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In a specific brief outline of the relevant narratological theories, the paper provides a review of the meanings and uses of some of the key narratological terms, investigating the applicability of the existing classifications of the narrative procedure in the analysis of the polyphonous narration. The central point of research is the opposition subjectivity and objectivity of narration, that is paradoxicalness of their mutual relation. The paper is also dedicated to a specific anullment of the oppositions like mimesis/die- gesis, discourse/narration, the first person narrative/the third person narrative, aiming to point to the paradoxicalness and complexity of the relation which cannot be explained simply by reducing it to the subjective or objective esthetics. Modern novel underlines the paradoxicalness of the relation between the subjectivity and objectivity of narration, as well as the relation between reality and fiction, thus challenging the traditional models of analysis of the narrative text. The narrative text cannot be observed anymore as an object of creation, in the same way one cannot anymore determine the real subject of narration. The narrative procedure is viewed as voicing of the work’s logos, a hidden principle controlling — from the inside — both the narrator and the narration and determining their mutual relation, defying the models created exclusively on the basis of the formal criteria.
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Utopia and anti-utopia have been discussed at length in philosophy, sociology, history and other related disciplines, but literature has not studied the nature of their relation so much. As one of the starting postulates, we adopted Northorp Frye’s wellknown opinion according to which Utopia is „a speculative myth”. Chronology of the development of the myth about (anti)utopia is obvious: Utopia precedes anti-utopia and by its appearance influences the creation of the anti-utopian response. The original anti-utopias — even according to their etymology — direct us toward space as one of the basic categories of physical world. Therefore the greatest number of (anti)utopias is located in the geometrically restricted space, most often in a town or an island. In a diachronic string, the paper follows the development of thoughts about the Utopian, i. e. anti-utopian elements in the society, literature and art. At the very beginning of the deliberation about this issue, there is Plato with his doctrine about the world of ideas and the world of reality. On the basis of these researches, one could come to only one conclusion: utopian and anti-utopian literature are just two poles of one and the same literary phenomenon.
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The topos of the path has a generating, but also a linking function, not only in the structure of the fairy-tale, but also at the level of the plot; it represents a necessary principle in the narrative art of fairy-tales, without which it would collapse as a genre. This paper underlines the characteristics of the topos of the path in fairy-tales which enable to link the path directly with the travel: 1) as the road on which the hero travels; 2) as the direction of movement (horizontal and vertical path); 3) as the place — sign which determines further movement of the hero, and 4) as the objectivization of the plot in the stages.
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Literature has undergone an important transformation, especially in the field of novels, with the 20th century and has resigned itself to formal innovations as a result of the rapid changes in society. It should be said that this new type of literature, that is termed as postmodern novel, is a new expression of social reality. However, what postmodern novel expresses sociologically has been a significant deficiency in the literature in spite of the limited research. That is, studies of the sociology of literature that insist on evaluating literary work in the context of social content and social relations have inadequate theoretical background to understand the sociological meaning of form in literary work. This study aims to cover this deficiency in the sociology of literature within the framework of the work of Bakhtin and his circle. Especially two studies of them are thought to have been missed in the studies of sociology of literature and it is revealed that these works dealt with form and content in literary work before the sociology of literature was founded as a discipline. As a matter of fact, for the first time in 1924, Bakhtin talked about a sociological poetics that supports the integrity of form and content in literary work and Medvedev, an important member of the Bakhtin circle, stated in 1928 that there must be a dialectical relationship between the formal method and the sociological method. In this study, both Bakhtin’s poetics/theory of novel and Medvedev’s sociological poetics offered substantial clues to sociologically understand the formal structure of the postmodern novel.
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The goal of this work is to use the genesis and characteristics of carnivalization as a literary method and of the carnival as a genre-motive core to analyze the possibility of noticing and establishing a new poetic and genre formation in the 20th-century literature. It should be based on the centuries-old tradition of the Menippean satire and the carnivalization of literature on the one hand, and modernism on the other. The theoretical basis for this work is Bakhtin’s theory of carnivals, national culture and carnivalization as a way of transposing these motifs and phenomena in literature.
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The creation of the events in Toldi’s Love (1879) encompassing a period of thirty years are justified by the critics with Arany János’s insistence on loyalty to epic tradition, as well as to the situation created with narrative reflection found in the 12th canto of Toldi, about his private life. The differences in world views between the parts of the trilogy, the image of a “changed world” account for the circumstances why Daliás idők (Heroic Times) (1848) remains fragmentary, and why Toldi’s Love, the second part emerging from it, took so long to be written. Additionally, the lengthy creation of this part was also influenced by genre changes in Hungarian literature of the time (archaicizing and transforming epic world views etc.). The paper looks into the narrative in Toldi’s Love from these aspects of genre changes.
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William Gibson’s cyberpunk novel Neuromancer was published in 1984, which places it, in the current sense, in the pre-Internet period. This work was revolutionary in terms of directing the readers’ focus on the communication revolution and networks defined by computers. The novelist provided a representation of cyberspace that is still considered as definitive due to its credibility and visual style. The method of conveying the post-alphabetic images, live speech, audio material and other sound effects plays a crucial role in the cyberspace as seen in Gibson, as well as continuing along the same line of thought, the descriptions in the Hyperion cycle by Dan Simmons. While these elements are an integral part of the plot’s background story, they also serve the purpose of digital knowledge acquisition due mainly to their huge potential for conveying information. Conversely, they also contribute to the process of forgetting.
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Although the concept of the superfluous man is associated with Russian literature from where it originally stems, in this paper the term superfluous women is used to describe two heroines of Serbian realistic and modern novel, Ljubica in Seoska učiteljica (The Village Schoolmistress) by Svetolik Ranković and Sofka in Nečista krv (Impure Blood) by Borisav Stanković. The paper argues that these two characters can be seen as transcendence and a variant of the superfluous man based on certain artistic and stylistic qualities. Therefore the hypothesis should not be exclusively treated as a consistent and literal parallel between superfluous women in Serbian literature on one hand and superfluous men in Russian literature on the other. On the comparative level, the aim is to enlighten the psychological and narrative aspects that are essential when it comes to molding the two heroines, as well as their destiny, from a perspective of superfluous women.
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This paper analyses motifs formed around the symbolism of a red flower, from an early poem written in 1956, Two sisters of Persephone, then the cycle of the poems A Poem for My Birthday and Tulips, in which a red flower is linked to the oral and maternal images, and finally, in the poems written during the last year of Sylvia Plath’s life – Poppies in July, Poppies in October, Three Women: A Poem for Three Voices. The aim of this paper is to emphasize the significance of mythological and literary tradition in Sylvia Plath’s poetic language and point to the most persistant motifs in her poetry illustrated using the example of a red flower.
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Darstellung und Bewertung von sieben ausgewählten „science fiction stories“, in deren Zentrum Mathematiker oder unterhaltsame mathematische Probleme stehen, erlauben instruktive Blicke auf die Beziehung von Mathematik und Geisteswissenschaften, auf C. P. Snows „zwei Kulturen“ und die demgegenüber treffendere Diagnose von „half-cultured individuals“. Vorgeschlagen wird die Fortführung und Erweiterung der wegweisenden Analysen Knut Radbruchs zum Verhältnis von Mathematik, Dichtung und Literaturwissenschaft.
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Neko se jednom zapisa da poezija sama po sebi nije ništa izuzetno, nekoliko nespretno stopljenih reči u kakvu mucavu pričicu. Bože me sačuvaj! Ako je to tako, onda je čak i veliki Homer promašio svoj slepi život. Biće da mu je bilo bolje da se ratničkih pohoda lati kako bi ljudsku dušu mogao da shvati.
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This article examines the production of the literary myth from the perspective of semiosis and perceptive semiosis according to Umberto Eco. It shows that, though the referent is always modified by the occurrences and the different kinds of encounters with the myth, the literary myth finds its coherence thanks to invariants. The latter are not to be found in the narrative as it was long claimed. Rather, they are attached to the hero who, therefore, becomes the founder of a social and collective phenomenon. Consisting of a myth or of an ideology, which corresponds to the mentality of the context of reception, the invariants fascinate and mobilize the public to such an extent that they emancipate themselves from the literary text to move from one medium to another, allowing the hero to become a full-fledged convention. The question of invariants brings that of the strategy in the original text, which could generate a readership capable of identifying and transmitting them, hence maintaining the literary myth in the collective memory.
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The question of memory and obliviousness is a fundamental stake in Claude Simon’s work. His endeavour was to restore a holistic/complete form from which nothing seems to be forgotten. Nevertheless, such a holistic mode of writing faces the problem of what is fragmentary. Indeed if on the one hand memory appears as a whole, on the other hand it is also a collection of fragments which reshape themselves in different ways, thus producing different realities and different understandings of the link between memory and obliviousness. From this stems the need to think such a link not through the notions of activity and passivity but rather through what the author calls magma, an entity which is difficult to grap and which opens on a memory of the immemorial. This paper aims at reporting this endeavour of Claude Simon’s work.
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Intertextuality is one of the most complicated disciplines of literary studies, which a large number of theorists have attempted to define; still, the definitions greatly differ from each other in terms of their focal points. Whilst some scholars such as Rifaterre(1994) and Barthes (2001) emphasize the role of readers and reading process in the discipline, others like Bakhtin (1981) and Kristeva (1980) are mainly concerned with the relationship among texts. Studies have investigated intertextuality in different fields such as advertising (Oppenheim, 2014), sitcom series (Kinnonen, 2012), music(Barron, 2015), and so on; our study attempts to examine intertextual references on thebasis of creating humor, specifically, through the popular phenomenon of antiproverbs. In other words, anti-proverbs have been analyzed from the point of the view of humor theories –superiority, incongruity, and relief theories, attempting to discover how the intertextual references function in creating a humorous content in the new text- anti-proverbs.
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Many authors began to write about the sufferings and endurances of women in the Victorian Age. More and more novels focused heavily on traditional, typical Victorian female characters and their interactions. As to the movement for the emancipation of woman from the unjust burdens and disabilities to which the five authors made it a subject to reveal the benign qualities of woman, Hardy, Thackeray, Gaskell, Trollope and George Eliot also focused the condition of woman, besides Charles Dickens and the Brontë sisters – with a remarkable account of the social institutions of Victorian London. This does not mean that those novelists held feminist ideas, they simply he wanted to give woman her feminine privileges and rights. This study aims to explore most important Victorian writers who wrote about woman to seek the accuracy of Victorian views towards women. Charles Dickens was a pioneer in dealing with the kind of woman that was identified in that era. We also include Thomas Hardy and Charlotte Brontë who had different ideas in this point.
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The purpose of this paper is to illustrate the effect of an implicit, equivalencebased concept of translation on the translator‟s decision-making by examining the Serbian translation of the non-literary work Made in America by the famous American travel writer Bill Bryson. The translation does not contain any binary errors that would suggest an incompetent translator, but it shows problems with intratextual coherence for the target reader. The reasons for this can be linked to an underlying concept of translation which is based solely on the search for equivalence to the source text, disregarding the purpose of the translation and the viewpoint of the target reader. The paper contrasts the effect of this approach to the effects of a functionalist approach to translation and discusses its implications for a more visible role for the translator.
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This paper provides a pragmatic analysis of the model of impoliteness in the light of narcissistic language, as many multidisciplinary studies have shown that personality dimensions, such as narcissism, may be related to specific language patterns. Narcissism is, therefore, commonly associated with the violation of polite language usage. The aim of the research is to identify impoliteness superstrategies, as provided by Jonathan Culpeper, in fictional conversations found in the screenplay of the epic movie Gone with the Wind. We conducted data analysis using conversation analysis and speech act theory. The results of the study will demonstrate whether there is a significant correlation between narcissistic personality disorder and impoliteness and what the quality of this relation is.
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Овој труд ги презентира резултатите од квалитативната анализа за дебелината и облекувањето, прва во Словенија која се занимава со практиките на облекување и искуствата од стигмата на дебелината од страна на жени што се идентификуваат како дебели. Дебелината е вградена во доминантната културна рамка на „идеалното тело“, така што води кон стиг-матизација на телата што отстапуваат од културниот идеал. Тој процес е резултат на вкрстување на многубројни дискурси, кои се чини дека дејствуваат заеднички. Трудот тргнува од тезата дека дискурзивните рамки влијаат на личниот идентитет на поединецот на сложени начини, фор-мирајќи како последица механизам на стигматизација на дебелите луѓе. Целта на овој труд е да ги анализира манифестациите на овој механизам и стратегиите за справување со стигмата на дебелина. Трудот е структуриран во три главни делови. Првиот дел дава методолошки опис и социодемографска презентација на проблемот. Централното поглавје ги презентира и ги интерпретира резултатите од истражувањето, фокусирајќи се на перцепцијата на дебелината и искуството на стигмата, како и разновидните практики на приспособување на дебелото тело на културните норми на слаботијата (диети, режими на вежбање, облекување). Добиените резул-татите се надополнуваат со поширока дискусија за културните аспекти на дебелината.
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