Monologue Research Articles

Mobility and Literature, An Analysis of the Selected Works of Don DeLillo

This article seeks to envision a new outlook toward mobility by paying greater attention to how mobility is represented and positioned in Don DeLillo’s narrative works. Through close readings of The Names and Americana , I argue that shifts in the narration—from the first-person to the third-person or from the omniscient narrative to interior monologue—correspond to mobilities of people, information, and culture. I conclude that DeLillo employs literature as a medium to indicate the interconnectivity of textual interactions (transfictionality) in relation to the mobilization of people, culture, and information.

دراسة اسلوبية للجوانب الموحدة لتيار الوعي والمونولوج الداخلي في رواية ويليام فوكنر "ابشالوم، أبشالوم!" وقصيدة أيرفين آلين جينسبرغ "الصرخة"

The present research is a stylistic attempt to study the unified sides of stream of consciousness and interior monologue in selected extracts from Faulkner's and Ginsberg’s: Absalom, Absalom! and “Howl”. Its relevance is to the sophisticated techniques that help unify the two sides in the works. These techniques are linguistic techniques, narrative techniques and metaleptic ones. The purpose of this study is to analyze them in Faulkner's and Ginsberg’s Absalom, Absalom and “Howl”. The problematic case of the two aforementioned works lies in the reader’s involvement in resolving their ambiguity. Their rigorous style drives the reader into an involvement in understanding its ambiguity. Hence, the significance of the study lies in its being the first attempt at analysing this problematic style. The study concludes that the three techniques point out the hidden dark side of the American life through the employment of ambiguous problematic style

Pinter Three and Pinter Four

Pinter Three and Pinter Four

Interior Monologue as Social Critique in James Kelman’s How Late It Was, How Late (1994)

James Kelman’s use of interior monologue, in his novel How Late It Was, How Late, portrays a consciousness enacting Althusser’s modern state paradox: a contradiction within the subject between the ideology of free subjectivity and the reality of subjection. Protagonist Sammy Samuel displays this contradiction when readers are thrown into his private voice of ‘free’ subjectivity, railing against the voices of social subjection. His interior monologue becomes a stoic core and autonomous realm, a direct, free-form inner voice, reacting to the sensory disorientation of blindness and confronting bureaucratic voices who refuse to ‘officially’ recognize his sight loss. Interior monologue potentially gives voice to oppressed subjects, but something more commanding is at work here. The ‘inner space’ in this fiction constructs a terrain for the dialectics of authenticity to fully inhabit. Sammy’s autonomy, his motivation by rational principle, lies in his rejection of the welfare system, to whom he is a phase in a bureaucratic process. His interior monologue becomes an ‘authentic’ truth, addressed to the self in an idiolect that appears uncontaminated by social obligation or public expression.

Modernism in Joyce’s A Portrait of the Artists as a Young Man

This paper investigated modernist in Joyce’s a portrait of the artists as young man. The findings of the study showed that Joyce did not tell a story with a coherent plot and a traditional beginning, middle, and end. Instead of that he used the stream of consciousness technique to select crucial moments in the life of Dedalus. By doing that, Joyce refused the chronologically ordered plot that characterized most of the novels in the nineteenth century. This technique of narration led to a revolution in the form of novels and opened the door to a deeper and more comprehensive study of the inner parts of characters. Also, the results of the study indicated that the stream of consciousness and the interior monologue built the novel through the representation of the ideas, dreams and imaginations of the major character. Finally, the book can be read as both a representation of Joyce's life and a declaration of liberty from all the conventions and norms that controlled the novel as a literary form. Keywords : Modernist, Joyce, Portrait, Artist and Literary Movement. DOI : 10.7176/JLLL/54-04 Publication date :March 31 st 2019

"Long March V" Monologue

"Long March V" Monologue

Literature of the Concealed Home: Passing and Imperial Periphery in Yamanokuchi Baku's Prose Fiction

Literature of the Concealed Home:Passing and Imperial Periphery in Yamanokuchi Baku's Prose Fiction Cindi Textor (bio) "A Conversation" (Kaiwa, 1938), arguably the single most renowned poem by the Ryukyu-born Yamanokuchi Baku (1903–1963), takes the form of a dialogue in which an unnamed woman asks the narrator where he is from—more specifically, what country he is from (okuni wa?). "What country are you from?" she asked.I thought about my country and lit a cigarette.That place colored by associations with tattoos, the jabisen,and ways as strange as ornamental designs."Way out there," I answered."In what direction?" she asked.1 The poem gives no indication of why this woman is asking about the narrator's country of origin, though it stands to reason that she assumes his country is not Japan, else the entire line of questioning would be trivial. The first answer "I" gives, "Way out there," confirms her suspicion, but evidently does little to [End Page 301] satisfy her initial curiosity. The poem then alternates between the narrator's interior monologue, full of stock images and tourist stereotypes of the Ryukyus, and his ambiguous answers as he avoids explicitly naming his Okinawan origins: "Where in the South?" she asked.In the south, that zone of indigo seas where it's alwayssummer and dragonorchids, sultan umbrellas, octopus pines, and papayas allnestle togetherunder the bright sunlight. That place shrouded inmisconceptionswhere, it is said, the people aren't Japanese and can'tunderstand the Japanese language."The subtropics," I answered.2 Here the narrator suggests that the entire premise of the conversation—that Ryukyuan people are not Japanese—is a misconception, but stops short of saying so aloud. Meanwhile, as the conversation progresses, the images of Okinawa conjured in the narrator's mind grow more detailed and vivid, evoking a vague sense of nostalgia for his homeland interwoven with associations he hopes to avoid. The irony of the poem turns on the contradiction between the actual spoken dialogue and the inner "conversation" he has with himself. The woman's interrogation and the narrator's evasions seem to negotiate a gap in knowledge: the woman demands that he name his place of origin, ostensibly because she does not know. At the same time, the narrator conceals his inner monologue and refuses to name his native place, not because the woman is unaware, but precisely because he fears the same images he pictures have already occurred to her. The narrator and interlocutor share all the same assumptions, but must perform otherwise. [End Page 302] In this way, "A Conversation" succinctly captures the conundrum of passing in the Japanese empire, as it pertains not only to Okinawans like Baku, but also to Koreans and other colonial subjects. Although the poem proceeds from the woman's knowledge that the narrator is not Japanese, she continually probes for confirmation of her suspicion, as if to suggest that she does not, in fact, know. However, her relentless questions cause the narrator himself to parrot, if only within his own mind, the very "associations" and "misconceptions" that establish his ethnic or cultural difference from Japan. Within the circular logic of passing, his effort to hide his identity becomes the proof thereof, since if he were Japanese he would not need to pass. Thus, the difference that the passer hopes to conceal is an effect, rather than the cause, of the inevitable failure to pass.3 Furthermore, the paradoxical assimilation policies of the Japanese empire could be seen as a kind of institutionalized passing. That is, passing was (and still is) a response to the imperialist demand that the colonized become Japanese subjects, loyal to the emperor, while not becoming so perfectly Japanese that ethnic hierarchies cannot be maintained. One question worth raising here is whether Okinawans can reasonably be considered colonial subjects in this context. While the difference in legal status between Okinawa as a prefecture and colonies like Korea overseen by a governor-general (sōtokufu) should not be overlooked, as Alan Christy notes, "the military invasion and occupation, political annexation, paternalistic enforcement of modernization, and compulsory cultural (especially linguistic) assimilation to Japan that were...

A Literary Voyage into the Unconscious: A Philosophical Approach to the Psychological Novel in Woolf’s Mrs. Dalloway (1925)

The present paper attempts to reawaken the avant-gardism of the literary Stream of Consciousness; a twentieth-century psychological concept that has been accommodated into fictional exertion through the Interior Monologue. The first practitioners of this technique and mode of narrative reportedness are Virginia Woolf, Dorothy Richardson, and James Joyce, all of whom are modernist fictional writers who engaged with what previous novelists of the nineteenth century failed to engage with. Woolf observed - in a lecture given to the Cambridge Heretics Society in May 1924 - that: “no generation since the world began has known quite so much about character as our generation”. Woolf’s fiction tends to be psychological, for she experiments with the working of the psyche of her characters and the permanence of the past in the present beyond the reach of realism. Her fiction treats the complex networks of emotions and memories of which the character is the center of the narrative. This paper accordingly, addresses the philosophical background of the Stream of Consciousness and its use within fictional exertion and how the latter is deployed in Woolf’s Mrs. Dalloway (1925) to show and uncover the anxieties vis-a-vis her thanatophobia, not only this, but also to express the anxieties of the Great War and the disillusionment towards the modern enterprise.

Empatía y lectura literaria el caso del monólogo interior en Fräulein Else Elisabetha Vinci

This contribution is aimed at analyzing how empathy is instantiated when we read works of fiction and at studying which elements can improve the consonance between characters and readers. Starting from a brief summary about empathy with regard to literary texts, the paper examines the question concerning human reception of fictional characters in order to investigate how we empathize with them through the description of some elements which foster empathy: internal focalization, interior monologue and movement description. Fraulein Else by Arthur Schnitzler will serve as case study of empathic reading.

“Great Sleepless Artists”: Humbert Humbert's Insomnias in Vladimir Nabokov's <em>Lolita</em>

Vladimir Nabokov's Lolita uses insomnia as a motif and structural device. Nabokov, a chronic insomniac, viewed his insomnia as essential to his productivity and a means of forestalling the evil of sleep, which he characterizes as a dangerous form of complacency and lost agency. Humbert Humbert, the narrator, uses his own insomnia to establish physical control over Lolita—sedating her and her mother while maintaining his own wakefulness—and to produce his narrative, as insomnia shapes Humbert's perceptions and attempts to authorize himself and Lolita. Nabokov thwarts Humbert's manipulations by evoking insomnia in readers through textual devices, such as metafictional structure, wordplay, interior monologues, and cyclical temporality, all of which replicate the phenomenological experience of insomnia for the reader. Nabokov encourages readers' vigilance as the text exposes Humbert as a manipulative and delusional monster, not the "great sleepless artist" Humbert depicts himself to be.

Introduction: Fraud and Forgery in Victorian Culture

Introduction: Fraud and Forgery in Victorian Culture Elly McCausland (bio) and Jakob Gaardbo Nielsen (bio) In one of the central passages of Anthony Trollope’s novel The Way We Live Now (1875), the reader accompanies Augustus Melmotte, megalomaniac financier, into his private office and watches this “tower of strength” (72) and “prophet” (331) of commercial enterprise forge the signatures of his daughter and his clerk on a transfer deed. The rich and politically ambitious railway magnate has placed a large fortune in his daughter’s name so as to keep it from “the ordinary fluctuations of commercial enterprise” (579). Now, with a ruined reputation and in need of liquid funds in an avalanching stock market, and faced with his daughter’s refusal to sanction the transfer in writing, Melmotte “[practices] the two signatures for the best part of an hour” (585) before setting off into the City with the forged documents. Despite his meticulous rehearsing, however, Melmotte misses one of the signature lines, leaving the whole thing void—a fact the narrator later ironically takes to mean that “any fool might do an honest business,” while “fraud requires a man to be alive and wide awake at every turn!” (619). As the reader knows at this point in the novel, Melmotte is himself also a fraud: a serial forger of identities circulating between European capitals. In an interior monologue, the narrator discloses that “Fraud and dishonesty had been the very principle of his life” (613). Melmotte’s lack of a traceable origin troubles his biographers, who, after his suicide, interestingly conclude that he was in fact the son of “a noted coiner in New York” (735). The association with the profession of coining doubles the impression that his identity is reproductive, imitative, and ultimately counterfeit. His signatures, then, are false in a double sense: they are not his own, and they are issued by a body that does not belong to a single identity. Much like the bastard or the impostor, the forger is something of an emblem of the Victorian imagination. In an epistemological system characterized by shifting attitudes toward the act of seeing—a system in which “the sufficiency of the visible” (Flint 25) and the ability of the visible to function as a “[way] of knowing” (Malton 6) were being challenged on several fronts—forgeries of this kind were, as Sara Malton has argued, an “intensely dangerous social and economic disruption” (2). A signature is a quintessentially “authentic” inscription of identity upon a document that becomes legitimate only at the moment of inscription. It is a fixed mark whose stasis belies the performative nature of its inscription, converting [End Page 227] blank potential into supposedly robust legitimacy and authority. The forgery of a signature—its unsanctioned appearance out of another hand—seems therefore almost sacrilegious. It violates a whole system of identification, a logic of origination and authenticity, the cohesion of moral selfhood, and the concept of the self-contained subject. Echoing Derrida’s notion of the circular nature of exchange, Malton likens the false signature to a false coin insofar as it claims for itself “an authorized origin” (14) that, firstly, it does not have, and, secondly and more paradoxically, is inherently difficult to verify “because of its very similarity to the mechanism of credit it exploits” (14). Similarly, the muteness of the forged words in a false signature, their inability to identify themselves as anything other than real, at once mimics and undermines the function of trust in industrial commercial society. In literary and philosophical texts, the forged signature and the false coin not only symbolize the insecurity of modern systems of exchange but also give expression to a crisis of subjectivity and representation. Concurrently, acts of fraud and forgery can have empowering or assertive qualities. The belief that names and signatures belong to singular individuals, that faces and identities signify or embody each other, that one person is not another, that identity is more than an assemblage of contingent truth claims, has never been a straightforward assumption and leaves room for the poet as well as the forger. In his landmark study of literary forgery, Nick Groom stresses the necessity of embracing forgery...

RaShThe Bullet Train and Other Loaded Poems

on his head / grabs frames from the darkness ,” Kates’s choice not to use the English word “headlamp” keeps the Russian end-line emphasis on “head,” and the “flash” in “flashlight ” reinforces the sense of photographic sight. Often multilayered and dark—“Earth, dying on the eve of winter / responds to the touch like a cold corpse”—in these poems there is also a sense of possibility: “We will die and wake up as someone else, / . . . surviving our ending without trauma. / . . . we will choose for ourselves.” This is a beautifully translated volume that neither exoticizes nor renders out the joy of reading poetry grounded in another place and language . Against the “obstruct[ing]” sounds of “desiccated tendons . . . on a stringed instrument ,” Tazhi’s poetry is a music that explores our shared borders as spaces of opportunity, for the possibility of creating “an imagined world: one that absorbs music from the outside , / and will not preserve the borders / of an internal country.” Alison Mandaville California State University, Fresno RaSh The Bullet Train and Other Loaded Poems Kolkata. Hawakal. 2019. 63 pages. RaSh’s fascinating collection of poems draws immediate attention to its title. One only needs to turn over and read the first poem to understand the politics behind it. He uses the image of the bullet train as a symbol to juxtapose two uncomfortable truths together—India’s ambitious project of building a bullet train and the state-sanctioned killings of Indian rationalists and journalists like M. M. Kalburgi and Gauri Lankesh. The idea behind the title and the title poem is to bring to the fore the jarring reality of the parallelism between commercial ambition and human sacrifice. As the poet himself writes: “This train will now pass through / Under skin arteries and veins and nerves . . . / To topple into a depthless soul one by one.” Unlike RaSh’s previous collection of poems, Bullet Train is directly political and addresses issues that have been bothering not just the poet’s conscience but the collective conscience of many in India. In trying to create poetry out of violence, RaSh tries to break free from the stereotypical assumptions about the poet and his/her Muse. The Muse here is far from the Greek imaginary. The Muse is Asifa, a young girl repeatedly raped inside a temple and later killed as an act of vengeance on her community . The Muse is also Rohith Vemula, a young PhD scholar who, after systematic bullying by his university for being a Dalit, succumbs to suicide (see Meena Alexander’s “Death of a Young Dalit,” WLT, Nov. 2016). As historical testimonies vehemently resisting amnesia, the poems hurl a challenge to the status quo: “You can teach me / How to burn alive a peacock . . . / But, never never never never teach me / How to love . . . / You don’t know / What I know.” RaSh’s language jolts the reader out of her indifference. Lines like “her lover bought her wombandfilleditwithink to dip a quill in” transform the reader into an active listener. This is what distinguishes RaSh’s collection . Surpassing ordinary readerly expectations, these poems explode into stories of “lies, conceit, loathing, and repulsion.” The poet-witness, like his Kafka, wails for the dead and the dying at the hands of the oppressor: “Who is he to die so unceremoniously ? / ‘Like a dog,’ ‘like a dog’ . . .” Sahana Mukherjee Kolkata Karen Havelin Please Read This Leaflet Carefully New York. Dottir Press. 2019. 271 pages. Please Read This Leaflet Carefully is the interior monologue of Laura Fjellstad, a young woman made old by decades of chronic pain. Told in reverse chronology, Laura’s story is an endless cycle of enduring and managing pain from “deeply infiltrating endometriosis” that is exacerbated by asthma, severe food allergies, and prestage osteoporosis. Every element of her day in New York—from what she eats to how far she walks—is carefully orchestrated to avoid more pain. Yet, for all her planning and considering , the narrator has very little control over her daily health. This powerlessness results in physical discomfort and, perhaps more destructively, what Laura calls a “sucking vortex of anxiety.” Her thoughts are constantly at war with her family, her lovers, and herself. She both needs...

Karen HavelinPlease Read This Leaflet Carefully

on his head / grabs frames from the darkness ,” Kates’s choice not to use the English word “headlamp” keeps the Russian end-line emphasis on “head,” and the “flash” in “flashlight ” reinforces the sense of photographic sight. Often multilayered and dark—“Earth, dying on the eve of winter / responds to the touch like a cold corpse”—in these poems there is also a sense of possibility: “We will die and wake up as someone else, / . . . surviving our ending without trauma. / . . . we will choose for ourselves.” This is a beautifully translated volume that neither exoticizes nor renders out the joy of reading poetry grounded in another place and language . Against the “obstruct[ing]” sounds of “desiccated tendons . . . on a stringed instrument ,” Tazhi’s poetry is a music that explores our shared borders as spaces of opportunity, for the possibility of creating “an imagined world: one that absorbs music from the outside , / and will not preserve the borders / of an internal country.” Alison Mandaville California State University, Fresno RaSh The Bullet Train and Other Loaded Poems Kolkata. Hawakal. 2019. 63 pages. RaSh’s fascinating collection of poems draws immediate attention to its title. One only needs to turn over and read the first poem to understand the politics behind it. He uses the image of the bullet train as a symbol to juxtapose two uncomfortable truths together—India’s ambitious project of building a bullet train and the state-sanctioned killings of Indian rationalists and journalists like M. M. Kalburgi and Gauri Lankesh. The idea behind the title and the title poem is to bring to the fore the jarring reality of the parallelism between commercial ambition and human sacrifice. As the poet himself writes: “This train will now pass through / Under skin arteries and veins and nerves . . . / To topple into a depthless soul one by one.” Unlike RaSh’s previous collection of poems, Bullet Train is directly political and addresses issues that have been bothering not just the poet’s conscience but the collective conscience of many in India. In trying to create poetry out of violence, RaSh tries to break free from the stereotypical assumptions about the poet and his/her Muse. The Muse here is far from the Greek imaginary. The Muse is Asifa, a young girl repeatedly raped inside a temple and later killed as an act of vengeance on her community . The Muse is also Rohith Vemula, a young PhD scholar who, after systematic bullying by his university for being a Dalit, succumbs to suicide (see Meena Alexander’s “Death of a Young Dalit,” WLT, Nov. 2016). As historical testimonies vehemently resisting amnesia, the poems hurl a challenge to the status quo: “You can teach me / How to burn alive a peacock . . . / But, never never never never teach me / How to love . . . / You don’t know / What I know.” RaSh’s language jolts the reader out of her indifference. Lines like “her lover bought her wombandfilleditwithink to dip a quill in” transform the reader into an active listener. This is what distinguishes RaSh’s collection . Surpassing ordinary readerly expectations, these poems explode into stories of “lies, conceit, loathing, and repulsion.” The poet-witness, like his Kafka, wails for the dead and the dying at the hands of the oppressor: “Who is he to die so unceremoniously ? / ‘Like a dog,’ ‘like a dog’ . . .” Sahana Mukherjee Kolkata Karen Havelin Please Read This Leaflet Carefully New York. Dottir Press. 2019. 271 pages. Please Read This Leaflet Carefully is the interior monologue of Laura Fjellstad, a young woman made old by decades of chronic pain. Told in reverse chronology, Laura’s story is an endless cycle of enduring and managing pain from “deeply infiltrating endometriosis” that is exacerbated by asthma, severe food allergies, and prestage osteoporosis. Every element of her day in New York—from what she eats to how far she walks—is carefully orchestrated to avoid more pain. Yet, for all her planning and considering , the narrator has very little control over her daily health. This powerlessness results in physical discomfort and, perhaps more destructively, what Laura calls a “sucking vortex of anxiety.” Her thoughts are constantly at war with her family, her lovers, and herself. She both needs...

The Place of Čechov’s Dramas in Peter Szondi’s "Theory of Drama"

The paper examines Peter Szondi’s theory of drama from two perspectives: 1. what traces of his new approach – i.e. textual interpretation – can be found in his early works; 2. to what extent are Szondi’s conclusions valid and original with respect to Cechov’s dramatic works? I identify common characteristics of Szondi’s conception of literature, formalist poetics, and phenomenological approaches. I also analyse two features of modern drama, epicization and the role of the intimate Self, through interpretations of Cechov’s dramas. I come to the conclusion that monologues acquire a narrative function in Cechov’s works, while through inner speech they also preserve the linguistic compactness characteristic of lyric poetry, i.e. the sound effects (alliteration, assonance and richly metaphorical language), which generates meaning-producing processes in the dramatic text.

Playing With Paint or Painting With Play

In composing Play, Beckett paid more than lip service to painting as his inspira tional source by liberating, within dramatic form, the 'viewer's gaze', a process that Louis Marin finds to be integral to the reading of painting. Evidence of Beckett's motivation arises from the scrutiny of Play's three fragmented mono logues and his choreography of light. The result illustrates that Beckett's passion for the spectator's freedom of gaze embedded in the reading of painting beco mes transposed into the theatre. To state Samuel Beckett's love for the arts uncovers no secret. In his authorized biography, James Knowlson documents Beckett's apprecia tion for visual art and its corresponding influence on his aesthetic (21). Beckett's fascination with visual art unveils itself in his theatrical crea tions through thematic and imagistic quotations as well as compositional structure. A structural examination of Play reveals that Beckett embodied in dramatic form many principles of painting. Louis Marin offers a hypothesis on the reading of painting, which illuminates Beckett's dra matic technique by describing the relationship between viewer and pain ting and thus, the characteristics of visual art present in the design of Play. While no direct link exists between Marin and Beckett, striking similarities emerge from the works that inspired them and from their thinking. Their love of visual art led them to frequent art galleries (espe cially the National Gallery in London) and, coincidentally, both posses sed a fondness for Nicolas Poussin's works (Knowlson, 186; Marin 1977, 47). In aesthetics, Beckett and Marin both emphasize the link between form and content in terms of the primacy of recipient integration with aesthetic object, the concept explored here (Beckett 1983, 27; Marin 1980, 294). Evidence of Beckett's motivation for spectator implication arises from the piece's fragmentation of monologue, choreography of light, and textual composition. Beckett's Play exists as a theatre piece and, although Marin limits his analysis to painting and language, one no

Multimodality of Interior Monologues in Faulkner’s Stream-of-Consciousness Novels

Multimodality of Interior Monologues in Faulkner’s Stream-of-Consciousness Novels

Fiction into Film 7

R. K. Narayan’s The Guide, considered a masterpiece, was made into an equally successful film. Guide was made in two versions — an English version in collaboration with Pearl S. Buck and directed by Ted Danielewski to introduce Dev Anand to Western audiences and the Hindi version directed by Dev Anand’s younger brother, Vijay Anand. Despite being warned by all and sundry not to touch the project and his brother’s strong reluctance to direct, Anand persisted with the film, which went on to fetch awards in almost all categories and remains a landmark in Indian Cinema. R. K. Narayan was most unhappy with the final film as he felt it deviated too much from his novel, particularly in Anand’s change of setting from Malgudi to Udaipur and the film’s ending, and disowned the film. The author’s disappointment with the cinematic translation of his text is understandable. But it overlooks the difference between fiction and film, the main issue being that the novel is a verbal medium whereas film is primarily a visual genre. What is the process through which the filmmaker translates the verbal into the visual mode? How did Vijay Anand translate Narayan’s complex fictional narrative that weaves in modernization, social reform, and development with spiritual quest in a cinematic code? How did he weave in the emboxed narrative of the unhappy dancer Rosie into the frame story about the Hindu concepts of the power of faith and renunciation? How did he handle descriptions of characters: “complexion not white, but dusky, which made her only half visible, as if you saw her through a film of tender coconut juice” and mood: “‘I’m prepared to spend the whole night here,’ she said. ‘He will, of course, be glad to be left alone. Here at least we have silence and darkness, welcome things, and something to wait for out of that darkness’”; interior monologue; the passage of time; the switch from the frame to the emboxed tale and so on? Through examining The Guide, this paper will engage with the handling of narrative in fiction and film.

A REVIEW OF NAGUIB MAHFOUZ’S ‘THE BEGGAR’ BASED ON NORMAN FAIRCLOUGH'S CRITICAL DISCOURSE ANALYSIS

In a sense, critical discourse is considered an approach that goes beyond mere description of linguistic data to concentrate on the instrumental processes involved in the formation of discourse. This type of criticism consists of two approaches: social and linguistic: the former deals with the situational context while the latter describes the textual context. The present paper, using the descriptive-analytical method, attempts to investigate the linguistic, ideological and social aspects of ‘The Beggar’ at the levels of description, interpretation and explanation in light of Norman Fairclough’s critical discourse Analysis, with the purpose of understanding the sociological elements of this novel along with its interpretations; and, appreciating the effect of sociological context on the novel and the processes which allow the emergence of such a novel. Mahfouz wrote ‘The Beggar’ at a point of his life when some were committed to the Revolution and its conditions, while others remained silent. The results of the study indicate that Mafhouz has created a remarkable harmony between the social concepts and linguistic features of the novel. Relying on lingual devices such as Arabic interrogative, nominal and rhetoric sentences, he has projected his intended meanings across the superstructure of the text including descriptions, humorous tone and interior monologues, etc. Hence, he has been able to portray concepts such as ideology and culture, restrictions and influential processes of the Egyptian society in his literary work. Throughout ‘The Beggar’, Mahfouz illustrates all the events and crises of the Egyptian society on different political and social levels from the subjective symbolism and social criticism perspectives. This research seeks to examine this novel at three levels of description, interpretation, and explanation.

Gaps, silences and witnesses: the quest for identity in Henriette Yvonne Stahl’s "My Brother, the Man"

Evident from her first book Voica (1924), and up to her last novel Le Témoin de l’Eternité printed first in France in 1975 and translated into Romanian in 1995, Henriette Yvonne Stahl becomes from a promising writer a unique voice in the inter-war and post-war literary scene in Romania.
 Starting from Rimbaud’s illuminating pensée “Love has to be reinvented” (Felman 2007: 213), this paper aims to explore the identity of protagonists in My Brother, the Man (Fratele meu omul, first published in1965), drawing on identity and trauma theory as developed by Penny Brown (1992), Cathy Caruth (1995; 1996), Shoshana Feldman (2007) and Dori Laub (1992; 1995). In addition, the mixture of memory and narrative analyses types of ‘talk fiction’ (Kakandes 2005), the shift of focus from the subject of remembrance to the mode in which it takes place (Whitehead 2009), and how narratives impact readers (Piątek 2014).
 Both male and female characters in My Brother, The Man have clear dominant traits, so that their actions and inner voices are marked by abrupt shifts, meant to stimulate a noticeable response from those they love or dislike. Are the main characters engulfed in a dense life texture able to explore their personal dilemmas, difficult choices and detach themselves from the flux of their own passions and desires? Or are they going to fall victim to their own inability to understand life’s meaning, paralleled by a lack of vision and humanity as manifested by other characters? How do they act and react to the actions and emotions they experience? The present paper examines how memories, dilemmas and changes nuance a story moving from a classically-structured narrative to crime fiction, embedding numerous interior monologues and deep psychological impasses, the result being a female novel of self-development.

KEKERASAN TERHADAP PEREMPUAN DALAM NASKAH DRAMA MONOLOG MARSINAH MENGGUGAT KARYA RATNA SARUMPAET

This study aims to: (1) describe the form of violence against women; (2) to describe the causes of violence against women; and (3) to describe the impact of violence against women in the drama of Marsinah monologue by RatnaSarumpaet. This research type is qualitative research by using descriptive method. The data in this study are sentences and direct speeches of figures that can be interpreted or interpreted as violence against women. Sources of data in this research is the script of Marsinah monologue drama Menggugat works RatnaSarumpaet. The research stages are done by following steps: (1) reading drama script and (2) inventorying data. After data is collected, then analyzed by the following steps: (1) classifying data; (2) to interpret data; and (3) make a conclusion. Based on the result of the research, it can be concluded that the indicators of violence against women in Marsinah monologue drama Scriptures sued by RatnaSarumpaet include: (1) violence against women is divided into five, namely exploitation, powerlessness, marginalization, cultural imperialism, and violence. Violence is divided into two, namely physical violence, including persecution, rape and murder, and internal violence, including humiliation and threats. (2) the cause of violence against women is divided into two, namely internal and external factors; and (3) the impact of violence against women is divided into two, namely the impact of violence against the physical, including fractures, bruises, and severe injuries, and the impact of nonphysical violence, including fear, humiliation and low self-esteem. Keywords: violence, women, Marsinah Menggugat