms) and the significance of the place in it is the subject of this research. Extrapolation of the historical, social and political context in which the poetic experience was born and its impact and influence on the place and an attempt to dismantle its connotations, structures and forms of presence in the text from the poet's relationship with the place and his artistic vision of it. The poets looked at the place with a creative view that transcends the material to reveal its emotional repercussions generated as a result of the active relationship between the poet and the place. And a place that enables him to determine the dimensions of his experience and give it the space in which it was formed. Recent critical studies have tended in recent years to study spatial structures in the narrative narratives, which have taken the place as a tool for dealing with and treating, and as a means of relying on literary works, whether those related to poetry or the novel. Skipping theorizing and defining the terms and definitions related to the place from a philosophical, linguistic and literary point of view, because I think that they do not enrich the research with anything, especially since many studies have preceded us in this field. The research consists of three axes, the first axis: talks about the life of the poet Ahmed Al-Dujaili, the second axis: the place between the poetic and the poet, and the third axis: the semantics of the place in his poetry, including: religious places, political places, scientific places, military places, and finally natural places, then the conclusion, the margins, the list of sources and from God Good luck and payment.

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