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Idioms are formed of joining of words. In syntax, the places of the idioms cant be changed. Idioms are language elements which are ready to be used during speech and writing. For me by combining of more than one words, idioms are the core of society. From this point, of view, idioms that are accumulations of nations based on long years, expose the philosophical sub-structure of societies in the texts. To have knowledge about socities, firstly checking the idioms that are language input will simplify the researcher's work, develop his point of view. In as much as, if individuals studying on their languages want to deal with common point of view, studying the idioms with an diachronic point of view will be enough. Making social evaluations with critical point of view in recent period Turkish literature and using this especially in his theatre plays, it is inevitably expected that Haldun Taner uses idioms. In this work, cliched statements-idioms, which are used in the 13 theatre plays of Haldun Taner and animate the expression, are examined. [ABSTRACT FROM AUTHOR]

The fragmentary and interruptive style of Nadine Gordimer's novel Get a Life has met some critical resistance. This article defends the continuity of Gordimer's late-modernist writing and accounts for stylistic anomalies by invoking the narrative productivity of free indirect style. In Gordimer's expert hands, this device serves the broader ideological agenda of dramatizing a plural consciousness ailed by dislocation, inertness, and unspeakableness. The novel thus unfolds as a tragedy of point of view, a vocal drama of moral representativeness climaxed in a "crisis of authority" (Gramsci). The centrality in the novel of the term quarantine attests to Gordimer's enduring concern with the persistency of the South african interregnum, an exceptional sociopolitical condition hindering both utopian commitment and moral agency. Get a Life enacts this stasis through a verbal performance characterized by an unspeakable (yet readable) multivoicedness which however manages to yield the modernist hope of "another life." [ABSTRACT FROM AUTHOR]

The author reflects on generosity and criticism. She mentions that generosity is shaped by class, gender and culture. With criticism, people are expected to adapt scientific standards and maintain theoretical distinctions. Generous critics are suggested to refrain from using harsh or sarcastic language. According to the author, generous reviewer should keep the author's effort in his/her mind.

In this blueprint of a story, the narrator's nonchalance regarding geographical and historical location belies unsuspected concerns about the modern nation state and family history. The article begins by unpacking the claims of different nations to host Borges's story set in the early decades of the nineteenth century. Fast-forwarding to 1943, the circumstances of composition of 'Tema del traidor y del héroe' point to a critique of political crisis and barbarism. A surprising number of intertexts dovetail tellingly with Borges's narrative spanning two continents and four generations of real, as well as imaginary, human beings. [ABSTRACT FROM AUTHOR]

A literary criticism of the book “The Adventures of Ferdinand Count Fathom” by Tobias Smollett is presented. It considers the nature of the novel, especially in light of Smollet's introduction in which he describes his ideas about what novels should be. The essay also considers the use of characters, the evolution of the plot, and the narrative point of view.

A literary criticism of the book "A Description of Millenium Hall" by Sarah Scott is presented. The book explores the relationship between the narrator of the book and the novel's character Mrs. Maynard. The didactic nature of the novel is explored and the audience is considered. An overview of the story is also given.

A literary criticism on the novel "Landläufiger Tod," by Gerhard Roth is presented. It cites that Roth employed narrative reasoning to capture the reader's consciousness and grasp the difference between reality and imagination. Furthermore, it shows that his theme reveals his interest to discover truth and knowledge while setting the man-against-himself conflict in approaching the idea of life and death. An overview of the storyline is presented.

This article examines the unusual narrator of William Faulkner's "A Rose for Emily." Faulkner shifts from third to first person at one point and uses 'we' to indicate the consensus of the small town. However, what the 'we' relates does not appear to be unanimous opinion. The author believes Faulkner may have been mimicking contemporary magazine prose.

This essay explores how theoretical physics, narratology, and narrative itself deal with the idea that reality consists of a plurality of worlds. In physics, the existence of parallel universes has been postulated on the cosmic level to describe what lies on the other side of black holes and, on the level of subatomic particles, to avoid the paradoxes of quantum mechanics. In narratology, the philosophical idea of a plurality of possible worlds and the contrast between the actual and the possible provide a model of the cognitive pattern into which readers organize information in order to interpret it as a story. But the many-worlds interpretation of physics and the possible worlds (PW) model of narrative differ in their conception of the ontological status of the multiple worlds: in physics they are all actual, while narrative theory stresses the contrast between actuality and mere possibility. This does not mean that the PW model is incompatible with the many-worlds cosmology proposed by physics: faced with a narrative that presents multiple realities as existing objectively, the theory would simply claim that the actual domain is made up of a number of different worlds and that the distinction actual/nonactual repeats itself within each of these parts. The last section of the essay explores what it takes for a narrative to impose a many-worlds cosmology, distinguishing these narratives from other texts that present contradictory versions of facts and situating them with respect to three types of story common in fantasy and science fiction: the narrative of transworld exploration, the narrative of alternate history, and the time-travel narrative. [ABSTRACT FROM AUTHOR]

Criticizes the book "The Mercy Seat," by Rilla Askew. Use of various points-of-view in the novel; Implications of Askew's moral judgments on her characters' characteristics; Discussion on the geographical and emotional space in the novel.

Criticizes the interplay of textuality and sexuality in the novel 'The French Lieutenant's Woman' by John Fowles. Emphasis on the juxtapositions of the Victorian narrative and perspective of the narrator; Confrontation of patriarchal traditions and conceptions of women; Narrative technique used in the novel.

Describes reading Melvin Dixon's novel `Vanishing Rooms' as an experience of seeing, engaging with, and identifying with contradictory subject positions, desires, and psychic boundaries. Narrative structure that reinforces Dixon's social and philosophical critiques; Multiple and shifting narrative points of view; Space and subjectivity; Introduction of a kind of polyvision.

Discusses the representation of women and sexual violence in D.H. Lawrence's novels, with focus on his work `Samson and Delilah.' A study of narrative techniques of representation in Lawrence's works, with emphasis on use of narrative functions, `point of view,' and `narrative voice,' in his texts.

This article explores the enigma of the character Tonka in Robert Musil's novel Tonka. At the heart of this narrative lies the mystery of Tonka herself. The tile of the work implies that she has central significance, yet the author has made her curiously inaccessible to our understanding by interposing between reader and events a kind of narrator, from whose point of view the story is told. There is no purpose in the narrator's telling the story except to clarify to himself what Tonka may have meant to him, the question which is the central problem of this novel. The most serious impediment to our grasp of Tonka is the imprecision of the narrator's memory.

Analyzes the fiction "The Picture of Dorian Gray," by Wilde through thematic approaches and ideological interpretations. Examination of the tension arising when the homoeroticism inherent in the novel confronts the societal prohibitions; Influence of the narrative structure of the novel on readers; Role of the reader as an equal partner in the creation of valid texts from the narrative of the fiction; Description of the perspectives and attitudes of characters in the novel.

Analyzes the fiction "The Decay of Living," by Oscar Wilde. Comparison with the essay "The Truth of Masks"; Representation of the author's characteristics; Point of view; Criticisms; Artistic standpoint.