Literary Style Research Articles

Early Buddhist Wisdom Literature: The “Book with Verses” (Sagāthāvagga) of the Saṃyutta nikāya

The Sagāthāvagga, the Book with Verses, and especially its third chapter, the Kosala-chapter (Kosala Saṃyutta), is presented here as a collection of early Buddhist wisdom literature. As the first book of the Pāli Saṃyutta-nikāya, the Book with Verses seems as an anomaly—the other four books contain some of the denser articulations of early Buddhist philosophy in the canon. Thus, scholars question whether the first book, which normally introduces verses with stories, is a real part of the collection. Scholars are also inclined to assume that the verses are the heart of the text and have shown less interest in the work’s compelling literary style. This article has three aims: First, it shows how the book, and most distinctly its third chapter, is a form of wisdom literature, with protagonist King Pasenadi of Kosala being comparable to wisdom-kings like King Solomon or Alexander the Great, and anticipating the classic Buddhist wisdom-king Aśoka. Second, it shows how this collection was designed for a performance by storytellers or preachers, suggesting that this is a feature of the Buddhist genre of prose that introduces verses. Third, it demonstrates the organic connection between the first book and the other books of the Saṃyutta.

Authorial notes to the text: an artistic device or an ego-document?

Based on the authorial notes to the “Letters of a Russian Traveler” by N. Karamzin, who separated “poetry” from “truth”, the article considers the following questions: how to determine the aesthetic nature of the notes; how they are connected with the change of literary trends, genres and styles, with the communicative function of verbal art, how the artistry of notes is formed; whether they are an integral part of the work; whether the author of the notes and the author of the main text are identical. We emphasize that Karamzin’s notes should be analyzed, first of all, in terms of his attitude to the problem of “literature and reality”, since for him authenticity was more important than artistry. The writer enters not into an artistically mediated, but into a direct dialogue with the reader, in order to gain his understanding and trust, to convince him of the veracity of what is described, while revealing a new level of understanding of what happened earlier. The article investigates the dynamics of the relationship between the notes and the main text. The special arrangement of the notes, the temporal and spatial distance separating them from the main text is interpreted as the evidence of their heterogeneity. We note the differences in their status: the main text, in principle, can exist and be perceived by the reader without the notes, albeit in a flawed form, while the publication of the notes in isolation from the main text is meaningless. The article highlights that it is in the literature of sentimentalism and, in particular, in Karamzin’s works, that a specific artistic quality of notes is developed in the form of a dialogue with an imaginary reader. The conclusion is made about the referential function of the authorial notes: in the “Letters of a Russian Traveler” they link literature and reality, the world of images and the real world, which is characterized by “its selective affinity” with the world of fiction.

Fernando Pessoa: Portugal in His Heart

The name of Fernando Pessoa (1888–1935), who is a great Portuguese poet and political journalist, unfortunately is not well known to the common Russian reader. In Portugal he became famous only after his premature death. Besides his unquestionable talent, the poet was well known because of his «heteronyms», i.e. imaginary authors (he had more than 42 of them). Along with that, every one of his «heteronyms» had his own biography and literary style. The majority of those who study the creative work of Fernando Pessoa (one of the most prominent of them is the British literary critic R. Zenith), believe, dealing with his «phenomenon», that the peculiarities of this man in many aspects were caused by the specific features of his character, love for his home country and its language, and by his faith in the «Sebastianist» idea (16th century). Deeply submerged in his inner world, the poet frequently did not separate his fantasies from the reality, showing along with that his surprising proper feeling of that reality and the unique capacity to foresee it. As a political journalist, Pessoa is interesting to study due to his views on the history of Portugal and the future of Europe. His views have drifted from the early republicanism to the «scientific monarchism» in the adult times, and testified that the poet never stopped in his studies of the outer world, suggesting his own, sometimes rather original ways of its understanding. At the same time, Pessoa’s views resonate to a certain degree with those of Russian philosophers A. Losev and M. Bakhtin. The «Sebastianist» myth and the project of the «Fifth Empire» were interlaced in the Pessoa’s philosophic heritage with the concept of Portuguese national identity. Without them he didn’t see any perspectives for the future development of his country. Utopia in his works never denied the reality, rather it creatively developed and complemented the latter. Partly, utopia might reflect his response to the reactionary trends within Portugal as well as in Europe as a whole in the 1930s. The transfer of his ashes to the famous Jerónimos Monastery in 1985, where the remains of Vasco da Gama, Camões and the King Sebastian also lay, symbolized the recognition of Pessoa as a Great Portuguese poet.

Singing through the Pain: Murat Riffing on Montaigne

In this essay, I explore how Henriette-Julie de Murat (1668–1716), during a long period of exile, creates an authorial identity intended to interact with her cousin Menou as well as her captors. By focusing on Murat’s literary relationship with Menou, I investigate how Murat’s correspondence undermines her captors’ attempts to control her expressions of desire and affection toward women. The letters—seemingly intended as a distraction from Murat’s confinement and sickness—also serve as a political statement. Through references to Montaigne’s notion of male friendship, Murat reimagines female friendship as equal to Montaigne’s theorization of homosocial bonds. Murat then weaves into her discussion of female friendship love songs replete with pastoral references in which female companionate love replaces heteronormative tropes. Murat’s correspondence reclaims agency over her expression of desire in a literary style that distracts her from the monotony of captivity and the suffering of her illness.

Under a False Flag: Literary Hoaxes and the Use of Numerals

The present study pertains to stylometry. There are cases when a writer who has achieved fame, for various reasons, begins to create under a different name, tries to write in a different manner and, at times, again succeeds in a new incarnation. Whether the author is able to significantly change the literary style inherent in him or it is impossible to escape from himself – our work is devoted to the study of this issue. The study is based on the analysis of what numerals are present in the texts of an author. It has been shown by several examples from English-, French- and Russian-language literature, that the use of numerals is an author's feature that manifests itself in all or most of the sufficiently long texts of a given author. We apply our approach to the works of Romain Gary, Boris Akunin (Grigori Chkhartishvili) and some other authors of interest for stylometry. The conclusions are drawn on the basis of hierarchical cluster analysis and supported by the Pearson's chi-squared test.

고전소설에 나타난 삽입시 양상 연구

The purpose of this paper is to discuss the aspects of <Hasaenggiujeon> included in Shin Gwanghan's Gijaegii. As a research method, in order to examine the aspects of poetry inserted in classical novels, the author was considered and the genre recognition was considered in the literary style at the time, and six works inserted in <Hasaengkiwoojeon> were analyzed. The history of literature has developed from the lyrical genre to a major. Poetry inserted into classical novels shows the development of the narrative genre in an era where the lyric genre is active. Shin Gwang-han lived in the early Joseon Dynasty. At this time, it was an era centered on the lyric genre. <Hasaengkiwoojeon> belongs to a love story with a biographical character. In the story of a man and a woman meeting each other and overcoming obstacles and achieving love, the psychological description of the characters is very important. In the early Joseon Dynasty, narrative techniques representing the psychology of characters did not develop, and the role was replaced by inserted poems. It contributed to the completeness of the narrative by revealing the psychology of the character by taking advantage of the characteristics of the poem revealing the emotion.

버지니아 울프의 『올랜도』와 얀 마텔의 『셀프』에 나타난 젠더 허물기 정치학

This paper examines intertextuality between Virginia Woolf’s Orlando and Yann Martel’s Self, focusing on the way in which each text grapples with undoing gender essentialism. Despite being set in different times and spaces, both novels demonstrate common threads: the protagonist challenges binary gender norms and heteronormativity; their gender is unintentionally transformed. In this regard, Martel’s novel should be understood as a successor to Woolf’s Orlando, as it is advertised as “A Modern-Day Orlando” by the publisher. Strangely enough, however, both texts have rarely been examined together. Thus, I argue that Orlando and Self resonate with one another as they explore gender and sexual fluidity through their main characters while simultaneously problematizing fixed categories of sex, gender, and sexuality, along with language derived from binary and heterosexual assumptions. Woolf and Martel experiment and break down rigid distinctions of gender, language, and even literary genres by blending biographical or autobiographical forms with other literary styles in their respective novels. Gender nonconformity practiced by the two characters illustrates that gender is performativity and one’s self is constantly negotiated through interactions with others. Hence, this paper interrogates how Woolf and Martel envision gender non-conforming subjects’ livable lives to demonstrate the politics of queer life.

조선 전기 柏梁體 한시의 수용과 전개 양상

This article analyzes the concept of the BaiLiang style, a literary style derived from a literary genre called BaiLiang poem, known as the origin of the heptasyllabic and stanzaic poem, while examining how it was accepted and developed in Korea. The BaiLiang poem is a stanzaic poem collaboratively written by the Wu Emperor of the Han Dynasty and his twenty-five subjects. After that, poets began to produce heptasyllabic poems, leading to the formation of the genre, BaiLiang style.
 It stands to reason that not only Chinese authors but also Korean literati wrote and enjoyed the BaiLiang style. Since Choi Chi-won composed the <智證和尙碑銘>, several Korean writers during the Koryŏ and Chosŏn Dynasties produced poems with the BaiLiang style. In China, the stanzaic poems were continuously produced collaboratively by Emperors and their subjects from the time of the Wu Emperor's reign to the Qing dynasty. On the contrary, the BaiLiang style by individual poets was more significant in Korean literature.

“We know nothing except through style”: John Banville’s worldliness

ABSTRACT John Banville identifies style as an attribute of world literature. As a novelist, he admires authors who make wit, word play, linguistic theatricality and virtuosity literary ends in themselves. In reviews and articles, he praises Henry James, James Joyce, Samuel Beckett, Vladimir Nabokov, Raymond Chandler, and other writers for their highly polished prose styles. In turn, critics single out Banville’s own finely tuned style as the defining trait of his novels. Invoking world literature theory, this essay works towards a definition of literary style and more particularly Irish style, such as Banville perceives it. As an aspect of world literature, certain novels display “extensibility,” which is to say that they borrow from and build upon prior novels, not just by repurposing characters, but also by adopting premises, situations, vocabularies, and style. Banville creates extensions of Nabokov’s Lolita in The Untouchable, James’s The Portrait of a Lady in Mrs Osmond, and Chandler’s detective novels in The Black-Eyed Blonde, published under the pseudonym Benjamin Black. Through such extensions, Banville elaborates a world style that enhances literary prestige and contributes to the system of world literature.

Automatic Essay Evaluation Technologies in Chinese Writing—A Systematic Literature Review

Automatic essay evaluation, an essential application of natural language processing (NLP) technology in education, has been increasingly employed in writing instruction and language proficiency assessment. Because automatic Chinese Essay Evaluation (ACEE) has made some breakthroughs due to the rapid development of upstream Chinese NLP technology, many evaluation tools have been applied in teaching practice and high-risk evaluation processes. However, the development of ACEE is still in its early stages, with many technical bottlenecks and challenges. This paper systematically explores the current research status of corpus construction, feature engineering, and scoring models in ACEE through literature to provide a technical perspective for stakeholders in the ACEE research field. Literature research has shown that constructing the ACEE public corpus is insufficient and lacks an effective platform to promote the development of ACEE research. Various shallow and deep features can be extracted using statistical and NLP techniques in ACEE. However, there are still substantial limitations in extracting grammatical errors and features related to syntax and traditional Chinese Literary style. For the construction of scoring models, existing studies have shown that traditional machine learning and deep learning methods each have advantages in different corpora and feature selections. The deep learning model, which exhibits strong adaptability and multi-task joint learning potential, has broader development space regarding model scalability.

The Origins of Nshu and Its Historical Development

Throughout Chinese history, women had been excluded from education for a long time. They had little chance to learn Chinese characters, the basic form of the Chinese language. This, however, has had a significant influence on the development of a unique form of feminism a feminist movement characterized by the creation of Chinese literature written in script called Nshu. Jiangyong Nshu remains the only writing system in the world created by and exclusively by women. This unique literary style has gained the attention scholars and has been referred to as a discovery that has important research value in many disciplines, such as philology, linguistics, culture, history, archaeology, folklore and folk culture.

The Formation and Representation of Identity in the Works of Arundhati Roy and Chimamanda Ngozi Adichie

This article delves into the profound insights offered by esteemed authors Arundhati Roy and Chimamanda Ngozi Adichie regarding the intricate nature of identity. These authors explore different aspects of identity, such as race, gender, culture, and socio-political dynamics, through their unique literary styles. The literary works of Arundhati Roy and Chimamanda Ngozi Adichie offer profound insights into the complexities of post-colonial India, Nigeria, and the African diaspora. Within these narratives, the authors skillfully weave intricate tapestries that illuminate the processes through which identity is both constructed and negotiated. The narratives utilized by the authors incorporate vibrant imagery, intricate character progression, and captivating storytelling methods in order to navigate the intricacies of personal identity. In doing so, they effectively challenge established stereotypes and societal conventions. Moreover, the article underscores the lasting influence of their literary creations on present-day literature, placing particular emphasis on their significant contributions to the realms of representation, diversity, social commentary, intersectionality, and global significance. The narratives of Roy and Adichie persistently resonate with readers, cultivating cross-cultural comprehension and stimulating scholarly dialogues on topics such as identity, power dynamics, and social justice. The enduring literary heritage of these individuals guarantees their position within the literary canon and serves as a source of inspiration for upcoming generations of writers, compelling them to delve into the intricate dimensions of identity within the realm of literature.

Censorship and autocensorship: Some considerations on the editorial history of the <i>Parhaego</i>

In this article, we have examined some aspects of the editing of the <i>Parhaego</i> (<i>Reflections on Parhae</i>). First of all, we have tried to contextualize the work within the panorama of late Chosŏn historiography. In this sense, we have remarked that the work is part of a gradual reshaping of the story of Parhae, rearticulated within the narrative of Chosŏn history. Yu Tŭkkong’s major contribution was not to revolutionize the historical narrative of Korea nor the perception of the Parhae kingdom, but rather to collect all the sources then available for reconstructing the history of the kingdom, enjoying his privileged position within the Kyujanggak (the Royal Library). In considering this, we have observed that despite the apparent liberalism of the Chŏngjo reign, publishing and scholarship were actually under strict surveillance. During this period, the king imposed a ban on the import of books from the Qing Empire and also forced several scholars to correct their literary style. Amid this climate of control and censorship, the editing of the <i>Parhaego</i> took place－a work that had a rather unusual and troubled genesis, being subjected to numerous alterations and corrections since its publication in 1784. Reconstructing the genesis of this book, albeit only partially, may also provide a starting point for further reflections on authorship during this crucial phase of the Chosŏn period, when the book was exposed to possible corrections, rewritings, and expansions, even without the full consent of the original author. This process is particularly evident in the Parhaego, which was not merely historical work, but also highly political as a manifesto giving voice to the policy of reconquering the Northern Territories that was in vogue in those years.

Attributing Human Traits to Other Species as Alignment Work

Against the backdrop of human-induced climate change and severe biodiversity loss, feminist technoscience scholars stress the need for movements towards less anthropocentric knowledge production processes. The present paper delves into the alignment work involved in striving to coordinate and align human-centred epistemic cultures and epistemic cultures centring other species. In an early childhood education site, children, teachers, materials, imagination and the attribution of human traits to snails are elaborated on as key actors. In a literary fiction site, also referred to as environmental imagination, texts, choices of literary style, scientific facts and the attribution of human traits to eels, are featured as actors accomplishing alignment work. The paper argues that adding the concept of the terrestrial to the analysis of the alignment work, as proposed by feminist technoscience scholar Donna Haraway, makes other aspects and versions of non-anthropocentric or less anthropocentric knowledge production processes visible. The paper adds to STS-discussions on alignment work through highlighting alignment work processes as political, power-producing processes, which privilege certain interests while downplaying others.

Gin, Tonic, and Other Delicious Combinations

Abstract In her 1927 diary, Simone de Beauvoir documents her intent to mix literary style with philosophical content. However, in Anglophone research environments, her works are formally classified as either literature or philosophy. This article questions the legitimacy of this classification by arguing that The Ethics of Ambiguity’s stylistic use of first-person plural narration, metaphor, conversational style, and parable help us understand ambiguity and freedom as necessarily embodied by invoking experiences of both phenomena.

Decolonising Bengali Theatre: A Study of Selim Al Deen’s Kittonkhola and Chaka as Postcolonial Resistance Drama

Selim Al Deen, a prominent figure in Bengali theatre, questions the hegemony of Western forms in literature through his dvaitadvaita (dualistic dualism) theory and fusion theory of art and literature. Modern art and literature in Bengal, since the beginning of the nineteenth century, was shaped by European art and literature in its form, structure, and content. Modernity imposed literary styles that undermined the potential of Bengal’s own ancient literary traditions, which include the rich rural forms of literature, such as jatragan, palagan, puthi, pachali, geetnatyo, natyogeet, kothokota, etc. The well-defined and static genres of European tradition pushed these literary traditions to the margins of Bengali literature, where these were regarded as forms of low culture or low literature, in contrast to the literary “highs” created through the modern traditions. Selim Al Deen in Bengali theatre and drama counters this modernity by resisting its genre style, structure, form, and content. The subaltern literary forms rooted in rural Bengali tradition and in the lives of marginal people come to the centre in Deen’s literary experimentations since 1980s. Kittonkhola (1985) and Chaka (1991) are two well-known among many such dramatic works by Deen, where attempts to decolonise Bengali theatre and drama through newer forms, structures, subject-matters, and even punctuation are obvious. This paper, by studying Kittonkhola and Chaka, explores Selim Al Deen’s counter-modernist struggle for self-identity of Bengali theatre and drama. Deen’s use of dvaitadvaita style, fusion, and non-western punctuation are, on the one hand, a postcolonial resistance to European modernity and, on the other hand, stylistically postmodern. Further, they symbolise his search for a distinct identity of Bengali theatre.

The artistic significance of vowel elision and ellipsis in Mqapheli Mngadi’s cartoons

This paper examines vowel elision and ellipsis in Mqapheli Mngadi’s cartoons. It intends to explore how these two aspects are employed by Mngadi for artistic effects in his cartoons. Even though vowel elision and ellipsis have been widely explored, there has not been a study, to the best of the researcher’s knowledge, that considers these aspects in Mngadi’s cartoons. The study is done literary, and it adopts literary stylistics as a theoretical framework.

Literary style in the novel and on the screen: The intersemiotic translation of Far from the Madding Crowd

Since Roman Jakobson’s classification of intersemiotic translation as a sub-category of translation, the term has paved the way for many studies on the close relationship between literature and cinema. Among different semiotic systems, the adaptation of literary works to the cinema occupies a central position in intersemiotic translation. In this respect, the present study approaches Far from the Madding Crowd directed by Thomas Vinterberg in 2015 as an intersemiotic translation of Thomas Hardy’s novel under the same title. It aims to evaluate how Hardy’s two major stylistic markers in the novel, i.e. sentence structure and imagery, are brought to the film by Vinterberg. To this end, the notions of transfer and intersemiotic transposition were used to identify related stylistic components in the novel and to compare them with their visual representations in the film. Thus, Vinterberg’s specific choices in reflecting Hardy’s literary style were analyzed. The findings of the present study suggest that Vinterberg paid attention to Hardy’s literary style and attempted to transfer it to the film to a large extent, as he reflected the writer’s sentence structure and imagery through various visual and auditory tools. However, it can be also observed that possibly due to the limited duration of the film, Vinterberg sometimes had to avoid transferring Hardy’s elaborate narration in some scenes.

EESVI KHAN BAHADUR’S DASTAN

The Dastan written by Eesvi Khan Bahadur'' The story of Maher Afrooz and Dilbar'' is the first Urdu Dastan of North India written in the common language of the period. In this period, the Dastan’s were written in a difficult, Persian-influenced language. Based on this, the writers of Fort William College later popularized the plain language and provided an easy literary style to Urdu literature.

A LITERARY ANALYSIS OF LOVE POEMS BY ÖZDEMIR ASAF

Özdemir Asaf is considered one of the most important poets in the Turkish Literature in the twentieth century. He was born on 11th of June, 1923 in Ankara and died on 28th of January 1981 after a life lasted for 57 years. His grave is in AĢiyan Asri in Istanbul. He was famous in the Turkish literature during the republic period especially in National Literature. Although her published several short stories, he was well-known by his poetry that won several prizes and left a great influence among Turkish Nation. One of the best works among Özdemir Asaf’s poetry is Love poems published under the title Lafinia which includes 70 short poems. These poems collected some of his literary works and published them in a book by Paynar Akenci after several years after his death. Lafinia or Love Poems express its scope of importance in a way that reflects its title according to what has been written. The collection of poems were considered of high importance and one of the most well-read and published poems which makes them more brilliant. Literature is an attempt of writing including all discourses that must use a literary diction. In addition, literature has several types such as poetry, novel, short story, and drama. What makes the writings of the poet distinctive is his use of a high level of literary diction. The poetry of the poet is divided into several types like poetry, novel, short story, and drama. The common and unique point of all of his literary writings, as mentioned above, is that they have been written carefully both literary and technical in that period. The poet was considered a simple productive writer by his close use of ordinary daily life language faraway from the difficult academic language. Moreover, he uses the common aesthetic side. By nature, man hives a two-dimensional life. He has two different sides in his life, materialistic and spiritual. Man is materialistic by supporting his life, and spiritual by feelings and emotions. In addition, the psychological aspects that deal with the internal side of man like sadness, happiness, dejection, reproach, ecstasy, anger and surprise are concepts that cannot be completely described and difficult to interpret. Although there were different courses to understand such feelings, the literary interpretation is one of the most essential methods. In fact, poetry is spiritual shows the spiritual effect and it is a deep and sensitive expression of these effects. It is clear in the poetry of our poet by transforming the spiritual air into words through the diction of poetry. Özdemir Asaf is one of professors of poetry which expresses feeling and emotions. The basis of the subject of the research is a literary analysis of the love poems by the poet Özdemir Asaf. He is one of the poets whom we can see their literary style in its powerful meaning in all of the poems. The main subject of our research paper is this concept. We introduce the life of the poet Özdemir Asaf and his literary personality as well as his writings as he is considered one of the important poets in the twentieth century. We will give a detailed interpretation of the book of Love poems – Lafinia in its literary concept by introducing a literary analysis for Love poems of Özdemir Asaf.