This paper explores the portrayal of Susan Barton as an unreliable narrator in J.M. Coetzee’s novel, Foe, and its implications on storytelling, authorial authority, and existential themes. Through a comprehensive analysis of Susan’s narrative, the paper delves into the dual interpretations of her (un)reliability and argues that Coetzee intentionally crafts her as an elusive unreliable narrator. Then this article examines the “re-deconstruction” achieved by Coetzee, which challenges traditional storytelling conventions and emphasises the underlying meaning conveyed by a story. It also tries to explore Coetzee’s philosophical contemplations of existence and contends that aligning with Sartre’s existential thinking, Coetzee discusses many concepts around freedom and existence. By incorporating existential reflections, the paper uncovers the consciousness and existence embedded in the narrative.
{"title":"Susan’s Elusive Unreliability and Coetzee’s Existential Thinking in Foe","authors":"Yinqi Zhao","doi":"10.47175/rissj.v4i4.825","DOIUrl":"https://doi.org/10.47175/rissj.v4i4.825","url":null,"abstract":"This paper explores the portrayal of Susan Barton as an unreliable narrator in J.M. Coetzee’s novel, Foe, and its implications on storytelling, authorial authority, and existential themes. Through a comprehensive analysis of Susan’s narrative, the paper delves into the dual interpretations of her (un)reliability and argues that Coetzee intentionally crafts her as an elusive unreliable narrator. Then this article examines the “re-deconstruction” achieved by Coetzee, which challenges traditional storytelling conventions and emphasises the underlying meaning conveyed by a story. It also tries to explore Coetzee’s philosophical contemplations of existence and contends that aligning with Sartre’s existential thinking, Coetzee discusses many concepts around freedom and existence. By incorporating existential reflections, the paper uncovers the consciousness and existence embedded in the narrative.","PeriodicalId":498112,"journal":{"name":"Randwick International of Social Science Journal","volume":"498 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135980220","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}
Gesture is a unique nonverbal communication signal, whereby a person conveys a message or expresses himself through conscious or unconscious movements, body movements, and facial expressions" (Vijay, 2013). This study aims to analyze gestures and meaning based on the context of gestures supported by utterances. According to Sugiyono (2013: 13), this research employs a descriptive qualitative methodology. This study uses the theory of McNeil (2005) that classifies gestures into four types, namely Iconic, Deictic, Metaphor, and Beat. The data used in this research is in the form of screenshots taken from the movie "Everything Everywhere All at Once (20"2)" by Daniel. Four types of gestures are found in the movie, as the researcher has done in the analysis. There are 122 data found. There are 11 (9%) data as iconic gestures, 22 (18%) data as deictic gestures, 15 (12%) data as metaphor gestures, and 75 (61%) data as beat gestures. From the data analyzed, the meaning of the gesture is supported by the utterances in dialog (Semantic Meaning). Some gestures meaning is unclear if they are not accompanied or supported by semantic meaning or utterances. Meanwhile, some data do not have a cultural meaning and no relation to the semantic meaning, such as beat type. A beat gesture is a rhythm of speech as a compliment.
手势是一种独特的非语言交流信号，一个人通过有意识或无意识的动作、身体动作和面部表情来传达信息或表达自己”(Vijay, 2013)。本研究旨在基于话语支持的手势语境来分析手势和意义。根据Sugiyono(2013: 13)，本研究采用描述性定性方法。本研究采用了McNeil(2005)的理论，将手势分为四种类型，分别是Iconic, Deictic, Metaphor和Beat。本研究中使用的数据是丹尼尔的电影《Everything Everywhere All at Once(20”2)》的截图。正如研究人员在分析中所做的那样，在电影中发现了四种类型的手势。共发现122个数据。有11个(9%)数据为符号手势，22个(18%)数据为指示手势，15个(12%)数据为隐喻手势，75个(61%)数据为节拍手势。从分析的数据来看，手势的意义是由对话中的话语支持的(语义)。如果没有语义或话语的陪伴或支持，有些手势的意思是不清楚的。同时，有些数据不具有文化意义，与语义无关，如节拍类型。节拍手势是一种作为赞美的说话节奏。
{"title":"Gestures and Their Meanings of Main Character in Daniel’s Movie Everything Everywhere All at Once (2022)","authors":"Fauziah Khairani Lubis, Syamsul Bahri","doi":"10.47175/rissj.v4i4.829","DOIUrl":"https://doi.org/10.47175/rissj.v4i4.829","url":null,"abstract":"Gesture is a unique nonverbal communication signal, whereby a person conveys a message or expresses himself through conscious or unconscious movements, body movements, and facial expressions\" (Vijay, 2013). This study aims to analyze gestures and meaning based on the context of gestures supported by utterances. According to Sugiyono (2013: 13), this research employs a descriptive qualitative methodology. This study uses the theory of McNeil (2005) that classifies gestures into four types, namely Iconic, Deictic, Metaphor, and Beat. The data used in this research is in the form of screenshots taken from the movie \"Everything Everywhere All at Once (20\"2)\" by Daniel. Four types of gestures are found in the movie, as the researcher has done in the analysis. There are 122 data found. There are 11 (9%) data as iconic gestures, 22 (18%) data as deictic gestures, 15 (12%) data as metaphor gestures, and 75 (61%) data as beat gestures. From the data analyzed, the meaning of the gesture is supported by the utterances in dialog (Semantic Meaning). Some gestures meaning is unclear if they are not accompanied or supported by semantic meaning or utterances. Meanwhile, some data do not have a cultural meaning and no relation to the semantic meaning, such as beat type. A beat gesture is a rhythm of speech as a compliment.","PeriodicalId":498112,"journal":{"name":"Randwick International of Social Science Journal","volume":"224 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135978801","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}
This research applies Lacanian psychoanalysis to scrutinize the use of improvisation and radical objectivization in Angela Carter's The Bloody Chamber. Drawing on Lacan's theory of the "mirror stage," the work argues that Carter's use of these literary techniques disrupts the reader's sense of identity and challenges their preconceived notions of self and other. Through close analysis of key passages from the text, the research demonstrates how Carter's use of these techniques creates a sense of alienation and fragmentation in the reader, as they are forced to confront the unsettling and often disturbing aspects of the stories. The work also explores how Lacan's concept of the "phallus" is invoked in Carter's work, as she challenges traditional gender roles and subverts the dominant male gaze through the use of powerful female protagonists. Further, it maintains that Carter's use of these techniques, offers a powerful critique of patriarchal norms and invites the reader to engage with the complex and often contradictory nature of identity and desire. By disrupting traditional fairy tale tropes and challenging patriarchal norms, Carter invites the reader to engage with the complex and often unsettling nature of identity and desire, and offers a powerful critique of the ways in which these concepts are shaped and constructed by dominant cultural narratives.
{"title":"Improvisation and Radical Objectivization Identities in Angela Carter's The Bloody Chamber: A Lacanian Reading","authors":"Thulfiqar Abdulameer Sulaiman Alhmdni","doi":"10.47175/rissj.v4i4.824","DOIUrl":"https://doi.org/10.47175/rissj.v4i4.824","url":null,"abstract":"This research applies Lacanian psychoanalysis to scrutinize the use of improvisation and radical objectivization in Angela Carter's The Bloody Chamber. Drawing on Lacan's theory of the \"mirror stage,\" the work argues that Carter's use of these literary techniques disrupts the reader's sense of identity and challenges their preconceived notions of self and other. Through close analysis of key passages from the text, the research demonstrates how Carter's use of these techniques creates a sense of alienation and fragmentation in the reader, as they are forced to confront the unsettling and often disturbing aspects of the stories. The work also explores how Lacan's concept of the \"phallus\" is invoked in Carter's work, as she challenges traditional gender roles and subverts the dominant male gaze through the use of powerful female protagonists. Further, it maintains that Carter's use of these techniques, offers a powerful critique of patriarchal norms and invites the reader to engage with the complex and often contradictory nature of identity and desire. By disrupting traditional fairy tale tropes and challenging patriarchal norms, Carter invites the reader to engage with the complex and often unsettling nature of identity and desire, and offers a powerful critique of the ways in which these concepts are shaped and constructed by dominant cultural narratives.","PeriodicalId":498112,"journal":{"name":"Randwick International of Social Science Journal","volume":"346 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135979834","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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