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Zeitschriftenartikel zum Thema "Fiction in English Zimbabwean writers"
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Wakota, John. „Tanzanian Anglophone Fiction: A Survey“. Utafiti 12, Nr. 1-2 (18.03.2017): 51–70. http://dx.doi.org/10.1163/26836408-0120102004.
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Tanzanian Anglophone fiction is extant and bustling. The invisibility of Tanzanian fiction in English is not due to the country’s inability to produce good- quality Anglophone novels but is related to the challenge in accessing the texts both within and outside Tanzania. Studies about East African fiction tend to ignore the contribution of Tanzanian Anglophone writers in the region. In Tanzania people know more about other canonical African novelists than their very own Anglophone writers. This article explores the emergence and development of Tanzanian Anglophone fiction, paying particular attention to the emergence of Tanzanian Anglophone literary canons and how these canons have inspired and continue to inspire the production of Tanzanian fiction. Starting with the novels produced by the inaugural Tanzanian Anglophone writers in the sixties, and continuing with the most recent works, the paper examines the interface between Swahili and English, translation and self-translation, diasporic writers, universities’ and researchers’ contributions to the definition of the canon and to the visibility of the fiction in general.
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Paul, Alison. „Fact and Fiction in Community Health“. Australian Journal of Primary Health 3, Nr. 3 (1997): 110. http://dx.doi.org/10.1071/py97031.
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In July 1996, La Trobe University's Schools of English, Nursing and Public Health joined forces to produce a unique program for three Writers-in-Residence. For six weeks the writers spent one day a week teaching writing techniques to clients from two Community Health Centres. In response, the clients and staff drew on their experiences of illness and health, producing autobiographical and fictional works. The Writers-in-Residence Program was funded by the Literature Board of the Australia Council. Financial support was also provided by the Public Health Branch of the Victorian Department of Health and Community Services. The writers involved were author Andrea Goldsmith, playwright Ray Mooney and poet Earl Livings. Projects involving two of these authors are described here.
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Butros, Albert. „The English Language and Non-Native Writers of Fiction“. International Journal of Arabic-English Studies 5, Nr. 1 (01.01.2004): 59–92. http://dx.doi.org/10.33806/ijaes2000.5.1.5.
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Although fiction in English by non-native authors is one of long standing, there has been in the last two decades a surge in novels and short stories written by individuals whose native language is not English or by bilingual authors whose native command of a language other than English has been used to advantage in furthering the stylistic effect of their works. This paper explores the actual (and potential) contribution of four such writers (two Arab: Ahdaf Soueifand Ibrahim Fawal, and two Indian: Rohinton Mistry and Arundhati Roy) to the English language in terms of words, phrases, idioms and fixed expressions as well as broader elements of tone and emphasis. Extensive reference is also made to other Arab as well as African and Chinese novelists. The paper finds that longer strings are more readily recognizable as additions to English than single words, notwithstanding the legitimacy of many word-additions. It also looks into some practical considerations like the need or otherwise of textual glossing, glossaries as appendices and italicization..
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Lee-Lenfield, Spencer. „Translating Style: Flaubert’s Influence on English Narrative Prose“. Modern Language Quarterly 81, Nr. 2 (01.06.2020): 193–217. http://dx.doi.org/10.1215/00267929-8151572.
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Abstract General accounts of Gustave Flaubert’s influence on English-language writers have tended to assume that the publication of his fiction was enough to change the style of English prose. However, close examination of Flaubert’s reception in the second half of the nineteenth century shows that the novels and stories alone did not bring about a widespread shift in English prose style. Before such a transformation could happen, his theoretical statements about style in the correspondence needed to be shared with and interpreted for a new audience. Flaubert’s fiction did exert a qualified influence on the relatively few English-language writers who read and responded to it, including Mary Elizabeth Braddon and Henry James. However, not until the 1883 publication of his correspondence with George Sand, as well as significant critical mediation and translation (most notably by Guy de Maupassant, Walter Pater, and Eleanor Marx-Aveling), did his influence on English writers reach its full extent.
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Vikhrieva, I. V. „THE ROLE OF “FEMALE LITERATURE” IN THE WORKS OF ENGLISH-SPEAKING ZIMBABWEAN WRITERS“. Bulletin of Udmurt University. Series History and Philology 31, Nr. 2 (11.05.2021): 382–91. http://dx.doi.org/10.35634/2412-9534-2021-31-2-382-391.
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The article introduces the study of “female literature” in Zimbabwe’s English language literary creative writing, which has undergone accelerated development. In the material presented, the methods of language selection and plot-compositional organization of literary text, the main categories of textuality are examined. The specialization of literature is shown, as an indicator of its growth. The author compares the traditional attitude towards women in African society, which is characterized by inequality, and the appearance in the XX-XXI centuries women writers, signifying a revolutionary change in their socio-cultural role. A typical problematic of works created in different historical periods is revealed. A comparison on the creativity of women writers of three generations is made, an interpretation of problems related to women's destinies is given, tendencies in the formation, disclosure, and establishment of new roles of women in society are revealed. The typology of plots is shown from the point of view of subject matter and completeness of the text. Particular attention is paid to the complexity of semantic structures of the text of small and large genres; its cognitive potential, adherence to the regional English language standard is revealed.
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Lebedeva, Ekaterina S., und Tatyana A. Lupacheva. „Linguistic and Stylistic Features of Translingual Writers: Comparative analysis“. Polylinguality and Transcultural Practices 16, Nr. 3 (15.12.2019): 347–57. http://dx.doi.org/10.22363/2618-897x-2019-16-3-347-357.
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The present research is conducted within the frameworks of language contacts theory, intercultural communication theory, text linguistics and linguacontactology. Creative translingualism is the object of the research. Linguacreative characteristics of translingual fiction are the subject of the research. Fiction written by Russian and Chinese authors in English (Olga Grushin, Irina Reyn, Lara Vapnyar, Anya Ulinich, Gish Jen, Ha Jin, Amy Tan, Jade Snow Wong, Frank Chin, etc.) has served as the material for the analysis. Within the scope of the present research the similarities and differences of linguacreativity in the fiction written by authors belonging to unrelated linguacultures were determined. The range of native culture description means used by translingual writers is very diverse: loan-words, code switching and code mixing, native literature and songs allusions, contaminated speech, usage of English lexical units to transmit significant for native culture events (by attributing culturally specific meanings).
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Mehmood, Sadaf. „Voicing The Silences: Women In Contemporary Pakistani Fiction In English“. Pakistan Journal of Gender Studies 18, Nr. 1 (08.03.2019): 113–28. http://dx.doi.org/10.46568/pjgs.v18i1.28.
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Indigenous women of Pakistan have long been struggling with the patriarchal norms. Categorization of their existence in the conventional oppressions connotes diversified victimization. Grappling with such assorted repressions and articulating the subsequent silences, women writers of Pakistan and the social activists are incessantly engaged to empower women from societal peripheries. The selected fiction exposes how the indigenous woman is controlled and exploited on the name of religio-cultural rhetoric. The present article outlines the historical developments in changing the social positioning of women after independence by highlighting the urgency of raising women consciousness in the academic sphere to form an alliance for collective identity. This article evaluates Ice Candy Man (1988), My Feudal Lord (1994) and Trespassing (2003) to explore the changing images of indigenous Pakistani women after partition. It aims to highlight the struggle and resistance of female characters against the patriarchal propriety of Pakistani society. The study is significant to highlight the struggles of women writers to articulate the silences of assorted exploitation buried under the hegemony of socio-historical discourses. The study concludes that through female characterization the women writers organize specific academic movement of awakening that provides situational analysis to relate with the turbulences of the fictional world to correspond the real challenges.
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Lebedeva, Ekaterina S. „From Intercultural Communication to Transcultural Creativity: A Study of Russian-American Fiction“. Polylinguality and Transcultural Practices 19, Nr. 4 (09.12.2022): 685–93. http://dx.doi.org/10.22363/2618-897x-2022-19-4-685-693.
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The world has been growing more globalised, people have been moving and absorbing different cultural peculiarities. Now intercultural perspective might seem insufficient to describe the extent to which local cultures and identities are linked globally. As a result, language contact and communication between and across cultures have been changing. The present paper aims at studying modern RussianAmerican fiction from intercultural and transcultural perspectives emphasizing the translingual features and transcultural changes. The paper discusses the phenomenon of creative translingualism, which means writing in one or two languages that are not the native tongues. Contemporary American literature may be proud of its modern writers of Russian and Soviet descent: Olga Grushin, Sana Krasikov, Lara Vapnyar, Anya Ulinich, Irina Reyn. All the authors changed their country of birth and moved to the USA and as a result, they chose English as the language of their creative writings. However, the English of their works reflects the Russian language, culture, and identity of the writers making the English text not truly English. The research primarily studies the linguistic tools (borrowing, code mixing, code-switching and broken English) used by the writers to render Russian culture by means of the English language as well as the transcultural shift that has been inevitable and has become an inalienable part of new cultural identities.
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Chambers, Claire. „Banglaphone Fiction:“. Crossings: A Journal of English Studies 6 (01.12.2015): 20–29. http://dx.doi.org/10.59817/cjes.v6i.182.
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Around the time the Raj was disintegrating, Bengalis, many of them from Sylhet, were coming to Britain in large numbers. Settling in areas such as London’s Spitalfields, these Sylhetis pioneered Britain’s emerging curry restaurant trade, labored for long hours and with few rights in the garment industry, and worked as mechanics. Sylhetis’ inestimable contribution to the fabric of British life is recognized, for example, in their association with Brick Lane, a popular road of curry houses in East London. However, too often their contribution to literature is reduced to one novel, Brick Lane, Monica Ali’s novel about the famous street and its denizens. This paper seeks to broaden the debate about English-language literature from Londoni writers across the Bengaliyat. In 1793, Sake Dean Mahomed published his The Travels of Dean Mahomet. What is unique about this text is that it was originally written in English to give European readers a glimpse of India. Its creation was probably part of the author’s attempt to integrate in Ireland, where he was living. Two centuries later, we are witnessing an efflorescence of Anglophone writing from the two Bengals about Britain. I discuss Amitav Ghosh’s portrayals of Brick Lane in his 1988 novel The Shadow Lines as an early precursor to fellow Indian novelists Neel Mukherjee’s A Life Apart (2010) and Amit Chaudhuri’s Odysseus Abroad (2014), which also demonstrate a fascination with Sylhetis in London and their material culture. From Bangladesh and its diaspora, Manzu Islam’s Burrow (2004) and Zia Haider Rahman’s novel In the Light of What We Know (2013) come under the spotlight. What we might call “Banglaphone fiction” is, I argue, currently experiencing a boom, and portrayals of Sylhetis in London, their cuisine, and other aspects of popular culture form an enduring fascination among the male writers of this fiction, at least.
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Zainab, Rida, Maria Liaqat, Pakeeza Fatima und Hassan Bin Zubair. „A Postcolonial Feminist Appraisal of Pakistani English Literature“. Journal of Education, Teaching and Social Studies 4, Nr. 2 (25.04.2022): p7. http://dx.doi.org/10.22158/jetss.v4n2p7.
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This research explores women’s position in Pakistani society. Women are considered an interesting topic for researchers. The following research will show women’s empowerment in male-dominant backgrounds. This research offers a close analysis of women’s presentations by Pakistani English writers. This research is qualitative in nature. It provides a detailed account of information about postcolonial feminism and feminist writers of contemporary times. Portraiture of women is clear in the works of Pakistani English writers. The whole task will be accomplished with the impact of Colonialism. Pakistani modem writers have analyzed and discussed different issues related to women by portraying female characters in their works. Pakistani feminism is considered a part of Post Colonial fiction. Writers have introduced multiple dimensions of feminism. The main purpose of this research is to highlight different aspects which were caused by feminism. The study presents a detailed examination of females adjustment and its effect with great respect to Post Colonialism.
Dissertationen zum Thema "Fiction in English Zimbabwean writers"
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Eppel, Ruth. „The limitations and possiblilites of identity and form in selected recent memoirs and novels by white, female Zimbabwean writers : Alexandra Fuller, Lauren Liebenberg“. Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001985.
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This study examines selected works by four white female Zimbabwean writers: Alexandra Fuller, Lauren Liebenberg, Bryony Rheam and Lauren St John, in light of the controversy over the spate of white memoirs which followed the violent confiscation of white farms in Zimbabwe from 2000 onwards. The controversy hinges on the notion that white memoir writers exploit the perceived victimhood of white Zimbabweans in the international sphere, and nostalgically recall a time of belonging – as children in Rhodesia – which fails to address the fraught colonial history which is directly related to the current political climate of the country. I argue that such critiques are too generalised, and I regard the selected texts as primarily critical of the values and lifestyles of white Rhodesians/Zimbabweans. The texts I have selected include a range of autobiographical and fictional writing, or memoirs and pseudo-memoirs, and I focus on form as a medium enabling an exploration of identity. The ways in which these authors conform to and adapt particular narratives of becoming is examined in each chapter, with a particular focus on the transition from innocence to experience, the autobiography, and the Bildungsroman. Gender is a recurring point of interest: in each case the female selves/protagonists are situated in terms of the family, which, in reflecting social values, is a key site of conflict. In regard to trends in white African writing, I explore the white African (farm) childhood memoir and the confessional mode. Ultimately I maintain that while the texts may be classified as white writing, as they are fundamentally concerned with white identity, and therefore evince certain limitations of perspective and form, including clichéd tendencies, all the writers interrogate white identity and the fictional texts more self-reflexively deconstruct tropes of white writing.
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Walker, Victoria Carborne. „The fiction of Anna Kavan (1901-1968)“. Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8627.
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This thesis is a study of the British writer Anna Kavan (1901-1968). It begins by tracing Kavan’s life and examining the mythologies around her radical selfreinvention (in adopting the name of her own fictional character), madness and drug addiction. It attempts to map a place for her previously neglected work in twentieth-century women’s writing and criticism. Close reading of Kavan’s fiction attends to her uses of narrative voice in representing a divided self. Given Kavan’s treatment by the Swiss existential psychiatrist Ludwig Binswanger, the thesis explores connections between her writing and the British anti-psychiatry movement, especially R D Laing. Focussing primarily on the Modernist and Postmodern aspects of Kavan’s work, it also notes Gothic and Romantic inflections in her writing, establishing thematic continuity with her early Helen Ferguson novels. The first chapter looks at Kavan’s first collection of stories, Asylum Piece (1940) and her experimental novel, Sleep Has His House (1947). It reads her portrait of institutionalization as a nascent critique of asylum treatment, and considers Anaïs Nin’s longstanding interest in her work. Chapter Two draws on research into Kavan’s experiences during the Second World War, particularly her time working with soldiers in a military psychiatric hospital. Reading her second collection of stories I Am Lazarus (1945) as Blitz writing, it connects her fiction with her Horizon article ‘The Case of Bill Williams’ (1944) and explores the pacifist and anarchistic views in her writing. The third chapter, a reading of the novel Who Are You? (1963), argues that Kavan engages with existential philosophy in this text and explores parallels with Jean Rhys’ Wide Sargasso Sea. The final chapter looks at Kavan’s last and best known work, Ice (1967). Following Doris Lessing, this chapter reads the novel’s sadism as a political response to the Second World War. Contesting critical interpretations which have pathologized Kavan’s fiction as solipsistic representations of her own experiences, this thesis aims to resituate her as a politically-engaged writer of her time.
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Smillie, Rachel Jane. „The lady vanishes : women writers and the development of detective fiction“. Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=225765.
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The history of detective fiction has frequently centred on three key figures: Edgar Allan Poe, Wilkie Collins and Arthur Conan Doyle. These writers hold a privileged place in the canon of detective fiction and represent key sites in a linear narrative of development which has often overlooked the complexity and variability of the detective genre. This dissertation explores the disappearance of female writers from the critical history of detective fiction. Focusing on the mystery and detective narratives of Mary Elizabeth Braddon, LT Meade, Baroness Emmuska Orczy and CL Pirkis, this project aims to restore these overlooked authors to critical view. As this dissertation will argue, the erasure of these writers (among others) from critical histories of detective fiction has led to studies of the genre being based on a limited data set. This unstable foundation has resulted in a number of problematic assumptions about the nascent detective genre; namely, that it is conservative, prescriptive and phallocentric. By exploring the work of overlooked and forgotten writers, this project aims to explore the paradigms which have governed their disappearance; at the same time, this dissertation will examine established critical models and interrogate entrenched assumptions and approaches to detective fiction. Chapter one explores the figure of the female servant as household spy in Braddon's novels and considers her role in opposition to Braddon's male detectives. Chapter two focuses on the collaboratively-authored crime fiction of LT Meade; in particular, it addresses the battle for narrative agency and control which occurs in her texts and examines the breakdown of gender and genre roles. Chapter three considers Orczy's work in the context of the anxiety of the author and explores the potentially restrictive nature of genre fiction. Finally, chapter four addresses CL Pirkis's detective fiction alongside her work in other genres and uses these texts to interrogate traditional models of detective fiction.
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Magosvongwe, Ruby. „Land and identity in Zimbabwean fiction writings in English from 2000 to 2010 critical analysis“. Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/9292.
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Includes bibliographical references.The major aim of this study is to analyse how Zimbabwean literary voices across the racial divide explore the land-identity conundrum that is hotly contested in the aftermath of Zimbabwe's post-2000 land occupations and other redistribution processes. It aims to interrogate how the selected fictional narratives depict both long-held views and emerging perspectives on Zimbabwe's land question. Further, the study examines the land realities that the writers depict with a view to promoting national dialogue. The latter aims to promote greater social cohesion, peace and oneness that are critical for more sustainable human development in post-independence Zimbabwe.
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Mukherjee, Srilata. „Truncated transgressions : fictions of female authorship by British women writers of the late-nineteenth and early-twentieth centuries /“. Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004346.
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Chern, Joanne. „Restoring, Rewriting, Reimagining: Asian American Science Fiction Writers and the Time Travel Narrative“. Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/449.
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Asian American literature has continued to evolve since the emergence of first generation Asian American writers in 1975. Authors have continued to interact not only with Asian American content, but also with different forms to express that content – one of these forms is genre writing. Genre writing allows Asian American writers to interact with genre conventions, using them to inform Asian American tropes and vice versa. This thesis focuses on the genre of science fiction, specifically in the subgenre of time travel. Using three literary case studies – Ken Liu’s “The Man Who Ended History,” Charles Yu’s How to Live Safely in a Science Fictional Universe, and Ted Chiang’s “Story of Your Life” – this thesis seeks to explore the ways in which different Asian American writers have interacted with the genre, using it to retell Asian American narratives in new ways. “The Man Who Ended History” explores the use of time travel in restoring lost or silenced historical narratives, and the implications of that usage; How to Live Safely is a clever rewriting of the immigrant narrative, which embeds the story within the conventions of a science fictional universe; “Story of Your Life” presents a reimagining of alterity, and investigates how we might interact with the alien in a globalized world. Ultimately, all three stories, though quite different, express Asian American concerns in new and interesting ways; they may point to ways that Asian American writers can continue to write and rewrite Asian American narratives, branching out into new genres and affecting those genres in turn.
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Macedo, Lynne. „Fiction and film : the influence of cinema on writers from Trinidad and Jamaica 1950-1985“. Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/63585/.
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This thesis considers the relationship between film and novels that were published by writers from Trinidad and Jamaica between the years 1950 - 1985. Through close textual analysis and by utilising a combination of cinematic and literary theories, the thesis examines the extent to which filmic references have been absorbed into fictional writing and reflects upon the implications for such cultural transformations. The thesis also provides a detailed, historical background to the development of cinema in both islands, with a further analysis of the specific role played by the Hindi film in Trinidad. The interdisciplinary nature of the literary analysis and the detailed historical data contained herein should be considered an original contribution to knowledge within the field of Caribbean studies.
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Chihota, Clement. „Towards Marxist stylistics: incorporating elements of critical discourse analysis into Althusserian Marxist criticism in the interpretation of selected Zimbabwean fiction“. Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13117.
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Includes bibliographical references.The thesis - which locates itself at the interface between linguistic and literary studies - explores the possibility of developing a ‘Marxist- stylistic’ method of text interpretation, which primarily proceeds from Althusserian Marxist Criticism, but which also incorporates salient elements of Critical Discourse Analysis. In construction of the method, the thesis first investigates the need for Althusserian Marxist criticism to be mediated, and more specifically, the areas in which this mediation is required. The thesis then crosses over to the field of Critical Discourse Analysis where it identifies relevant theoretical and methodological resources that are capable of mediating the ‘gaps’ identified in Althusserian Marxist criticism. The construction of the Marxist stylistic method is then effected through the transfer of germane theoretical and methodological resources from Critical Discourse Analysis to Althusserian Marxist criticism. The distinctive properties of the emergent Marxist-stylistic method are delineated before the method is practically applied to the interpretation of at least four fictional texts – all written and set in Zimbabwe. The key outcome of the thesis is that a distinctive method of text interpretation, which meaningfully separates itself from Althusserian Marxist criticism, on the one hand, and Critical Discourse Analysis, on the other, emerges. The thesis concludes with a reflection on the application of the method and makes some suggestions for further research and development in the area herein labelled as ‘Marxist stylistics.’
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Jones, Mary C. „Fashioning Mobility: Navigating Space in Victorian Fiction“. UKnowledge, 2015. http://uknowledge.uky.edu/english_etds/24.
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My dissertation examines how heroines in nineteenth-century British Literature manipulate conventional objects of feminine culture in ways which depart from uses associated with Victorian marriage plots. Rather than use fashionable objects to gain male attention or secure positions as wives or mothers, female characters deploy self-fashioning tactics to travel under the guise of unthreatening femininity, while skirting past thresholds of domestic space. Whereas recent Victorian literary and cultural criticism identifies female pleasure in the form of consumption and homosocial/erotic desire, my readings of Victorian fiction, from doll stories to the novels of Charlotte Brontë, Wilkie Collins, and Marie Corelli, consider that heroines find pleasure in deploying fashionable objects – such as dolls, clothes, cosmetics, and jewelry – which garner access to public space typically off limits for Victorian women. In the first chapter, girls use dolls to play in wilderness spaces, fostering female friendships. Muted dress provides a cloak of invisibility, allowing the heroine to participate in the pleasure of ocular economies in the second chapter. The third chapter features a female detective who uses cosmetics to disguise her infiltration of men’s private spaces in order to access private secrets. Finally, the project culminates with jewelry’s re-signification as female success in the publishing world.
Tracing how female characters in Victorian fiction use self-fashioning as a pathway, this study maps the safe travel heroines discover through wild landscapes, urban streets, and professional arenas. These spaces were often coded with sets of conditions for gendered interactions. Female characters’ proficient self-styling provides mobility through locations guarded by the voices of neighbors, friends, and family who attempt to keep them in line with Victorian gender conventions. Female characters derive an often unexplored pleasure: the secret joy of being where they should not and going against what they are told. In the novels I examine, female protagonists navigate prolific rules and advice about how to arrange and manage their appearances, not to aspire to paragons of Victorian beauty and womanhood but in order to achieve physical and geographic mobility outside domestic interiors.
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Garner-Mack, Naomi Jayne. „Eighteenth-century women writers and the tradition of epistolary complaint“. Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:a4b7a20d-b36f-4657-929b-e5f375a49cd7.
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This thesis considers the presence of the epistolary tradition of female complaint in the writings of five late eighteenth-century women writers: Hester Thrale Piozzi, Mary Wollstonecraft, Charlotte Turner Smith, Mary Robinson, and Frances Burney D’Arblay. The epistolary female complaint tradition is premised on the suggestion that readers are permitted, through the literary endeavours of male authors/transcribers, a glimpse into the authentically felt woes of women; the writers in this study both question and exploit this expectation. Often viewed by critics like John Kerrigan as a tradition that stifled female creativity, epistolary female complaint proves, this thesis argues, a lively and enlivening tradition for women writers; it provided opportunities for literary experimentation and enabled them to turn their experiences into artistic form. Five themes central to the epistolary female complaint tradition are considered: betrayal, absence, suicide, falls, and authorship. Each chapter looks at one theme and one author specifically. Chapter 1 examines the narrative of betrayal Hester Thrale Piozzi established in her journals from 1764 to 1784. Chapter 2 turns to Mary Wollstonecraft and her accounts of absence in her private letters to Gilbert Imlay, and her epistolary travel account, A Short Residence in Sweden, Norway, and Denmark (1796). Chapter 3 discusses Charlotte Turner Smith’s engagement with the theme of suicide in her Elegiac Sonnets (1784) and her epistolary novel, Desmond(1792). Chapter 4 considers the strategies employed in Mary Robinson’s autobiographical, poetic, and fictional writings, which work to move beyond the moral fall the tradition implied. Chapter 5 focuses on the recurrent theme of authorial debt in Frances Burney D’Arblay’s journals, plays, and fiction. I conclude by considering Jane Austen’s appropriation of the tradition in her final novel, Persuasion (1818), and her transformation of the tradition by providing a resolution to the cause of complaint.
Bücher zum Thema "Fiction in English Zimbabwean writers"
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Dudziro, Nhengu, und Budding Writers Association of Zimbabwe., Hrsg. Exploding the myths about Zimbabwe's land issue: The budding writers' perspective. Harare, Zimbabwe: Budding Writers Association of Zimbabwe, 2004.
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Eppel, John. Absent: The English teacher. Harare: Weaver Press, 2009.
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1953-, Morris Jane, Hrsg. Long time coming: Short writings from Zimbabwe. Ascot, Bulawayo: 'amaBooks, 2008.
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C, Chihota, und Muponde Robert, Hrsg. No more plastic balls: New voices in the Zimbabwean short story. Harare, Zimbabwe: College Press, 2001.
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Irene, Staunton, Hrsg. Writing now: More stories from Zimbabwe. Harare: Weaver Press, 2005.
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They are coming. Avondale, Harare: Weaver Press, 2014.
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Halera, Alayina. The Eye of Eve. Harare: New Heritage Press, 2016.
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Odendaal, P. J. The rise of the vaesons. Zimbabwe: [P.J. Odendaal], 2018.
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Staunton, Irene. Writing lives. Avondale, Harare: Weaver Press, 2014.
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Pinduke, G. T. Chakapedzambudzi. Bulawayo: Tepp Motoring Driving School (Pvt) Ltd, 2018.
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Ghosal, Nilanjana, und Srirupa Chatterjee. „Cultural Assimilation and the Politics of Beauty in Postwar American Fiction by Ethnic Women Writers“. In The English Paradigm in India, 139–51. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-5332-0_10.
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Cohen, Matt. „Notes On Realism in Modern English-Canadian Fiction“. In Canadian Writers in 1984, 65–71. University of British Columbia Press, 2007. http://dx.doi.org/10.59962/9780774857611-005.
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Skinazi, Karen E. H. „Jewish American Fiction“. In The Oxford History of the Novel in English, 254–67. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192844729.003.0021.
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Abstract Reflecting on the “Golden Age” of Jewish American writing, along with the dearth of new Jewish fiction and young Jewish writers in 1991, Leslie Fiedler contended that “from the start the Jewishness of such laureates of Jewish-American life was already vestigial, and their exploitation of it has come to seem in retrospect a final act of assimilation into the homogenized, postethnic society that made them rich and famous.” This chapter argues, in contrast, that the work of celebrated male Jewish American writers like Saul Bellow and Philip Roth had the effect of putting Jews and Jewishness on a national stage, paving the way for a renaissance of new Jewish writing at the start of the twenty-first century, a new movement of deeply liturgical, highly particularistic, feminocentric Jewish American fiction that dominates the field in the early twenty-first century.
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Dodds, Lara. „Women and Fiction“. In The Oxford Handbook of Early Modern Women's Writing in English, 1540-1700, 245–60. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198860631.013.12.
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Abstract Virginia Woolf’s thought experiment—or fiction—of Judith Shakespeare was part of a larger investigation of the problem of ‘women and fiction’. This chapter returns to this problem with an investigation of the different ways that early modern women were associated with fiction: as patrons, addressees, readers, writers, and theorists. This chapter provides an overview of women’s participation in fiction in the earlier part of the seventeenth century. The examples of Margaret Tyler and Mary Sidney Herbert demonstrate women’s influence on the development of early modern fiction as translators, editors, and co-authors. Further, the association of women and fiction in the period created ‘women and fiction’ as a complex of ideas that shaped women’s engagement with fiction as both readers and writers. This chapter analyses Mary Wroth and Margaret Cavendish’s fictional works, demonstrating how these writers developed theories about the power of fiction to reflect and shape the conditions of women’s lives.
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Jack, Ian. „John Galt and the Minor Writers Of Prose Fiction“. In English Literature 1815—1832, 225–59. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198122388.003.0008.
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Abstract AS Miss Tompkins has pointed out in her admirable study, The Popular Novel in England, 1770-1800, ‘during the years that follow the death of Smollett… the two chief facts about the novel are its popularity as a form of entertainment and its inferiority as a form of art’. In the first two decades of the new century the achievements of Maria Edgeworth, Jane Austen, and Sir Walter Scott greatly increased the prestige of prose fiction.
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James, Edward. „Science Fiction“. In The Oxford History of the Novel in English, 449–62. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192844729.003.0039.
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Abstract Arising from the Gothic (with Mary Shelley), from tales of exploration (with Jules Verne), and from stories of the wondrous or horrific potentials of science (with H. G. Wells), science fiction was not a US invention, though the label “science fiction” was first used by the US magazine editor Hugo Gernsback in 1929 and became current in the United States much earlier than in Britain or elsewhere. Aided by the cultural power of Hollywood, US writers in the second half of the century created a new kind of science fiction, which readily translated into other languages. The active creation of a canon, in which US authors predominated, was aided by the growth in the US (and later in the rest of the world) of a community of science fiction fans, as well as international networks kept alive by amateur publications (fanzines) and conventions, and then by email and social media.
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Trotter, David. „Modern Writers II: English Nausea“. In Cooking With Mud, 153–97. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198185031.003.0006.
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Abstract Like most recent critics of Daniel Deronda, I have stressed the novelty of Eliot’s conception of Grand court as an embodiment of pure malevolence. But it has to be admitted that he is in some respects ancient. For he bears, in status, manner, and sexual conduct, the mark of that tried-and-tested formula for pure malevolence, the ignobly noble rake of Gothic fiction. Eliot, indeed, goes so far as to reinforce his sempiternal qualities with a whiff of prehistoric swamp. To Gwendolen, Grandcourt seems ‘a handsome lizard of a hitherto unknown species, not of the lively, darting kind’ (DD 137). He gives his associate, Mr Lush, a look ‘as neutral as an alligator’: ‘there was no telling what might turn up in the slow-churning chances of his mind’ ( 157).
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Trotter, David. „Modern Writers I: English Mess“. In Cooking With Mud, 115–52. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198185031.003.0005.
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Abstract In Chapter 3, I drew attention to a brace of significant literary departures: in Armadale, Wilkie Collins suspended the paranoia governing the genre of sensational fiction in order to give weight to the toss of a coin; in Sentimental Education, Gustave Flaubert set aside the doctrine of psychological determinism he had upheld for many years in order to emphasize the part played in his hero’s life by chance and by ‘external facts’. The only explanation I have so far advanced for these departures is bio graphical: Collins, still savouring the success of The Woman in White, no doubt felt that he could do more or less what he liked with his new narrative toy; Flaubert, who took care not to repeat himself, found in the force of circumstance a fresh (and ample) incentive to irony. That two such unlikely com panions should both choose to depart from the established pattern of their separate careers at roughly the same moment in the history of the European novel is, one might suppose, a coincidence.
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Soon Ng, Andrew Hock. „Islam and Modernity in Contemporary Anglophone Fiction by Malay Writers“. In Intimating the SacredReligion in English Language Malaysian Fiction, 193–208. Hong Kong University Press, 2011. http://dx.doi.org/10.5790/hongkong/9789888083213.003.0006.
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Nielsen, Nikolaj Ramsdal, Cyrus R. K. Patell und Deborah Lindsay Williams. „The Production and Circulation of the US Novel“. In The Oxford History of the Novel in English, 25–55. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192844729.003.0003.
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Abstract This chapter presents the story of the marketplace for US fiction since 1940 as the story of middlemen—publishers, distributors, and agents—who propagated distinctions among kinds of novels in order to sell them more effectively, while working in a context increasingly marked by the interventions of educational institutions and various other cultural tastemakers. This marketplace was organized around systems of classification that shaped the ways in which writers write and readers read. The distinctions that arose during this period—between hardbacks and paperbacks, between “literary fiction” and “genre fiction,” between the “highbrow” and the “middlebrow,” between writers affiliated with the academy and writers who are not—created what reader-response theorists refer to as a “horizon of expectations” for the novel, a horizon that some writers and readers would embrace and that others would challenge.
Konferenzberichte zum Thema "Fiction in English Zimbabwean writers"
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Abdullayev, a. Umida. „AMERICAN LITERATURE AT ENGLISH CLASSES: AUTHOR’S STYLE ANDLANGUAGE ACQUISITION“. In Modern approaches and new trends in teaching foreign languages. Alisher Navo'i Tashkent state university of Uzbek language and literature, 2024. http://dx.doi.org/10.52773/tsuull.conf.teach.foreign.lang.2024.8.5/palr8965.
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The article represents the significant role of reading American literature at the class of English in universities. Discussion has put forward several positive sides of reading novels and short stories while learning any foreign language. Notable examples of these kinds of challenges include inadequate comprehension of lexical and phraseological units, trouble grasping grammatical structures, etc. The above-mentioned challenges might be resolved by developing deeper vocabulary, phraseology, and grammar understanding in group or individual classes. But even a deep degree of expertise will not be sufficient to fully comprehend the original works because writers frequently employ dialects and unique forms of English, such Black English, inaddition to the conventional language used in fiction.