scholarly journals The Point of View (in Four Ways)

2019 ◽  
pp. 129-140
Author(s):  
Zofia Mitosek
Keyword(s):  
Henry James ◽  
Point Of View ◽  
Main Theme ◽  
The Novel ◽  
Claude Simon ◽  
Starting Point

The article aims to analyse four important point of view novels, namely Henry James’ The Ambassadors, Zasypie wszystko, zawieje [Everything Will Be Covered by the Snow] by Włodzimierz Odojewski, The Flanders Road by Claude Simon, and Morfina [Morphine] by Szczepan Twardoch. The notion of point of view serves as a starting point for considering the epistemological aspects of the novel and for tracing its evolution. James, both in his theory and novelistic practice, uses the point of view to make the character’s consciousness the main theme of his novels. Odojewski employs internal monologue to render the characters’ perspective, while Simon combines internal monologue with other voices. Finally, Twardoch’s novel can be interpreted as a parody of the point of view technique.

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.

scholarly journals “In a Sea of Wonders:” Eastern Europe and Transylvania in the Irish-Language Translation of Dracula

2020 ◽  
Vol 12 (1) ◽  
pp. 70-83
Author(s):  
Sorcha De Brún
Keyword(s):  
Original Work ◽  
Figurative Language ◽  
Language Translation ◽  
Point Of View ◽  
Eastern European ◽  
The Novel ◽  
European Language ◽  
Irish Language ◽  
Starting Point ◽  
History Of

Abstract The publication of the Irish-language translation of Dracula in 1933 by Seán Ó Cuirrín was a landmark moment in the history of Irish-language letters. This article takes as its starting point the idea that language is a central theme in Dracula. However, the representation of Transylvania in the translation marked a departure from Bram Stoker’s original. A masterful translation, one of its most salient features is Ó Cuirrín’s complex use of the Irish language, particularly in relation to Eastern European language, character, and landscapes. The article examines Ó Cuirrín’s prose and will explore how his approaches to concrete and abstract elements of the novel affect plot, character, and narration. The first section explores how Dracula is treated by Ó Cuirrín in the Irish translation and how this impacts the Count’s persona and his identity as Transylvanian. Through Ó Cuirrín’s use of idiom, alliteration, and proverb, it will be shown how Dracula’s character is reimagined, creating a more nuanced narrative than the original. The second section shows how Ó Cuirrín translates Jonathan Harker’s point of view in relation to Dracula. It shows that, through the use of figurative language, Ó Cuirrín develops the gothic element to Dracula’s character. The article then examines Ó Cuirrín’s translations of Transylvanian landscapes and soundscapes. It will show how Ó Cuirrín’s translation matched Stoker’s original work to near perfection, but with additional poetic techniques, and how Ó Cuirrín created a soundscape of horror throughout the entirety of the translation.

scholarly journals Wiersz o jesieni. O Frantzu François Ozona

2019 ◽  
pp. 77-92
Author(s):  
Krzysztof Kozłowski
Keyword(s):  
Main Theme ◽  
Film Material ◽  
The Novel ◽  
Work Of Art ◽  
Feature Film ◽  
Starting Point ◽  
Paul Verlaine ◽  
Ernst Lubitsch ◽  
Synthetic Work ◽  
Adam Mickiewicz

Kozłowski Krzysztof, Wiersz o jesieni. O Frantzu François Ozona [A Poem on Autumn. Frantz by François Ozon]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 77–92. ISSN 1644-6763. DOI 10.14746/pt.2019.32.3. The film Broken Lullaby ([1932] Ernst Lubitsch) and the novel L’Homme que j’ai tué ([1921, 1925, 1930] Maurice Rostand) are seen to be the main inspirations for Frantz (2016) by François Ozon. On the basis of methodology broadly understood as the concept of bringing into relief (Domański, 1992, 2002), this article aims to demonstrate the means by which the French director expanded upon the literary-film material, imbuing it with a totally singular meaning. Ozon’s inventiveness did notlimit itself to transformations typical for adaptations, but ventured towards feature film understood as a synthetic work of art that by exploiting the audiovisual properties of the medium itself, acts as a unifying force of poetry (Verlaine, Banville), music (Chopin, Debussy) and painting (Manet). The famous poem recited by the heroine, Ann, Chanson d’automne (Paul Verlaine), serves as the analytical starting point for the above. It is thus used as a pivot for the entire film, a veritable lodestarfor guiding motifs, allowing important aspects of the film to be highlighted and consequently, bring its main theme to the fore.

scholarly journals William Golding’s Lord of the Flies: A Reconsideration

2020 ◽  
Vol 11 (2) ◽  
pp. 125-136
Author(s):  
Mariwan Hasan ◽  
Diman Sharif
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Critical Analysis ◽  
Point Of View ◽  
Main Theme ◽  
The Novel ◽  
William Golding ◽  
Imaginative Literature ◽  
Lord Of The Flies ◽  
In The Beginning

This paper reconsiders William Golding’s Lord of the Flies. Allegorical writings can illustrate ethical, social or psychological and moral issues using the manipulation of images that have stipulated meanings other than their meanings as imitations of the actual world. Allegory has been used widely throughout history in all forms of art, and comprehensible for the reader, conveys hidden meanings through symbolic figures. Lord of the Flies had been written in relation to historical circumstances of the twentieth-century and to the personal experience of William Golding. Also, it has provided a critical analysis of the novel that treated the prominent perspective and elements in it. The novel is a parallel of life in the late twentieth century, while it looks like society a stage of enhancement in technology whereas, human morality is not completely mature yet. “Lord of the Flies is an allegorical microcosm of the world. The destruction of World War II because of the dictators who initiated this war has a profound impact on William Golding himself”. In the beginning, the paper gives an introduction to Golding’s point of view on humanity with the title of how to draw attention to me through allegory and fable, two forms of imaginative literature that encouraged the reader and listener to look for hidden meanings. Then it deals with William Golding’s Lord of the Flies from the cultural approaches of that time, who is one of the most prominent literary men of postmodernism that was famous for utilizing symbolism within the novel; “he used different kinds of symbols, characters, objects, animals, colors and setting to convey his message about his main theme”, in the last section we analyzed the postmodern features in Lord of the Flies and how they are used to depict Golding’s view. The way Golding uses allegory strengthens the symbolism of his novel. Finally, it tackles the educational value through his experiences in teaching along with critical analysis of Golding’s technique.

scholarly journals EKPHRASTIC DISCOURSE IN R. M. RILKE “THE NOTEBOOKS OF MALTE LAURIDS BRIGGE”

2021 ◽  
pp. 38-45
Author(s):  
Елена Валерьевна Гнездилова
Keyword(s):  
Real Life ◽  
Decorative Arts ◽  
Main Theme ◽  
The Novel ◽  
Poetic Tradition ◽  
Works Of Art ◽  
Applied Art ◽  
Starting Point ◽  
Important Sense ◽  
The Relationship

В статье рассматривается экфрастический дискурс в романе Р. М. Рильке «Записки Мальте Лауридса Бригге» (1910), который является единственным прозаическим произведением австрийского поэта.При создании собственного художественного мира поэт активно обращается к предшествующей культуре: это и библейская философская, и поэтическая традиция, средневековые мотивы и образы, философские идеи немецких и датских философов, французская литературная и изобразительная традиция, русская духовная культура и поэзия. Особое место в формировании поэтического мира Р. М. Рильке занимают произведения изобразительного и декоративно-прикладного искусства. Экфрастический дискурс является основой для философских и поэтических размышлений, отправной точкой в исследовании проблемы творчества.Анализируя роман «Записки Мальте Лауридса Бригге», автор статьи обращается к особенностям концепции «вещи» в художественном универсуме поэта и прослеживает взаимосвязь и влияние изобразительного искусства на формирование концепции «вещи», а также выявляет функцию экфрастического дискурса в поэтике романа. Экфрастический дискурс, обращение к произведениям изобразительного и декоративно-прикладного искусства, в романе основан на аллюзиях и реминисценциях, он служит воплощению главной темы произведения, связанной с внутренними поисками главного героя. Произведения искусства, таким образом, являются в романе важнейшими смыслообразующими элементами. Кроме того, обращаясь к реально существующим произведениям искусства прошлых столетий, автор романа придает внутренним поискам героя вневременной, универсальный характер. The article examines the ekphrastic discourse in the novel by R. M. Rilke «The Notebooks of Malte Laurids Brigge» (1910), which is the only prose work of the Austrian poet. When creating his own artistic world, the poet actively turns to the previous culture: this is the biblical philosophical and poetic tradition, medieval motives and images, and the philosophical ideas of the German and Danish philosophers, French literary and visual tradition, Russian spiritual culture and poetry. A special place in the formation of the poetic world of R.M. Rilke is occupied with the works of fine and decorative arts. Ekphrastic discourse is the basis for philosophical and poetic reflections, the starting point in the study of the problem of creativity. Analyzing the novel «The Notebooks of Malte Laurids Brigge», the author of the article refers to the peculiarities of the concept of «thing» in the artistic universe of the poet and traces the relationship and influence of fine art on the formation of the concept of «thing», and also reveals the function of ekphrastic discourse in the poetics of the novel. Ekphrastic discourse, an appeal to works of fine and decorative-applied art in the novel fulfill the roles of both allusions and reminiscences, and serves as the embodiment of the main theme of the work, connected with the inner searches of the protagonist. Thus, works of art are the most important sense-forming elements in the novel. In addition, referring to real-life works of art of the past centuries, the author of the novel gives the hero’s inner search a timeless, universal character.

scholarly journals THE NOVEL «RESURRECTION» BY LEO TOLSTOY AS AN EPIC – THE AUTHOR’S APPROACH TO THE IMAGE OF FACTS OF CONTEMPORANEITY AND THEIR APPRAISAL

2020 ◽  
pp. 132-138
Author(s):  
Nadezhda G. Mikhnovets
Keyword(s):  
Cultural Context ◽  
Point Of View ◽  
Leo Tolstoy ◽  
Russian Society ◽  
Creative Work ◽  
The Novel ◽  
Value System ◽  
Starting Point ◽  
Contemporary Life ◽  
The Common

The novel «Resurrection» by Leo Tolstoy It is regarded as an epic one in the article. What is attributed to its specific features, includes – the fundamental importance of the common, folkish in the value system of the book, as well as the encyclopedic coverage of the late 19th century Russian life. What became the starting point for considering the material, is raising the problematic question of the inevitable contradiction between the objective re-creation of contemporaneity and the heightened subjectivity of Leo Tolstoy’s late creative work, which the increased ethical pathos is characteristic of. The article argues that the «removal» of the contradiction is due to the nature of the novelist’s approach to depicting the facts of contemporaneity. This approach implies the scale of generalisations, the correlation of the facts of contemporary life with folkish life, immersion of the facts in a voluminous historical and cultural context, including the historical and literary one. It is stressed that the author’s subjective coverage of St. Petersburg life paradoxically becomes a handwriting of the image of an objective picture. This is due to the fact that the author, who describes and evaluates the processes of contemporary life from the point of view of substantial and «due», relies on the folkish «view of things». In general, the coverage and assessment of trends in the development of contemporary Russian society are given in the novel «Resurrection» in an epic perspective.

scholarly journals Entre la Historia y la ficción. Algunos temas en Yo el Supremo de Augusto Roa Bastos.

2015 ◽  
Vol 5 (1) ◽  
Author(s):  
Alejandro Peña Arroyave
Keyword(s):  
Twentieth Century ◽  
Historical Novel ◽  
Point Of View ◽  
The Novel ◽  
Augusto Roa Bastos ◽  
Absolute Power ◽  
Writing Problems ◽  
Starting Point ◽  
Novela Historica ◽  
Siglo Xx

Resumen: El escrito presenta un acercamiento a la novela Yo el supremo del escritor paraguayo Augusto Roa Bastos. En un primer momento se toma como punto de partida la filiación de la narrativa de Roa Bastos con el humanismo del existencialismo del siglo XX, entendiendo su labor de escritor en compromiso con el dolor humano y con su propio tiempo. A la luz de esto, en los siguientes momentos del escrito se abordan problemas tales como la obsesión con el poder absoluto y la anulación de la otredad caracterizada por un discurso en el que las distintas voces son absorbidas en el monólogo del dictador y que por ello mismo quedan deformadas. Desde dicha deformación surge sin embargo una particular relación entre la ficción y la narración histórica. Con ello se indicaría, desde el punto de vista de la novela histórica, que la Historia no está exenta de la ficción, y que sin duda ésta tiene mucho que iluminar acerca de la Historia. Abstract: The writing there presents an approximation to the novel I, the Supreme one of the Paraguayan writer Augusto Roa Bastos. At first takes as its starting point the parentage of the narrative of Roa Bastos with humanism of existentialism of the twentieth century, understanding his writing in commitment to human pain and his own time. From this, at the following times of writing problems such as obsession with absolute power and cancellation of otherness characterized by a speech in which different voices are absorbed in the monologue of the dictator are addressed and therefore thereof are deformed. From the above mentioned deformation a particular relation arises nevertheless between the fiction and the historical novel. Thereby would indicate that, from the point of view of the historical novel, the History is not exempt from the fiction, and that undoubtedly this one has great that to illuminate brings over of the History.

scholarly journals The American and the Clan

2021 ◽  
Vol 3 (1) ◽  
pp. p47
Author(s):  
Johan Lundberg
Keyword(s):  
French Revolution ◽  
Rule Of Law ◽  
Henry James ◽  
Individual Autonomy ◽  
Modern State ◽  
The Novel ◽  
Liberal State ◽  
Negative Freedom ◽  
Starting Point ◽  
Striking Contrast

The Henry James novel The American (1877) is analyzed on the basis of a conflict between the twoforms of liberty, which Isaiah Berlin in the end of the 1950s designated as negative and positive. Theconcept of negative freedom is in this interpretation of the novel connected to a contrast between thestate and the clan. With starting point in Francis Fukuyama’s The Origins of Political Order (2011),and Mark S Weiner in The Rule of the Clan (2013), modern rule of law is in the analysis of the novelregarded as something radically different from clan society.Based on an understanding of the modern state as a guarantee for individual autonomy and liberty, inBerlin’s negative meaning, James depicts in The American, the problems of maintaining liberty, in thenegative sense, in a community organised around the clan.In the novel, the American protagonist Christopher Newman with his lack of prejudices represent forhis French fiancée Claire de Cintréa possible way to freedom. What Newman does, is to offer Claire theopportunity to move from the French aristocracy to the economically strong Americanbourgeoisie—from a kind of feudalism to capitalism. The proposed move coincides with thedevelopmental curve of the novel, which with respect to Claire runs from clan to state.In striking contrast to Newman’s optimized sort of freedom, where neither any internalized norms norany economic limitations prohibit the protagonist from acting in the way that he desires, Claire is thedaughter of a family that represents the old world, with all its limitations and restrictions on negativeliberty. In a highly concrete manner she is prohibited from acting as she wants. This is emphasized inthe question of who to marry.The analysis connects Claire’s family to the ultramontanists and legitimists circles of 19th centuryParisian aristocracy. The terms refer to the ultra-conservative and fiercely anti-liberal movements that,after the French revolution, turned against the modern state power that allegedly forced on the French Catholics secular values.Legitimism and ultramontanism are in the novel intimately connected to maintaining an organisationaround the clan. In contrast to the clan, rule of law, democracy and individual freedom is seen asconsequences of the framework of the modern, liberal state.

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.

Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 411
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Colonial Discourse ◽  
The Impact ◽  
The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

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