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The present study aims to identify the specifics of the Jewish text in Howard Fast’s iconic novel Torquemada. The study is based on the semiotic definition of the text. The Jewish theme in the oeuvre of Fast, a writer of Jewish origin, occupies a significant place. The specific construction of the Jewish theme allows one to highlight the boundaries of a certain Jewish text in the author’s work, which was clearly formed during the period of ideological and national quest. The novel Torquemada occupies a special place in the Jewish text of Fast. The Jewish text of the novel Torquemada is represented by a multi-level model. At the anthological level, the Jewish text of the novel can be correlated with the ideological quests of the author, Howard Fast. However, at the same time, it is an allegoric narrative about the fate of the Jews of the 20th century and the tragedy of the Holocaust. The events of the 15th century are the allegory of the events of the 20th century, and the times of the Spanish Inquisition are associated with the tragedy of the Jews of Europe.
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The present study aims at analyzing the family stories within the framework of the novel ”The Antelope Wife” by Louise Erdrich, the book having a female presence in the foreground. Through their blood ties, the female characters weave a web that connects all the characters and the stories of these people who are put in both familiar and less familiar situations of our time, highlighting the way in which the connection with relatives is kept alive throughout time. Through the women in the book, the reader comes into contact with various rituals and traditions of the Ojibwa culture. These cultural elements greatly impact the reader introducing him/her to the Native American universe.
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The present study aims at illustrating duality as a necessary tool in revealing the authentic human psyche and its mechanisms within the framework of Louise Erdrich’s novel entitled ”The Antelope Wife” highlighting the psychological motives behind the actions of the characters. The paper displays different perspectives of duality to the reader, each representing different characters who end up in a variety of troubling or satisfying scenarios. Dualism is portrayed either as a form of escapism or as a means of venturing towards the search of personal contentment. The beads presented in the novel may be seen as a symbol for duality, which will also find their resolution in the process of understanding the emotional and intellectual implications according to the dual perspective.
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The present study aims at analyzing the way the balance of the world is influenced by the characters’ deeds or by their destiny in Louise Erdrich’s novel entitled ”The Antelope Wife”. The paper highlights what the balance of the world actually means for the characters, how it affects them and how they do their best to mend their wrong steps. The potential influence of destiny is explored having in view to find out the higher power that controls people’s destinies. This paper offers an insight into the intricate web of elements and factors that lead to chaos providing an answer to the question of what leads the characters to this end. Is it will or destiny or are the characters just puppets in the hands of an unknown puppeteer?
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In this critical essay I have been trying to compare the experiences of the two major French writers, André Gide and André Malraux, taking into account their testimonials after coming back from USSR, le retour de l URSS, both of them being invited to take a documentation trip and being rewarded with great honors, but both of them manage to understand the toxic secluded zone of left side totalitarian society, observing the good and the bad sides of the same Truth, the mix between dark and bright shades of Russian soviet life.
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In this critical essay I have been trying to analyze the works of the famous Romanian novelist Petru Dumitriu, whose centenary we celebrate this year, from his debut in a mytho-criticism approach in Euridike to the saga Family Chronicle, his most renowned novel, the equivalent of the John Galworthy’s Forsyte saga in Romanian literature, and I started describing the multiple generations family novel of Cozienilor. In Family Chronicle, Cronica de familie, the novel starts in 1848 and continues to the fifth decade of the XX th century. This is also a history of Romanian novel, every chapter from the 27th ones is a parody of a style, as once John Fowles in The French Lieutenant Lover.
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The dual perspective of Ducharme's stories, where there are always two visions of the real world, two types of stylistic approach, two forms of linguistic expression, under the appearance of a contact between the two dominant languages (English and French), proves the fact that they belong to a category of literary works that enhance the social message of the plot; the structural scheme follows the poetic frames traced by M. Bakhtine and confirmed by other theoreticians of literature during the last decades.
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Ducharme's heroes use their isolation to show the schizophrenic faces of the society they are living in, built on dissociations, on the regressive identification of the father figure and on the delirium caused by the constant fight to fit into the modern world's rules and into a dysfunctional society. Thus, Ducharme's work may be interpreted as an attempt to put into practice the famous psychoanalytical method of transfer, transfigured into a very deep and meaningful relationship between the patient-reader and the psychoanalyst-writer.
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The intertextual function in the novels of Réjean Ducharme had been deeply analysed by the critics, as the parodical texts have a high influence on the construction of fiction in itself; therefore, we can ask ourselves about the significance of an opposition against the regional novel of the XIXth century, in a moment where the Canadian novel seems to be open to new approaches. It is mainly by returning to the sociolinguistic situation of Ducharme's novels that we may identify which fragments of previous literary works have been turned into parody in his stories.
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The body is a seismograph of personal history but also of collective history. It is a place of passage for meaning in relation to the world. The body and especially the figure are cultural and social bearers. The sight of each face represents an invitation to personal reconstruction, to a reconstitution of the relationships we have with the world. What is tactile, auditory aims to define the space, the place, therefore the plasticity of the world. The body refers to an individual or collective vision but also to a field of meanings in which it is immersed. The body thus becomes a living memory.
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Alain Robbe-Grillet profoundly marked his literary landscape of the last century, to the rhythm of an iconoclastic and innovative work which gave rise to multiple debates and criticisms. Robbe-Grillet's “autobiographical” work is a personal story both “combined with” and “corrupted by” romantic fiction, the result of a double work on language and fragments of memory. After the New Roman, the "New Autobiography" - an original approach to the autobiographical exercise.
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Julio Cortázar, the South American writer in love with Paris, where he will live since 1951, dedicates to it a flamboyant, bohemian, complex, masterful, unfulfilled, but eternal love story – a perfect reflection of the City of Lights, captured against the background of the 1950s and 1960s . The hopscotch is the way in which the narrator concludes the fictional pact – the idea of the game, a metaphor for access to the Absolute, explains the intention at the level of theme, structure and Cortazarian vision: the idealization of love, the kaleidoscope of reading, the need for the spirit to free itself through play and the magic of chance. Modern through the novelty of the language, postmodern through conception, style, intertextuality, the hybridization of the species, post(post)modern through the sublimation of sexuality, through the total freedom of approach, delimited by multicultural fascination, the novel throws pebbles into the squares of the ages and reaches Heaven. Playing the hopscotch to the rhythms of jazz and classical music, Lucia and Horacio, like the clochards under the bridges of the metropolis, redefine the essence of a western cultural model - Paris, mon amour!
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As regards Hayden White’s theory of narrative, the term ‘narrative’ cannot be perceived as a problem, but instead, it can be described as an answer to an issue of general human interest. Narrative represents a suitable way through which people understand how to change into different words, knowing into telling. The main aim of this article is to analyse White’s theory of narrative from the perspective of Morton’s novel, The Clockmaker’s Daughter. The theory of narrative is formed of a story and a discourse. On the one hand, the story consists of a set of events and presents the content of those happenings, and on the other hand, the discourse explains the way in which the content is communicated. Moreover, in a nutshell, the five main components of any story are thought to be the plot, the setting, the characters, the point of view and the conflict, elements that are highly depicted in Morton’s novel.
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As a prose writer, Mircea Ciobanu distinguished himself with the novel Histories, consisting of 6 volumes, published between 1977 and 9936. The central question of the work revolves around identity, and the life of Gheorghe Palada (the main character) becomes for the reader a lesson about the vanity of worldly life. Memorable characters are then introduced, such as Logofeteasa, Iancu and Sisa Dudescu, Maria, Chiva, Sache, Bulfa, Miron Roșescu, Leon Pascal, and others.
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This study delves into the psychological impact of literary works on readers, emphasizing the central role of the author. The literary work, as an expression of the author's unique vision and personal experiences, reflects their psychological processes and life experiences. These influences shape the psychological development of characters and the narrative structure. The connection between author, narrator, and reader highlights the importance of introspection in literary creation. The study underscores the necessity of a balanced approach, recognizing the value of psychological analysis while prioritizing the intrinsic elements of the text. It cautions against reducing literature to mere manifestations of the author's psyche and highlights the complex interplay between biography and literary creation, exemplified by Zaharia Stancu.
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The section entitled "Elements of Literary Objectology" forms the theoretical basis of the research, focusing on key aspects such as the concept of objectology, the taxonomy of objects in prose, the relationship between objects and thought, and the perspective in which objects serve as the core of literature. This framework equips scholars with the necessary tools to comprehend and analyze how authors project their subjective visions onto objects, thereby creating an autonomous literary reality. The study posits that objectology is a method through which authors transform real-world elements into an autonomous, imaginary universe. Objects are depicted as words or phraseological constructions rich in information, emotions, and beliefs, which shape the literary text's significance. The text's authenticity is rooted in the complex interplay between the writer and the objects they engage with, underscoring that prose is not merely a reflection of external imagery or imagination but a composite of literary objects with distinct, predetermined roles.
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Aldous Huxley’s Brave New World is a critical analysis of how artificial happiness leads to societal domination. This paper explores the depiction of soma, a substance that induces citizens into a state of contented conformity, and its connection to a contemporary phenomenon: the widespread usage of social media. It introduces the concept of artificial happiness and analyzes Huxley’s portrayal of a dystopian society, aiming to explore the philosophical concerns regarding the pursuit of manufactured happiness and its potential consequences for human nature. There is a debate between modern culture and the reliance on technology and external substances to maintain emotional stability, raising questions about the true nature of happiness.
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This article analyzes the novel The Coming World 1923-2123 by the Soviet fantasy writer Yakov Okuniev in the context of the tradition of literary utopia. Referring to the classic texts of Plato, More and Russian utopians, it has been shown that the world created by Okuniev has all the basic features of a typical utopia: symmetry and harmoniousness of architecture, lack of private property, equality before the law, and the cult of work. Although the citizens of the future world are ostensibly free, in practice they are tightly controlled and must act for the good of the collective. Such ideas appeared in socialist realist literature. Okuniev’s work can be treated as a communist utopia which praises the ideas promoted by the Bolsheviks. Okuniev believed in the possibility of making his project a reality, hoping to spread communist ideas throughout the world.
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This article analyzes the use of intertextuality as one of the ways to explicate the concept of a “book” in the novel The Slynx by Tatyana Tolstaya. Introducing the texts of the previous culture is considered a genre characteristic of the dystopian discourse. Using the example of Pushkin’s text presented in the novel in various forms, some techniques and functions of contextual transformation of the “book word” are analyzed. Modal and semantic reaccentuation of important elements of the language reality, on the one hand, destroys the logocentric paradigm of Russian culture and reveals the consequences of the cultural rupture and further obliteration. On the other hand, it provides the unity of a national linguistic and cultural universe. Searching to discover the constants of the national mentality, the novel shows the indissoluble connection between spiritual search and violence. The usurpation of the words of the past culture turns into cultural and spiritual dumbness.
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