Zeitschriftenartikel zum Thema „Literature fiction poetry criticism“
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Yoo, Hyun-Joo. „Analysis of Trends in Research on Children’s and Young Adult Literature/Literature Education“. Korean Society for Teaching English Literature 26, Nr. 2 (30.08.2022): 87–123. http://dx.doi.org/10.19068/jtel.2022.26.2.04.
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Since the Korean Society for Teaching English Literature (KSTEL) was founded in 1992, it has grown into an academic organization representing English literature-related research and education in Korea through various active academic activities, including biannual academic conferences and the publication of the Journal of Teaching English Literature (JTEL) three times a year. JTEL is a vital source of information on children’s and young adult literature and literature education by featuring analyses of poetry, fiction, drama, film, and non-fictional materials and providing ideas for teaching children’s and young adult literature in the classroom.
To celebrate KSTEL’s 30th anniversary, this paper reviews and draws the trajectory of the kinds of writers, literary works, and research topics that scholars have been interested in. In this paper, I comprehensively examine and analyze the changes in goals, methodology, topics, themes, perspectives, and contents of research papers related to children’s and young adult literature criticism and literature education over the past three decades. I also make some suggestions regarding the journal’s direction for the future based on personal opinions and beliefs.
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Muñoz Covarrubias, Pablo. „María Zambrano y la quimera“. Revista Valenciana. Estudios de filosofía y letras, Nr. 28 (09.06.2021): 173–200. http://dx.doi.org/10.15174/rv.v13i28.523.
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María Zambrano and the Chimera
During her career as a philosopher, writer and thinker, María Zambrano once and again portrayed literature as a special space for her research. In that sense, she investigated the principal traits belonging to the razón poética in several genres such as poetry and fiction. The purpose of the following pages is to investigate the way in which she read and recreated literary works chiefly by Miguel de Cervantes and Benito Pérez Galdós. Her literary criticism is anchored to metaphoric symbolism. One of her most recurrent symbols is the chimera. The chimera becomes an indispensable and ambiguous image in her analysis of Don Quixote and Misericordia.
Key Words: María Zambrano, Literary Criticism, Razón Poética, Cervantes, Pérez Galdós
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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.
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Souza, Roberto Acízelo de, und José Luís Jobim. „BRAZILIAN LITERARY CRITICISM AND HISTORIOGRAPHY“. Revista Brasileira de Literatura Comparada 22, Nr. 41 (Dezember 2020): 37–45. http://dx.doi.org/10.1590/2596-304x20202241rac.
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Abstract: In Brazil literary studies, after scant manifestations in the colonial period, represented by the activity of literary academies founded in the 18th century only really expanded in the course of the 19th century. National literary production grew in quantity and quality, as did literary studies, which, on the one hand, were demanded by this production- that, after all, needed to be studied and evaluated -, but, on other hand, stimulated this creativity, as they established as a criterion of value the alignment of fiction, poetry and dramaturgy with the nationalist agenda. As a result, from the 1820s until the 1880s, literary studies in Brazil underwent a period of expansion and diversification. If in the 1800s literary education was conducted at high-school level, from the 1930s onwards university courses in literatures began to be established in Brazil. In this paper we will provide a short introduction to Brazilian literary criticism and historiography from its very beginnings to the present time.
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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina und Ekaterina O. Shmeltser. „Technology of poetry presentation via Emoji Maker platform: pedagogical function of graphic mimesis“. CTE Workshop Proceedings 7 (20.03.2020): 264–80. http://dx.doi.org/10.55056/cte.359.
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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.
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Montes-Alcalá, Cecilia. „Code-switching in US Latino literature: The role of biculturalism“. Language and Literature: International Journal of Stylistics 24, Nr. 3 (August 2015): 264–81. http://dx.doi.org/10.1177/0963947015585224.
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While mixing languages in natural speech production has often been inaccurately ascribed to illiteracy or lack of linguistic competence, doing so in writing is a long-standing practice in bilingual literature. This practice may fulfill stylistic or aesthetic purposes, be a source of credibility and/or communicate biculturalism, humor, criticism, and ethnicity, among other functions. Here, I analyze a selection of contemporary Spanish–English bilingual literature (poetry, drama, and fiction) written by Mexican American, Nuyorican, and Cuban American authors focusing on the types, and significance, of code-switching (CS) in their works. The aim of the study is to determine to what extent the socio-pragmatic functions that have been attested in natural bilingual discourse are present in literary CS, whether it is mimetic rather than rhetorical, and what differences exist both across literary genres and among the three US Latino groups. I also emphasize the cultural aspect of CS, a crucial element that has often been overlooked in the search for grammatical constraints.
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Byrne, Deirdre C. „“The Wings of the Redwing Hawk”“. Extrapolation: Volume 63, Issue 2 63, Nr. 2 (01.07.2022): 181–204. http://dx.doi.org/10.3828/extr.2022.12.
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Ursula K. Le Guin is well known and widely studied for her outstanding career as an author of speculative fiction. There is much less scholarly criticism of her poetry, which constitutes eleven volumes (Ursula K. Le Guin Literary Trust) and deserves sustained attention. This article explores one section of her poetry—the poems published in Always Coming Home (1986, hereafter ACH)—as a response to the environmental degradation that has been the hallmark of the past two centuries. I explore Le Guin’s creative practices within the framework of her insistence on a flattened ontology where humans and nonhuman living beings enjoy equal status and humans’ dependency on nonhuman nature is acknowledged. The article probes the status of the poems in an exceptionally innovative text, namely the imagined history of a people who “might be going to have lived a very long time from now in Northern California” (ACH n.p.). In exploring Le Guin’s view of human inter- and intra-actions with nonhuman animals, I also take note of the formal features of the poems which are intertwined with their semantic aspects.
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Monaco, Benedetta. „Poematis genus ambigui I concetti di veritas, fictio e visio fra Petrarca e Boccaccio“. Mediaevalia Textos e estudos 40 (2023): 215–37. http://dx.doi.org/10.21747/21836884/med40a8.
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The paper aims to analyse, through multiple intertextual references, the reception of classical and me-dieval theory about relationship between veritas, fictio and poesis through Boccaccio’sand Petrarca’s examples. Starting from etymological and interpretative dissociation between the concepts of poetry and fiction, allowed by the rediscovery of Cicero’s Pro Archia, Petrarca and Boccaccio reaffirm the moral truth as center of poetic discourse, in defense of poetry against medieval accusations of defectum veritatis. A particular case of study is offered by the dialogicity of the elements of veritas and fictio in the new perspective of humanistic reworking of dream-vision’s literary theory in Boccaccio’s Amorosa Visione, and Petrarca’s Triumphi. This study highlights specifically the ways in which each author not only drew upon previous theoretical models (such as Macrobius Commentarium in Somnium Scipionis) and interacted with the genre of religious prophetic visions (like the Visio Alberici, Vision de Tondale)and the allegorism of Divine Comedy in the composition of his own oneiric texts, but also how, through their literary criticisms, they influenced the analysis of the symbols in subsequent literature.
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Abdurrahmani, Tidita. „Eco-Criticism and Nature Writing .the Trails of the American Approaches“. European Journal of Social Sciences Education and Research 2, Nr. 1 (30.12.2014): 266. http://dx.doi.org/10.26417/ejser.v2i1.p266-278.
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Ecocritical attention has primarily focused on nineteenth– and twentieth-century British and American texts, predominantly non-fiction nature writing, and also nature-conscious fiction and poetry. The paper attempts to shed light to a series of puzzling but response-inciting questions regarding the American gendered approaches to nature, and the niche that Ecocriticism occupies in mainstream American Literature. The study is conceived as a merging of theoretical arguments and textual study. The theoretical part attempts to shed light on such issues as: Ecocritical traits and approaches; European vs. American approaches to nature; and Nature and Women's writing .The focus of the textual study are 10 American Nature Writing non-fiction classics and illustrated considerations of the main topics handled in these works. The study seeks to show that though ecocriticism is attempting to break new trails by going through the untrammeled nature-centered works, humans are failing to go within the unchartered depths of their spirit and consciousness. In terms of distinguishing in between the male gendered nature narrative and the female gendered nature narrative, the paper comes to the conclusion that there is a close connection between the systematic undervaluing of women's writing and the exploitation and abuse of the earth. While male nature writers mostly develop themes such as: the austerity of nature and the wish to explore and alter landscapes to suit the "human design"; the idea of hunting for a "trophy"; grandfather wisdom; wilderness and governmental institutions; earth as a religion, female-centered approaches to nature are marked by the occurrence of such themes as: moral –considerability of non-human beings; disapproval of economism; the bond to the land; anthropogenic destructive tendencies; nature/self consciousness. Nevertheless, although male writers fall into the snares of economism and exploring as a way of controlling, they still implicitly share women's consideration of the unbreakable bond to the earth and their awareness of the impactive immediacy to humankind.
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Rocca, A. J. „Samuel R. Delany as Genre Flaneur: Encountering Science Fiction in Dhalgren“. Science Fiction Studies 51, Nr. 1 (März 2024): 53–73. http://dx.doi.org/10.1353/sfs.2024.a920233.
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ABSTRACT: Samuel R. Delany's Dhalgren (1975) moves through different genres and styles of literature in much the same way that Walter Benjamin's flaneur moves through the spaces of the city. Delany as a writer makes contact with any number of other traditions outside of science fiction, but he expresses no radical desire to revolutionize sf or move it into mainstream literature. Delany does not assimilate or synthesize outside influences into his work so much as he encounters them. In Starboard Wine (1984), his book of sf criticism, Delany defines "encounter" in literature as the interpretation of a text associated with one genre through the reading protocols associated with another. I argue that "encounter" is analogous to "contact," a concept from Delany's Times Square Red, Times Square Blue (1999) that relates to the real, physical interaction of individuals in an urban environment. Nowhere is this convergence of literary encounter and urban contact clearer than in his novel, Dhalgren. Dhalgren uses the city as a conceptual framework for encounters among a diverse array of influences including myth, poetry, autobiography, and literary modernism. These types of encounters are also plentiful in Delany's earlier work, but Dhalgren pushes them to a point where even sf itself is decentered and becomes just one more thing to be met in the space of the city.
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Beisenova, Zh S., G. A. Zhakipova und O. G. Egorova. „SCIENTIFIC AND ARTISTIC KNOWLEDGE IN KAZAKH LITERATURE FOR CHILDREN“. Bulletin of Shokan Ualikhanov Kokshetau University. Philological Series 2023, Nr. 3 (20.09.2023): 88–94. http://dx.doi.org/10.59102/kufil/2023/iss3pp88-94.
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The article discusses the nature of the scientific and cognitive function of natural history fiction. The authors of the article emphasize that the theme of the relationship between man and nature is still popular in the literary genre. The scientific reasoning emphasizes the emphasis on the mythopoetic basis of Kazakh folklore, in which the scientific, artistic and heuristic beginnings of human exploration of the surrounding world are synthetically presented. The purpose of the study is to present an analytical review of the most representative critical assessment of the natural history of children's literature in Kazakhstan. The illustrative material of the artistic description of local history and natural history is given. In this article, the authors refer to the corpus of historical and modern scientific criticism of children's literature. The practical significance of the problem under study lies in revealing the peculiarities of the development of children's literature in its main genre and style concentra. The authors use a systematic approach that allows them to build the studied material according to a linear-concentric principle, applicable to genre forms of prose and poetry addressed to children. Key words: natural science, animal world, Kazakh children's literature, man and nature, scientific and artistic book.
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Larizza, Olivier. „Expliquer la poesy durant la Renaissance anglaise“. Recherches anglaises et nord-américaines 35, Nr. 1 (2002): 195–206. http://dx.doi.org/10.3406/ranam.2002.1657.
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The purpose of this paper is to explore the way English Renaissance criticisin explained poesy, a term designating both poetry and fictional prose. Reevaluating Sidney's Apology for Poetry in relation to the Aristotelian doctrine of verbal art, my first part insists on the pragmatic aspect of the criticism of the time which sought not only to describe its object but also to justify its very existence according to its effects on the reading public (docere and delectare). Now this pragmatic quality leads to both subjectivity and empiricism in the critical art, which is what my second part deals with. Literature and its explanation were in fact the two poles of the same activity, most critics being also, poets. The latter would prescribe rules enabling them to both write and judge literature : my third part focuses on the most important of these rules and mentions the hesitation of the critical explanation of the Renaissance, oscillating between tradition and innovation despite its luminous contributions and its ability to transcend classical norins.
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Kokbas, Zhazira, Zhanat Aimukhambet, Karlygash Kurmambayeva, Nurgul Smagulova und Mendykyz Yesmatova. „Mythical Cognition and Artistic Method“. International Journal of Criminology and Sociology 9 (05.04.2022): 3198–202. http://dx.doi.org/10.6000/1929-4409.2020.09.386.
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The aim of the study is to research mythical cognition, which is of particular importance for deep understanding of the issue of mythologism, mythopoetics in literature, and world literary science. The leading research methods for this issue is the analysis method. The specifics of using the mythopoetic method in poetry was given by the poetry of Tynyshtykbek Abdikakimov, the artistic and aesthetic value of mythical knowledge was revealed. The article also analyses the differences between mythological and poetic cognition and proves the value and power of the mythopoetic method in fiction. The system of mythological thinking of a mythological worldview not only determines Kazakh national worldview, but also transfers the fruits of mythical consciousness to the visual system, forming a huge channel of artistic approach. The novelty of the study is determined by the fact that the actual problem of literary criticism was analysed, which is a spiritual value, the transformation of mythological consciousness into poetic consciousness in the poems of the poet, into the basis of images and poetic expressions formed in the system of modern literary thinking. The practical significance of the study is determined by the necessity to study the activity of mythical knowledge in poetics.
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Mozammel Haque, Mohammad. „Sunil Gangopaddhaya’s ‘An Unsent Letter’: A Harrowing Outburst of Long Smothered Wail of a Lacerated Psyche“. International Journal of Applied Linguistics and English Literature 9, Nr. 1 (31.01.2020): 24. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.1p.24.
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The statement that the poets are born after their death is universally known. There is hardly any writer who writes the criticism of his writings. They are the critics who criticize their works. It can be said that the writer himself may have only a single idea or message when he produces his piece of writings, but the critics have different views on the same work. Even one critic sometimes innovates miscellaneous ideas and messages from the same poetry, play, novel, short story, fiction, non-fiction etc. Furthermore, a post- colonial critic always tries to find the message of his area of study even in the writers of Anglo Saxon, Middle English, Romantic or Victorian era. A romanticist finds his theme in the writings of other periods. Similarly, a fan of feminism attempts to discover the messages related to females in the writings he studies. In the same way, the author of this paper, because of his being a writer for those who find themselves trapped in the social four walls, and who have no control over the situations around them, focuses on how Sunil Gangopaddhaya, in his short lyric titled ‘An Unsent Letter’, has picturesquely delineated the indescribable plight, predicament and quandary of a sub-continental girl who has been sold to a brothel for six thousand rupees. The paper also, besides showing how the women are neglected, abandoned, deserted and ignored in the male-chauvinistic society, emphasizes to show the real backdrop of the women in the society the poet lives.
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Daugirdaitė, Solveiga. „Žemaitė XX a. II pusės lietuvių poezijoje ir prozoje“. Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (10.03.2022): 105–19. http://dx.doi.org/10.37384/aplkp.2022.27.105.
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The article dedicated to the works of the Lithuanian literature written in the second half of the 20th century depicting the writer Žemaitė (pen name of Julija Beniuševičiūtė-Žymantienė, 1845–1921). This writer was not rejected by the Soviet authorities because of her realistic outline and her democratic political views, the social criticism expressed in her work towards greed, selfishness and clericalism. Lithuanian writers dedicated to her their poetry, fiction, and drama works. However, Soviet writers were also impressed by Žemaitė’s personality traits, which mentioned less frequently in public: independence, perseverance, wit, the courage to stand out from her surroundings and to disregard the societal norms that stifled older women in traditional society. The article analyses the features of Žemaitė’s personality in works of Lithuanian literature created by poets Salomėja Nėris, Judita Vaičiūnaitė, and others. The author reveals how different aspects of Žemaitė’s work and personality were emphasised depending on the time of writing. This change partly reflects the shift of literature from socialist realism to more modern literature. Among the works of prose, the author singles out Bitė Vilimaitė’s cycle of short stories “Apsakymai apie Žemaitę” (Short Stories about Žemaitė) from her collection Papartynų saulė (Fernery Sun, 2002). The stories reveal both the character of Žemaitė, her environment and people close to her, and the most important features of Vilimaitė’s own work: attention to a woman’s fate, subtle psychological insight, attention to detail, and a specific model of a short novella. Since the protagonists of the cycle are usually real people, Vilimaitė’s talent for using documentary material and combining it with fiction is also evident here. The article concludes that Soviet-era authors portraying Žemaitė’s character raised aspects relevant to the time of writing, such as the promotion of national culture, problems of women’s emancipation and, also the fact that for female writers, Žemaitė was a role model.
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Fuehrer, Bernhard. „The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]“. China Quarterly 178 (Juni 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.
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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.
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Babana-Hampton, Safoi. „The Postcolonial Arabic Novel“. American Journal of Islam and Society 21, Nr. 1 (01.01.2004): 107–10. http://dx.doi.org/10.35632/ajis.v21i1.1818.
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Muhsin Jassim Al-Musawi’s book offers a fresh contribution not only tostudies in Arabic literature but also to postcolonial critique, cultural criticism,comparative literature, and cross-cultural studies. Its interest lies inthe fact that it introduces a relatively less explored territory in postcolonialthought and cultural criticism: namely, Arabic literature. Theattention of many western and non-western scholars in the field has long been directed toward Anglophone literature from South Asia, Japan,Africa, and Canada, and then to Francophone literature from North Africaand the Antilles.In the context of the Arab world, the author also situates the importanceof his study in how The Thousand and One Nights, a work whosefate and reception he sees as emblematic of the fate of fiction writing inthe Arab world, was received. Just like the novel genre in general, thiswork only received scholarly interest rather recently, after centuries ofneglect and disdain by conservatist Arab scholars and elite culture.Central to postcolonial critique, whose sources and precedents can betraced to the practices and discourses of those writers associated with variousintellectual traditions (e.g., poststructuralism, deconstruction, Marxism,feminism, cultural studies) and which has affinities with the literary movementknown as postmodernism, is the experience of colonization as amoment of cultural self-consciousness and self-dividedness. This momentgenerates contradictory and ambivalent identity patterns and subject positionsresulting from the encounter with the Other (culture), and emphasizesthe constructedness of identity. Al-Musawi transposes these key postcolonialmotifs and insights to the realm of Arabic literature in order to revealimportant dimensions of the contemporary Arabic novel.Scholarly research on Arabic literature (both within and outside theArab world) often privileged poetry as an object of study, given its historicallyprominent place in elite culture and the Arab world’s literary canon.The subject choice of the book is of particular interest, because it targetsthe Arabic novel as an emerging literary genre, and, by the same token,because of its use of postcolonial analytical concepts to account for thisrelatively new literary genre’s place in contemporary Arab culture andsociety ...
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GONZÁLEZ GIL, Isabel. „NUEVOS ENFOQUES TEÓRICOS PARA EL ESTUDIO DE LA POESÍA LÍRICA“. Signa: Revista de la Asociación Española de Semiótica 29 (08.04.2020): 495. http://dx.doi.org/10.5944/signa.vol29.2020.23400.
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Resumen: Este artículo examina dos modelos teóricos recientes ycontrapuestos de estudio del género lírico: el mimético-narratológico y elperformático, que constituyen sendas aportaciones de la crítica literariainternacional al respecto en las dos últimas décadas, pero que han tenidoescasa difusión en la teoría literaria en lengua española. Se trata, por unlado, de las aplicaciones de la narratología al estudio de textos poéticos ylíricos y, por otro lado, la propuesta de Jonathan Culler en su Theory of theLyric, que rechaza la asimilación de la lírica al género narrativo y proponeindagar en su especificidad, no mimética sino performática. Abstract: This paper examines two recent and opposite models for the studyof the lyric genre: mimetic-narratological and performative, two importantcontributions of international literary criticism to the field. Nevertheless,they have had scarcely any repercussions in Spanish literary theory. First,we focus on the narratological applications to the study of poetic and lyrictexts. Second, we address Jonathan Culler’s theoretical proposal developedin his book Theory of the Lyric, in which he rejects the assimilation oflyric poetry to the model of narrative fiction, and he proposes instead toinvestigate its singularity, not imitative but performative.
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Seol, Kyeong-hee. „Aesthetic Consideration of Hyangpa Lee Juhong’s Calligraphy and Painting“. Korean Society of Calligraphy 43 (28.09.2023): 159–96. http://dx.doi.org/10.19077/tsoc.2023.43.7.
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Lee Juhong(1906-1987) was a writer, educator, and artist, born in Hapcheon, Gyeongsangnam-do, and worked in Busan. This paper is a study of his calligraphy, poetry, and painting. He experienced various hardships during his life of 80 years, including Japanese rule and the Korean War. Therefore, he expressed human agony and the fundamental essence of his difficult life through various genres of art, including literature. He led students to culture and art during his entire life as a professor of the Department of Korean Language and Literature at the National Fisheries University of Busan, integrated by Pukyong National University in Busan afterward. In addition, he was a comprehensive artist who engaged in artistic activities in a variety of genres, including poetry, novels, essays, plays, and criticism, as well as children's poems, fairy tales, juvenile fiction, calligraphy and painting, folk paintings, comics, book designing and binding, and theater directing. He also wrote collections of literary works and translations that amount to about 300 volumes.
I analyzed and examined Hyangpa Lee Juhong’s calligraphy and painting by classifying them into literary communication aesthetics of calligraphy and painting and authentic East Asian aesthetics of calligraphy. The simple beauty, humorous beauty, and natural beauty abstracted from the literary communication aesthetics of calligraphy and painting help the aesthetic emotions organically linked in Hyangpa’s poetry, painting, and calligraphy to communicate through the integrated empathy of creation and appreciation. Therefore, I confirmed that simple, humorous, and nature-friendly works become communication aesthetics that heals complex minds.
I summarized the authentic East Asian aesthetics of calligraphy into five beauties.: The first is the simple and gentle beauty that looks smiling. The second is the beauty that to have and to lack generate each other, and the third is the beauty that expresses a neat yet majestic aura with flowing strokes. The next is the beauty that is plain but not sick of, and the last is the magnanimous beauty while remaining faithful to nature without restraint. He used diverse genres of literature and various fields of art. He attempted many experimental things in calligraphy, so we could evaluate that he created a new style and method of calligraphy. In addition, the humanistic, literary, and aesthetic sentiments accompanying Confucius's humanism and Zhuangzi's vital freedom at the bottom of Hyangpa art formed his view of literature, art, and life. Thus, they elaborately emerged in Hyangpa’s calligraphy and painting.
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Mendelssohn, Anna, und Sara Crangle. „What a Performance“. PMLA/Publications of the Modern Language Association of America 133, Nr. 3 (Mai 2018): 610–30. http://dx.doi.org/10.1632/pmla.2018.133.3.610.
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From the late seventies until her death, british-born writer and artist anna mendelssohn (1948–2009) authored fifteen poetry collections and at least two dozen short fictions and dramas, often publishing under the name Grace Lake. A consummate autodidact, Mendelssohn's passion was international vanguardism, a truth exemplified by the writers she translated: in Turkey in 1969, the poetry of political exile Nâzim Hikmet; from the late nineties, the work of Gisèle Prassinos, the surrealist child prodigy celebrated by André Breton. Mendelssohn's devotion to a modernist legacy situates her within the British Poetry Revival, a label applied to a wave of avant-garde poets that surfaced in the sixties and seventies. Given that she spent her last three decades in Cambridge, Mendelssohn can be further located on the margins of “that most underground of poetic brotherhoods, the Cambridge Poets” (Leslie 28). Mendelssohn's poems appeared in journals receptive to experimentalism, among them Parataxis, Jacket, Critical Quarterly, and Comparative Criticism. In the 1990s, Mendelssohn was anthologized in collections released by Virago, Macmillan, and Reality Street. Iain Sinclair included her in his influential Conductors of Chaos (Picador, 1996); in 2004, she featured in Rod Mengham and John Kinsella's Vanishing Points (Salt Publishing, 2004) alongside John Ashbery and Susan Howe. Her most readily available text remains Implacable Art (Salt Publishing, 2000). Increasingly recognized in her later years, Mendelssohn gave poetry readings at the University of Cambridge, London's Southbank Centre, and the Centre Georges Pompidou in Paris, among many other venues.
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Fornari López, Marcelo. „Ordinary Writing: Theorizing the Affective Structures of the Present in Lauren Berlant and Kathleen Stewart’s The Hundreds“. Cultura, Lenguaje y Representación 29 (13.11.2022): 31–44. http://dx.doi.org/10.6035/clr.6358.
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The present work explores how affect is conceptualized throughout The Hundreds (2019), a collaborative project between Lauren Berlant and Kathleen Stewart composed of one hundred poems of one hundred words each (or multiples of one hundred). Throughout these poems, the authors affectively reflect on and theorize about everyday life through experimental ethnographic and writing practices, self-imposing a word restraint to their writing with the objective of exploring the creative and theoretical possibilities behind alternative ways of writing affect theory. Focusing on the unique fusion of poetry, ethnography and theory present in their work, this text explores the formal qualities of the poems and how the distinctions between criticism and fiction are blurred through a series of creative and experimental tactics that point towards radical ethical pedagogies and resist neoliberal values in academia. Some of these tactics specifically subvert academic conventions regarding citation, authorship and enunciation, and point towards innovative ways of inhabiting the place of the scholar and understanding academy itself. One of the central questions this investigation seeks to answer is how form is used by Berlant and Stewart in The Hundreds to theorize affect, with a special focus on how their efforts amount to what could speculatively be called «ordinary writing», a method to creatively describe and conceptualize the ordinary.
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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.
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MAMBETOV, J., G. DEMIRDOVEN und А. TOYBAZAR. „MUKHTAR AUEZOV’S ROLE IN PRESENTING ABAI’S POETIC HERITAGE IN THE CULTURAL SPACE“. Iasaýı ýnıversıtetіnіń habarshysy 130 (Dezember 2023): 78–88. http://dx.doi.org/10.47526/2023-4/2664-0686.07.
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The article will focus on the life and fiction of Mukhtar Auezov, as well as on the course of writing and translating into Russian the epic of the novel “The Way of Abai”, reflection in the literary, cultural, artistic criticism of the state of Russia, which is our neighboring state, about the media space of the world. Russian publication of the novel “The Way of Abai”, written by the great man M. Auezov, is hotly discussed in Russian literature. A theoretical analysis of the views of Russian literary critics on the professional requirements of literary criticism was also carried out. To date, this topic is one of the most relevant, which has been little studied. In recent years, especially during the period of independence, Russian literary studies have been considering various scientific studies and historical cognitive works, new materials based on other archival documents, new approaches to texts, opportunities for new examinations. Numerous research papers and scientific books, historical documents, etc. have been published about Mukhtar Auezov's “The Way of Abai”. Currently, up-to-date information in social networks, electronic channels, M. Auezov was considered in comparison with scientific conclusions, historical data related to the established Abai studies. Mukhtar Auezov is a classic of Kazakh literature in his research work. The evaluation of the poet's artistic image in the novel “The Way of Abai”, given in Russian literature, was analyzed in a comparative form from today's point of view.
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Aygun, Ahmet Anil. „The Genealogy of Bram Stoker's Dracula“. Technium Social Sciences Journal 9 (16.06.2020): 651–60. http://dx.doi.org/10.47577/tssj.v9i1.961.
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British author of Irish origin, Bram Stoker’s gothic horror novel, Dracula is the most reputed and popular example of the vampire literature that first emerged in seventeenth-century poetry. The first of the two key concepts that this thesis analyzes is the concept of “meme”, which was coined by the British evolutionary biologist Richard Dawkins, that can be defined as a thought, symbol or application transmitted from one individual to another via oral, written and visual methods and means of communication within a culture, replicates itself, transforms, responds to selective pressures, and the second concept is the memetic evolution of the vampire into the character, Dracula by Bram Stoker in Romantic ballads and Victorian horror narratives within the context of Evolutionary Literary Criticism which was theorized by Professor Joseph Carroll. In this regard, the qualities of the vampire phenotype that the Dracula meme inherited some qualities from its antecedent works of vampire fiction through memetic heredity, setting and plot are examined, and the evolutionary process that literary vampire predecessor had undergone towards the Transylvanian, aristocratic, seductive, stereotypical vampire. Finally, in the appendix, the prequels, sequels, and spin-offs of Dracula to demonstrate that the Dracula meme has survived and thrived notwithstanding over a century after its first publication and the selective pressures, and subsist by copying itself.
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Anggerenie, Nerie, Patrisia Cuesdeyeni und Misnawati Misnawati. „SEKSUALITAS TIGA TOKOH PEREMPUAN DALAM NOVEL SUNYI DI DADA SUMIRAH KARYA ARTIE AHMAD DAN IMPLIKASINYA PADA PEMBELAJARAN SASTRA DI SMA“. ENGGANG: Jurnal Pendidikan, Bahasa, Sastra, Seni, dan Budaya 1, Nr. 1 (20.12.2020): 67–81. http://dx.doi.org/10.37304/enggang.v1i1.2463.
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This study aims to describe sexuality regarding various dimensions, namely (1) biological dimensions, (2) social dimensions, (3) psychological dimensions, and (4) cultural dimensions, in Sunyi, Sumirah, and Suntini characters, in Sunyi di Dada. Sumirah by Artie Ahmad, and the objectives (5) its implications for learning literature in high school.
This study uses a feminist literary criticism approach and qualitative research types. Based on the results of data analysis, the four dimensions of sexuality are found in the novel Sunyi di Dada Sumirah by Artie Ahmad. Research findings: The most dominant data is the dimension of sexuality regarding the biological dimension because in the novel Sunyi di Dada Sumirah tells a lot about the sexual urges of the three characters, namely Sunyi, Sumirah, and Suntini.
The results of this study have implications for literature learning in class XI high school with basic competencies (3.20). Analyzing the messages of the two fiction books (novels and poetry collection books) that are read, namely as teaching materials. The four dimensions of sexuality in the novel Sunyi di Dada Sumirah can be used as teaching materials in Indonesian language learning materials, as the material for analyzing moral messages in the novel. There are many life problems faced by Sunyi, Sumirah, and Suntini characters in living their lives, but they are people who never give up, even though their lives are not very pleasant, so from these stories students can take lessons to be better able to protect themselves in their lives. association, environment and people around, so that students are able to have principles so that they are not easily influenced by things that are not good for themselves.
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Waterman, Rory. „‘The Nation Rejoices or Mourns’: Literary and Cultural Ambivalences in Wendy Cope’s Making Cocoa for Kingsley Amis (1986)“. English: Journal of the English Association 68, Nr. 263 (2019): 325–43. http://dx.doi.org/10.1093/english/efz016.
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Abstract The poet Wendy Cope gained a huge reputation in the early 1980s mainly for a series of witty and incisive parodies, often under the name of her desperate fictional poète maudit Jake Strugnell, and these poems were collected, along with others, in her hugely successful and influential debut collection, Making Cocoa for Kingsley Amis, which appeared in 1986. This book sold almost 200,000 copies, but has been the subject of a very small body of criticism. Many of her contemporary poet-critics were dismissive: in one contemporary review, Peter Riley epitomized a not uncommon reaction when he claimed that no ‘poetic import can be claimed for the book’, and railed against ‘a new audience for poetry, one which must be presumed to have previously fought shy of it as too difficult or too deep’. Certainly, Making Cocoa for Kingsley Amis is not a work of avant garde complexity, but Cope’s debut is not as cosily complacent as such critics indicate. It is in fact highly allusive and resistant to orthodoxies – and was a thorn in the side of the literary and cultural establishment into which she was instantly propelled. This essay assesses the ways in which Cope’s debut collection takes an ambivalent, nuanced, and parodic response to British institutions, and to the orthodoxies of the male-dominated literary world she was entering.
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Svensson, Ragni. „En outsider och en gentleman“. Tidskrift för litteraturvetenskap 43, Nr. 3-4 (01.01.2013): 45–58. http://dx.doi.org/10.54797/tfl.v43i3-4.10819.
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An Outsider and a Gentleman. Bo Cavefors’s Publishing and Two Mythical Archetypes of the Western Book Market
This article aims to examine how contemporary literary criticism and statements from the publisher Bo Cavefors contributed to the construction of his public image. Bo Cavefors’s Swedish publishing house was active between the years 1959 and 1979. The company’s book list attracted notable attention from the literary media of the time, and was considered to be both economically and culturally ”daring”. It was a multifaceted publication list, containing genres such as contemporary Swedish poetry, drama and fiction, along with Marxist theory and politically controversial writers such as Ezra Pound, Ernst Jünger and Ulrike Meinhof. The publishing house had a reputation for ”good taste” and for offering literature of ”high literary quality”, but the publisher himself was often portrayed as an eccentric. This combination of qualities seems to have generated a contradictory reputation for the publishing house – a reputation both at odds with, and in tune with, its cultural and political context: the Swedish cultural sphere of the 1960’s and 70’s. The article argues that unquestioned power relations and masculinity norms manifest themselves in two myths surrounding the publisher Cavefors: the myth of the ”Gentleman Publisher” and the myth of the ”Literary Outsider”. The former is a personification of early twentieth century book-market honour codes. The latter is a version of the ”Romantic Genius”, which specifically pertains to a literary context. These two archetypes could be perceived as both unanimous and contradictory, since they traditionally represent different positions in the process of literary production. With respect to the image constructed of Bo Cavefors’s publishing, they seem to coexist in one and the same persona.
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Zhilyakova, Natalia V., und Irina V. Gerasimchuk. „“I am all impulse, I am all seeking...”: “Tomsk period” in the life and work of G. A. Vyatkin“. Sibirskiy filologicheskiy zhurnal, Nr. 2 (2022): 118–31. http://dx.doi.org/10.17223/18137083/79/9.
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This study aimed to identify the features of the “Tomsk period” of the work of G. A. Vyatkin and define the main directions of his literary activity. Publications in the Tomsk pre-revolutionary periodical press were analyzed, with the information from research papers generalized and systematized. Vyatkin is known to have lived in Tomsk from 1893 to 1915. He collaborated with many periodicals in Tomsk and Siberia, published his works in the capital magazines, and was personally acquainted with prominent contemporaries - I. A. Bunin, A. M. Gorky, and A. N. Tolstoy. Vyatkin was most in demand as a poet. He published several poetry collections, with some works “tested” on the pages of newspapers and magazines. The poet tried his hand not only in poetry: in 1902, he was invited as a permanent reviewer to the magazine “Sibirskiy nablyudatel’” (“Siberian Observer”). Vyatkin successfully combined his poetic and literary criticism with fictional and journalistic work in Tomsk and Russian newspapers and magazines. Numerous essays, stories, and etudes by Vyatkin were interspersed with travel notes, press reviews, articles on a political theme, and feuilletons. The analysis of the “Tomsk period” of Vyatkin’s creativity gives an idea of his growth, the development of various spheres of literature and journalism, and the expansion of the range of methods and techniques. The combination of journalistic and literary activities was reflected in Vyatkin’s texts, with many of them being the responses to the actual events of the author’s personal life and the socio-political situation of Russia and Siberia.
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Rohde, Carsten. „Poetik des Memoir. : Gattungshybridität zwischen Autobiographie, Sachbuch und Erzählung“. Zeitschrift für Germanistik 32, Nr. 2 (01.01.2022): 290–304. http://dx.doi.org/10.3726/92172_290.
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Abstract Das Memoir bezeichnet eine autobiographische Erzählform, die zu Beginn des 21. Jahrhunderts in der literarischen Öffentlichkeit Verbreitung findet. Ein zentrales Gattungsmerkmal ist die Verknüpfung von autobiographischer Erzählung und Identität mit politisch-sozialen Themen und Standpunkten. Darüber hinaus findet der Terminus gelegentlich im literaturkritischen und allgemeinen literarischen Diskurs als lediglich modernistisches Synonym für ,autobiographische Erzählung‘ Verwendung. Derlei Unschärfen tragen dazu bei, dass Aussagen über die Sinnhaftigkeit und Lebensdauer dieses Genrebegriffs noch wenig valide sind. Der Beitrag plädiert für eine Verwendung bei solchen autobiographischen Texten, die am Schnittpunkt von Autobiographie, Erzählung und Sachbuch liegen und zudem einen markanten gesellschafts- oder identitätspolitischen Fokus aufweisen.The German term ,Memoir‘ refers to an autobiographical narrative form that is becoming widespread among the literary public at the beginning of the 21st century. A central feature of the genre is linking autobiographical narrative and identity with political-social themes and viewpoints. The term is also occasionally used in literary criticism and general literary discourse merely as a modernist synonym for ,autobiographical narrative‘. Such vagueness contributes to the fact that statements about the meaningfulness and longevity of this genre term are currently not very valid. This article argues for its use in autobiographical texts that lie at the intersection of autobiography, narrative, and non-fiction and also have a distinctive socio-political or identity-political focus.
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Rohde, Carsten. „Poetik des Memoir. : Gattungshybridität zwischen Autobiographie, Sachbuch und Erzählung“. Zeitschrift für Germanistik 32, Nr. 2 (01.01.2022): 290–304. http://dx.doi.org/10.3726/92171_290.
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Abstract Das Memoir bezeichnet eine autobiographische Erzählform, die zu Beginn des 21. Jahrhunderts in der literarischen Öffentlichkeit Verbreitung findet. Ein zentrales Gattungsmerkmal ist die Verknüpfung von autobiographischer Erzählung und Identität mit politisch-sozialen Themen und Standpunkten. Darüber hinaus findet der Terminus gelegentlich im literaturkritischen und allgemeinen literarischen Diskurs als lediglich modernistisches Synonym für ,autobiographische Erzählung‘ Verwendung. Derlei Unschärfen tragen dazu bei, dass Aussagen über die Sinnhaftigkeit und Lebensdauer dieses Genrebegriffs noch wenig valide sind. Der Beitrag plädiert für eine Verwendung bei solchen autobiographischen Texten, die am Schnittpunkt von Autobiographie, Erzählung und Sachbuch liegen und zudem einen markanten gesellschafts- oder identitätspolitischen Fokus aufweisen.The German term ,Memoir‘ refers to an autobiographical narrative form that is becoming widespread among the literary public at the beginning of the 21st century. A central feature of the genre is linking autobiographical narrative and identity with political-social themes and viewpoints. The term is also occasionally used in literary criticism and general literary discourse merely as a modernist synonym for ,autobiographical narrative‘. Such vagueness contributes to the fact that statements about the meaningfulness and longevity of this genre term are currently not very valid. This article argues for its use in autobiographical texts that lie at the intersection of autobiography, narrative, and non-fiction and also have a distinctive socio-political or identity-political focus.
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Chatterjee, Debjani, Lakshmi Kannan, P. N. Banerji, K. G. Sankara Pillai, R. Raj Rao, Varavar Rao, Tariq Latif et al. „Fiction and poetry“. Wasafiri 6, Nr. 13 (März 1991): 22–35. http://dx.doi.org/10.1080/02690059108574235.
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Leveson, Marcia, Stephen Gray und Gail Dendy. „Fiction and poetry“. English Academy Review 7, Nr. 1 (Dezember 1990): 118–24. http://dx.doi.org/10.1080/10131759085310111.
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Levin, Adam, Geoffrey Haresnape und Michael Macnamara. „Fiction and poetry“. English Academy Review 8, Nr. 1 (Dezember 1991): 98–108. http://dx.doi.org/10.1080/10131759185310111.
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Leveson, Marcia, Gail Dendy, Stephen Gray, Annemarie van Niekerk, Edmund Goldstein, Damian Garside und Geoffrey Hutchings. „Fiction and poetry“. English Academy Review 9, Nr. 1 (Dezember 1992): 97–108. http://dx.doi.org/10.1080/10131759285310101.
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Haresnape, Geoffrey, Gail Dendy, Belinda Grant und Tatamkulu Afrika. „Fiction and Poetry“. English Academy Review 10, Nr. 1 (Dezember 1993): 147–62. http://dx.doi.org/10.1080/10131759385310151.
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Abbas, Naseem, und Sumaira Ijaz. „U-17 Similarities & Differences Between Short Story & other literary forms: Critical Analysis“. Al-Aijaz Research Journal of Islamic Studies & Humanities 5, Nr. 3 (20.09.2021): 185–94. http://dx.doi.org/10.53575/u17.v5.03.185-194.
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Urdu Short Stories and other poetic and prose genres’ regarding similarities and differences have been discussed in Urdu Fiction Criticism. There are many writers who has given importance to poetry than short story. The declamations of Syed Waqar Azeem, Muhammad Hassan Askari, Qamar Raees, Shams ur Rehman Farooqi, Waris Alvi and Anees Nagi etc. are being discussed in this article. These discussions have major importance in Urdu fiction criticism. This article deals with these discussions objectively and shows the similarities and difference between short story and other literary forms.
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Hapsari, Indah, und Wika Soviana Devi. „KRITIK SASTRA: KEKERASAN DALAM NOVEL 00.00 SEPASANG LUKA YANG BERAKHIR DUKA KARYA AMEYLIA FALENSIA“. Matapena: Jurnal Keilmuan Bahasa, Sastra, dan Pengajarannya 5, Nr. 2 (21.12.2022): 218–28. http://dx.doi.org/10.36815/matapena.v5i02.1998.
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Literary works have several types such as novels, prose (fiction), poetry, drama, romance, and short stories or better known as poetry. In this research, the writer will examine the novel. Novel is a work of prose fiction written in writing, containing elements of imagination and fantasy. Literary criticism is an analysis that examines elements that contain errors. In literary criticism, it is usually more focused on the author's writing in his writings. Literary criticism is a field of literary science and usually applies to the evaluation of literary works. This study uses a qualitative descriptive method with library techniques. In this case, the author uses the novel 00.00 A Pair of Luka that Ends Grief by Ameylia Falensia as research data. By reading it over and over again and determining the results of the research. There is a lot of violence in the novel. Both physical and non-physical violence. We never know someone's mentality, more precisely someone has a different mentality. Victims of violence usually experience trauma and fear in their daily lives and can even do things beyond reason, the perpetrator often ends in death, namely suicide because of the pressures of life that continue to be experienced. Keywords: literary criticism, novel, violence.
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O’Toole, Sean William. „Uncommon criticism: Reading Ivan Vladislavić’s collected work as art criticism“. Journal of Commonwealth Literature 52, Nr. 1 (März 2017): 11–26. http://dx.doi.org/10.1177/0021989416676865.
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Johannesburg author, essayist, and editor Ivan Vladislavić has a longstanding interest in art, an interest richly recorded in his literary corpus. Since publishing his debut work of fiction, Missing Persons (1989), Vladislavić has repeatedly dwelled on artworks in his fiction and non-fiction writing. His literary corpus is studded with descriptions of paintings, sculptures, photographs, ceremonial statues, murals, and other, more obscure pieces of urban flotsam given their own artistic agency in his fecund imagination. This article discusses his interest and entanglement in art from a threefold perspective: thematically, biographically, and theoretically. It argues that the art world has consistently functioned as a laboratory for the author to refine his thoughts, albeit as a literary writer, not an art critic. While Vladislavić does not identify as an art critic, this article argues that his writing on art and broader literary output represent a valuable critical resource and an important intervention in fervid and unresolved debates around the definition of art criticism. The article begins by identifying thematic constellations that recur throughout Vladislavić’s work, placing these in conversation with salient aspects of the author’s early professional biography. It concludes by proposing that Vladislavić’s oeuvre can be read as a historically mindful, crisis-orientated form of art criticism.
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Onuoha, Onyekachi Peter. „Literary Heredity and Variation in Selected Facebook Poems of Veralyn Chinenye And Her Collaborative Authors“. International Journal of Pedagogy, Innovation and New Technologies 5, Nr. 1 (30.06.2018): 58–68. http://dx.doi.org/10.5604/01.3001.0012.2140.
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Facebook has become one of the mediums of creativity and criticism of works of art as a result of the nature of its blended writing. At the “completion” of a composition, Facebook poems maintain a certain degree of the static form, which is a characteristic of print literature. Facebook poetry coalesces the oral and print into a “new” form of poetry and extends the boundaries of oral and print literature. Using Bolter and Grusin concept of Remediation as a theoretical framework, this paper examines literary heredity and variation in selected Facebook poems of Veralyn Chinenye and her collaborative authors and participants. The paper further examines the characteristics and criticism of Facebook poetry and explicates the functionality of “Emoji”, “Comments”, “Share”, and intertextuality in the on-going creation and criticism of Facebook poetry that is different from the conventional perception and practice of literary creativity and criticism. Through the examples of poetry analysed in this paper, our findings show that digital literature is, to an extent, fluid and shares identical characteristics with oral literature in terms of artist and audience participation, occasion of performance
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Levay, Matthew, Francesca Bratton, Caroline Krzakowski, Andrew Keese, Sophie Corser, Catriona Livingstone, Mark West et al. „XIV Modern Literature“. Year's Work in English Studies 98, Nr. 1 (2019): 858–1020. http://dx.doi.org/10.1093/ywes/maz011.
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Abstract This chapter has eight sections 1. General. 2 British Fiction Pre-1945; 3. British Fiction 1945 to the Present; 4. Pre-1950 Drama; 5. Post-1950 Drama; 6. British Poetry 1900–1950; 7. British Poetry Post-1950; 8. Irish Poetry. Section 1 is by Matthew Levay; section 2(a) is by Francesca Bratton; section 2(b) is by Caroline Krzakowski; section 2(c) is by Sophie Corser; section 2(d) is by Andrew Keese; section 2(e) is by Catriona Livingstone; section 3(a) is by Mark West; section 3(b) is by Samuel Cooper; section 4(a) is by Rebecca D’Monte; section 4(b) is by Gustavo A. Rodríguez Martín; section 5 is by Graham Saunders and William Baker; section 6(a) is by Noreen Masud; section 6(b) is by Matthew Creasy; section 7 is by Alex Alonso; section 8 is by Karl O’Hanlon.
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Tost, T. „Poetry Criticism after the Narrative Turn“. American Literature 79, Nr. 4 (01.12.2007): 807–20. http://dx.doi.org/10.1215/00029831-2007-040.
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DiEdwardo, Maryann P. „Writing Trauma: Rita Dove, Willa Cather, and Toni Morrison“. Education, Society and Human Studies 4, Nr. 3 (26.09.2023): p18. http://dx.doi.org/10.22158/eshs.v4n3p18.
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Case Study ResearchCultural Poetics identifies literature as a social text or discourse. My paper argues the significance of the works of Cather, Morrison and Ehrenreich as models for cultural change. Literature is a social text or discourse which dynamically interweaves multiple strands. My creative approach to teaching blends metacognition and hermeneutics with a concentration on social justice as a paradigm for the English classroom which resounds with tension and resolution dependent upon the silent resilience of the individual. Through student-directed pedagogical model, writing class fuses into a learning community for reflection, discovery, and peer editing for student motivation and success. We actively engage students to explore archetypical universes created by current imaginative writers. Mythological Literary Criticism and Film Theory as a lens into archetypes. We also engage in analysis of personal essays on identity. Metacognition and a student-directed pedagogical model. Through the paradigm of active learning, we engage in reading key articles by scholars in the field in blogs, wikis, web sites, books, pamphlets, newsletters, or journals or other material demonstrating techniques of close reading in order to explicate a text with terms of the literary scholar that apply to writing across the curriculum and differentiating among major literary genres to converse, to analyze, and to use cultural heritage. Students possess qualities of memory based upon human every day experiences similar to those experiences within literary works they read. I play pod casts of sample student essays that show how students recall events or conditions based upon the relationship of reading to memory. One of my students recalls her own beliefs in mercy killing and relates her heritage based upon family and cultural beliefs in the right to life. Students use life story writing next to recount experiences that may help them find thesis. We write for a global multiethnic and ageless audience. Stories can indeed reach all readers. To write, we engage memories of readings, life experiences and imagination. Accordingly, these three patterns compose voice on the written page. But, writing is an essential skill needed for human dignity.My claim emphasizes the importance of reading, writing, and analysis of short stories by Toni Morrison and Willa Cather as well as poetry by Rita Dove as a doorway to practicing social justice in your community and to developing a consciousness and awareness of social justice praxis. I perform case study research on a single subject, myself. Dove was born in 1952. She is an American poet and fiction writer. My model in writing is Hélène Cixous. A visionary, Hélène Cixous (“The Laugh of the Medusa”) realized that we are writing to find ourselves. Applicable to the study of Willa Cather, Toni Morrison, and Barbara Ehrenreich, the writing of oneself represents our search for words to describe situations. Based on the study of Aristotle’s Poetics (free online text), a good companion work to interpret “art as imitation”, I argue that Cather, Morrison, and Ehrenreich use language in specific modes of discourse, such as fiction, essay, and dialogue, for the purpose of reaching readers. In doing so, they absolutely attempt to motivate and to teach us. In fact, through the art of poetics as a practice, they capture emotions or actions. Then they apply language as metaphors of our actions, ethics, and attitudes. The works portray the human condition. Cather, Morrison, and Ehrenreich create the poetics of language essential to the significance of the messages. In this context, all three writers portray actions and indicators that are significant to us as readersFirst, the significance of the message of Willa Cather is suffering, in her book, My Mortal Enemy. My readings signify the message of Cather as a writer who designs poetics as the cause of the work. Recent research in the area of stylometrics…explores the ways in which the voice of Cather, in her correspondence, differs from the voice she used in her public writing. Conclusions point to similarities between Cather’s novel, My Mortal Enemy, a work noted for both its economy of style and autobiographical features, and her recently published letters (Dimmit et al.). The researchers acknowledge that Cather was very private. She did not want her letters shared with the public. Only recently have her letters finally been published. Arguably, in the model of Hélène Cixous, we suggest that the writing of the work certainly brings a new voice that carries the message of the feminine myth.
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R, Menaka. „Word fiction in Kurunthokai“. International Research Journal of Tamil 4, S-13 (28.11.2022): 306–11. http://dx.doi.org/10.34256/irjt224s1345.
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Sangam literature is a mirror of time that expresses the life of the ancient Tamil people. This is literature dealing with the love genre, which passionately describes the feelings of such a man, as well as external literature dealing with the country, city, king, and society, which relates to man's external life. Love is the reason a man and a woman seek each other out of love between domestic and public morality. The environment plays an important role in the lives of these lovers. When the poets respect the feelings of the natural environment around a man, such as trees, plants, vines, animals, and birds, and produce them in conjunction with the domestic life of the chieftains, he employs a variety of imaginative skills. In that sense, etymology is the technique of explaining the idea that comes to be expressed by governing the idea of a word, which is an effective vocabulary. Words are the beauty of poetry. It is in the way it is set that poetry becomes special. The creation of immortal literature depends on the way the poet manipulates words and the manner in which words govern poetry. Capital is words for the poet. The poet is identified by those words. The poet emerges through words. The evidence for this is scattered in many ways in the Sangam literature. When the creator takes and explains the subtle meaning of the words buried in literature, they give them a taste. The purpose of this study is to examine the aesthetic messages revealed through fiction in the personalities of those words.
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McLaren, Joseph. „An Annotated Bibliography of Jazz Fiction and Jazz Fiction Criticism (review)“. Research in African Literatures 32, Nr. 2 (2001): 222–25. http://dx.doi.org/10.1353/ral.2001.0053.
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Lechte, John. „Fiction and Polyphony“. Tekstualia 4, Nr. 75 (11.12.2023): 105–16. http://dx.doi.org/10.5604/01.3001.0054.1400.
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The article delves into the symbolic nature of literature and evokes the concept of the deathof the author, drawing attention to the author’s absence and simultaneous presence in the text.It emphasizes the dual role of psychology in literary criticism, oscillating between discoveriesof referential truth and engagements with fi ctional elements in literary works.
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Naji, Mustafa Majeed, und Khaled Farag Badawi. „The Correlation Between Literature and Its Function“. Journal of AlMaarif University College 33, Nr. 2 (30.04.2022): 37–50. http://dx.doi.org/10.51345/.v33i2.503.g266.
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Criticism is considered a motivating factor, whatever its nature. It sheds light on creativity and makes it free of impurities. It analyzes the artwork, sifters its content, evaluates what is good, and extracts what is bad, thus providing arguments and proofs, so it is a positive correlation between criticism and creativity, whether poetry or prose. As criticism in its development through the literary ages was present accompanying the creative process, understanding literary genres, including criticism, generates many key elements that govern the literary text.
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Murphy, Tom. „Exploring fiction and poetry through indexing“. Indexer: The International Journal of Indexing: Volume 23, Issue 4 23, Nr. 4 (01.10.2003): 216–17. http://dx.doi.org/10.3828/indexer.2003.23.4.11.
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An account of how collaborative indexing may be used in the study of literature, as a way of encouraging students to take a fresh approach to the texts they are analyzing. Mainly concentrating on the compilation of indexes to the poems of Emily Dickinson, the article includes comments from the students themselves and the author’s assessment of the usefulness of the approach as a teaching tool.
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Vargo, Greg. „LITERATURE FROM BELOW: RADICALISM AND POPULAR FICTION“. Victorian Literature and Culture 44, Nr. 2 (10.05.2016): 439–53. http://dx.doi.org/10.1017/s1060150315000728.
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In The Poetry of Chartism (2009), Mike Sanders describes the temptation which confronts literary scholars of working-class and radical political movements to present their endeavors as “archival work [of] discovery, a bringing to light of long forgotten artefacts” (36). Such posture, though dramatic, is unwarranted in Sanders's view because a critical tradition beginning in the late nineteenth century has continued to republish, analyze, and appreciate the writing of Chartist poets. Yet, if the temptation persists (for students of radical poetry and fiction alike), it does so for reasons beyond the difficulties inherent in accessing literature printed in ephemeral newspapers by movements which suffered state persecution. New generations of scholars must “discover” the radical corpus anew because in a profound sense this corpus has not been integrated into broader literary history but has remained a separate tradition, found and lost again and again.
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Roberts, R. „American Science Fiction and Contemporary Criticism“. American Literary History 22, Nr. 1 (20.11.2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.
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Quinlan, Kieran, und David Lodge. „After Bakhtin: Essays on Fiction and Criticism“. World Literature Today 65, Nr. 4 (1991): 780. http://dx.doi.org/10.2307/40147841.
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