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Zeitschriftenartikel zum Thema "Novelists, English – Fiction"
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Dr Jyoti Patil. „Emergence of New Novel and Contribution of Salman Rushdie to Indian English Fiction“. Creative Launcher 4, Nr. 2 (30.06.2019): 10–17. http://dx.doi.org/10.53032/tcl.2019.4.2.02.
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After the publication of Salman Rushdie’s second novel Midnight’s Children (1980), there is an emergence of New Fiction marking the beginning of New Era in the history of Indian Writing in English. A large number of novelists living in India and abroad write fiction in great number and thereby breaking the stigma of the marginalization of Indian English Fiction. They introduce various components of modern theories regarding the composition of the fiction. They also prove their superiority over their western counterparts by achieving remarkable recognition on international platforms and by winning various coveted awards like Booker Prize, Pulitzer Prize and even Nobel Prize by V S Naipaul. These Indian English writers include Amitav Ghosh, Vikram Seth, Arundhati Roy, Jhumpa Lahiri, Anita Desai, Kiran Desai, Pankaj Mishra, Chetan Bhagat, Rohintan Mistry, Arvind Adiga, Shashi Tharoor and many more. The New novelists of the 21st century handle the themes of globalization, Political reality and cross-culturalism more effectively and brilliantly. In the present paper the focus will be on the assessment of emergence of New Fiction with its various traitsand contribution of Salman Rushdie in Indian English Fiction in the development of New Novel.
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Ibhawaegbele, Faith O., und J. N. Edokpayi. „Situational Variables in Chimamanda Adichie's and Chinua Achebe's“. Matatu 40, Nr. 1 (01.12.2012): 191–208. http://dx.doi.org/10.1163/18757421-040001012.
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The use of the English language for literary creation has been the bane of Nigerian literature. Nigeria has a very complex linguistic system; as a result, its citizens communicate either in their indigenous languages or in English, depending on the situation in which they find themselves. The use of English in Nigerian literature in general and prose fiction in particular is influenced by both linguistic and extralinguistic factors. In their attempt to offer solutions to the problems of language in literary expression, Nigerian novelists adapt English to varying linguistic and socio-cultural contexts. This has resulted in experimentation and the employment of various creative-stylistic strategies and devices in prose fiction. Our focus in this essay is on the conditioning influences of situational variables on the language and styles of Nigerian novelists, with Chimamanda Adichie and Chinua Achebe as a case study. We shall examine and explicate how situational variables influence and impose constraints on the language and styles of novelists, and how they adapt English, which is in contact with the various indigenous languages, to the varying local Nigerian situations and experiences.
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Sankar, G., und L. Kamaraj. „SOCIAL REALISM AND PSYCHOLOGICAL TRANSFORMATION OF WOMEN PROTAGONIST IN NAYANTARA SAHGAL’S STORM IN CHANDIGARH AND A SITUATION IN NEW DELHI-A STUDY“. Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 5, Nr. 2 (28.02.2018): 17. http://dx.doi.org/10.19085/journal.sijmas050201.
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The Research paper aims to focus on Nayantara Sahgal’s position in it as a novelist. It also discusses in detail a critical study of the social realism and Psychological Transformation with survival strategies of the woman protagonist in Nayantara Sahgal’s Storm in Chandigarh and A Situation in New Delhi. How Nayanara Sahgal’s writing was different from other Indian writers. During almost six decades of post-colonial history of Indian English fiction, a wide variety of novelists have emerged focusing attention on a multitude of social, economic, political, religious and spiritual issues faced by three conceding periods of human experience. With the turn of the century the Indian English novelists have surpassed their male counterparts outnumbering hem quantitatively as well as maintaining a high standard of literary writing, equally applauded in India and abroad, experimenting boldly with not only technique but also incorporating tabooed subject matters in their novels and short stories.
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G S, Dayananda Sagar. „Indo - English Novels Amalgamation of Indian Tradition and World Tradition“. Shanlax International Journal of Arts, Science and Humanities 8, S1-Feb (06.02.2021): 212–17. http://dx.doi.org/10.34293/sijash.v8is1-feb.3954.
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In India the novel is the readiest and most acceptable way of embodying experiences and ideas in the context of our time.The duality of Indo-English fiction has been attracting worldwide attention. One wonders whether the Indo-English novel is a part of the Indian tradition or the European tradition or of the abstract world tradition.The Indo-English fiction in Post-independent India assumed over the preceding thirty years all kinds of colorful traditions. It is now free from the social yard political overtones of a rabidly nationalistic variety.As regards the theme of the novel, in the late Twentieth Century alienation has significantly affected the Indo-English novel. It has served as a recurrent motif in quite a few works produced by Indian novelists in English. It is also the dominant trait of several characters created by the novelists.
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Asst. Prof. Ali Mohammed Segar. „Characteristics of Tragi-Comedy in Charles Dickens's Novel Oliver Twist“. journal of the college of basic education 26, Nr. 106 (01.03.2020): 1–19. http://dx.doi.org/10.35950/cbej.v26i106.4879.
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The English novelist Charles John Hoffman Dickens (1812-1870) is well known for scholars and students of English literature. His name is always accompanied to some( classics) in the history of the English novel such as: ( Oliver Twist( 1839), David Copperfield (1850), Hard Times ( 1854 ), The Tale of Two Cities ( 1859 )Great Expectations (1860) and other novels. He is one of the most professional novelists of the Victorian age; rather, he is regarded by many critics as the father of the realistic trend and the greatest novelist of his age.
In his fiction, Dickens created some of the world's best-known fictional characters that became prototypes not only in English but in world literature as well. Oliver Twist presents a unique depiction of evil and good characters in English society through a highly serious and powerful conflict full of dramatic events like a traditional tragedy, but the line of action turns to satisfaction and happy end just like a work of comedy. This paper claims that the novelist employs the dramatic genre: Tragi-comedy into a novel by mixing elements of both tragedy and comedy. Although the action in the novel is highly tragic and full of miseries and evil plots, the novel ends happily.
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Madavi, Dr Manoj Shankarrao. „Literary Representation of Natives in Indian Regional Literature-A Vast Panorama of Indigenous Culture, Imperialism and Resistance“. International Journal of English Language, Education and Literature Studies (IJEEL) 2, Nr. 5 (2023): 01–04. http://dx.doi.org/10.22161/ijeel.2.5.1.
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Indian English fiction writing shows the development of Indian literature which takes a dive deep into the colonial past of India along with the detail observation of the history of deviation of social strata and its psychological effects on common masses of India. Social realism was checked through the early independence period of English writing. In Indian English fiction writing, partition trauma was glorified, celebrated as the main theme and Gandhian age is also described by most of the prominent novelist like Raja Rao, Chaman Nahal, and Khushwant Singh. The women novelists took the initiative after the independent period and Kamala Markandeya, Ruth P. Jabhawala, Shashi Deshpande, Geeta Hariharan, Anita Nair and Namita Gokhale have shown the rebellious feminism though their postcolonial sensibilities. If we want to write historical, social and cultural literature of India, we do not have escapism from the history of adivasi victimization and several adivasi harassments of centuries in India.
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Obiechina, Emmanuel. „Parables of Power and Powerlessness: Exploration in Anglophone African Fiction Today“. Issue: A Journal of Opinion 20, Nr. 2 (1992): 17–25. http://dx.doi.org/10.1017/s0047160700501504.
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African writers in English have done much to enlarge the image of Africa in the world. The novelists among them have contributed most to the understanding of the African points of view and perspectives on life, politics, culture and history. In their roles as chroniclers, custodians of the collective heritage, social critics, teachers and visionaries of their people, the novelists have illuminated the African situation and the forces that have kept the continent in an endemic state of crisis.
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Ngom, Dr Mamadou Abdou Babou. „The Shadow of the Past Hangs Over Post-Apartheid South African Fiction in English“. Scholars Journal of Arts, Humanities and Social Sciences 10, Nr. 3 (14.03.2022): 78–82. http://dx.doi.org/10.36347/sjahss.2022.v10i03.001.
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This paper sets out to rake stock of how the demons of apartheid-era South Africa impact the new dispensation over twenty-five years after the first democratic elections ever held in South Africa. Also, through a methodological approach predicated upon an fictional opus made up of different novelists, and upon perspectives drawn the social sciences, not least philosophy, history, sociology, the paper seeks to highlight the invaluable contribution of South African writers-black and white alike- to the demise of was later known as institutionalized racism. The article argues that protest literature’s unyielding resolve to grittily spotlight the materiality of the black condition in South Africa from 1948-when the National Party came to power with a racist agenda-to 1990 was crucial to raising international awareness about the horrors of apartheid, and, accordingly, the overarching need to call time on it. For all that, the paper explains, the racial chickens are coming home to roost since the downtrodden of yesteryear are perceived by their former oppressors as being driven by a vengeful agenda. With the end of institutionalized racism, the paper contends, Postapartheid South African novelists tend to move away from racial determinism that hallmarked apartheid-era writing to embrace novelistic themes appertaining to the concerns and challenges that plague modern-day South Africa.
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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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Kadam, Dipali M. „Diasporic consciousness in contemporary Indian women’s fiction in English: at a glance“. RUDN Journal of Studies in Literature and Journalism 27, Nr. 3 (12.10.2022): 532–40. http://dx.doi.org/10.22363/2312-9220-2022-27-3-532-540.
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Diasporic literature is a pivotal term in literature that includes the literary works of the authors who are the outsiders for their native country but their work is deeply rooted in homeland by reflecting native culture, background, displacement and so on. Indian women’s literary work is at the forefront of diasporic literature. The advent of Indian women novelists on the literary horizon is an important development in the Indian English literature. These women writers have also contributed to other genres, such as drama, poetry and short stories, not only in English but also in regional languages like Hindi, Marathi, Bengali, Punjabi, Tamil, Kannada and so on. Some modern women writers flourish their writing in the form of fables as a literary genre in an impressive way to focus on the specific themes. In last two decades, Indian women’s writing in English is blossomed, both published in India and abroad. The present paper is the review of diasporic consciousness in select works of contemporary Indian women novelists. It focuses on the attempt to highlight the quest for identity of those women who played a crucial role in defining themselves through their literary work in diasporic background.
Dissertationen zum Thema "Novelists, English – Fiction"
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Howard, James Joseph. „The English novel's cradle the theatre and the women novelists of the long eighteenth century /“. Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019834031&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274465922&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2010.Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 21, 2010). Includes bibliographical references. Also issued in print.
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Dredge, Sarah. „Accommodating feminism : Victorian fiction and the nineteenth-century women's movement“. Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36917.
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The research field of this thesis is framed by the major political and legal women's movement campaigns from the 1840s to the 1870s: the debates over the Married Women's Property Act; over philanthropy and methods of addressing social ills; the campaign for professional opportunities for women, and the arguments surrounding women's suffrage. I address how these issues are considered and contextualised in major works of Victorian fiction: Anne Bronte's The Tenant of Wildfell Hall (1848), Elizabeth Gaskell's North and South (1855), Charlotte Bronte's Villette (1853), and George Eliot's Middlemarch (1871--2).In works of fiction by women, concepts of social justice were not constrained by layers of legal abstraction and the obligatory political vocabulary of "disinterest." Contemporary fiction by women could thus offer some of the most developed articulations of women's changing expectations. This thesis demonstrates that the Victorian novel provides a distinct synthesis of, and contribution to, arguments grouped under the rubric of the "woman question." The novel offers a perspective on feminist politics in which conflicting social interests and demands can be played out, where ethical questions meet everyday life, and human relations have philosophical weight. Given women's traditional exclusion from the domain of legitimate (authoritative) speech, the novels of Gaskell, the Bronte's, and Eliot, traditionally admired for their portrayal of moral character, play a special role in giving voice to the key political issues of women's rights, entitlements, and interests. Evidence for the political content and efficacy of these novels is drawn from archival sources which have been little used in literary studies (including unpublished materials), as well as contemporary periodicals. Central among these is the English Woman's Journal. Conceived as the mouthpiece of the early women's movement, the journal offers a valuable record of the feminist activity of the period. Though it has not been widely exploited, particularly in literary studies, detailed study of the journal reveals close parallels between the ideological commitments and concerns of the women's movement and novels by mid-Victorian women.
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Young, Katie Elizabeth. „More than "Wisteria and Sunshine": The Garden as a Space of Female Introspection and Identity in Elizabeth von Arnim's The Enchanted April and Vera“. BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3033.
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Recent scholarly interest in Elizabeth von Arnim has related Elizabeth and Her German Garden and The Solitary Summer to the New Woman and Female Aesthete movements, concluding that von Arnim does not align herself with any movement per se. Rather, in these early works, Elizabeth advocates and adamantly defends her right to time in her garden, which becomes her sanctuary for reading and thinking. Little critical attention has been paid to von Arnim's later works; however, many of the themes established in von Arnim's early works can be traced through her later novels. In The Enchanted April Lady Caroline retreats to the garden at San Salvatore in order to escape the attention of others and discover who she really is and what she wants out of life. Because she follows the early von Arnim model by defending her garden sanctuary, she is able to find the strength to insist on being treated as a person rather than a beautiful object. Additionally, Lucy Enstwhistle's interrupted time in the garden in Vera demonstrates the importance of the role of von Arnim's garden in forming an identity and developing the ability to make decisions for oneself. Because Lucy allows Everard Wemyss to rob her of these opportunities, she loses the opportunity to create her identity. She soon becomes the second Mrs. Wemyss, realizes that she is abject, and begins taking on first wife Vera's attributes and passions to cope with Everard's constant demands. Because Lucy has forfeited the formative experiences the garden space can provide, Lucy is left to take up Vera's identity and tragic fate.
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Götting, Elena Rebekka. „Challenging maleness : the new woman's attempts to reconstruct the binary code“. Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6612.
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This thesis explores the construction of masculinity in novels written by New Women authors between the years 1881-1899. The fin de siècle was a period during which gender roles were renegotiated with fervour by both male and female authors, but it was the so-called New Woman in particular who was trying to transform the Victorian notion of femininity to incorporate the demands of the burgeoning women's movement. This thesis argues that in their fiction, New Women authors often tried to achieve this transformation by creating male characters who were designed to justify and to mitigate the New Woman protagonist's departure from traditional structures of heterosexual relationships. The methodology underlying this thesis is the notion that men and women were perceived as binary opposites during the Victorian period. I refer to this as the binary code of the sexes. This code assumes that men and women naturally possess diametrically opposed character attributes, and also that “masculine” attributes are perforce better than “feminine” ones. In the body of this work, I argue that New Women authors attempted to contest both of these assumptions by creating, on the one hand, traditional male characters whose masculinity is corrupted in crucial and recurring ways, and on the other, impaired male characters who cannot assume the traditional role of man. The comparison of the New Woman protagonist with the corrupt traditional man elevates her feminine attributes, while the impaired man's dependency legitimises her acquisition of what were otherwise considered “masculine” attributes and privileges, thereby contesting the notion that men and women possess sex-specific attributes at all. The second part of my thesis examines contrasting examples, in which this way of characterising masculinity – as traditional or impaired – is questioned and manipulated. It examines the limitations of the New Women authors' specific approach to reconstructing the binary code.
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Baker, Lori Elizabeth. „Double the Novels, Half the Recognition: Mary Elizabeth Braddon's Contribution to the Evolution of the Victorian Novel“. Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2191.
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Why do we read what we read? Janice Radway examines works that were not popular in an author's time period, but now are affecting the construction of the canon. In her own words, Radway seeks to "establish [popular literature] as something other than a watered-down version of a more authentic high culture [and] to present the middlebrow positively as a culture with its own particular substance and intellectual coherence" (208). Mary Elizabeth Braddon's novels were considered "middlebrow" and were very popular in Victorian England. Along with this facet, her heroines were considered controversial because they were not portrayed as what would be labeled a "proper female" in Victorian society. The popularity of her novels, her heroines, along with facets of her personal life, keep her from being recognized as one of the foremost authors in the Victorian period.
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Francis, Diana Pharaoh. „Models to the universe : Victorian hegemony and the construction of feminine identity“. Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1159142.
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Gray, Nigel. „His story, a novel memoir (novel) ; and Fish out of water (thesis)“. University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0095.
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His Story takes the form of a fictive but autobiographically based investigation into the child and young adult I used to be, and follows that protagonist into early adulthood. It tries to show the damage done to that character and the way in which he damaged others in turn. As Hemingway said, We are all bitched from the start and you especially have to hurt like hell before you can write seriously. More importantly, the main protagonist is somebody who became concerned with, and cognizant of the main political and social events of his day. His life is set in its social context, and reaches out to the larger issues. That is to say, the personal events of the protagonist's life are recorded alongside and set in the context of the major events taking place on the world stage. The manuscript is some sort of hybrid of novel, autobiography, and historical and social document. As Isaac Bashevis Singer said, The serious writer of our time must be deeply concerned about the problems of his generation. In order to make His Story effective in sharing my ideas and beliefs, and, of course, in order to protect the innocent and more particularly, the guilty, it is created in the colourful area that is the overlap between memory and fiction. When we tell the stories of our lives to others, and indeed, to ourselves, we prise them out of memory's fingers and transform them into fiction. To write autobiography well, as E.L. Doctorow said, you have to invent everything, even memory.
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Guthrie, Marie. „Robert A. Heinlein: A Philosophical Novelist“. TopSCHOLAR®, 1985. http://digitalcommons.wku.edu/theses/1559.
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Robert A. Heinlein is a key figure in the development of American science fiction. What makes his contribution unique is his emphasis on philosophical speculation. Heinlein's program is based on rationality as a vital element to salvation. Although the importance of rationality is an aspect of many schools of philosophy particular value may be gained by comparing Heinlein's system with the philosophy of Plotinus. An examination of Heinlein's key works (Stranger in a Strange Land. The Moon Is a Harsh Mistress, Time Enough For Love, The Number of the Beast--. And various short stories I provides ample evidence to support the idea that the two systems are quite similar. Thus it becomes apparent that Heinlein presents a carefully considered world view which is particularly exemplified in his competent heroes, and in his concern for family, morality, and aesthetics.
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Stevens, D. R. „The novelist as engineer : a thesis on credible engineering components of fiction novels (supplemented by an "engineering" fiction novel)“. Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/39903.
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This thesis investigates not so much the engineer as a character in fiction but the writer of fiction, the novelist, as a person who can have surprising insights into engineering principles without formal study or training in engineering. The engineer has featured in fiction novels significantly in the last century. The engineer as a protagonist in the novel on many occasions has been created by an author who is not an engineer. The same comment could well be made regarding the writers of science fiction who indeed are not necessarily scientists but write credibly about scientific inventions, usually set in the future. This thesis argues that there is a distinction between writing science fiction and writing about engineering, although the two are often combined in the one novel. This thesis distinguishes science fiction (Sci-Fi) from what is described as En-Fi or engineering fiction. Engineering fiction or En-Fi is based upon real life engineering feats, if one accepts that the definition of engineering is the “application” of science and technology. The specific hypothesis of this thesis is that credible engineering fiction (En- Fi) can be constructed by non-engineer trained authors. To support this hypothesis there is both a review of novels with the engineer as a central character and an examination of novels where engineering concepts used in developing a storyline are outlined in detail. Indeed, to support the above hypothesis a supplementary “En-Fi” novel has been created. This novel, titled, “Amber Reins Fall”, is used as the central device in addition to the literature review to prove that a writer untrained in engineering can write an En-Fi novel that has a high degree of credibility in engineering terms. The construction of this engineering fiction (En-Fi) novel is carried out in detail outlining the various engineering devices used to strengthen the storyline. Examples of engineering such as a light engineering factory of the
1950’s, operational aspects of the Panama Canal and the disposal of nuclear waste in the Australian desert are included in the novel. Three other novels by the author (of this thesis) are included as part of the argument supporting the hypothesis. They also demonstrate the combination of En-Fi and Sci-Fi. In the first novel “Greenwars” (d’ettut 1998) the overriding engineering component is AARDVARK (accelerated animal reasoning, decision making, voicing and reflective kinetics); the interactive voting video and dolphin scooters. The second novel “Pie Square” (d’ettut 2000) has as the major engineering component the interactive video games. The third novel, “Vampire Cities” (d’ettut 2000) has as the major engineering component a conductor’s baton (although this might be construed as science fiction).
Two of the actual novels, “Greenwars” and “Pie Square” have been appended as part of the thesis presentation. They both deal with the central character “Adam Teforp”, also featured in “Amber Reins Fall”. “Vampire Cities” has not been appended as this critical character is not part of that novel. The literature review and the construction of ����Amber Reins Fall���� point to the validity of the hypothesis; that is that non-engineers can write convincing engineering orientated novels. Its also asserted that there is sufficient evidence to recognize a genre called En-Fi, different from the science fiction genre.
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Stevens, D. R. „The novelist as engineer a thesis on credible engineering components of fiction novels (supplemented by an "engineering" fiction novel) /“. View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/39903.
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Thesis (M. Eng. (Hons.)) -- University of Western Sydney, 2007.A thesis submitted to the University of Western Sydney, College of Health and Science, School of Engineering, in fulfilment of the requirements for the degree of Master of Engineering (Hons.). Includes bibliographical references.
Bücher zum Thema "Novelists, English – Fiction"
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Srivastava, Ramesh K. Six Indian novelists in English. Amritsar: Guru Nanak Dev University, 1987.
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Bheda, P. D. Indian women novelists in English. New Delhi: Sarup & Sons, 2005.
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Adrian, Poole, Hrsg. The Cambridge companion to English novelists. New York: Cambridge University Press, 2010.
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Poole, Adrian. The Cambridge companion to English novelists. Cambridge, UK: Cambridge University Press, 2009.
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John, Haffenden, Hrsg. Novelists in interview. London: Methuen, 1985.
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Halperin, John. Novelists in their youth. London: Chatto & Windus, 1990.
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E, Rollyson Carl, Hrsg. Notable British novelists. Pasadena, Calif: Salem Press, 2001.
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Gowar, Mick. Living writers: Novelists. Basingstoke: Macmillan Educational, 1991.
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1949-, Moseley Merritt, Hrsg. British novelists since 1960. Detroit: Gale Group, 1999.
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1949-, Moseley Merritt, Hrsg. British novelists since 1960. Detroit: Gale Group, 2001.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Novelists, English – Fiction"
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Donahue, James J. „Historical Fiction“. In The Oxford History of the Novel in English, 409–23. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192844729.003.0035.
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Abstract This chapter charts the trajectory of US historical fiction from the Second World War to the early decades of the twenty-first century. Prominent mid-twentieth-century historical novelists produced books that were well researched and often meticulously detailed, embodying a belief in the past as a knowable, documentable field that fiction can bring to life. Often celebratory in tone, these various works also presented America’s past largely in terms of American Exceptionalism, particularly in terms of social and technological progress. From the 1960s on, however, the project of US historical fiction increasingly sought to challenge the authority of the narratives that had been composed to construct the common understanding of US history. Novelists incorporated voices traditionally left out of historical fiction and often pursued narrative strategies designed to disorient their readers, challenging them to re-evaluate received truths and accepted stories.
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Murphy, James H. „Catholic Fiction“. In The Oxford History of British and Irish Catholicism, Volume IV, 246—C13S8. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198848196.003.0014.
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Abstract This chapter surveys popular fiction written about and by Catholics in England and Ireland when the consumption and production of fiction rose dramatically. It selects a range of novels to explore authorial preoccupations in relation to Catholicism. Setting fiction at the time of the early Church or of the Reformation and Elizabethan Settlement enabled English authors to explore the nature of English identity, Church doctrine, and the question of Catholic loyalty to Crown and State. Notably, preoccupations did not include the Irish Catholic migrants. Irish Catholic fiction of the same era sought to counter the ways that Catholics were perceived in Britain and to assert Catholic respectability. Novelists who wrote for the Irish diaspora, however, advocated a more vigorous Catholicism and by the early twentieth century this trend had influenced fiction in Ireland too. By this time Catholic novelists became more focused on Catholicism’s response to the modern world.
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„WOMEN NOVELISTS AND THE TRANSFORMATION OF FICTION“. In The English Novel in History 1700-1780, 197–240. Routledge, 2003. http://dx.doi.org/10.4324/9780203393079-13.
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Birch, Sarah. „The Early Novels: A Prologue to Experiment“. In Christine Brooke-Rose and Contemporary Fiction, 19–45. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198123750.003.0002.
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Abstract The direction the English novel was to take in the post-war era was the subject of much discussion in the late 1950s when Christine Brooke-Rose began her career as a novelist. But while her novels of this period-The Languages of Love (1957), The Sycamore Tree (1958), The Dear Deceit (1960), and The Middlemen (1961)-are in many respects typical products of their generation, they raise a number of issues which it was not possible to articulate within the parameters of the contemporary debate. The novels enjoyed a limited success, but because most novelists were concerned at the time to redefine the relation of the individual to society in terms of changing values, it was all too easy for readers to focus on the social dimension of Brooke-Rose’s fiction and to overlook those aspects which can in retrospect be seen to prefigure the problems and techniques of her later work. This was possible mainly because the capacity for viewing personal identity in terms of language and ‘languages’, which was to become the hallmark of her work from the 1960s onward, is integrated in the early novels into a realist narrative mode. Thus, despite the fact that they exhibit an increasing frustration with the novelistic discourse of the period, her first four novels did not succeed in significantly altering fictional convention.
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Atkinson, Juliette. „Literary influence“. In French Novels and the Victorians. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266090.003.0005.
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The dangers posed by French novels were not simply moral: they were also literary. Critics throughout the period compulsively listed any indication that a Victorian novel had been influenced by French novelists. The many writers involved with the sensation fiction of the 1860s challenged the purity (both moral and formal) of English novels. Comparisons between sensation novels and their French antecedents led to a reconsideration of the assumed superiority of English life and culture. Sensation novelists did not always proclaim their French inspirations, but many were keen to identify themselves as followers of Balzac, who had set important precedents for the genre, and whose literary star was rising in England. The boundaries of the English novel were further tested by acts of plagiarism committed by novelists like Braddon and Reade; in challenging critics to untangle the composition of their work, they demonstrated the porous boundaries of domestic literary traditions.
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Crawford, Robert. „Rabelais, Cervantes, and Libraries in Fiction“. In Libraries in Literature, 17–37. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192855732.003.0002.
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Abstract The most influential depictions of libraries in fiction are those of Rabelais in Gargantua and Pantagruel and of Cervantes in Don Quixote. These works and their reception in English-language literature are discussed. Stretching from the Middle Ages to the present, this chapter ranges across English and some American literature. Particular attention is paid to the notion of the library as a site of tension between order and subversive disorder, and to the library as a place associated with madness, especially the madness of scholars. Among the authors discussed are John Donne, Sir Thomas Browne, writers about women and eighteenth-century circulating libraries, Gothic novelists, and James Joyce. Though many novels are considered, more detailed consideration is given to Walter Scott’s Waverley, George Eliot’s Middlemarch, and G. K. Chesterton’s The Return of Don Quixote.
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Richardson, Angelique. „Sarah Grand and Eugenic Love“. In Love and Eugenics in the Late Nineteenth Century, 95–131. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198187004.003.0005.
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Abstract At Sarah Grand’s death in 1943 The Times remarked that her bestselling novel of 1893, The Heavenly Twins, ‘may be said to mark something of an epoch in English fiction . . . Sarah Grand and other writers of the school widened the field of English fiction by freeing it from some of its former limitations as to subject and treatment.’ One of the most widely read and talked about of late Victorian novelists, Sarah Grand was a committed exponent of biological determinism and eugenic feminism.
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Garside, Peter, James Raven und Rainer Schöwerling. „The English Novel in the Romantic Era: Consolidation and Dispersal“. In The English Novel 1770-1829: A Bibliographical Survey of Prose Fiction Published in the British Isles, 15–103. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198183181.003.0002.
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Abstract The years from 1800 to 1829 are indisputably of pivotal importance in the history of the novel. Traditionally the Romantic period in terms of fiction is viewed as the age of Walter Scott and Jane Austen, whose input into the larger tradition of the novel has been commented on at length, and whose published works have enjoyed intense bibliographical scrutiny. In recent years other novelists, such as Maria Edgeworth and Mary Shelley, have benefited from the bibliographical attention that goes with scholarly editing, and a broader interest in certain generic fields, notably the Gothic and women’s fiction, has led to both facsimile series and specialist check-lists. Commencing in the immediate wake of an efflorescence of female novel-writing, yet also characterized by some commentators as involving in its later stages the hijacking of prose fiction by male writers for male readers, the period evidently stands at an important crossroads in terms of the gender distribution of authorship.
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Atkinson, Juliette. „Cultural competition“. In French Novels and the Victorians. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266090.003.0006.
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Nineteenth-century Anglo-French relations were profoundly competitive, as the recurrent Great Exhibitions vividly illustrated. For much of the period, the French clung to their widely perceived cultural (and in particular literary) supremacy. This affected the reception of French novels in a number of ways. The flood of works by popular novelists such as Dumas and Sue in the 1840s led critics to scrutinize the bibliographical statistics of the two nations. Reactions against the perceived greater vigour of the French fiction-writing took many forms, including riots, and reflections on the impact which copyright legislation might have on curbing the dissemination of foreign works. In the 1860s, Taine’s pioneering history of English literature led to very different reflections on French superiority. In contrast with earlier attacks on French immorality, critics responded to Taine by thoughtfully considering the causes of the different paths taken by French and English novelists, and the benefits of each.
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Waterman, Bryan. „Mediating the Novel in the Age of Warhol“. In The Oxford History of the Novel in English, 127–46. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192844729.003.0011.
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Abstract This chapter presents a history of the late twentieth-century avant-garde US novel using the idea of “The Age of Warhol” as a periodizing rubric. Whereas most approaches to literary postmodernism focus on its metafictional qualities, its experiments with history and historiography, or its emphasis on the fundamental instability of language, using Warhol’s work as a lens foregrounds a different set of concerns. Warhol’s language games are always, ultimately, media games—contemplations not only of language as the medium of fiction, but of words as they exist, mediated, in the world. This chapter uses Warhol’s a: a Novel to highlight three abiding interests among US avant-garde novelists: the material effects of late-twentieth-century media; questions raised by new media—the “electrosphere”—about the novel’s relationship to print; and awareness of how new media blurred distinctions between art and life, calling into question fiction’s fate in the larger cultural landscape.