Function Of Literature Research Articles

On the Literariness of the Author Interview

This article explores the literary functions of the author interview in all types of media (printed or broadcast, single or collected interviews). It claims that the literariness of the interview resides in the conversational exchange that takes place during the interview, in the way the interlocutors handle the question and answer form typical of media interviews. Through struggle for the interview's control but also through cooperation, the interviewer and interviewee produce a physical, psychological, and intellectual portrait of the interviewee. Literariness is also manifest in the written account of the interview, where the interviewer gains control of the interview by imposing his or her style on the narrative up to the point where it becomes his or her own oeuvre. Finally, the literariness of the author interview is featured in large interview collections through the mapping of the literary field and literary history.

Wallenstein’s Rhetoric and the Development of Hegel’s Modern Hero

Eugene Moutoux ends his brief exploration of the relationship between the historical figure, Albrecht Wallenstein, and Schiller's dramatic figure of the eponymous Wallenstein trilogy with this statement: guilty Wallenstein falls because, to all appearances, he rebelled; the innocent Wallenstein rebels because he fell--and the contradiction of history is reconciled in drama. (1) This chiasmus mixing the historical and the literary functions less as a conclusion than as an introduction to Schiller's character--more like an opening up than a closing down of Wallenstein's potential guilt and innocence, as Moutoux puts it. While it is interesting to follow this discussion of Schiller's source material, my focus lies on the literary character itself, and the way Moutoux constructs his conclusion leads us perfectly to the crucial straggles that define Wallenstein's situation. (2) Wallenstein attempts to navigate a world based on military, religious, political, regional, and national allegiances and to manipulate his own realm of influence within that world both for his own potential benefit and for the benefit of the civilians and soldiers suffering the death and destruction of the Thirty Years' War. But this ultimately proves impossible. Whether his plan could have been carried out successfully had he pursued it differently is the question that makes it difficult to determine his character. In this light, his monologue in Act One, Scene Four of Wallensteins Tod gives fascinating insight into his own interpretation of the situation he both suffers and has created. As I will attempt to show, building on the argument of Michael Auer, Schiller uses the figure of the as an aesthetic embodiment of the contradictions of Wallenstein's position. The monologue's structure not only demonstrates the interrelation of the rhetoric Schiller places in the mouth of Wallenstein and his protagonist's shrinking space for activity, but also--vitally--points to Schiller's dramatic trilogy as a major interlocutor within Hegel's formulation of the in Vorlesungen uber die Aesthetik. Because polyptoton is perhaps not as familiar as, say, the similar turn of chiasmus, it warrants an initial description. A polypton is a figure in which a turn of phrase reiterates a word in different syntactic cases or uses two different words formed from the same stem. Schiller employs polyptoton to create a formal, often thematically complex, sense of repetitiveness--without repeating syntactically and orthographically identical terms like those found in Keats's chiasmus, Beauty is truth, truth beauty.... Wallenstein delivers one clear example of polyptoton, which I will discuss later, around the stem plan-: was planlos ist geschehn, / Weitsehend, planvoll mir zusammenknupfen [Now all these things that undesigned have happened / They will combine into a great design]. (3) Polyptota create units of speech built from shared parts, or pairs of words that are not in the same subject or object case (and whose articles, in German, vary accordingly). Where Auer reads in these figures an expression of interior division--as we will see in more detail later--I will show that they do even more. They allow Wallenstein to represent in the medium of his own language the tension between any interior self-division and the inherently exterior and unnavigable structures of life and activity in which he finds himself. It is at this meeting of interior and exterior difficulties that the rhetorical figure becomes crucial in the dialogue between Hegel on the modern hero and Schiller in Wallenstein. One kernel of Wallenstein's difficulties is that his own realm of influence is tied to each of the concurrent and often opposing power structures to which his status as Herzog of Friedland relates. Furthermore, as Schiller demonstrates in the trilogy's first play, Wallensteins Lager, Wallenstein is also responsible for a large number of people, primarily his soldiers and their various hangers-on. …

Cruciform Discipleship: The Narrative Function of the Women in Mark 15–16

The purpose of the present essay is to argue for a thematic convergence between Mark and Paul by focusing on the literary function of the named women in Mark 15–16. First, I reconsider the seemingly unexpected conclusion of the Gospel at Mark 16:8, which appears to describe the women’s fearful and disobedient flight from the tomb. In contrast to the frequent negative view of their role in the narrative, I offer a positive assessment of the women’s role as exemplars of Markan discipleship. Second, I describe how Mark’s portrayal of these women as faithful disciples coheres with the theme of cruciform discipleship developed in Pauline theology. The intent of these two steps is to demonstrate that the function of the women in Mark’s narrative provides another thematic link between Markan and Pauline theology.

Cruciform Discipleship: The Narrative Function of the Women in Mark 15–16

The purpose of the present essay is to argue for a thematic convergence between Mark and Paul by focusing on the literary function of the named women in Mark 15–16. First, I reconsider the seemingly unexpected conclusion of the Gospel at Mark 16:8, which appears to describe the women’s fearful and disobedient flight from the tomb. In contrast to the frequent negative view of their role in the narrative, I offer a positive assessment of the women’s role as exemplars of Markan discipleship. Second, I describe how Mark’s portrayal of these women as faithful disciples coheres with the theme of cruciform discipleship developed in Pauline theology. The intent of these two steps is to demonstrate that the function of the women in Mark’s narrative provides another thematic link between Markan and Pauline theology.

Narrative Toledot Formulae in Genesis: The Case of Heaven and Earth, Noah, and Isaac

This paper reexamines the literary function of the narrative toledot formulae in Genesis, claiming that the formula thrice (Gen 2:4; 6:9; 25:19) introduces a passage about the specified father rather than one solely about his sons. This finding is based on a philological analysis of the word toledot and the formula's unique literary design in these three instances. This reading illuminates the inner tension between renewal and continuity in the Flood narrative; leads to the exposure of a unit about Isaac within the patriarchal cycles; and offers a new understanding of chapter 1's exclusion from the toledot framework.

The Ibadan Origins of Modern African Literature: African Writers Series, Mbari Club & the Social Character of Ibadan

This paper carries forward and develops the theme of the character of African writing as a product of a specific discipline of the imagination within the postcolonial city itself by evoking the genealogy of African literature. The emergence of the postcolonial city represented a moment of intense cultural outreach and the internationalization of African literary production. The production of African literature was as much a function of global regimes of political and economic activities of itinerant publishers and of the icon of postcolonial modernity, the educational system, as it was the direct reflection of the transformations of the city. Importantly, the imperative of the literary function of cultural unification in modern Africa coincided with the simultaneous emergence of cosmopolitan centers of artistic production in a number of African cities, especially, Ibadan.

Literary Functions of the Themes Related to Proverbs 1–9 in the Context of Prov 22:17–24:22

Literary Functions of the Themes Related to Proverbs 1–9 in the Context of Prov 22:17–24:22

American Fun: Four Centuries of Joyous Revolt

American Fun: Four Centuries of Joyous Revolt

Idiosyncrasies and literary Functions of Long Sentences in The Sound and the Fury

(2015). Idiosyncrasies and literary Functions of Long Sentences in The Sound and the Fury. Comparative Literature: East & West: Vol. 24, No. 1, pp. 40-49.

The Merchant’s Figure in the Dunhuang Bian-wen and Its Literary Functions

The Merchant’s Figure in the Dunhuang Bian-wen and Its Literary Functions

Reading Esther as Heroine: Persian Banquets, Ethnic Cleansing, and Identity Crisis

Various historical witnesses attest to the lavishness of Persian banquets. An overwhelmingly disproportionate number of these banquet scenes glut the Esther narrative to obviate against this motif's presence as simply literary garnishment or mere critique of Persian decadence. Rather, these banquet scenes coincide with typical motifs of hero myths to serve a literary function that advances the narrative's plot. The banquet motif underscores the typical hero motifs present to inform a reading of the Esther narrative as hero myth and its portrayal of Esther as heroine though not ostensibly so. Narrative analysis will also detail how this unlikely heroine saves the Jews from a villainous plot of ethnic genocide and subsequently redeems the tarnished reputation of the House of Saul. Final thoughts address the potential cultural function of Esther as heroine who models for diasporic Jews a guide to success with identity crisis.

<i>Persuratan Baru</i>: An Alternative Paradigm to Western Literary Methodologies

As an ex-colony of Britain, the Malay literary world exhibits an intellectual rush to imbibe Western literary constructs at the expense of local literary tradition which, informed by Islam, has spanned centuries. These Western constructs, which contradict both Malay culture and Islam, the religion of the Malays, give rise not only to confusion of knowledge and epistemology (in particular the concept of literary function and aesthetics), but also reinvent new values and structures of literary form and practice. Malay literature thus takes on an unmistakably Western hue and identity. In the face of this foreign onslaught, local scholars feel an urgent need to revive analytical frameworks that are cognisant of Islamic precepts and Malay cultural dynamics. This is seen as a means to bring back to Malay literature the Islamic worldview and identity which have been eclipsed, and, in some cases, jettisoned altogether. One such framework is Persuratan Baru (Genuine Literature) or PB which is informed by the concept of taklif, principally accountability to God through observation of the syariah or Islamic jurisprudence. Persuratan Baru re-orientates Malay creative and critical writings by challenging the primacy of the story as the lynchpin of fiction. In its place, PB prioritises knowledge as the main organising principle of narrative on the one hand, and stylisation of ideas, with discourse positioned as a crucial tool of articulation, as an integrated method of foregrounding ideas in creative terms, on the other.

Monstrous Words, Monstrous Bodies: Irony and the Walking Dead in Walter Map's De Nugis Curialium

This article analyses the function of the tales of the walking dead found in Distinction II of Walter Map's De Nugis Curialium (c.1182). Map's sole surviving work, the “Courtiers’ Trifles” is a collection of historical narratives, wonder stories, witty asides and anecdotes collated during his employment at Henry II's court. The satirical nature of the De Nugis has been noted by previous scholars; however, this has yet to be discussed specifically with regard to the tales of the undead. Following a discussion of the twelfth-century traditions of satirical literature and the ways in which medieval authors approached the trope of irony, the second part of the narrative will examine how Map, a master of the “art of lying”, deconstructed the conventions of wonder stories. It will be argued that as well as using these tales to satirise the historiographical function of mirabilia, they were also used to critique the reality of court life and, on a deeper level, the literary function of ambiguity itself. The inherent irony of the walking dead, the dissonance between physical form and metaphysical intent, meant that they could be inscribed with multiple, parallel meanings.

Thomas Dekker, Rock Star: “Golden Slumbers,” the Beatles, and the Wages of Authorship

The lyric poem known as “Golden Slumbers,” from Dekker, Chettle and Haughton’s 1603 play Patient Grissil , has been repeatedly appropriated over the past four hundred years, becoming at various points an “anonymous, traditional” folk song, a Beatles hit, a nursery rhyme, a minor Elizabethan anthology piece attributed to an established author, and a piece of gnomic folk wisdom. All of these identities continue to coexist today. The poem flourishes in a network of viral transmission, confounding conventional theories of literary canonization. The history of the poem’s transmission reveals Thomas Dekker’s peculiarly liminal role in the English canon and casts a startling light on how discourses of authorship and literary value function. The assignment of an author tends to stabilize the text itself, but also paradoxically strips away artistic complexity and obscures clear authorial intentions. Indeed, the poem does not function as a “work” at all. The various iterations of the text do not direct their audiences toward other uses of that text, or toward any sense of a stable, coherent literary object.

The King Who Loves Sex: The Functions of Literature in Traditional Malay Poetry

For the traditional Malay society, it is taboo to talk openly about sexuality. This is due to the perception that literary works that incorporate elements of sexuality will be criticised as weak and inferior work coming from an author with bad morals and character. Furthermore, the traditional Malay authors wrote at the request of the king. Hence, all that was written had to exalt the status of the king as the sovereign ruler. The works should be rich in 'character', so as to consolidate the integration of intellectual, epistemological and cultural values for the moral benefit of the community. However, in examining the literary genre of Hikayat such as Syair Seratus Siti, it has been found that these works include so many elements of sexuality that they indirectly reflect a gender system that was supported by the society. Using Braginsky’s (2001) perspective about the function of literature, this study will weave together two literary functions for entertainment and instruction at the same time. This means that elements of 'sexuality' (entertainment) must be synthesized with teaching functions for the benefit of the audience. The results show that Syair Seratus Siti successfully exploited those functions to the extent that they submerged the elements of sexuality that were reflected by the author from the start.

Relação texto-imagem: a resposta de crianças com deficiência visual ao livro ilustrado contemporâneo

Exploratory, the paper presents and discusses the response of children with visual impairment on the illustrated children’s book, analyzing how to establish relationships and dialogue between text and image support in the book from the perspective of non- visual , mainly in concerns the cognitive feature and the specific conditions of visual impairment . This study is justified by the importance that access to different languages ( image and text ) , added to the literary function of fictional narrative can provide the Bantam player, as well as access to imaging and its meaning to the reader , there is still the possibility include children with visual impairment in the literary universe in a field whose intricate set of languages provides the reader with a multiplicity of meanings that can take children’s reader to find new ways to relate to the world . The method used here , interview - conversation ( SARAMAGO , 2001) , questions blind and low vision between 10 and 14 years Londrinense Institute of Education and Work for the Blind of Londrina / PR on the relationship between image and text children during reading two illustrated works adapted : forgotten Adelia Adelia and dreamy, both selected by the diversity of graphical features ( smooth textures , flocked , granular , etc.) used in the translation of images for relief . The aim is to compare two aspects equivalences and differences between reading narratives that rely on graphics to convey its essential message and that can easily be understood only by the text in order to verify that an integration or fragmentation of languages that exist on integrating image text - in the context of visual impairment . Results indicate that the experience of reading is complexed in each book , unique to each turn of the page and predominantly verbal. However, typologies act as effective parameter for understanding the various relationships between image and text observed during the interview and awaken to the vast field of possibilities that are there to be explored in the adapted children’s literature . We conclude that tactile image and text has not yet reached the status of parity adapted works, it is necessary to increase dialogue and information sharing between the mediators of the books and the public with visual impairments , so that not only promotes increased quality and quantity of suitable products, but also a greater critical exercise for the front of interdependent narratives with image and text reader.

GEDUNG KOMUNITAS SASTRA FIKSI KREATIF DI MAKASSAR DENGAN PENDEKATAN ARSITEKTUR KUBISME

These planning and designing are aimed to the creative literary fiction community building in Makassar with Cubism architecture approach, this design is limited to a few problems such as the problem of architectural, location and footprint, the prospect physical design of the building, the need for space (layout), structure, materials, and equipment building so that, it can indicate the identity of what its contain, while the methods are literature studies, comparative studies, (Form obtained by comparing studies on similar projects or who have in common with creative literary fiction community building). The results of the design is creation of infrastructures to facilitate the public to channel their talents and interests in the field of literature, especially literary function and also facilitates and encourages reading by providing the quality of reading source which are cheap and reachable by all people.

A Study of the Mysterious Young Man at Gethsemane and Jesus’ Tomb (Mark 14:51-52 and 16:5) - The Young Man’s Identity, Literary Function and Theological Significance -

A Study of the Mysterious Young Man at Gethsemane and Jesus’ Tomb (Mark 14:51-52 and 16:5) - The Young Man’s Identity, Literary Function and Theological Significance -

An Investigation about Taoist Characteristics and Literary Function of Poetry cited in the Journey to the West(≪西游記≫)

An Investigation about Taoist Characteristics and Literary Function of Poetry cited in the Journey to the West(≪西游記≫)

Human Rights Poetry: On Ferida Duraković’s Heart of Darkness

Human Rights Poetry:On Ferida Duraković’s Heart of Darkness Erin Trapp (bio) And you,if you don’t know how to rejoice,rejoice in the skill of one who does!My precious one, nothing is good out there:neither place, nor time, nor action.But must one respect that old dramaticunity? A walk is for something else. —Ferida Duraković, from “Morning Glory, Sarajevo”1 We might approach the question of what human rights poetry is by asking another question: how does a “walk” become legible as an alternative to global capitalism? This substitution of human rights poetry with a “walk” implies that the frameworks within which these terms can be substituted—human rights and global capitalism—are mutually enforcing narratives. In the transition to post-socialism, a period that is marked by the disappearance of an alternative to global capitalism, human rights discourse presents multilateral intervention as an option that remains when there are no alternatives, a form of reparative justice. As Bob Meister notes in After [End Page 367] Evil, the fall of communism marks the correspondence between the emergence of human rights and the emergence of the world community. Further, Meister describes how the breakup of Yugoslavia reframed human rights as an ethical project rather than a political discourse that transformed “Auschwitz-based reasoning into a new discourse of global power” (3). As Meister argues, the function of human rights in this transitional period was to extend the “reasoning” of Auschwitz to the “discourse of global power.” Notably, the logic of reparation relies not just on the extension of reason, but on assumptions about psychological processes of identifying, witnessing, and working through. In fact, these assumptions continue to inform our understanding of both human rights and intervention, while at the same time providing us with the terms for thinking about the disappearance of alternatives to global capitalism. Considered in this way, human rights poetry is critical of the discourse of human rights—the reparative framework of Euro-American human rights, which congealed around psychoanalytic theories of projective identification predominant in the postwar. The conflict—and uneasy resolution—between the bolstering of state power through human rights discourse and its role as a force of opposition against injustice is perhaps most easily perceptible in human rights poetry, in which the human voice, the poetic speaker, is predictably set up as a witness. Looking at how poetry comes to occupy and is occupied by the figure of the witness allows us to see how the psychological processes of projective identification, upon which witnessing is based, inform the production of justice as human rights. The ambiguities of witnessing have been theoretically grounded in Holocaust testimony, predominantly in Shoshana Felman and Dori Laub’s Testimony, in which witnessing is conceptualized through a crisis of literature, “insofar as literature becomes a witness” (xviii). Despite this discourse, human rights assumes this literary function of witnessing, as the terms of Carolyn Forché’s anthology Against Forgetting: Twentieth Century Poetry of Witness, make explicit. Here, victim and listener merge in the experience of witnessing in order to “co-own” the atrocity (Laub 57). But I think that human rights poetry can be read in ways that more aptly configure the problem of the subject of human rights as an “other” of Europe.2 United Nations (UN) intervention in the former Yugoslavia, in “non-European” Europe, reflects the limits of the discourse of human rights understood through the processes of identification [End Page 368] implied in the co-ownership of the atrocity and the common task of witnessing. If the discourse of human rights offers the promise of performing justice through the process of witnessing, human rights poetry can, in contrast, be seen to raise questions about when and how the injustice of the victim can be realized as justice.3 One of the primary ways that it raises this question is by emphasizing the insolubility of the other of Europe in the figure of the witness. The problem of reading others, which has to do with reappraising the distance and difference between victims of human rights violations and those who see or listen, involves the aggressive disidentification of victim and addressee rather than a...