• A Comparative Onomastic Vignette of the Picaresque Novel in Spain and Mexico

      Alvarez-Altman, Grace; The College at Brockport (2014-10-20)
    • Ambiguity and Destruction Through the Naming Process in Reivindicacion del Conde don Julian and Recuento

      Sobejano-Moran, Antonio (2014-10-16)
      The main objective of Reivindicacion del Conde don Julian by Juan Goytisolo and Recuento by Luis Goytisolo is the harsh criticism and demolition of the entire Spanish society. The narrator-protagonist of Reivindicacion, through an imaginary odyssey that lasts one day, attacks and destroys the literature, religion, cultural beliefs, myths, and language of Spain, both past and present. In Recuento, on the other hand, Luis Goytisolo exposes and parodies the post-civil war social classes and traditional institutions, such as the army and the Catholic Church. The purpose of this analysis is to prove how the ambiguity that permeates these two novels has its counterpart in the naming process, which undermines the tradition of one-dimensional main characters.
    • Character Names and Comic Flexibility in Early Tudor Drama

      Burelbach, Frederick M.; The College at Brockport (2014-10-16)
    • Crossing Deep Rivers: Jose Maria Arguedas and the Renaming of Peru

      Ekstrom, Margaret V.; St. John Fisher College (2014-10-15)
      In lieu of an abstract the introductory paragraph is included here. From the earliest days of the Discovery, the Spaniards had problems with naming in the New World. They had difficulties with the pronunciation and spelling of the Indian names for people and places, and they had to accept the native terminology for objects which had no name in Spanish because they did not exist in Spain. Such early chroniclers of the Conquest as Hernan Cortes, Bernal Diaz del Castillo and Bartolome de las Casas wrote with amazement in Spanish of the things they found in the Americas, interspersing variations of the native words along the way. Many such words even found their way into English eventually, such as tomato, chocolate, ocelot and coyote. Nevertheless, Spanish soon established itself as the dominant language of political, economic and social control in Latin America.
    • Disappearing Letters and Breaking Rules: John Irving as Namer

      Wages, Jack D. (2014-10-16)
      Among a number of interesting contemporary American novelists is John Irving, whose first three novels were inventive and entertaining; his second three works, however, are particularly remarkable. With The World Accordjng to Garp (1978), The Hotel New Hampshire (1981), and most recently Cider House Rules (1985) Irving has taken, as one reviewer observes, "a quantum leap forward" not only as a story teller, but also as a novelist who makes use of numerous and varied techniques related to names and naming. From the ribald puns on place names and a memorable demonstration of the intricate relationships between one's very existence and one's name in The World According to Garp to the epigrammatical and philosophical "sorrow floats" of The Hotel New Hampshire to his performance of onomastic tours de force in Cider House Rules, Irving continues to provide a rewarding and provocative treasure-trove for the student of names in literature.
    • "Espiritu Sin Nombre": Names in Becquer

      Lynch, Susan; Rodriguez, Alfred (2014-10-16)
      The most striking feature of an onomastic study of the Rimas, Gustavo Adolfo Becquer's major poetic creation, is the extreme paucity of given names.1 Only four such names appear in all of the Rimas (Ofelia, Minerva, Lazaro, Dante), but even these few must be qualified for the purpose of this study. They are not properly given names, actually identifying characters or people addressed by the poet in his lyrics. All four have connotative and/or metaphorical functions as employed in their respective poems.2 In point of fact, then, there are no personal names at all uttered in the seventy-nine poems that constitute this significant body of verse.
    • Fiction and Folklore, Etymology and Folk Etymology, Linguistics and Literature

      Ashley, Leonard R.N.; Brooklyn College, City University of New York (2014-10-16)
    • Hooray for Hollywood: Onomastic Techniques in Bemelmans' Dirty Eddie

      Ashley, Leonard R.N.; Brooklyn College, City University of New York (2014-10-15)
      Curs, canine or human, tend to bite the hand that feeds them. Therefore it is not surprising that a lot of satirical barbs have been flung by writers at the dream factories of Hollywood where so many of them have labored. There is a long list of obscure plays about Tinsel Town: Hey Diddle Diddle (Cormack), Schoolhouse on the Lot (Fields and Chodorov), The Greatest Find Since Garbo (Birchard and Bard), On Location (Wiley), Dearly Beloved (Beahan and Buckner), Kiss the Boys Goodbye (Boothe), Hollywood Be Thy Name (Fagan), Stars in Your Eyes (McEvoy), and the list goes on. Some few plays on this subject are still remembered: the Spewacks' Boy Meets Girl is one and Kaufman and Connolly's Merton of the Movies (based on a story by Harry Leon Wilson) is another. Fiction has done better: think of Evelyn Waugh's The Loved One, Nathanael West's The Day of the Locust for the mood of the town, and What Makes Sammy Run? by Bud Schulberg for the methods of The Industry. Writers were willing to exploit Hollywood if not to extoll it. "Millions are to be grabbed out here and your only competition is idiots," Ben Hecht telegrammed back east after arriving in the mid-Twenties. "Don't let this get around." William Goldman in Adventures in the Screen Trade (1988) says the "single most important fact" about Hollywood is (and he puts it in capital letters) "NOBODY KNOWS ANYTHING." But here, as I examine satirical names in a work set in Hollywood, I want to concentrate on the onomastic aspects more than on whether the genial barbs are deserved or not deserved. For the dirty linen of Hollywood, you'd have to go somewhere else than the novel Dirty Eddie (1947) by Ludwig Bemelmans (1898 -1962).
    • "It's All in the Name": Amorous Vision and Poetic Creativity in Ronsard's Sonets pour Helene

      Gilman, Donald (2014-10-16)
      The opening paragraph of the article follows: In his final sonnet sequence, Pierre de Ronsard unites his vision of love with his search for poetic creativity. As a poet of love, he describes the turbulence of amorous experience throughout his personal verse and, like Petrarch and his followers, details the disquiet and disappointment of unrequited love. By centering attention on his use of Petrarchism as a poetic idiom, Desonay, Stone, Gendre, and Castor have studied Ronsard’s imitation of Petrarch’s conception and expression of love and have traced a progression from an innovation handling of conventional tropes and techniques in the Amours (1552-53) to a personal perception into the inevitable misery and disillusionment of human existence in the Sonets pour Helene (1578).1 These interpretations of the poet’s efforts to relate self-portrait to human portrayal deepen our aesthetic and thematic appreciation of Petrarchism precludes the numerous allusions to the poet’s perception into, and subsequent expression of, an individual experience that reflects universal reality. Even as early as the introductory poem to his first sonnet sequence, Ronsard identifies his love for Cassandre as the source of his perception into beauty and wisdom and the stimulus of his poetic creativity.2 A cursory recalling of his imaginative and theoretical writings, moreover, brings again to mind his life-long aspiration to reconcile the ideal of the ancient poet-seer with the practice of the sixteenth-century poet-craftsman. 3 And the opening line of the closing poem of the Sonets pour Helene confirms the significance of this theme. 4 Clearly, any examination of Ronsard’s conception of the poet-lover will necessarily be more suggestive than conclusive. But, perhaps, a key to an understanding of Ronsard’s attempts to capture in verse his insight into love and beauty lies in his interpretation of names, a technique that seems especially prevalent throughout the Sonets pour Helene. Thus, through a reading of selected sonnets that suggest a borrowing of the Neoplatonic theory of names and its application to the identity of Helene de Surgeres, this study will describe some of the onomastic strategies that enable Ronsard to relate the force of his perceived love to the inspiration of poetic creativity.
    • Jacob and Joseph as Character Names in Modern Literature

      Brown, Russell E. (2014-10-16)
      The names Jacob and Joseph are of Hebrew origin; they appear often in both the Old and New Testaments and have inspired innumerable names, both actual and literary, throughout the history of Jews and Christians.
    • John Steinbeck's Hispanic Character Names

      Yarmus, Marcia D.; John Jay College of Criminal Justice, CUNY (2014-10-20)
    • Jose Lopez Heredia's Milagro en el Bronx y Otros Cuentos: An Onomastic Approximation

      Finke, Wayne H.; Baruch College, City University of New York (2014-10-16)
    • Joyce Cary's Onomastic "Orchestration": Name, Symbol, and Theme in The Horse's Mouth

      Kelley Stamm, Ramona (2014-10-16)
      Like many of his literary contemporaries, Joyce Cary maintains a more than superficial interest in the power of the word. Many modernist writers share with him an ambivalent attitude toward the word. To some degree, they hold the belief that words are worn out, obsolete, or otherwise inadequate to express the concerns of the twentieth century. On one hand, they are dissatisfied with the word, but on the other, they are forced to contend with the word as the only means of expression they have, yet many of them eventually come to see the word as still being capable of working transformations on both individuals and the world. Cary, too, recognizes and deplores the predicament of the literary artist who is compelled to use inadequate and vague language, and he expresses interest in his fellow artists' literary experiments.1 He wants his readers to enter into the fictive world as completely as possible, but he realizes that the very form of his craft works against this. He believes that all writers feel the limitations of language when they are "struggling to express an intuition of life which transcends any possible symbolic form" (Art and Reality 152). Many of his contemporaries attempt to change the world by changing the language and by engaging in radical and experimental forms, but Cary uses a more conventional artistic expression. He attempts to recharge, to revitalize words, but he insists that the continuity of the reader's experience should not be hampered by the artist's method of presentation. In order to accomplish his artistic goals, Cary employs names as symbols in The Horse's Mouth.
    • Literary Onomastics of Fear

      Alvarez-Altman, Grace; The College at Brockport (2014-10-16)
    • Locating Place and Landscape in Early Insular Literature

      McMullen, A. Joseph; Carella, Kristen; Assumption College; Harvard University; Centenary University (2017-05-02)
      No abstract.
    • Michel Butor: The Mytho-Fantastic Function of Naming

      Struebig, Patricia A. (2014-10-15)
      Michel Butor, a contemporary writer of the French New Novel, now the New New Novel, makes extensive use of naming, repetition of epithet -like phrases, distortions of q notations, sight -sound similarities of words and phrases, to create stories within stories and from other stories, and to evoke an oneiric level which allows times and locations to blend while still remaining separated. Carrying to the extreme the practice of immersion of text within text and meaning within meaning in Boomerang, the novel of 1978, the author combines eight different story lines, printed in four different colors, skillfully interweaving with his own narrative the elliptic citation of twenty-three sources ranging from the accounts of adventurers and explorers such as Cook and Bougainville to fantasy voyage writers like Jules Verne, and even aborigine story-tellers. In this study, the method and purpose of this type of creation is analyzed to show relationship between "new" literary production and "new" society, and the role that naming, as a creative technique, plays in that relationship. But or himself in Repertoire II has indicated that because the world only appears to us for the most part through what we are told about it, in conversations, classrooms, news media, a vital role of the literary text is to restructure information in such a way as to reveal hitherto unsuspected relationships, thereby enriching us with new perspectives and transforming our submission to the media into positive use of them (89-90). Butor's statement introduces indirectly his method of "restructuring" or "re-using" information from a myriad of sources to create his own literature, and sets this study in motion. To discuss mytho-fantastic function in Michel Butor's work, we must begin with a retrospective glance at this creativity, and we must define mythic function both globally .and as it performs in this author's texts. By extending this definition of mythic function in a literary text to encompass the introduction of fantastic levels in writing we can observe the growth not only of Michel Butor as a writer, but of new writings and their reason for being.
    • Name-Calling as Power Play in Shakespeare's 1 Henry IV

      Burelbach, Frederick M.; The College at Brockport (2014-10-15)
      In lieu on an abstract, here are a few sentences from an early paragraph of the article. The main premise of this paper is that name-calling- as when youngsters call each other Fatty, Skinny, or Sissy-is a form of authorship as well as an instrument used in maintaining social norms. The name-caller is creating a specific role for the victim by use of a name with particular denotations, connotations, and assumed social values. By so doing, the name-caller is defining an appropriate scope of action or behavior, with expected patterns of response to external events- a plot, if you will- for the victim.
    • Nameless in English Renaissance Drama

      Litt, Dorothy E. (2014-10-20)
    • Names Are Awfully Important: The Onomastics of Satirical Comment in Martin Amis' "Money: A Suicide Note"

      Ashley, Leonard R.N.; Brooklyn College, City University of New York (2014-10-16)