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Journal articles on the topic 'Physicians as literary characters'
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Танева, С. Й. "MEDICAL DISCOVERIES, DISEASES AND SYNDROMES IN EPONYMOUS TERMINOLOGY (BASED ON ENGLISH, RUS-SIAN AND BULGARIAN MEDICAL DISCOURSE)." Университетская клиника, no. 4(37) (December 1, 2020): 97. http://dx.doi.org/10.26435/uc.v0i4(37).622.
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Thirty medical eponymous terminological units named after great scientists, physicians, mythological and literary characters have been debated in the current study. The eponymous terms are presented in English, Russian and Bulgarian medical discourse. Brief medical descriptions of the particular discovery, disease or syndrome have been made. Information is given about the person after whom the eponymous term is named, as well. The basic parameters of scientific term are identified: a) Unambiguity; b) Accuracy; c) Brevity; d) Systematicity; e) Grammatical correctness; f) Stylistic neutrality; g) Word formation. Special attention is paid to the specifics of medical eponymous term, its encyclopedic informative volume and didactic aspect regarding the teaching process of specialized medical vocabulary at medical universities. Medical domain “invasion” is highlighted in a number of other domains: politics, computer technology, economics, automotive engineering, ecology, etc. (based on specific examples).
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N, Uma Maheswari. "The Eleventh-Dimensional Fish Man from the Short Story Lion's Tail." International Research Journal of Tamil 4, S-7 (2022): 335–43. http://dx.doi.org/10.34256/irjt22s753.
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Dr. C.S. Lakshmi uses the pen name Ambai for publishing Tamil fiction. Ambai, a Sahitya Akademi Award winner in 2021, has written works with feminist themes. A skilled short story writer. It is only possible for a few writers to mix science and novel short stories. Embedding modern scientific theories in the short story, Ambay has created a short story called "Lion's Tail" without compromising his literary taste. This short story gives an understanding of the eleventh dimension related to physics theories such as the Theory of Everything, M Theory, and String Theory. Are we still alive after the death of Mr. Haror, a Germany-based Sri Lankan writer named Rajshiva, on Facebook in 2014? Ambai's narration has helped with the article posted under the title. This article was reposted the same year by Saravana Dev in the Ekara Tamil Repository. The earth we live on has three dimensions. Scientists like Einstein confirmed the fourth dimension of spacetime. His Theory of Everything was followed by String Theory and M Theory. Physicists believe that eleven dimensions are the final result of all these theories. They suggest that life may exist in this first dimension and that they may have different energies than humans living on Earth. A cyborg is a combination of man, animal, and machine. It can also be considered a ghost. The aim of the article is to show that the story of "Lion's Tail" is written with the hypothesis that a creature in the eleventh dimension might be like a cyborg. In this short story, concepts and details about the eleventh dimension, the nature of the creatures living there, and the morphology, character, and power of the character Achyuth, who is a cyborg, are explained. M theory and string theory rank as nominal theories. In this short story, concepts and details about the eleventh dimension, the nature of the creatures living there, and the characters are explored. The power of the character Achyut, who is a cyborg, is explained. M theory and string theory rank as nominal theories. Mythical characters inherit concepts of birth and death, and concepts of female space are also seen. The short story is an analogy that takes science and combines it with traditional ideas.
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Thiele, Matthew. "“It is become a cage of unclean birds”: The Presence of Plague in The Alchemist." Ben Jonson Journal 28, no. 2 (2021): 163–90. http://dx.doi.org/10.3366/bjj.2021.0312.
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This essay challenges the assertions of Patrick Philips and others that plague is not a meaningful subtext in The Alchemist by demonstrating various ways that the play can be interpreted as a satire of plague-time beliefs and practices. For example, Jonson's audiences would have recognized in the character Abel Drugger a satire of early modern medical care common in prose plague tracts. I also attempt to explain why Jonson would go to such lengths to conceal plague allusions in a play set in plague time. Ian Munro and Ernest Gilman have suggested that the plague was simply too traumatic to directly represent onstage, but it is also possible that Jonson was trying not to attract any official trouble after his experience with Eastward Ho, as David Riggs suggests. Jonson had to be careful not to directly attack the King, the Church of England, or the Royal College of Physicians, all of which had a stake in responding to plague.
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Majumder, Bijita, and Sukalyan Ray. "Qualities of Physician in Light of Charaka Samhita-A Literary Study." International Research Journal of Ayurveda & Yoga 05, no. 11 (2022): 107–16. http://dx.doi.org/10.47223/irjay.2022.51114.
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In Ayurveda, among the four limbs of healthcare system, physician is considered as the most important and principal among others. A successful health care service is primarily dependent on the proficiency of a physician having all the necessary qualities as mentioned in the ancient compendiums. Charaka Samhita being the most important text among all the resources of Ayurveda has given much emphasis on the various aspects of a Bhishaka or Vaidya(physician) -right from his basic qualities, advanced qualities, ideal role in healthcare service, his character and so many other things. Along with these aspects, this compendium also has elaborate description about various categories of physician -both ideal ones and the counterfeits. Along with health care system, as an essential tool for medical education, Charaka Samhita has also discussed the various aspects of an ideal teacher -his qualities, character and duties -which are essential for making a person a competent physician. All this ancient knowledgewill help us to understand better about the ideal character of a physician as it should be in today’s society.
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Furst, Lilian R. "Struggling for Medical Reform in Middlemarch." Nineteenth-Century Literature 48, no. 3 (1993): 341–61. http://dx.doi.org/10.2307/2933652.
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This articles sets Middlemarch into the context of medical history, particularly the movement for reform advocated by the radical Thomas Wakley in the Lancet, which he founded in 1823, and which was widely read. The profession's hierarchical structure with its division into physicians, surgeons, and apothecaries is outlined, with special reference to Lydgate's infringement of the established conventions. His position in relation to the five other medical men in the town is examined. His superior diagnostic and therapeutic abilities are seen as the outcome of his education in London, Edinburgh, and notably Paris, then the mecca of advanced medicine, in addition to the custormary, and often perfunctory apprenticeship. His refusal to dispense durgs is symptomatic of his disturbing non-conformity because it flaunts the practices usually associated with his status as a surgeon. In the plants for the new hospital he is avant-garde in his campaign to isolate fever cases, but naive in his disregard for Middlemarch politics. His idealism and sensitivity as a doctor form a puzzling contrast to the "spots of commonness" in his character. He fails in Middlemarch because he misreads the town's mood and is in turn misread by its inhabitants.
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Neimneh, Shadi S., Marwan M. Obeidat, and Kamal E. Bani-Hani. "Reading Illness in Leo Tolstoy’s The Death of Ivan Ilych: Perspectives on Literature and Medicine." English Language and Literature Studies 6, no. 1 (2016): 59. http://dx.doi.org/10.5539/ells.v6n1p59.
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<p>This article seeks to establish the ambiguous nature of Ivan Ilych’s illness in Leo Tolstoy’s novella <em>The Death of Ivan Ilych</em> (1886), and it then proceeds to offer sociocultural commentary on an incurable illness that results in the death of the title character. Regardless of the exact nature of Ivan Ilych’s illness, however, the story suggests that Ivan lived the “wrong” kind of life despite his self-deception and the lies of those around him. Some readers might be intrigued by the mysterious ailment of Ivan Ilych that aggravates into an agonizing death, and some might read the story as a pathography and ponder the doctors’ possible diagnoses alluded to in the text like a floating kidney, a vermiform appendix or a chronic catarrh. While others, on the other hand, might argue for alternative illnesses (not mentioned in the text) allowing for a case like cancer. However, reading the story as a parable to be decoded by physicians using medical expertise does not do justice to its symbolic engagement with illness. It is argued that the text seems to favor a reading that connects ailment to the lifestyle one is following and to one’s own personality or social class. In this regard, the article works at the intersection between the humanities and “medical theories” as adapted for literary ends. Ivan Ilych led the wrong form of life in his pursuit of wealth and hypocritical relations. Therefore, his terminal illness—read as a form of pancreatic cancer—is a figure for an “unhealthy” upper middle-class life lived at the wrong side emotionally, socially and physically. Within the interdisciplinary approach of this article, the metaphorical significance of illness is more important than specifying the exact illness that eventually causes Ivan Ilych’s death because this illness is significantly symbolic beyond its literal sense. Therefore, the symbolic representation/understanding of illness—of cancer in particular—as a social blight or a scourge related to social behavior is insightful for physicians and patients alike.</p>
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Holm, Bent. "Harlequin, Holberg and the (In)visible Masks: Commedia dell'arte in Eighteenth-Century Denmark." Theatre Research International 23, no. 2 (1998): 159–66. http://dx.doi.org/10.1017/s0307883300018502.
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The profound influence of the commedia dell'arte on European theatre is commonly acknowledged, although it has not yet been extensively analysed. In Northern Europe some of its first traces are iconographic. There are masked Venetian characters among the paintings collected by the Danish king Christian IV. The first such masks to appear in a Danish context are three Pantaloons acting as stage hands in a court ballet which was part of Det store Bilager (‘The Great Wedding Feast’), the grandiose festivities celebrating the Crown Prince's wedding in 1634. Later, German troupes may have presented harlequinades. The first reliable accounts of Italian actors playing in Denmark feature a certain Venetian comedian-charlatan: Sebastiano di Scio, known as Harlekino, who travelled the country with a twenty-four strong entourage, at the turn of the seventeenth and eighteenth centuries. He was employed as a royal comedian and physician, and furnished the Royal household with obscure medicines for obscure diseases. The combination of comedian and charlatan is, of course, typical.
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Fatah, Shokhan M., and Ismael M. Fahmi Saeed. "The Mad Scientist’s Manipulation of Nature." Koya University Journal of Humanities and Social Sciences 5, no. 1 (2023): 167–74. http://dx.doi.org/10.14500/kujhss.v5n1y2022.pp167-174.
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The figure of the mad scientist pervades H. G. Wells’ The Island of Dr. Moreau. In the novel, the boundaries of human knowledge are frequently presented. Undeniably, what once seemed like a gothic scene is now an inevitable scientific certainty. For example, animal cloning is not a mere literary tale anymore. A scientist uses science for shaping our lives to a better form while a mad scientist uses science to threaten our lives. The mad scientist is still a scientist but with unusual and vast ambitions. They are irresponsible physicians who follow their unethical inquisitiveness. In The Island of Dr. Moreau, Wells attempts to illustrate the danger of misusing science, man’s manipulation on nature which is animal in this case, and the expected consequences of exploiting knowledge for the immoral procedure of vivisection. Charles Darwin’s theory of Evolution highly contributed to people’s mental instability and uncertainty during the Victorian era. It has caused a kind of pessimism as people become doubtful of what once used to be fixed and firm. Since Darwin’s theory pervades The Island of Dr. Moreau, the same unsteadiness and fluidity of character is reflected in the novel. The same disappointment is reproduced. As a writer of science fiction, H. G. Wells aims at presenting an imaginary society and depicts a fictional island where it could be real anytime soon.
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Roochnik, Paul. "hikaayaat kaliila wa-dimna li-tulaab al-lughat al-carabiyya (Tales from Kalila wa Dimna for Students of Arabic [retold])." American Journal of Islam and Society 20, no. 1 (2003): 160–62. http://dx.doi.org/10.35632/ajis.v20i1.1888.
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The title Kalila wa Dimna first came to my attention long ago in my secondyear of Arabic language study. Ahmad Amin mentions Kalila waDimna in passing in his autobiography, Hayati (Cairo: 1952), an excerpt ofwhich I read in Farhat Ziadeh’s Reader in Modern Literary Arabic. Overthe years, I tried occasionally to read a bit of the original and found the classicalArabic intimidating. The task of reviewing Munther Younes’s retellingof these stories represented the opportunity to taste the stories’ flavor withoutthe drudgery of dictionary look-up. Among other accomplishments,Younes simplifies the grammar and lexicon to the point where intermediatestudents of Arabic will understand what they read without excessive struggle.This review will touch upon the structure and substance of Kalila waDimna itself and Younes’ approach to retelling the stories and their utilizationas an Arabic language teaching tool.In the West, most of us hear and then read Aesop’s Fables as children.These stories, which date back as far as 620 BCE, feature anthropomorphicanimals who play out their dramas and conflicts in order to teach a moral.Kalila wa Dimna, attributed to the Indian author Bidpai and written inSanskrit during the third century, does much the same, but also includes asmattering of human characters. As Younes tells us, the Sassanid KingKhosro Anoushrawan sent his physician Burzuwayh to India to collect andtranslate Bidpai’s fables into Persian. In the process, Burzuwayh added storiesby other authors. What had now become a book was then translatedinto Syriac in 570; 200 years later, Abdullah ibn al-Muqafac translated itinto Arabic. Since its Arabization some 12 centuries ago, Kalila wa Dimna
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Delgado-García, Guillermo, Carolina Rodríguez-Návarez, and Bruno Estañol. "The charming physician (El médico encantador): neurological conditions in a short story by Silvina Ocampo." Arquivos de Neuro-Psiquiatria 75, no. 11 (2017): 830–32. http://dx.doi.org/10.1590/0004-282x20170129.
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ABSTRACT The Argentinian author Silvina Ocampo (1903-1993) left us a vast body of works which are considered outstanding in many ways. In 1960, she published a short story, entitled “El médico encantador" (The Charming Physician), in the renowned literary magazine Sur. The central character of this piece is a family doctor named Albino Morgan, who had a secret truth: in any house he visited, all variety of disease also entered. He brought with him the viruses he disseminated. The narrator of this short story—one of his patients—describes four of Morgan's diseases. These imaginary neurological conditions allowed Ocampo to explore improbable situations in everyday life.
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Hutcheon, Linda, and Michael Hutcheon. "A Convenience of Marriage: Collaboration and Interdisciplinarity." PMLA/Publications of the Modern Language Association of America 116, no. 5 (2001): 1364–76. http://dx.doi.org/10.1632/pmla.2001.116.5.1364.
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At the risk of sounding like a parody of a conversation about opera and illness in the 1987 movie Moonstruck, we would like to relate a postperformance dialogue about Richard Wagner's last opera. Parsifal (not Giacomo Puccini's La Bohème, as in the film). While descending the same staircase at the Metropolitan Opera in New York as Loretta and Ronny, the film characters played by Cher and Nicholas Cage, a man turned to his wife and said, not “You know, I didn't think she was going to die! I knew she was sick,” but “Do you think audiences today understand that Amfortas had syphilis?” Since this man is a physician, his wife was used to his medical observations, though this time he took her by surprise: “Syphilis? He was wounded by a spear when caught in the arms of the seductress Kundry!” “Yes,” he replied, “but that might just be Wagner's indirect or allegorical way of invoking nineteenth-century obsessive worries about venereal disease. Did you notice that this is a wound (one inflicted in a moment of amatory indiscretion) that won't heal, whose pain is worse at night and is eased only slightly by baths and balsams? To any nineteenth-century audience these symptoms and signals would have meant only one thing: syphilis.” “If that's the case.” his wife suggested, “then people must have written about this and we can find out.” “Not necessarily. People didn't talk openly about this kind of disease; it was secret and shameful, remember. And today, thanks to the discovery of penicillin, we luckily don't have to know about such things anymore,” said he.
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Hutcheon, Linda, and Michael Hutcheon. "A Convenience of Marriage: Collaboration and Interdisciplinarity." Publications of the Modern Language Association of America 116, no. 5 (2001): 1364–76. http://dx.doi.org/10.1632/s0030812900113380.
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At the risk of sounding like a parody of a conversation about opera and illness in the 1987 movie Moonstruck, we would like to relate a postperformance dialogue about Richard Wagner's last opera. Parsifal (not Giacomo Puccini's La Bohème, as in the film). While descending the same staircase at the Metropolitan Opera in New York as Loretta and Ronny, the film characters played by Cher and Nicholas Cage, a man turned to his wife and said, not “You know, I didn't think she was going to die! I knew she was sick,” but “Do you think audiences today understand that Amfortas had syphilis?” Since this man is a physician, his wife was used to his medical observations, though this time he took her by surprise: “Syphilis? He was wounded by a spear when caught in the arms of the seductress Kundry!” “Yes,” he replied, “but that might just be Wagner's indirect or allegorical way of invoking nineteenth-century obsessive worries about venereal disease. Did you notice that this is a wound (one inflicted in a moment of amatory indiscretion) that won't heal, whose pain is worse at night and is eased only slightly by baths and balsams? To any nineteenth-century audience these symptoms and signals would have meant only one thing: syphilis.” “If that's the case.” his wife suggested, “then people must have written about this and we can find out.” “Not necessarily. People didn't talk openly about this kind of disease; it was secret and shameful, remember. And today, thanks to the discovery of penicillin, we luckily don't have to know about such things anymore,” said he.
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Lesic, Aleksandar, Marko Bumbasirevic, and Slavica Zizic-Borjanovic. "Life and work of dr. Jovan Jovanovic Zmaj." Srpski arhiv za celokupno lekarstvo 134, Suppl. 2 (2006): 157–61. http://dx.doi.org/10.2298/sarh06s2157l.
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The year of 2004 was the 100th anniversary of death of the poet and physician Dr. Jovan Jovanovic Zmaj. Jovan Jovanovic Zmaj was born in 1833 in Novi Sad, and died in 1904 in Sremska Kamenica J.J. Zmaj himself studied law and worked in the Novi Sad magistrate court. It was not until he turned 30 that he began practicing medicine. He developed as a poet as early as during his studies. He remained loyal to the vocations of physician and poet throughout his life. He wrote over 5000 poems, ranging from those for children through those for adults and those with which he addressed the rulers satirically. He was a founder of a number of magazines (Javor, Neven, Komarac, Danica). At that time of Romanticism, the work of J.J. Zmaj also had a national character. However, he succeeded in achieving something more: he introduced a literary genre till then unknown in Serb literature - literature for children. Through his genre he promoted not only Serbian language but also hygiene, by which he played a significant health care role, similar to that played by his friend Milan Jovanovic Batut, only from a different aspect. He also used to draw, and his drawing of the emblem of the Serbian Literary Association has remained on the cover of every book published by it until these days.
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Lekarevich, Yauheniya. "HOUSEHOLD WORK OF LITERARY CHARACTERS." Children's Readings: Studies in Children's Literature 20, no. 2 (2021): 155–74. http://dx.doi.org/10.31860/2304-5817-2021-2-20-155-174.
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The article examines the representation of domestic work of female and male characters in children’s literature of the 20th –21st centuries. The research is based on the Corpus of Russian Prose for Children and Youth (DetCorpus). In Soviet and post-Soviet children’s literature, male characters are overrepresented by male authors, the same tendency is present in literature for adults. In contrast, female authors are characterized by a more egalitarian distribution of characters. The analysis of the verbs denoting household work and used in the past tense shows that female characters are more often depicted by certain types of household work by authors of both sexes. Thus, women writers are more likely to portray women doing household work since they portray more women in general. Children’s literature can trace a rich tradition of the symbolic inclusion of male characters in domestic work. The article describes a circle of romantic and adventure topoi, which depict men and boys engaged in the arrangement of everyday life.
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Thomasson, A. L. "Fictional Characters and Literary Practices." British Journal of Aesthetics 43, no. 2 (2003): 138–57. http://dx.doi.org/10.1093/bjaesthetics/43.2.138.
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STERN, FRITZ. "FAMILY PHYSICIANS." Yale Review 94, no. 3 (2006): 1–43. http://dx.doi.org/10.1111/j.1467-9736.2006.00207.x.
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Berry, Matthew, and Steven Brown. "A classification scheme for literary characters." Psychological Thought 10, no. 2 (2017): 288–302. http://dx.doi.org/10.5964/psyct.v10i2.237.
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There is no established classification scheme for literary characters in narrative theory short of generic categories like protagonist vs. antagonist or round vs. flat. This is so despite the ubiquity of stock characters that recur across media, cultures, and historical time periods. We present here a proposal of a systematic psychological scheme for classifying characters from the literary and dramatic fields based on a modification of the Thomas-Kilmann (TK) Conflict Mode Instrument used in applied studies of personality. The TK scheme classifies personality along the two orthogonal dimensions of assertiveness and cooperativeness. To examine the validity of a modified version of this scheme, we had 142 participants provide personality ratings for 40 characters using two of the Big Five personality traits as well as assertiveness and cooperativeness from the TK scheme. The results showed that assertiveness and cooperativeness were orthogonal dimensions, thereby supporting the validity of using a modified version of TK’s two-dimensional scheme for classifying characters.
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Conter, David. "Eternal Recurrence, Identity and Literary Characters." Dialogue 31, no. 4 (1992): 549–66. http://dx.doi.org/10.1017/s0012217300016115.
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“Think of our world,” writes Robert Nozick, “as a novel in which you yourself are a character.” As we shall see, this is easier said than done. In that case, would the project be worth the effort? Yes, says Alexander Nehamas. In Nietzsche: Life as Literature, Nehamas suggests that we would have a better grasp of some hard doctrines of Nietzsche's, if we accepted literary texts as providing a model for the world, and literary characters as yielding models of ourselves. The idea is intriguing, in part because Nietzsche presents difficulties, and in part because it has some of the alluring obscurity of Nozick's playful charge. In what follows, however, I shall argue that Nehamas's proposals about Nietzsche and literature are not particularly helpful, that Nietzsche's doctrines remain hard to grasp even after we have considered the nature of literary texts, and that Nehamas himself is misled by ambiguities connected with literary characters and the fictional worlds they inhabit.
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Thon, Jan-Noël, and Roberta Pearson. "Transmedia Characters." Narrative 30, no. 2 (2022): 139–51. http://dx.doi.org/10.1353/nar.2022.0007.
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Knowlton,, E. C., and Norman Simms. "Runic Characters." World Literature Today 59, no. 3 (1985): 436. http://dx.doi.org/10.2307/40140957.
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Kunin, A. "Characters Lounge." Modern Language Quarterly 70, no. 3 (2009): 291–317. http://dx.doi.org/10.1215/00267929-2009-001.
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Mayer, Nevin J. "Sources: Student’s Encyclopedia of American Literary Characters." Reference & User Services Quarterly 48, no. 3 (2009): 314. http://dx.doi.org/10.5860/rusq.48n3.314.2.
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Segal, E. "Why Do We Care about Literary Characters?" Poetics Today 32, no. 4 (2011): 758–60. http://dx.doi.org/10.1215/03335372-1459890.
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Byrd, E. Keith. "A review of literary characters and disability." International Journal of Rehabilitation Research 10, no. 3 (1987): 306–8. http://dx.doi.org/10.1097/00004356-198709000-00007.
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Jumanazarovna, Niyazova Munira. "Influence of goethe's sentimentalism on literary characters." Asian Journal of Multidimensional Research 11, no. 11 (2022): 130–33. http://dx.doi.org/10.5958/2278-4853.2022.00308.1.
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Phelan, James, and John Frow. "Reading Characters Rhetorically." Narrative 30, no. 2 (2022): 255–67. http://dx.doi.org/10.1353/nar.2022.0015.
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Aarseth, Espen. "Characters Without Signifiers." Narrative 30, no. 2 (2022): 269–78. http://dx.doi.org/10.1353/nar.2022.0025.
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Peacock, Christopher. "Unsavory Characters." Prism 18, no. 2 (2021): 385–408. http://dx.doi.org/10.1215/25783491-9290655.
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Abstract From early works such as “Ralo” (1997) to the more recent “Black Fox Valley” (2012), the acclaimed Tibetan author Tsering Döndrup has demonstrated a consistent interest in the impact of the Chinese language on Tibetan life. This article examines the techniques and implications of Tsering Döndrup's use of Chinese in his Tibetan language texts, focusing on his recent novella “Baba Baoma” (2019), the first-person account of a rural Tibetan boy who attends a Chinese school and ends up stuck between two languages. In a major departure from Tsering Döndrup's previous work on the language problem, this text directly incorporates untranslated Chinese characters, blending them with Tibetan transliterations and Hanyu Pinyin (i.e., the Latin alphabet) to create a deliberately disorienting linguistic collage. This article argues that this latest work pushes Tsering Döndrup's previous experiments to their logical conclusion: a condition of forced bilingualism, in which the author demands of his readers fluency in Chinese in order to access his Tibetan language fiction. This critique of the Sino-Tibetan linguistic crisis puts the author's work into conversation with global postcolonial literatures and the politics of resistance to language hegemony. By demonstrating the Tibetan language's capacity for literary creation, the story effectively resists the hegemony it depicts, even while it suggests that the Tibetan literary text itself is in the process of being fundamentally redefined by its unequal encounter with the Chinese language.
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Aprile, Guillermo. "Los médicos en la historiografía latina: discursos, representaciones y funciones narrativas desde los orígenes hasta Quinto Curcio Rufo." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas 35, no. 1 (2022): 7–29. http://dx.doi.org/10.25145/j.fortunat.2022.35.01.
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Roman prejudices against Greek physicians and medicine, which can be found throughout Latin literature from the second century B.C., were also manifested in Latin historiography. A study of a corpus of historical texts indicates that physicians tend to be depicted there as evil and conspiring characters. However, Curtius’ Historiae marks a radical change in this representation. To demonstrate this, the passage of Alexander’s healing after receiving a wound in India (Curt. 9.5.22-30) will be analyzed from a narratological and intertextual point of view.
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TOMLINSON, BARBARA. "Characters are Coauthors." Written Communication 3, no. 4 (1986): 421–48. http://dx.doi.org/10.1177/0741088386003004002.
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Suhaimi, Suhaimi. "Identifying Characters of “Where Angel Fear to Tread Novel” in Teaching Literary Work." Al-Ta lim Journal 23, no. 2 (2016): 139–45. http://dx.doi.org/10.15548/jt.v23i2.233.
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The aim of the research is to identify some characters in the novel Where Angels Fear to Tread in teaching literary works. In learning of characters, someone will understand about the term of the interests, desires, emotions, and moral those form the individual within a story. Library research was used in thid study. The experts divide characters become two characters; they are central characters and additional characters. Central characters are a character who takes the greatest part in the main character or a figure that is most telling. Volume appearance of the main character more than the other characters. Meanwhile, additional characters or subordinate figures are figures that appear once or several times, figures that support or assist the central figure. In the novel Where Angels Fear To Tread, writer found some figures or characters such as: Mrs. Herriton, Lilia, Philip, Gino, and Carroline Abbot. Each of them had different characters; Mrs Herriton was a selfish and arrogant because she came from a high social status. Lilia was a patient and never denied what was ruled by her mother in-low although sometimes she was often treated her like slaves. Philip was figured as a handsome man, his tolerance and empathy were high. Gino was figured as stupid character. Miss Abbott as a nice, quiet, dull, and friendly.
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Kent, D. "Shackled Imagination: Literary Illusions about Blindness." Journal of Visual Impairment & Blindness 83, no. 3 (1989): 145–50. http://dx.doi.org/10.1177/0145482x8908300307.
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This article reviews the ways blind characters have been depicted by writers from Sophocles ( c 429 BC) to James Dickey (AD 1987). Blindness as usually tragic metaphor predominates in literature through the ages, except for certain popular romances and novels by blind writers. Well-known blind characters throughout the literature and fictional creations of writers of the past two decades are discussed in detail, and discussed in relation to stereotypes of blind people.
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Shang, Jing. "On the Phenomenon of Literary Empathy." Phainomenon 32, no. 1 (2021): 185–96. http://dx.doi.org/10.2478/phainomenon-2021-0018.
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Abstract In this paper, drawing on Husserl, as well as on certain other phenomenologists such as Merleau-Ponty and Richir, I claim that the phenomenon of the apprehension of the perspectives and emotions of literary characters deserves to be called literary empathy. In order to support this claim, I’ll firstly argue that empathy is principally an act of presentification closely related with perception, memory and imagination. Secondly, I’ll argue that literary empathy with literary characters is an imaginative reproduction of the reader’s bodily sedimentations under the instruction offered by the literary text. Thirdly, I’ll argue that through literary empathy, a reader forms a peculiar intersubjective link with the literary character. The subjects in play are thus the real existential “I” and the imagined Other. Asymmetry of existence-positing and lack of interaction do not prevent the imagined characters from exerting an effective influence upon the reader and reconfiguring her actual life.
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Thibault, Mattia. "Rethinking Characters with Semiotics." Narrative 30, no. 2 (2022): 234–37. http://dx.doi.org/10.1353/nar.2022.0030.
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Arampatzidou, Lena. "Medicine Reading Literature: the Paradigm of Degeneration." European Review 21, no. 1 (2013): 21–27. http://dx.doi.org/10.1017/s1062798712000178.
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This article is part of a larger project on the interaction between Natural/Life Sciences and Literature, and is a first attempt to scout the area through concentrating onDegeneration, a book that sees Literature through the eyes of Medicine. Max Nordau, the author of the book, was a turn-of-the-twentieth-century German physician who read contemporary movements in Art and Literature as Disease. He was an adversary of pre-modernist and modernist movements such as aestheticism, decadence, impressionism, and so on, and failed to recognize their avant-garde character. The article examines how Nordau reads certain features of literary texts and works of art which he cannot understand as symptoms of the malfunctioning of the nervous system of the painters and writers concerned. Moving from the body of the text to the body of the artist, Nordau reads particular artistic features as signs of bodily disease of the artists, and he does so by opposing the rationalist discourse of Medicine to the figurative language of Literature.
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Jaffe, Audrey. "Characters and Creatures." Victorian Literature and Culture 48, no. 4 (2020): 773–81. http://dx.doi.org/10.1017/s1060150320000297.
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Humans not only err, they often err willingly and explicitly, for both pleasure and edification. We accordingly “find” faces everywhere . . . most frequently, in the “faces” in paintings. And if we look at stars, clouds, and shadows we can find anything we want to find, so great is the indeterminacy of such finding places and so willing are we, for certain purposes, to accept the most minimal likenesses as “like.”Adena Rosmarin, The Power of Genre (1985)Adena Rosmarin's comment is part of a wider discussion of E. H. Gombrich's idea of the role of “schema” in perceptions of art—a concept he uses to explain, among other things, how it is that observers can perceive a face in a collection of lines and dots, and, more generally, why it makes sense to say that all art begins not with nothing but with something. A snowman starts with the schema that is snow, for example, and we “work the snow and balance the shapes till we recognize a man.” And not only do we work the snow to achieve some approximation of human faces and bodies, but we find human characteristics in—or, more accurately, make characters out of—all sorts of things, living and not. Certainly, we project character onto living nonhumans, such as cats, dogs, birds, and plants, imagining that they share our feelings of love, loneliness, and desire, but we also assign character and characteristics to inanimate objects and assorted phenomena: ships, cars, and hurricanes all get names; we may talk to the toaster, or grumble at a shoelace that, we imagine, stubbornly refuses—refuses!—to untie. Thus it is hardly surprising that literary characters, intended expressly as vehicles for imaginative occupation, take on a similarly outsize quality in our psyches. Words on a page, constructions of language, they invite us to consider them as soulmates and doppelgängers; nightmare—or perhaps ideal—versions of parents, brothers, sisters, friends, and selves: the families we might have chosen if we could; the me (or not me) nobody knows.
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Yang, Funing. "An Extraction and Representation Pipeline for Literary Characters." Proceedings of the AAAI Conference on Artificial Intelligence 36, no. 11 (2022): 13146–47. http://dx.doi.org/10.1609/aaai.v36i11.21709.
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Readers of novels need to identify and learn about the characters as they develop an understanding of the plot. The paper presents an end-to-end automated pipeline for literary character identification and ongoing work for extracting and comparing character representations for full-length English novels. The character identification pipeline involves a named entity recognition (NER) module with F1 score of 0.85, a coreference resolution module with F1 score of 0.76, and a disambiguation module using both heuristic and algorithmic approaches. Ongoing work compares event extraction as well as speech extraction pipelines for literary characters representations with case studies. The paper is the first to my knowledge that combines a modular pipeline for automated character identification, representation extraction and comparisons for full-length English novels.
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Sung, Olha. "Translation Challenges in Rendering Idiolects of Literary Characters." Studies About Languages, no. 37 (December 3, 2020): 37–55. http://dx.doi.org/10.5755/j01.sal.1.37.24772.
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The article focuses on the challenges in rendering idiolects of literary characters. Idiolect as a means of speech characterisation of personages enables the researchers to see personages as linguistic personalities. Idiolects can fulfil several functions: comparative, psychological, distinctive, and characterising. It is shown that an integral character image is only possible to depict taking into consideration the specific features of characters’ idiolects, which help the reader to discern a character’s social status, age, educational background, gender, and emotional state. The aim of the article is to identify the challenges in rendering idiolects of literary characters, such as phonetic distortion of words, non-equivalent lexis, and non-standard syntax and to examine the relevant translation strategies and tactics of idiolect reproduction. Based on a comparative analysis of the original and translated texts, the research yielded a number of translation strategies such as the strategy of maximum preservation of idiolect characteristics and the strategy of partial preservation of idiolect characteristics. In the framework of the strategy of maximum preservation of idiolect characteristics, the tactic of parallel translation, the tactic of applying functional equivalents and the tactic of phonetic matching are singled out. In the framework of the strategy of partial preservation of idiolect characteristics, the tactics of compensation, omission, preservation, and substitution are singled out.
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Stodolinska, Yuliya. "Oceanic Spaces in American Girl Historical and Contemporary Literary Discourse." Libri et liberi 10, no. 2 (2021): 187–200. http://dx.doi.org/10.21066/carcl.libri.10.2.1.
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The American Girl series is a constantly evolving book series for children featuring the lives of girls living in different historical periods of the US, starting from the colonial era up to nowadays. The aim of this paper is to study the verbal and nonverbal portrayal of the oceanic spaces of the past in the books about the historical characters and their rediscovery in the books about the contemporary characters. An attempt is made to analyse the different roles of oceanic images in stories of migration and mobility of the American Girls, their families, friends, acquaintances both in the past and in the present. The images of the oceans in the books about the historical characters and in those about the contemporary characters are analysed separately and the results are compared and contrasted. It is assumed that the oceans which are depicted both verbally and nonverbally in the American Girl series have become not only territorial borders for some of the characters but also metaphoric ones.
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Jones, Jeffrey M. "Literary Factitious Epilepsy Syndromes." CNS Spectrums 7, no. 12 (2002): 875–76. http://dx.doi.org/10.1017/s1092852900022495.
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ABSTRACTSeveral factitious epileptic syndromes have been associated with famous literary characters. While these syndromes include symptoms other than pseudoseizures, and while pseudoseizures can occur in other syndromes, a review of these disorders provides insights into factitious seizures and epilepsy.
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Burkette, Allison. "The use of literary dialect in Uncle Tom's Cabin." Language and Literature: International Journal of Stylistics 10, no. 2 (2001): 158–70. http://dx.doi.org/10.1177/0963-9470-20011002-03.
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This article explores Stowe's use of dialect in her controversial novel. Though some critics have mentioned the 'colorful language' of Stowe's characters, most debates about Uncle Tom's Cabin have not centered on the dialect representation in the speech of her characters. This article provides an objective analysis of Stowe's use of literary dialect in the speech of three characters (Aunt Chloe, George and Mr Haley) using the methods of quantitative linguistics. The frequency of occurrence of linguistic features and the distribution of non-standard features among Stowe's characters demonstrates that Stowe was, in several respects, remarkably accurate, both linguistically and historically. Stowe's characters' dialects illustrate an interesting period in the history of American dialect formation. Recent studies in African-American Vernacular English (AAVE) and the investigation of its origins have suggested a close relationship between AAVE and Southern White Vernacular English (SWVE) as a result of the sociohistorical context in which AAVE began. This relationship is reflected in the similarities between the speech of Aunt Chloe and Mr Haley and shows Stowe's portrayal of these dialects to be historically accurate. Stowe's linguistic accuracy is evidenced by the fact that each character's use of linguistic features mirrors that of actual speakers, in terms of specific dialect features and their frequency of use, and her distribution of features across social variables matches that found in sociolinguistic research.
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Hassoon, Mohammed Kadhim. "Psychological Analysis of the Behavior of a Literary Hero." Al-Adab Journal 2, no. 141 (2022): 105–12. http://dx.doi.org/10.31973/aj.v2i141.1125.
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The article analyzes the image of male characters in the work of Saltykova- Shchedrina «Provincial essays, which included such essays as «Deceived second lieutenant», «Porfiry Petrovich», «Princess Anna Lvovna», «Pleasant family». The article presents the images of the literary heroes of Ivan Petrovich, Dmitry Borisovich Zhelvakov, Porfiry Petrovich, Tekhotsky and others».The psychological impulses they go through determine their relationships with other literary characters in the context of psychological influence, which reflects Saltykov's tendency to choose such characters. The fate and biography of Saltykov Shedrin's literary characters are closely related to the conditions and circumstances of the society around them. In one way or another, they are a reflection of him, expressing his orientations and aspirations in the various stages of social development that he has gone through. This paper presents Shedrin's view of community relations in a multi-layered environment and the role of each literary character in it, especially since these characters uniquely expressed the popular mood that prevailed in the nineteenth century in Tsarist Russia and during the issuance of some decisions that led to a major change in The Russian society at that time, including the rights of peasants, the endeavors, that aimed justice, equality, liberation of serfs, and other cultural and political movements, that drew the features of Russian society and established a new cultural, social, political and economic stage, that had a great impact on determining the future of Russia later.
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Guo, Tingting. "The Image of a Woman in the Literary Works of Ancient China." Litera, no. 10 (October 2022): 141–47. http://dx.doi.org/10.25136/2409-8698.2022.10.38995.
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The object of this study is ancient Chinese literature, and its subject is the depiction of female characters in the literary works of Ancient China. The following research methods were chosen: meaningful analysis of specific female images in ancient Chinese literature; a comparative analysis of the typical characters of female characters, a comparative historical analysis of the images of women in literary works of various periods in the development of Ancient China, a historical analysis of the influence of literary works on the formation of female self-awareness. The novelty of the study lies in the fact that it is an analysis of female images in the literature of Ancient China from various points of view: in terms of historical development, terms of typical characters, and in terms of influence on modern women. Based on the results of the work done, the following conclusions are drawn: female images in Chinese literature have rapidly transformed as Chinese society has developed. The courageous and determined characters of literature have helped real Chinese females to boost their self-confidence to start fighting for their rights.
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Boyko, Mikhail E. "Structural Analysis of Film Characters." Journal of Flm Arts and Film Studies 8, no. 2 (2016): 23–32. http://dx.doi.org/10.17816/vgik8223-32.
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The article explores the structuralist analysis of film characters as compared to that of literary ones and formalizes the analysis of film characters by means of the set theory and semiotic formulas.
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Kusumayanthi, Susie. "READING AND ELABORATING LITERARY WORK IN BUILDING GOOD CHARACTERS." JELA (Journal of English Language Teaching, Literature and Applied Linguistics) 2, no. 1 (2020): 39–45. http://dx.doi.org/10.37742/jela.v2i1.25.
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Certain disciplines such as civic education and religious education are thought to be able to develop human capital in accordance with character building, while other disciplines - among others English language education- could not be able to fulfill the needs to promote it. In this study, the researcher aims to find out whether or not English language education can help building good characters. In seeking for the answer, as many as one hundred participants from a university were given activities to read and elaborate literary works as one of the efforts that language teachers may do in building good characters from their classes. The method used in this research is descriptive method by collecting, processing, analyzing, interpreting, and concluding data. The data were gathered based on the theory guiding of the reader response, known as The Reader’s Response Strategy, and a questionnaire from six pillars of the establishment of the character, as well as collected through interview.
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Tolkacheva, Svetlana Viktorovna. "Literary Characters of Russian Recruitment Song Folklore of Udmurtia." Filologičeskie nauki. Voprosy teorii i praktiki, no. 10 (October 2022): 3082–88. http://dx.doi.org/10.30853/phil20220547.
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Pace, Barbara G., and Jane S. Townsend. "Gender Roles: Listening to Classroom Talk about Literary Characters." English Journal 88, no. 3 (1999): 43. http://dx.doi.org/10.2307/821578.
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Bayen, Ute J. "Aging and Source Monitoring of Characters in Literary Texts." Aging, Neuropsychology, and Cognition 6, no. 3 (1999): 187–200. http://dx.doi.org/10.1076/anec.6.3.187.782.
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Orlando, Eleonora. "Fictional Names and Literary Characters: A Defence of Abstractism." THEORIA. An International Journal for Theory, History and Foundations of Science 31, no. 2 (2016): 143. http://dx.doi.org/10.1387/theoria.15193.
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This paper is focused on the abstractist theory of fiction, namely, the semantic theory according to which fictional names refer to abstract entities. Two semantic problems that arise in relation to that position are analysed: the first is the problem of accounting for the intuitive truth of typically fictive uses of statements containing fictional names; the second is the one of explaining some problematic metafictive uses, in particular, the use of intuitively true negative existentials.
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Papkova, E. A. "Dreams about the Future in Vsevolod Ivanov’s Prose 1920–1930s." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 7–17. http://dx.doi.org/10.25205/2410-7883-2019-1-7-17.
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The article considers the ideological and aesthetic role of dreams about the future in the works of Vsevolod Ivanov of different years. Already in the legend “Yermak’s dream” (1916) defined semantic constants, which will be characteristic for dreams about the future in the stories “The Accident on the River Thun” (1925) and “A strange case in the Warm Lane” (1935), as well as in the diary records 1937 and 1938. The future is characterized by an extraordinary technical takeoff, which, however, does not bring with it the spiritual development of people: the struggle of ideological opponents continues, it becomes even more merciless. It is significant that presented in the story “The Accident on the Thun River” the image of the future in the perception of the hero-narrator essentially differs from the «good life» that male-partisans dream in the “Partisan stories” of the writer. Revealed real context storytelling – the events of 1919 in Siberia, a witness and participant which was V. Ivanov, – partly explains the features of sinister dystopia inherent the image of the future. In the 1930s, despite the active participation of V. Ivanov in A. M. Gorky’s social and literary projects aimed at the creation of the future of Soviet Russia, his image, presented in the story “A strange case in the Warm Lane”, keeps those semantic constants, which we called. However, in the text of the 1930s they are presented not scary, but ridiculous. The ongoing struggle to free the “prisoners of El Gotha” does not look ominous, it is mainly manifested in the “powerful shouting” and “waving of arms”. The great scientific discoveries of the future, the achievements of scientists and the possibility of their collaboration with writers, to which attracted so much attention in the current periodicals of the era, are given by V. Ivanov in a parody key: the relationship of autobiographical hero and young physicists, the realities of the future Moscow (for example, the House of Eccentrics), from which only an ordinary mouse gets into the present, and others. The outstanding scientific discovery of a professor from the future of the USSR aimed at cost-beneficial reduction of growth of a person while preserving his mental abilities, parodying the attitudes of the era 1930s to create a “race of giants”. At the same time in the dreams of V. Ivanov’s characters (in the novel “U”, for example) the image of the future preserves peculiar to the time light, sublime features. The article is held the parallel between the images of the future in the works of V. Ivanov and L. M. Leonov (in the novel “The Road to the Ocean”) of the 1930s. Almost simultaneously Writers question the technical progress, “the construction Christian Paradise” (L. Leonov) by the forces of living people with inevitable limited by life itself and human nature opportunities.