Points of View: An Anthology of Short Stories

1970 ◽  
Vol 59 (5) ◽  
pp. 739
Author(s):  
Peter Sisario ◽  
James Moffett ◽  
Kenneth R. McElheny
Keyword(s):  
Short Stories ◽  
Points Of View

scholarly journals The system of points of view in Vasily Shukshin's short stories

2021 ◽  
Vol 27 (3) ◽  
pp. 148-154
Author(s):  
Natalia A. Guz ◽  
Yulia G. Babicheva
Keyword(s):  
Short Stories ◽  
Scientific Understanding ◽  
Point Of View ◽  
The Other ◽  
Frequent Change ◽  
History Of ◽  
Points Of View ◽  
First Time

The purpose of the work is to explore the point of view in Vasily Shukshin's short stories in its systematic and diverse manifestation. Topicality is provided by the exceptional significance of this category in narratology. The study of the point of view based on the material of short stories by Vasily Shukshin has been conducted for the first time. The article briefly traces the history of scientific understanding of the category of point of view in foreign and Russian philology and notes the variety of approaches and definitions in the formulation of the concept. The authors use the classification of Boris Uspenskij for analysis and consider the point of view in Vasily Shukshin's short stories in psychological, ideological (evaluative), spatial-temporal and phraseological terms. The positions of Boris Korman, Yuri Lotman, Wolf Schmid and Franz Karl Stanzel also take into account. The authors note the features of Vasily Shukshin's narration that affect the expression of the point of view in the text. Vasily Shukshin's short stories are characterised by a dynamic and frequent change of points of view, which indicates the technique of “montageˮ and similarities in this regard with cinematic techniques. The conclusions generalise the variety of ways and forms of expression of the point of view in the studied artistic material. The point of view in the considered stories is characterised by variability in the correlation of subjects of speech and subjects of consciousness, alternation of external and internal points of view, mutual transitions from one to the other, text interference and other hybrid phenomena.

scholarly journals Towards a Bilingual Binational Translation Method: The Amputated Tongue Collection of Short Stories as a Sample

2021 ◽  
Vol 4 (12) ◽  
pp. 132-145
Author(s):  
Rawiya Burbara
Keyword(s):  
Short Stories ◽  
Cultural Knowledge ◽  
The Other ◽  
New Method ◽  
Arabic Literature ◽  
Translation Method ◽  
Dual Method ◽  
Culture Heritage ◽  
Points Of View ◽  
The Right

Translators and writers are divided into two main groups regarding the method of translation that should be adopted in translating texts. One group believes that the translator should be true to the translated text, while the other group believes that the translator has the right to recreate the text into a more beautiful one.  This study deals with this issue from these two points of view and tries to answer the following questions: Why do we translate? What should we translate? How do we translate? The study relies on an innovative translation method developed by the Board of Maktoub Project for Translation that belongs to Van Leer Institute in Jerusalem to answer these questions. A group of about one hundred Arab and Jewish translators translated Arabic literature texts into Hebrew in an internationally new method, which is neither individual nor collective. It is a bilingual binational method. The translators consist of pairs of a Jewish or/and Arab translator, an Arab/or Jewish literary editor, and a linguistic editor, believing that translation is a text and culture, heritage, and traditions of a people or nation. This dual method gave the translated text its right of accuracy after it had been translated by one translator who can make mistakes due to his ignorance of the writer's culture. The study's conclusion confirms that bilingual binational translation is more fruitful and more accurate because it is based on dialogue, bilingual, and binational cultural knowledge.

The effect of points of view on the readability of short stories

2003 ◽  
Vol 13 (2) ◽  
pp. 469-471 ◽  
Author(s):  
F. Pourgiv ◽  
F. Sadighi ◽  
M.H. Nikzad Kaloorazi
Keyword(s):  
Short Stories ◽  
Points Of View

scholarly journals The mythopoetics role in the formation of the chronotope of L. Andreev’s play "Anatema"

2020 ◽  
Keyword(s):  
Short Stories ◽  
The Sun ◽  
Wide Context ◽  
The Bible ◽  
History Of ◽  
Points Of View ◽  
Productive Research ◽  
New Drama ◽  
The Town

The analysis of poetics of L. Andreev’s play “Anathema” showed that productive research of this drama is possible only in the wide context of works, that not only form the dramatical cycle “The God, devil and men” but a series of L. Andreev’s short stories and stories, where the author interprets the Bible history of Jove (“ The life of Vassilyj Fivyskiy”, “The sun of men”) and the Gospel history of Christ and Judas (“Ben-Jovit”, “Judas Iskariot”) under different points of view. First of all we have in mind the role of ironical, nonortodoxal neomythologism in the drama “Anathema”. We also note that Andreev in the play “Anathema” advatageble used powerful philosophical and mythosymbolical potential not opened, like in drams “The Life of Man” and “Blach masks”, but closed artistic spaces – of desert and especially of sea, that becomes ideologically – artistical center of dram. Herewith the writer created volumetrical, manyleveled chronotop, where the town, devided by the gates from one side and the sea from another side become not only the most symbolically important space plans, but plotallyfounding pales. The study showed that the important role in this work play modernistic principles of representation of world and person as neomythologism, intertextuality, motifity, dominating of symbolical types and characters, irony, grotesque. The article “Life of a Man” demonstrated that the “new drama” by L. Andreev has been promoting such a type of conflict, which shows the way of collision, where the Wall resists the Man in its various forms. In the "new myth" of the writer, it turned to Rock (Someone in Gray). Therefore, the basis of the drama "Life of Man" was based on the conflict "Man and Rock", embodied in adequate artistic forms. The study of L. Andreev’s drama’s chronotop in various periods of his work, along with variability, demonstrates his apparent conceptual uniformity. The local framework, where he transfers the action in this play (the room where the Life of Man flows) is an invariant of special variation of locuses of early dramas and play of “panpsihe”. Apparently, both in prose, and in dramaturgy of the writer there was no evolution, the accents in the author’s concept only changed and the appropriate art means and image forms merely varied. Already in the first dramas all was put that only came to light, deepened and became more obvious.

Danilo Kish's Fictional Self аnd the Father's Figure („Garden. Ashes“ and „Hourglass“)

2021 ◽  
Vol 30 (3) ◽  
pp. 262-272
Author(s):  
Magdalena Kostova – Panayotova
Keyword(s):  
Short Stories ◽  
Early Care ◽  
Points Of View ◽  
Written Word

The article examines two novels from the trilogy of Danilo Kish ("Early Care", "Garden, ashes" and the Hourglass) - a writer and essayist, the descendant of a Hungarian Jew and a Montenegrin mother. Both in his novels and in his essays and short stories, the centre of many cultures and identities, a follower of Kafka, Joyce, the Tick and whose main themes always carry the shade of nostalgia, the marks of the vanished world, which is experienced as the only thing dear to the artist. The theme of the disappearing world of Hungarian Jews is told from three different points of view in the trilogy. For the unfortified Self in the trilogy, the disappearance of the father is connected with the wavering of the identity, with the search for grounds for the very existence. From the narration of horror, the apocalyptic crack of life and meaning, the lurking death that transcends everything because it is finality. But amid the devastation and doubt of the written word, there remains the hope that the story provokes the reader, outlining the space and giving meaning to pain, sacrifice and death.

scholarly journals CHANGES OF VIEWPOINTS IN INDONESIAN-ENGLISH TRANSLATION

2021 ◽  
Vol 5 (2) ◽  
pp. 36-42
Author(s):  
Susini Made ◽  
Sujaya Nyoman
Keyword(s):  
Short Stories ◽  
English Translation ◽  
Point Of View ◽  
Target Language ◽  
Data Sources ◽  
Language And Culture ◽  
Cultural Systems ◽  
English Translations ◽  
Points Of View ◽  
Cultural Bridge

This study concerns with translation which involves languages that have different linguistic and cultural systems. When a source and target language do not have the same system of language and culture, to some extent, equivalence cannot be directly achieved. By deploying Vinay & Darbelnet’s Modulation (1995) and House’s translation equivalence (2015), this study is to reveal the changes of point of view the translators did in translating texts from Indonesian into English. The data sources of this present study include Indonesian novels and short stories loaded with culture and their English translations. The analysis revealed that to create adequate target texts, the translators changed their points of view through some conditions. The changes include: a) negation of opposite; b) part for the whole; c) abstract for concrete; d) cause for effect; e) active for passive; f) space for time; g) change of symbols; and h) intervals and limits. Changing point of view becomes cultural bridge in the translation which involves languages with different culture.

scholarly journals NARRATIVE STRATEGIES IN L. ULITSKAYA ’S NOVEL THE KUKOTSKY ENIGMA

2020 ◽  
Vol 11 (3) ◽  
pp. 65-75
Author(s):  
I.S. Bukal ◽  
Keyword(s):  
Short Stories ◽  
Research Methodology ◽  
Research Result ◽  
The Novel ◽  
Narrative Strategies ◽  
Problem Statement ◽  
Narrative Strategy ◽  
The World ◽  
The Subject ◽  
Points Of View

Problem statement and goal. Lyudmila Ulitskaya is one of the most widely read contemporary Russian authors. L. Ulitskaya’s works are popular not only in Russia, but also in other countries. They arouse genuine research interest both among literary critics and linguists. Currently, there are more than two dozen dissertations, many review chapters in monographs, as well as scientific articles devoted to the analysis of such works of the author as novellas Sonechka, The Funeral Party, Women’s Lies; collections of short stories Poor Relatives, Girls, Gift not made with hands; novels Sincerely your Shurik, Medea and Her Children, Daniel Stein, Interpreter, The Big Green Tent. L. Ulitskaya’s novel The Kukotsky Enigma remains the least studied text of the author. In this article, the content of this novel is analyzed for narratology. The researcher reflects on one of the topical literary problems: the influence of narrative strategies on the reception of the author’s text. The research was based on the works by V. Tyupa, Yu. Lotman, N. Leiderman, and M. Lipovetsky. The research methodology is based on historical-cultural and structural-typological approaches. The subject of the research is the specifics of the implementation of narrative strategies in L. Ulitskaya’s novel The Kukotsky Enigma. Research result. Based on the analysis of L. Ulitskaya’s novel The Kukotsky Enigma, it is shown how the narrative strategy of the work affects its potential reception. Based on the concept by V. Tyupa, who defined the narrative strategy as a set of three equivalent bases (the narrative picture of the world, the narrative modality, and the narrative intrigue), the researcher identifies the changes that the narrative strategy undergoes in the course of the plot development, notes how these changes affect the poetics of the novel and its axiological content. Conclusion. The narrative strategy by which the narrative of the novel in question is organized can be defined as “the strategy of breaking the horizon of readers’ expectations”. Multiple changes in the narrative instance fill the work with a variety of points of view, creates a sense of ghostly, ephemeral events, and encourages the reader to independently search for the truth. The content of the novel is not directly dependent on the chronology of events. Fragments of the story are arranged inversely, segmentally, so that their juxtaposition contributes to the fullest understanding of the content. The narratives presented in the novel actualize the “ontological intrigue”, based on the representation of individual mythopoetic models and revealing the plot of comprehension of truth and purpose.

scholarly journals Chkhartishvili-Akunin's media project: metafictionality as meta-history

2020 ◽  
Keyword(s):  
Short Stories ◽  
Historical Novel ◽  
Russian Literature ◽  
Literary Work ◽  
Historical Narratives ◽  
New Historicism ◽  
The World ◽  
The Media ◽  
The Subject ◽  
Points Of View

Of particular relevance to modern literary studies is the study of the media of communicative poetics, which largely offset the traditional modernist paradigms of literary work. A related issue is the study of supertext unity, composed of author's projects with a complex narrative hierarchy and genre-stylistic hybridity. The typology of literary and medial projects embodying the phenomenon of new historicism in modern Russian literature (the works of V. Sharov, V. Sorokin, E. Vodolazkin, M. Shishkin, etc.) is highlighted. An undoubtedly significant place in this context belongs to the meta-historical project of Boris Akunin. The purpose of this article is to study the literary project of Boris Akunin as a medial system that coordinates the historiosophical motivations of the author with metatextual representations of genre-narrative models characteristic of modern literature. As a methodological key, an analysis of the productive interaction of scientistic and fictitious meanings of the concepts of “history” and “event”, as well as the corresponding cognitive traditions and practices of their understanding, is used. The study showed how “large” historical narratives are demonologized, undergoing the corrective influence of fictional ontological and anthropological models. This makes it relevant to appeal to the genres of jokes and short stories, detective and adventurous versions of a historical novel. The subject-narrative system activates polyphonic means – the interference of speech and the points of view of narrators and actors. Artistic time and space create many variations of the intersection of chronotopes, plot correlations, and motivational roll calls. Thus, the authority of the author is decentralized - he acts as a moderator of a multidiscursive set of telling versions – ‘stories’ and ‘events’. A system of authority masks is created, each of which embodies a new version of the Other's figure as a carrier of a different creative consciousness, an alternative ideology and a language for describing the world.

A Buenos Aires de Jorge Luis Borges a partir de “La Muerte y la Brújula” e “El Sur”

2015 ◽  
Vol 8 ◽  
pp. 203
Author(s):  
Pedro Henrique De Assis Mourão ◽  
Clarice Lage Gualberto
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Buenos Aires ◽  
Jorge Luis Borges ◽  
The South ◽  
Space Analysis ◽  
Literary Space ◽  
Points Of View

Este artigo realiza um estudo de duas narrativas de Jorge Luis Borges: “A morte a bússola” e “O sul”. O foco da pesquisa se concentra em Buenos Aires, discutindo como esse lugar é apresentado e caracterizado de forma distinta e porque é fundamental para a compreensão e a criação da atmosfera de dois dos mais bem elaborados contos de Borges. Assim, principalmente, sob o ponto de vista de María Adela Renard e Andréa Lúcia Paiva Padrão, este artigo visa a explorar como Buenos Aires se constitui como espaço literário, propondo possibilidades de reflexão acerca da presença peculiar de tal cidade nas duas narrativas que constituem o corpus deste trabalho. Além disso, são utilizadas: a crítica do conceito verdade real, construída no âmbito jurídico para interpretar os diferentes processos descritivos utilizados nos contos estudados, e algumas questões de análise espacial de acordo com a teoria da recepção, segundo Luis Alberto Brandão. A discussão feita ao longo deste artigo leva à conclusão de que Borges trata Buenos Aires de forma bastante diversa em cada conto, atribuindo a essa cidade sentidos e percepções singulares.AbstractThis article carries out a study on two narratives by Jorge Luis Borges, “Death and the Compass” and “The South”. The research is focused on Buenos Aires, discussing how this city is portrayed and characterized in very different but equally fundamental ways for the comprehension and creation of the atmosphere of two of the best elaborated Borges' short stories. Thus, especially, from the author's María Adela Renard and Andréa Lúcia Padrão's points of view, this work aims to explore how Buenos Aires is formed as a literary space, proposing reflection possibilities towards the city's peculiar presence in both narratives, which constitute the research corpus. Besides, the critique concerning the search of the truth principle, built in the juridical field, to interpret the different descriptive processes used in the studied short stories and some space analysis questions concerning the theory of the reception, according to Luis Alberto Brandão. The discussion carried out along the article takes to the conclusion that Borges treats Buenos Aires in deeply different manners in each short story, ascribing peculiar perceptions and meanings to this city.

The Administrative Novel

1959 ◽  
Vol 53 (2) ◽  
pp. 448-455 ◽  
Author(s):  
Rowland Egger
Keyword(s):  
Short Stories ◽  
Public Administration ◽  
Henry James ◽  
Reliable Information ◽  
Art And Science ◽  
Points Of View ◽  
The Way

Dwight Waldo, Stephen Bailey, and I, among others who have from time to time expressed admiration for certain litterateurs as sources of wisdom and understanding of the art and science of public administration, will undoubtedly ponder at length a statement in W. Somerset Maugham's latest collection of imponderabilia, Points of View. Maugham says:Only the very ingenuous can suppose that a work of fiction can give us reliable information on the topics which it is important to us for the conduct of our lives to be apprised of. By the nature of his creative gifts the novelist is incompetent to deal with such matters; his not to reason why, but to feel, to imagine, and to invent. He is biased. The subjects the writer chooses, the characters he creates, and his attitude toward them are conditioned by his bias. What he writes is the expression of his personality and the manifestation of his instincts, his emotions, his intuitions, and his experience. He loads his dice, sometimes not knowing what he is up to, but sometimes knowing very well; and then he uses such skill as he has to prevent the reader from finding him out. Henry James insisted that the writer of fiction should dramatize. That is a telling, though perhaps not very lucid, way of saying that he must so arrange his facts as to capture and hold his reader's attention. This, as everyone knows, is what Henry James consistently did, but, of course, it is not the way a work of scientific or informative value is written. If readers are concerned with the pressing problems of the day, they will do well to read, as Chekhov advised them to do, not novels or short stories, but the works that specifically deal with them.

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