• Lexemes Into Names

      Lorenz, Brenna E. (2014-10-15)
      In lieu of an abstract, this is the opening paragraph of the article. Nominization (a term proposed by W. H. F. Nicolaisen in a personal communication, 1988) is a mechanism of name formation that involves the conversion of a lexeme into a name. The opposite is generally called commonization, by which a name is converted into a lexeme. Dr. Nicolaisen has suggested that lexemization would be a more accurate term.
    • 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).
    • 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.
    • Tom Stoppard and Ferenc Molnar: A Comparison of Onomastics

      Rajec, Elizabeth M.; City College, City University of New York (2014-10-15)
      In lieu of an abstract, the introductory paragraph is included here. Tom Stoppard's hilarious play Rough Crossing was premiered in London in 1984. It had been freely adapted from Ferenc Molnar's classic farce Jatek a kastelyban (literally 'Play at the Castle'). The original play was first produced in Budapest in 1925. Most likely Stoppard's adaptation is based on P. G. Wodehouse's English translation known as The Play's the Thing which premiered in 1926 at the Henry Miller Theatre in New York.
    • 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.
    • Of Madness and machines: Names in Ken Kesey's One Flew Over the Cuckoo's Nest

      Francis, William A. (2014-10-15)
      Included here is the introductory paragraph of the article. Ken Kesey's first novel, One Flew Over the Cuckoo's Nest, reflects his experiences as a young attendant in two California mental hospitals in which he was employed. Book reviewers spoke highly of One Flew Over the Cuckoo's Nest, and recognized the authority with which Kesey captured the day-to-day routines and events in mental wards. Irving Malin observed that One Flew Over the Cuckoo's Nest is a gothic novel, for it employs imprisonment, madness, violence and distorted reflections, but it does so in a new way which Malin calls new American gothic. 1 Joseph J. Waldmeir, in a long review-essay, considers One Flew Over the Cuckoo's Nest a novel of the absurd, ((the first truly successful American novel of the absurd since World War II." 2
    • Naming and Namelessness in Jose Ruibal's La Maquina de Pedir

      Finke, Wayne H.; Baruch College, City University of New York (2014-10-15)
      In lieu of an abstract, here is the introductory paragraph of the article. During the nearly forty-year regime of Generalissimo Francisco Franco, Spain's literary production entered a period of semi-dormancy occasioned by severe limitations of censorship and repression of creative energies, particularly in the area of the theater.1 While theaters, especially in Madrid, were economically solvent and successful, the dramatic offerings presented onstage in the main afforded audiences inoffensive fare of bourgeois superficiality with scant, or virtually no probing of the complex realities of post-Civil War Spain.2 Writers who remained in Spain following the devastation were constrained to a depiction of the anodyne situations of urban life, while those who accepted forced, or self-imposed exile, found limited access in foreign lands- even in Latin America- for the staging of their productions. While repertory theaters were to be found in major capitals like Buenos Aires, Santiago and Havana, impresarios were more interested in mounting productions of the classics or translations of tested European dramatists than in offering their audiences the novel creations of a new generation of Spanish playwrights. One writer whose career has suffered the vicissitudes of mid-twentieth century Spanish history is Jose Ruibal.
    • Preface

      Alvarez-Altman, Grace; Burelbach, Frederick M.; The College at Brockport (2014-10-15)
    • Poly-Anthroponomical Technique in Buero Vallejo's Drama Las Meninas

      Alvarez-Altman, Grace; The College at Brockport (2014-10-15)
      In lieu of an abstract, the introductory paragraph is included here. Twenty-five years after the Civil War (1936-1939), known as the "Little World War" in Spain, the United States brought Antonio Buero Vallejo to visit American colleges and universities as part of its cultural exchange program. He has been a special guest at the Modern Language Association meetings numerous times. His play Las Meninas, acclaimed to be his masterpiece out of his over 35 classical plays, is also the name of the masterpiece painting by the famous Vehizquez, who revolutionized art by introducing the technique of painting the atmosphere, light and space. Buero uses the literary onomastic technique we call poly-anthroponmnical, in which one entity or character uses many different names in a subtle manner, thus making it fall within a particular realm of ontology. This technique is not to be confused with categories of names (chimerical, puns, etc.). The main character of Las Meninas is Velazquez, carefully researched by Buero Vallejo, who is a professional painter himself. He kept his sanity during his seven years in jail after the Civil War by painting portraits of inmates. The play was censored by Franco for two years, but finally, in the 300th anniversary of Vehizquez, it was premiered in 1960. Hypocrisy, conflict between Church and State, superstition, exploitation of the poor, and taxation to the limit are exposed.
    • Trends in the Naming of Modern Indian Children

      Som, Kanika (2014-10-15)
      Naming of children becomes an important ritual in the lives of Hindu Indians. Children are often named after epic gods, goddesses, heroes, and heroines. Names are also made up to reflect desirable qualities or personal features. This paper reviews the trends in the naming of modern Indian children, which have passed through different phases since the times of Rig Veda, the Upanishads, the Ramayana and the Mahabharata, and the dramas of Kalidas. Such names were, by their very nature, classic, but starting with the nineteenth century, with the inception of the Indian Renaissance in Bengal, the names had initially linkages to the medieval past and then moved on to more innovative ones. However, most recently, the wheel seems to have come full circle, for one observes the phenomenon of naming children with long, classical names. A plausible reason could be the longing to maintain mooring to the past in the midst of the tension of modernism.
    • The Art of Naming in China and Translating Western Names Into Chinese

      He, Hailun (2014-10-15)
      What follows is the introductory paragraph of the article. A name in China is much more than a code of a certain person to distinguish him from another. It often associates the person with many interesting things, such as a line of a poem, a picture, a song, or a famous person. Judging from these clues, one can tell where a person was born, how old he is, what kind of cultural background he has, and even why he was named so. Based on this particular cultural background, many writers have made good use of the art of naming, giving significant names to the characters in their novels. The master of this art in China is probably Tsao Xueqin, author of The Dream of the Red Mansions. There are over a hundred characters in the novel and each of them has a significant name that helps the readers to understand the theme.
    • Front Cover

    • 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.
    • Nominal Jests in Shakespeare's Plays

      Litt, Dorothy E. (2014-10-15)
      In lieu of an abstract, this is the first paragraph of the article. Nominal jests were very popular among the literati of the English Renaissance. The plays and poems of the period are studded with name-play, and Shakespeare, with his lively mind, excelled at the game. 1 Much has been written of his jests on his own name in the Sonnets 2 and on his name usage in the plays. 3 Although much name-play may at times seem trivial or obvious, when it appears in a consistent pattern linked to the play's function we may gain insight into Shakespeare's method and purposes. My first two examples are of name duplication which serve as foreshadowing devices.
    • The Roman Hydra in Du Bellay's Les Antiquitez de Rome

      Davis, Betty J.; Brooklyn College, City University of New York (2014-10-15)
      In lieu of an abstract, this is the first paragraph of the article. In "Plus qu'aux bords Aeteans le brave filz d'Aeson," the French Renaissance poet Joachim Du Bellay evokes the classical myths of Jason and Golden Fleece, the Hydra, and the Labors of Hercules. In this sonnet, the tenth of Du Bellay's Les Antiquitez de Rome of 1558, the poet transforms these classical names and allusions to create his own myth of Rome's fratricidal combats.
    • 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)
    • Patrick Modiano's La Place de l'Etoile: Why Name a Narrator "Raphael Schlemilovitch"?

      O'Keefe, Charles (2014-10-16)
      Patrick Modiano's La Place de l'Etoile invites attention on at least two accounts. First, its appearance in 1968 marked an event in French publishing history, since Modiano used this, his first major work, to storm the French literary establishment as a mere twenty-year-old. Second, the book, a first-person narrative, is suffused by the theme of movement, a theme of no little critical interest: on the one hand it is as venerable as Odysseus' voyages and the wanderings of the Israelites; on the other, it is as contemporary as our distinctively twentieth-century art form, the cinema, the essence of which is obviously movement (witness the Greek etymon kin behind "cinema" and the English "motion pictures").