scholarly journals Resepsi Teks Pararaton: dari Serat ke Novel

2018 ◽  
Vol 10 (1) ◽  
pp. 1
Author(s):  
Abdul Hakim
Keyword(s):  
Reception Theory ◽  
The Novel ◽  
New Form ◽  
The Creation

This paper is ground by the presence of novel Pararaton as a new form of text Pararaton. The problem in this paper is how the Pararaton text is perceived into a novel form. This paper aims to explain the novel differences with the classic Pararaton texts and to show an inversion in the form of a novel that is adapted according to the horizon of today's readers' expectations. To address this problem, this paper uses Hans Robert Jauss' reception theory and phenomenology methods. This paper shows some analysis results.  First, the novel Pararaton shows richer with narrative detailing than the Pararaton text. Secondly, Novel Pararaton also shows the creation of the depiction of Ken Arok, Ken Dedes, and Tunggul Ametung. The creations relate to the expectations horizon of today's society. Third, Pararaton's novel as a reflection of Pararatonic classical texts, figures or characterizations, story settings, and grooves. Fourth, the novel Pararaton presented with a full ethical narrative in describing the characters Tunggul Ametung and Ken Arok.Key word: novel Pararaton, reception, the expectation horizon, inversion

The Short Story: A Very Short Introduction

2021 ◽  
Author(s):  
Andrew Kahn
Keyword(s):  
19Th Century ◽  
Short Story ◽  
Popular Fiction ◽  
The Novel ◽  
Short Introduction ◽  
The Press ◽  
Character Study ◽  
The Creation ◽  
The 19Th Century ◽  
Plot Design

The Short Story: A Very Short Introduction charts the rise of the short story from its original appearance in magazines and newspapers. For much of the 19th century, tales were written for the press, and the form’s history is marked by engagement with popular fiction. The short story then earned a reputation for its skilful use of plot design and character study distinct from the novel. This VSI considers the continuity and variation in key structures and techniques such as the beginning, the creation of voice, the ironic turn or plot twist, and how writers manage endings. Throughout, it draws on examples from an international and flourishing corpus of work.

Violence, Memory, and History: Geoffrey of Monmouth and Kazuo Ishiguro’s The Buried Giant

2021 ◽  
Vol 8 (3) ◽  
pp. 323-344
Author(s):  
Jonathan Brent
Keyword(s):  
Middle Ages ◽  
Geoffrey Of Monmouth ◽  
King Arthur ◽  
The Novel ◽  
Kazuo Ishiguro ◽  
History Of ◽  
The Creation

Kazuo Ishiguro has suggested that his work of medieval fantasy, The Buried Giant (2015), draws on a “quasi-historical” King Arthur, in contrast to the Arthur of legend. This article reads Ishiguro’s novel against the medieval work that codified the notion of an historical King Arthur, Geoffrey of Monmouth’s History of the Kings of Britain (c. 1139). Geoffrey’s History offered a largely fictive account of the British past that became the most successful historiographical phenomenon of the English Middle Ages. The Buried Giant offers an interrogation of memory that calls such “useful” constructions of history into question. The novel deploys material deriving from Geoffrey’s work while laying bear its methodology; the two texts speak to each other in ways sometimes complementary, sometimes deconstructive. That Ishiguro’s critique can be applied to Geoffrey’s History points to recurrent strategies of history-making, past and present, whereby violence serves as a mechanism for the creation of historical form.

Homosexualité, Islam et désacralisation du pouvoir royal dans Le jour du Roi d'Abdellah Taïa

2021 ◽  
pp. 127-143
Author(s):  
Taïeb Berrada
Keyword(s):  
The Other ◽  
The Novel ◽  
Identification Process ◽  
Male Characters ◽  
Oedipal Complex ◽  
The Creation

In his novel Le jour du Roi Abdellah Taïa explores the theme of alterity in its relation to two political and symbolic forces: expressing one’s self in the language of the Other and narrating homo-erotic and homosexual relationships in Morocco under the dictatorship of Hassan II. It is the translation of these two aspects that leads to the creation of a new narrative about homosexual Franco-Moroccan identity. This narrative, in turn, reveals the instability of a model of identification subjected to a normalizing sexual apparatus controlling bodies and minds in a place where homosexuality is still punishable by law. This renders the identification process for the two main characters of the novel particularly problematic as they can no longer sustain it without going back to the sources of foundational myths and more particularly to the original murder in Islam. This article argues that the killing of one character by the other goes back to the original murder of Abel by Cain, a model which becomes emancipated from the Western Oedipal complex, translating a new conception of a love relation between two male characters. By so doing, it calls for a reevaluation of the normativity imposed by the king who is using his power based on a patriarchal interpretation of religious legitimacy in view of political gain.

Marivaux's Place in the Development of Character Portrayal

PMLA ◽  
1912 ◽  
Vol 27 (2) ◽  
pp. 168-187
Author(s):  
Edward Chauncey Baldwin
Keyword(s):  
The Novel ◽  
Modern Novel ◽  
New Form ◽  
Continuous Narrative

When in 1710-11 the Sir Roger de Coverley papers appeared in the Spectator, the art of the novel seemed to have been discovered. The wonder is that people did not sooner awaken to a realization that a new form of art had been created. The faithful description of life and manners was there, the interest of character and incident was also present. The essays needed but to have been thrown into the form of a continuous narrative to have given us at least the germ of the modern novel. As a matter of fact, however, the actual appearance of the novel was delayed for nearly three decades.

Miki Kiyoshi

2015 ◽  
pp. 446-464
Author(s):  
Melissa Anne-Marie Curley
Keyword(s):  
The State ◽  
Kyoto School ◽  
Logic Of Imagination ◽  
School Philosophy ◽  
New Form ◽  
The Creation

Miki Kiyoshi (1897–1945) worked at the intersection of Marxism and Kyoto School philosophy. His later work explored the place of imagination in the historical dialectic. Miki held that the power of imagination was apparent in myths, institutions, and technologies, each of which represented the mediation of subjective will and objective reason. This subjective will could be either individual or collective—in his discussion of the institution, Miki posited that a collective subject he referred to as “creative society” drove the creation of new historical forms. Miki described creative society moving toward a new form of egalitarian fellowship that would transcend the existing state; Iwasaki Minoru points out, however, that Miki’s logic was used by the state to support its imperialist projects in Asia. The chapter closes by suggesting the possibility of rehabilitating Miki’s logic of imagination by refocusing on his treatment of affect and desire.

scholarly journals Forgotten Books: On the Making of Jane Porter’s "Thaddeus of Warsaw"

2020 ◽  
Vol 47 (2) ◽  
pp. 309-328
Author(s):  
Joel J. Janicki
Keyword(s):  
Great Britain ◽  
18Th Century ◽  
Political Engagement ◽  
Moral Reform ◽  
The Novel ◽  
Cautionary Tale ◽  
National Hero ◽  
The Creation

This article attempts to identify and examine some of the factors and sources that led to the creation of a largely forgotten prose work of English fiction titled Thaddeus of Warsaw (1803) which became an immediate and extraordinary success. Jane Porter’s novel deals with a fictitious Polish patriot Thaddeus Sobieski, who is modelled on the Polish national hero Tadeusz Kosciuszko. The novel presents an excellent illustration of the cultural links between Great Britain and Poland towards the end of the 18th century and constitutes a cautionary tale for Porter’s English readers, one that creates a basis for moral reform and political engagement.

scholarly journals TYPOLOGY AND STRATEGIES OF CREATIVE RECEPTION: A CASE STUDY OF ENGLISH POSTMODERNIST POETRY AND PROSE

2020 ◽  
Vol 12 (2) ◽  
pp. 110-119
Author(s):  
Maria S. Sloistova ◽  
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Reception Theory ◽  
Ivory Tower ◽  
The Novel ◽  
Literary Works

The paper focuses on complex research and description of creative reception theory and typology. There are provided definitions of such terms as reception, creative reception, creative reception strategies, and others. The author builds the typology of creative reception on the basis of works by E. V. Abramovskikh, S. Ye. Trunin, M. V. Zagidullina, V. I. Tyupa, and M. Naumann. This typology includes two types (or levels) of creative reception, defined as classic and postmodernist. Each of the types is characterized by a number of strategies, i. e. ways of representing an artistically received text in one’s own work. The classic type strategies (formal, authentic, neutral and antithetical) focus primarily on plot transformation. As for the postmodernist level, the author singles out two strategies: congenial and play. The theory and typology of creative reception is substantiated with some examples of reminiscences and allusions to English and world poetry. The examples under analysis are taken from the following prose works by the outstanding English postmodernist writer John Robert Fowles (1926–2005): the novel The French Lieutenant’s Woman (1969), the collection of long short stories The Ebony Tower (1974), the philosophic book The Aristos (1964), and also the lyric collection Selected Poems, published posthumously in 2012. The collection has not been translated into Russian yet. Therefore, the poem under analysis (Islanders) has been translated into Russian by the author of the present paper. The paper also deals with indirect Biblical reception which is found in the allusion to the ivory tower. The allusion gave the title The Ebony Tower both to Fowles’ long short story and collection as a whole. The author of the paper draws a conclusion about the dominant creative reception strategies in the literary works under analysis and also about the possible use of the presented creative reception typology in analyzing works by other writers.

scholarly journals Interpretation of an Epoch in the Novel "the Big Green Tent" by L. Ulitskaya: Linguistic-Cultural Analysis of Verbal Lexicon

2017 ◽  
Vol 6 (5) ◽  
pp. 116
Author(s):  
Ildar Ch. Safin ◽  
Elena I. Kolosova ◽  
Tatyana A. Gimranova
Keyword(s):  
Careful Analysis ◽  
Literary Text ◽  
Cultural Analysis ◽  
The Novel ◽  
Emotional Experiences ◽  
Russian Verb ◽  
The Creation ◽  
The Individual ◽  
Emotional Style ◽  
Illustrative Material

<p> This article is the verbal lexicon analysis based on the text of the novel "The Big Green Tent" by L. Ulitskaya. The creative manner of the contemporary writer attracts the attention of researchers, her writings describe the emotional experiences of the heroes and also give a generalized image of time full of historical details and features. The language of her stories and short stories is characterized by a special style in the description of time realities. A verb in the text allows the author to express the events and the circumstances that characterize an action in its dynamics due to the fact that verbal categories reflect the real reality in our consciousness. The method of linguistic cultural analysis of verbal lexicon in the novel "The Big Green Tent" made it possible to single out exactly those language units that the writer carefully selects for the creation and interpretation of the era. A special emphasis in the study is made on the creation of an expressive-emotional style of narration using the stylistic capabilities of the Russian verb. The individual author's methods of narration expressiveness creation are singled out: synonymous series, euphemisms, colloquial lexicon, etc. The conducted study and a careful analysis of the selected factual material testifies that, recreating an epoch, the master of the word invariably uses that language arsenal that brightly and fully conveys the color of time. L. Ulitskaya is able to be not only an indifferent witness of the epoch, but also her tenacious observer and interpreter. The analyzed factual material and the main points of this research can be used in the courses on stylistics and linguistic culturology, and also as an illustrative material during the classes on the linguistic analysis of a literary text.</p>

scholarly journals Kino, czytelnik i czytający. O Geniuszu Michaela Grandage’a

2019 ◽  
Author(s):  
Piotr Zwierzchowski
Keyword(s):  
Publishing House ◽  
The Novel ◽  
Ulterior Motive ◽  
Thomas Wolfe ◽  
The Creation ◽  
House Building ◽  
Adam Mickiewicz

Zwierzchowski Piotr, Kino, czytelnik i czytający. O Geniuszu Michaela Grandage’a [The Cinema and Two Types of Readers. About Michael Grandage’s Genius]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 371–381. ISSN 1644-6763. DOI 10.14746/pt.2019.32.20. In Genius (2016) by Michael Grandage books are present in many ways. The main characters are William ‘Max’ Perkins, an editor of the Charles Scribner’s Sons publishing house and Thomas Wolfe, a writer starting out at the time. The film is concerned with their relationship and the creation of the novel. The book functions as both a work and an artefact (also as typescript). Literature is a conversation topic and a way of living. One of the most important spaces is the publishing house building. Piotr Zwierzchowski, however, analyses Genius primarily as a contribution to reflections on the act of reading and its film visualization, referring to the distinction introduced by Alberto Manguel(modelled on Barthes’ écrivain and écrivant) between the reader as someone who reads “with no ulterior motive” and one “for whom the text is a vehicle towards another function”.

scholarly journals City image as a personification of female nature in “The Dead [City of] Bruges” by Georges Raymond Constantin Rodenbach

2021 ◽  
Vol 27 (1) ◽  
pp. 106-109
Author(s):  
Marina A. Kozlova
Keyword(s):  
Literary Tradition ◽  
The Novel ◽  
City Image ◽  
Image System ◽  
The Creation ◽  
The Dead ◽  
The City

The paper is devoted to the peculiarities of the creation of the personified image of the city in the novel “The Dead [City of] Bruges” by Georges Raymond Constantin Rodenbach, which, according to the author himself, represents not only the protagonist, but also its organising force. The Belgian author draws on an earlier literary tradition, according to which the city appears to the poet's mind in the form of a woman. The image of the city is built on the combination and interaction of different elements, among which those that are considered in the article: the theme of duality, the motif of reflection, which becomes the main constructional principle of the image system of the novel, as well as references to mythological and literary archetypes. The theme of duplicity is directly connected with the category of correspondence or analogy, which is central to Rodenbach's oeuvre and forms a peculiar poetics of reflection and determines the choice of expressive means. Dualism is associated with a hostile, dark and demonic force, contrasted with the "holy" and infallible feminine ideal, embodied in the image of the perished beloved, who is also a prototype of the city. The poeticised image of the city is related to archetypical figures that are typical of European symbolism – first of all, Ophelia, but also Orpheus and Narcissus, all this through an appeal to the symbolism of water and the otherworld, then through the main character's attempt to overcome the border between worlds and create a new myth about love that defeats death.

Sign in / Sign up

Export Citation Format

Share Document