Novelistic Text Research Articles

Jasmine Musabegović's Novels in the Conceptions of the Poetics of Testimony

This text aims to analyze the novels Skretnice (1986), Most (1994), Žene. Glasovi (2005) by Jasmina Musabegović in light of the poetics of testimony and the immanent transgenerational trauma. From the novel Skretnice to the novel Most and Žene. Glasovi Jasmina Musabegović portrays major historical events through the prism of personal and family stories with a focus on women's experience of war and witnessing it, and the central place is occupied by members of the Malić family in her female line - from mother Fatima to her daughters Nizama and Selma, artists whose creative vocation strongly protests and conserves humanistic values and anti-war engagement. Starting from the theoretical frameworks established, among others, in the research of Alaida Assmann, Shoshana Felman, Dori Laub, Cathy Caruth, Pierre Nora, and Renata Lachmann, in this text the focus will be on the forms of witnessing war in the novelistic text of Jasmine Musabegović, and the artistic procedures that memory of war trauma is postulated.

Pastorale macht en zelf-technieken: Foucault en de ascese van de woestijnvaders

Pastoral power and techniques of the self: Foucault and the asceticism of the Desert Fathers This article argues that Foucault would probably have wanted to discuss a number of subjects and texts which are now almost completely lacking: the novelistic texts known as the Apocryphal Acts of the Apostles and some hagiographical sources. The Christian views on sexuality were sometimes less ‘orthodox’ and more extreme than what Foucault presented, probably under the influence of Paul Veyne. The Life of Anthony by Athanasius contains a passage which is not analyzed thoroughly in the volume as it was published but which is a key text for the development of Christian hermeneutics and pastoral power.

The most violent manifestations in the novel Athraa Sinjar by Warid Badir Al-Salem

Literature is an artistic treatment of reality. Reproduced from Special linguistic and analytical media are the same that distinguish it from his reality. And give him his identity as a creative phenomenon. Since novel. The most important literary genre in our time. He visualizes truth and social life through technical mechanisms that enable him to confuse the real and the imaginary in one body. In the objective context, the novel took violence as a living substance until it was said that the integrated novel is the one whose components interact within the conscience under the influence of whom. Tragic stems from the heart of the crises of society. On this basis, the more he addressed the reality. Deeply and artistically whenever it is. The aesthetics of that reality in the novelistic text is more convincing for the recipient. The novel Athraa Sinjar by Warid Bader Al-Salem was not isolated. This proposition has been adopted by this novel the issue of violence as a social phenomenon experienced by the Iraqi society in general and the Yazidi people or society in particular, which produced a lot. Of the texts that dealt with violence in its various forms and manifestations. This novel has taken violence as a sign for it, so the research came under the title. The manifestations of violence in the novel “Athraa Sinjar” for Warid Badir Al-Salem, which forced us to present the following forms. What violence? And what a problem. His image is in the novel.

Unfolding Political Emergence: The Knowledge of Visual Artworks in Peter Weiss’sThe Aesthetics of Resistance

Starting out from the interpretation of Picasso’s Guernica in Peter Weiss’s The Aesthetics of Resistance, this essay discusses how, why, and for what purposes Weiss inserted extensive discussions of classical and contemporary artworks in his novel. More specifically, and by introducing the two notions of the foldout and political emergence, the essay investigates how the visual artworks in Weiss’s narrative reconfigure understandings of temporality, collectivity, and realism. A central question concerns the novel’s way of transforming representations of objective oppression, and even death itself, into figures of emancipatory subjective agency. Analyses of the novel’s interpretive engagement with visual artworks such as Guernica demonstrate how these sections of the novelistic text interrupt historical temporality, establish a transhistorical collectivity, and superimpose the experience of the victim with the perspective of the witness. In this way, it is argued, Weiss’s narrative enables an identification with the mute experience of destruction while converting that experience into a future-oriented political force: the emergence and continuation of collective struggle.

Plotting Memory. What Are We Made to Remember When We Read Narrative Texts?

Plotting Memory. What Are We Made to Remember When We Read Narrative Texts?

Touching through Music, Touching through Words

This article investigates the versatile embodiment of touch in the sensory-aesthetic construction of piano performance. The sensorial interactions enmeshed in piano playing distribute a peculiar interaction between touch and sound, which can be comprehended as two kinds of pianistic touch – the physical touch and the affective touch. In the synthesis, or symbiosis, of these two kinds of touch, piano performance epitomizes a sensory-aesthetic continuum to transmit its force beyond perceptible spatial-temporal boundaries. This article argues that the tactile-sonic relationship in piano playing manifests the performative power of music to formulate new modes of feeling and understanding. This argument is explored in three stages. The first stage utilises two treatises, Steven Connor's ‘Edison's teeth’ (2001) and Simon Waters’ ‘Touching at a distance’ (2013), to explicate how touch enables the production of musical sound and how music can be received as tactually oriented sensations. The second stage introduces the piano as an exemplary instrument of touch in the contexts of scientific studies and relevant cultural history. The third stage uses two novelistic texts as heuristics to explore how pianistic touch is enacted performatively to engage with the aural, visual, somatic and visceral sensations. Both Thomas Mann's ‘Tristan’ (2009 [1903]) and Forster's A Room with a View (2012 [1908]) testify to how fictional presentations of piano playing can provide fertile loam to reappraising pianistic touch beyond the ordinary musical context. Overall, as performed in a range of pianistic settings, the multivariant senses of touch provide productive perspectives for re-constructing what prior categories of senses and sensations could not consider. This article will thus be conducive to a quest for new forms of creativity underlying the performance and performativity of pianistic touch.

Metodičko didaktički pristup fenomenu distopije u čitankama za srednju školu u Republici Srbiji (u drugoj polovini XX i početkom XXI veka)

Selected excerpts of representative novels of various genres have a special place in gymnasium's and secondary vocational schools' reading books. Therefore, the methodical approach in the interpretive processing of this complex and layered artistic literature material is a serious teaching challenge. The hypothetical starting point in this case is the phenomenon of dystopia present in the chosen reading books which is seen through literary and artistic processing. Through this topic, we have meticulously and seriously analyzed the relationship between the novel and the reading books, as a first and obligatory textbooks for teaching literature. The aim of our research is to determine the presence of novelistic dystopian art material in gymnasium's and secondary vocational schools' manners of interpretation. The subject of the research are secondary schools' textbooks in the Republic of Serbia present in teaching practice in the period from the first half of the XX century and in the first decades of the XXI century.We based the research on forty copies of reading books from all secondary education grades. The reading samples are works of thirty authors and are printed in several different-unmodified, modified, supplementary and revised editions - focusing on the most characteristic copies of reading books from different periods and system and program phases that significantly affected their content. We believe that the chosen sample of the study is reliable, and the conclusions we came to are a realistic presentation of the state of novelistic prose in our reading books. Although the novelistic text is only one literary reading segment, our findings are largely valid for the overall genre-textbook treatment of literature. The research in this case was conducted on the reading books from the Zavod za udžbenike, which is our only decades-old publisher of textbooks that is 'current' even today.

Импликационал авторской иронии в легенде А. И. Куприна «Четверо нищих»

The paper aims to describe the specificity of the author’s irony implicational by identifying the linguistic means of its realization. The article focuses on the special role of the author’s irony in the process of transformation of the genre canon within the synthesis of narrative strategies which require participation in their organization of irony as collision of the implicit and the explicit. The scientific originality of the research consists in studying A. I. Kuprin’s legend “Four Beggars” from the point of view of the functional-semantic approach and revealing the pragmatics of implicitness in a literary text. As a result, it has been revealed that A. I. Kuprin’s “Four Beggars” is a novelistic text during the creation of which the narrative strategies of a legend, parable and anecdote were transformed, and the linguistic means of the author’s irony - introductory words, parenthetic constructions, contrastive contexts organized on the basis of oppositional relations between lexemes and collocations of usual and occasional nature - are represented in both the author’s and the characters’ narrative zones.

Language of Feminine Consciousness A reading of the Novel (The Beloveds “Al-Muhboubat”) by (Aliyah Mamdouh)

This research is an attempt to reveal the manifestations of (Homosexuality), which is any attitude, deed or language issued by both men and women that says the inferiority of the female, and how women resist it at different levels, the most important of which is (language) in an Iraqi novelist text (Al- Muhboobat) by (Aliyah). Mamdouh) published by Dar Al- Saqi in Beirut in 2003, and the recipient of the Naguib Mahfouz Prize for Novel from the American University in Cairo in 2004. The method followed in this study was the analytical method, which came on three levels: 1. Quantitative content analysis: in which the number of male and female characters as they appeared in the novelistic text was compared. 2. The qualitative analysis of the content: It included a comparison between the specifications given to the male and female characters in the novelistic text. 3. Analyzing the homosexuality of the dominant language in the text: by which we mean the way in which language is employed in this text. The research concluded that the number of female characters exceeded the male characters in the novel. Andthe heroine’s desire for rejection, Suhaila, to the reality of tyranny and the invasion that she suffered in the homeland and exile through the rejection letter that represented her in the novel, in contrast to the state of complacency, surrender, and weakness suffered by the son Nader, which was represented by the letter of his machine that he adopted in the novel.

Iz imenoslova romana „Braća po materi“ Jovana Radulovića

This paper presents a part of the results of an anthroponomastic analysis based on the novel Braća po materi by Jovan Radulović. The goal of the paper is to analyze Radulović’s approach to anthroponyms (and toponyms) that he included in his novelistic text. The research was primarily focused on the fictional part of the anthroponymic corpus, which particularly reflects Radulović’s at- titude towards the novel characters’ names, as well as his tendency to name-giving. For the purpose of the analysis, available dictionaries of first and family names were used. The analysis of formation patterns and onomatological meanings of some of the examples was based on our own conclusions, but always in accordance with the available literature. Special attention was paid to the aspect of semantic motivation of the selected an- throponyms. The aim of the analysis of such anthroponyms was to explain possible writer’s intentions related to their selection.

Le potentiel théâtral chez David Foenkinos. Analyse du roman, du scénario et du film La Délicatesse

"The Theatrical Potential in David Foenkinos’ Work. Analysis of the Novel, the Scenario and the Film “La Délicatesse”. Our interest, especially when it comes to the subject of literature, is to show the manner in which the text processing done by the author (script writer/director) brings to light the guidelines of the novelistic text’s semantics, which under careful analysis reveals a kind of personal myth of the novelist. The skewed, syncopated, interrupted writing which disrupts the chronotope serves the needs of the script as well as the director’s selective vision. Unconsciously, the novel seems to follow the structure of the theatrical model. These traits can also be found in the cinematographic structure of the film. Keywords: love, eroticism, delicacy, theatricality, scenario, film. "

El final de "Los Pazos de Ulloa", en la novela de Emilia Pardo Bazán (1886) y en la serie de televisión de Gonzalo Suárez (1985)

a historia que cuenta la novela Los Pazos de Ulloa (1886), de Emilia Pardo Bazán concluye aparentemente en su capítulo XXIX, penúltimo, de modo que el XXX, situado diez años después, funciona como un epílogo, que -a la vez- prologaría su continuación, La Madre Naturaleza (1887). En cambio, la serie de TVE Los Pazos de Ulloa, de Gonzalo Suárez (1985), basada en ambas novelas, prefiere concluir su adaptación del primer título con el capítulo XXIX, haciendo que el XXX abra, como prólogo, la siguiente entrega. Todo ello se estudia aquí mediante el cotejo de los tres elementos de esa lectura audiovisual: el texto novelístico, y las secuencias correspondientes, tanto en el guion, como en la serie.

ГЕРОЙ И МОТИВНАЯ СИСТЕМА «УТИНОЙ ОХОТЫ» А. ВАМПИЛОВА

The article examines A. Vampilov’s drama “Duck Hunting” and suggests a new approach to studying Vampilov’s text - identifying dichotomy of the main hero’s image on the basis of the textual and poetological analysis taking into account the nuances of the system of motives and having in view to find a new interpretation of the drama’s titular image - “duck hunting”. The authors show that Vampilov’s play was conceived and developed mostly as an “epic”, “prosaic”, novelistic text, and the titular image-symbol of duck hunting reveals deeper inter-textual roots and traces its origin back to the traditional images of the Book of Genesis - Flood myth and Noah’s Ark.

Answerability, Dialogized Heteroglossia, and Context Multiplicity: A Post-Bakhtinian Study of Novelistic Discourse

In light of the Bakhtinian heteroglossia and authorial hybrid construction, the present study sets out to argue how the assimilation of alien stylistics into the realm of social and ideological discourse may transcend the limits of the centralizing logos prevalent in the orthodox poetics. In so doing, first, an analysis of the Bakhtinian concepts is provided to renegotiate his argument on the aesthetic and rhetorical capacities of the prose fiction vis-a-vis the totalitarian poetic discourse. Accordingly, as an innovation, this study suggests that the subversive potentiality of a text stems from both its carnivalesque interrelatedness with a dominant culture and its capability to transcend the limits of the said culture and to revitalize its synchronic and diachronic affiliations to other cultures. To confirm this, a good array of examples is drawn from novelistic texts. In Gunter Grass’s The Tin Drum, the protagonist’s mocking attitude towards centripetal fatherhood and his going ahead of clock strokes and hence weaving here-and-now to there-and-then so as to claim possession of his once-beloved woman is a significant case in point. Thus, not only can the marginalized utterances deal with patriarchies of the dominant culture, but also they can restructure their independent sphere based on their internal and external exigencies.

Serial Nuns: Michelle Williams Gamaker’s <em>The Fruit Is There to Be Eaten</em> as Serial and Trans-Serial

Serial Nuns: Michelle Williams Gamaker’s <em>The Fruit Is There to Be Eaten</em> as Serial and Trans-Serial

História, romance e a "narrativa filosófica" no iluminismo britânico

Resumo Este artigo articula alguns argumentos relativos à função das narrativas historiográfica e romanesca no século XVIII. Sugere-se que elas compartilhavam alguns elementos-chave - notadamente, um mesmo propósito pedagógico-civilizador e um conjunto de dispositivos retóricos comuns - que conformavam o que se poderia chamar de "narrativa filosófica". Seguindo essa premissa, toma-se o "iluminismo britânico" - entendido como um programa político-social letrado, matriz para a produção e a circulação de textos de caráter historiográfico, ensaístico e romanesco no século XVIII - como base para um exame do contexto letrado setecentista e de textos de autores contemporâneos como David Hume e Henry Fielding.

A Paródia e o Estatuto do leitor em O Único Animal Que?, de Augusto Abelaira

O presente ensaio aponta para importância do leitor na configuração da chamada paródia pós-moderna a partir dos estudos de Linda Hutcheon. Em contraposição às teses de Wayne Booth, o leitor na paródia simula e dissimula suas ações, instaurando desconfiança permanente na decodificação do texto romanesco. Teoricamente, retoma textos de Roland Barthes, Umberto Eco e Michel Foucault, entre outros. Igualmente aborda a categoria do leitor, considerando-a como exemplar na composição do romance do escritor português Augusto Abelaira. Discute o papel do leitor na narrativa abelairiana, relacionando-o aos episódios do livro O único animal que?.

Abstract Representations of Plot Structure

Since the 18th century, the novel has been one of the defining forms of English writing, a mainstay of popular entertainment and academic criticism. Despite its importance, however, there are few computational studies of the large-scale structure of novels—and many popular representations for discourse modeling do not work very well for novelistic texts. This paper describes a high-level representation of plot structure which tracks the frequency of mentions of different characters, topics and emotional words over time. The representation can distinguish with high accuracy between real novels and artificially permuted surrogates; characters are important for eliminating random permutations, while topics are effective at distinguishing beginnings from ends.

Love and Providence: Recognition in the Ancient Novel by Silvia Montiglio (review)

Reviewed by: Love and Providence: Recognition in the Ancient Novel by Silvia Montiglio Tim Whitmarsh Silvia Montiglio. Love and Providence: Recognition in the Ancient Novel. New York: Oxford University Press, 2013. ix + 255 pp. Cloth, $74. Terence Cave’s Recognitions: A Study in Poetics (Oxford: Clarendon Press, 1988) opened up the subject of recognition scenes to a new readership, with sparkling discussions not just of the medieval and renaissance literature of his own specialism, but also of its Classical antecedents. Without offering (and without claiming to offer) a systematic study of the ancient sources, Cave demonstrated the power and capaciousness of the motif, in particular through a wonderfully dexterous reading of Heliodorus’ Aethiopica. For Cave, recognition is a dangerous force at both the social and the literary levels: it threatens to expose the fictionality of identity as a construct of human relations (for recognition is an act of collective assent, not an acknowledgement of any kind of deep truth), and indeed the fictionality of fiction itself. Silvia Montiglio’s new book treats not the entirety of Classical literature but an impressive range of novelistic texts, covering not just the canonical Greek and Latin works but also Jewish and Christian material such as Joseph and Aseneth, the pseudo-Clementine Recognitions (unavoidable, perhaps!), and Apollonius, King of Tyre. Montiglio avoids Cave’s grand, theoretical claims about what recognition is and focuses instead on what it does within the texts. Her procedure is to stick closely to the contours of the text, tracing the progress of themes through the narrative. In contrast to Cave, Montiglio sees recognition as primarily running along the dominant ideological grains of the individual novels: in the Greek and Judaeo-Christian texts at any rate it exists in order to affirm the idealising thrust, be it matrimonial or religious. Recognition’s primary role, for Montiglio, is to affirm identity, to validate the relationships to which texts normatively commit. The book proceeds via a series of close, immersive encounters with the texts. Although prodigiously widely read in the modern literature on the novels, Montiglio has little interest in wider social frameworks, and is virtually immune to the theoretical and cultural-historical bugs doing the rounds: intertextuality (though she is certainly alive to the power of literary precedent), narratology, cognitive theory, gender, sexuality, identity, cultural transfer, and so forth. Her story, rather, concerns the fluctuations of literary form across a range of periods and texts, and comparisons between different handlings of this central (but rather [End Page 166] neglected) topos. Although rather more detailed, sophisticated, and wide-ranging in its subject-matter, it harks back in a way to some of the motif-based, formalist novel scholarship of the 1980s and 1990s: Consuelo Ruiz Montero’s La estructura de la novela griega: análisis funcional (Salamanca 1988), Bryan Reardon’s The Form of Greek Romance (Princeton 1991), Françoise Létoublon’s Les lieux communs du roman: stéréotypes grecs d’aventure et d’amour (Leiden 1993). Five substantial chapters deal with Chariton and Xenophon (chap. 1), Achilles and Longus (chap. 2), Heliodorus (chap. 3), Petronius and Apuleius (chap. 4), and the Jewish and Christian “novels” (chap. 5). This cumulative approach allows her to ease a story out of her material by progressively comparing later to earlier treatments of similar themes. To restate it simply, her argument is that Chariton and Xenophon handle recognition relatively “straight,” presenting it as an opportunity for the lovers to reunite triumphantly and to reassert their love (although there are multiple other recognitions that interact with the lovers’ own). In Chariton there is an interesting emphasis on the power of the voice to impel recognition. Achilles, characteristically, turns the topos inside out: in this novel preoccupied with self-presentation, display, and disguise, Clitophon repeatedly fails to recognise Leucippe. In Longus, the central recognition is the New Comedy–style acknowledgement of the lovers by their parents, which not only validates their identities as urban aristos but also legitimises their love for each other. Heliodorus has the most elaborate recognition scene of all, with the extended revelation of Charicleia’s identity offsetting and finally banishing all the perceptual misdirection of the earlier parts of the...

The Irony in Mu'nis Al-Razzaz's Novel Laylat Asal

This study aims to search the irony in the novelistic text. For this purpose, the study focuses on Mu'nis Al-Razzaz's novel Laylat Asal in which this technique is clearly materialized. The approach of the study takes two sides: the theoretical one that aims to identify the irony as well as its function in the Modern Literary Criticism. The other side is the practical one which studies the internal structure of the novelistic text to reveal the techniques, forms and functions by which the irony has been represented within the entire text.