Academic literature on the topic 'Narrador. 19th century'

Summary This is an analysis of the representation of the region of Polesie in Jozef Ignacy Kraszewski’s Reminiscences of Volhynia, Polesie and Lithuania. The analysis embraces both the topographical and ethnographic content of this 19th-century survey as well as the functioning of its narrator in his double role of a reliable observer and a creator of a certain vision of the represented world.

The aim of this research is to describe middle class women role in the 19th century in Bronte’s novel, Wuthering Heights, and induce a deeper understanding of effect each role on two characters in society. This research is a qualitative descriptive method using sociological approach. By using sociology of literature, a literary work is seen as a document of social. The data of this research collected from the descriptions and utterances of the characters and narrator in the novel. The result in this research shows that the role of women from the middle class were represented by the characters of the novel known as Catherine Earnshaw Linton, the main female protagonist and the motherless child and also Catherine (Cathy) Linton, daughter of Catherine Earnshaw Linton.

In the early 19th century, the Italian literature did not have a mature novel, as is known today. The Italian novelist, Manzoni, and his masterpiece The Betrothed, set a solid basis for the contemporary Italian novel; thanks to its’ narrative characteristics that helped the novelist in achieving different reformative goals, woven stupendously with fictional, historical and realistic threads. The main purpose of this study is to apply an analytical and thematic approach on the structure and narrator of the novel. Furthermore, the research aims to distinguish the main artistic characteristics adopted from the European historical novel. The study then focuses on analyzing the function of the anonymous author’s fictional frame and how it created a diversity in the narrative levels. The research also highlights the importance of the omniscient narrator, the strong relations between the narrator and the narratee, the different narrative perspectives, and finally the polyphony: techniques that enhanced the realistic dimension of the novel.

Abstract This paper explores why unreliable narration should be considered as a concept not only applying to single works of fiction, but also to whole series of fiction, and why impersonal (›omniscient‹) narration can also be suspected of unreliability. Some literary genres show a great affinity to unreliable narration. In fantastic literature (in the narrower sense of the term), for instance, the reader’s »hesitation« towards which reality system rules within the fictive world often is due to the narration of an autodiegetic narrator whose credibility is not beyond doubt. Detective stories, in contrast, are usually set in a purely realistic world (in conflict with no other reality system) and typically do not foster any doubts regarding the reliability of their narrators. The only unreliable narrators we frequently meet in most detective stories are suspects who, in second level narrations, tell lies in order to misdirect the detective’s enquiries. Their untruthfulness is usually being uncovered at the end of the story, in the final resolution of the criminalistics riddle (›Whodunnit‹?), as part of the genre-typical ›narrative closure‹. As the new genre of detective novels emerged at the turn from the 19th to the 20th century, its specific genre conventions got more and more well-established. This made it possible for writers to playfully change some of these readers’ genre expectations – in order to better fulfil others. Agatha Christie, for example, in 1926 dared to undermine the »principle of charity« (Walton) that readers give to the reliability of first person narrators in detective stories – especially when such a narrator shows himself as being a close friend to the detective at work, as it was the case with Sir Arthur Conan Doyle’s famous Dr. Watson, friend to Sherlock Holmes. Christie dared to break this principle by establishing a first-person narrator who, at the end, turns out to be the murderer himself. Thus, she evades the »principle of charity«, but is not being penalised by readers and critics for having broken this one genre convention because she achieves a very astonishing resolution at the end of the case and thus reaches to fulfil another and even more crucial genre convention, that of a surprising ›narrative closure‹, in a very new and satisfying way. Fantastic literature and detective novels are usually two clearly distinct genres of narrative fiction with partly incommensurate genre conventions. Whereas in fantastic literature (in the narrower sense of the term), two reality systems collide, leaving the reader in uncertainty about which one of the two finally rules within the fictive world, detective novels usually are settled in a ›simply realistic‹ universe. Taking a closer look at a contemporary series of detective fiction, that is, the Dublin stories of Tana French (2007–), I will turn to an example in which the genre convention of ›intraserial coherence‹ provides evidence for the unreliability of the different narrators – whereas with regard only to each single volume of the series, each narrator could be perceived as being completely reliable. As soon as we have several narrators telling stories that take place within the same fictive world, unreliable narration can result from inconsistencies between the statements of the different narrators about what is fictionally true within this universe. Additionally, the Tana French example is of special interest for narratology because in one of the volumes, an impersonal and seemingly omniscient narrator appears. Omniscient narration is usually being regarded as incompatible with unreliability, but, as Janine Jacke has already shown, in fact is not: Also impersonal narration can mire in contradictions and thus turn out to be unreliable. With regard to Tana French’s novel, I would add that it can also be mistrusted because the utterances of this narration can conflict with those of other narrators in other volumes of the same series. So in the light of serial narration, the old question of whether impersonal narration (or an omniscient narrator) can be unreliable at all should be reconsidered. In the case of narrative seriality, the evidence for ascribing unreliability to one of its alternating narrators need not be found in the particular sequel narrated by her/him but in other sequels narrating about events within the same story world. Once again, narrative unreliability turns out to be a category rather of interpretation than of pure text analysis and description. Again, Tana French like previously Agatha Christie is not being penalised by readers and critics for having broken this one genre convention of letting her detective stories take place in a purely ›realistic‹ universe because today, genre conventions are merging more and more. Tana French achieves an even more tempting ›narrative tension‹ by keeping her readers in continuous uncertainty about whether a little bit of magic might be possible in the otherwise so quotidian world of her fictive detectives. Thus, the author metafictionally (and, later also overtly) flirts with the genre of »urban fantasy«, practicing a typical postmodern merging of well-established, hitherto distinct popular genres.

The classical novels of the 19th century corresponded with early modern national society. At the beginning of the 21st century, serials have replaced classical novels in structuring the form of social reality. The narrative structure of Game of Thronescorresponded with postclassical, postcolonial social reality. The co-existence of different genres, the different types of co-existence between “realistic medieval” and mythological reality, the co-existence of different narrators without a dominant point of view, and the asynchrony of episodes and the dramatic unexpected turns of plot are specific features of forming non-linear space and time. The specific structure of narrative is connected with the specific position of the author and the relationship between the author, the narrators, and power. The depreciation of the ground mythological structure of narrative is a cause of the inflation of catharsis, and induces unlimited series events or an unfinished principal plot. Features of the narrative of Game of Thronesare correlated with the postclassical situation of the co-existence of different social phenomenon that deny each other, but are forced to be connected.

Although the function of Sunnah is as a second source of Islamic teachings. however, it has been continously debated and even rejected by certain group of people known as inkarusunnah group. The ideology developed in the late of the second century Hijriyah yet it muffled by Imam Shafie until the greatly long period. Unfortunately, during the shift of 19th to 20th centuries, this idea has reemerged and grown up to the present. This article analyzes the development of the ideology using the content analysis method from the various literatures related to the history of InkarSunnah Ideology and movement. This research found the modern InkarSunnah concept is a continuity of the previous movement. According to this group, the rejection of Sunnah due to the fact that Qur’an has cover all matters. In fact, this group lack of understanding on it's real position and function as the second source of Islamic teaching. Whereas, later, they deny it's validity, though it was narrated by a truthful narrators including the companions.

On the occasion of the 100th anniversary of the Ethnographic Museum in Zagreb the author provides a biref overview of the origins and the preservation of the Collection of Traditional Children’s Toys from 1919 to date. Based on long-term research and processing of the collections, as well as the recently released publication about traditional children’s toys, the text presents the development of the Collection with a special reference to several centuries of toy making in some Croatian villages. The paper focuses on the regions of Prigorje, Zagorje and the Dalmatian Hinterland, localities in Croatia in which this activity has developed as home-based businesses that brought economic gains through manufacturing and sale of children’s toys from the 19th century to this day. The text has been supported by documents and data collected during field research while co-operating with narrators, children’s toys makers and through the study of archival and library collections, in order to preserve the heritage for future generations

This research focuses on the functioning of praesens historicum forms which Russian translators use to substitute for English narrative forms referring to past events. The study applies the Theory of Grounding and Russian Communicative Functional Grammar to the comparative discourse analysis of English-language adventure stories and novels created in the 19th and 20th centuries and their Russian translations. The Theory of Grounding is still not widely used in Russian translation studies, nor have its concepts and fruitful ideas been related to the achievements of Russian Narratology and Functional Grammar. This article presents an attempt to find a common basis in these academic traditions as they relate to discourse analysis and to describe the role of praesens historicum forms in Russian translated adventure narratives. The corpus includes 22 original texts and 72 Russian translations, and the case study involves six Russian translations of The Adventures of Tom Sawyer, focusing on the translation made by Korney Chukovsky, who employed historic present more often than in other translations of the novel. It is shown that the translation strategy of substituting the original English-language past forms with Russian present forms is realized in foregrounded and focalized segments of the text, giving them additional saliency. This strategy relates the use of historic present to the functions of deictic words and words denoting visual or audial perception, locating the deictic center of the narrative in the spacetime of the events and allowing the reader to join the focalizing WHO (a narrator or a hero). Translations that regularly mark the foreground through the use of the historic present and accompanying lexical-grammatical means are often addressed to young readers.

Abstract In his last published novel, The Marble Faun (Hawthorne, 1974), in spite of his seeming sympathy for Miriam’s plea for friendship, Hawthorne’s narrator relates to Miriam as a “guilty” and “bloodstained” woman, who similarly to the female Jewish models portrayed in her paintings, carries misery, vice and death into the world. The narrator’s ambiguity vis-àvis Miriam’s moral fibre, on the one hand, and his infatuation with the beautiful and talented female artist, on the other, stands at the heart of the novel. The goal of this paper is mainly addressed at examining Miriam’s position in Hawthorne’s fiction, through an analysis of his treatment of his other “dark” and “light” women. Furthermore, I enquire whether Miriam is to be perceived in terms of the popular stereotypical representations of Jewish women (usually, Madonnas or whores), or whether she is granted more original and idiosyncratic characteristics. Next, I discuss Hawthorne’s treatment of Miriam’s artistic vocation, discerning her distinctiveness as a female Jewish 19th-century artist. Finally, Hawthorne’s unconventional choice of Rome as the setting for his novel unquestionably entails reference to the societal, cultural and political forces at play.

No romance The Awakening (1899), de Kate Chopin, a busca da individualidade e da liberdade financeira e sexual da protagonista Edna Pontellier fundem-se à tentativa de realização do amor extraconjugal, que, frustradas, a levam ao suicídio. Essa busca frustrada carrega em si contradições históricas inerentes à ideologia burguesa, que promete igualdade a todos, mas não permite a realização concreta de tal promessa. Essas contradições se fazem presentes não apenas no tema do romance, mas em sua estrutura formal: o recorte sócio-histórico do romance implica uma série de fissuras em sua estrutura, também reveladoras de contradições ideológicas. Para a análise dessa obra, faz-se necessário o estudo das relações sociais traçadas no romance e suas implicações estéticas, como a questão do narrador onisciente e do desenvolvimento da narrativa, os limites desta, bem como os limites da ideologia da modernização.<br>In The Awakening (1899) the protagonist\'s search for individuality, economic and sexual freedom merge with the attempt of finding fulfillment outside her marriage. When these possibilities are frustrated, she is drawn to suicide. This unsuccessful quest carries within itself the historical contradictions which are inherent to the bourgeois ideology, which promises equality for all but eventually fails to keep its promise. These contradictions are present not only in the content of the novel, but in its formal structure as well: the historical and social frame of the novel entangles several breaks in its structure, which also reveal ideological contradictions. In order to analyze this novel, it is mandatory to study the social relationships established in it and its aesthetic implications, as well as the question of the omniscient narrator and of how the narrative unfolds; the limits of the latter as well as the limits of the ideology of modernization.

O presente estudo intenciona, fundamentalmente, mostrar que a produção ficcional de Camilo Castelo Branco constitui-se enquanto um legado romanesco que ultrapassa, em muito, a mera veiculação de histórias de amor. Assim sendo, alguns aspectos e temas caros à literatura do escritor de São Miguel de Seide são tomados como pilares desta análise, tais como a presença de um Portugal imerso em relações capitalistas, próprias do período oitocentista; um ambiente propício para o interesse financeiro e o desejo de base mimética, mas infecundo a afeições abnegadas; e a marcante atuação do narrador camiliano, uma instância que não se priva de desvelar, a todo o momento, os motores vis que, consoante sua opinião, impulsionam tanto a engrenagem desta materialista sociedade portuguesa quanto as atitudes das personagens que nela estão inseridas. Por fim, vale ressaltar que o corpus selecionado para esta apreciação da obra camiliana é composto pelos romances Onde está a Felicidade? e Um Homem de Brios, ambos de 1856.<br>The present study intends, primarily, to show that Camilo Castelo Brancos fictional production consists in a Romanesque legacy that passes much beyond the mere transmission of love stories. Thus, some important aspects and themes of the writer of São Miguel de Seides literature are taken as pillars of this analysis, such as the presence of a Portugal immersed in capitalist relations, typical of the 19th century, a proper ambience to the financial interest and the desire of mimetic basis, but barren to unselfish affections, and the camilian narrators remarkable performance, an instance that not abstains from unveiling, every time, the vile engines that, according to his opinion, stimulate as much the gear of this materialist Portuguese society as the characters attitudes inserted in it. Finally, it is pertinent to emphasize that the selected corpus for this camilian works appreciation is composed by the novels Onde está a Felicidade? and Um Homem de Brios, both from 1856.

Esta tesis doctoral se centra en la prospección de lo fantástico en la narrativa breve del escritor francés Honoré de Balzac (1799-1850). La investigación se estructura en cinco capítulos, más el dedicado a las referencias bibliográficas. Tras los aspectos de tipo teórico e histórico ligados a lo fantástico, se analizan las circunstancias culturales, ideológicas y personales que intervinieron en la gestación de lo fantástico balzaquiano. A continuación se estudia la articulación formal de lo fantástico en los once textos balzaquianos seleccionados. Siguiendo el modelo de análisis propuesto por Joël Malrieu se han estudiado cuatro categorías: personaje, fenómeno irracional, espacio-tiempo y narrador.Del estudio se desprende que los relatos fantásticos balzaquianos se ajustan a la caracterización estética del género que establece Malrieu. Balzac conoce y domina la técnica compositiva inherente a lo fantástico en el relato breve, pudiendo afirmar que esta faceta creativa va más allá de una simple concesión a la moda pasajera del momento.<br>This doctoral thesis focuses on the search for the fantastic ingredient in the short stories by the French writer Honoré de Balzac (1799-1850). The research is organized in five chapters, plus the bibliography.After examining the theoretical and historical aspects linked to the fantastic component, we analyze the cultural, ideological and personal circumstances which took part in the gestation of the fantastic elements in Honoré de Balzac. Afterwards, we study the formal articulation of this in the eleven texts by Balzac that we have selected. Following the analysis scheme proposed by Joël Malrieu, we have studied four categories: character, irrational phenomenon, space-time and narrator. From this research, we can conclude that Honoré de Balzac short stories come into the aesthetic characterization of the genre established by Malrieu. Balzac knows very well the writing technique inherent to the fantastic ingredient in the short story. Definitely, we can state that this creative facet is more than a simple concession to the temporary fashion of his time.

Jane Austen champions practicality and compatibility versus purely romantic or mercenary sentiment in her novels, and through narrative techniques she preserves her heroines from imprudent marriages. Austen's heroines do not fall madly in love at first sight, but rather they acquiesce to marriage through reason and discernment. She endows her heroines with qualities that make them worthy of her interference in the marriage plot: intelligent although inexperienced, possessed of realistic expectations and sensibility and reason, and, importantly, financial instability. She carefully cultivates heroes worthy of her heroines through plot twists. However, to show her dissatisfaction with the limited roles available to the 19th century woman, she denies the reader the opportunity to witness the wedding that concludes her narratives. The narrator demonstrates her approval or disapprobation by choosing what scenes to narrate and what scenes to dramatize, the latter often representative of her disapproval, her silence signifying her acceptance.

In this studyi apply a feminist-narratological grid to the works under discussion. I show how narration is used as strategy to highlight issues of concern to women, hereby attempting to make a contribution in the relatively new field of feminist narratology. Chapter One provides an analysis of Pride and Prejudice as an example of a feminist statement by Jane Austen. The use of omniscient narration and its ironic possibilities are offset against the central characters' perceptions, presented by means of free indirect style. Chapter Two examines The Tenant of Wildfell Hall as a critique of Wuthering Heights, both in its use of narrative frames and in its at times moralistic comment. The third and fourth chapters focus on Charlotte Bronte. Her ambivalences about the situation of women, be they writers, narrators or characters, are explored. These are seen to be revealed in her narrative strategies, particularly in her attainment of closure, or its lack. Chapter Five explores the increasing sophistication of the narrative techniques of Elizabeth Gaskell, whose early work Mary Barton is shown to have narrative inconsistencies as opposed to her more complex last novel Wives and Daughters. Finally, I conclude that while the authors under discussion use divergent methods, certain commonalities prevail. Among these are the presentation of alternatives women have within their constraining circumstances and the recognition of their moral accountability for the choices they make.<br>English Studies<br>D. Litt. et Phil. (English)

The antecedents of the genre of comics and graphic novels could be dated as far back as Christ’s Stations of the Cross in numerous churches, but the genre of “sequential art’ ” (Will Eisner 2006 [1985]) really took off in the late 19th century and was baptized the “ninth art” in the course of the 20th. It typically consists of visuals combined with written language. Comics sport a number of visual elements that are to be decoded rather than inferred by the reader-viewer, such as pictograms, balloons, and motion and emotion lines. Moreover, the audience of comics is expected to be familiar with meaning-generating mechanisms such as onomatopoeia and the “gutter,” and to understand how to navigate from panel to panel. Comics artists help their audience achieve relevance by tapping into these readers/viewers’ knowledge of narrative codes and conventions. These include the three classic mechanisms of surprise, suspense, and curiosity, and the distinction between omniscient (or external) narrators and character-narrators. The case studies include panels or sequences from work by Hergé, Shaun Tan, Peter de Wit, Lewis Trondheim, Guy Delisle, Johanna Sinisalo and Hannu Mänttäri, and Alan Moore and Dave Gibbons, as well as IKEA instructions on a do-it-yourself (DIY) package. The chapter shows how achieving relevance requires appropriate reference assignment, enrichment, broadening or narrowing assumptions, processing loose visuals, correctly adducing implicated premises, and generating explicatures and implicatures.