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Journal articles on the topic 'French short story'
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1
Smyth, Edmund J., and J. E. Flower. "Short French Fiction: Essays on the Short Story in France in the Twentieth Century." Modern Language Review 95, no. 3 (July 2000): 846. http://dx.doi.org/10.2307/3735556.
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M, Saratha, and Selvakumaran S. "Prabhanjan will narrates short stories Puduvai Tamil status of during the French rule." International Research Journal of Tamil 3, no. 4 (September 17, 2021): 135–39. http://dx.doi.org/10.34256/irjt21417.
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This Article, The Position of The Tamils of Pondicherry during the French rule, which deals with the short stories of Vishwasan, who is one of the most important tamil short story creators, is based on the short stories of The Cycle, Security, Brother Oro and Business of The Universe. It also examines the difficulties faced by the inequalities of caste and religion and the racist activities of the French rulers, especially when Pondicherry was under the control of the French in the 16th and 19th centuries. This article also deals with the tragic history of the exile of tamil people by using their ignorance and poverty to foreign countries for tea plantation industries.
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Godenko, N. M. "Archaic constructs in French Lessons [Uroki frantsuzskogo], a short story by V. Rasputin." Voprosy literatury, no. 1 (April 2, 2019): 44–51. http://dx.doi.org/10.31425/0042-8795-2019-1-44-51.
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Яцків, Наталія. "French-language reception of Vasyl Stefanyk’s creativive work." Sultanivski Chytannia, no. 10 (May 31, 2021): 7–15. http://dx.doi.org/10.15330/sch.2021.10.7-15.
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The article deals with analysis of the history of V. Stefanyk’s appearance in the artistic dimension of the French literature, starting from the first references in French-language periodicals by virtue of translations and ending with solid scientific investigations. The aim of the research is to systematize critical reviews, trace the evolution of critical interpretation and prove the agreement of the creative method of the Ukrainian short story writer with the development of the Western European literary process. The French public’s acquaintance with Stefanyk’s creative work took its rise in 1899 and lasts up to this day, just as we approach the celebration of the 150th anniversary of his birth. The extraordinary talent of the Pokuttia word-painter, who treated the story as a canvas, painting it with words, fascinates us with its scanty emotionalism, intense expressiveness and impressionistic picturesqueness of the works.
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Veneziano, Edy, Marie-Thérèse Le Normand, Marie-Helène Plumet, and Juliette Elie-Deschamps. "Promoting narrative skills in 5- to 8-year-old French-speaking children: The effects of a short conversational intervention." First Language 40, no. 3 (February 12, 2020): 225–50. http://dx.doi.org/10.1177/0142723720901614.
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Previous studies of narrative development based on wordless picture stories indicate that before 7–8 years most children provide descriptive narratives with little inferential content such as explanations and attribution of mental states to the story characters. These components find greater expression in studies where children participated in conversations focused on the causes of the events. In the present study, 84 French-speaking children, from kindergarten to second grade, narrated the Stone story (a wordless five-picture story whose plot is based on a misunderstanding between two characters) before and after a short conversational intervention (SCI) focused on the causes of the events, as well as one week later when they also narrated a new story. Thirty additional children served as the Control group: instead of the SCI they played a Memory game with a set of cards containing the pictures of the Stone story. Children in the SCI group increased the inferential content of the narrative produced after the SCI, thus confirming with a larger sample findings obtained in previous studies. Moreover, results provide new evidence that the immediate improvements in inferential content were still present after a week’s delay and could also be applied to a new story. All narratives produced after the SCI were also longer and contained more markers of causality. The effect was stronger in first and second graders than in kindergarten children. By contrast, no significant improvements were found in the children of the Control group on any of the measures. Such results highlight the effectiveness of the SCI in promoting children’s narrative skills, its usefulness in their assessment, and have important implications for a better understanding of narrative development.
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Fallaize, Elizabeth. "Transforming the Canonical: Gender and the French Short Story in the 1980s and 1990s." Romance Studies 20, no. 1 (June 2002): 41–54. http://dx.doi.org/10.1179/ros.2002.20.1.41.
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Luison, Luigi. "Sarah Kay, Terence Cave, Malcom Bowie, A short story of French literature, New York." Studi Francesi, no. 143 (XLVIII | II) (December 1, 2004): 438. http://dx.doi.org/10.4000/studifrancesi.40103.
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Toorawa, Shawkat M. "The Modern Literary (After)lives of al-Khiḍr." Journal of Qur'anic Studies 16, no. 3 (October 2014): 174–95. http://dx.doi.org/10.3366/jqs.2014.0172.
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Prominent examples of major Qur'anic characters in modern world literature include Joseph (and Zulaykha) -like characters in the 1984 Arabic novel, al-Rahīna (The Hostage) by the Yemeni writer Zayd Muṭīʿ Dammāj (d. 2000) and the fictionalised portrayal of the women around the Prophet Muḥammad in Algerian filmmaker and novelist Assia Djebar's 1991 French novel, Loin de Médine (Far from Medina). In this article I focus, rather, on a ‘minor’ Qur'anic character, al-Khiḍr (cf. Q. 18:65–82). I begin by looking briefly at the evolution of al-Khiḍr in Islamic literatures generally and then focus on his deployment in several short fictional accounts, viz. the 1995 French novella L'homme du livre (Muhammad, A Novel) by Moroccan author Driss Chraïbi (d. 2007); Victor Pelevin's 1994 Russian short story, ‘Prints Gosplana’ (Prince of Gosplan); the 1998 short story, ‘The Mapmakers of Spitalfields’, by Bangladeshi-British writer Manzu Islam; and Reza Daneshvar's 2004 Persian tale, ‘Mahboobeh va-Āl’ (‘Mahboobeh and Ahl’). I characterise the ways in which these modern authors draw on the al-Khiḍr type, persona, and legend, and go on to suggest how and why the use of al-Khiḍr in modern literature is productive and versatile.
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Linus, Euro, and Lala Palupi Santyaputri. "Applying Post-colonial theory “Inferiority Complex” Concept on Film Production in Short Film “Luckiest Man on Earth” as a Social Phenomenon." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 194–99. http://dx.doi.org/10.37312/imoviccon.v2i1.47.
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Film is a medium that can be used to convey a message or story in audio and visual form. Film, which also functions as an art medium, can be used to communicate about a social phenomenon that occurs in society. This paper aims to examine social phenomena that occur in society and reflect on these things through the film "Luckiest Man on Earth" and how the inferiority complex affects the stories contained in this film. The fictional film "Luckiest Man on Earth" tells the story of a young man who works as an ojek at a tourism location in Indonesia and meets a woman of French descent. With Google Translate, they can communicate with one another, but this is used by the motorcycle taxi driver as material to show off to friends and relatives that he has a girlfriend of French descent. This film is produced based on the concept of an inferiority complex that is deeply embedded in Indonesian society.
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Loudcher, Jean-François. "A History ofSavate,Chaussonand ‘French Boxing’ (1828–1978): A Short Story for a Long Past." Sport in History 27, no. 3 (September 2007): 459–86. http://dx.doi.org/10.1080/17460260701591700.
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Dolidon, Annabelle. "A Wandering Ship in Utopian Space: ‘Carte blanche’ by Sylvie Lainé." Nottingham French Studies 58, no. 1 (March 2019): 14–27. http://dx.doi.org/10.3366/nfs.2019.0233.
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This article shows how the French science-fiction short story ‘Carte blanche’ interrogates individual freedom in the utopian community of a spaceship wandering through space. Although the community chose to secede from Earth to live on this ship according to the motto ‘Le changement, c'est la vie’, it questions how individuals can partake of a social ideal that promotes change but prohibits any amending of the underlining system and argues that characters in the story have deliberately embraced a social order that limits their autonomy and rejects history in order to enjoy, in return, the illusion of eternal youth.
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Shachar, Uri Zvi. "Ecumenical Mysticism: On Conversion in the Eastern Tradition of Ordene de Chevalerie." Medieval Encounters 27, no. 2 (June 14, 2021): 165–95. http://dx.doi.org/10.1163/15700674-12340099.
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Abstract Historians celebrate the Old French Ordene de Chevalerie as an important landmark in the history of French nobility. The version of Ordene that most scholars have studied showcases Saladin’s interest in Christian chivalry but stops short of his actual dubbing. An often-neglected prose recension of this tale that first appeared in an oriental history of Outremer goes a step further, imagining the sultan to have truly become a knight “in the Christian fashion.” This version of the story, I argue, portrays Christian dubbing not only as a ceremony through which young aristocrats were admitted into a society of warriors, but also as an instrument for spiritual ascent that non-Christians could experience without renouncing their own faith. As such, the story echoes the widespread near-eastern trope of ecumenical mysticism, in which members of various faiths were seen to partake in mystical practices that belonged to neighboring traditions.
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Metcalf, Barbara D. "Narrating Lives: A Mughal Empress, A French Nabob, A Nationalist Muslim Intellectual." Journal of Asian Studies 54, no. 2 (May 1995): 474–80. http://dx.doi.org/10.2307/2058747.
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With some exaggeration, one could claim that these three biographies, despite their disparate subjects—a seventeenth-century aristocratic lady of the Mughal court, an eighteenth-century French adventurer, and a twentieth-century Muslim intellectual and political figure—all tell the same story. In each case, a figure is born (as it happens, outside the Indian subcontinent) in relatively humble circumstances and emerges as a singular figure in some combination of the political, economic, intellectual life of the day. Each account proceeds chronologically, with the life presented as an unfolding, linear story, the fruit of “developments” and “influences,” in which the protagonist independently takes action. These accounts fit, in short, the genre of biography or autobiography known to us Americans from Benjamin Franklin to Malcolm X, of rags to riches—and, typically, lessons to impart (Ohmann 1970). Each is an example of the canonical form of male biography and autobiography that emerged in Europe from the eighteenth century.
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Blanchet, Vivien. "Happy Christmases are All Alike; Each Unhappy Christmas is Unhappy in its Own Way." Marketing Theory 20, no. 2 (January 10, 2020): 175–84. http://dx.doi.org/10.1177/1470593119897764.
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The French postal service has been opening a bureau for Father Christmas every winter since 1962. Sixty employees are responsible for responding to letters to Father Christmas. In 2018, more than one million children corresponded with him. But what would happen if someone were to write to Father Christmas, developing a close epistolary relationship with him? This short story explores such a scenario. Pierre M. and Father Christmas have during many years maintained regular and personal correspondence. Yet Father Christmas’s attitude seems to have changed. Pierre M. reveals the evolution of their secret relationship to his mysterious friend. On substance, the short story offers an original perspective on modern marketplace mythologies. Previous studies depict myths as liminal spaces in which people negotiate contradictory meanings, practices and realities. The myth of Father Christmas thus involves compromises between ignorance and knowledge, life and death, the sacred and the profane. The short story tells how they evolve to define the identity of the protagonists and the world they live in. It highlights how they are embodied in hybrid artefacts like letters to Father Christmas and extraordinary servicescape. The short story also questions the performative force of the myth. It shows that it results from the interpretative work and ritual practices of the protagonists involved in an unstable actantial system structured around an enlightened person, an ignorant person and a mythical character. This is constantly negotiated throughout sociotechnical interactions, which, as in the case of witchcraft, may or may not realize the myth. On form, the short story adopts the principle of the eternal return inherent to the myth: it is plotted as a series of small variations on recurring themes and structural repetitions. Intertextual references to academic publications, literary tradition and popular culture enrich the narrative by extending it beyond its textual boundaries.
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Tokarev, Dimitri. "Le rôle et les métamorphoses des quatre éléments dans de sartre et de beckett." Samuel Beckett Today / Aujourd'hui 20, no. 1 (December 1, 2008): 233–41. http://dx.doi.org/10.1163/18757405-020001019.
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This article presents a comparative analysis of the representation of the four elements in Sartre's novel and in – Beckett's first "French" novella, which was later renamed . The second part of the novella wasn't published in because of a misunderstanding; it seems that Beckett constructs the second part of his short story and especially its finale as a polemic remark to . We will see that in both texts the elements and especially water play a very important role.
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Turcu, Luminița-Elena. "“A Person Not In The Story”: Clérambault’s And M. R. James’s Textile/Textual Folds." Messages, Sages and Ages 2, no. 2 (December 1, 2015): 56–65. http://dx.doi.org/10.1515/msas-2015-0012.
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Abstract Though unrelated when it comes to their scientific occupations, Clérambault and M. R. James give to the 21st-century observer the impression that they were strikingly similar in their compulsive preoccupation with draped bodies or with what Gilles Deleuze names “the Fold”. The article investigates the manner in which the French psychiatrist exploited his passion in the innumerable photographs he took in Morocco and in which the English philologist exorcised his fear in fiction, especially in one of his best-known short stories, “Oh, Whistle and I’ll Come to You, My Lad”.
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Симанков, Виталий. "Детское Чтение (1785-1789) и Детския Забавы (1792): Рецепция немецкого протестантизма в детских изданиях XVIII в." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 5 (November 27, 2017): 18–39. http://dx.doi.org/10.21900/j.vivliofika.v5.551.
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This article is focused on Protestantism-related ideas encrypted in children’s literature in eighteenth-century
Russia. The primary focus of the study is on Detskiia Zabavy (1792), a short-story collection that was thought
to be an original Russian book. As this study shows, the book in question is actually a collection of texts
translated from German and French. The bulk of the collection deals with the so-called short didactic stories,
the ideological roots of which have been overlooked and understudied. The author’s findings help to clarify,
among other things, the subject of Pushkin’s parody in his Detskaia Knizhka (1830).
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Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (August 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.
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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.
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Meeker, Natania. "Libertine lucretius." RIVISTA DI STORIA DELLA FILOSOFIA, no. 2 (May 2012): 225–39. http://dx.doi.org/10.3280/sf2012-002002.
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As part of an examination of the role played by Lucretius in French libertinism, this article develops a reading of the 1730 story by Crébillon fils (1707-77) entitled Le Sylphe. The author argues that the French libertine tradition inherits from Lucretius an emphasis on subjection as generative rather than inhibiting; both ancient and more modern forms of Epicurean materialism are heavily invested in the process by which a condition of relative emancipation only emerges from within a state of constraint. Crébillon suggests that the capacity to take pleasure in an experience of dispossession - the loss of self-mastery - is fundamental to a libertine erotics; he portrays the heroine of his short story as possessed by a voluptuous recognition of her own enthrallment to a supernatural being (the sylph). Through her sexual enjoyment of this supernatural being, she is relieved of the burden of her own humanity, in a process that mirrors the delightful dispossession experienced by the convert to Epicureanism. For Crébillon, it is the literary text itself that is charged with arousing and assuaging erotic passion, and, ultimately, assuming the motility of the Epicurean atom.
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Kim, Jun-Hyun. "A Study of ‘translation’ and ‘translation genealogy’ of the French short story in early modern Korea (1919～1921)." Cogito 84 (February 28, 2018): 337–78. http://dx.doi.org/10.48115/cogito.2018.02.84.337.
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Schocket, Deborah Houk. "Allan H. Pasco. The Nineteenth-Century French Short Story: Masterpieces in Miniature. New York: Routledge, 2020. 198 pp." Symposium: A Quarterly Journal in Modern Literatures 75, no. 1 (January 2, 2021): 58–59. http://dx.doi.org/10.1080/00397709.2021.1868761.
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Islam, Muhammad Reazul. ""Comparisons are Odious?" Revisiting the ancient fable of the ant and the grasshopper adapted in Maugham's short story." Journal of English Language and Literature 12, no. 3 (December 31, 2019): 1181–86. http://dx.doi.org/10.17722/jell.v12i3.423.
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The article seeks to locate a comparative study of the meanings and the morals of a popular ancient fable, adapted by William Somerset Maugham in his short story, The Ant and the Grasshopper. The comparison and contrast in adapting the fable generated an intense academic debate about the appropriate policies of life, a human should undergo. Alike the ancient fable, the setting of the story opens with the conversation between an industrious ant and its reluctant counterpart, a grasshopper. Although the story of the fable is embodied with a moral where industry is rewarded and giddiness punished, we see a completely different scenario at the end of the story. Therefore, it is an irony of the moral conflict between two Ramsay brothers, namely George Ramsay, a man of ethics and Tom Ramsay, a man of a fantasy world. Throughout the story, The Ant and the Grasshopper, Maugham's effort to portray the themes of justice, trust, fear, morality, embarrassment, happiness and struggle is indeed praiseworthy. But, at the same time, it has aroused a hypothesis of seeking out the ultimate principles of life. The paper considers the development of the Greek fable from its origin to the later adaptations, including the version of La Fontaine, a French fabulist, and the final reversal to a counter-fable by Maugham. It also includes a web of researches in the corresponding fields, and a synthesis resulting from the causes and effects of indebtedness and unemployment that can eventually affect the economy through fluctuations in confidence. The further objective of this work illustrates the misconception and mockery of a man of letter and the eventual paradoxes he has to face in reality. Finally, it concludes with an inception that a post modern world like ours needs not only a determined and preset humane policy, but also a new narrative, and liberal outlook to survive or live in luxury.
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Shmeleva, Tatyana N. "Gender Stereotypes and Their Manifestations in Kate Chopin’s «Elizabeth Stock’s One Story»." Vestnik of Kostroma State University 27, no. 2 (June 28, 2021): 156–59. http://dx.doi.org/10.34216/1998-0817-2021-27-2-156-159.
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The article deals with the peculiarities of gender stereotypes in Kate Chopin’s work «Elizabeth Stock’s One Story». The Feminist criticism statements aiming at the revealing of femininity manifestation in a text are analysed. Characteristic features marking «female writing» are given, among them besides specific woman’s life experience, gender identity and ecstatic communication with the world, peculiar «two voice» discourse is also distinguished (it traces its roots back to the Mikhail Bakhtin’s ideas about «someone else’s» word through the French poststructuralists). «Elizabeth Stock’s One Story» is the only example of Chopin’s reference to the problem of women’s creativity. The assessing voice of the society intensifying clichés of the woman’s «natural role» can be detected in heroine’s ironical presentation of her own literary experience. The heroine is interested in literature and it’s not only an art for her but also a means of self-expression and a way to self-identity. Despite of the intimacy of Elizabeth’s story her narration is filled with the description of public morality and details which join it into the social life of the whole country. In Chopin’s short story the heroine’s claim of identity being through traditionally men’s forms of self-identification is truly significant.
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Couti, Jacqueline, and Jason C. Grant. "Man up! Masculinity and (Homo)sexuality in René Depestre’s Transatlantic World." Humanities 8, no. 3 (September 16, 2019): 150. http://dx.doi.org/10.3390/h8030150.
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The question of homosexuality in Francophone Caribbean literature is often overlooked. However, the ways in which the Haitian René Depestre’s Le mât de cocagne (The Festival of the Greasy Pole, 1979) and “Blues pour une tasse de thé vert” (“Blues for a Cup of Green Tea”), a short story from the collection Eros dans un train chinois (Eros on a Chinese Train, 1990) portray homoeroticism and homosexuality begs further study. In these texts, the study of the violence that surrounds the representation of sexuality reveals the sociopolitical implications of erotic and racial images in a French transatlantic world. Hence, the proposed essay “Man up!” interrogates a (Black) hegemonic masculinity inherited from colonialism and the homophobia it generates. This masculinity prescribes normative traits that frequently appear toxic as it thrives on hypersexuality and brute force. When these two traits become associated with violence and homoeroticism, however, they threaten this very masculinity. Initially, Depestre valorizes “solar eroticism,” a French Caribbean expression of a Black sexuality, free and joyful, and “geolibertinage,” its transnational and global expression. Namely, his novel and short story sing a hegemonic and polyamorous heterosexuality, respectively, in a postcolonial milieu (Haiti) and a diasporic space (Paris). The misadventures of his male characters suggest that eroticism in transatlantic spaces has more to do with Thanatos (death) than Eros (sex). Though Depestre formally explores the construction of the other and the mechanisms of racism and oppression in essays, he also tackles these themes in his fictional work. Applying Caribbean feminist and gendered lenses to his fiction bring to light the intricate bonds between racism, sexism and homophobia. Such a framework reveals the many facets of patriarchy and its mechanism of control.
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Veneziano, Edy. "Talking About the Non-Literal: Internal States and Explanations in Child-Constructed Narratives." Psychology of Language and Communication 21, no. 1 (October 26, 2017): 133–51. http://dx.doi.org/10.1515/plc-2017-0007.
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Abstract Non-literal language most often permeates interesting and informative narratives. These are the non-perceptible, inferential aspects of a story, such as the explanation of events, the attribution of internal, particularly mental, states to the characters of the story, or the evaluation of events by the participants and/or the narrator. The main aim of this paper is to examine whether non-literal uses can be promoted in 7-year-old French-speaking children’s narratives through the use of a short conversational intervention (SCI) which focuses the children’s attention on the causes of events. The results show that, after the SCI, the expression of non-literal aspects, even higher-order ones, may make their appearance or significantly increase in children’s stories. The reasons for the effectiveness of the SCI in the promotion of non-literal uses of language and narrative skills in general, as well as the importance of using the SCI as an evaluative instrument, are discussed.
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Arbabi, Maryam, and Mehrdad Vasheghani Farahani. "Functionalism in Translation: A Case Study Investigation into Translation literature based on Nord's Documentary vs. Instrumental Dichotomy." Khazar Journal of Humanities and Social Sciences 22, no. 2 (July 2019): 51–70. http://dx.doi.org/10.5782/2223-2621.2019.22.2.51.
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The main objective of the current study was to analyze a Persian Translation of a short story from functionalism perspective and Documentary vs. Instrumental Dichotomy. To this end, the Persian translation of the book titled “The Little Prince” was analyzed and compared with its English version (indirect translation from French) to see if the Persian translation was more documentary or instrumental oriented in nature. The theoretical framework of the study was Nord’s dichotomy of instrumental vs. documentary translation. The book was analyzed at the sentence and above sentence level and covered the whole book. As the qualitative analysis showed, the translation of the book was instrumental oriented, and the book reads like an original in the target language.
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Bernicot, Josie. "French Children's Conception of Requesting: The Development of Metapragmatic Knowledge." International Journal of Behavioral Development 14, no. 3 (September 1991): 285–304. http://dx.doi.org/10.1177/016502549101400303.
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To what extent are children able to "think about" or "talk about" variation in linguistic forms of requests in different communicative situations? In other words, do children have metapragmatic knowledge? These issues were tested on a sample of 72 subjects divided into three age groups (5-, 7-, and 10-year-olds). Subjects were read short narratives composed of conversations between two speakers. After each story, subjects were asked to evaluate the appropriateness of a request made by one of the protagonists, explain their judgements, and suggest an alternative formulation. Thus, the experiment tests conscious metapragmatic knowledge. Responses were analysed in terms of age of subjects, linguistic form of requests (direct request, conventional indirect request, non-conventional indirect request, hint or justification), and relationship between the two speakers (good co-operation/poor co-operation). The findings show that: (1) 5-year-olds have metapragmatic knowledge; (2) the repertoire of metapragmatic knowledge increases with age; and (3) this repertoire is affected by the linguistic form of the request and by the degree of co-operation between speakers. The discussion focuses on situations that reveal early metapragmatic knowledge, and on possible mechanisms governing the transition from one type of metapragmatic knowledge to another.
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Veneziano, Edy. "Conversationally and Monologically-Produced Narratives: A Complex Story of Horizontal Décalages." Psychology of Language and Communication 23, no. 1 (January 1, 2019): 85–104. http://dx.doi.org/10.2478/plc-2019-0005.
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Abstract Theory-of- mind-related abilities present a long development characterized by both vertical and horizontal décalages. A vertical type of décalage can be seen in children’s abilities to take into account, on a practical level, others’ intentional and mental states and use internal state terms to talk about them before they are able to succeed, at the dominant representational level of functioning, in false belief tasks. Several horizontal décalages can also be observed. It is only after success in FB tasks that children can talk about the mental states of characters in fictional stories. Moreover, ToM-related and other inferential elements are expressed earlier and more frequently in conversationally-constructed than in monologically-produced narratives. This paper examines in particular this type of horizontal décalage by comparing the types of explanations produced by eighty 6- and 7-year-old French-speaking children during a short conversational intervention (SCI) focused on the causes of the story events to those expressed in monological narratives, about the same wordless picture story, produced immediately after or before the SCI. The results confirm that children expressed more ToM-related and other inferential elements during the SCI than in the two monologically-produced narratives. However, the comparison between explanations produced during the SCI and in the immediately following monological narrative also reveals complex relations among understanding, knowing and expressing this knowledge. The reasons and the significance of the horizontal décalages found in the study are discussed.
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Merriam, Daniel, and Richard Howarth. "Pioneers in Mathematical Geology." Earth Sciences History 23, no. 2 (January 1, 2004): 314–24. http://dx.doi.org/10.17704/eshi.23.2.j422754m21177430.
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Statistical and mathematical techniques have been used in the earth sciences for about one-hundred years, but only after the introduction of the electronic computer in the mid-Twentieth Century did a revolution in the science take place. The story of the quantification of geology is best told through the works of those who fostered the dramatic change. Here is chronicled the contributions of six pioneers in numerical geology in short exposés by authors close to, and knowledgeable of, the people and their work. The pioneers include F. Chayes (American), J. C. Griffiths (American/Welsh), W. C. Krumbein (American/German), G. Matheron (French), R. A. Reyment (Australian/Swede), and A. B. Vistelius (Russian). These magnificent six also played a major role in forming the International Association for Mathematical Geology in 1968 at the International Geological Congress in Prague, Czechoslovakia.
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Kononchuk, Oksana. "The artistic word and the “Language Issue” based on the M. A. Jamalzadeh writings." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 43–50. http://dx.doi.org/10.34079/2226-3055-2020-13-23-43-50.
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The paper is dedicated to the research of the specifics of the reflection of the “language issue” in the writings of M. A. Jamalzadeh – the founder of the modern short story in the Persian literature and to the influence and role of the artistic word in addressing this issue. In spite of the fact that there was one official national language in Iran and that it was the Persian language there was a great gap between the strata of the Iranian society and a huge misunderstanding between those strata because of the language differences of the Persian language spoken by them. The representatives of the Iranian clergy, the majority of poets, writers and scientists used plenty of Arabic words, phrases, quotes, whole sentences in their “Persian”. On the other hand, the Europeanized intellectuals used plenty of words borrowed from Western European languages, mainly from the French language. Both of these versions of the “Persian” were not understandable for common people, neither was the Persian literature, especially prose, created in Iran since XVI–XVII centuries till the very beginning of the XX century. Those were the issues to be addressed and the prominent intellectuals of Iran took the responsibility to deal with them. In 1921 young but much talented writer Mohammad Ali Jamalzadeh published his first book – the collection of short stories “Yeki Bud Va Yeki Nabud” (“Once Upon a Time”) and wrote a detailed preface to it in which he expressed his thoughts and ideas on the issue of the Persian language and the Persian literature. He invited the Iranian writers to write their works using new European literary genres, to use clear and understandable Persian and to enrich language of their writings by using elements of live folk speech. This preface became a manifesto of the new generation of the Iranian writers and intellectuals and played a great role in the formation of new Persian prose and in the solution of the problem of the national language of Iran. The stories of the collection “Yeki Bud Va Yeki Nabud” were the artistic illustrations of the ideas of its author proclaimed in the preface. In the brightest way the ideas of Jamalzadeh were embodied in the short story “Farsi Shekar Ast” (“The Persian is Sugar”) which is recognized to be the first Persian short story written in accordance with the rules of this genre in the modern European literature. In this short story M. A. Jamalzadeh managed using artistic methods and means to show much of beauty, richness and diversity of the Persian language and at the same time to show the problem of misunderstanding between the strata of the Iranian society, to show the huge cognitive dissonance between clergy and intellectuals on one hand and those who they were responsible for on the other. The next generation of the Iranian writers followed M. A. Jamalzadeh and in the next years the situation with the Persian language and literature in Iran has much changed.
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Ellis, Juniper. "Tatau and Malu: Vital Signs in Contemporary Samoan Literature." PMLA/Publications of the Modern Language Association of America 121, no. 3 (May 2006): 687–701. http://dx.doi.org/10.1632/003081206x142823.
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In two contemporary Samoan works, Albert Wendt's short story “The Cross of Soot” (1974) and Sia Figiel's novel They Who Do Not Grieve (1999), tattooing produces and proclaims the psychological and social place of the tattoo bearer. The tattoo signals the splitting or doubling of subjectivity, a mechanism by which the individual human subject is produced continually and repeatedly. The Samoan tatau creates not only Samoan subjects but also the English word tattoo and the French tatouage. Wendt and Figiel treat the production and movement of the tattoo in the Pacific and the world; they thus invite a cross-cultural critique of Lacan's theories of subjectivity, which present the tattoo as constitutive of the subject. Whereas Lacan's tattoo is disembodied and nonlocalized, Wendt and Figiel account for the tattoo's material and corporeal effects, its origins in Oceania, and its function in inaugurating a collective Samoan subject. (JE)
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Sukhovetska, Liudmyla. "LINGUAL MEANS OF REPRESENTATION OF THE PRECEDENT PHENOMENA IN THE STORY «THE ABC MURDERS» BY A. CHRISTIE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 9(77) (January 30, 2020): 128–31. http://dx.doi.org/10.25264/2519-2558-2020-9(77)-128-131.
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The article deals with the lingual analysis of the precedent phenomena in a short story «The ABC Murders» written by A. Christie. Having considered different approaches to the definition of the precedent phenomenon the author singles out the main properties of that phenomenon. It has been found out that the layer of precedent names is represented by such lingual units as anthroponyms and their derivatives, toponyms and their derivatives, ergonomics and titles of literary works. Verbalization of barbarisms of French etymology and catch phrases constitute the layer of precedent expressions. As for the layer of precedent text it is actualized by quotations with authorship. In the context of the narration, the precedent units carry out a number of functions. Some of the precedent elements take part in the shape of the plot of the story by naming protagonists, place or time of the narration. In the explanatory function they bring additional information or arguments to the speech. Precedent phenomenon with positive connotation applied by the speaker to himself allows him to express self-criticism. In the expressive function it makes the speech sound more emphatic. Precedent phenomenon used in the emotive function indicates at the emotional state of the speaker. In the descriptive function it restores a vivid image of the object or subject. Characterizing function highlights a certain feature of the protagonist.
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Oliveira, Anna Olga Prudente de, and Eliana Bueno-Ribeiro. "Os contos de Charles Perrault em tradução." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 1 (January 15, 2018): 169–80. http://dx.doi.org/10.5007/2175-8026.2018v71n1p169.
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Translated and adapted to the Brazilian reader public from the end of the nineteenth century to the present day, the tales Sleeping Beauty in the Forest, Little Red Riding Hood, Blue Beard, The Boots Cat, The Fairies, Cinderella, Riquet of the Topete and The Little Thumb have recently won a new Brazilian edition that presents a complete translation of the work that became the canon of children's literature: Histories or Tales from the Time Past with Morals (Histoires or Contes du temps passé avec des Moralités) by Charles Perrault. In this interview with the translator, he seeks to know his work, his understanding of the work and the process of translation, and his proposals and strategies, especially in relation to these short stories, elaborated by the French writer of the XVII century with a characteristic that distinguishes them from others fairy tales: morality in verse at the end of the story told in prose.
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Stollberg, Arne. "„A work so truly English in its story and its music“. Arthur Sullivans Ivanhoe und die Suche nach einer englischen Nationaloper." Studia Musicologica 52, no. 1-4 (March 1, 2011): 457–84. http://dx.doi.org/10.1556/smus.52.2011.1-4.32.
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In order to overcome the persistent cliché of a “land without music,” considerable efforts were made in Great Britain at the end of the 19th century to establish what is now labelled the English Musical Renaissance. One of the movement’s main concerns was to establish both institutionally and artistically a National Opera for the production of English works. In this context, the opening of a newly built opera house, the Royal English Opera, by the impresario Richard D’Oyly Carte in 1891 created a great stir. The Royal English Opera was inaugurated with Arthur Sullivan’s “Romantic Opera” Ivanhoe. Sullivan tried to give his score an especially English flavour without using folksongs or other overtly national musical characteristics. His composition can be seen as a synthesis of German, French and Italian influences, which intentionally mirrors the fusion of the Anglo-Saxon and Norman elements to form the English nation under King Richard the Lionheart as presented in the opera’s plot. Unfortunately the story of D’Oyly Carte’s enterprise was a short one and Sullivan’s opera quickly passed into oblivion.
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Bancel, Nicolas, and Herman Lebovics. "Building the History Museum to Stop History: Nicolas Sarkozy’s New Presidential Museum of French History." French Cultural Studies 22, no. 4 (October 26, 2011): 271–88. http://dx.doi.org/10.1177/0957155811417069.
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When he ran for president in 2007 Nicolas Sarkozy promised to build a museum of French history. He declared that he was troubled by the lack of a coherent account of the nation’s great moments and great heroes. On being elected, he started the planning process, finally settling on the Hôtel de Soubise, part of the Archives nationales, as the site of the future Maison de l’histoire de France. Although his project was supported by a certain number of intellectuals, many university scholars, especially the historians, raised strong objections to a concept that returned to the old Third Republic civic history in the style of Ernest Lavisse. The future museum was to offer visitors old-fashioned narrative history of male achievements, with no account taken of new insights that women’s, gender, social, cultural, colonial and immigration history have added to any discussion of what France is or might be. It rejects the idea that there have been, and can be, many ways of being French. The critics of the museum project deplored the instrumentalisation of the nation’s past – one of several such presidential ventures – for short-term political gain. The strike of archive employees, which lasted for several months, scuttled that site as the future home of the history museum. The story is not finished. The discussion of the presidential museum initiative is placed in a larger context in which increased economic neo-liberalism, greater state interventions at home and overseas, and the propagation of a nostalgic-conservative vision of the nation’s past reinforce each other, even as they coexist in uneasy union.
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Russ, Tom C. "Hangover Square by Patrick Hamilton." Advances in Psychiatric Treatment 20, no. 4 (July 2014): 247–49. http://dx.doi.org/10.1192/apt.bp.113.011858.
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SummaryPatrick Hamilton's (1904–1962) books are filled with gin and jealousy and depict obsessive desire in oppressive circumstances. His early financial success funded his heavy drinking, but also allowed him to write some of the best fiction of the 20th century. Following a depressive illness towards the end of his short life he never wrote again, leaving his final series of novels unfinished, the villain forever escaping justice. Hangover Square, set on the eve of the Second World War, tells the tense story of a man whose ambivalence for the woman he is pursuing (who has no interest in him) is manifested in two psychological states, between which he flips without warning. In one state he yearns for her, yet in the other has only one purpose – to kill her. Hamilton precisely describes a number of mental symptoms while not convincing readers of the implied diagnosis of schizophrenia. However, the similarities with a late-19th century French fuguer are clear and perhaps this condition provides a better frame for the main character's experiences.
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Ribeiro, Ana Cláudia Romano, and Laíza Dos Santos Albaram. "Lendo os parágrafos iniciais do conto Dayiva, da escritora haitiana Évelyne Trouillot / Reading the First Paragraphs of the Short Story Dayiva, by Haitian Writer Évelyne Trouillot." Caligrama: Revista de Estudos Românicos 25, no. 3 (December 18, 2020): 163. http://dx.doi.org/10.17851/2238-3824.25.3.163-181.
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Resumo: Este trabalho refaz o percurso de parte de uma pesquisa de iniciação científica centrada no estudo do conto Dayiva, de Évelyne Trouillot (escritora haitiana de expressão francesa), publicado no livro Parlez-moi d’amour (2002). Na primeira parte, apresentamos o contexto histórico, político e cultural haitiano a partir de Laguerre (1989) e Figueiredo (2006); Trouillot (1990) guiou nossa compreensão do contexto histórico específico em que o conto está inserido – a ditatura de Papa Doc – e de particularidades lexicais, como os termos noir e mulâtre; aproximamo-nos do problema religioso graças a Desmangles (1992) e os trabalhos de Dash (1981), Césaire (1978) e Corcoran (2007) permitiram-nos melhor situar as questões literárias do ambiente haitiano; por fim, com Ferreira (2006), investigamos o conceito de négritude. Todo este aparato crítico-teórico nos ajudou a ler melhor o conto, propiciando uma aproximação da multiplicidade de suas referências. Na segunda parte deste artigo, apresentamos a autora e lemos os primeiros parágrafos do conto, mostrando, em uma análise narratológica e temática, como alguns aspectos culturais, históricos e geográficos do Haiti ganham forma literária, com particular atenção aos aspectos linguísticos, políticos, religiosos e naturais, mais especificamente, ao crioulo haitiano, ao regime ditatorial, ao vodu e à presença do mar.Palavras-chave: Évelyne Trouillot; Dayiva; literatura de expressão francesa; literatura haitiana.Abstract: This paper retraces part of a scientific initiation research centered on the study of the short story Dayiva, by Évelyne Trouillot (a French-speaking Haitian writer), published in the book Parlez-moi d’amour (2002). In the first part, we present the Haitian historical, political and cultural context from Laguerre (1989) and Figueiredo (2006); Trouillot (1990) guided our understanding of the specific historical context in which the story is inserted – the dictatorship of Papa Doc – and of lexical particularities such as the terms noir and mulâtre; we approached the religious problem thanks to Desmangles (1992) and the works of Dash (1981), Césaire (1978) and Corcoran (2007) allowed us to better situate the literary questions of the Haitian environment; finally, with Ferreira (2006) we investigated the concept of négritude. All this critical-theoretical apparatus helped us to better read the tale, providing an approach to the multiplicity of its references. In the second part of this article, we present the author and read the first paragraphs of the story, showing, in a narratological and thematic analysis, how some cultural, historical and geographic aspects of Haiti take literary form, with particular attention to the linguistic, political, religious and natural aspects, more specifically, the Haitian Creole, the dictatorial regime, voodoo and the presence of the sea.Keywords: Évelyne Trouillot; Dayiva; Francophone literature; Haitian literature.
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Silva, Maria Valdenia da, Jaquelânia Aristides Pereira, and Maria De Fátima Vasconcelos da Costa. "A LITERATURA COMO GESTO DE RESISTÊNCIA EM “O SAGRADO PÃO DOS FILHOS”, DE CONCEIÇÃO EVARISTO." Revista Graphos 21, no. 1 (July 4, 2019): 197–211. http://dx.doi.org/10.22478/ufpb.1516-1536.2019v21n1.46555.
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Resumo: Conceição Evaristo é uma escritora afro-brasileira de grande relevância no cenário nacional atual, sobretudo por construir uma literatura de resistência voltada para as questões etnorraciais e de gênero, num movimento interseccional que envolve também a categoria de classe. Sua produção literária, no geral, é pautada na sua vivência de mulher negra submetida às condições de subalternização diversas no Brasil e pela evocação da memória de seus ancestrais africanos como forma de construir um contradiscurso sobre a luta dos negros no nosso país. Neste artigo, apresentamos o nosso discurso de compreensão do conto “O sagrado pão dos filhos”, do livro Histórias de leves enganos e parecenças, resultante de nossa leitura e interpretação desse texto e da experiência de leitura compartilhada num círculo de leitura com participantes do evento Memórias de Baobá, em Fortaleza. Utilizamos como fundamento da análise literária do conto os dispositivos da crítica literária, da abordagem bakhtiniana da linguagem e da análise do discurso francesa. Podemos dizer que o conto “O sagrado pão dos filhos” foi percebido em sua tessitura estética complexa e reveladora de como a literatura constrói o humano, configurando um gesto decolonial, que faz ecoar vozes silenciadas subjacentes ao processo de subalternização racial tanto econômico quanto simbólico.
Palavras-chave: Literatura afro-brasileira. Conto. Crítica. Resistência. Círculos de leitura.
LITERATURE AS AN ACT OF RESISTANCE IN “O SAGRADO PÃO DOS FILHOS”, BY CONCEIÇÃO EVARISTO
Abstract: Conceição Evaristo is an Afro-Brazilian writer of great relevance in the current Brazilian scenario. She has contributed for building a resistance literature focused on ethno-racial and gender issues, in an intersectional movement which also includes the class category. Her literary production, in general, is guided by her experience as a black woman, submitted to various subaltern conditions in Brazil and by evoking the memory of her African ancestors as a way of constructing a counter-discourse about the black struggle in the country. This paper presents a comprehension discourse of the short story “O sagrado pão dos filhos”, from the book Histórias de leves enganos e parecenças, which resulted from our reading and interpretation of this text and from the experience of a shared reading in a reading circle at Memórias de Baobá, an even held in the city of Fortaleza, Brazil. Literary criticism, Bakhtinian approach of language as well as French discourse analysis were used as basis for the literary analysis of the short story. “O sagrado pão dos filhos” was perceived in its complex aesthetic texture revealing how literature builds the human, setting up a decolonial gesture, echoing silent voices that are subjacent to the racial process of economic and symbolic subalternization.
Keywords: Afro-Brazilian literature. Short story. Critical. Resistance. Reading circles.
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Whiteley, Giles. "Cosmopolitan Space: Political Topographies in ‘Lord Arthur Savile's Crime’." Victoriographies 7, no. 2 (July 2017): 124–42. http://dx.doi.org/10.3366/vic.2017.0267.
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This essay responds to Julian Wolfreys's suggestion that Oscar Wilde's London is primarily psycho-geographical by seeking to read his texts within the historical and spatial context of late nineteenth-century London. Taking as a test the short story ‘Lord Arthur Saville's Crime’, this essay deploys the critical insights of Henri Lefebvre to suggest that Wilde's city writing engages more closely with London life than has been hitherto suggested. Following Lord Arthur on his three perambulations across the city, from Hyde Park and Piccadilly to Covent Garden, through Soho, and finally from St James's to the Embankment, the article focuses particularly on the ways in which Wilde's use of what might easily be assumed to be an incidental location, namely Cleopatra's Needle, invites us to reread the text's revolutionary politics within the context of the French Revolution. Concluding with a discussion of Wilde's treatment of London's ‘cosmopolitan space’, the essay shows that the way in which seemingly stock imagery deployed in Wilde's representation of the city may in fact be read as part of a wider and complex engagement with both the politics and the aesthetics of space.
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Stanton, Anna Ziajka. "Spatial Attractions: The Literary Aesthetics of Female Erotic Experience in the Colony." Cambridge Journal of Postcolonial Literary Inquiry 8, no. 2 (April 2021): 253–69. http://dx.doi.org/10.1017/pli.2020.42.
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This article examines the aesthetics of representing female sexuality within colonial narratives of the West–East encounter. I consider two literary works whose female characters challenge the gendered metaphors of empire that predominated in a tradition of colonial literature and its postcolonial rewriting: the short story “La femme adultère” by the French-Algerian writer Albert Camus, and the novel Wāḥat al-ghurūb by Egyptian writer Bahāʾ Ṭāhir. In each text, the standard heterosexual troping of imperial conquest as a male activity directed at or against a feminized other is inverted to place a European woman’s sexually aroused body at the center of the drama of colonial contact. Reading these two texts against the grain of the aesthetic formulas that they employ to contemplate the political stakes of cross-cultural intimacies in a colonial setting, I argue that the phenomenological immediacy of how the female protagonist in each is shown to experience the eroticism of colonial space introduces a break in these formulas. The loss of narrative plausibility in each text that follows from these erotic interludes, I propose, ultimately testifies to the irreducibility of the body to either enforcing or disputing the epistemologies of the colonial project.
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Figuera, Renee. "Critical cultural translation." Translating Creolization 2, no. 2 (December 23, 2016): 195–219. http://dx.doi.org/10.1075/ttmc.2.2.02fig.
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This case study uses tools from Critical Discourse Analysis and Translation Studies to explain the translation of Creole aesthetics in thirty-two written folktales of Trinidad, after World War I. The serial publication of these local folktales within the Trinidad Weekly Guardian and the Argos newspapers coincided with a period of cultural transformation in Trinidad, when local newspapers became the caretakers of a national literature in print. The researcher uses translation as a metaphor to critically analyze the process and function of intercultural transfer between oral and written folktale cultures, while showing how intercultural translation was effected in the folktale, at this time. In the final analysis, the study traces the forward reach of translating creolization beyond the period of WWI, into a period that is better known for the foregrounding of the Creole under class, in the short stories of Beacon and Trinidad of 1929 to 1930. It is a significant study because it identifies many translation shifts in Creole culture towards establishing the conventions of the modern short story of the 1930’s. In particular, the re-writing of oral tales enabled a discursive shift in focus in favor of the ordinary class, race-relations in society, the melding of folk mythologies for didactic purposes, and a language shift from the folktale’s French-Creole language base to an English-oriented literate culture. In this way, it perpetuated a neo-colonial agenda of translating creolization as the discursive recolonization of Creole folktale culture with exocentric conventions.
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Przybos, Julia. "Polish Decadence: Leopold Staff's Igrzysko in the European Context." Nordlit 15, no. 2 (March 26, 2012): 79. http://dx.doi.org/10.7557/13.2045.
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Decadent authors writing about the past share a common artistic practice: revisionist creativity. I argue in my Zoom sur les décadents that this particular type of creativity uses as its main device recombination of legends, myths, and historical events. Historical, cultural or religious figures are reexamined and shown in a new unexpected light. I show in my book how Villiers de Isle-Adam conflates two crucial battles of the Ancient world: Marathon (490 BC) and Thermopiles (480 BC) in ashort story called "Impatience de la foule." The final result of Villiers's telescoping of separate historical events is a seamless narrative. In Hugues Rebell's "Une Saison à Baia," Saint Paul attempts to convert Roman patricians who mock his incoherent speeches. In "La Gloire de Judas," Bernard Lazare departs from the Gospels and tells the tragic story of Judas whose betrayal made the salvation of the human race possible. In Lazare's short story, Judas is a self-effacing figure who doesn't act on his own but on Jesus Christ's specific order, who sworns him into secrecy.Common in French decadent fiction, religious revisionism was largely tolerated in the secular Third Republic. Whereas censorship was quick to punish naturalist authors writing about debauched clergy in contemporary France (e.g. Louis Deprez and Henry Fèvre's Autour d'un clocher) decadent authors reinventing ancient religious stories and retelling the life of catholic saints enjoyed a relative freedom ofexpression.It is my hypothesis that taken out of its secular context, religious revisionism of the kind practiced by French decadents may be seen as shocking transgression in a fiercely catholic country like Poland. In the country that lost its independence in 1794 and was ever since seeking to regain it, Catholic Church was perceived as an essential ally in the struggle against main occupying powers: Orthodox Russia, and Protestant Prussia. In the course of the 19th century Catholicism and patriotism had been effectively fused in Polish national conscience. In this charged political context a Polish author revisiting Church dogma or tradition was at risk of being perceived not only as a religious outcast but also as a traitor to the cause of Polish independence.To test my hypothesis I propose to examine Igrzysko (Game), a forgotten play by Leopold Staff. Admired today chiefly as a poet, the young Staff wrote Igrzysko in Poland after a long sojourn in Paris where he had lived among the international crowd of fin de siècle writers and artists. The play was first produced in Lemberg in 1909 and after a few performances vanished forever from Polish theatrical repertoire.Leopold Staff's play is set in ancient Rome and depicts tribulations of an actor who, while impersonating a Christian awaiting crucifixion, converts to Christianity. In his play, Staff revives the legend of Saint Genesius, an actor in Arles who died a martyr's death in 286 under Diocletian. In Spain, Saint Genesius's legend inspired Lope de Vega who wrote Acting is Believing (Lo fingido verdadero, 1607). In France, it was the source for Jean Rotrou's Saint Genest (1646). All told, the legend of Genesius is a popular theme for artists who wish to explore the distinction between art and life. An important addition to this old tradition, Staff's play contains, however, a decadent and potentially scandalous twist. Unlike in Acting is Believing and Saint Genest, the protagonist's conversion is very short lived in Igrzysko. Fearing pain, Staff's character commits suicide and is, therefore, condemned for eternity. In my paper, I will discuss the significance of Staff's religious transgression in the context of the turn of the century arch-catholic and patriotic Poland.
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RUDENKO, Marta. "Decoding of signs: the French Revolution and the Paris Commune as a key to the interpretation of the narrative strategy in the short story of Mykola Khvylovy “I (Romance)”." Humanities science current issues 3, no. 37 (2021): 117–23. http://dx.doi.org/10.24919/2308-4863/37-3-18.
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Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle." SMART MOVES JOURNAL IJELLH 7, no. 10 (October 31, 2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.
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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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Rogacheva, Natalia A., and Anastasiia O. Drozdova. "NABOKOV’S REFLECTION ON HIS OWN AND OTHERS’ WORKS IN THE SHORT NOVEL “VASILIY SHISHKOV” AND POEM “THE POETS”." Tyumen State University Herald. Humanities Research. Humanitates 6, no. 2 (2020): 64–78. http://dx.doi.org/10.21684/2411-197x-2020-6-2-64-78.
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The problem of Nabokov’s artistic identity is relevant for contemporary literature studies. The researchers interpret writer’s estimation of his Russian works differently: in his American years, Nabokov (1) created a new artistic identity (A. Dolinin) and started a new career (N. Cornwell) or (2) developed his general themes (B. Boyd), targeted at English readers. The unique status of the texts written in French is defined by their “phantom” nature (M. Malikova) and the “final work with the literature legacy” (A. Babikov). In our research, the problem of Nabokov’s identity is analyzed for the first time in its connection with the methods of creation of the “phantom” fictional world. Our research subject includes the poem “The Poets” and the short story “Vasiliy Shishkov”. The texts are considered within the literary-critical and artistic contexts. The purpose of this article is to determine how the reflection of one’s own and other people’s creativity is built in these works, taking into account that perceptual imagery serves as tools for aesthetic assessment for Nabokov. The main research method in the work is structural-semiotic analysis: perceptual images are characterized by the variety of their localization, by the method of creation and distribution, by their attitude to the background, etc. The structural-semiotic approach to the analysis of literary texts has revealed the value of “phantom” or “distinctness” in Nabokov’s artistic optics. The intensity of sensations is directly related to the status of the subject of perception and to its position in the hierarchy of fictional worlds (Vasily Shishkov is the fiction of the narrator, the narrator is the fiction of the emigrant writer Nabokov). The impossibility of reliable perception, its continuity and limitation within the framework of an entire era or individual life are assessed by Nabokov as important conditions for creative development, especially significant in a situation of reflection on a new addressee art creation.
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Morgan, N. "Van Tempeltronk tot katedraal: die kruisweg van Lodewyk XVII." Literator 28, no. 1 (July 30, 2007): 47–70. http://dx.doi.org/10.4102/lit.v28i1.150.
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From the Temple to the cathedral: the calvary of Louis XVII In 2004, more than 200 years after his death in the Temple prison, the heart of Louis XVII, the successor to France’s last king of the Ancien Régime, Louis XVI, was buried in the royal necropolis of Saint-Denis. Despite numerous publications on the destiny of the Little Prince, the chronology of his short life was not determined by historians and biographers, but by scientists who, in 2000, performed DNA tests on the petrified organ, which was miraculously preserved. Before this date, the biographies of the many pretenders to Louis XVII’s throne (that of Naundorff in particular) were better-known than the lifehistory of Marie Antoinette’s youngest son. Since then, various publications have changed this state of affairs, including an historical novel by one of France’s most knowledgeable authors on the monarchy of the 17th and 18th centuries and a biographical novel by a member of the Bourbon family. Antonia Fraser’s (2001) biography on Marie Antoinette and Sofia Coppola’s (2006) film on her life have rekindled interest in the events of the French revolution. The story of Louis XVII, who was used as a pawn by the revolutionaries, is one the most tragic of that period in the country’s history. This article provides an overview of key events gleaned from various sources, translated into Afrikaans for the first time.
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Sloistova, Maria S. "TYPOLOGY AND STRATEGIES OF CREATIVE RECEPTION: A CASE STUDY OF ENGLISH POSTMODERNIST POETRY AND PROSE." Вестник Пермского университета. Российская и зарубежная филология 12, no. 2 (2020): 110–19. http://dx.doi.org/10.17072/2073-6681-2020-2-110-119.
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The paper focuses on complex research and description of creative reception theory and typology. There are provided definitions of such terms as reception, creative reception, creative reception strategies, and others. The author builds the typology of creative reception on the basis of works by E. V. Abramovskikh, S. Ye. Trunin, M. V. Zagidullina, V. I. Tyupa, and M. Naumann. This typology includes two types (or levels) of creative reception, defined as classic and postmodernist. Each of the types is characterized by a number of strategies, i. e. ways of representing an artistically received text in one’s own work. The classic type strategies (formal, authentic, neutral and antithetical) focus primarily on plot transformation. As for the postmodernist level, the author singles out two strategies: congenial and play. The theory and typology of creative reception is substantiated with some examples of reminiscences and allusions to English and world poetry. The examples under analysis are taken from the following prose works by the outstanding English postmodernist writer John Robert Fowles (1926–2005): the novel The French Lieutenant’s Woman (1969), the collection of long short stories The Ebony Tower (1974), the philosophic book The Aristos (1964), and also the lyric collection Selected Poems, published posthumously in 2012. The collection has not been translated into Russian yet. Therefore, the poem under analysis (Islanders) has been translated into Russian by the author of the present paper. The paper also deals with indirect Biblical reception which is found in the allusion to the ivory tower. The allusion gave the title The Ebony Tower both to Fowles’ long short story and collection as a whole. The author of the paper draws a conclusion about the dominant creative reception strategies in the literary works under analysis and also about the possible use of the presented creative reception typology in analyzing works by other writers.
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Satkauskytė, Dalia. "The impossibility of immanence: A contemporary perspective on Algirdas Julius Greimas’ Maupassant." Sign Systems Studies 45, no. 1/2 (July 5, 2017): 120–36. http://dx.doi.org/10.12697/sss.2017.45.1-2.08.
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The book Maupassant (1976), which is devoted to an analysis of Maupassant’s short story “Two friends”, is one of A. J. Greimas’ most important works. In it he tried out the semiotic tools he had developed up to that point, tested models for narrative analysis, and anticipated future perspectives in the development of semiotic theory. We discuss how the book puts forward the principle of immanent analysis, and how the “closed” text – the object of semiotic analysis – is constructed. The article reveals that while Greimas declares, in the book’s Foreword, that he is distancing from context – the literary sociocultural universe – within the analysis itself he is forced to recognize certain contextual elements. Greimas recognizes the importance of acknowledging contextual facts such as the French concept of patrie and does not attempt to hide certain subjective interpretive elements. Yet at the same time Greimas attempts to suppress context’s invasion of his interpretation. He recognizes the semantic isotopies generated by context to the extent to which they suit the coherence of his analysis, considering them auxiliary in terms of the syntactic and discursive structures of the text. Nevertheless, a contextual isotopy – based on intertextual ties to a Biblical parable – becomes the main one. We come to the conclusion that the principle of immanence in Maupassant is not a negation, but a problematization that demonstrates how relevant contextual material can be integrated into a semiotic analysis.
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Chamczyk, Ewa. "Pojedynki dźwiękiem pisane. Pietro Antonio Locatelli versus Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 71–104. http://dx.doi.org/10.4467/23537094kmmuj.20.018.13204.
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Duels of the Sound: Pietro Antonio Locatelli Versus Jean-Marie Leclair The tradition of musical duels harkens back to the days of the ancient Greece. One of the earliest examples of a musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the battles of the ancients served as an inspiration for the next generations of musicians. In each era, they took a different form, tailored to the prevailing norms and customs. In the 16th century the singing competitions of the Meistersingers became extremely popular, and along with the development of instrumental music in 17th century, duels, in which the main subject-matter of the dispute was the superiority of one of the performers in terms of interpretation and fluidity in playing a given instrument, gained increased importance. A real boom of musical duels did not came along until 18th century, in which public concerts bloomed and along with it, the demand for virtuoso instrumentalists increased. During that era, musical duels were not only confrontations between specific musicians or their patrons, but also contributed to the exchange of experiences between the artists and the spread of musical news and the works themselves. Additionally, the battles symbolised a confrontation of musical styles, in particular the Italian and French styles. Jean-Marie Leclair, known as the French Corelli, is considered by many researches as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli is justifiably considered the Paganini of the 18th century. Their music has shared roots in the tradition of the Italian violin school, yet it differs both in terms of its formality as well as expressiveness. At first glance the French music of J.M. Leclair bears the imprint of standards of the violin concerts of Antonio Vivaldi, whereas the typically Italian works of P.A. Locatelli significantly transcend the norms accepted at that time in terms of requirements imposed on violinists. We know that the first confrontation of the violinists took place on 22 December 1728 at the manor in Kassel. However, some speculate that it was not the only meeting of the musicians. The preserved information suggest that both of them stirred strong emotions among the audiences with their playing. The profiles of the aforementioned composers, despite their immense importance on the development of violin music, still remain underrated. This article outlines the short story of musical duels and sheds light on violin concerts in the first half of the 18th century. Additionally, the author made an attempt of a comparative analysis of selected violin concerts, i.e. Locatelli’s Violin Concerto in G major, Op. 3, No. 9 and Violin Concerto in A minor Op. 7, No. 5 by Jean-Marie Leclair’s from a similar artistic period of both composers and close in terms of the time of their creation to their famous duel.
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Ratna, Ratna, Zuriyati Zuriyati, and Saifur Rohman. "Citra Perempuan Dan Heroisme Dalam Cerpen Mademoiselle Fifi Karya Guy De Maupassant." JURNAL Al-AZHAR INDONESIA SERI HUMANIORA 5, no. 4 (September 30, 2020): 227. http://dx.doi.org/10.36722/sh.v5i4.412.
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<p><em>Abstrak</em> - <strong>Penelitian ini bertujuan untuk mendeskripsikan citra perempuan dan nilai heroisme yang direfleksikan di dalam cerpen Mademoiselle Fifi karya Guy de Maupassant, seorang penulis realis Perancis dari abad XIX.Metode yang digunakan dalam penelitian ini adalah deskriptif kualitatif dengan pendekatan kritik sastra feminis dan sosiologi sastra. Data berupa kata, frasa, dan kalimat yang berkaitan dengan citra perempuan dan nilai heroisme dalam objek yang dikaji, dikumpulkan dengan teknik studi pustaka. Data kemudian diklasifikasi, diinterpretasi, dan dianalisis dengan landasan teoretis yang relevan. Hasil penelitian menunjukkan bahwa perempuan dicitrakan sebagai sosok yang pemberani, cerdas, dan agresif. Namun, di level sosial dan pendidikan, perempuan masih dianggap berada di bawah kuasa laki-laki. Nilai heroisme lewat tokoh Rachel dapat dilihat saat ia berani melawan Mademoiselle Fifi, saat ia setia membela kehormatan tentara Prancis, dan saat ia berani mengambil risiko untuk membunuh Mademoiselle Fifi.</strong></p><p><em>Abstract</em><strong> - This study aims to describe the image of women and heroism which are reflected in <em>Mademoiselle Fifi</em> short story written by Guy de Maupassant, a French writer in 19th century. The methodology used in this study is qualitative descriptive with feminist criticism theory and literary sociology approaches. The data of this study are the words, phrases, and sentences related to the image of women and heroism in the research object, examined through the literature review technic. The data will later be classified, interpreted, and analyzed using relevant theories. The result of the study shows that women are depicted as brave, clever, and aggressive. However, in the social and educational level, women are still thought of under men’s control. Heroism values in Rachel can be seen at the moment when she is brave to fight against <em>Mademoiselle Fifi</em>, when she defends the honor of French soldiers and when she is brave enough to take a risk in murdering <em>Mademoiselle Fifi</em>.</strong></p><p><strong><em>Keywords</em></strong><em> - The image of women, Heroism, Guy de Maupassant, Mademoiselle Fifi.</em></p><p align="center"> </p><p> </p>