Novel Mega Best-Seller Karya Luluk HF Mariposa dalam Kajian Resepsi Sastra

This study discusses the reception of readers of the mega best-seller novel entitled Mariposa by Luluk HF. The purpose of this study is to (1) describe the reader's responses, (2) describe the horizon of readers' expectations, and (3) describe the factors that cause differences in responses and the horizon of expectations of readers of Mariposa's novel. The method applied is descriptive qualitative. This study uses a reception aesthetic approach that seeks to find consistent reception patterns as a reflection of the way the reader responds to the text. The research data consisted of texts containing the responses of twenty respondents from the data source in the form of the Goodreads reader site. The research results obtained are as follows. First, not all readers respond positively to the intrinsic elements of the novel, especially the characterization of the female protagonist who is considered to show aggressive behavior with a love motive. Second, most of the horizons of readers' expectations do not match the reality in Mariposa. Readings are generally motivated by curiosity because of the hyperbolic labeling of the novel, recommendations from friends, and the discourse of filming the novel. Third, the factors that cause the difference or suitability of the horizon of readers' expectations for the Mariposa novel are knowledge of literature, knowledge of life, and experience of reading literary works.

Intensely Original

The story of Beauty and her beast is truly a tale as old as time: a beautiful girl falls in love with a beast and her love transforms him into a prince. This project is framed by Joosen’s (2011) argument regarding fairy tale retellings disrupting Jauss and Benzinger’s (1970) claim that fairy tales and retellings align with the horizon of expectations. Using Kemmerer’s A Curse so Dark and Lonely (2019), a “Beauty and the Beast” retelling, this essay tests Joosen’s (2011) theory to determine if the retelling remains true to or diverges from the original parent material.

Futuro pasado. la evolución del concepto Poesía en Octavio Paz

Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts

The Dualism of Place in Lattif Halmat’s Poetic Texts

This research, which is entitled “The Dualism of Place in Lattif Halmat’s Poetic Texts”, is a critically analytical study on the dualism of place, the role and position of the element of place within the frame of poetic texts. In the poet’s poetic texts, the element of place created a kind of reversal in the readers’ horizon of expectations. The binary oppositions have become the structure of art and the aesthetic of poetic texts. And often, they have become (purple patches) in the texts in a way that all the surrounding words are ablaze with their power and their beauty. This research is composed of two chapters: The first chapter is devoted to the concept and definition of dualism and the philosophical concept of dualism in a theoretical method. In terms of their presence in Lattif Halmat’s poetic texts, the second chapter deals with the dualism of place within the frame of poetic texts in a critically analytical way. And finally, the research ends with the conclusions and bibliography.

Bigmouth Strikes Again: The Controversies of Morrissey and Cancel Culture

On May 14, 2019, Morrissey performed on American television using a pin of the far right For Britain party. When criticized, he succinctly responded on Twitter: “ Why don't you have freedom of speech? Or freedom to wear a pin on TV?” His online fandom reacted vehemently suggesting a “cancellation” of the artist. In this context, our proposal is to track constitutive parts of this process of “deception” with Morrissey, focusing specifically on a phenomenon that has gained visibility on socio-technical networks: the idea of “canceling.” To gauge the reaction of his fandom, we address this event from the perception that this response to the singer took place on the horizon of expectations constructed through the experience that fans had with his career over the decades. We also use the notion of expressive coherence, as an analytical guide to understand some of the implications and tensions related to Morrissey’s trajectory, examining how his historically constituted nostalgic performance tracks and sheds light on two questions that are essential to our analysis: “Was he really always like this?”; and “How did he become this person?” These are conjugated to a definitive affirmation: “I cannot be his fan anymore.”

El elogio como expresión de agudeza en la universidad novohispana en el siglo XVIII

This paper aims to describe the horizon of expectations concerning praise or eulogy as a literary subgenre in New Spain’s 18th century. I tackle its background in European Renaissance, its affiliation with the rhetorical tradition of acumen or acuity, its inclusion in the university practices of New Spain and the controversy that arose because of that. Although not all intellectuals from New Spain decided to add acumen to university eulogies, the tradition of doing so prevailed.

Mechanisms for Interpretative Cooperation: Fan Theories in Virtual Communities

This work focuses on analyzing fan theories as interpretive processes shared by users of virtual reading communities. Within these spaces of participatory culture, a complex strategy of interactions among its members is encouraged to formulate conjectures about the text's intentions and negotiate its degree of relevance. We have based our research on a methodology linked to the ethnography of reading. From a representative sample of the narrative universes of A Song of Ice and Fire and Harry Potter, the different modes of agreed collaborative textual interpretation are explored. The data show that within these communities of practice, three reading models are developed: predictive theories in which future narrative contents are inferred; explanatory theories in which narrative arcs are endowed and charged with meaning through the analysis of canon and, finally, alternative theories with a highly creative component in which the interpretative limits of the text are explored. Within these virtual communities, hermeneutical proposals are characterized by the activation of complex, heavily referenced literary argumentation to maintain semiosis active and expand the horizon of expectations of its members.

Future as a Horizon of Expectations

This chapter adopts a sociological approach to conceptualize futurity as a horizon of expectations. It provides a practical application of sociological theory—future present and present future, horizon of expectations, futurization and defuturization—to contemporary discourse. It observes that hegemonic discourses emphasize ‘defuturization’—decreasing the openness of people’s present futures—and explores the problems this poses for the self-expression of younger generations. As well as exploring the impact of futurity/defuturization upon the development of processual research methods, the chapter reflects upon ways in which sociology may intervene in communicative practices and foster the capacity of individuals to work through their own horizons of expectations and open up the present future.

Intertextuality in T. Pratchett’s Novel Maskerade

The category of intertextuality and playing with the reader have become an integral part of mass literature in the era of postmodernism. The aim of this article is to analyse the intertextual inclusions in Maskerade (1995), a novel by Terry Pratchett, a British writer who achieved success in comic fantasy and is well-known for his book series Discworld and the use of different cultural references which play a crucial role in the construction of the storyline. The research refers to the original text of Maskerade, the primary precedent texts, i.e. The Phantom of the Opera by Gaston Leroux and the musical of the same name by Andrew Lloyd Webber, as well as several musical works of the last century. The distinctive features of the novel include a predominance of musical references over literary ones, which can be explained by the primary plot of the book developing on the stage of the Ankh-Morpork Opera House. In the very paratitle of the novel, the writer begins an intertextual game with the reader, hinting at the main narrative line, the duality and masquerade of what happens. All the plot-forming intertextual connections analysed in this article have no attribution and are expressed in the form of marked quotations, quasi-quotations, and allusions. However, taking into consideration “the white knowledge” and the readers’ horizon of expectations, Terry Pratchett reconsiders many images of the characters and seemingly well-known plot twists of The Phantom of the Opera. Furthermore, showing the backstage of the theatrical world with its prejudices and difficulties, the author thereby connects the real world with the secondary fictional world which turn out to be hardly distinguishable from each other.

GENRE FEATURES OF HORROR LITERATURE

The article is dedicated to the study of the genre features of horror literature, its plot matrices and principles of artistic modeling of pictures of the world. The article describes the genre-creating elements that have become basis for systematization of the genre composition of horror literature. Special attention is paid to the typology of characters, the specifics of the arranging artistic time and space, as well as the features of the emotional impact on the reader as one of leading principles of genre classification of this type of fiction. After all, much of the text of the works of representatives of horror literature is devoted to the construction of artistic space and time, in order to introduce the recipient into a certain range of components of the emotional state during reading, to achieve the goal of horror literature. Namely, to scare the reader. Considerable attention is paid by the authors of this type of literature to the modeling of characters as a genre component. The article describes a set of standardized elements and attributes describing the appearance and character of the characters, which creates a "horizon of expectations" for the reader's perception. It also acts as an element of genre differentiation within the cluster of horror literature. The definition of genre varieties of this type of fiction reveals a clear conditionality of the specifics of the reception, the orientation of the author's intentions to create a certain psychological effect. Established artistic constants, which show a fairly high level of variability, serve as a figurative and plot matrix for the authors, which provides a "recognizability" of the genre addressed to a certain readership.