With its marriage plots and drawing room conversation, The Idiot, of all Dostoevsky’s novels, is the closest to a novel of manners. But the would-be society novel clashes with a theological imperative: the re-establishment of a Christological vision, which Dostoevsky introduces into the novel embodied in the Christ-like Prince Myshkin. The presence of Christ in the drawing room of the marriage plot appears as a kind of embarrassment of genre. Taking this scenario as its departure point, the article approaches the relationship between embarrassment and narrative in The Idiotfrom two perspectives, one grounded in the vision of disintegration, the other in the vision of cohesion. Firstly, it shows how the embarrassment of this generic quandary is allied to formal difficulties in the novel’s handling of temporality and the configuration of its character system. Secondly, in discussing the possibility of unity for which the novel yearns, embarrassment is shown to participate in the ethical constitution of the reader. This study locates emotion (embarrassment) in the novel’s genre, narrative structure, and text, and locates the reader's emotion, too. Informed by sociologist Erving Goffman’s seminal analysis of embarrassment, this article also speaks to those engaged in the study of affect and the history of emotions.
This article explores Zenitism – one of Yugoslavia’s first avant-garde art movements – and its efforts to subvert stereotypes about the barbarism of the Balkans and the Slavic Orient by using the avant-garde language of irreverence and iconoclasm. Founded in the early 1920s, the movement represented a unique attempt to expose and dismantle Western Europe’s Balkanist discourse, which habitually painted the region and its inhabitants as violent and unenlightened. This mission occurred on the pages of the movement’s experimental journal Zenit , and through the imagined figure of the Barbarogenius. Inspired by the emancipatory potential of the October Revolution, the figure of the Barbarogenius was conceptualized as a primitive, young, ingenious and creative force of the East, who would liberate the Balkans from its position as Europe’s subordinate, and establish a new, modern and positive Balkan culture and identity. While scholarship on Zenitism commonly focuses on the movement’s anti-European politics, this article argues that Zenitism was fundamentally an attack on the tendency within Yugoslavia to internalize and perpetuate the narrative of Western European supremacy. The limits of the Zenitist strategy are also explored, to emphasize the challenge that the movement faced in performing a new Balkan identity.
(C) revise drafts to ensure precise word choice and vivid images; consistent point of view; use of simple, compound, and complex sentences; internal and external coherence; and the use of effective transitions after rethinking how well questions of purpose, audience, and genre have been addressed;
(C) write responses to literary or expository texts that demonstrate the writing skills for multi-paragraph essays and provide sustained evidence from the text using quotations when appropriate; and
Some science fiction authors (Isaac Asimov's Foundation Trilogy and Frank Herbert's Dune series are examples) are fond of using quotations from an imagined future history of the period of their story. This can be seen as a way of constructing authenticity for a work of the imagination.
Enjambment or enjambement is the breaking of a syntactic unit (a phrase, clause, or sentence) by the end of a line or between two verses. It is to be contrasted with end-stopping, where each linguistic unit corresponds with a single line, and caesura, in which the linguistic unit ends mid-line. The term is directly borrowed from the French enjambement, meaning "straddling" or "bestriding".
Meaning flows as the lines progress, and the reader’s eye is forced to go on to the next sentence. It can also make the reader feel uncomfortable or the poem feel like “flow-of-thought” with a sensation of urgency or disorder.
Each line is formally correspondent with a unit of thought — in this case, a clause of a sentence. End-stopping is more frequent in early Shakespeare: as his style developed, the proportion of enjambment in his plays increased. Scholars such as Goswin König and A. C. Bradley have estimated approximate dates of undated works of Shakespeare by studying the frequency of enjambment.
(27) Listening and Speaking/Speaking. Students speak clearly and to the point, using the conventions of language. Students will continue to apply earlier standards with greater complexity. Students are expected to give an organized presentation with a specific point of view, employing eye contact, speaking rate, volume, enunciation, natural gestures, and conventions of language to communicate ideas effectively.
The long quotation from Dante's Inferno that prefaces T. S. Eliot's The Love Song of J. Alfred Prufrock is part of a speech by one of the damned in Dante's Hell. Linking it to the monologue which forms Eliot's poem adds a comment and a dimension to Prufrock's confession. The epigraph to Eliot's Gerontion is a quotation from Shakespeare's Measure for Measure.
The epigraph to Dostoevsky's The Brothers Karamazov is John 12:24. "Verily, verily, I say unto you, except a corn of wheat fall into the ground and die, it abideth alone: but if it die, it bringeth forth much fruit."
An end-stopped line is a feature in poetry in which the syntactic unit (phrase, clause, or sentence) corresponds in length to the line. Its opposite is enjambment, where the sense runs on into the next line. According to A. C. Bradley, "a line may be called 'end-stopped' when the sense, as well as the metre, would naturally make one pause at its close; 'run-on' when the mere sense would lead one to pass to the next line without any pause."
Some authors use fictional quotations that purport to be related to the fiction of the work itself. For example, Stephen King's The Dark Half has epigraphs taken from the fictitious novels written by the protagonist; Jasper Fforde's The Eyre Affair has quotations from supposedly future works about the action of the story. King also uses many epigraphs in his own literature, usually to mark the beginning of another section in the novel. An unusual example is "The Stand" where he uses lyrics from certain songs to express the metaphor used in a particular part.
(C) use a variety of complete sentences (e.g., simple, compound, complex) that include properly placed modifiers, correctly identified antecedents, parallel structures, and consistent tenses.