Tragic End Research Articles

Echo, Narcissus, and the Translator’s Distress

This article argues that the story of Echo and Narcissus as told in Ovid’s Meta­morphoses can serve as a fruitful, suggestive metaphor or ›myth‹ of the translator, especially of the driving passion and the unavoidable frustrations characteristic of the translation process. The connection between Echo and the translator seems obvious – they both share the principle of repetition, »echoing« a primary text – but there are also interesting differences between the two: whereas Echo’s repetition is forced, partial, and mechanic, that of the translator is a creative and holistic choice. As for Narcissus, I suggest that both Narcissus and the translator are engaged in a magic yet futile dance of intimacy, reflection, and passion with their beloved (image or text). They both try to get as close as possible to their beloved while risking its loss paradoxically from getting too close. I conclude with a table, mapping important similarities and differences between the story of Echo, Narcissus, and the »story« of the translator, emphasizing that, unlike the tragic ending of Echo and Narcissus, the activity of the translator is a vital and fertile part of literary life.

Lying in Arthur Miller's The Crucible: A Pragmatic Study

Lying is a controversial issue as it is closely related to one's intended meaning to achieve certain pragmatic functions. The use of lying in literary works is closely related to the characters’ pragmatic functions as in the case of Miller's The Crucible where it is used as a deceptive complex phenomenon that cannot be observed out of context. That is, the use of lying as a deceptive phenomenon represents a violation to Grices's Maxims. Thus, the study aims to qualitatively examine the kinds of maxims being violated, the kinds of violations conducted, the strategies followed in the violations, and the pragmatic functions behind such violations across the different categories of lies. To this end, the (30) extracts found in Miller's The Crucible have been all examined following Grice's (1975/1978) Cooperative Principle and Implicature theories. The analysis has revealed that the quality maxim was breached most of the time with a percentage of (96,6~97%), covert violation occupied (66,6~67%) (the same percentages of both prototypical lies and Intentional Deceptive Lies), fabrication was with (83%) and the pragmatic function ''to avoid punishment'' appears with (46,6~47%). This means that truthfulness was violated beside other maxims, and strategies of fabrication. Such a violation enhances lying, and false-implicature, and intensifies the tragic end for most of the innocent characters. Minor lies are slightly concerned with plot development and events escalation. Finally, the characters lie in order to achieve certain pragmatic functions. However, the most dominant function adopted when lying was to avoid punishment.

Ecliptic Revolution of the ‘Un-landed’ and ‘Landed’ in Shakespeare’s King Lear

초록·키워드 목차 오류제보하기 This paper attempts to clarify the significance of land in King Lear, especially the process of being "landed" and "unlanded". We propose that the ownership of land imbues the characters of King Lear with authority over others. Lear and Gloucester become "unlanded" when their land ownership is transferred to their children, resulting in the loss of their authority. Whereas Goneril, Regan, and Edmund become "landed" as they acquire the kingdom"s lands, which subsequently makes them possible to establish themselves as the rulers of Britain, determined to viciously defend their newly acquired lands against all who originally possessed land. We will present a detailed analysis on the transformation of the "un-landed" Goneril, Regan and Edmund into "landed" powers and all that comes from land. Although Edmund’s rise from bastardy to legitimacy can be classified differently to that of Goneril and Regan, their shocking ‘revolution’ overlaps, which in the end leaves us with an indelible mark of King Lear’s tragic end. #Landed #Un-landed #King Lear #land #power #revolution #eclipse #땅 #땅의 부재 #리어왕 #권력 #혁명 #월식/일식 등록된 정보가 없습니다.

King George II of Imereti (Genealogical and chronological researches)

The work discusses the reign of George II, this period includes not only the history of Imereti, but also the history of Odishi, Guria, Samtskhe-Saatabago, and this significantly changes the many points of view we had in historiography until now.After reviewing the written sources, we found out that according to the reign of George II, the death of Bagrat III [1565 ], which is shared in our historiography by Iv. Javakhishvili is incorrect. Vakhushti’s date – 1548 is correct [with one or two years error -1549 or 1550]. According to our research, the first spouse of George II is Tamar, the daugheter of Shermazan Diasamidze [and not the second], accordingly his second spouse is Rusudan Sharvashidze, who is regarded by some researchers as his first wife. We were also able to find out that the unsuccessful marriage of George II to Tamar Diasamidze [1535] is the result of the hostile relationship between the authorities of Samtskhe-Saatabagago [Nav-Kvarkvare III, Qaikhosro II] and the authorities of the Kingdom of Imereti [Bagrat III, George II] in the 30s and 50s of the XVI century, when Shermazan Diasamidze commanded the Feudal Lords opposed to the Qaikhosro II Jakhel. The facts that Queen Tamar became a Nun (1561) and the heir of the throne, Mamia disappeared from the royal Palace are connected to the truce of George II and Qaikhosro II in 1562.A number of important facts that happened throughout western Georgia in the 16th century,have also been specified and explained including the tragic end of the family of George II.

Transforming Gender and Emotion: The Butterfly Lovers Story in China and Korea

Transforming Gender and Emotion: The Butterfly Lovers Story in China and Korea

An Early Example of International Oceanography: The Last Voyage of the Carnegie (1928–1929)

The Carnegie was a very unusual ship, a nonmagnetic 44‐m brigantine schooner designed to conduct surveys of terrestrial magnetism. From 1909 to 1922, in 6 cruises, it navigated a total of 466,000 km and was then kept in storage in its homeport of Washington, D.C., from 1922 until 1927, when the vessel was overhauled and refitted for Cruise VII, a 3‐year global cruise dedicated both to magnetism and also explicitly to oceanography. Cruise VII of the Carnegie ended prematurely and abruptly in November 1929 with an explosion during a refueling operation in Apia in the South Pacific. Famous for its tragic ending, little known today is that the cruise was one of close international collaborations and visits. A number of European organizations were involved from the early planning stages, and in equipping the ship. The cruise also included a visit to Japanese oceanographers. For the United States, Cruise VII of the Carnegie was quite possibly the first large‐scale oceanographic campaign that relied on international collaboration, and the last until well after World War II. However, shown here is that oceanographers in the United States and elsewhere have long known that oceanography is an international affair.

Just like in a library: A posthumous novel by Carlo Sgorlon

This contribution examines the latest novel by Carlo Sgorlon, completed on June 24, 2008, but published posthumously, ten years after the author’s death: L’isola di Brendano ( Brendano’s Island). The book introduces character types dear to the Italian writer: Brendano Mac Finnegan, a hard-working and creative architect of Irish origin, who comes from abroad to Vallorsaria, an imaginary town in the Alps, where he falls in love with Antonia, a local woman; Antonia’s young daughter, Jole, who gives birth to a boy endowed with extraordinary powers: Bindo; an Afghan baby sitter, called Fatma, who joins the three above mentioned characters, forming with them a strange but happy family; Brendano’s friend, Amos, who represents a man incapable of positive attitude towards life and destined for a tragic end. With L’isola di Brendano, Sgorlon paid homage to a literary tradition he considered the most genuine, close and familiar to him. In the novel it is possible to identify many references, both explicit and implicit, to various writers, including Samuel Beckett, Nathaniel Hawthorne and Elsa Morante. In this way, L’isola di Brendano resembles the mirror of a small but well-chosen library.

Analisis Intertekstual Timun Mas dan Buto Ijo pada Iklan Marjan dan Cerita Rakyat Indonesia

Abstract
 This study aims to analyze the intertextuality of Timun Mas and Buto Ijo in the Marjan advertisement with Indonesian folklore. The advertisement is considered as a text derived from the previous text because it uses the characters of Buto Ijo and Timun Mas, namely the legendary figures of folklore entitled Timun Mas and Buto Ijo. The data sources are the Timun Mas and Buto Ijo versions of Marjan advertisements and the Timun Mas and Buto Ijo folk tales. Descriptive analysis was carried out using an intertextuality approach to see the relationship between the two texts. The results showed that the character of Buto Ijo in the Marjan advertisement and Indonesian folklore had some similarities and differences. The similarity is Buto Ijo is tall, big, and green. Buto Ijo, as his name implies, is told as a giant green figure who has great strength. The difference lies at the end of the story. In the advertisement, Buto Ijo has a happy ending by joining the Timun Mas family to celebrate Eid. While in folklore, Buto Ijo has a tragic ending. Buto Ijo died from drowning in a sea of ​​shrimp paste that turned into embers in the ocean.

The brain oxytocin and corticotropin-releasing factor systems in grieving mothers: What we know and what we need to learn

The bond between a mother and her child is the strongest bond in nature. Consequently, the loss of a child is one of the most stressful and traumatic life events that causes Prolonged Grief Disorder in up to 94 % of bereaved parents. While both parents are affected, mothers are of higher risk to develop mental health complications; yet, very little research has been done to understand the impact of the loss of a child, stillbirth and pregnancy loss on key neurobiological systems. The emotional impact of losing a child, e.g., Prolonged Grief Disorder, is likely accompanied by dysregulations in neural systems important for mental health. Among those are the neuropeptides contributing to attachment and stress processing. In this review, we present evidence for the involvement of the brain oxytocin (OXT) and corticotropin-releasing factor (CRF) systems, which both play a role in maternal behavior and the stress response, in the neurobiology of grief in mothers from a behavioral and molecular point of view. We will draw conclusions from reviewing relevant animal and human studies. However, the paucity of research on the tragic end to an integral bond in a female’s life calls for the need and responsibility to conduct further studies on mothers experiencing the loss of a child both in the clinic and in appropriate animal models.

“But Could You Persuade Us, If We Won't Listen?”

“But Could You Persuade Us, If We Won't Listen?”

Jesus and Abba in Gethsemane: A Center in Filial Cooperation

ABSTRACT What motivated and empowered Jesus to go, willingly, to Jerusalem to undergo suffering and death? He could have chosen to avoid the fatal confrontation in Jerusalem, but he intended to endure it, despite its tragic end. This situation calls for an explanation in terms of what empowered him in carrying out his intention while facing suffering and death. Such an explanation takes us beyond the periphery to the center of Jesus’s self-understanding and mission. Jesus understood God as “Abba, Father,” in the light of the Hebrew Bible, but he factored in his own experience of God as Abba. This article uses the Gethsemane narrative of the Gospel of Mark to identify Jesus’s Abba relationship, asking whether Jesus’s obedience in Gethsemane was a means to a more basic end rather than an end in itself. We shall see that obedience is not sufficient for this relationship, because obedient actions fall short of a cooperatively responsive filial relationship with God. Cooperative filial responsiveness to God is central to Jesus’s self-understanding. Religious experience of a filial sort plays a key role in the identity of Jesus. In neglecting this experience and the accompanying filial relationship, we fail to understand Jesus and his mission.

Ad Singularitatem: Multiplicity, Commonplaced Selves, and Miscellanies in Siri Hustvedt’s The Blazing World

Abstract This essay focuses on the intertextual engagement of Siri Hustvedt’s The Blazing World with Margaret Cavendish’s seventeenth-century fiction. Going beyond a single-text reading, the essay argues that Hustvedt’s critical interventions in the making of a woman’s subjectivity—paratextual and intermedial—are informed by early modern manuscript culture and ekphrasis. As commonplacing affords opportunities for a compiler to assume plural voices, the commonplace books created by Burden, the protagonist, present a nuanced unfolding of a woman’s subjectivity on textual and visual levels. Notably, Burden’s self-fashioning and ensuing self-dissolution are prompted by deep-seated anger. Hustvedt, even in the face of her protagonist’s tragic end, celebrates the multiplicity that attends a woman’s heroic journey in attaining singularity.

David Lazzaretti: heretic, rebel, or mentally insane? A cold case in Post-Unification Italy

TABLE OF CONTENTS: 1. Introduction - 2. The life and works of David Lazzaretti, the “Second Christ” from Arcidosso - 3. The ‘Prophet’ on the stand: the criminal trials in the State Courts - 4. Lazzaretti before the Tribunal of the Roman Holy Office - 5. Life after Death: Different interpretations of the Lazzaretti case - 6. The Prophet and the Alienists - 7. Conclusion: a prismatic figure. ABSTRACT: The aim of this paper is to retrace a peculiar case occurred in the complex context of the decades after Italian Risorgimento and the Italian unification (1861). In particular, it will be analysed the case of David Lazzaretti a poor carter from Tuscany, self-proclaimed “Christ, Duce, Judge” and “the Second Son of God come to earth”, considered a heretic and excommunicated from the Catholic Church due his blasphemous writing. He founded the “Giurisdavidic Church” based on a sort of mystical and utopian socialism (his motto was: “The Republic is the kingdom of God”). His figure has given rise to lively controversy between those who considered him a martyr and who reputed him a mad visionary or a charlatan. In any case, Lazzaretti’s movements are emphasized above all for his tragic end: on the morning of August 18, 1878, while he was driving a peaceful procession from Monte Labbro to Arcidosso, a little town in Tuscany, he was killed by Italian carabinieri during a religious ceremony. After his death, medical science and in particular positivist psychiatry, also called “alienists”, described Lazzaretti not as a sacrilegious impostor but as a mentally ill person, who would have benefitted more from treatment than prosecution.

Метафора Мертвого города в музыкальном искусстве (на примере композиции Ираиды Юсуповой «Китеж-19»)

The study aims to present the metaphor of the Dead City in musical art, which realises one of the variants of urban themes in mythology, literature, music and allows the researcher to comprehend relevant issues of our time. Scientific novelty of the research lies in developing a metaphorical approach to studying musical works and for the first time applying it to Iraida Yusupova’s composition “Kitezh-19” (2004). As a result, the researcher has determined nature of interaction between expressive means of two opposite language systems (neoclassical means and electronic ambient), which made it possible to render in an allegorical form the tragic end of the post-technogenic mirage city and collapse of the modern civilisation.

기회의 불평등과 결혼제도의 문제점: 『무명의 주드』 이중 주제의 연관성

Hardy’s last novel was deeply influenced by John Stuart Mill’s thoughts expressed in On Liberty and The Subjection of Women. Sue follows Mill’s teaching by refusing the norms and customs of marriage and faces the disaster and tragedy of her children’s suicide and death. Her tragedy shows that marriage institution defeats her free will to resist “tyranny of the majority”. Sue’s ‘new woman’ theme in the novel tells that the marriage institution obstructs her equal opportunity and stigmatizes her as an unmarried mother, which finally leads to her children’s tragic end. Likewise Jude’s ‘university’ theme shows that a great wall blocks his desire to enter the university however hard he tries to learn Latin and earn money for the entrance. The great wall represents the inequality of education which is fixed by the class and family succession. Marriage is the legal institution which enables the class and family succession by the father’s inheritance. Both themes of Sue’s ‘new woman’ and Jude’s ‘university’ represent the inequality of opportunity sustained by the institution of marriage.

About the (in)admissibility of the presiding judge's order promoted by the patients with incurable diseases with the purpose of insuring subsidized medical treatment for themselves

The presiding judge’s order is that special procedure that we have to observe in cases where the prompt action of justice is needed, being, therefore, a very useful proceeding means, that might be used, in practice, by people for whom the passing of time necessary for following all the bureaucratic procedures and observing all the proceeding discipline of common law is vital, this because their life is subject to a real and imminent risk. We are referring, specifically, to those patients with incurable diseases, oncological, for whom the appropriate efficient medical treatments are extremely expensive and who, beyond the difficult fight with the disease, must fight the ”system”, from which they do not get favorable, rapid responses as they were supposed to, so to not come to a tragic ending. Within this analysis context, we are interested in following the manner in which the courts invested with presiding judge’s order exercised in circumstances like this, have assessed the fulfilment of the special conditions of admissibility for this procedural tool.

Prieto: Yoruba Kinship in Colonial Cuba during the Age of Revolutions

Prieto: Yoruba Kinship in Colonial Cuba during the Age of Revolutions

“The power of such vast imaginings”1: Actors, Spectators and Their Acting Copies in 19th century Shakespearean reception

It appears to be quite evident, as Richard Schoch somewhat apprehensively pointed out, that academics tend to treat nineteenth-century English stage history in terms of consecutive star actors and their eras of theatre management. But what exactly has made and still makes it convenient for scholars to view almost two centuries of English theatre history as a mere “succession of prominent managements”2? This paper intends to consider staging practices, e.g. the mode of acting, and a uniquely British tradition, the publication of performance scripts “printed from the prompter’s copy”,3 to find an explanation to the curious phenomenon that Schoch criticized. It appears that the serial publication of performance texts further reinforced the extremely star actor-centered repertoires and theatre managements. For a case study I chose the “eminent tragedian”4 William Charles Macready’s (1793–1873) Diaries and his 1834 promptbook, a personally marked copy of King Lear, that witnessed the actor’s pioneering, successful but soon forgotten 1834 restoration of the tragic ending.5

Narrating Desire: Moral Consolation and Sentimental Fiction in Fifteenth-Century Spain by Sol Miguel-Prendes

 Reviews period. Particularly striking is his reading of male disabled bodies as metaphors for national trauma in a range of contemporary documentaries. Pitassio thus adds important nuance to discussions of Italy’s failure to account for its Fascist past, and the central role within that of damaged masculinity as a trope. Finally, both authors devote a chapter to the key question of the non-professional actor, so central to neorealism. It is startling that so little attention has heretofore been devoted to the most human part of this ‘cinema of humanism’. Taken together, both chapters emphasize the frequent moralizing of the film press and concern about possible deprofessionalization that the non-professional might bring to the industry. ey also both point to the new sources of acting stardom that were excavated in the period, such as beauty contests, competitions, scouting on the street, and the world of sport. Pitassio draws upon his earlier work on promotional paratexts of neorealist film to show how posters and trailers engaged the ‘obvious materiality of nonprofessionals ’ (p. ). He also traces in detail the lineage of the non-professional through the influence of Soviet theory on inter-war Italian film culture. However, both scholars emphasize the way in which, despite the development of a new star system in Italy by the early s, and the gradual erasure of the non-professional actor, the widespread presence of the non-professional in cinema of the late s formed the basis for a new paradigm of ‘authentic’ stardom, which le its strongest commercial legacy in the fame of untrained female stars such as Sophia Loren, Gina Lollobrigida, and Silvana Mangano. As I mentioned at the outset of this review, neorealism is frequently seen as a field that has been worked to exhaustion. Yet clearly when understood as a network of intersecting institutional, cultural, and artistic practices it is a terrain yet to be fully mined. While neither Pitassio nor Gundle claims to have resolved complex questions such as the slippage between ‘neorealism’ and a broader cultural field strongly marked by certain practices associated with films and directors who later came to be categorized as ‘neorealist’, they illustrate some of the directions for future scholarship to build upon. To switch metaphors, the ‘neorealist galaxy’ identi fied by Pitassio (p. ) suggestively encourages us to understand the period as one in which films, people, practices, technologies, and institutions are in constant but uncertain relation, and within which many future objects of study might yet be discovered. B U C O’R Narrating Desire: Moral Consolation and Sentimental Fiction in Fieenth-Century Spain. By S M-P. Chapel Hill: University of North Carolina Press. . x+ pp. $. ISBN ––––. e existence and definition of a late medieval genre of ‘sentimental fiction’ in Iberia have been repeatedly contested. ere have been numerous discussions regarding which texts comprise the genre, while its purportedly unifying characteristics—e.g. MLR, .,   courtly love, pseudo-autobiography, metafiction, intertextuality, tragic endings— have failed to provide a definitive link between the texts in question. What scholars tend to agree on, however, is that there is something special about these works and that a common focus on internal psychology and subjectivity anticipates the modern novel. Against the backdrop of an unsatisfactory definition, Narrating Desire constitutes one of the most rigorously contextualized defences of the generic unity of sentimental fiction. For Sol Miguel-Prendes, its roots can be found in late medieval education and the rise of vernacular humanism, and it is the transformation of the scholastic canon that enables authors to innovate. Miguel-Prendes restricts the moniker of sentimental fiction to texts that distort or ‘contrafact’ the moral consolation, a literary mode inspired by Boethius’s Consolation of Philosophy. In doing so they naturally contain a plurality of discourses and thus multiple voices emerge, prefiguring the novel. Miguel-Prendes admirably explores a vast corpus of texts, considering canonical Castilian fictions such as Diego de San Pedro’s Cárcel de amor alongside less familiar Catalan works. In the Introduction, she redefines sentimental fiction by focusing on what it takes from penitential consolations and reworks, namely the Boethian dream vision. Penitential consolations and sentimental fictions can...

What You Live For

What You Live For Speer Morgan One would like to think the pandemic has inspired us to be more productively introverted, weighing what we are doing and why. But of course, the truth is that the pandemic has given us little choice but to be more introverted and self-evaluative. Regardless of the terrible way it has come about, it may be useful to look under the camouflaging dust of "normal" life and ask a few existential questions. What have we genuinely missed about normal life, what do we really care about, and how should we admit to changes? Among friends and acquaintances, I have heard the expected answers to such questions and others less expected. Parents of school-aged children complain about the schools having been closed and about being shut in with the whole family 24/7, never mind that the kids are probably complaining more colorfully among each other, and never mind that the teachers' lives are at stake. Some of us miss physically going to work or the gym or seeing friends across a table. Touching each other, if only in handshakes or comradely hugs. The other morning, I asked my wife what she missed the most, and she said glumly and without hesitation, as if she had written it out beforehand, "Travel, New York, prepandemic New York, dirty, noisy, wonderful, walking-in-the-city, eating-at-the-Met, stinking, beautiful New York. I miss that." Talking more about it, we discovered that there were in fact even a couple of activities we missed that we assumed we had done only to accompany the other, not because we liked doing them ourselves. [End Page 6] This issue's writers remind me of the question of what one really lives for, and—as we go through not just worldwide trauma but more normal changes and phases of life—how such things evolve. These are subjects deeply organic to literature because they are overarching realities of human life—transience, change, often wildly unexpected change in what matters to us. There are plenty of classic literary examples of characters who try to deny change. In Fitzgerald's The Great Gatsby, the narrator, Nick, tells Gatsby that he can't repeat the past, and Gatsby responds, "Why of course you can." Gatsby's tragically failing effort to return to the past includes his trying to rewrite it, when he pleads with Daisy to say that she never loved her husband and the father of her child. Oscar Wilde's The Picture of Dorian Gray dramatizes Gray's outwardly successful Faustian bargain to retain his youth, becoming a social Dracula, unaged in appearance, with an ending that is ruinous for him if not his portrait. There are models of change, as well, in characters who may fight it at first but then embrace it. In Jack London's The Call of the Wild, a spoiled domestic dog living in California, Old Buck, is kidnapped and sold as a sled dog in Alaska. He becomes an alpha working dog, then eventually answers the call of the wild and returns to the forest, becoming a great "Ghost Dog" in Indian myth. In his autobiographically based Seven Pillars of Wisdom, T. E. Lawrence writes about his life as a Middle East scholar and archaeologist whose knowledge of Arab culture allows him to become a successful military leader. From introverted scholar writing about ancient cities, he turns out to be a daring field general who helps bring together feuding Arab tribes into a unified force that severs the hold of the Ottoman Turk and Central Powers over the Arab lands. Literature is the art most capable of showing the paradoxes and illogic of change in human life, revealing how the discovery of what you live for is not always simple success or failure but something in between. In Zora Neale Hurston's 1937 novel Their Eyes Were Watching God, the protagonist, Janie, goes through three husbands before she finds one who treats her as an equal—and even that relationship ends up with difficulties and a tragic ending. Our nonfiction in this issue testifies to the vast range of experience and emotion that drives human...