Danilo Kiš's Metafictional Genealogies

2015 ◽  
Vol 59 (3) ◽  
pp. 391-412
Author(s):  
Jacob Emery
Keyword(s):  
Literary Text ◽  
The Other ◽  
Hermeneutic Circle ◽  
Book Of Nature ◽  
The Family ◽  
The Dead ◽  
Uncertain Future ◽  
The One ◽  
Family Cycle

This article describes the metaphorical identification of genealogy and language that is central to Danilo Kiš’s overarching project. In The Family Cycle and “The Encyclopedia of the Dead,” the documentation of history and the continuity of generations are worked into a single figurative system. This system has three major functions. First, children and texts complexly interact in the larger endeavor to preserve traces of the fragile past into an uncertain future. Second, the compulsion to identify with dead generations dramatizes the attractions and dangers inherent in fiction—overidentification with a character that overwhelms the reader’s or writer’s personality on the one hand, promiscuous dissolution into a world of metaphor on the other. Finally, genealogical figures form a metapoetic level that mirrors and focuses interpretation of the literary text. Notably, the dialectic between narrative and genealogy illuminates the hermeneutic circle in which finite texts appear as fragmented miniatures of some universal text, a book of nature or a “whole life.”

Elementy poetyki ludowej w powieści Rzeczy uprzyjemniające. Utopia T. Bołdak-Janowskiej

2020 ◽  
pp. 182-197
Author(s):  
Agnieszka Goral
Keyword(s):  
Fairy Tales ◽  
Text Analysis ◽  
Literary Text ◽  
Source Material ◽  
Human Existence ◽  
The Other ◽  
The Novel ◽  
Literary Works ◽  
The One ◽  
Cultural Features

The aim of the article is to analyse the elements of folk poetics in the novel Pleasant things. Utopia by T. Bołdak-Janowska. The category of folklore is understood in a rather narrow way, and at the same time it is most often used in critical and literary works as meaning a set of cultural features (customs and rituals, beliefs and rituals, symbols, beliefs and stereotypes) whose carrier is the rural folk. The analysis covers such elements of the work as place, plot, heroes, folk system of values, folk rituals, customs, and symbols. The description is conducted based on the analysis of source material as well as selected works in the field of literary text analysis and ethnolinguistics. The analysis shows that folk poetics was creatively associated with the elements of fairy tales and fantasy in the studied work, and its role consists of – on the one hand – presenting the folk world represented and – on the other – presenting a message about the meaning of human existence.

Lxxix: Conrad's Revision of “the Lighthouse” in Nostromo

PMLA ◽  
1937 ◽  
Vol 52 (4) ◽  
pp. 1183-1190
Author(s):  
George W. Whiting
Keyword(s):  
Dead Wood ◽  
The Other ◽  
Final Version ◽  
Fresh Material ◽  
The Dead ◽  
To Come ◽  
The One ◽  
Consummate Skill

To the student of writing and literature few inquiries are more interesting and valuable than that into an author's practices in revising his own work. To observe the various stages in the evolution of the final version, to note carefully an artist at his work of pruning the dead wood, adding fresh material, smoothing away harsh phrases, selecting just words, and letting light into obscure places—to do this is to come somewhat nearer to an understanding of what in spite of all analysis will remain essentially a mystery. Especially fascinating and instructive is the study of Conrad's revision, for here one sees a supreme artist at work. In his vigorous hewing and rebuilding there is conclusive proof of the artist's untiring industry and consummate skill. Conrad's revision of Nostromo is of particular interest, for this novel occupies a critical place in the evolution of Conrad's prose. Mr. Richard Curie has justly characterized the change that came over Conrad's prose—a change perceptible in the “Amy Foster” of Typhoon and fully marked in from Under Western Eyes onward. This evolution has smoothed away the cadence, has concentrated the manner, has toned down the style of Conrad's former exuberance. At first glance the later and the earlier Conrad appear two totally different men. The unruly splendor of the one has given way to the subtle and elastic suavity of the other … His earlier prose is sometimes uncertain, sometimes exaggerated, but his later prose has the uniform temper of absolute mastery.

THE ROLE OF THE OBITUARY PAGES IN FACSBOOK, IS IT FOR IMMORTALIZATION OR FOR CRYING OVER THE RUINS

2021 ◽  
Vol 3 (4) ◽  
pp. 119-126
Author(s):  
Hadeel EJMAIL
Keyword(s):  
Content Analysis ◽  
Social Interaction ◽  
Qualitative Approach ◽  
The Other ◽  
Dead Person ◽  
Screen Capture ◽  
The Dead ◽  
The One ◽  
Facebook Pages

Death is one of the most difficult topics a person can talk about. The human being is busy with how to continue his life and improve its conditions. This study aims is to explore the writing of Facebook pages of the dead. The research used the qualitative approach through a content analysis, where (50) publications were found on fifteen pages of a dead person with an intentional sample, and the results of the research showed that writing people in the pages of the dead included two directions, the first direction is a desire to immortalize the dead and a kind of preserving their roots Alive. As for the other direction, it was weeping over their ruins and showing the end of a person's death and his end life. Sometimes in the same post include both directions together, meaning "the use of the deceased’s account by his family by changing the profile picture of the dead, and at the same time inviting the deceased’s friends through his page to the memorial event. People write on the pages of the dead in order to weep over their ruins on the one hand, and to immortalize their memories on the other side. Facebook as a social platform and the interaction of people with the pages of the dead shows the great social interaction that takes place in this space, and research in this field is not consistent with one and only claim, as some posts are either temporary or permanent; Therefore, I have used screen capture technology to collect and retain information. The pages of the dead included referring to them, writing memorials and longing, etc. Facebook has become a social platform that allows those who lose a dear person to share their grief through it, and enables them to deal with death and relieve their pain

Transverse dam-break waves

2014 ◽  
Vol 758 ◽  
Author(s):  
S. Karimpour Ghannadi ◽  
Vincent H. Chu
Keyword(s):  
Froude Number ◽  
Flow Rate ◽  
Main Flow ◽  
Dam Break ◽  
The Other ◽  
Water Diversion ◽  
The Family ◽  
The One ◽  
Limiting Case ◽  
The Waves

AbstractNumerical simulations of the transverse dam-break waves (TDWs) produced by the sudden removal of a gate on the side of a waterway are conducted based on the shallow-water equations to find solutions to a family of water-diversion problems. The Froude numbers in the main flow identify the members of the family. The depth and discharge profiles are analysed in terms of Ritter’s similarity variable. For subcritical main flow, the waves are comprised of a supercritical flow expansion followed by a subcritical outflow. For supercritical main flow, on the other hand, the waves are analogous to the Prandtl–Meyer expansion in gas dynamics. The diversion flow rate of two-dimensional TDWs on a flat bed is 55 % greater than the one-dimensional flow rate of Ritter in the limiting case of zero main flow, and approaches the rate of Ritter in the other limit when the value of the Froude number in the main flow approaches infinity. The diversion flow rate over a weir is generally higher than the rate over a flat bed depending on the Froude number of the main flow. These numerical simulation results are consistent with laboratory observations.

W. Cameron Forbes in the Philippines: A Study in Proconsular Power

1966 ◽  
Vol 7 (2) ◽  
pp. 74-92 ◽  
Author(s):  
Robert M. Spector
Keyword(s):  
Civil War ◽  
Ralph Waldo Emerson ◽  
Family Firm ◽  
The Philippines ◽  
Turn Of The Century ◽  
The Other ◽  
The Family ◽  
The One

On his mother's side, W. Cameron Forbes was the grandson of Ralph Waldo Emerson, and on his father's, the grandson of John Murray Forbes, who made his fortune in the China clipper trade. He carried in his heredity the shrewd business ability of the one and the liberalism of the other. In Hofstadter's turn of phrase, he was the patrician as liberal. His wealth, his education — the best available (Milton Academy, Hopkinson School, Harvard) — would have entitled him to admittance to the innermost recesses of post-Civil War Republicanism. Yet he remained at best only affiliated with that party, and at heart an outspoken Independent. In 1892, on graduation from Harvard, he joined Stone and Webster, later gained experience in business as officer and director of several Boston banks, and then, just before the turn of the century, joined the family firm of J. M. Forbes and Co., Merchants.

scholarly journals Some Observations on Psychopathy

1966 ◽  
Vol 11 (2) ◽  
pp. 132-139
Author(s):  
Donald J. Mcculloch
Keyword(s):  
Antisocial Behaviour ◽  
Convincing Evidence ◽  
The Other ◽  
Treatment Programs ◽  
Human Being ◽  
The Family ◽  
The One ◽  
Sexual Object ◽  
Socializing Agents ◽  
Identical Behaviour

There is no convincing evidence to support the view that antisocial behaviour can be accounted for by reference to concepts such as learning defect, immaturity or lack of moral fibre. The criminal displays behaviour towards authorities identical to that displayed by a patriot in an occupied country towards the enemy. This identical behaviour, it is asserted by some, shows in the one case instability, cowardice, lack of resolve and in the other case, stability, courage, resolve and strength of will. These statements reveal the attitudes and bias of the observer without illuminating the situation of the observed. It is more relevant to examine what the psychopath has learned and the conditions in which his learning took place than to pursue enquiries aimed at demonstrating a learning defect. The human being is born without the attitudes, beliefs and sentiments towards e.g. property, sexual object etc., which are necessary for his successful incorporation into his ongoing social group. It is the intention of society's socializing agents, the family and the school, to inculcate in the developing human being these necessary attitudes, sentiments and beliefs. Psychopathic personalities are the consequence of the socializing process gone wrong. This paper describes the types of psychopath together with the learning situations which brought them about. The implications for treatment programs are examined.

scholarly journals THE CRITICISM OF LITERALISM IN READING THE QUR'AN THROUGH NASR HAMID ABU ZAYD HERMENEUTICS

2019 ◽  
Vol 4 (1) ◽  
Author(s):  
Naupal Naupal
Keyword(s):  
The Other ◽  
Hermeneutic Circle ◽  
Text Interpretation ◽  
Arab Culture ◽  
Other Hand ◽  
Interpretation Process ◽  
The Subject ◽  
The Times ◽  
The One

Abu Zayd believes that understanding the Qur'an is not limited to explanations or comments. It involves an interpretation process for capturing the significance (maghza) from the literal text. Interpretation also requires a presupposition that the Qur'an itself does not produce literal absolutes and certainty. The presupposition needs an interpretation that illustrates the possibility of accepting the diversity of Qur'anic interpretations in the times. By using Abu Zayd's hermeneutics, the Qur'an is an icon of Islam and at the same time a representation of Arab culture itself which is not necessarily literally absolute, but is open to interpretation. Hans Georg Gadamer's hermeneutic circle that inspired Hermeneutics of Abu Zayd emphasized that in understanding and applying the meanings of the text, the subject played a role in the text rather than the other way around. This study aims to open opportunities that the Qur'an on the one hand is an objective thing seen from the content of its truth, that is seen from its universal message, but on the other hand it is subjective, because it is bound by the interpretation of the text. This research is also intended to avoid the sacredness of the ordination of a single interpretation of the Qur'an which has resulted in the emergence of fundamentalism which has recently become so prevalent in global Islamic societies, not least in Indonesia.

scholarly journals Бытие и небытие смерти в смысловой картине реально- сти и художественного текста на материале романов Леонида Леонова Дорога на Океан и Максима Горького Жизнь Клима Самгина

2018 ◽  
Vol 167 ◽  
pp. 375-383
Author(s):  
Valentyna Gerasymchuk
Keyword(s):  
Semantic Space ◽  
Literary Text ◽  
Transcendental Philosophy ◽  
The Other ◽  
Literary Texts ◽  
Human Being ◽  
Ontological Status ◽  
Physical Time ◽  
Existence And Nonexistence ◽  
The One

Existence and nonexistence of death in the semantic picture of reality and artistic text on the material of romans Leonid Leonov Road to the Ocean and Maxim Gorkogo The Life of Klim SamginIn this article the problem of death is unfolding in the semantic space of its ontological and existential conception in reality and a literary text. On the one hand, death as the concept of being is presented as its continuation, spiritual content, confirmation. On the other hand, death as a concept of non-being is considered as nothingness, rejection of being and its spiritual content.In reality the concept of death becomes an issue of the questionary and transcendental philosophy, that takes place in the physical time and metaphysical space of thought and expression. When the matter concerns the death of human being, his death acquires an ontological status of being, a status of spiritual significance. In the contrary case, it is possible to consider death and even life in terms of the concepts of being and nothingness. In literary texts the concept of death is also considered to be being or non-being, but taking into account constitutive characteristics of the text, its figurative and notional polysemant, the concept of death acquires not only aesthetic but also conceptual focus. In the article the main points of the topic of death, its being and non-being, are illustrated on the examples of specific literary texts. Буття і небуття смерті в смисловій картині реальності і художньому текстіПроблема смерті у статті розгортається в смисловому просторі онтологічного і екзистенціалістського її розуміння в реальності і в художньому тексті. З одного боку, смерть — поняття буття — постає як його продовження, його духовна наповненість, його стверждення. З другого — смерть — поняття небуття — розглядається як ніщо, як заперечення буття і його духовної наповненості.У реальності поняття смерті стає проблемою запитальної, трансцендентальної філософії, що розгортається у фізичному часі і метафізичному просторі думки і слова. І якщо йдеться про смерть буттюючої особистості, то і її смерть набуває онтологічного статусу, статусу духовної значущості, інакше можна говорити про смерть і навіть життя у поняттях небуття і ніщо. У художніх текстах поняття смерті також розглядається як буття і небуття, проте з урахуванням конститутивних особливостей тексту, його образної і смислової багатозначності, образ смерті набуває, крім онтологічної, ще й естетичну спрямованість.

scholarly journals Pierrot, Arlequín y nosotros, los espectadores. A propósito de Funny Games (Michael Haneke, 1997)

2020 ◽  
pp. 255-269
Author(s):  
Pablo Ferrando-García
Keyword(s):  
Daily Life ◽  
The Other ◽  
Moral Dimension ◽  
Modes Of Representation ◽  
The Family ◽  
P 16 ◽  
The Subject ◽  
Ultimate Objective ◽  
The One ◽  
Pedagogical Function

We present an analysis of the filmic representation of Funny Games to highlight its playful structure as a game of games. Through a series of narrative efforts, a double operation is carried out, aimed at a specular relationship with the viewer. On the one hand, Michael Haneke’s film offers a series of expressive mechanisms that are aimed at shifting the objective gaze to subjective in order to transfer the perception of the subject presented to the viewer. On the other, it presents a brutal clash between the registers of comedy and tragedy through the young psychopaths, Peter and Paul, who emerge as contemporary clowns, in the figures of Pierrot and Harlequin, whose negative resonances lead to the incarnation of absolute EVil. In turn, the family are the victims, and this is presented as the prototype of the family institution while Peter and Paul are mere archetypes. In this way, the cinematographic screen is turned into a device for interrogating its modes of representation and, in turn, offers a solid moral dimension. The ultimate objective of the Hanekian story is to cover it with “a pedagogical function: to familiarize the cinema, to bring it closer to a daily life so that it speaks from you to you to the experience –to the conscience– of the viewer” (Font, 2002, p. 16). Resumen Nuestra propuesta trata de desarrollar un análisis de la representación fílmica con el propósito de poner de relieve la estructura lúdica de Funny Games como juego de juegos. A través de toda una serie de gestiones narrativas se efectúa una doble operación dirigidas a una relación especular con el espectador. Por un lado, la película de Michael Haneke ofrece una serie de mecanismos expresivos que van encaminados al desplazamiento de la mirada objetiva en subjetiva con el fin de trasladar la percepción del sujeto de la enunciación al narratario/espectador. Por otro, presenta un brutal choque entre el registro de la comedia con la tragedia a través de los jóvenes psicópatas, Peter y Paul, que se erigen en los payasos contemporáneos, en las figuras de Pierrot y Arlequín, cuyas resonancias negativas conducen a la encarnación del Mal absoluto. A su vez, George y Anne Schöber son las víctimas y estos son expuestos como el prototipo de la institución familiar mientras Peter y Paul son meros arquetipos narrativos. De este modo, la pantalla cinematográfica se convierte en un dispositivo de interrogación sobre sus modos de representación y, a su vez, ofrece una sólida dimensión moral. El objetivo último del relato hanekiano es revestirlo de “una función pedagógica: familiarizar el cine, acercarlo a una cotidianidad para que hable de tú a tú a la experiencia –a la conciencia– del espectador” (Font, 2002: 16).

Greek Necromancy: Reality or Myth?

2021 ◽  
Vol 60 (1-2) ◽  
pp. 27-51
Author(s):  
Tomáš Vítek
Keyword(s):  
Historical Context ◽  
Roman Period ◽  
The Other ◽  
Classical Period ◽  
The Dead ◽  
The One ◽  
Source Ability

SummaryThe article investigates the extent to which Greek necromancy fits into the wider eschatological, cultic and historical context of an epoch demarcated on the one hand by Homer and on the other by the Classical period. The oldest purported necromantic ritual, with the help of which Odysseus descended into the underworld, is a literary construct inspired especially by the heroic tomb-cults. Scenes depicting funereal necromancy, written by dramatists of the Classical period, were also drawn from this source. Ability, behavior and appearance of heroes were additionally ascribed to the so-called restless spirits and revenants and later came to include all the dead. The main cause of this was a change in eschatological ideas and especially heroization, which in the Roman period spread nominally to all the dead. Reports about necromancy include a high percentage of mythical and literarily-dramatized elements that simply do not correspond with contemporary ideas about the soul, the dead, the underworld and chthonic deities. It therefore appears almost certain that, at least to the end of the period described, necromancy was not carried out in reality but remained only the literary surmise of the possibility indicated by Homer.

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