To see the other types of publications on this topic, follow the link: Plot model of a romance.
Journal articles on the topic 'Plot model of a romance'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Plot model of a romance.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Taslim, Noriah. "The Religious Connotations of the Sovereign in Destitution in the Malay Hikayat." Malay Literature 27, no. 2 (December 1, 2014): 229–41. http://dx.doi.org/10.37052/ml.27(2)no2.
Full textAbstract:
The essay is an attempt to highlight the significance and the extent of religious influence on classical Malay literature. It plans to do this through the analysis of the structural elements of the plot at both at the surface and underlying level. To narrow down the analysis, only one genre of Malay literature, the so-called hikayat romance will be taken as corpus of investigation. To allow room for a more comprehensive analysis within this restricted corpus, two types of hikayat romance will be taken to task; these are the fantasy/court romance and the hagiographical romance. Both of these works are suitable for this study as they exhibit a remarkable level of religious influence in their textual elements. The analysis, however, will focus especially on the “exile motif” which is the controlling and generative element in the plot. Keywords: hikayat romance, generic structure, exile motif, Hindu interpretative model, sufistic interpretative model
2
Zhuravlev, Mikhail E., Irina V. Golovacheva, and Polina V. de Mauny. "What Issues of Literary Analysis Can Differential Equations Clarify?" International Journal of Applied Evolutionary Computation 6, no. 3 (July 2015): 49–63. http://dx.doi.org/10.4018/ijaec.2015070104.
Full textAbstract:
The authors investigate to what extent differential equations can describe the dynamics of love relations in masochistic novellas. Unlike previous researchers, they base their analysis not only on psychological credibility. They relate their model to the ideas of literary criticism. The authors compare Ivan Turgenev's Torrents of Spring with the most famous masochistic novella Venus in Furs by Leopold von Sacher-Masoch. To prove that the dynamics of masochistic relationships differ from that of the other types of romance they also investigate the plot of the undoubtedly non-masochistic story by Anton Chekhov “The Lady with the Dog.” Instruments of literary criticism coupled with mathematical modelling allow the authors to reproduce the temporal and spatial dynamics of love plots in fiction more precisely and clearly than it was done in previous research.
3
Naha, Anindita, Anindita Naha, and Dr Mirza Maqsood Baig. "Study Of Arthurian Romances: With Emphasis To Thomas Malory." Think India 22, no. 3 (September 27, 2019): 527–34. http://dx.doi.org/10.26643/think-india.v22i3.8319.
Full textAbstract:
The expedition on Malory’s Morte d’Arthur emphasis on the masculine activity of chivalry—fighting, questing, ruling— while parallelly reflects the chivalric enterprise as impossible in absence of the feminine in a subjugated position. The medieval romance text of Malory differs from other Arthurian romance literature in the explicit legislation (as opposed to implicit coding) of chivalric values, most notably in the swearing of the Pentecostal Oath, an event unique to Malory’s text. This paper emphasis on the way the institution of the Oath defines and sharpens specific ideals of masculine and feminine gender identities in the Arthurian community, arguing that a compulsion to fulfill these ideals drives the narrative of the Morte d’ Arthur forward to its inevitable ending. Thus, the function of gender in the Morte d’Arthur can only be adequately explored in a book that traces in depth the development of gender constraints from the beginning of the “Tale of King Arthur” to the “Day of Destiny” and its aftermath. One reason the Morte d’Arthur merits a sustained study in terms of gender is due to its status as the most comprehensive and sustained medieval treatment of the Arthurian legend by a single author. This text is about the famous fiction stories about legendary King Arthur, his life and death predominantly compose the spine of Malory’s tale. There are, as well, other passages and tales, in which Arthur is not in the centre of the plot. Stories were translated by Malory from French models, reflects the major branch of author’s all sources. most famous fiction stories about legendary King Arthur, whose life and death predominantly compose the spine of Malory’s tale. There are, as well, other passages and tales, in which Arthur is not in the centre of the plot.
4
Ue, Tom. "Literary form, hierarchies and the meeting of two plots in Patrick Gale’s ‘A Slight Chill’." Short Fiction in Theory & Practice 10, no. 1 (April 1, 2020): 43–56. http://dx.doi.org/10.1386/fict_00013_1.
Full textAbstract:
This article incorporates Gerald Prince’s and Caroline Levine’s work on form to reveal some of the innovations in Patrick Gale’s ‘A Slight Chill’ ([1996] 2018). This short story juxtaposes two antagonistic plots: the vampire Lotta Wexel’s gastronomic activities and her teacher Angel Voysey’s romance. By attending to, and drawing connections between, smaller forms (e.g. allusions and metaphors) and larger ones (plots and genre), I argue that we may better understand Gale’s project. Lotta’s plot effectively exposes and frustrates Angel’s. In foregrounding such interactions, he encourages the reader to reassess both the affordances and the inadequacies of the models and expectations that Angel inherits. This article goes on to analyse Gale’s screenplay for his upcoming film adaptation to show how he gives a new application to his earlier project. If the short story is particularly invested in the decisions before Angel, then the screenplay explores, even more so than its source material, how and why we categorize characters into hierarchical forms. This article contributes to knowledge, then, by examining Gale’s writing programme, which has received inadequate scholarly attention; by illuminating some of its complexities; and by demonstrating the value of thinking about the short story in terms of form.
5
Furlan, Ane Lise Capitanio Batista. "Entre coronéis e peões: conflitos e elementos composicionais no romance Chão das Carabinas, de Moura Lima." Revista Sítio Novo 1 (October 19, 2017): 20. http://dx.doi.org/10.47236/2594-7036.2017.v1.i0.20-44p.
Full textAbstract:
<p align="justify"><span style="color: #000000;"><span style="font-family: 'Times New Roman', serif;"><span><span lang="pt-BR">E</span></span></span></span><span style="color: #000000;"><span style="font-family: 'Times New Roman', serif;"><span><span lang="pt-BR"><span>ste artigo tem por objetivo fazer uma abordagem sobre o modelo criativo que o autor Moura Lima utilizou para compor o romance Chão das Carabinas, publicado em 2002. Discutir-se-á a construção do enredo da intriga e das personagens, da temporalidade e da linguagem (em seu aspecto histórico e social) e a relação com o mítico, que também compõe o universo da trama. Sabendo-se que fatores históricos e sociológicos interferiram na elaboração do enredo, será feito um exame acerca da produção artística ficcionalizada intrinsecamente, bem como o tratamento que o autor dá a costumes e tradições de um povo num período recriado literariamente.</span></span></span></span></span></p><p align="justify"><span style="font-family: Cambria, serif;"><span><strong><span style="color: #00000a;"><span style="font-family: 'Times New Roman', serif;"><span lang="pt-BR"><span>Termos para indexação</span></span></span></span><span style="color: #00000a;"><span style="font-family: 'Times New Roman', serif;"><span lang="pt-BR"><span>: </span></span></span></span></strong><span style="color: #00000a;"><span style="font-family: 'Times New Roman', serif;"><span lang="pt-BR"><span>crítica, </span></span></span></span><span style="color: #00000a;"><span style="font-family: 'Times New Roman', serif;"><span lang="pt-BR"><span>l</span></span></span></span><span style="color: #00000a;"><span style="font-family: 'Times New Roman', serif;"><span lang="pt-BR"><span>iteratura, regionalismo, romance</span></span></span></span></span></span></p><p lang="es-ES" align="center"><span style="font-family: 'Times New Roman', serif;"><span><strong><span style="color: #00000a;"><span style="font-family: 'Times New Roman', serif;"><span><span lang="pt-BR">Between colonels and pawns: conflicts and compositional elements in the novel Floor of Carabines, by Moura Lima</span></span></span></span></strong></span></span></p><p lang="es-ES" align="center"> </p><p lang="en-US" align="justify"><span style="font-family: 'Times New Roman', serif;"><span><span style="color: #000000;"><span lang="pt-BR">This article aims to make an approach to the creative model that the author Moura Lima used to compose the novel Floor of Carbines, published in 2002. Will discuss up-building of the intrigue plot and characters, of temporality and language (in its historical and social aspect) and the relationship with the mythical, which also makes up the universe of the plot. Knowing that historical and sociological factors interfered in the development of the plot, a survey about the fictionalized intrinsically artistic production will be done as well as the treatment that the author gives the customs and traditions of a people in a period recreated literarily.</span></span></span></span></p><p lang="en-US" align="justify"><strong style="font-family: Cambria, serif;"><span><span style="font-family: 'Times New Roman', serif;"><span lang="pt-BR">Index terms</span></span></span><span style="font-family: 'Times New Roman', serif;">: </span></strong><span style="font-family: 'Times New Roman', serif;"> criticism, </span><span style="font-family: 'Times New Roman', serif;">l</span><span style="font-family: 'Times New Roman', serif;">iterature, regionalism, romance</span></p><p lang="es-ES" align="center"><span style="font-family: 'Times New Roman', serif;"><span><strong><span style="color: #00000a;"><span style="font-family: 'Times New Roman', serif;"><span><span lang="pt-BR"><br /></span></span></span></span></strong></span></span></p>
6
Rabinovich, Irina. "Hawthorne’s Rome – A city of evil, political and religious corruption and violence." Ars Aeterna 9, no. 1 (June 27, 2017): 1–6. http://dx.doi.org/10.1515/aa-2017-0001.
Full textAbstract:
Abstract Hawthorne’s Rome is the home of dark and evil catacombs. It is a city haunted by evil spirits from the past that actively shape the romance’s plot. Rome’s dark gardens, endless staircases, hidden corners and vast catacombs, as well as the malodorous Jewish ghetto, affect Donatello’s and Miriam’s judgment, almost forcing them to get rid of the Model, Miriam’s persecutor. Hawthorne’s narrator’s shockingly violent, harsh and seemingly anti-Semitic description of the ghetto in Rome is just one among many similarly ruthless, and at times offensive, accounts of the city wherein Hawthorne situates his last completed romance, The Marble Faun. Hawthorne’s two-year stay in Rome in 1858-59 sets the scene for his conception of The Marble Faun. In addition to providing Hawthorne with the extensive contact with art and artists that undoubtedly affected the choice of his protagonists (Kenyon, a sculptor; Hilda and Miriam, painters), Italy exposed Hawthorne to Jewish traditions and history, as well as to the life of Jews in the Roman ghetto. Most probably it also aroused his interest in some of the political affairs in which Italian Jews were involved in the 1840s and 50s. This historical background, especially the well-publicized abduction and conversion of a Jewish child, Edgardo Mortara, in 1858 provides important political and cultural background for Hawthorne’s portrayal of Miriam in The Marble Faun.
7
Filatova, T. V. "Semantic aspects of harmony: the phenomenon of unlocked structures in romance lyrics of XIX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 47–68. http://dx.doi.org/10.34064/khnum2-49.04.
Full textAbstract:
Relevance of the study. The revealing of methodological effectiveness of integration interaction of different methods of analysis and scientific reflections for analytical procedures is relevant in the context of the intersection of interests of studies of harmony and musical semantic. Main objective of the study – to designate semantic aspects of harmony in conditions of unlocked structures on material of romances of the nineteenth century. Methodology. An integrative methodological projection of algorithms of study tonally-harmonic and compositional processes on the procedure of musical semantic analysis is proposed. General outline of the analytical operations deployed in several discourses: • functional-harmonic and compositional analysis of the piece in its entirety, taking into account the poetic framework; examine the nature of the interaction of harmonic and compositional logic; • the isolation of the verbal text of the key signs of poetry - semantic words; determination of their compositional arrangement in musical form; • segmentation of musical intonation tokens, their selection from the text of the work, revealing the breadth of contextual coverage of meanings and semantic potential; correlation with the semantics of «migratory genre and intonation formulas»; • detection of specificity of implement semantic elements within the analyzed text or composing style, revealing of aspects of particular musical semantics; detection meaning of harmonic connection tokens, wich unlock structure, with the word and the melodic intonation; definition of internal, external and immanent, extramusical nature of the phenomenon; establishing its degree of semantic activity. Results. Varieties of unlocked structures are systematized: with system-logical parameters – functionally, subsystemically and modulation unlocked structures; with phonic parameters – dissonance and consonance unlocked structures; with causal parameters – potentially and principally unlocked structures. External or extramusical and internal, immanent-harmonic motivations of their forming are identified. Among the external factors of unlocking are articulated: the impact of the poetic word as the source of empathy; irreversible course of imaginative mutations; retention of states innuendo, incompleteness, undecidability, anxiety, confusion, fear; semantic marks of question, surprise, regret. The gap of functional balance in the phase of clotting of harmonic integrity is seen as a reaction to the motion of meaning. Among the internal factors the unlocking are highlighted: density and irreversibility of modulation streams; phenomena of modal variability; the impact of modal experience of regulation of harmonic processes; the power of cyclic unity; inner aspiration to an open form as allusion of infinity. Functional inversion, and the special status of the tonal system with reduced centripetal potential (Y. Holopov) are listed as an important incentive of the unlocking. The phenomenon of the unlocking as a principle (the mechanism) the organization of text units of harmony is investigated in conjunction with the semantic field of piece, music tokens, artistic word and meaning. Factors of the displacement of semantic connotations fixing of keywords, semantics of "migratory genre and intonation formulas" (L. Shaimukhametova) during the formation of the vertical layers of music are considered. Three positions based on analysis of the works of R. Schumann, F. Liszt, G. Mahler, P. Tchaikovsky, M. Mussorgsky, illustrating the semantic nature of the harmonic disjunction are allocated. Position 1: harmony as meaning generator. It acts at the level of the formation of intonation and harmonic tokens – pitch compacted units of musical sense, elements of particular musical semantics. It forms a zone of high concentration of semantic elements in a vertical cut of music. It is fixed in vocal miniatures: R. Schumann’s «Im wunderschonen Monat Mai», F. Liszt’s «Verlassen», M. Mussorgsky‘s «Orphan». Position 2: harmony as a regulator of meaning. It acts at the level of the changes of emotional amplitudes. It provides strength and depth of emotional impulse. It revealed in F. Liszt’s romances and songs: «J’ai perdu ma force et ma vie», «Sonetto XC», «La?t mich ruhen», «Was Liebe sei?», «Einst». Position 3: harmony as a modulator of meaning. It affects to the level of tonal drama, transformation of semantic field of piece. It transforms the track of pitch content irreversibly. It appears in the case of a harmonic unlocking of the modulating type, wich running contrary to the idea of rounding tone frame. It shifts whole pitch platform of musical piece under the combined influence of intonation, word, number of plot and drama of movement of meanings. It forms in vocal works: F. Liszt’s «Gebet», P. Tchaikovsky’s «We were sitting with you», M. Mussorgsky’s «General», G. Mahler «Erinnerung».
8
Filatova, T. V. "Semantic aspects of harmony: the phenomenon of unlocked structures in romance lyrics of XIX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 47–68. http://dx.doi.org/10.34064/khnum1-49.04.
Full textAbstract:
Relevance of the study. The revealing of methodological effectiveness of integration interaction of different methods of analysis and scientific reflections for analytical procedures is relevant in the context of the intersection of interests of studies of harmony and musical semantic. Main objective of the study – to designate semantic aspects of harmony in conditions of unlocked structures on material of romances of the nineteenth century. Methodology. An integrative methodological projection of algorithms of study tonally-harmonic and compositional processes on the procedure of musical semantic analysis is proposed. General outline of the analytical operations deployed in several discourses: • functional-harmonic and compositional analysis of the piece in its entirety, taking into account the poetic framework; examine the nature of the interaction of harmonic and compositional logic; • the isolation of the verbal text of the key signs of poetry - semantic words; determination of their compositional arrangement in musical form; • segmentation of musical intonation tokens, their selection from the text of the work, revealing the breadth of contextual coverage of meanings and semantic potential; correlation with the semantics of «migratory genre and intonation formulas»; • detection of specificity of implement semantic elements within the analyzed text or composing style, revealing of aspects of particular musical semantics; detection meaning of harmonic connection tokens, wich unlock structure, with the word and the melodic intonation; definition of internal, external and immanent, extramusical nature of the phenomenon; establishing its degree of semantic activity. Results. Varieties of unlocked structures are systematized: with system-logical parameters – functionally, subsystemically and modulation unlocked structures; with phonic parameters – dissonance and consonance unlocked structures; with causal parameters – potentially and principally unlocked structures. External or extramusical and internal, immanent-harmonic motivations of their forming are identified. Among the external factors of unlocking are articulated: the impact of the poetic word as the source of empathy; irreversible course of imaginative mutations; retention of states innuendo, incompleteness, undecidability, anxiety, confusion, fear; semantic marks of question, surprise, regret. The gap of functional balance in the phase of clotting of harmonic integrity is seen as a reaction to the motion of meaning. Among the internal factors the unlocking are highlighted: density and irreversibility of modulation streams; phenomena of modal variability; the impact of modal experience of regulation of harmonic processes; the power of cyclic unity; inner aspiration to an open form as allusion of infinity. Functional inversion, and the special status of the tonal system with reduced centripetal potential (Y. Holopov) are listed as an important incentive of the unlocking. The phenomenon of the unlocking as a principle (the mechanism) the organization of text units of harmony is investigated in conjunction with the semantic field of piece, music tokens, artistic word and meaning. Factors of the displacement of semantic connotations fixing of keywords, semantics of "migratory genre and intonation formulas" (L. Shaimukhametova) during the formation of the vertical layers of music are considered. Three positions based on analysis of the works of R. Schumann, F. Liszt, G. Mahler, P. Tchaikovsky, M. Mussorgsky, illustrating the semantic nature of the harmonic disjunction are allocated. Position 1: harmony as meaning generator. It acts at the level of the formation of intonation and harmonic tokens – pitch compacted units of musical sense, elements of particular musical semantics. It forms a zone of high concentration of semantic elements in a vertical cut of music. It is fixed in vocal miniatures: R. Schumann’s «Im wunderschonen Monat Mai», F. Liszt’s «Verlassen», M. Mussorgsky‘s «Orphan». Position 2: harmony as a regulator of meaning. It acts at the level of the changes of emotional amplitudes. It provides strength and depth of emotional impulse. It revealed in F. Liszt’s romances and songs: «J’ai perdu ma force et ma vie», «Sonetto XC», «La?t mich ruhen», «Was Liebe sei?», «Einst». Position 3: harmony as a modulator of meaning. It affects to the level of tonal drama, transformation of semantic field of piece. It transforms the track of pitch content irreversibly. It appears in the case of a harmonic unlocking of the modulating type, wich running contrary to the idea of rounding tone frame. It shifts whole pitch platform of musical piece under the combined influence of intonation, word, number of plot and drama of movement of meanings. It forms in vocal works: F. Liszt’s «Gebet», P. Tchaikovsky’s «We were sitting with you», M. Mussorgsky’s «General», G. Mahler «Erinnerung».
9
Ivanova, Elizaveta A. "TRANSFORMATION OF TRADITIONAL FANTASY CHARACTERS IN JOE ABERCROMBIE’S ‘THE FIRST LAW’ TRILOGY." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 90–98. http://dx.doi.org/10.17072/2073-6681-2021-1-90-98.
Full textAbstract:
Joe Abercrombie is a prominent contemporary British author famous for working in such a currently popular branch of fantasy as grimdark. The characteristic feature of Abercrombie’s novels is a conscious play with conventions, traditions and clichés of classical fantasy. This article is devoted to analysis of some central figures of Abercrombie’s The First Law trilogy: infamous warrior Logen Ninefingers, young nobleman Jezal dan Luthar, inquisitor Sand dan Glokta, and Bayaz, First of the Magi. The study aims to reveal, through comparison with classical models, how the mentioned characteristic feature of Abercrombie’s books manifests itself at the level of character development. The analysis shows that for creating his characters Abercrombie employs classical archetypes (a wise mentor, a young protagonist on a long journey to find treasure), which have roots, as much as fantasy literature itself, through adventure fiction and chivalric romance, in the fairy tale and mythos. However, in distinction from the authors of classical fantasy such as J.R.R. Tolkien and his numerous less talented followers, Abercrombie fills the characters who impersonate those archetypes in his works with psychological content that is not in accord with or even contradicts their traditional plot functions. Moreover, the writer changes and transforms the meaning of those functions, thus creating a complex, shadowy realistic image of his grimdark fantasy world instead of an optimistic fairy-tale one typical of earlier fantasy books. Abercrombie’s characters are not only realistic and impressive, they are built upon a three-element structure, more complex than that of characters in classical fantasy, which demonstrates the development of this kind of literature in general.
10
Nelson, Paul B. "EURIPIDES'ALCESTISAND THE APOLLONIUS ROMANCE." Classical Quarterly 66, no. 1 (February 26, 2016): 421–23. http://dx.doi.org/10.1017/s0009838816000057.
Full textAbstract:
In 1924The Classical Quarterlypublished a note by Alexander Haggerty Krappe titled ‘Euripides’Alcmaeonand the Apollonius Romance’. Drawing attention to the obscure origins of the ancient Greek and Roman novels in general and pointing out the scholarly agreement on the role love plays in both the ancient novels and Euripidean tragedy, Krappe observed that ‘Euripides was drawn upon for whole episodes in order to enrich the plot of the [ancient] novel’. Krappe then goes on in his note to attribute the plot of Euripides' lostAlcmaeonas a source of inspiration for one of the major episodes of theHistoria Apollonii Regis Tyri(to wit, the separation and reunion of Apollonius and his daughter, Tarsia). Today, this reliance of the ancient novels on Euripides is generally recognized, but, curiously, Krappe, while identifying an episode from the lostAlcmaeon, failed to identify a clear plot-borrowing from another extant Euripidean play, theAlcestis.
11
Bolshakova, Alla. "THE SHEPHERD AND THE SHEPHERDESS: V. Р. ASTAFIEV’S MODERN PASTORAL IN THE CONTEXT OF GENRE TRADITIONS." Проблемы исторической поэтики 19, no. 1 (February 2021): 375–407. http://dx.doi.org/10.15393/j9.art.2021.9122.
Full textAbstract:
The purpose of this article was to consider the movement of literature through the genre metamorphoses as a category that transforms in its immutability. Consequently, the author’s task was to study the modifications of the genre of love idyll using the example of Modern Pastoral ву V. P. Astafiev’s (The Shepherd and the Shepherdess) in the context of works about love that had emerged in Antiquity and the Middle Ages. This task is carried out using the example of the initial samples of the love idyll genre in prose, as well as a theoretical justification of the unity of love idyll and pastoral as its main type (M. M. Bakhtin), which make up a single line of genre tradition. The article demonstrates the productivity of genre splices, i. e. the initial actualization of the love idyll genre in combination with the novel (Daphnis and Chloe, The Romance of Tristan and Iseult) and the story (The Tale of Peter and Fevronia, The Shepherd and the Shepherdess). The correlation between the ancient pastoral and Astafiev’s Modern Pastoral was noted in literary studies, albeit poorly justified, while the implementation of the traditions of the love idyll set by the above-mentioned medieval models remained beyond the scope of research. The study tested the typological resemblance of genre models, their similarities in themes, plot, and imagery, which allowed to include characters in the range of enamoured couples that have largely determined the development of world literature. The article focused on the debated question of the validity of the writer’s definition: Modern Pastoral. As a result, the study tested the productivity of Astafiev’s update to the genre canon; the validity of the genre naming by the writer, with regard to the modification made by him.
12
Hrosevych, Taras. "War novel: the history of development and typology of the genre." Fìlologìčnì traktati 12, no. 1 (2020): 61–72. http://dx.doi.org/10.21272/ftrk.2020.12(1)-6.
Full textAbstract:
The general regularities and main tendencies of the development of a war novel have been researched in the article, an attempt of its typology and periodization is realized, the most common genre models is identified. The novel about the Second World War as a leading epic genre, which develops the theme of war in literature, creatively synthesized all the experience gained by the writers and front-line soldiers, became a noticeable artistic phenomenon and widespread genre formation in Western European, American and Slavic writing. It is concluded that the aesthetic and ideological-thematic level of artistic modeling of war reality is localized in different national literatures unevenly and stipulated first of all for the historical and geopolitical scope of the involvement of warring countries in hostilities. For example, in German military romance, is the so-called "Remarkable" novel, as well as a novel with a marked anti-militaristic nature. The main plot of the French war novel is the resistance movement, while the Italian one is fascist domination and occupation actions in the Balkans. Instead, in Britain, which has escaped occupation, military creativity takes a rather modest place. American writing focuses on war as a social phenomenon, armed conflicts in Vietnam. The polivector artistic search, the richness of types and varieties of war novel (panoramic novel, lyric war novel, anti-fascist novel, soldier novel, war novel-education, war novel with documentary basis, etc.) demonstrates military novel prose of Eastern Slavs. In particular, in the development of the Ukrainian war novel, literary critics distinguish such branches as the war novel, the post-war novel of the first decade, the war novel prose of the "second wave" (etc. pol. 50's - 60's), war novel 70’s-80’s, as well as modern war novels.
13
Gardner, Julia. "“Neither Monsters nor Temptresses nor Terrors”:Representing Desire in Charlotte Brontë's Shirley." Victorian Literature and Culture 26, no. 2 (1998): 409–20. http://dx.doi.org/10.1017/s1060150300002485.
Full textAbstract:
Although romance QUA romance is often seen as leading to the grim finality of the Victorian marriage plot, Charlotte Brontë's second novel, Shirley (1849), thwarts readerly expectations. Brontë cautions the reader that “if you think, from this prelude, that anything like a romance is preparing for you, reader, you never were more mistaken,” but also teases that “it is not positively affirmed that you shall not have a taste of the exciting” (39; ch. 1). This disavowal, coupled with contradicting hints of romance, appears in the second paragraph of Shirley and establishes the vexed dynamic surrounding the marriage plot present throughout the novel.
14
Santoso, Distania, Imam Basuki, and L. Dyah Purwita Wardani. "THE ROMANCE FORMULA IN CECELIA AHERN’S LOVE, ROSIE." Lentera: Jurnal Ilmiah Kependidikan 12, no. 2 (January 14, 2020): 267–84. http://dx.doi.org/10.52217/lentera.v12i2.418.
Full textAbstract:
This research analyzes the romance formula presented in Love, Rosie by discussing the standard convention of the novel. The romance formula analysis tends to prove what is the sociocultural background in 20th century of Ireland society which becomes the cultural background of the novel. We discuss the issues among popular culture and also finding out the dominant components of the story which builds the story into a romance story. The discussion is employed the Cawelti’s concept and supported by Radway’s theory of romance. This study discusses Romance formula in Love Rosie is presented by the two dominant elements, those are the romance plot formula and the characters. The inventions of the romance formula in Love Rosie is found in the writing style of the novel. The novel is written in the form of instant messages and letters that are sent between the hero and heroine. The results of this study indicate that Love, Rosie has two dominant elements that built the story into a romance story. The first element is the story plot and the second is the main characters of the story whom develops the love relationship in the story, which are the hero and the heroine. The story plot of Love, Rosie can be classified into four stages, those are the first meeting of Alex and Rosie, Alex and Rosie fall in love to each other, Obstacles which contain the internal and external conflicts of the hero and heroine, and the ending of the story.
15
Shary, Timothy. "The Politics of Aging in the May–December Romance Plot." Quarterly Review of Film and Video 31, no. 7 (July 24, 2014): 669–78. http://dx.doi.org/10.1080/10509208.2012.710519.
Full text
16
López Martínez, María Paz. "The Ninus Romance: New Textual and Contextual Studies." Archiv für Papyrusforschung und verwandte Gebiete 65, no. 1 (June 1, 2019): 20–44. http://dx.doi.org/10.1515/apf-2019-0002.
Full textAbstract:
Abstract A new scenario is proposed regarding the origin of the Ninus: the text may have been written in Parthia halfway through the 1st century BC. This article offers a proposal for the plot of the first part of this work, and speculation on whether the motifs of the Ninus have left their mark on Persian literature. The existence of another Greek lost novel, where the main character would be Semiramis, is suggested.
17
Miner, Madonne. ""Trust Me": Reading the Romance Plot in Margaret Atwood's The Handmaid's Tale." Twentieth Century Literature 37, no. 2 (1991): 148. http://dx.doi.org/10.2307/441844.
Full text
18
Smith, Chloe Wigston. "The Haberdasher's Plot: The Romance of Small Trade in Frances Burney's Fiction." Tulsa Studies in Women's Literature 37, no. 2 (2018): 271–93. http://dx.doi.org/10.1353/tsw.2018.0027.
Full text
19
Horváth, Géza S. "The Great Sinner, the Harlot and the Eternal Book: The Genre of the Romance as Plot and Textual Motif in Dostoevsky’s Crime and Punishment in Comparison with Hawthorne’s Scarlet Letter." Dostoevsky Journal 20, no. 1 (June 19, 2019): 32–54. http://dx.doi.org/10.1163/23752122-02001003.
Full textAbstract:
The paper analyzes the various parallels of plot and text in Dostoevsky’s Crime and Punisment (1866) and Hawthorne’s Scarlet Letter (1850). Similarity of motifs in these novels has already been noticed in the critical literature but more detailed research is still lacking. In this paper, it is claimed that Hawthorne’s novel provided Dostoevsky not only with the material for certain narrative situations, motifs and characters in Crime and Punishment but also influenced the heterogeneity and complexity of the genre in Dostoevsky’s novel. To illuminate this relationship of the two novels, the article examines the characteristics of the genre of romance, the eschatological plot of revelation and the apocalyptic imagery proper to the romance. The study is focused on the common metaphorical basis of the two texts, such as the biblical and mythical semantics of the motifs of New Jerusalem, pearl, treasure etc., which circumscribes the transformation process in the correspondence of tresaure and word, letter and text.
20
Hikmah, Fitrotul, and Roihanah Roihanah. "A JAVANESE PANJI ROMANCE: ANALISIS STRUKTUR CERITA PANJI PADA NASKAH WANGBANG WIDAYA." INTAJ : Jurnal Penelitian Ilmiah 1, no. 2 (October 31, 2017): 29–46. http://dx.doi.org/10.35897/intaj.v1i2.93.
Full textAbstract:
Panji's story is a classic romance originating from East Java. One variant of Panji's story is Wangbang Widèya: A Javanese Panji Romance. Research on this manuscript is rarely done, or there is research on the same topic, but different theoretical basis as a tool for study. The purpose of this study is to indirectly examine the literary aspect that possible further research coupled with intrinsic research. Research focuses on studying intrinsic aspects that include: theme, plot, character and characterization, and background story. This research is library study using qualitative research method. The source of this research data is Wangbang Widèya: A Javanese Panji Romance. This process begins with data collection in the form of primary and secondary data. The analysis comprises data reduction, data classification, and data display. In the final process of data display, it has presented data ready to be analyzed. The results show: (1) the theme of romance is an absolute theme in Wangbang Widèya: A Javanese Panji Romance; (2) the groove is loose because it is easily inserted with other stories that complement the story as a whole; (3) the characters and the characterizations are static, namely if the character is good then he will get the victory, but if the character is evil it will get defeated; (3) the settings in Wangbang Widèya: A Javanese Panji Romance cover the setting of place, time, atmosphere, and social aspect as the explanation of the character strata. Keywords: the structure of the story, manuscript, Wangbang Widèya: A Javanese Panji Romance
21
Galant, Justyna Laura. "The Political Gothic of Dystopian Romance. Joseph Shield Nicholson’s ”Thoth” (1888)." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 41. http://dx.doi.org/10.17951/lsmll.2019.43.2.41-49.
Full textAbstract:
<p>The text of <em>Thoth. A Romance</em>, a late nineteenth-century dystopia by Joseph Shield Nicholson, is here analysed as a generic amalgam characterised by conspicuous repetitiousness and the motif of multiplication of a circular pattern on the levels of plot, setting, imagery and characterisation. A meeting of the Gothic and the dystopian in the text results in an expansion of the former convention, politicization of the Gothic and blending of the psychoanalytic with the dystopian.</p>
22
Intan, Tania, and Vincentia Tri Handayani. "Formulasi Romansa dalam Beauty Case Karya Icha Rahmanti: Kajian Sastra Feminis." Madah: Jurnal Bahasa dan Sastra 10, no. 2 (October 24, 2019): 205. http://dx.doi.org/10.31503/madah.v10i2.924.
Full textAbstract:
This study aims to reveal the formulation of romance in chick lit Beauty Case (2005), the second work of Icha Rahmanti after Cintapuccino (2004). The methodological approach used is the study of feminist literature and structural analysis methods. Because chick lit always discusses women, the theoretical foundation of this research must be linked to women's perspectives, includes the ideas of Radway, Modlesky, Gill and Herdierckerhoff who were used to explore the narrative aspects of romance formulation, which included plots, characterization, and point of view. The results show that (1) although chick lit is a romance subgenre, the novel Beauty Case storyline does not follow the normative narrative standard of romance because there are changing plots. However, the end of the novel follows the romance formulation, which ends happily; (2) the main female figure in the novel does not really make a search for true love, but rather searches for identity. In addit ion, the portrayal of male characters also does not follow the formulation of romance that has exemplary characters; (3) the storyteller in this novel is the first single person, the main female figure, with an intimate, subjective, and limited nature of storytelling, according to the formulation of romance. Penelitian ini bertujuan untuk mengungkap formulasi romance dalam chick lit Beauty Case (2005), karya kedua Icha Rahmanti setelah Cintapuccino (2004). Pendekatan metodologis yang digunakan adalah kajian sastra feminis dengan metode analisis struktural. Karena chick lit selalu membahas perempuan, landasan teoretis yang menjadi kerangka penelitian ini harus dikaitkan dengan perspektif perempuan, di antaranya gagasan Radway, Modlesky, serta Gill dan Herdierckerhoff yang digunakan untuk mengupas aspek-aspek naratif dari formulasi romance, yang meliputi pengaluran, penokohan, dan sudut pandang. Hasil penelitian menunjukkan bahwa (1) walaupun chick lit merupakan subgenre romance, tetapi alur cerita novel Beauty Case tidak mengikuti standar narasi normatif romance karena ada beberapa plot yang berubah. Namun demikian, bagian akhir novel ini mengikuti formulasi romance, yaitu berakhir dengan bahagia; (2) tokoh utama perempuan pada novel tersebut tidak benar-benar melakukan usaha pencarian cinta sejati, melainkan pencarian identitas diri. Selain itu, penggambaran tokoh laki-laki juga tidak mengikuti formulasi romance yang memiliki karakter teladan; dan (3) pencerita dalam novel ini adalah orang pertama tunggal, tokoh utama perempuan, dengan sifat penceritaan yang intim, subjektif, dan terbatas, sesuai dengan formulasi romance.
23
Silva, Felipe Lima da. "José de Alencar e a ruína das categorias: uma leitura do romance O Guarani / José de Alencar and the Ruin of the Categories: a Reading of the Novel O Guarani." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 2 (June 30, 2021): 209. http://dx.doi.org/10.17851/2358-9787.30.2.209-224.
Full textAbstract:
Resumo: O presente artigo propõe uma leitura do romance O Guarani, de José de Alencar, por meio de uma perspectiva retórica que permita compreender o enredo do livro pelos condicionamentos e pelas categorias vigentes no próprio século XVII, época em que se passa a história. Em oposição à leitura de visão nacionalista, propõe-se uma perspectiva que veja no romance um enredo tecido pelas categorias retórico-político-teológicas que, aparentemente, estavam em ruínas no romantismo oitocentista. A leitura apresentada busca dialogar com a crítica literária que observa no romance as categorias da política católica seiscentista na mesma medida em que dialoga com as leituras que consagram o autor como o maior indianista da literatura brasileira.Palavras-chave: José de Alencar; século XIX; Romantismo; retórica.Abstract: This article proposes a reading of the novel O Guarani, by José de Alencar, according to a rhetorical perspective that allows to understand the plot of the book by the conditions and the categories in force in the 17th century itself, a time in which the story takes place. In opposition to the reading of the nationalist view, a perspective is proposed that sees in the novel a plot woven by the rhetorical-political-theological categories that, apparently, were in ruins in the 19th century romanticism. The reading of seeking dialogue with the literary critic who observes the novel categories of seventeenth-century Catholic policy to the same extent in which dialogues with the reading that enshrine the author as the greatest Indianist in Brazilian literature.Keywords: José de Alencar; XIX century; Romanticism; rhetoric.
24
McInnis, D. "'Orozes, King of Albania': An Unpublished Plot for a Stage Romance, by John Locke." Review of English Studies 65, no. 269 (August 20, 2013): 266–80. http://dx.doi.org/10.1093/res/hgt075.
Full text
25
Moolla, Fiona. "Her Heart Lies at the Feet of the Mother." African Journal of Gender and Religion 27, no. 2 (December 23, 2021): 1–21. http://dx.doi.org/10.36615/ajgr.v27i2.1044.
Full textAbstract:
Sudanese-British writer, Leila Aboulela’s novel, Minaret (2005) transforms the plot structure of Western literary and popular romance forms and develops further the plotlines of African-American Muslim romance novels. It does so by foregrounding the dissenting mother as obstruction to the union of the hero and heroine, against the backdrop of the unique status of the mother in Islam. Thus, the ending of the novel is neither happy nor tragic. Instead, the lovers are separated, and closure requires reconciliation on the part of the couple with the concerns of the mother. In addition, because of the significant differ-ence in age, the heroine is in some ways like a mother to the hero. Final contentment of the heroine is undermined by her questionable actions at the end, resulting in psychic and spiritual contraction. The novel is therefore open-ed up to ambiguity and uncertainty in the closure, notwithstanding the faith of the heroine. The specific form which closure takes, is determined by the dissenting mother as obstruction in Islamic romance.
26
Aldworth, Jeremy, and Wherly P. Hoffman. "Split-Plot Model With Covariate." American Statistician 56, no. 4 (November 2002): 284–89. http://dx.doi.org/10.1198/000313002597.
Full text
27
Ashida, Atsushi, and Tomoko Kojiri. "Plot-creation support with plot-construction model for writing novels." Journal of Information and Telecommunication 3, no. 1 (October 10, 2018): 57–73. http://dx.doi.org/10.1080/24751839.2018.1531232.
Full text
28
Monnickendam, Andrew. "Getting it All in the Right Order: the Love Plot, Trauma and Ethical Uncertainty in Rachel Seiffert’s Afterwards." Revista Alicantina de Estudios Ingleses, no. 29 (November 15, 2016): 183. http://dx.doi.org/10.14198/raei.2016.29.10.
Full textAbstract:
This article analyzes Seiffert’s Afterwards (2007), which, in marked contrast to her debut publication, The Dark Room (2001), has received scarce critical attention. Set in anodyne suburbia, Afterwards narrates the fate of two unglamorous ex-combatants and their trauma. Seiffert’s complex narrative binds together romance and PTSD in a double plot that intertwines the fate of a “squaddy” involved in a shooting incident in the Northern Ireland Troubles with that of a former RAF officer stationed in colonial Kenya. This article argues that beyond subjective issues of judgment, Seiffert shows an awareness that modern romance cannot combine with trauma, as the idea of healing is nonsensical in a world ruled by ethical uncertainty. Furthermore, Seiffert’s examination of trauma indicates that in fiction –as in life– author and reader have to confront questions of guilt, responsibility and the absence of forgiveness. Seiffert, drawing on ideas similar to Primo Levi’s, concludes the novel with the tragic irony that the more humane the perpetrator, the more distant closure becomes, leaving her main character locked in trauma and the reader ensnared in uncertainty.
29
Pierce, Charles A., Donn Byrne, and Herman Aguinis. "Attraction in organizations: A model of workplace romance." Journal of Organizational Behavior 17, no. 1 (January 1996): 5–32. http://dx.doi.org/10.1002/(sici)1099-1379(199601)17:1<5::aid-job734>3.0.co;2-e.
Full text
30
Hudak, Thomas John. "Organizational principles in thai phannánaa passages." Bulletin of the School of Oriental and African Studies 51, no. 1 (February 1988): 96–117. http://dx.doi.org/10.1017/s0041977x0002022x.
Full textAbstract:
Thailand has had a rich literary tradition in which, until recently, serious literature has always been equated with poetry. Classical Thai poetry written during the past 700 years has covered a vast range of topics: religion, history, romance, legendary figures, imaginary worlds and their inhabitants, to name a few areas. For each major composition, Thai literary anthologies provide representative excerpts, plot summaries, descriptions of verse forms used, biographical data for the author when known, and historical background information. Discussions of the organizational principles that lie behind the literary compositions, on the other hand, rarely occur. Rather, a tacit assumption seems to exist that the structural organization of a work is the same as the plot. An examination of literary selections, however, implies otherwise.
31
Reysner, M. L. "A story about the Daughter of Ka‘b from the Masnavi Ilahi-nameh by Farid ad-Din ‘Attar: the romance narrative within the mystical context." Orientalistica 3, no. 2 (May 31, 2020): 470–96. http://dx.doi.org/10.31696/2618-7043-2020-3-2-470-496.
Full textAbstract:
The article discusses the problem of author’s interpretation of conventional patterns of the romance “genre” in the Tale about daughter of Ka‘b from the Ilahinameh by Farid ad-Din ‘Attar. In particular, it deals with the so-called “standard situations” (e.g. falling in love without seeing the partner, exchange of love letters or poems, etc.) as well as key components of structure (dialogues, monologues, descriptive portraits of main heroes). The analysis is based on the comparison of canonic elements of romance narrative in the Tale about daughter of Ka‘b with their analogies in the texts of the same “genre” of the earlier periods, including the “standard” romances by Nizami. This research reveals the influence of the ‘Uzri lyrical and narrative tradition with regard to the structure of plot of the “romance” and the ways of building up and composition of the features of the chief personage. On this background were analyzed the literary functions of the “inferior” personages, e.g. the nurse (or wet-nurse). The article is based on the translation and commentary of the Story about daughter of Ka‘b by Layla G. Lahuty.
32
Bertagnolli, Davide. "Rewriting the Arthurian Romance." Amsterdamer Beiträge zur älteren Germanistik 82, no. 1 (January 17, 2022): 96–111. http://dx.doi.org/10.1163/18756719-12340232.
Full textAbstract:
Abstract From verse 2593 to the end, the Middle Dutch Ferguut becomes a more independent adaptation of its model, the Old French Fergus: the author starts to operate on a deeper level, namely giving more space and importance to the main female character and, for instance, humanizing the hero’s figure. This article investigates the rewriting strategy adopted in the second part of the romance in order to understand what could have motivated the choices of the unknown poet.
33
Galery, Maria Clara Versiani. "Romance de Romeu e Julieta: tradução, memória e cultura popular." Aletria: Revista de Estudos de Literatura 13, no. 1 (June 30, 2005): 155–64. http://dx.doi.org/10.17851/2317-2096.13.1.155-164.
Full textAbstract:
Resumo: Este artigo examina as semelhanças entre memória e tradução, ao mesmo tempo em que tece uma reflexão sobre o problema da identidade cultural. O conto de Jorge Luis Borges, “La memoria de Shakespeare”, é explorado como um pretexto para a discussão do convívio entre duas tradições, a erudita e a popular. Valendo-se do conceito de transculturação, este artigo demonstra como o folheto de literatura de cordel Romance de Romeu e Julieta adapta um enredo que Shakespeare tornou conhecido, transportando-o para o contexto do nordeste brasileiro.Palavras-chave: cultura popular; Shakespeare tradução.Abstract: This article explores the similarities between memory and tradition at the same time as it reflects about the issue of cultural identity. “La memoria de Shakespeare”, a short story by Jorge Luis Borges, is explored here as a pretext for the discussion of the inter-relationship between erudite and folk traditions. Making use of the concept of transculturation, this article demonstrates how the chapbook Romance de Romeu e Julieta adapts a plot which Shakespeare has made popular and transports it to the context of the Brazilian northeast.Keywords: folk culture; Shakespeare; translation.
34
Joseph Helm, Matthew. "“Nathaniel Hawthorne’s Reframing of That ‘which Milton tells about’: Literary Influence and Blithedale’s Queer Masque”." Nathaniel Hawthorne Review 47, no. 2 (December 1, 2021): 250–66. http://dx.doi.org/10.5325/nathhawtrevi.47.2.0250.
Full textAbstract:
ABSTRACT This article situates Nathaniel Hawthorne’s The Blithedale Romance (1852) within the debates around Fourierism, marriage, and Hawthorne’s literary legacy that took place in contemporary US magazines and periodicals in the mid-nineteenth century. In doing so, I rely on two notions of influence. First, while many periodicals regarded Hawthorne as a potential representative of a new national literature, they remained wary of the influence his unorthodox portrayals of marriage might have on readers and on the status of the nuclear family as the foundation of a sound society. Publications like The Southern Quarterly and The Church Review, and Ecclesiastical Register featured articles wishing that Hawthorne would fall in line with the British tradition of the neat marriage-plot, thus upholding the sanctity of marriage and securing his place within a burgeoning American literary canon. Second, I reframe Hawthorne’s relationship to his received literary patrimony, arguing that The Blithedale Romance queers the influence of the Miltonic masque tradition. In contrast to previous scholarship, which often seeks one-to-one allegories between the intertexts, I argue that The Blithedale Romance continually reappropriates situations and recasts characters from Milton’s Comus to expose contradictions and inconsistencies within hetero-patriarchal lineage and literary inheritance.
35
Goyal, Amit, Ellen Riloff, and Hal Daumé III. "A COMPUTATIONAL MODEL FOR PLOT UNITS." Computational Intelligence 29, no. 3 (September 3, 2012): 466–88. http://dx.doi.org/10.1111/j.1467-8640.2012.00455.x.
Full text
36
Eyton, J. Ronald. "Digital Elevation Model Perspective Plot Overlays." Annals of the Association of American Geographers 76, no. 4 (December 1986): 570–76. http://dx.doi.org/10.1111/j.1467-8306.1986.tb00137.x.
Full text
37
Gill, D. S., and K. G. Janardan. "A Linear Model with Plot Effects." Biometrical Journal 29, no. 3 (1987): 299–304. http://dx.doi.org/10.1002/bimj.4710290309.
Full text
38
Artico, Davide. "The author as gesture in Elia Levita’s “Bovo-Bukh”." Studia Philosophica Wratislaviensia 16, no. 4 (December 28, 2021): 7–26. http://dx.doi.org/10.19195/1895-8001.16.4.1.
Full textAbstract:
The paper contains a study case on how ethics influence aesthetics in a literary work. Through a comparison of a Venetian chivalry romance printed in the late 15th century with the Yiddish adaptation of the same Elia Levita originally wrote in Padua in 1507, and then published in Isny, Württemberg in 1541, several differing points are undelined which mirror differences in the relative ethical frameworks of reference. While the characters and the main storyline are substantially the same in both works, the different details in the unfolding of the plot of the Yiddish version show that Levita wrote for a public who shared a different axiology, that is he authored a totally new romance, performing in accordance with the ethical system which his potential readers referred to. This ‘gesture’ in the classical Latin sense of representing a moral background while issuing a literary work carries along both a syncretistic approach to religion and an attitude more respectful of gender equality than the Venetian original does.
39
Florya, A. V. "INTERTEXTUAL ELEMENTS IN THE POETICS OF THE FILM “CARGO 200” BY A. BALABANOV." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (December 25, 2019): 1071–80. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1071-1080.
Full textAbstract:
This article is devoted to the theme of interaction of literary texts with the language of cinema. The article describes some intertextual sources of the film “Cargo 200” by A. Balabanov. The plot frame of this film may be considered the novel “Sanctuary” by W. Faulkner, but conceptually the film is different from it. The myth about the dead bridegroom is used in the film only conditionally and is transferred to another character. Popular Soviet songs are used in the film in different functions: they create a cultural background (in fact, very relative), accompany and illustrate the plot, serve as characteristics of the characters. Although Balabanov preferred rock music, in this film mainly popular songs are used in an ironic manner. Sentimental romance of these songs contrasts with the terrible context and in a sense creates the effect of “black humor”.
40
Jacobs, Ronald N., and Philip Smith. "Romance, Irony, and Solidarity." Sociological Theory 15, no. 1 (March 1997): 60–80. http://dx.doi.org/10.1111/0735-2751.00023.
Full textAbstract:
Contemporary social theory has turned increasingly to concepts such as civil society, community, and the public sphere in order to theorize about the construction of vital, democratic and solidaristic political cultures. The dominant prescriptions for attaining this end invoke the need for institutional and procedural reform, but overlook the autonomous role of culture in shaping and defining the forms of social solidarity. This article proposes a model of solidarity based on the two genres of Romance and Irony, and argues that these narrative forms offer useful vocabularies for organizing public discourse within and between civil society and its constituent communities. Whilst unable to sustain fully-inclusive and solidaristic political cultures on their own, in combination the genres of Romance and Irony allow for solidaristic forms built around tolerance, reflexivity, and intersubjectivity.
41
Demchenko, Valentina, Natalia Lutsenko, Olga Gaibaryan, and Yulia Khoroshevskaya. "The author's strategies of the communicative paradigm in the medieval romance." E3S Web of Conferences 273 (2021): 11046. http://dx.doi.org/10.1051/e3sconf/202127311046.
Full textAbstract:
The research is devoted to the study of the actualization of meanings in a literary text. The study is based on the material of a medieval novel. The subject of the study was the corpus of texts of chivalric novels. In the aggregate, the study of (linguistic-rhetorical) works. The analysis was carried out from the position of studying the author's strategy of influencing the reader in order to have a certain attitude to the hero or plot of the work. The author's influencing strategy in novels is conceptually different from the strategies in works of other genres. The fact that in the works of different authors, united by one image of the main character, use similar elements of influence on the reader, which indicates a special perception of the image of the main character in the minds of people of the XII–XV centuries. This perception is formed both from the totality of literary techniques that pass from work to work, and at the level of linguistic means.
42
ChoHeejeong. "The Frustrated Romance Plot and the Anxiety of the Imperial Subject: Robert Southey’s Thalaba the Destroyer." English21 28, no. 3 (September 2015): 171–93. http://dx.doi.org/10.35771/engdoi.2015.28.3.008.
Full text
43
Hinnant, Charles H. "Jane Austen's "Wild Imagination": Romance and the Courtship Plot in the Six Canonical Novels." Narrative 14, no. 3 (2006): 294–310. http://dx.doi.org/10.1353/nar.2006.0014.
Full text
44
Büscher, Monika. "Nomadic Work: Romance and Reality. A Response to Barbara Czarniawska’s ‘Nomadic Work as Life-Story Plot’." Computer Supported Cooperative Work (CSCW) 23, no. 2 (October 10, 2013): 223–38. http://dx.doi.org/10.1007/s10606-013-9194-6.
Full text
45
Samuelson, Meg. "Literature in the World: A View from Cape Town." PMLA/Publications of the Modern Language Association of America 131, no. 5 (October 2016): 1544–47. http://dx.doi.org/10.1632/pmla.2016.131.5.1544.
Full textAbstract:
Returning Recently to Teach at My Alma Mater, The University of Cape Town, I Was Amazed to Find That the Undergraduate curriculum to which I had been exposed at the dawn of the post-apartheid era remained substantially unaltered. With the exception of an experimentally convened introductory year that reverses chronology with interesting effects, the English major continues to plot a literary history across four inherited periods: Shakespeare and Co., Romance to Realism, Modernism, and Contemporary Literature, which collapses a previous bifurcation of the capstone course into Postmodernism or Postcolonialism.
46
Dzikriya, Uliya. "Analysis of Actantial Model in Suzanne Collins’ "The Hunger Games"." Rainbow: Journal of Literature, Linguistics and Cultural Studies 8, no. 2 (November 30, 2019): 85–94. http://dx.doi.org/10.15294/rainbow.v8i2.34207.
Full textAbstract:
This study aims to analyze plot structure in Collins’ The Hunger Games. There are several questions that researcher wants to find, what the elements of plot are, how do the elements of plot compose the plot structure of the story, and what kind of plot is applied in the novel. This study is a qualitative analysis by applying A.J. Greimas approach. The data were collected by reading, identifying, interpreting and analyzed using the approach and theories which used in this study by using actants. The result of this study were the elements of plot consist of beginning, problem of the story, rising action, climax, falling action, and resolution. To find out the main plot structure, this study classifies the function of each character into six actants, they are sender, receiver, subject, object, helper and opponent. Finally, the researcher concluded what kind of plot and how the ending of the novel is. The plot of the novel is dramatic or cronological plot because the story through in chronological order. In addition, the novel is closed plot because the problem of the story is solved.
Keywords: Actant, Greimas, Plot, Sructuralism
47
Crostini, Barbara. "Mapping Miracles in Byzantine Hagiography: The Development of the Legend of St Alexios." Studies in Church History 41 (2005): 77–87. http://dx.doi.org/10.1017/s0424208400000139.
Full textAbstract:
Hagiographical narrative is often examined through the well-established text-critical principle according to which the earliest text is necessarily the most skeletal in outline, the least wondrous in plot, and therefore the most historically believable. According to this view, to the bare bones of truth, fanciful narrative and miraculous tales are added with time, as the tale grows in the telling. The development of the Legend of St Alexios has been viewed as a case in point. The idiosyncratic life-story of this fourth-century ascete has been described as evolving from a nucleus of ‘fact’, essentially coinciding with the early Syriac Life, to a romanced complexity with the Byzantine version influencing the later versions in all major romance languages. Consequently, critics have isolated and, to a large extent, derided the ‘miraculous’ element in the plot, while failing to articulate an understanding of the role of miracles in Alexios’s Life.
48
Maziarczyk, Anna. "Les émotions de l’eau dans la littérature sentimentale. Le cycle de Marie de Jean-Philippe Toussaint." Lublin Studies in Modern Languages and Literature 42, no. 3 (October 5, 2018): 162. http://dx.doi.org/10.17951/lsmll.2018.42.3.162.
Full textAbstract:
<p>The aim of this paper is to analyse diverse representations of water in Jean-Philippe Toussaint’s cycle of Mary and the textual effects they produce. Water is not only the crucial aspect of the represented world but also the key narrative component, which shapes the plot, creates nostalgic atmosphere and reveals the philosophical dimension of the novel classifiable as romance. Drawing on selected theories of elements, the paper examines the ways in which Toussaint uses the emotions carried by water to create intensity and depth in a novel about love.</p>
49
Barros del Río, María Amor. "Irish Youth, Materialism and Postfeminism: The Critique behind the Romance in "Normal People"." Oceánide 15 (February 8, 2022): 73–80. http://dx.doi.org/10.37668/oceanide.v15i.98.
Full textAbstract:
Normal People, the TV series, aired in Ireland during the pandemic lockdown in spring 2020 and became an instant hit. This romantic drama, based on Sally Rooney’s acclaimed novel, offers an updated representation of the tensions inherent in the process of growing up for Irish youth, a context extensive to other Western countries. The aim of this article is to explore the critique behind the romance through an in-depth interpretation of the protagonists’ problematic process of coming-of-age. For this purpose, the dramatic aspects of this cinematic narrative are explored in terms of composition, narration and focalization. Under the critical lens of postfeminism, this article analyses how psychological violence and explicit and rough sex are used in the series as forms of (mis)communication, with a particular interest in the combination of camera work, dialogues and silences. Finally, this article assesses to what extent Normal People naturalizes mundane life and succeeds in adhering to the romantic plot within the frame of neoliberal and postfeminist values.
50
Bergez, Jacques-Eric, Michel Etienne, and Philippe Balandier. "ALWAYS: a plot-based silvopastoral system model." Ecological Modelling 115, no. 1 (February 1999): 1–17. http://dx.doi.org/10.1016/s0304-3800(98)00153-7.
Full text