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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
Authors:
Mykola Filon
and
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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Abstract  

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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My paper aims at examining the poetics of Sergei Dovlatov’s novel Sanctuary, with particular emphasis on motivic repetitions and the Pushkinian intertexts embedded in the novel. It reveals a complex relationship linking Dovlatov the author, Alikhanov the narrator, Alikhanov the protagonist and the narrative itself to Pushkin’s life, persona, his texts and language. By referring to two Pushkinian intertexts, I argue that Alikhanov’s understanding of Pushkin develops simultaneously as his relationship to his wife Tanya progressively becomes a text. Alikhanov recreates Pushkin’s ars poetica for himself by aphoristically identifying the poet with an indifferent nature. The fictional equivalent of this will be Tanya, whom Alikhanov the narrator describes with the attributes of indifference. This motif of indifferent nature establishes a connection between Pushkin’s lyrics and Dovlatov’s text. Pushkin, the greatest cultural subject in Russia’s collective memory, is salvaged by Dovlatov’s text through Alikhanov’s Tanya as well as the narrator’s own personal history; a history that necessarily evolves from Pushkin. Alikhanov the protagonist and Alikhanov the narrator interpret Pushkin in the context of their own crucial, existential questions, the questions of amorality and destiny, and the possibilities of late modern-postmodern prose writing.

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The paper considers Antonio Muńoz Molina's novel, {Ventanas de Manhattan}, and regards it as a reflection on culture. First, the structure of the novel is inspired by the topic of the "window" and the style of writing, basically description, conforms to an "art of looking" based on the narrator's habit of looking at art, which is considered to be one of the finest expressions of culture. In other respects, this narrative poetics fails when the narrator attempts to provide a description of the current reality of New York. This failure, a crisis of representation, is provoked, at the time, by a crisis of culture: the contemporary world does not harmonize culture as "art" with culture as a "way of life." New York appears in the book as a modern Babylon, where the narrator-protagonist seeks his identity and judges the way the world goes.

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Abstract  

A secret in a literary text initiates a delicate interplay between narrators and readers, since the latter must be informed of existence, or even of the content of the secret. The paper analyses various samples from this viewpoint, starting with Euripides’ Hippolytus and Ion, where-due to the absence of any narrator-the interplay of secrecy develops between the agents, the chorus, the gods and the audience. The subsequent samples are taken from European novels (Thackeray’s The History of Henry Esmond, Kundera’s The Unbearable Lightness of Being, Jókai’s Friedrich Trenck and Franz Trenck). Secrecy functions many times as a hint at a secret order or a hidden entity that guarantees order. The order, or rather the impression of arrangement, may function as a suggestion of a secret sense. The meaning can be described as the secret of literary texts, which is always present in the form of a promise.

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In this article the author discusses how changes in style in Zsigmond Kemény's novel The Fanatics can be construed as shifts in perspective from that of the narrator to that of a character in the novel. By suggesting a distance between the narrator and the narration, these shifts in style render it impossible to consolidate the text as the work of a single agency with an identifiable perspective. The narrating presence, itself a blend of formulas taken from other narratives, evanesces behind the conventions that comprise the text. Rather than offer itself as an account of events told from a particular perspective, the text emerges as a constant wavering between different modes of literary production.

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