Literary Codes Research Articles

Shakespeare’s Codes in Poetic Prose

Questions of teleology of art rhythm are closely related with concept of time. Objectives address the problem: to consider the relationship of aesthetic effects poetic prose associated with the manifestation of the reverse time in the story and vertical time in the architectonics of the artistic whole with literary codes. The article analyzes the aesthetic effects of poetic prose, considers the imposition of codes Hamlet’s and Macbeth’s in the plays by A.P. Chekhov and the novel by B. Pasternak Doctor Zhivago. The article analyzes the aesthetic effects of poetic prose, considers the imposition of this codes. Objectives address the problem: to consider the relationship of aesthetic effects poetic prose associated with the manifestation of the reverse time in the story and vertical time in the architectonics of the artistic whole with literary codes. In the novel of Pasternak, the Macbeth’s code in poetic prose appears in the rhythmic structure, the Hamlet’s code - in a symbolic structure. The allusion to Shakespeare’s text creates a strong voltage point between the inner dialogue with Shakespeare and something occurring in silence. Probably, the teleology of rhythm in the recent literature tematizada using these codes as the most adequate of modern European consciousness.

“Each Unbearable Day”: Narrative Ruthlessness and Environmental and Reproductive Injustice in Jesmyn Ward’s Salvage the Bones

AbstractJesmyn Ward’s 2011 novel Salvage the Bones tells the story of Esch Batiste and her family in the days leading up to Hurricane Katrina. Ward represents Esch’s unexpected pregnancy and the environmental degradation of her rural Mississippi Gulf Coast home as linked by the slow, quotidian forms of violence and risk exposure that characterize Jasbir K. Puar’s formulation of debility. Through scenes of reproductive and environmental injustice, Salvage the Bones elucidates the processes through which racially inflected political-economic systems unevenly produce debility in certain populations and environments while capacitating others. When put in conversation with critical race theory, critical disability theory, and environmental criticism, Salvage the Bones emphasizes the logics that underpin debility rather than sensationalizing or pathologizing its consequences. In its refusal to revert to ableist, racist literary codes and conventions, the novel theorizes and practices “narrative ruthlessness,” Ward's description of her literary strategy to respond to debility’s representational conundrums of inevitability and invisibility. In so doing, narrative ruthlessness exceeds liberal humanist impulses to propose restoration, cure, or uplift as desirable solutions, insisting instead on kinship, care, redress, and salvage as possibilities for radical survival and futurity.

Поликодовые механизмы интерпретации малых поэтических форм сетевой литературы

The article addresses the problem of decoding creolized “small” poetic forms with the reference to Russian and English Internet literature. Thus, we focus on the phenomenon of Russian Internet poetic texts poroshki and their authorized English language versions. Comic poetic texts poroshki are popular among Russian Internet users and reflect the reality of modern life. The novelty of the work lies in the new literary paradigm of interpreting poetic texts poroshki, which originally appeared within the Russian Internet.<br> The article aims at finding the mechanisms of decoding creolized “small” poetic forms as they appear in the Russian language and their English variants. Thus, we have implemented the lexical-semantic, stylistic, cognitive-discursive, and comparative analyses as we attempted to create original literary analysis which will allow to find algorithms in interpreting poetic texts poroshki (and any other “small” poetic forms) and to explain using image transformations based on creolization of verbal and non-verbal components of the texts. The suggested strategy takes into account the linguistic and extralinguistic literary codes and their creolization with non-verbal code of poroshki and allows creating semantic unity between verbal and non-verbal components of the poems. The results of the research help to promote poetic texts poroshki in the English language social networks and thus distribute this poetic form within other linguocultures.

La poesía en "La gitanilla": ¿Es Preciosa "Algo desenvuelta, pero no de modo que descubriese algún género de deshonestidad"?

En la estela de artículos de Monique Joly y de Francisco Márquez Villanueva, este trabajo pone de realce cómo Cervantes recurrió a la poesía para liberar la palabra de un personaje femenino: una gitanilla cuyos orígenes nobles se descubren al final de la novela ejemplar. En contrapunto con el elogio recurrente de la honestidad de Preciosa, aparecen numerosas disonancias a través de una expresión metafórica y ambigüa que está al servicio de la denuncia de una sociedad jerarquizada injusta e hipócrita. Los versos dedicados a la buenaventura son el espacio predilecto de dicha denuncia. Preciosa, identificada con la poesía, encarna la libertad a la que Cervantes tiene tanto apego para crear y recrear jugando con los códigos literarios de la época. Termina la reflexión con una comparación entre la voz de Preciosa y la de Altisidora que en El Quijote de 1615 se revela experta en el arte de la burla verbal en los versos de los capítulos 44 y 57.

Traduction et réécriture dans les textes hétérolingues

Abstract This article investigates the role of translation and rewriting in Julián Ríos’s first novel Larva. Refusing to be read in a linear manner, including thousands of plays-on-words and more than 20 languages besides Spanish, Larva breaks many linguistic, literary and discursive codes. It also displays close links with translation as it constantly moves from one language to another. The influence of translation and rewriting in the novel is analyzed from contemporary approaches to Ríos’s views on literature (e.g. Kristeva, Riffaterre) with an aim of understanding how they shape Larva’s main narrative structures and writing processes. Finally, the case of Larva leaves the door open for questioning the principles of originality and creation in (heterolingual) literature.

Літературна реконструкція як діалог минулого й сучасного в романі «Щиголь» Д. Тартт

Modern American novel appears to be a type of novelistic prose, in which with the help of specific literary approach from the standpoint of conscious historicism the events with a real historical basis are recreated and discussed in the light of historical perspective. This idea is practically embodied in the novel "The Goldfinch" by D. Tartt, whose author experiments with the genre features of the novel, constructing within its boundaries her own modification using the method of reconstruction. The novel "The Goldfinch" by Donna Tartt has fragmented structure and numerous elements of the plot that resonate, reflecting each other and at the same time imitating the literary models of novels by Charles Dickens, Fyodor Dostoevsky and Joanne Rowling. Engaging in a dialogue with predecessors through the deliberate use of literary techniques, creating the effects of intertextuality (borrowing and recycling of themes, explicit and implicit quotations, translations, plagiarism, allusion, paraphrase, imitation, parody, dramatization, the use of epigraphs, reminiscence), D. Tartt rewrites the authors’ life-style models and literary traditions according to her own worldview, preserving the most important and instantly recognizable in the prose if each artist. Here it is expedient to speak of the hermeneutical aspect of reconstruction, which seeks to reproduce the true meaning of the realities of the past and the present, by reproducing the situation of their occurrence. By introduction into the contemporary discourse certain elements and ideas of the previous cultures, a kind of dialogue space between the past and the present is created. Thus, the modern American novel attempts to revive some of the former literary codes, as well as to rework some of the artistic conventions of the past. The balance of historical perspective, the equilibrium of the past and the present in the new novel is achieved through the organic synthesis of contemporary postmodern and traditional realist strategies.

Literary code in the Swedish translation of the novel “Chevengur” by A. Platonov “Don Quijote i revolutionen” (translated by S. Walmark)

Literary code in the Swedish translation of the novel “Chevengur” by A. Platonov “Don Quijote i revolutionen” (translated by S. Walmark)

La polivalencia de Germánico en "Fasti"

The generic status of Fasti is a crucial issue in Ovidian scholarship, because of the interlocking of different literary codes within the text, such as elegy, didactic poetry and epic. Since the poem arises from its own indefinition, it can be seen as a sort of literary hybrid. Germanicus, both the poem’s addressee and a relevant figure of two exile elegies ( Ex Ponto 2.1 y 4.8), is built as a character in the strict sense that makes clear the poem’s hybridization or mixture. The configuration of the character of Germanicus as a man of letters, arms and power exhibits the combination of diverse generic elements and links them with different aspects of the text. I aim to show that the polyvalent construction of Germanicus in Fasti relates, from a metapoetic viewpoint, to the generic nature of Ovid’s poem on Roman time.

Diksi Cermin Realita Budaya dalam Lirik Lagu Populer Indonesia

Creative authors will be sensitive to their environment and their development according to their times. Through the diction that is used shows the ability of the author in writing song lyrics. Understanding the song lyrics is not only understanding the language code, but requires the literary code and cultural code. Lyrics in the language code seen in their basic form are meaningful series of words. The words used in showing its beauty are manifested as poetry or lyrics whose meanings are figurative. These figurative words can be seen in the intrinsic elements of majas-literary works and so on. These words are used by the author as a means of creativity through the existing reality in the form of cultural codes. Culture that lives in the community is used as a metaphorical symbol that reflects its experience and knowledge. For connoisseurs of the work can be accepted if there is the same knowledge about the cultural code.

Unfinished Trials and Sentences

Unfinished Trials and Sentences

NILAI PENDIDIKAN KARAKTER RING GEGURITAN DEWI DURGANDHINI

<p><em>Balinese literature is the result of people's thinking using Balinese language as their communication media and its contents about the social life style seen from its imaginative realm. Geguritan is one form of Bali Purwa Literature which until now geguritan still live and grow to accompany the people of Bali.</em><em> Penelitian ini mengkaji salah satu geguritan yakni geguritan Dewi Durgandhini. </em><em>Based on the above background then in this study there are two formulation issues to be discussed, namely: </em><em>(1) what is the formal and narrative structure that exists in the stirring of Dewi Durgandhini? (2) how is the value of character education in Degan Durgandhini's geguritan? This study aims to find out the formal structure and narrative, the value of character education. To answer the problem formulation the researcher uses two theories namely structural theory, value theory. Structural theory to analyze the formal structure and narrative structure of Geguritan Dewi Durgandhini. Value Theory to analyze the Educational Values Character that exists in the Geguritan Dewi Durgandhini Method used in the research is the method of literature and method of documentation, and data have been collected analyzed sesui steps such as reduction, data presentation, and conclusion. The data that have been analyzed is presented by informal method because it is presented using words, sentences and language from general to special or deductive-inductive. </em><em></em></p><p><em>The results of research Durgi Durgandhini geguritan are as follows: structurally Geguritan Dewi Durgandhini consists of formal structure and narrative structure. </em><em>The formal structure which includes: a) the language and literary codes in which there are deviations in the language, b) the variety of languages, in the warrior Goddess Durgandhini uses two languages namely: (Bali Base Alus and Base Bali Rough) and uses a bit of ancient Javanese language to complete onalaya, c) Language Style, which uses two styles of language namely: like and parable. Narrative structure consisting of incident, plot, characterizations figures, background. The second discussion is the value of character education contained in Degger Durgandhini's geguritan which consists of religus, religious values are told when the self-control and the sense of devotion. Honestly, honest value is implemented with Dasabala. Tolerance, the value of tolerance is done by Ida Prabu who has taken a son who is where the child is a big fish. Discipline, the value of discipline here is told Ida Prabu obedient to implement tapa brata. Hard work, hard value done I Paksi Cyena. Curiosity, the value of curiosity that existed in the warriors Dewi Durgandhini done by Dewi Durgandhini who find out who can treat himself. Love peace, peace love here implemented by Dasabala. Care for the environment, told by the author about the beautiful environment. Social care, social care value implemented by Bagawan Parasara.</em></p>

ФУНКЦИОНАЛЬНОСТЬ ФОЛЬКЛОРНО-МИФОЛОГИЧЕСКИХ МОТИВОВ И ОБРАЗОВ В ТВОРЧЕСТВЕ Л. АРБАЧАКОВОЙ И Г. КОСТОЧАКОВА

The article considers ethnocultural motives, images and subjects in the creative work of the Shorian poets G. V. Kostochakov and L. N. Arbachakova in order to reveal their functionality. L. Arbachakova’s painting is drawn to this analysis as well. It is revealed that the most frequently used words-images, concepts in poetic works of the Shorian authors contribute to the rendering of the specificity of ethnoculture and the image of the world of the Shorians. These permanent images are the archetypes of literary thinking and constitute the literary code of the national culture of the Shorians. Along with the actualization of the archetypal images of the modern Shorian poetry, the motive of exhaustion, extinction, withering, as well as the motive of lost paradise earth, is typical.

Folk and literary code in the love line of the novel “Wretched Nicanor”

Folk and literary code in the love line of the novel “Wretched Nicanor”

Postdigital synchronicity and syntopy: the manipulation of universal codes, and the fully automated avantgarde

In recent years, the use of new (both linguistic and non-linguistic) literary codes has accelerated due to the global technological intermediations between writers, scientists and artists, and to the increase and diversification of human–machine interactions. The new codes emerging from this new set of global interactions are often re-interpretations of literary and artistic methods and devices developed by modern and postmodern avangardist movements; however, they present some new interesting features when expanding through postdigital environments, where a novel universe of data/symbols are manipulated by a variety of human–machine assemblages with different modes of implication in performance-driven collaborative arrangements. This article critically reviews and reflects on literary works entering and exploring this postdigital space by using innovative art/writing codes.

Раман Нікі Ракіцінай Ганітва ў кантэксце развіцця жанру фэнтэзі ў беларускай літаратуры

The article deals with fantasy, a new genre in Belarusian literature. The origins of this genre can be found in the literature of the nineteenth century ( Nobleman Zavalnya, or Belarus in Fantastic Stories by Jan Borshchevsky). Researchers note certain elements of fantasy in the works of Vaclav Lastovsky ( Labyrinth ) and Vladimir Karatkevich ( Boat of Despair , The Legend of the Poor Devil and Satan’s Advocate ). But it is only at the end of the 20th century and the beginning of the 21st century that Belarusian literature witnesses the appearance of a number of works representing the original varieties of the genre: classical, folk, mythological, technocratic, feminist and anti-fantasy. The author of the article analyzes in detail Nika Rakitina’s fantasy novel Gonitva ( Chase ) written in Russian in 2008. Nika Rakitina’s novel is characterized by the productive use of the national literary traditions and cultural codes, as well as the bold postmodern play upon these traditions and codes.

ФОНОСТИЛИСТИЧЕСКАЯ ИГРА В ТЕКСТАХ ЛИТЕРАТУРНОЙ СКАЗКИ: СЕМИОТИЧЕСКИЙ АСПЕКТ

The article considers phonographical stylistic devices in literary fairy tales by English and American authors. The aim of the article is to demonstrate the potential of semiotic strategies in children’s literature. To achieve this aim the author consistently examines various phonographic devices used in the texts of literary fairy tales and analyses both the specific features of the relation between the signifier and the signified and the meaning of the given device in the formation of the specific literary code of the text for children by means of which the author plays with the reader. The author used as the material classic works by L.F. Baum, L. Carroll, A.A. Miln, C. Sandburg, J. Thurber, R. Dahl, which fully represent genre features of English and American literary fairy tale. Building on the functional-semiotic approach, the author reveals that being an essential feature of the fairy tale genre, play on words may be based both on the simi-larity and arbitrariness of relationships between the signifier and the signified of the graphical sign. A sign in a text for children can also be incorporated into a new code, which the reader is to solve in order to inter-pret the whole text or its part correctly. The analysis reveals that phonographical stylistic devices in children’s literature perform different functions (creative, esthetic entertaining etc.), didactic function being one of the most important of them, since these techniques in books for young readers, among other things, serve as a means of mastering the alphabet and rules of reading.

A Web-based Tutorial for the Nemeth Braille Code for Mathematics and Science Notation

The evidence shows that individuals who cannot see print and therefore must use printed materials that have been transcribed into braille experience great difficulty in achieving proficiency in mathematics, ultimately limiting their opportunities for gainful employment in our technological society. One of the major reasons for this situation is that many teachers of children who are blind and many vision rehabilitation therapists working with adults who are blind are not competent in the braille code for mathematics (DeMario, Lang, & Lian, 1998; DeMario & Lian, 2000; Kapperman, 1994; Kapperman & Sticken, 2003; Rosenblum & Amato, 2004; Wittenstein, 1993). The Research and Development Institute (RDI) has developed several tutorial products for the Nemeth Braille Code for Mathematics and Science Notation (hereafter, Nemeth code) to serve as resources for teachers of students who are blind, rehabilitation therapists, and children and adults who are blind, beginning with the Computerized Nemeth Code Tutorial in 1997 (Kapperman, Henry, Cortesi, Heinze, & Sticken, 1997). This original version was purely visual and, therefore, was not accessible to people who are blind. In partnership with Freedom Scientific from 2001 to 2005, an accessible version of the tutorial was developed and made available exclusively for the BrailleLite braille notetaker (Kapperman & Sticken, 2001, 2002, 2005). In partnership with HumanWare, an updated and heavily revised version of the tutorial became available in 2007. This accessible product worked only on the BrailleNote braille notetaker (Kapperman & Sticken, 2007) and was subsequently determined (through a rigorous, scientific study) to be highly effective as a tool to improve Nemeth code proficiency (Kapperman, Sticken, & Smith, 2011, 2012). After determining that the tutorial model is, indeed, an effective resource for acquiring or improving knowledge of the Nemeth code, a new goal emerged: the authors began to search for a totally accessible platform that would be available to anyone interested in the Nemeth code anywhere, anytime, and without the requirement of purchasing specific hardware in order to use proprietary software. In 2011, in partnership with the American Printing House for the Blind (APH), and with funding through a grant from the U.S. Department of Education (Grant no. H133G110122), the web-based Nemeth Code Tutorial project was launched. Over a period of three years, the staff members of RDI developed the content of the tutorial while APH software engineers developed the software. This revolutionary tool is now available, at no charge, to anyone who has access to the Internet, from a Windows or Macintosh platform (including on devices such as the iPad, iPhone, and Android-based cellular phones), using any assistive technology software or hardware (including any screen reader or magnification program and any keyboard, including electronic refreshable braille devices). It resides on the APH website, . METHODS The content of the web-based Nemeth Code Tutorial was largely revamped to reflect the current sequence of symbol introduction used in mathematics instruction, based on grade-level expectations according to the Common Core State Standards (CCSS) that have been adopted by 43 states and the District of Columbia to date (Ujifusa, 2015). Also reviewed as a guideline for creating the sequence of the chapters and lessons in the new tutorial was the Maryland Common Core State Curriculum Frameworks for Braille, which were released by the Maryland State Department of Education in 2012 (Maryland School Performance, 2014). This document outlines the sequence of literary and Nemeth code braille symbols which students should master at each grade level. Although significant revisions to the Nemeth Code Tutorial content and sequence have been made in this new version of the tutorial, the basic structure and function remain the same as in previous versions. …

Postmodern Discourse and its Semiosis

Symbolic representation is a specific, uniquely human form of objectification of the real world, a powerful means of communication activity of its reflectivity. Understanding of the phenomenon of sign representation, its modeling and the definition of the sign and its meaning depends on the sign language system and aspects of the language to be interpreted – dynamic or statistical, functional or structural aspects are taken as a basis. This article is an attempt to review the main components of the sign of the postmodern discourse.It should be noted that in modern science there is a tendency to revise the linguistic nature of the sign. Among all areas of linguistics there is a domination of the theoretical reflection, according to which all phenomena are regarded as the implementation of language text, discourse, narrative. Therefore, the full range of human culture is the sum of texts of the intertextuality. Consciousness also appears in the form of text that can be read by the relevant rules of grammar, or, by using the decryption of codes. Foreign linguists developed a new direction in science: the main emphasis is placed on the special role of the interpretation procedures and the importance of reading both cognitive and communicative signs, because any schematization of reality is a sign. The analysis of postmodern texts suggests that thought can not be just interpreted, but also disinterpreted in postmodern discourse. In these texts, the notion of the sign takes on a different, broader meaning than that of word mark. One of the important issues of semiotic analysis of postmodern discourse is to examine and identify the codes that exist to decipher all kinds of signs.Thus, in the context of our research the quite relevant question is to define the temporal signs (linguistic or non-linguistic) to be expressed in the postmodern discourse. As is known, the category of ‘time’ appears as a symbol of life / death, meaning as a cultural reality, and so forth. In modern linguistics it is assumed that postmodern text is regulated by a set of codes: the linguistic code of natural language, the literary code that defines the connectivity of the text, the genre code, and meta-language of a writer. In our view, the essence of postmodern discourse is a combination of mosaic codes, which include the following types of: linguistic, cultural, semiological, interactive, and metatextual codes.

The Theatricality of Media: The Ethics of Adapting Die verlorene Ehre der Katharina Blum to the Motion Picture

This article uses the concept of theatricality to explore the relationships among literary, cinematic, and broader cultural codes presented in Heinrich Boll’s Die verlorene Ehre der Katharina Blum and von Trotta and Schlondorff’s cinematic adaptation. Through Erika Fischer-Lichte’s minimal yet concise definition of theater as signs of normalized cultural signs, I use the concept of theatricality to explore the diverse media in which these meta-signs are employed and arranged to both support and critique the authority of normalized cultural signs. Along the way I sketch a possible ethics of media, namely, if one can outline the possibility of translating codes and signs between various media, then one can create a means by which to critique the institutions of power dictating proper performance of the codes of the medium.

Technè, Dianoia and Mythos: Heirlooms to Comparative Study of Literature

Critics have always declared the ‘advantage’ of comparative study of literature, namely, that it enhances the emergence of insightful and germane meanings. Yet they pass over the indispensable elements that make doing comparative criticism possible without the knowledge of the language of the various literary cultures of the works compared. To a great extent, the advantage of comparative criticism depends on the three Aristotelian concepts of techne, dianoia, mythos and their consequent interrelationships as handed down by literary traditions across genres and ages. This research, therefore, seeks to account for how these concepts enhance the comparative study of literature. It also, with an eye on these concepts, seeks to account for the influence of oral traditions on written literature from Hellenic Greek works to Nigerian literature today. Through the comparative discussion of some narratives belonging to the Nigerian literary tradition, with focus on the resilient strain necessary for comparison, this article concludes that the interaction and the bearing ofthese concepts within a particular creative space almost unconsciously influence an artist from whom future artists also inherit their literary codes. All these have lead to the advantage attributed to comparative study of literature, an advantage Nigeria literature today also gains from