On the Borders of the Ostensive

2018 ◽  
Author(s):  
Kirsti Sellevold
Keyword(s):  
Emotional Expression ◽  
Essential Role ◽  
The Novel ◽  
Love Story ◽  
Scalar Expression ◽  
Communicative Effect ◽  
The House Of Mirth

This chapter studies uses of blushing as emotional expression both independently and in combination with the scalar expression almost in Edith Wharton’s The House of Mirth. Introducing the notion of ‘emotional vigilance’, it argues that uses of involuntary emotional expression play an essential role in the communicative effect of the novel and are enacted at both the ostensive and the non-ostensive level, through authorial agency and character behaviour respectively. The scalar expression almost pinpoints how the almost-but-not-quite-fulfilled love story between the two main characters is articulated, and arguably made to happen, by such expressions. Together, they create a rich web of implicatures and implications, the space in which the suspense of the novel and its tragic outcome are played out. The chapter thus explores the borders of the ostensive; that is to say, of the conditions within which relevance itself operates.

Rereading the Future

PMLA ◽  
2018 ◽  
Vol 133 (3) ◽  
pp. 640-646
Author(s):  
Cynthia Port
Keyword(s):  
Graduate School ◽  
The Novel ◽  
High Expectations ◽  
Opening Scene ◽  
Love Story ◽  
Dynamic Relation ◽  
The Future ◽  
Central Station ◽  
The Way ◽  
The House Of Mirth

I noticed the dynamic relation between age and narrative the second time i read edith wharton's the house of mirth. on my first experience of reading the novel, as an undergraduate of eighteen, I was engaged by its thwarted love story and saddened by Lily Bart's tragic but honorable end. When I reread the novel in graduate school, however, I was about to turn twenty-nine, the age at which Lily's marriage prospects and high expectations for the future begin to fade. Although Lily is widely admired for her remarkable beauty, readers are alerted in the novel's opening pages to the incipient erosion of that beauty. Even as Lawrence Selden finds his eyes “refreshed” when he catches a glimpse of Lily at Grand Central Station, remarking that “he had never seen her more radiant” (37), he credits this impression to the way her dark hat and veil have temporarily restored “the girlish smoothness, the purity of tint, that she was beginning to lose after eleven years of late hours and indefatigable dancing” (38). While Selden silently muses about her age (“here was nothing new about Lily Bart. … [H]ad she indeed reached the nine-and-twentieth birthday with which her rivals credited her?” [37–38]), Lily declares that she's “as old as the hills” (38); she perceives that “people are getting tired” of her and saying she “ought to marry” (42). Lily is ambivalent about marriage as her “vocation” (as Selden puts it [43]) but undertakes this quest. By the end of the novel, having lost her social and economic standing and failed to secure a husband—and thereby a future—she puts her affairs in order and overdoses on chloral (43). Her age is certainly not the only factor contributing to her decline: Selden's continuing fascination with Lily affirms that she has remained dis-tractingly attractive (even if, perhaps, “ever so slightly brightened by art” [39]), and the novel attributes her social descent more directly to her financial circumstances than to her age. Nevertheless, the opening scene of The House of Mirth emphatically establishes twenty-nine as a precipice over which Lily Bart falls to her doom.

scholarly journals STYLISTIC FEATURES OF THE NOVEL “PAPER TOWNS” BY JOHN GREEN

2019 ◽  
Vol 1 (16) ◽  
pp. 196-202
Author(s):  
Iryna Shyshkina
Keyword(s):  
Emotional Expression ◽  
English Language ◽  
Essential Role ◽  
Emotional State ◽  
Point Of View ◽  
Psychological Effects ◽  
Reading Process ◽  
The Novel ◽  
Current Interest ◽  
Different Levels

The article is based on the current interest in John Green’s novels as they are little observed from the stylistic point of view. This work clarifies the main stylistic peculiarities of the writer, presents a profound analysis of John Green’s novel "Paper towns" on different levels of the language. It describes the functions performed by all the stylistic devices used in the text. It can be stated that "Paper towns" is very rich in various striking, original stylistic means, each of which has an essential role to the entire “tissue” of the text. At the end of the research it can be concluded that the most powerful emotional expression, logical and psychological effects are comprised in those parts of the text in which there is a synthesis of stylistic techniques of different levels of language. And the more such techniques the story has, the more it impresses the reader. These parts of the text make the reading process much more interesting and incredibly exciting. Stylistically marked syntactical units in the text of the investigated English-language novel aim to create expressiveness, to act as a means of representing the emotional state of characters, to create a logical and emotional enhancement, to increase the dynamism of the narrative, while not complicating the perception of information. That allows the writer to establish emotional contact with the reader, to increase an expressive sound of the text. Attracting the attention of the reader, increasing the logical and emotional influence on him or her, providing the text with dynamism, authenticity, allocating certain moments in the narrative − all this is achieved with the help of linguistic devices of expressive syntax.

Le premier moment de l’art dans À la recherche du temps perdu de Marcel Proust – une « leçon d’idéalisme » ?

2020 ◽  
pp. 25-40
Author(s):  
Larisa Botnari
Keyword(s):  
Essential Role ◽  
Marcel Proust ◽  
The Self ◽  
Philosophy Of Art ◽  
The Novel ◽  
Philosophical Interpretation ◽  
German Philosopher ◽  
Lost Time ◽  
Aesthetic Thinking

Although very famous, some key moments of the novel In Search of Lost Time, such as those of the madeleine or the uneven pavement, often remain enigmatic for the reader. Our article attempts to formulate a possible philosophical interpretation of the narrator's experiences during these scenes, through a confrontation of the Proustian text with the ideas found in the System of Transcendental Idealism (1800) of the German philosopher F. W. J. Schelling. We thus try to highlight the essential role of the self in Marcel Proust's aesthetic thinking, by showing that the mysterious happiness felt by the narrator, and from which the project of creating a work of art is ultimately born, is similar to the experiences of pure self-consciousness evoked and analyzed by Schellingian philosophy of art.

Browning's The Ring and the Book: “A Novel Country”

1983 ◽  
Vol 11 ◽  
pp. 39-50
Author(s):  
Susan Blalock
Keyword(s):  
Henry James ◽  
The Novel ◽  
Love Story

Henry James declared in “The Novel in The Ring and the Book” that he had long thought of the twelve-book poem as an unsuccessful novel of the “so-called historical sort.” He thought that the manner of its production “tragically spoiled” and “smothered” Browning's intention in writing his novel-in-verse. James identifies that intention as the desire to present a “study of the manners and conditions from which our own have … issued.” James's desire for the structure to build a coherent love story around Pompilia and Caponsacchi blinded him to the processive nature of Browning's study of how art represents the manners and conditions from which our own have issued. What James laments as “the great loose and uncontrolled composition” and the “great heavy-hanging cluster of related but unresolved parts” actually constitutes rather than spoils the novelistic force of The Ring and the Book if we define the novel in Mikhail Bakhtin's manner as a revolutionary process rather than as a fixed generic form.

scholarly journals Perbedaan Makna Novel dan Film Ayat-Ayat Cinta: Kajian Ekranisasi

ATAVISME ◽  
2009 ◽  
Vol 12 (2) ◽  
pp. 167-180
Author(s):  
Karkono Karkono
Keyword(s):  
College Student ◽  
Technical Problem ◽  
Film Production ◽  
Adaptation Process ◽  
The Novel ◽  
Film System ◽  
Production Team ◽  
Love Story ◽  
The Difference

Proses adaptasi dari novel ke bentuk film disebut ekranisasi. Perbedaan yang sering muncul dalam proses ekranisasi selama ini lebih sering disebabkan oleh perbedaan sistem sastra (dalam hal ini novel) dan sistem film. Hal-hal teknis seperti media novel yang berupa kata- kata dan bahasa sementara media utama film adalah audio visual (suara dan gambar) memang menjadi kewajaran jika antara novel dan film menjadi berbeda. Dalam kasus novel dan film Ayat-Ayat Cinta (AAC), perbedaan yang ada bukan sebatas karena masalah teknis tersebut, tetapi adalah perbedaan yang disengaja. Hasil dari penelitian ini adalah menguraikan perbedaan-perbedaan antara novel dan film AAC yang kemudian bisa terdeskripsikan sebab- sebab perbedaan itu terjadi dan juga makna perbedaan tersebut. Dari penelitian ini dapat disimpulkan bahwa perbedaan yang ada antara novel dan film AAC bukan sebatas karena perbedaan sistem sastra dan sistem film, tetapi perbedaan yang disengaja oleh tim produksi film dengan maksud tertentu. Dari pengayaan dan berdasar pada fakta yang diungkap, peneliti menyimpulkan bahwa film AAC lebih menekankan pada persoalan poligami, ini terlihat dengan banyaknya penambahan adegan di dalam film yang menampilkan kehidupan poligami yang tidak ada di novel, sementara novel AAC lebih berisi. penggambaran perjuangan seorang mahasiswa Indonesia yang kuliah di Mesir beserta perjalanan kisah asmaranya. Abstract Adaptation process from novel to film is called ecranization. The differences often show up in the process of ecranization all this time is more regularly because of the difference of art system (in this case novel) and the film system. Technical things as media or novel which consist of words and language, meanwhile film main media is audio visual (sow1d and picture) becomes a common thing if between novel and film become different. In the case of AAC's novel and film, the difference is not only because of that technical problem, but this is an intentional difference. From this research can be concluded that difference among AAC's novel and film is not one bounds because an system difference and film system, but intentional difference by film production team for the specific purposes. From enrichment and based on fact that revealing, researcher concludes that AAC's film more emphasizes on polygamy problem, this appears on many added scenes in film that feature polygamy life that is not tell in the novel, while AAC'S novel more consist of the struggle of an Indonesian college student that study at Egypt there with his love story. Keywords: ecranization, novel and film, struggle of an Indonesian college student, polygamy

scholarly journals PLOT ELEMENTS AND MOTIVES OF THE NOVEL “CHEVENGUR” IN PLATONOV’S SHORT STORY “POTUDAN RIVER”

2021 ◽  
Vol 26 (1) ◽  
pp. 44-55
Author(s):  
N. Mikhaylovna Malygina ◽  
Keyword(s):  
Short Story ◽  
The Novel ◽  
Love Story ◽  
Planetary Scale ◽  
The Family ◽  
Analytical Review ◽  
Eugene Onegin ◽  
Intertextual Connections ◽  
First Time

The relevance of the article is determined by the researcher of the semantic poetics of Platonov’s story “Potudan River”. We carry out an analytical review of the lifetime criticism and articles of modern researchers about the story, on the basis of which we formulate the purpose of the study, due to the need for a new approach to the interpretation of the work and the identification of the principles of its poetics. The novelty of the article is determined by the identification of the multilayered symbolism of the title of the story, which allows to establish the insufficiency of the conclusions that the content of the “Potudan River” is limited to the family theme. At the level of micropoetics we reveal symbolic details that connect the content of the story with the motive of love for the distant, medical and construction subjects and revealing the planetary scale of the author’s thinking. For the first time, it was established that Platonov’s story “Potudan River” was written based on part of the plot of the novel “Chevengur” – the love story of Alexander Dvanov and Sonya Mandrova. We show that the heroes of the story “Potudan River” Nikita Firsov, Lyuba Kuznetsova and Nikita’s father are doubles of the characters in the novel “Chevengur” by Sasha Dvanov, Sonya Mandrova, and Zakhar Pavlovich. The connection of the image of Lyuba with the archetype of the bride is considered. The paper reveals for the first time the intertextual connections of the story “Potudan River” with the poem “The Bronze Horseman” and the novel in verse “Eugene Onegin” by A. Pushkin, in the texts of which the writer found material for modeling the ordinary fate of the hero. Multi-level connections of the content of the story “Potudan River” with Platonov’s artistic world, which is a complete metatext, are found, which opens up new opportunities for determining the role of the editing technique and the principles of returning to the plots and motives of the works of the 1920s, as well as their transformation in the writer’s work of the 1930s.

scholarly journals Ičvič's Travels: Representations of Identity in Petar Milošević's Novel London, Pomaz

2020 ◽  
Vol 15 (1) ◽  
Author(s):  
Mladena Prelić
Keyword(s):  
Collective Identity ◽  
Literary Work ◽  
The Novel ◽  
Small Community ◽  
Berlin Wall ◽  
Love Story ◽  
Power And Control ◽  
The Cold War ◽  
Ethnic War ◽  
And Control

The paper offers a reading of the novel London, Pomaz by Petar Milošević (b. 1952 in Kalaz, Hungary) in the key of individual and collective identity positionings, from the aspect of sociocultural anthropology. The novel, published in 1993, is framed as a love story spanning the East and West, until recently divided by the Cold War, and the protagonists are Serbs from the area around Budapest, a community to which both the author and his main character Ičvič belong. The character's surname, which is actually non-existent, has been formed from the suffixes -ić and -vić characteristic of patronymic Serbian surnames, in the Hungarianized version of -ič and -vič. Through a series of sequences, the novel describes the protagonist's life cycle from Pomaz, a small town between Budapest and Szentendre, where Ičvič was born, and Budapest, to Slovakia, the former Yugoslavia, Venice and London, and finally back to Pomaz, from the 1950s to the 1990s. Ičvič encounters different people and situations, others' stereotypes and prejudices as well as his own, unfulfilled expectations and the illusion of freedom in a world that has supposedly risen above ideological divisions, while next door, his (former) country is riven by ethnic war, the small community to which he belongs by birth is gradually disappearing, and in the supposed democratization processes following the fall of the Berlin wall, power and control merely take new forms. The situations in which the protagonist finds himself provide the possibility of reading/reading into them the relationship we:others or I:others, in other words, of different identity formations and positionings, not only of Ičvič himself but also of other characters and the collectivities to which they actually or supposedly belong. The assumption is that, despite the significant differences between a literary text and ethnography, a literary work can be used, with due methodological caution, as a source in anthropological research.

scholarly journals The theme of nature in The Thorn Birds

2020 ◽  
Vol 4 (2) ◽  
pp. 357-364
Author(s):  
Le Nguyen Nguyen Thao
Keyword(s):  
Human Life ◽  
The Novel ◽  
Human Relationships ◽  
Social Sciences And Humanities ◽  
Love Story ◽  
National University ◽  
Great Love ◽  
Human And Nature ◽  
Oriental Studies ◽  
The University

The Thorn Birds by Colleen McCullough (1937-2015) is one of the most popular Australian novels in Vietnam, which is mentioned in the curriculum of Australian Studies – a major of the Faculty of Oriental Studies, University of Social Sciences and Humanities, Vietnam National University Ho Chi Minh City). In general, the themes which mainly attract readers’ attention are the great love story between Meggie Cleary – a beautiful, tough woman and Ralph de Bricassart – an ambitious Catholic priest, and (or) an inevitable tragedy resulted from the conflict between the love for God and that for man. However, exerting much focus on human relationships in The Thorn Birds makes it hard to see another important “figure” – nature – as well as the relationship between human and nature in the West of Australia, the main setting of the novel where the climate is harsh, unique and sometimes unpredictable. Since the theme of nature accounts for a large content of the novel, The Thorn Birds is likely to be an interesting subject to eco-critical studies. In this paper, from the perspective of ecocriticism, we try to point out how the theme of nature is treated in this novel, including how the figure of nature being depicted, how the human-nature relationship being dealt with and how nature is embracing human life and “telling” human stories. We also indicate the possible connection between literature and daily human life, and between a 1977 Australian novel which tells us the stories of the natural cycle, the bushfires, the imported animals, etc. and the unusual wildfires which occurred in this country at the beginning of the year 2020. In addition, by evaluating as a typical Australian novel from eco-critical perspectives, we hope to introduce a new approach to conduct research on Australian literature at the Department of Australian Studies and for other researches of literature major in the University.

scholarly journals Transcription-termination-mediated immunity and its prevention in bacteriophage SfV of Shigella flexneri

2007 ◽  
Vol 88 (11) ◽  
pp. 3187-3197 ◽  
Author(s):  
Fleur Roberts ◽  
Gwen E. Allison ◽  
Naresh K. Verma
Keyword(s):  
Essential Role ◽  
Transcription Termination ◽  
Shigella Flexneri ◽  
Temperate Phage ◽  
The Novel ◽  
Subsequent Infection

The temperate phage SfV encodes the genes responsible for the serotype conversion of Shigella flexneri strains from serotype Y to 5a. Bacteriophages often encode proteins that prevent subsequent infection by homologous phages; the mechanism by which this is accomplished is referred to as superinfection immunity. The serotype conversion mediated following lysogenization of SfV is one such mechanism. Another mechanism is the putative λ-like CI protein within SfV. This study reports the characterization of a third superinfection mechanism, transcription termination, in SfV. The presence of a small immunity-mediating RNA molecule, called CI RNA, and its essential role in the establishment of immunity, is shown. The novel role of the gene orf77, located immediately downstream from the transcription termination region, in inhibiting the establishment of CI RNA-mediated immunity is also presented.

scholarly journals Essential Role of the Oocyte in Estrogen Amplification of Follicle-Stimulating Hormone Signaling in Granulosa Cells

Endocrinology ◽  
2005 ◽  
Vol 146 (8) ◽  
pp. 3362-3367 ◽  
Author(s):  
Fumio Otsuka ◽  
R. Kelly Moore ◽  
Xia Wang ◽  
Shweta Sharma ◽  
Tomoko Miyoshi ◽  
...  
Keyword(s):  
Mrna Expression ◽  
Granulosa Cells ◽  
Essential Role ◽  
Primary Cultures ◽  
The Novel ◽  
Camp Production ◽  
Lh Receptor ◽  
Cell Responses ◽  
A Site

Abstract The establishment of dominant ovarian follicles that are capable of ovulating fertilizable oocytes is a fundamental determinant of female fertility. This process is governed by pituitary gonadotropins as well as local ovarian factors. Within the follicle, estrogen acts in an autocrine/paracrine manner to enhance FSH action in the granulosa cells. These effects include the augmentation of P450aromatase expression and estradiol production. This feed-forward effect of estrogen is believed to play a key role in follicle dominance. Here we found the essential role of the oocyte in this physiological process using primary cultures of rat granulosa cells. In the presence, but not absence, of oocytes, estrogen amplified FSH-stimulated increases in mRNA expression of P450aromatase, FSH receptor, LH receptor, and inhibin α-, βA-, and βB-subunits as well as cAMP production. Thus, oocytes mediate the estrogen enhancement of FSH action in the granulosa cells. In comparison with FSH, cotreatment with estrogen and oocytes failed to amplify the stimulatory effects of forskolin or 8-bromoadenosine-cAMP on granulosa cell responses including P450aromatase mRNA expression and cAMP production, indicating that estrogen/oocytes amplify FSH action at a site upstream of adenylate cyclase. These findings support the novel conclusion that communication between the oocyte and granulosa cells plays a crucial role in mediating estrogen action during FSH-dependent folliculogenesis.

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