Abstract The present study approaches Anna Burns’s novel Milkman (2018) via the lens of Leahy’s Emotional Schema Therapy (EST) (2019) in order to examine the model’s pros and cons for literary analysis. The study focuses on the protagonist’s emotional schemas which are shaped by her beliefs, interpretations and emotional appraisals of her environment. The analysis is carried out on both textual and extra-textual levels. The textual level focuses on character-society relationships and her emotional responses to the demands of her context. The extra-textual level concerns readers and investigates how the protagonist’s emotional appraisals and interpretations influence readers’ emotional schemas, which in the process of reading become either confirmed or restructured. While textual analysis displays the protagonist’s emotional development, the findings of the extra-textual analysis accentuate the therapeutic role that literary texts can play by addressing readers’ emotional schemas.
{"title":"Emotional schemas and cognitive strategies in fiction: Milkman","authors":"Roghayeh Farsi","doi":"10.2478/aa-2020-0002","DOIUrl":"https://doi.org/10.2478/aa-2020-0002","url":null,"abstract":"Abstract The present study approaches Anna Burns’s novel Milkman (2018) via the lens of Leahy’s Emotional Schema Therapy (EST) (2019) in order to examine the model’s pros and cons for literary analysis. The study focuses on the protagonist’s emotional schemas which are shaped by her beliefs, interpretations and emotional appraisals of her environment. The analysis is carried out on both textual and extra-textual levels. The textual level focuses on character-society relationships and her emotional responses to the demands of her context. The extra-textual level concerns readers and investigates how the protagonist’s emotional appraisals and interpretations influence readers’ emotional schemas, which in the process of reading become either confirmed or restructured. While textual analysis displays the protagonist’s emotional development, the findings of the extra-textual analysis accentuate the therapeutic role that literary texts can play by addressing readers’ emotional schemas.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"12 1","pages":"10 - 28"},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44989412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In the 16th century, the tragic Narvaez expedition to the New World ended with only four survivors: three Spaniard masters and a Moor slave who had never been given a chance to give his testimony as his companions had. In the fictional memoir The Moor’s Account (2014), Laila Lalami gives voice to Mustafa/Estebanico to narrate the hardships they went through from his perspective, which reflects his Arabic and Islamic identity. His story depicts several forms of human suffering: deprivation and poverty in his home country Morocco under the Portuguese occupation, slavery and torment while in Spain, and eight years of privation and wandering in the wilderness of North America. The paper will employ postcolonial poetics to reveal the literary devices used to recount these forms of human suffering as they are represented through the ethnicity of the narrator. This in-text analysis will link linguistic and aesthetic signs in the text to their interpretative functions in cultural reconciliation. Therefore, it will highlight the ideological and aesthetic aspects which classify the novel as postcolonial writing. Then, it will focus on the suffering-survival dichotomy and its representation in the narrative discourse.
{"title":"Narrating the extremes: The language of suffering and survival in Laila Lalami’s The Moor's Account","authors":"Insaf Sensri, Fella Benabed","doi":"10.2478/aa-2019-0008","DOIUrl":"https://doi.org/10.2478/aa-2019-0008","url":null,"abstract":"Abstract In the 16th century, the tragic Narvaez expedition to the New World ended with only four survivors: three Spaniard masters and a Moor slave who had never been given a chance to give his testimony as his companions had. In the fictional memoir The Moor’s Account (2014), Laila Lalami gives voice to Mustafa/Estebanico to narrate the hardships they went through from his perspective, which reflects his Arabic and Islamic identity. His story depicts several forms of human suffering: deprivation and poverty in his home country Morocco under the Portuguese occupation, slavery and torment while in Spain, and eight years of privation and wandering in the wilderness of North America. The paper will employ postcolonial poetics to reveal the literary devices used to recount these forms of human suffering as they are represented through the ethnicity of the narrator. This in-text analysis will link linguistic and aesthetic signs in the text to their interpretative functions in cultural reconciliation. Therefore, it will highlight the ideological and aesthetic aspects which classify the novel as postcolonial writing. Then, it will focus on the suffering-survival dichotomy and its representation in the narrative discourse.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"11 1","pages":"24 - 40"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44989836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper explores the intersection of cities and the protagonist’s Apollonian-Dionysian dichotomy in Thomas Mann’s preeminent semi-autobiographical novella Death in Venice (1912) within the cultural and contextual considerations of 20th-century Munich and Venice. The protagonist Gustav von Aschenbach’s oscillation between artistic appreciation and sensual desire is personified by the contrasts Munich draws as a city of enlightenment against Venice which is the city of sensuality and freedom. The article indicates that the narrator associates Nietzsche’s conceptions of the Apollonian and Dionysian parts of human nature with Venice, which acts as a character providing crucial elucidation in regards to the mental state of the protagonist throughout the novella. Thus, the study sheds light upon the symbolic voyage Aschenbach embarks upon - from Apollonian nature to Dionysian nature; from Munich to Venice, where his predominating Dionysian nature burst out through the city, luring him to his own demise.
{"title":"A voyage from Apollonian Munich to Dionysian Venice in Thomas Mann’s Death in Venice","authors":"Nilay Erdem Ayyıldız","doi":"10.2478/aa-2019-0011","DOIUrl":"https://doi.org/10.2478/aa-2019-0011","url":null,"abstract":"Abstract This paper explores the intersection of cities and the protagonist’s Apollonian-Dionysian dichotomy in Thomas Mann’s preeminent semi-autobiographical novella Death in Venice (1912) within the cultural and contextual considerations of 20th-century Munich and Venice. The protagonist Gustav von Aschenbach’s oscillation between artistic appreciation and sensual desire is personified by the contrasts Munich draws as a city of enlightenment against Venice which is the city of sensuality and freedom. The article indicates that the narrator associates Nietzsche’s conceptions of the Apollonian and Dionysian parts of human nature with Venice, which acts as a character providing crucial elucidation in regards to the mental state of the protagonist throughout the novella. Thus, the study sheds light upon the symbolic voyage Aschenbach embarks upon - from Apollonian nature to Dionysian nature; from Munich to Venice, where his predominating Dionysian nature burst out through the city, luring him to his own demise.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"11 1","pages":"68 - 80"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45861344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Using material from classic fairy tales, the author defines three fundamental types of conflict between literary characters in the text model of the fairy-tale world: overt, covert and potential. Their attributes are evidenced and demonstrated via specific texts and their universal (transcultural) analogues are shown in the archnarratives, which go beyond the classic fairy tale genre. At the end of the interpretation, the author proposes a (hypo)thesis that the presented typology could be a starting point for creating a backstory of conflicts as an action-formative factor also in other art genres, and that it can be used as a source for a much broader and modern (and current in contemporary art) diapason of “dramatic” storylines.
{"title":"The typology of backstory inter-character conflicts as a core action in the plot","authors":"M. Čechová","doi":"10.2478/aa-2019-0012","DOIUrl":"https://doi.org/10.2478/aa-2019-0012","url":null,"abstract":"Abstract Using material from classic fairy tales, the author defines three fundamental types of conflict between literary characters in the text model of the fairy-tale world: overt, covert and potential. Their attributes are evidenced and demonstrated via specific texts and their universal (transcultural) analogues are shown in the archnarratives, which go beyond the classic fairy tale genre. At the end of the interpretation, the author proposes a (hypo)thesis that the presented typology could be a starting point for creating a backstory of conflicts as an action-formative factor also in other art genres, and that it can be used as a source for a much broader and modern (and current in contemporary art) diapason of “dramatic” storylines.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"11 1","pages":"81 - 90"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42011436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Methodologically connecting at its core the experience-based and interpretation-based aesthetic approach to popular culture/popular art(s) on one hand and the basis-building views of what is called arch-textual thematology on the other, the paper seeks to examine, following its particular embodiment, one of the most stable, recurring and probably therefore one of the most iconic stock characters - the “tortured artist” stock character. This example of a “stereotyped character easily recognized by readers or audiences from recurrent appearances in literary or folk tradition” (Baldick, 2008, p. 317) can be - besides other principal and distinctive examples such as the “mad scientist”, the “lady/damsel in distress” or, let’s say, the “everyman” - witnessed all across culture, including the sub-sphere of popular culture, and the arts. The implied cultural significance and “omnipresence” of the “tortured artist” stock character can be aptly illustrated by Vincent Van Gogh and not only as a real-life tortured artist prototype or even archetype but also as a popular model for numerous and various cultural depictions - from poems by Charles Bukowski through the “moving pictures” of Loving Vincent to an episode of the well-recognized British TV show Doctor Who.
{"title":"Doctor Who meets Loving Vincent Van Gogh (A case study of the “tortured artist” stock character in popular culture)","authors":"Martin Boszorád","doi":"10.2478/aa-2019-0010","DOIUrl":"https://doi.org/10.2478/aa-2019-0010","url":null,"abstract":"Abstract Methodologically connecting at its core the experience-based and interpretation-based aesthetic approach to popular culture/popular art(s) on one hand and the basis-building views of what is called arch-textual thematology on the other, the paper seeks to examine, following its particular embodiment, one of the most stable, recurring and probably therefore one of the most iconic stock characters - the “tortured artist” stock character. This example of a “stereotyped character easily recognized by readers or audiences from recurrent appearances in literary or folk tradition” (Baldick, 2008, p. 317) can be - besides other principal and distinctive examples such as the “mad scientist”, the “lady/damsel in distress” or, let’s say, the “everyman” - witnessed all across culture, including the sub-sphere of popular culture, and the arts. The implied cultural significance and “omnipresence” of the “tortured artist” stock character can be aptly illustrated by Vincent Van Gogh and not only as a real-life tortured artist prototype or even archetype but also as a popular model for numerous and various cultural depictions - from poems by Charles Bukowski through the “moving pictures” of Loving Vincent to an episode of the well-recognized British TV show Doctor Who.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"11 1","pages":"55 - 67"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45181893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract David Grossman’s experimental text Falling Out of Time (2011) examines the theme of the death of a child and parents’ attempts to understand and cope with the loss. In order to represent and articulate the sense of unbearable pain and grief, Grossman employs several strategies and techniques related to both content and form which allow for a perspective that is both artistically engaging and sensitive. One of the obvious formal features of the text is his use of poetry, which seemingly represents the most natural means to express the raw emotions and pain of his characters. The paper seeks to examine Grossman’s techniques that help him verbalize the grieving experience of his characters while focusing on his use of poetic language. It seems that the capacity of poetry to rely on meaningful silences and a multilayered interpretive potential enables one to create a healing space which facilitates the process of reconciliation.
摘要大卫·格罗斯曼（David Grossman）的实验文本《不合时宜》（Falling Out of Time，2011）探讨了儿童死亡的主题以及父母理解和应对这种损失的努力。为了表现和表达难以忍受的痛苦和悲伤，格罗斯曼采用了几种与内容和形式相关的策略和技巧，这些策略和技巧使视角既具有艺术吸引力又敏感。文本的一个明显的形式特征是他对诗歌的使用，这似乎代表了表达人物原始情感和痛苦的最自然的手段。本文试图考察格罗斯曼的技巧，这些技巧帮助他用语言表达人物的悲伤经历，同时关注他对诗歌语言的使用。诗歌依赖于有意义的沉默和多层次的解释潜力的能力似乎使人们能够创造一个有助于和解过程的疗愈空间。
{"title":"The verbalization of grief in David Grossman’s Falling Out of Time","authors":"Mária Hricková, Simona Klimková","doi":"10.2478/aa-2019-0009","DOIUrl":"https://doi.org/10.2478/aa-2019-0009","url":null,"abstract":"Abstract David Grossman’s experimental text Falling Out of Time (2011) examines the theme of the death of a child and parents’ attempts to understand and cope with the loss. In order to represent and articulate the sense of unbearable pain and grief, Grossman employs several strategies and techniques related to both content and form which allow for a perspective that is both artistically engaging and sensitive. One of the obvious formal features of the text is his use of poetry, which seemingly represents the most natural means to express the raw emotions and pain of his characters. The paper seeks to examine Grossman’s techniques that help him verbalize the grieving experience of his characters while focusing on his use of poetic language. It seems that the capacity of poetry to rely on meaningful silences and a multilayered interpretive potential enables one to create a healing space which facilitates the process of reconciliation.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"11 1","pages":"41 - 54"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44128029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In Ian McGuire’s novel The North Water (2016), Patrick Sumner, a young medical doctor recently dismissedfrom the British Army with his reputation and professional prospects in ruins, accepts a poorly paid position as a surgeon on a whaling ship in his attempt to flee from his past and his troubled conscience. However, contrary to his expectations, in the Arctic Circle he faces an ordeal far more demanding than anything he has hitherto endured in the form of the harpooner Henry Drax, a dangerous psychopath who is ready to abuse and murder anyone who is an obstacle to the satisfaction of his brutish physical needs. Confronted with violence and cruelty beyond understanding, within the fluid framework of the distorted ethical norms and values of the heterogeneous crew, the embittered Sumner is gradually forced to abandon his protective shell of resigned indifference and reassess the moral stances and responsibilities of a civilized person when faced with human wickedness. Though McGuire acknowledges primarily the inspiration of Herman Melville and Cormac McCarthy, this paper argues that in ethical terms the novel responds to Joseph Conrad’s Lord Jim and Heart of Darkness, pushing the protagonist’s relationship to the other to an extreme by making the other an embodiment of pure evil.
摘要在伊恩·麦奎尔（Ian McGuire）的小说《北海》（The North Water，2016）中，帕特里克·萨姆纳（Patrick Sumner。然而，与他的预期相反，在北极圈，他面临着一场比他迄今为止所经历的任何事情都更艰巨的折磨——鱼叉手亨利·德拉克斯，一个危险的精神病患者，他随时准备虐待和谋杀任何阻碍他满足野蛮身体需求的人。面对无法理解的暴力和残忍，在异类船员扭曲的道德规范和价值观的流动框架内，心怀怨恨的萨姆纳逐渐被迫放弃他那顺从的冷漠的保护壳，重新评估一个文明人在面对人类邪恶时的道德立场和责任。尽管麦奎尔主要承认赫尔曼·梅尔维尔和科马克·麦卡锡的灵感，但本文认为，从伦理角度来看，这部小说是对约瑟夫·康拉德的《吉姆勋爵》和《黑暗之心》的回应，通过使对方成为纯粹邪恶的化身，将主人公与对方的关系推向了极端。
{"title":"The devil inside that won’t be caged or fixed by words: Fluidity and ethics in Ian McGuire’s The North Water","authors":"P. Chalupský","doi":"10.2478/aa-2019-0007","DOIUrl":"https://doi.org/10.2478/aa-2019-0007","url":null,"abstract":"Abstract In Ian McGuire’s novel The North Water (2016), Patrick Sumner, a young medical doctor recently dismissedfrom the British Army with his reputation and professional prospects in ruins, accepts a poorly paid position as a surgeon on a whaling ship in his attempt to flee from his past and his troubled conscience. However, contrary to his expectations, in the Arctic Circle he faces an ordeal far more demanding than anything he has hitherto endured in the form of the harpooner Henry Drax, a dangerous psychopath who is ready to abuse and murder anyone who is an obstacle to the satisfaction of his brutish physical needs. Confronted with violence and cruelty beyond understanding, within the fluid framework of the distorted ethical norms and values of the heterogeneous crew, the embittered Sumner is gradually forced to abandon his protective shell of resigned indifference and reassess the moral stances and responsibilities of a civilized person when faced with human wickedness. Though McGuire acknowledges primarily the inspiration of Herman Melville and Cormac McCarthy, this paper argues that in ethical terms the novel responds to Joseph Conrad’s Lord Jim and Heart of Darkness, pushing the protagonist’s relationship to the other to an extreme by making the other an embodiment of pure evil.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"11 1","pages":"1 - 23"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45310508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper deals with a psychoanalytic interpretation of the titular story. It is part of the first volume in the Hungarian anthology series entitled Night Zoo – An Anthology of Women’s Sexuality (‘Éjszakai Állatkert – Antológia a női szexualitásról’). The analysis focuses on the story Night Zoo (‘Éjszakai Állatkert’) written by Zsófia Bán according to Freud’s personality theory. The theory regards our psyche as divided into three parts. The id is the instinctual part of our mind that represents our sexual and hidden desires, the superego contains the moral conscience and the norms, and the ego mediates between the wishes of the id and the rules of the superego. The chosen short story seems to revolve around unfulfilled love between two people. But after critical reading, it is obvious that this is not a love story of two people, but the relationship lies between the narrator and her unfulfilled desires. There is an immense conflict between instincts and social expectations. The narrator’s id has a desire; she just wants to be happy and have harmony in her life. But the superego does not allow her to fulfill the desire. The ego is therefore instrumental in deciding what the correct decision is.
摘要本文对这个有名无实的故事进行了精神分析解释。这是匈牙利选集系列第一卷的一部分，题为《夜动物园——女性性选集》（“ÉjszakaiÁllatkert–Antológia a nõi szeoptitásról”）。分析的重点是Zsófia Bán根据弗洛伊德的人格理论创作的故事《夜动物园》（ÉjszakaiÁllatkert）。该理论认为我们的心理分为三个部分。本我是我们心灵的本能部分，代表我们的性欲和隐藏的欲望，超我包含道德良知和规范，自我在本我的愿望和超我的规则之间进行调解。选择的短篇小说似乎围绕着两个人之间未实现的爱情展开。但经过批判性的阅读，很明显，这不是一个两个人的爱情故事，而是叙述者和她未实现的欲望之间的关系。本能和社会期望之间存在着巨大的冲突。叙述者的本我有一种欲望；她只想在生活中快乐和谐。但是超我不允许她实现这个愿望。因此，自我有助于决定什么是正确的决定。
{"title":"The concept of happiness in Night Zoo","authors":"Viktória Gergelyová","doi":"10.2478/aa-2019-0006","DOIUrl":"https://doi.org/10.2478/aa-2019-0006","url":null,"abstract":"Abstract This paper deals with a psychoanalytic interpretation of the titular story. It is part of the first volume in the Hungarian anthology series entitled Night Zoo – An Anthology of Women’s Sexuality (‘Éjszakai Állatkert – Antológia a női szexualitásról’). The analysis focuses on the story Night Zoo (‘Éjszakai Állatkert’) written by Zsófia Bán according to Freud’s personality theory. The theory regards our psyche as divided into three parts. The id is the instinctual part of our mind that represents our sexual and hidden desires, the superego contains the moral conscience and the norms, and the ego mediates between the wishes of the id and the rules of the superego. The chosen short story seems to revolve around unfulfilled love between two people. But after critical reading, it is obvious that this is not a love story of two people, but the relationship lies between the narrator and her unfulfilled desires. There is an immense conflict between instincts and social expectations. The narrator’s id has a desire; she just wants to be happy and have harmony in her life. But the superego does not allow her to fulfill the desire. The ego is therefore instrumental in deciding what the correct decision is.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"11 1","pages":"67 - 74"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45447815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This research study focuses on a social semiotic approach to Ismail Kadare’s novel The Palace of Dreams. The novel was chosen for study and analysis because it is considered to be one of the Kadare’s most important works. The Palace of Dreams reflects many aspects of Albanian society including governmental abuse of power during the period of the communist regime. The analysis of literary space in this novel focuses on locating the literary discourse in the text and the spaces of the text that produce discourse with their shape, presence and extension. The purpose of this research study is to see how and in what way meaning is conveyed through spaces, and also how and in what shape it serves the comprehensive ideas of the novel. Our purpose is not only to highlight the values of this novel, but rather enable to understand the great importance that space plays in people’s work environments and in their private lives (the characters), and how crucial the space is for their lives and destinies.
{"title":"Literary space in Ismail Kadare’s novel The Palace of Dreams (A semiotic approach)","authors":"M. Brahaj","doi":"10.2478/AA-2019-0003","DOIUrl":"https://doi.org/10.2478/AA-2019-0003","url":null,"abstract":"Abstract This research study focuses on a social semiotic approach to Ismail Kadare’s novel The Palace of Dreams. The novel was chosen for study and analysis because it is considered to be one of the Kadare’s most important works. The Palace of Dreams reflects many aspects of Albanian society including governmental abuse of power during the period of the communist regime. The analysis of literary space in this novel focuses on locating the literary discourse in the text and the spaces of the text that produce discourse with their shape, presence and extension. The purpose of this research study is to see how and in what way meaning is conveyed through spaces, and also how and in what shape it serves the comprehensive ideas of the novel. Our purpose is not only to highlight the values of this novel, but rather enable to understand the great importance that space plays in people’s work environments and in their private lives (the characters), and how crucial the space is for their lives and destinies.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"11 1","pages":"24 - 38"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43054480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The present study focuses on the tales of Hungarian-Roma writer Magda Szécsi, which were studied using the content analysis method. This study constitutes part of a larger research project that aims to provide methodological guidance for the integration of Roma pupils in schools that use Hungarian as the language of instruction. The types of function of primary socialization and the types of intra- and extra-familial interaction are illustrated via examples in the study. The motifs of happiness, anxiety, anger and misery in the tales of Magda Szécsi’s two books, Madarak aranyhegedűn (Birds on the Golden Violin [1996]) and Az aranyhalas lószem tükre (Mirror of the Horse Eye with the Gold Fish [1988]), are analysed in light of the aforementioned aspects. I applied the research method of qualitative content analysis and explained the forms of happiness and unhappiness in the books. There are many examples in the tales under discussion of the conditions of happiness and the reasons for misery in Roma culture. The three components determining the characters’ happiness or unhappiness are faith in God, idolatry and Gypsy law.
{"title":"The motifs of happiness, distress, anger and misery in the tales of Magda Szécsi","authors":"Gizela Tóthová","doi":"10.2478/aa-2019-0001","DOIUrl":"https://doi.org/10.2478/aa-2019-0001","url":null,"abstract":"Abstract The present study focuses on the tales of Hungarian-Roma writer Magda Szécsi, which were studied using the content analysis method. This study constitutes part of a larger research project that aims to provide methodological guidance for the integration of Roma pupils in schools that use Hungarian as the language of instruction. The types of function of primary socialization and the types of intra- and extra-familial interaction are illustrated via examples in the study. The motifs of happiness, anxiety, anger and misery in the tales of Magda Szécsi’s two books, Madarak aranyhegedűn (Birds on the Golden Violin [1996]) and Az aranyhalas lószem tükre (Mirror of the Horse Eye with the Gold Fish [1988]), are analysed in light of the aforementioned aspects. I applied the research method of qualitative content analysis and explained the forms of happiness and unhappiness in the books. There are many examples in the tales under discussion of the conditions of happiness and the reasons for misery in Roma culture. The three components determining the characters’ happiness or unhappiness are faith in God, idolatry and Gypsy law.","PeriodicalId":37754,"journal":{"name":"Ars Aeterna","volume":"11 1","pages":"1 - 15"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45242049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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