Author Subject Research Articles

From Mary Shelley to Stephen King: the transformation of gothic fiction in English literature

The article is dedicated to studying the evolution of the Gothic novel in English-language literature from the 18th century to the modern stage of development through the lens of genre transformations and stylistic modifications. The purpose of the article is to study the peculiarities of the Gothic novel genre in English-language literature through the prism of genre transformations, the dialectic of tradition and innovation. The research was conducted on the basis of the complex application of the method of analysis and synthesis, comparative-typological, biographical, historical-genetic methods and the method of generalization. By conducting a typological comparison of the early Gothic novel, represented in the works of Horace Walpole, Mary Shelley, Ann Radcliffe, and the later Gothic novels of Oscar Wilde, Bram Stoker, and Stephen King, it was found that the peculiarity of mature Gothic novels compared to early ones is authorial subjectivity, vivid imagery, and picturesque quality, which eventually evolves into a fascination with supernatural phenomena and horrors. The figurative and symbolic system of the Gothic novel also evolves, as demons and the deceased are replaced by the innocent image of a child or woman, erasing the gender boundaries of the villain hero as the primary catalyst of the plot.

El romance en boca del pueblo: autoría colectiva según Ferdinand Wolf

Between the eighteenth and nineteenth centuries, an esthetic revolution awakened a new interest in traditional poetry, which was considered the depositary of the Volksgeist and the most faithful representation of the national character. This paper raises the possibility of using the concept of author function to prove the high coherence with which German Hispanism, and in particular Ferdinand Wolf, considered the people of Spain as the authorial subject of Spanish romances. To do so, I will review the increasing interest in folk poetry since the 1750s contextualizing it within the new processes of the creation of national identities and Europe’s special attraction to the Spanish case. Secondly, I will connect this revival to both new esthetic sensibilities that revolutionized the concept of authorship, such as expressive theories, and the creation of a collective subject (das Volk) as the origin of romances. I will analyze this collective subject as a potential author function. Finally, I will compare this against Wolf’s thesis on the Spanish Romancero.

Fruits of the Gardens: Ethics, Metaphysics, and Textual Pleasures in Late Qajar Iran

Abstract This article introduces a miscellany notebook in Arabic and Persian, entitled Favāka al-basātin (Fruits of the Gardens), compiled around 1914 in Tehran by Hājj Mirzā Mohammad Tehrāni (d. 1914–21), a learned sugar merchant and bookseller. The notebook covers a broad range of topics on faith, philosophy, and ethics. It frequently draws on the Qurʾan and the Hadith, as well as Stoic proverbs, mostly from the Meditationes (Meditations) of Marcus Aurelius (r. 161–80), which was well received in nineteenth-century Persian advice literature. The text also includes passages from the Thousand and One Nights and sections on modern sciences, such as electricity, gas laws, and liquid dynamics, and a theory of colors explaining the rainbow. The article’s introductory section provides brief biographical background of the compiler of this notebook, the second section presents an overview of its contents, and the final section explores the question of authorial subjectivity and the author-text relationship by putting in perspective the volume’s gradual compilation, its eclectic range of topics, and its fluid structure. Through its diverse reading and writing strategies, this notebook represents an informative and heuristic venue that opens new analytical angles on Iran’s cosmopolitan, multifaceted, and heterogenous intellectual milieu in the late Qajar period.

'She must be Woman at last': The Paratextual Sabotage of Clio in The Epistles of Clio and Strephon

ABSTRACT: The Epistles of Clio and Strephon (1720), by Martha Fowke and William Bond, is a poetic dialogue of twenty-seven letters between two poets that incorporates a battle for authorial subjectivity. Not only must Clio contend with Strephon's efforts to eroticize her; standing between the reader and Clio's poems are three thresholds of paratexts. The multi-author, hybrid text as a whole illuminates the pressures exerted on women writers by their male peers. Working beyond Genette on textuality, the article engages work on anthology-making, triangulation, elegy's male lineage, and gender-crossing to demonstrate the textual complications of establishing a woman poet's authority.

Ә. НҰРШАЙЫҚОВ ПУБЛИЦИСТИКАСЫНДАҒЫ АВТОРЛЫҚ СУБЪЕКТИВТІЛІК

This article examines the role of authorial subjectivity in the work of Azilkhan Nurshaykov, a writer-journalist who contributed significantly to Kazakhstani literature and journalism. The scientific aspect of A. Nurshaykov's journalistic activity, which had a large impact on public opinion and played an essential role in the development of humanistic concepts, is discussed. The study's goal is to describe the author's concept in journalistic works based on personal experience, perspectives, feelings, analysis and evaluation. The primary focus of the research is the author's publicistic works, which contain the author's thoughts and opinions. The author's perspectives and approaches to public and societal issues are taken into account in the journalist's profession. The author's notion will be acknowledged in philosophical, social, cultural, personal, and other aspects depending on the work's subject and genre. The study examines theoretical and empirical methodologies, as well as contextually analyzing essential characteristics of authorship that contribute to the integrity and uniqueness of a journalist's work and determine individual style. This helps readers comprehend the concept of authorship in a journalist's work. The paper investigates the journalistic laboratory he worked in for nearly two decades and analyzes his perspectives on the concept of journalist. A writer-journalist's viewpoint based on life experience is critical for developing journalists' professionalism and competency. The study's relevance and innovation stem from the development of contextual analyses that connect the author's subjectivity in journalism with the stylistic-genre, creative, and poetic characteristics of A. Nurshaykov's works. The article's value is additionally boosted by providing theoretical explanations of features of authorial subjectivity of international and domestic journalists, including the role of journalistic texts in content production and their influence on reader perception.

The Authorial Subject as a Metapoetic Figure in Ode I 9, Vides ut alta, and Ode II 19, Bacchum in remotis

This paper analyses the relation between the authorial and textual subject of Ode I 9, Vides ut alta, and Ode II 19, Bacchum in remotis, as a means of transition from a figurative represented world to an author’s experience of the creative process, understood as Horace’s attempt to capture the creator’s natural need to transform this key experience into an act of poetic communication. As a starting point for analysis, the construction of the subject-bard (vates) and the topics of poetic frenzy (ingenium, insania, mania) shaping the poet’s image as a medium between the divine sphere of inspiration and the poetic communication turned towards the sender were adopted.

MENINJAU SUBJEK RADIKAL DALAM CERPEN “VAMPIRE” KARYA INTAN PARAMADITHA PERSPEKTIF SUBJEK SLAVOJ ZIZEK

The short story Vampire by Intan Paramaditha tells about a woman who works as a secretary. In matters of thought, he must comply with norms or symbolic orders to become a professional secretary. This study discusses the subject formation in the short story Vampire. The method used in this research is critical discourse analysis. The stages carried out in this research are; First, define material objects and formal objects. The object material used is the vampire short story by Intan Paramaditha. While the formal object is the study of the subject of Slavoj Žižek. Second, find and record data related to the object of research. Third, do the analysis with the method of critical discourse analysis. The analysis will be devoted to linguistic aspects and contexts related to the subject of Slavoj Žižek's theory. The results of this study indicate that the subject failed to become an authentic subject. She was only able to get out of the symbolic order that she maintained, namely the norms of being a professional secretary. In the end he crossed the line and gave up his symbolic order. Even though the action is done consciously, the action taken by the subject has a specific purpose and motive, namely to fulfill his desires

Be Poetics of Plenitude and the Poet’s Biography: Self-Creation in Some Later Poems by John Ashbery

Thee article deals with the status of biographical references in John Ashbery’s later poetry. It is an attempt to work out an approach that, while keeping the biographical in view, is an alternative to the way in which the biographical has functioned in recent Ashbery scholarship. In discussing Ashbery’s strategy, I use the neo-pragmatist idea of aesthetic self-creation, especially a version of it developed by Alexander Nehamas in his writings on aesthetic objects. The term I am developing to discuss the variety of self-creation in Ashbery is “the emerging self,” and I see it as a component of a poetics which I am calling the pragmatist ironist poetics of plenitude. The emerging self of the poetics of plenitude, rising over the expanse of a lifetime of poetry writing, is a type of poetic authorial subjectivity whose relation to the empirical facts of the author’s biography reverses the relation between poetry and biography found in confessional poetry. The poetics of plenitude shows the biographical fact to be dependent on the poetic element on which it relies for its authenticity. Within the poetics of plenitude, it is the poetic that is the real and authentic.

The Paradox of ‘Impersonal Autobiography’: Albert Luthuli’s Let My People Go

Autobiographies are about selves, and one can reasonably expect that in writing an autobiography the authorial subject is making a claim of personal significance, and is, in the text, engaging in self-assertion and self-display. Might one not then question whether an autobiography which strives to portray the autobiographical subject’s selflessness could be effective? This is an important issue in relation to Albert Luthuli’s Let My People Go (1962) since it typically foregrounds politico-historical analysis, in keeping with the narrative’s evident the didactic intent, and diminishes focus on the autobiographical subject. The autobiography depicts an autobiographical narrator and subject who embrace humility and the ideal of selflessness. Luthuli’s narrator ensures that readers know that he is not laying claim to his own importance, and he does this in part by adopting strategies such as reminding readers of the exemplary shape of his experience and his lack of ambition in relation to his political career. Furthermore, Luthuli is reticent about his private life and personal relationships. Nonetheless, Let My People Go is effective as autobiography; this is because – not in spite of – of its portrayal of the autobiographical subject’s selfless self. In this article I make a case for renewed attention to Luthuli’s autobiography and argue that readers learn a great deal about the autobiographical subject – and his ethical values – through the narrator’s refusal to engage in self-display.

Remembering on Command: Autobiographical Narratives of the Officers of the Polish Security Forces, 1944–1956

The aim of this article is to analyse the archival collection of the memoirs of officers of the Polish security forces (Security Office and Citizens’ Militia) on their service in the Warsaw voivodeship in the late 1940s and early 1950s. Entangled in political violence, they were chief actors of the top-down “revolution in the county” and bottom-up “county revolution” that overlapped in Central Europe after the Second World War. This article presents their accounts as examples of fulfilment of a “narrative command” to present a vision of the past in line with the official ideological scripts of the Polish People’s Republic. At the same time, though, the approach employed here does not deprive the authors of their authorial subjectivity, and highlights their agency in attempting to express their individual agendas, interpretations, and emotions. This article distinguishes two types of accounts with reference to their perspective, structure, and language: “from a bird’s-eye view” and “a frog’s-eye” narrative, as well as one peculiar case of “an aspiring writer.” Then, in its main part, the article analyses how veterans reconstructed and interpreted various experiences related to their service in the 1940s and 1950s. The issues are the following: becoming an officer and transformation from “peasant” to “guardsman,” participation in violence and coercion, alcohol drinking, and possible fields of political criticism expressed by the officers.

Analyzing Feminism in Silence of the Lambs from the Perspective of Power

The Silence of the Lambs, released in 1991 in the United States, is one of the first Hollywood films to feature women as subjects. The film has a certain historical background that makes it a good material for studying the development of the women’s movement and the response of traditional patriarchal society to the improvement of women’s status. This paper analyzes the feminist content in the film from the perspective of power, combining the history of the development of the women’s movement with the growth of the characters, and refines problems faced by feminism from the past to today. The most problematic of which is the question of the authenticity of power and the establishment of subjectivity raised in the film by the contrast between the protagonist Starling and the villain Bill. Starling, with the help of Hannibal, acquires effective power through legal means, but fails to establish her own subjectivity outside of the male power discourse; Bill, while violently resisting power, also aspires to become powerful, but his power only stems from his own delusions and consequently kills many people, but he establishes an authentic subjectivity and a new rule independent of traditional patriarchal society.

Egy modern alapviszony

A Modern Relation– The Conflict between the Publication Industry and Literary Work in Hungarian Literary Modernism –
 In my paper I aim to discuss the relationship between the modern authorial subject and the professional journalist, which is a fundamental one in Hungarian literary modernism. Throughout this analysis I interpret several texts (by Dezső Kosztolányi, Frigyes Karinthy, Zsigmond Móricz, Mihály Babits, Imre Kner, and Aladár Schöpflin), in which the aforementioned relation is thematized, in order to explore the discourse formations that posit the subject of an author as a writer and as a journalist at the same time.
 Keywords: literary modernism, periodicals, journalist, professionalization, Hungarian literature

Runse hongye: Hanshu wenben de xingcheng yu zaoqi chuanbo

Runse hongye: Hanshu wenben de xingcheng yu zaoqi chuanbo

On Age, Authenticity, and the Ageing Subject

This paper is concerned with the relationship between selves as subject po­sitions and the experience of aging. The existing psychological literature on “subjective” and “objective” age, it argues, has failed fully to engage with the idea of subjectivity, focusing instead upon what are ascribed and attributed identities. In contrast to treating age and ageing as some ob­ject-like characteristic potentially applicable to both things and persons, this inquiry explores the internal experience of ageing and whether such experience can realise an authentic subject position. In begins with an outline of De Beauvoir’s views of the “unrealisability” of such a subject position and proceeds to consider whether her views are the necessary consequence of the phenomenological existentialism of Sartre and Heide­gger that frames her thesis. Such foreclosure on De Beauvoir’s part, I con­clude, is not inevitable, and, ultimately, there is a choice between what may be termed a Sartrean or a De Beauvoir position on the possibility of realising an authentic subjectivity of age.

Minor matters of major importance:1 On the vicissitudes of minor painting

This introductory editorial surveys a range of minor painting practices. It considers how minor painting might be defined, not in order to fix its designation, but to assess its implications, especially in relation to institutional authority, art’s historicity, art education and the authorial subject. There are discussions of Jim Shaw, Henry Darger, contributors to the current issue and others. These lead on to questions about art education. Rather than propose resolutions, the text instead traces the frictions between minor painting and institutional renderings of art education. The text emphasizes the ultimate inability of minor painting to escape or resist the institutional framing of painting. In reading Deleuze and Guattari’s Minor Literature book, the voice of community, rather than the individual subject, becomes important. Taking up the figure of community, the essay ends by placing the painter Norman Lewis in relation to a minor intervention within the milieu of Abstract Expressionism.

Subjectivity in flux: Contextualizing Don DeLillo’s White Noise

The idea of the subject as a construct, of various external influences, was not new to the cultural and literary circles in the 1980s when DeLillo published White Noise. In the second half of the twentieth century, post-structuralist and postmodern theories unsettled the established ideas of the humanist tradition like the concept of the subject. The idea that the subject is constituted by external factors posed a challenge to the modernist notion of the subject as authentic and independent consciousness. Influenced by post-structuralist and postmodern theories, novelists in post-war America, especially during and after the 1980s, portrayed their protagonists (the subjects) as textual constructs rather than authentic heroic figures we often find in modernists’ works of art. DeLillo engages with technological developments and sociocultural changes in post-war America and explores how such developments/changes influence an individual’s subjectivity. Critics have described Jack Gladney, the protagonist of White Noise, as a late-modernist displaced to negotiate the postmodern landscape. This study, which is purely of scholarly interest, attempts to show how Gladney vacillates between the notions of modernist authentic subject and the de-centred postmodern subject created textually. This article also attempts to explore how DeLillo’s fiction engages with the idea of the subject during the 1980s.

Pulling out the Most Colourful Threads: Revealing and Weaving Positionality into Collaborative Life Writing

ABSTRACT This article uses a collaboration between an academic historian and a family historian as a case study for the importance of acknowledging the role of authorial subjectivity within biographical life writing. In particular, it considers the different lenses – from feminist to familial – that can be used to view the rags-to-riches tale of Sydney fortune-teller Mary Scales (1863–1928). By foregrounding our own positionality towards the subject matter our hope is not to avoid subjectivity, but rather expose its influence in shaping our readings of the historical sources through which Mary’s life can be (partially) known.

Literary Writing and Personal Identity in Borges and Pessoa

In a famous passage in “The Death of the Author,” Roland Barthes describes the writing process as embodying the disintegration of the author’s personal identity: “Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing” (142). This postmodern position is deeply rooted in classical Greek thought, in particular Plato’s harsh critique of poetic inspiration, conceived as “holy madness.” Is this equation valid, however? Does writing necessarily serve as the ultimate act of self-negation? This essay seeks to elucidate Jorge Luis Borges’ and Fernando Pessoa’s alternative views of authorial subjectivity. Borges and Pessoa – arguably two of the greatest writers of the twentieth century – conceive the interplay between writing and self-identity in rather complex fashion. Pessoa’s term “heteronym” relates to the way in which an author’s subjectivity abruptly gives way to an idiosyncratic identity who composes the poem. This recalls the Kabbalistic idea of God’s contraction (tzimzum), the creator preserving his or her passive self-identity while giving birth to other beings from his or her inner void. Discussing Shakespeare and Whitman, Borges proposes that the act of writing is a form of self-creation in which the writer begets a unique narrative identity out of himself or herself that, transfigured, is simultaneously both the same and the other.

MARLINA: POLEMIK KE-SUBJEK-AN DALAM SASTRA DAN MEDIA

In a literary work , there is the desire of the character in it, and also the desire of the author which is listed and becomes the fulfillment of his desire. For Lacan , the fulfillment of desires is a process to achieve an authentic and whole subject. However, this is a complicated problem when it comes to dealing with and entering into a symbolic order. The film “Marlina The Killer of Four Acts” is one of the films that portray the problematics of the subject in a symbolic order so that it triggers the writer to understand the problem of subjectivity using Jacques Lacan's psychoanalytic theory. There are problems that the author wants to answer regarding the subject of Marlina, namely, 1) how is the image of the desire of the subject of Marlina displayed? 2) what is the desire of the film writer? and 3) what is the correlation with the media apparatus? This research uses the Lacanian psychoanalytic method to find answers to the problems of the subject in Marlina's character. The authors get results in the form of 1) how the image obtained by Marlina is identification in the mirror phase formed by language contaminated by other desires, thus making Marlina have a jouissance to get out of the symbolic order and achieve an authentic subject 2) also how the film's author's desire is a desire contained in the character of Marlina, and 3) how the media becomes a castration of the author's desire that prevents the author from achieving wholeness in his subject .

Through Thick and Thin

Through Thick and Thin