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This paper seeks to reconstruct some of the characteristics of Hipponax as storyteller, drawing on the insights of narrative theory. It pays particular attention to the implied audience(s) of the poems, to the characterization of the narrator and the relation of narrator to author, to narrative time and to the role of repetition.

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The Narrator (Author) and the Hero in T. Shevchenko’s Poem The Funeral Feast

To the History of the Establishment of the National Prophet-Poet

Studia Slavica
Mykola Filon
Tatiana Shekhovtsova

The study deals with the images of the narrator / author and the prophet – the lyrical character in T. Shevchenko’s poem The Funeral Feast [Tryzna]. The purpose of the study is to comprehend the author’s conception and to reveal the whole range of the ways of expressing the author’s “self ”.

In this poem, the lyrical subject is variable. He functions as the author proper as well as the narrating author and the lyrical “I”, sometimes getting the features of the lyrical character. At the same time, the narrator and the character have in common the motif of prophetical service, prophetical mission.

The sense structure of the image of the prophet presents in Shevchenko’s poem a synthesis of traditional and original senses. Shevchenko combines the social with the philosophic and the ethical, the universal artistic with the individual ontological. A prophet is not just an artistic image but also a modus of social existence of the writer in his ambition through his works to promote God’s laws of society and personality on the earth as a continuation of life itself.

Instead of abstract philosophic speculations and complete negation, the poet creates a special modus of his view of life and attitude towards people. This modus is love; however, it is not love in a simplified, trivial and commonplace meaning but in a deeper, religious-ontological comprehensive sense.

The Funeral Feast appears to have the main elements of the motif-symbolic complex of romantic literature: the estrangement of the hero longing for heavenly harmony, prayerful yearning for the heaven he keeps memories of, selectness, loneliness, and orphanhood in earthly captivity, the motifs of the lost heaven, of death as rest and death as meeting. The hero is represented as a creative personality that finds itself in a tragic contradiction with the world.

One of the significant semantic oppositions is that of the word and silence. In Shevchenko’s poem, this problem is considered in terms of a transition from silent act to action word. The work on The Funeral Feast actually reveals the insolvability of the contradiction between the prophet’s two guises (“the meek prophet” – “the severe prophet”), thus forming a complex dualistic image.

In Shevchenko’s creative development, The Funeral Feast was an important step in comprehending the theme of the poet and his prophetic vocation, it marks a significant stage of the author’s spiritual and creative establishment. The poet in his higher mission is understood in the poem as a personality of a national and supernational, seraphic scale, which determines his role and place in society and in the world. The lyrical-epic nature of the genre made it possible to refer the self-expression of the author’s lyrical “I” to the objectification and personification of the lyrical character. The lyrical subject includes various forms of expressing the author’s consciousness, while the hero conceptualizes the perfect model of a creative personality in his / her prophetic essence.

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The essay engages only narratorial strategies that are manifestations of essential features of the minimalist narrative in contemporary American fiction. Minimalism reduces text-level agency through narratorial functional disorders (devices that block those functions) and limits them further, even effaces them completely, in figural narratives whose focalizer is an inarticulate character. The consequential psyche (if the narrator is of this type) and phenomenological presentation together can result in almost complete information blackout in some works by Joy Williams, Jay McInerney, or Bret Easton Ellis.

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The critical reception of the novel “Lolita” today. Nabokov's novels and contemporary Russian prose trends: symbolism, avant-garde. Nabokov and western literature. Love, passion, cult of the female in Russian art in the early 20th century. The novel's child heroine. The novel's problems of form: the role of the narrator and the writer in the text of the novel. The English and Russian versions of the novel.

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Pu Songling (1640-1715) and other agents frame many of the stories in his Liao zhai zhi yi (Strange Tales from Make-do Studio) as credible accounts of something that has actually happened. Pu sometimes acts as an extradiegetic narrator, sometimes as a heterodiegetic narrator. Many of his stories have metatextual commentaries. Examination of these narrators and comments provides convincing evidence that Pu often actually believed that many of these stories recount events that had actually occurred. Some of the stories are obvious legends, others are presented by real people, or are attested to by witnesses or other corroborating evidence. Given our understanding of the fact that many of the stories are narratives other people tell to Pu, one can also understand the genesis of many of them as unintentional fictions.

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toilet in the narrator’s family when he was a schoolboy, and that time he wrote a homework on this bag. In the first sentence of the László Végel’s novel Egy makró emlékiratai [Memoirs of a pimp, 1968], the narrator-protagonist says: “Today, I finally

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fundamental relationship can also be found, for example, in the novel Na rubu pameti ( On the Edge of Reason , 1938), where the first-person narrator, a Zagreb lawyer, is at odds with his mendacious and corrupt environment and eventually goes under in this

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of the child/adolescent perspective of the narrators, which represents the historical, social and sexual turn(s) they undergo from their own life-turning point of view. In the case of most prose works, the definability of chronotopic coordinates is an

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“From now on, Kolozsvár is always the way the train takes us home…” •

(The appearance of the Trianon theme in contemporary Hungarian fiction)

Hungarian Studies
Júlia Vallasek

talent in Debrecen between the two world wars. The child's perspective is constantly counterpointed by the commentary of the adult narrator, who moves backwards and forwards in time, describing not only the events but also their future consequences, and

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conjuring up of the past has an important role as it balances out the protagonist-narrator's empty life. In this story of decline, self-analytical and self-reflective passages are built into the storytelling. In Grendel's novels published at the turn of the

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