scholarly journals Animal Vision and Life Consciousness—‘Horse’ in D. H. Lawrence’s 1920s Short Stories

2021 ◽  
Vol 11 (2) ◽  
pp. 78
Author(s):  
Xinzhe You
Keyword(s):  
Short Stories ◽  
Human Relations ◽  
The Past ◽  
Binary Oppositions ◽  
Pastoral Ideal ◽  
Animal Vision

D. H. Lawrence is seeking for the consciousness of life throughout his lifelong creation; he resorts to animals that bear closer connections with nature mainly in the 1920s. Based on three short stories which mention ‘horse’ in the title, “The Horse-dealer’s daughter” (1922), “The Woman Who Rode Away” (1925) and “The Rocking-horse Winner” (1926), this essay illustrates how horses function as Lawrence’s pastoral ideal, pursuit for the primitive and shape of humanity. From the background that represents the past agricultural lifestyle to a life vehicle that carries the woman to freedom, and finally to a symbol with fantasy that mirrors crises in human relations, Lawrence’s deepening attention towards the ‘horse’ belabors his life pursuit of the primitive and balances between the binary oppositions of animality and humanity, finding for modern people a way out of distortions under industrialization and civilization.

The poetics of space in the short stories cycle “The Lonely Windmills” by S. Stratiev

2019 ◽  
pp. 420-433
Author(s):  
Natalia Lunkova
Keyword(s):  
Short Stories ◽  
Social Institutions ◽  
Special Role ◽  
Art World ◽  
Spatial Structures ◽  
Main Character ◽  
Human Personality ◽  
The Past ◽  
Different Types ◽  
Binary Oppositions

This article aims at analysis of spatial structures in the short stories cycle by the Bulgarian writer “The Lonely Windmills” (1969) and they role in the interpretation of the deformation of a human personality and of the loss of moral guidance. The delimitation of the chronotopes is made through taking into account the viewpoints of the narrator (the idealized past in the oppostion to the present) and the dwellers of his native street (a world contingently closed in itself and with certain traits of a fairytale chronotope. It is contrasted with the unlimited outside space). When creating the different types of spaces, the author actively uses such spatial and binary oppositions as up / down, close / distant, open / closed, big / small. A special role in the marking of one’s own / other worlds is played be the colour. The space of the past with the mythologeme of home in its centre is characterized through bright colours. They however are disappearing while the main character is growing. The home playing a structurizing role in the cycle, is a guarantee to preserve the individuality of a human. Once it is lost, the personality is deformed. Taking part in the modelling of the art world of Stratiev, the spatial structures and the motifs of home and memory about it incarnate the author’s ideas on the destruction of a personality due to oblivion, the loss of homeland, and under the influence of social institutions.

Surviving The Jungle Book: Trans-temporal Ventriloquism in Ian Iqbal Rashid's Surviving Sabu

2018 ◽  
Vol 15 (4) ◽  
pp. 532-552 ◽  
Author(s):  
Ana Cristina Mendes
Keyword(s):  
Short Stories ◽  
Cultural Studies ◽  
First Century ◽  
Short Film ◽  
Source Text ◽  
Temporal Ventriloquism ◽  
The Past ◽  
Film Maker ◽  
Global Power ◽  
Political Intervention

The process of screen adaptation is an act of ventriloquism insofar as it gives voice to contemporary anxieties and desires through its trans-temporal use of a source text. Screen adaptations that propose to negotiate meanings about the past, particularly a conflicted past, are acts of ‘trans-temporal ventriloquism’: they adapt and reinscribe pre-existing source texts to animate contemporary concerns and anxieties. I focus on the acts of trans-temporal ventriloquism in Ian Iqbal Rashid's Surviving Sabu (1998), a postcolonial, turn-of-the-twenty-first century short film that adapts Zoltan and Alexander Korda's film The Jungle Book (1942), itself an adaptation of Rudyard Kipling's collection of short stories by the same name. Surviving Sabu is about the survival and appropriation of orientalist films as a means of self-expression in a postcolonial present. Inherent in this is the idea of cinema as a potentially redemptive force that can help to balance global power inequalities. Surviving Sabu's return to The Jungle Book becomes a means both of tracing the genealogy of specific orientalist discourses and for ventriloquising contemporary concerns. This article demonstrates how trans-temporal ventriloquism becomes a strategy of political intervention that enables the film-maker to take ownership over existing media and narratives. My argument examines Surviving Sabu as an exemplar of cultural studies of the 1980s and 1990s: a postcolonial remediation built on fantasy and desire, used as a strategy of writing within rather than back to empire.

POLA NARASI PADA ANTOLOGI CERPEN TARIAN SALJU KARABAN

2019 ◽  
Vol 6 (1) ◽  
pp. 95-113
Author(s):  
Novi Diah Haryanti
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Main Character ◽  
The Past ◽  
Child Relationship ◽  
Mother And Child ◽  
Narrative Patterns

Abstract: This study aims to look at narrative patterns in the collection of short stories "Karaban Snow Dance" (TSK). From the fifteen short stories, the researchers took five main stories, namely the Karaban Snow Dance (Tarian Salju Karaban), The Fall of a Leaf (Gugurnya Sehelai Daun),  Canting Kinanti Song (Tembang Canting Kinanti), Jagoan Men Arrived (Lelaki Jagoan Tiba), and Origami Pigeon (Merpati Origami). Of the five short stories, environmental themes and honesty appear most often. The place setting depicted shows the environment that is close to the author or according to the author's origin. The main characters in the four short stories are children, only one short story Male Hero Tiban (Lelaki Jagoan Tiban/LJK) who uses adult takoh as the main character. The child leaders in LJK only appear in the past stories of the main characters. The five short stories do not show a picture of whole parents (father and mother). The warm relationship between mother and child appears clearly, in contrast to the father-child relationship that is almost negligent. The five short stories also represent how children become heroes for their family, friends, and environment.Abstrak: Penelitian ini bertujuan untuk melihat pola narasi pada kumpulan cerpen Tarian Salju Karaban (TSK). Dari limabelas cerpen yang ada, peneliti mengambil lima cerpen utama yakni “Tarian Salju Karaban”, “Gugurnya Sehelai Daun”, “Tembang Canting Kinanti”, “Lelaki Jagoan Tiba”, dan “Merpati Origami”. Kelima cerpen menampilkan tema lingkungan dan kejujuran. Latar tempat yang digambarkan memperlihatkan lingkuangan yang dekat dengan penulis atau sesuai dengan asal usul penulis. Tokoh utama dalam keempat cerpen tersebut ialah anak-anak, hanya satu cerpen “Lelaki Jagoan Tiban” (LJK) yang menggunakan takoh dewasa sebagai tokoh utama. Tokoh anak dalam LJK hanya muncul dalam cerita masa lalu tokoh utama. Kelima cerpen tersebut tidak memperlihatkan gambaran orangtua utuh (ayah dan ibu). Relasi yang hangat antara ibu dan anak muncul dengan jelas, berbeda dengan relasi bapak-anak yang nyaris alpa. Kelima  cerpen tersebut juga merepresentasikan bagaimana anak-anak menjadi pahlawan bagi keluarga, sahabat, dan lingkungannya.  

Free but fragile: Human relations amidst poverty and HIV in democratic South Africa

2015 ◽  
Vol 2 (2) ◽  
pp. 85-94
Author(s):  
Christina Landman
Keyword(s):  
South Africa ◽  
Predominantly White ◽  
Black People ◽  
Hiv Treatment ◽  
Human Relations ◽  
White People ◽  
Black And White ◽  
The Past ◽  
Wide Range ◽  
Black Township

Dullstroom-Emnotweni is the highest town in South Africa. Cold and misty, it is situated in the eastern Highveld, halfway between the capital Pretoria/Tswane and the Mozambique border. Alongside the main road of the white town, 27 restaurants provide entertainment to tourists on their way to Mozambique or the Kruger National Park. The inhabitants of the black township, Sakhelwe, are remnants of the Southern Ndebele who have lost their land a century ago in wars against the whites. They are mainly dependent on employment as cleaners and waitresses in the still predominantly white town. Three white people from the white town and three black people from the township have been interviewed on their views whether democracy has brought changes to this society during the past 20 years. Answers cover a wide range of views. Gratitude is expressed that women are now safer and HIV treatment available. However, unemployment and poverty persist in a community that nevertheless shows resilience and feeds on hope. While the first part of this article relates the interviews, the final part identifies from them the discourses that keep the black and white communities from forming a group identity that is based on equality and human dignity as the values of democracy.

scholarly journals MEMAHAMI KOMUNIKASI MELALUI PENELITIAN

2018 ◽  
Vol 12 (2) ◽  
pp. 285-306
Author(s):  
Wisri Wisri ◽  
Abd. Mughni
Keyword(s):  
Interpersonal Communication ◽  
Mass Communication ◽  
Group Communication ◽  
Human Life ◽  
Cultural Communication ◽  
Communication Research ◽  
Human Relations ◽  
The Past ◽  
Historical Methods ◽  
New Tradition

Communication is central in human life. All activities in human life require communication. The scientific study of the symptoms or reality of communication covers a very broad field, covering all forms of human relations and using symbols. more concretely this includes fields such as Interpersonal Communication, Group Communication, Organizational/Intellectual Communication, Mass Communication and Cultural Communication as seen in various forms of symbolic expression. Noting the seven traditions of communication research as such, communication research seems to be facing an important issue for its development in the present and future, which is pleased with how to try to take steps to get out of the confines of tradition and / or bring together existing traditions. This effort might be in the form of combining one tradition with another existing tradition (trying to synthesize existing traditions) while pioneering an entirely new tradition, for example with a more extensive implementation of historical methods to discover how communication patterns exists in a society in the past and attempts to understand what is now by looking at the past.

scholarly journals The language of wounds and scars in Edwige Danticat's "The Dew Breaker" : a case in trauma symptoms and the recovery process

2010 ◽  
Vol 8 ◽  
pp. 23 ◽  
Author(s):  
Aitor Ibarrola-Armendáriz
Keyword(s):  
Short Stories ◽  
Recovery Process ◽  
Traumatic Experiences ◽  
Trauma Symptoms ◽  
American Writer ◽  
The Past ◽  
Difficult Time ◽  
Haitian American ◽  
To Come

This article examines the representation of a violent and traumatizing past in Edwidge Danticat’s The Dew Breaker (2004), a collection of short stories that depicts the effects of a torturer’s atrocious crimes on the lives of his victims and their descendants. The contribution argues that this work of fiction by the Haitian-American writer is structured upon the principle that traumatic experiences can only become intelligible – and, therefore, “representable” – by considering the severe psychical wounds and scars they leave on the victims. These scars habitually take the form of paranoia, nightmares, ghostly presences, schizophrenia, and “dead spots” that have a very difficult time finding their place in the protagonists’ consciousness and language. In spite of the fragmented and discontinuous character of these representations, the writer manages to unveil the kind of psychological and social dysfunctions that often surface when people have not fully accepted or assimilated aspects of the past that keep itching in their unconscious. However, despite the prevailingly bleak tone of the stories, Danticat still leaves some room for hope and recovery, as many of the victims find ways to come to terms with and overcome those individual and collective dysfunctions.

Semantics of the initiation plot in short stories by Yu. Felzen

2021 ◽  
pp. 119-131
Author(s):  
I. I. Nazarenko ◽  
Keyword(s):  
Short Stories ◽  
Severe Illness ◽  
Creative Work ◽  
The Past ◽  
Self Sufficiency ◽  
Past Life ◽  
Initial Transformation

The paper examines the plot of initiation in the stories of the young émigré writer Yu. Felzen as a continuation of the story of the hero of his novel trilogy. In the short stories of the late 1930s, the initiation of the hero-emigrant that was reduced in the novels is found to be associated with a situation of death, provoking his personal and literary development. The plot of the story “The changes” allows correlating it with the archetypal plot of initiation: the hero, having survived a severe illness, surgery, and the departure of his beloved, seems to be moving towards gaining new consciousness, towards writing. However, considering the stories following “The changes” allows revealing the reduction of the hero’s initial transformation. The plot of the story “The repetition of the past” shows how “changes” turn out to be a “repetition” of past life situations for the hero, and he evades the existential existence. The stories “The composition” and “The figuration” confirm the conclusion about the failed initiation of the hero. The work of Russian emigrants as extras on the set of the film “The figuration” is the author’s metaphor for the fate of the Russian emigration. The author’s concept of “the repetition of the past” is the repetition of life situations in reality without being able to change anything and follow the geniuses in creative work. According to Felzen, an emigrant is doomed to adapt and repeat in the inauthentic existence of life the situations that happened to him in another culture and at a different age “The composition.” Emigration does not replace a person with another one. Neither does it form his self-sufficiency.

From anti-idyll to the “poem of desolation”: the traditions of M.E. Saltykov-Shchedrin in the “estate text” of the early XX century

2020 ◽  
pp. 36-47
Author(s):  
Galina I. Romanova ◽  
Keyword(s):  
Short Stories ◽  
Present State ◽  
Final Solution ◽  
Cause And Effect ◽  
The Road ◽  
The Past ◽  
The Family ◽  
The World ◽  
Speech Genre ◽  
Formal Features

On the basis of thematic proximity and similarity of a number of formal features (chronotope of the noble nest; the image of the negative aspects of the es- tate life; the weakening of cause-and-effect relations between the events; the system of characters, tied by relation, but separated spiritually; the specificity of organization of speech) genre transformations in the last novel of M.E. Saltykov-Shchedrin “Old Years in Poshe khonye” (1889) and in the short stories cycle of I.A. Bunin “Black Earth” (1903) have compared. The theme of returning to their homeland also brings them closer together — a mental appeal to the past, that is, in Poshekhon’s childhood by Saltykov-Shchedrin, the road to the family estate — by Bunin. In both works embodied a persistent conflict that does not find a final solution. The sharp denial of the present state of reality, characteristic of satire, presupposes the existence of an ideal, which in the works by Saltykov-Shchedrin and appears as an idyllic picture of the world. In relation to it, the image of estate life in both “Old Years in Poshekhonye” and “Black Earth” is anti-idyllic: here everything is the opposite and contradicts the idyllic notions of peaceful life in harmony with nature. In Bunin’s story, this feature is shown in the appeal to the genre of “poem of desolation”.

ICTs as Juju: African inspiration for understanding the compositeness of being human through digital technologies

2019 ◽  
Vol 11 (3) ◽  
pp. 279-291 ◽  
Author(s):  
Francis B. Nyamnjoh
Keyword(s):  
Information And Communication Technologies ◽  
Central Africa ◽  
Digital Technologies ◽  
Communication Technologies ◽  
Zero Sum Games ◽  
The Past ◽  
Binary Oppositions ◽  
Information And Communication ◽  
West And Central Africa ◽  
Zero Sum

In this article, I liken information and communication technologies (ICTs) or digital technologies to what we in West and Central Africa have the habit of referring to as Juju. I invite as scholars of the digital humanities to see in the region’s belief in incompleteness and the compositeness of being human, as well as in the capacity to be present everywhere at the same time an indication that we have much to learn from the past on how best to understand and harness current purportedly innovative advances in ICTs. The idea of digital technologies making it possible for humans and things to be present even in their absence and absent even in their presence is not that dissimilar to the belief in what is often labelled and dismissed as witchcraft and magic that lends itself to a world of infinite possibilities – a world of presence in simultaneous multiplicities and eternal powers to redefine reality. The article argues in favour of incompleteness as a normal way of being. It challenges students of humanity to envisage a relationship between humans and digital technologies that is founded less on dichotomies and binary oppositions, nor on zero-sum games of conquest and superiority. If humans are present in things and things in humans, thanks to the interconnections, the flexibility and fluidity of being that come with recognition of and provision for incompleteness, it is important to see things and humans not only as intricately entangled, but also as open-ended composites.

Popularizing History: the Case of Gustav Preller

1988 ◽  
Vol 29 (3) ◽  
pp. 521-535 ◽  
Author(s):  
Isabel Hofmeyr
Keyword(s):  
Short Stories ◽  
Social Movement ◽  
Oral History ◽  
South African ◽  
Cultural Resources ◽  
Detailed Consideration ◽  
The Past ◽  
Frequent Use ◽  
Visual Skills ◽  
The Subject

Gustav Preller (1875–1943), a prolific and popular South African historian, is the man largely responsible for shaping many of the key myths of Afrikaner nationalism. One of these is the concept of the Great Trek, an interpretation of the nineteenth-century movement of Boers into the interior. It is Preller's written and visual version of this social movement that has been the dominant one for the last seven decades. Preller worked with a variety of media including books, newspapers, magazines, drama and film, and always produced works that sold in significant numbers. Yet despite his obvious impact and importance, Preller has been the subject of little research. This article attempts to assess Preller's work in relation to questions concerning the cultural fabrication of nationalisms. It asks how Preller did his popularizing work: what techniques, conventions, narrative formulas and social languages did he deploy in his work and whence did he derive these cultural resources? For Preller, one of the most crucial themes in his work had to do with how people recalled the past and more importantly how one could get them to ‘enact’ this memory in their own lives. Much of his work can be read as a search to find strategies of storing the past in forms which would make popular sense. He relied heavily on oral history and he also familiarized himself with popular forms of both oral and written storytelling which in turn inform his work. In 1916 he became involved in filming De Voortrekkers and these visual skills became a key ingredient in all of his ventures. His interest in the visual also informed his frequent use of the physical objects of the past as vehicles for popularizing his views. Another tactic that Preller followed was to explore and ‘colonize’ the institutions of popular leisure which he then remoulded in his nationalist enterprises. The article concludes with a detailed consideration of one of Preller's historical short stories.

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