Thematische Bibliographien / English fiction 20th century History and criticism

Auswahl der wissenschaftlichen Literatur zum Thema „English fiction 20th century History and criticism“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 4. März 2023

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Zeitschriftenartikel zum Thema "English fiction 20th century History and criticism":

Khramov, Alexander. „Did God create fossils? Notes on the history of an idea“. St. Tikhons' University Review 104 (29.12.2022): 29–45. http://dx.doi.org/10.15382/sturi2022104.29-45.

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The subject of the paper is prochronism, e.g. the teaching which says that the world was created with the appearance of old age. It is shown that the sources of prochronism could be traced to the medieval doctrine of double truth and philosophy of Descartes, who suggested that cosmological theories on the origin of the Universe are purely conditional, while in fact the world was instantly created complete and mature. The idea of apparent, but non-existent past gained much credence during the first half of the 19th century, when paleontological and geological discoveries raised a question on how to square the age of the Earth and the life on it with the six days of Genesis. The hypothesis of prochronism was most fully developed in «Omphalos: an attempt to untie the geological knot» (1857), the book by the English naturalist P. Gosse. During the Darwinian time the interest in this doctrine was shown not only by Christian thinkers, but also by secular philosophers and science fiction writers. Elements of prochronism were also present in the writings of Scriptural geologists in the 19th century and their successors, the young earth creationists in the 20th century. The main objections against prochronism are critically considered. According to the most popular of them, if God had made the world appear older that it is, He thus would have deceived people. But from the point of view of prochronism, the creation of traces of never existed past was necessitated by the logic of causality, which required God to actualize all the consequences of historical epochs skipped by Him. The link between prochronism and the problem of pre-human sufferings is outlined. The conclusion is made that this doctrine, despite being counter-intuitive and rather notorious, is intellectually consistent and immune to the criticism.

Kinkley, Jeffrey C. „The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]“. China Quarterly 182 (Juni 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.

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This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.

Kisieliūtė, Ingrida. „Literature and Economics. Another Way to Read the Text“. Respectus Philologicus 28, Nr. 33 (25.10.2015): 31–40. http://dx.doi.org/10.15388/respectus.2015.28.33.3.

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At the end of the 20th century, the study of literature was supplemented by such new methods as biopoetics, geopoetics, new historicism, etc. The New Economic Criticism, a new approach to the literary text, was found in the United States in the late 20th century. The present article discusses the main aspects of the aforementioned area of the study of literature and as well presents the possible approaches to literary texts from the economic perspective. The New Economic Criticism does not aim to become a method or tendency; thus, it givesthe freedom for a researcher to choose the perspective on the relationship between the literature and economics. The above-mentioned kind of analysis may be found in the English-speaking countries; whereas, the Russian literature has still remained unconsidered; however, Russian scholars are attempting to look at their fiction through the eyes of an economist. In Lithuania, the kind of research has not been found yet. Therefore, the article suggests one of the possible economic approaches, i.e., the analysis of the financial practices of the protagonist of The Gambler by F. Dostoyevsky.

Huisman, Rosemary. „The discipline of English Literature from the perspective of SFL register“. Language, Context and Text 1, Nr. 1 (04.02.2019): 102–20. http://dx.doi.org/10.1075/langct.00005.hui.

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AbstractThe paper first traces the history and elaboration of the tertiary discipline English Literature through the 19th and 20th centuries to the present day, with special focus on the axiology, the values, given to the discipline and with a brief account of literary criticism and literary theory. It then refers to the work on registerial cartography in systemic functional linguistics (SFL) and explores the register of the contemporary discipline in first-order field of activity and second-order field of experience, with examples from the language of webpages and exam papers of Australian universities. It continues with a brief overview of the author’s own work using SFL in the study ofthe poeticandthe narrativein English poetry and prose fiction of different historical periods and concludes with a caveat on the central disciplinary process, that of interpretation.

Rudova, Oksana S. „Nikolai Gogol's text in the works of Vladimir Nabokov: the history of foundation of the issue in criticism and literary studies“. Vestnik of Kostroma State University, Nr. 2 (2019): 148–53. http://dx.doi.org/10.34216/1998-0817-2019-25-2-148-153.

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The author of the article tried to trace the formation of the idea about the connection of the works of Vladimir Nabokov with Nikolai Gogol's tradition based on the material of the Russian émigréecritics’ works of and literary critics of the 20th—21st centuries. This process is considered as a progressive one, largely specified by the development of researching idea. The émigréecriticism saw the reason for the similarity these writers’ works in their similar aesthetics based on the relationship of the perception of the world and the human. In turn, literary studies of the late 20th century presented a new way of comparison, where Nabokov's prose is considered to be a complicated fiction on the whole, in which there is not only Nikolai Gogol's subtext, but also allusions to the other writers’ works, called "polygenetics". The author of the article offers a generalisation of methodological nature, indicating different types of literary links.

Jenkins, E. R. „English South African children’s literature and the environment“. Literator 25, Nr. 3 (31.07.2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.

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Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.

ROLLS, ALISTAIR. „Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages“. Australian Journal of French Studies 58, Nr. 1 (01.04.2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.

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Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.

Bouso, Tamara, und Pablo Ruano San Segundo. „Another turn of the screw on the history of the reaction object construction“. Functions of Language 28, Nr. 2 (07.04.2021): 208–31. http://dx.doi.org/10.1075/fol.20026.bou.

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Abstract This article deals with the Reaction Object Construction (ROC), as in She smiled disbelief, where an intransitive verb (smile), by adding an emotional object (disbelief), acquires the extended sense “express X by V−ing” (i.e. “She expressed disbelief by smiling”). Earlier research has suggested a diachronic connection between the ROC and Direct Discourse Constructions (DDCs) of the type She smiled, “I don’t believe you” (Visser 1963–1973). More recently, Bouso (2018) has shown that the ROC is primarily a feature of 19th century narrative fiction. This paper aims to bring together these insights. On the basis of a self-compiled corpus and De Smet’s Corpus of English Novels, it investigates the productivity of the ROC in 19th and 20th century fiction, and the role of DDCs in its development. The results reveal a peak in the productivity of the ROC that coincides with the development of the sentimental novel, and a correlation between the development of the ROC on the one hand and of those DDCs that have been mistakenly hypothesised to be its single source constructions on the other. Extravagance is proposed as a triggering factor for the use of the ROC in the 19th century as an alternative to DDCs.

Mulalić, Lejla. „Redefining the Boundaries of Historical Writing and Historical Imagination in Carolyn Steedman’s Master and Servant: Love and Labour in the English Industrial Age“. ELOPE: English Language Overseas Perspectives and Enquiries 10, Nr. 1 (09.05.2013): 51–61. http://dx.doi.org/10.4312/elope.10.1.51-61.

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One of the dominant features of the late 20th and early 21st century academic debates on the nature of history is a curious form of radicalism both in the ranks of defenders of traditional approaches to history/historiography and eloquent champions of postmodern theories. These debates will provide the context for my reading of Steedman’s Master and Servant, which probes disciplinary boundaries of history and fiction in order to explore the unhistoricised ways of love and labour in 18th century industrial Yorkshire. As Steedman inhabits the position of both a professional historian, with all the ideological implications of that position, and Nelly Dean, a servant and narrator in Brontë’s Wuthering Heights, this paper will consider her approach to historical imagination in the light of deconstructionist genre of historical writing.

Brannigan, John, Marcela Santos Brigida, Thayane Verçosa und Gabriela Ribeiro Nunes. „Thinking in Archipelagic Terms: An Interview with John Brannigan“. Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, Nr. 35 (13.05.2021): 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.

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John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-class authors Brendan Behan (2002) and Pat Barker (2005), and the first book to investigate twentieth-century Irish literature and culture using critical race theories, Race in Modern Irish Literature and Culture (2009). His most recent book, Archipelagic Modernism: Literature in the Irish and British Isles, 1890-1970 (2014), explores new ways of understanding the relationship between literature, place and environment in 20th-century Irish and British writing. He was editor of the international peer-reviewed journal, Irish University Review, from 2010 to 2016.

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Dissertationen zum Thema "English fiction 20th century History and criticism":

Chan, Wing-chun Julia, und 陳永晉. „Towards an aesthetics of cliché: cultural recycling and contemporary fiction“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42182311.

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Sabatini, Sandra. „Making babies, representations of the infant in 20th century Canadian fiction“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60564.pdf.

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Masters, Benjamin Scott. „The ethics of excess : style and morality in British fiction since the 1960s“. Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648740.

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Ingham, Michael Anthony. „Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama /“. Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.

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Blatchford, Mathew. „The old New Wave : a study of the 'New Wave' in British science fiction during the 1960s and early 1970s, with special reference to the works of Brian W. Aldiss, J.G. Ballard, Harry Harrison and Michael Moorcock“. Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22150.

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Bibliography: pages 174-184.
This thesis examines the 'New Wave' in British science fiction in the 1960s and early 1970s. The use of the terms 'science fiction' and 'New Wave' in the thesis are defined through a use of elements of the ideological theories of Louis Althusser. The New Wave is seen as a change in the ideological framework of the science fiction establishment. For oonvenience, the progress of the New Wave is divided into three stages, each covered by a chapter. Works by the four most prominent writers in the movement are discussed.

Abu-Manneh, Bashir. „Fiction of the New statesman, 1913-1939“. Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:a2444f4a-ee6b-4063-afbf-26348bd22356.

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This thesis is the first systematic study of short stories published in the New Statesman [NS] weekly magazine from its foundation in 1913 to 1939. The main question it seeks to address is what type of fiction did a mainstream socialist publication like the NS publish then? By chronologically charting dominant literary figures and themes, the thesis aims to discern significant cultural tendencies and editorial principles of selection. Following Raymond Williams' 'cultural materialism', fiction is read in its relation to social history, as a 'representation of history'. Chapter 1 deals with the foundation of the journal and its first year of publication, mapping out the contradictions between Fabian collectivist ideology and ethical socialism, urban realism and literary Georgianism, country and city. A focus on urban problems of poverty unemployment, philanthropy, and machinofacture is at the heart of the NS's literary concern, in 1913. Chapter 2 focuses on stories published during World War I, and goes up to 1926. It argues that the reality of the War was falsified as a time of rest and relaxation, in line with the journal's political policy of supporting the war effort. The immediate post-war period is read as a time of disappointment and intensified social conflict and struggle. The General Strike of 1926 is a turning point in interwar history. It also ushers in a period of unprecedented cultural activity in the NS. As Chapters 4 and 5 show, the post-Strike period is characterised by the consolidation of the working-class fiction of socialist R. M. Fox; by the rise of the countryside realism of H. E. Bates; and by the rise of the colonial fiction of E. R. Morrough on Egypt (which is examined in the context of Leslie Mitchell's, E. M. Forster's, and William Plomer's responses to empire). Significant contributions by women writers (such as Faith Compton Mackenzie) about travel, duty, and oppression are also made in the late 20s, early 30s. Chapter 6 is dedicated to the magnificent place that Russian fiction occupies in the 30s through the work of Michael Zoshchenko. Though written during the free and experimental 20s, his satiric fiction is published as a sample of Soviet literature of the 30s, thus consolidating the Stalinist line dictated by the political editor, Kingsley Martin, that 'self-criticism' is a central part of Soviet politics and society. Chapter 7 is a tribute to the NS's contribution to reconstructing British realism away from both Victorian moralism and European naturalism. The stories of Bates, V. S. Pritchett, and Peter Chamberlain are dominant, conveying different ways of negotiating the pressures of documentary realism and the political developments of the 30s. Also discussed is the unique modernist contribution of neglected Stella Benson, which presents a strong challenge to the usual representationalism of NS fiction. The concluding chapter reads NS fiction in the whole period between 1913 and 1939 as the cultural expression of the new petty bourgeoisie, especially its progressive, politically and socially engaged side. With its focus on ordinariness and lived experience, and its formal experimentation and innovation, NS fiction exemplifies artistic commitment par excellence, a conscious cultural alignment with the actuality and potentiality of the new petty bourgeoisie.

Hill, Colin. „The modern-realist movement in English-Canadian fiction, 1919-1950“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19471.

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This dissertation offers the first comprehensive examination of realism in English-Canadian fiction of the early twentieth century. It argues for the existence of a "modern-realist" movement that is Canada's unique and unacknowledged contribution to the collection of international movements that makes up literary modernism. This argument involves a detailed analysis of the aesthetics, aims, preoccupations, and techniques of the modern realists, a reexamination of the oeuvres of the movement's most prominent writers, and a critical reevaluation of the "modernity" of Canada's three most significant realist sub-genres—prairie realism, urban realism, and social realism. This study also provides a literary-historical overview of the movement as a whole, which begins with the inauguration of the Canadian Bookman in 1919, and concludes with the emergence of a contemporary Canadian fiction in the 1950s. The conclusions arrived at in this work are based upon a reading of dozens of novels and works of short fiction, many of them unpublished and/or critically neglected and forgotten. The findings in this study are also based on original research into archival materials from seven institutions across Canada.

Gasiorek, Andrew B. P. (Andrew Boguslaw Peter). „A crisis of metanarratives : realism and innovation in the contemporary English novel“. Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74280.

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Critics of the English novel, arguing that it is underpinned by liberalism, frequently claim that the crisis of realism disclosed in the work of many contemporary writers derives from a concomitant crisis of liberalism. Liberalism's dissolution is thus seen to prefigure the death of the novel. This dissertation contends that realism cannot be equated with liberalism and that the contemporary crisis of representation signals a broader crisis of metanarratives.
Focussing on selected novels of five post-war English novelists--B. S. Johnson, Doris Lessing, John Berger, Iris Murdoch, and Angus Wilson--I argue that their different responses to the crisis of representation show that it is not a crisis of liberalism alone. Johnson rejects realism for epistemological reasons; Lessing and Berger question it on political grounds; Murdoch and Wilson combine its strengths with a self-reflexive awareness of its weaknesses. I suggest that Murdoch's and Wilson's novels, which argue that fiction does not reflect reality but endows it with meaning and which are at once representational and metafictional, offer the most fruitful ways of acknowledging the crisis of representation while refusing to be paralyzed by it.

Brazil, Kevin. „The work of art in postwar fiction, 1945-2001“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:f8102451-09cf-4f92-8e6e-e7c1ced2641c.

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'The Work of Art in Postwar Fiction 1945-2001' explores the responses of postwar novelists to visual art by focusing on the work of Samuel Beckett, William Gaddis, John Berger and W.G. Sebald. In doing so, it opens up a new approach to understanding the relationship between fiction and art in the postwar period as a whole, for what distinguishes these writers is that they use an engagement with visual art in order to historicize their own work as distinctly 'postwar' fiction. This thesis shows that in the writings of these novelists, long running aesthetic issues in the study of the relationship between text and image are reformulated and transformed: medium specificity; ekphrasis; and visual representation as a model for literary realism. Drawing throughout on original archival research, The Work of Art in Postwar Fiction 1945-2001 traces what T.J. Clark terms the 'processes of conversion and relation' between art, its contexts and its commentators, and it is by studying these mediations that the literary consequences of the work of art for these writers are shown. With a historicizing approach throughout, and an interest in the ways in which postwar novelists mediate their engagement with art through history, this thesis contributes to a new understanding of the literature and art of the postwar era, or what Amy Hungerford has called 'the period formerly known as contemporary'. This thesis offers a revisionary account of a relationship previously subsumed under the dominant logic of postmodernism, which according to Fredric Jameson was defined by a 'waning of historicity'. In returning historicity as method and theme to the study of the relationship between literature and art since 1945, The Work of Art in Postwar Fiction 1945-2001 shows the diverse ways in which postwar writers historicized their writing, and reflected on their techniques, in dialogue with visual art. Concerning itself with the distinct challenges posed by focusing on what Hannah Ardent called the 'most recent' past, this thesis also develops new ways of thinking more broadly about the relationships between literature, art and history. Chapter 1, 'Reviewing Postwar Fiction', situates this thesis within recent debates in literary studies surrounding what Mark McGurl has termed a discipline-wide 'hegemony of history'. Chapter 2, on Samuel Beckett, argues that Beckett's postwar art criticism responds to a specific strand of Marxist humanist aesthetics developed after the war, and it studies Beckett's manuscripts to show the relationship between this criticism and the composition of The Unnamable. Chapter 3 discusses William Gaddis's 1955 novel The Recognitions, arguing that the novel pivots around some of the central cruxes of postwar American aesthetic debate: Clement Greenberg's theory of abstraction, and Michael Fried's identification of the problem of 'art and objecthood'. Chapter 4 discusses the work of the British art critic and novelist, John Berger. It shows that Berger's critical account of Cubism shaped the narrative forms of his novels A Painter of Our Time and G., and that these narrative innovations were central to his theory of the artistic and revolutionary 'moment'. Chapter 5 focuses on the relationship between photography, painting and aesthetics in the work of W. G. Sebald. It argues that aesthetic concepts such as 'the readymade' and 'objective chance' offer a better account of Sebald's engagement with art than accounts which draw on trauma theory. The thesis concludes with a short discussion of how the writers studied in this thesis have influenced the contemporary fiction of Jonathan Franzen, Teju Cole, and Tom McCarthy.

Hill, Geoffrey Burt. „'A breeding-ground of authors' : South East Asia in British fiction, 1945-1960“. Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708370.

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Bücher zum Thema "English fiction 20th century History and criticism":

Poruciuc, Norbert A. The status of anthroponyms in 20th century Romanian and English fiction. Iași: Casa Editorială Demiurg, 2005.

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Gupta, Santosh, und Preeti Bhatt. Contemporary British fiction: History and the present. Jaipur: Rawat Publications, 2007.

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1966-, Lane Richard J., Mengham Rod 1953- und Tew Philip, Hrsg. Contemporary British fiction. Cambridge, UK: Polity Press, 2003.

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Bentley, Nick. Contemporary British fiction. Edinburgh: Edinburgh University Press, 2008.

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Shaffer, Brian W. The encyclopedia of twentieth-century fiction. Herausgegeben von O'Donnell Patrick 1948- und Ball John Clement 1960-. Malden, MA: Wiley-Blackwell, 2011.

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Horsley, Lee. Twentieth-century crime fiction. Oxford, England: Oxford University Press, 2005.

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1975-, MacKay Marina, und Stonebridge Lyndsey 1965-, Hrsg. British fiction after modernism: The novel at mid-century. Basingstoke [England]: Palgrave Macmillan, 2007.

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Parrinder, Patrick. The failure of theory: Essays on criticism and contemporary fiction. Brighton: Harvester, 1987.

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Parrinder, Patrick. The failure of theory: Essays on criticism and contemporary fiction. Totowa, N.J: Barnes & Noble Books, 1987.

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Childs, Peter. Contemporary novelists: British fiction since 1970. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2005.

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Buchteile zum Thema "English fiction 20th century History and criticism":

Haltrin-Khalturina, Elena V. „From the English Renaissance Literary History: Sherry, Puttenham, Spenser, and Shakespeare on Fictions“. In “The History of Literature”: Non-scientific sources of a scientific genre, 132–58. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-132-158.

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A survey of academic histories of literature published in the 19th and 20th centuries in different countries reveals that, while thoroughly covering the English Renaissance poetics, the scholarship allows for a variety of views on Tudor literary theory and on what constitutes literary canon. Considering this variety of views, we also have to be aware of two different perspectives on the large body of literary art of the 16th-century: the present-day and the Elizabethan. Drawing on a substantial number of sources, we offer a general account of influential theoretical (poetological and rhetorical) works known in the 16th-century Great Britain, including those written in English. Also of note are educational treatises, “mirror” literature, and metaliterary comments withing literary works. Authors of those treatises used to interpret fiction as something feigned, counterfeit — an attitude informing ludic passages in Spenser and Shakespeare. Whereas the techniques of fashioning fictions by way of employing figures of feigned/counterfeit representation were addressed in detail by such critics as R. Sherry and G. Puttenham, the poets — Spenser and Shakespeare — seemed to be testing these techniques in practice. Our study pays particular attention to methods used by Spenser and Shakespeare when creating simulated, fictional reality.

Busse, Beatrix. „Introduction“. In Speech, Writing, and Thought Presentation in 19th-Century Narrative Fiction, 1–20. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190212360.003.0001.

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In her introductory chapter, the author specifies the aims of the study and its theoretical background. Basing her approach on Leech and Short’s (1981) and Semino and Short’s (2004) categories of discourse presentation, she further develops their model to suit 19th-century fiction and to enable corpus annotation for quantitative next to qualitative investigation, in order to allow for systematically investigating the previously impressionistic observations about discourse presentation modes in historical English on a sound empirical basis. She further outlines how her corpus-stylistic approach will be enriched by contextualization to address the portrayal of subjectivity as well as diachronic pragmatic differences between 19th- and 20th-century narrative fiction. Defining the key issues in her approach of New Historical Stylistics, the study is to provide new insights into the nature of 19th-century narrative fiction that are useful for corpus stylistics, text-linguistics, historical linguistics and pragmatics, as well as narratology and literary criticism.

Rogachewskaya, Marina S. „History of Fiction as the History of Human Consciousness (Based on D. Lodge’s Work “Consciousness and the Novel”)“. In “The History of Literature”: Non-scientific sources of a scientific genre, 318–33. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-318-333.

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Fiction and the relevant conceptualizing academic discipline have been developing in parallel. Human consciousness is simultaneously a tool for understanding the world and its artistic representation and the object of human comprehension of our inner nature. Consciousness has been represented in fiction beginning from its perception as a material substance in the Middle Ages, through naming the emotions, expansion of the range of feelings depicted in the Renaissance literature, through the first-person narration and identification of the thought and the word, towards the discovery of the unconscious and the ways of its representation in the epoch of Modernism, and equation of the processes of consciousness and the principles of functioning of the artificial intelligence during the Postmodern period. Consciousness as a tool became an object of artistic discovery in the 20th century inspiring the emergence of the “novel of consciousness” genre. The English writer and critic D. Lodge in his work “Consciousness and the Novel” expounded the basic caveats about human consciousness, drawing attention to the contingence of fiction and science, as well as fiction and the history of its studies.