Journal articles on the topic 'Fiction in English New Zealand writers'

Review of: English for journalists, by Wynford Hicks (20th ed.), London, New York: Routledge, 2013. ISBN9780415661720 (pbk); Bateman New Zealand Writer’s Handbook: An indispensable guide to getting published, by Tina Shaw. Auckland: Bateman, (6th Ed.), 2013. 208pp. ISBN: 9781869538361.English for journalists: Hicks discusses just what kind of English the book is about. As many before him have noted, the strongest influence on the language has undoubtedly been American, but latterly the influence of new technology has been considerable, and not necessarily in a ngative manner says Hicks (p.1). He quotes researchers who see many positives in the influence of social media, claiming that for as many mistakes that appear on Twitter, for example, as many people are busy pointing them out. The English language is not decaying, says Hicks, but there are still problems.Bateman New Zealand Writer's Handbook: An indispensable guide to getting published: Keen writers New Zealanders might be, and where to get published can still be a fraught exercise. On hand with helpful advice is the latest edition, the sixth, of the Bateman New Zealand Writer's Handbook from fiction writer and tutor of creative writing Tina Shaw.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). Indo-English Literature in the Nineteenth Century, Mysore: Literary Half-yearly, University of Mysore, University of Mysore Press. Amanuddin, Syed. (2016 [1990]). “Don’t Call Me Indo-Anglian”. C. D. Narasimhaiah (Ed.), An Anthology of Commonwealth Poetry. Bengaluru: Trinity Press. B A (Compiler). (1883). Indo-Anglian Literature. Calcutta: Thacker, Spink and Co. PDF. Retrieved from: https://books.google.co.in/books?id=rByZ2RcSBTMC&pg=PA1&source= gbs_selected_pages&cad=3#v=onepage&q&f=false ---. (1887). “Indo-Anglian Literature”. 2nd Issue. Calcutta: Thacker, Spink and Co. PDF. Retrieved from: http://www.jstor.org/stable/60238178 Basham, A L. (1981[1954]). The Wonder That Was India: A Survey of the History and Culture of the Indian Sub-Continent before the Coming of the Muslims. Indian Rpt, Calcutta: Rupa. PDF. Retrieved from: https://archive.org/details/TheWonderThatWasIndiaByALBasham Bhushan, V N. (1945). The Peacock Lute. Bomaby: Padma Publications Ltd. Bhushan, V N. (1945). The Moving Finger. Bomaby: Padma Publications Ltd. Boria, Cavellay. (1807). “Account of the Jains, Collected from a Priest of this Sect; at Mudgeri: Translated by Cavelly Boria, Brahmen; for Major C. Mackenzie”. Asiatick Researches: Or Transactions of the Society; Instituted In Bengal, For Enquiring Into The History And Antiquities, the Arts, Sciences, and Literature, of Asia, 9, 244-286. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.104510 Chamber’s Twentieth Century Dictionary [The]. (1971). Bombay et al: Allied Publishers. Print. Chatterjee, Dilip Kumar. (1989). Cousins and Sri Aurobindo: A Study in Literary Influence, Journal of South Asian Literature, 24(1), 114-123. Retrieved from: http://www.jstor.org/ stable/40873985. Chattopadhyay, Dilip Kumar. (1988). A Study of the Works of James Henry Cousins (1873-1956) in the Light of the Theosophical Movement in India and the West. Unpublished PhD dissertation. Burdwan: The University of Burdwan. PDF. Retrieved from: http://ir.inflibnet. ac.in:8080/jspui/bitstream/10603/68500/9/09_chapter%205.pdf. Cobuild English Language Dictionary. (1989 [1987]). rpt. London and Glasgow. Collins Cobuild Advanced Illustrated Dictionary. (2010). rpt. Glasgow: Harper Collins. Print. Concise Oxford English Dictionary [The]. (1961 [1951]). H. W. Fowler and F. G. Fowler. (Eds.) Oxford: Clarendon Press. 4th ed. Cousins, James H. (1921). Modern English Poetry: Its Characteristics and Tendencies. Madras: Ganesh & Co. n. d., Preface is dated April, 1921. PDF. Retrieved from: http://hdl.handle.net/ 2027/uc1.$b683874 ---. (1919) New Ways in English Literature. Madras: Ganesh & Co. 2nd edition. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.31747 ---. (1918). The Renaissance in India. Madras: Madras: Ganesh & Co., n. d., Preface is dated June 1918. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.203914 Das, Sisir Kumar. (1991). History of Indian Literature. Vol. 1. New Delhi: Sahitya Akademi. Encarta World English Dictionary. (1999). London: Bloomsbury. Gandhi, M K. (1938 [1909]). Hind Swaraj Tr. M K Gandhi. Ahmedabad: Navajivan Publishing House. PDF. Retrieved from: www.mkgandhi.org/ebks/hind_swaraj.pdf. Gokak, V K. (n.d.). English in India: Its Present and Future. Bombay et al: Asia Publishing House. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.460832 Goodwin, Gwendoline (Ed.). (1927). Anthology of Modern Indian Poetry, London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.176578 Guptara, Prabhu S. (1986). Review of Indian Literature in English, 1827-1979: A Guide to Information Sources. The Yearbook of English Studies, 16 (1986): 311–13. PDF. Retrieved from: https://www.jstor.org/stable/3507834 Iyengar, K R Srinivasa. (1945). Indian Contribution to English Literature [The]. Bombay: Karnatak Publishing House. PDF. Retrieved from: https://archive.org/details/ indiancontributi030041mbp ---. (2013 [1962]). Indian Writing in English. New Delhi: Sterling. ---. (1943). Indo-Anglian Literature. Bombay: PEN & International Book House. PDF. Retrieved from: https://archive.org/details/IndoAnglianLiterature Longman Dictionary of Contemporary English. (2003). Essex: Pearson. Lyall, Alfred Comyn. (1915). The Anglo-Indian Novelist. Studies in Literature and History. London: John Murray. PDF. Retrieved from: https://archive.org/details/in.ernet. dli.2015.94619 Macaulay T. B. (1835). Minute on Indian Education dated the 2nd February 1835. HTML. Retrieved from: http://www.columbia.edu/itc/mealac/pritchett/00generallinks/macaulay/ txt_minute_education_1835.html Mehrotra, Arvind Krishna. (2003). An Illustrated History of Indian Literature in English. Delhi: Permanent Black. ---. (2003[1992]). The Oxford India Anthology of Twelve Modern Indian Poets. New Delhi: Oxford U P. Minocherhomji, Roshan Nadirsha. (1945). Indian Writers of Fiction in English. Bombay: U of Bombay. Modak, Cyril (Editor). (1938). The Indian Gateway to Poetry (Poetry in English), Calcutta: Longmans, Green. PDF. Retrieved from http://en.booksee.org/book/2266726 Mohanty, Sachidananda. (2013). “An ‘Indo-Anglian’ Legacy”. The Hindu. July 20, 2013. Web. Retrieved from: http://www.thehindu.com/features/magazine/an-indoanglian-legacy/article 4927193.ece Mukherjee, Sujit. (1968). Indo-English Literature: An Essay in Definition, Critical Essays on Indian Writing in English. Eds. M. K. Naik, G. S. Amur and S. K. Desai. Dharwad: Karnatak University. Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt.New Shorter Oxford English Dictionary on Historical Principles [The], (1993). Ed. Lesley Brown, Vol. 1, Oxford: Clarendon Press.Naik, M K. (1989 [1982]). A History of Indian English Literature. New Delhi: Sahitya Akademi, rpt. Oaten, Edward Farley. (1953 [1916]). Anglo-Indian Literature. In: Cambridge History of English Literature, Vol. 14, (pp. 331-342). A C Award and A R Waller, (Eds). Rpt. ---. (1908). A Sketch of Anglo-Indian Literature, London: Kegan Paul. PDF. Retrieved from: https://ia600303.us.archive.org/0/items/sketchofangloind00oateuoft/sketchofangloind00oateuoft.pdf) Advanced Learner’s Dictionary of Current English. (1979 [1974]). A. S. Hornby (Ed). : Oxford UP, 3rd ed. Oxford English Dictionary [The]. Vol. 7. (1991[1989]). J. A. Simpson and E. S. C. Weiner, (Eds.). Oxford: Clarendon Press, 2nd ed. Pai, Sajith. (2018). Indo-Anglians: The newest and fastest-growing caste in India. Web. Retrieved from: https://scroll.in/magazine/867130/indo-anglians-the-newest-and-fastest-growing-caste-in-india Pandia, Mahendra Navansuklal. (1950). The Indo-Anglian Novels as a Social Document. Bombay: U Press. Payn, James. (1880). An Indo-Anglian Poet, The Gentleman’s Magazine, 246(1791):370-375. PDF. Retrieved from: https://archive.org/stream/gentlemansmagaz11unkngoog#page/ n382/mode/2up. ---. (1880). An Indo-Anglian Poet, Littell’s Living Age (1844-1896), 145(1868): 49-52. PDF. Retrieved from: https://archive.org/stream/livingage18projgoog/livingage18projgoog_ djvu.txt. Rai, Saritha. (2012). India’s New ‘English Only’ Generation. Retrieved from: https://india.blogs.nytimes.com/2012/06/01/indias-new-english-only-generation/ Raizada, Harish. (1978). The Lotus and the Rose: Indian Fiction in English (1850-1947). Aligarh: The Arts Faculty. Rajan, P K. (2006). Indian English literature: Changing traditions. Littcrit. 32(1-2), 11-23. Rao, Raja. (2005 [1938]). Kanthapura. New Delhi: Oxford UP. Rogobete, Daniela. (2015). Global versus Glocal Dimensions of the Post-1981 Indian English Novel. Portal Journal of Multidisciplinary International Studies, 12(1). Retrieved from: http://epress.lib.uts.edu.au/journals/index.php/portal/article/view/4378/4589. Rushdie, Salman & Elizabeth West. (Eds.) (1997). The Vintage Book of Indian Writing 1947 – 1997. London: Vintage. Sampson, George. (1959 [1941]). Concise Cambridge History of English Literature [The]. Cambridge: UP. Retrieved from: https://archive.org/details/in.ernet.dli.2015.18336. Sarma, Gobinda Prasad. (1990). Nationalism in Indo-Anglian Fiction. New Delhi: Sterling. Singh, Kh. Kunjo. (2002). The Fiction of Bhabani Bhattacharya. New Delhi: Atlantic Publishers and Distributors. Spivak, Gayatri Chakravorty. (2012). How to Read a ‘Culturally Different’ Book. An Aesthetic Education in the Era of Globalization, Cambridge, Mass: Harvard University Press. Sturgeon, Mary C. (1916). Studies of Contemporary Poets, London: George G Hard & Co., Retrieved from: https://archive.org/details/in.ernet.dli.2015.95728. Thomson, W S (Ed). (1876). Anglo-Indian Prize Poems, Native and English Writers, In: Commemoration of the Visit of His Royal Highness the Prince of Wales to India. London: Hamilton, Adams & Co., Retrieved from https://books.google.co.in/ books?id=QrwOAAAAQAAJ Wadia, A R. (1954). The Future of English. Bombay: Asia Publishing House. Wadia, B J. (1945). Foreword to K R Srinivasa Iyengar’s The Indian Contribution to English Literature. Bombay: Karnatak Publishing House. Retrieved from: https://archive.org/ details/indiancontributi030041mbp Webster's Encyclopedic Unabridged Dictionary of the English Language. (1989). New York: Portland House. Yule, H. and A C Burnell. (1903). Hobson-Jobson: A Glossary of Colloquial Anglo-Indian Words and Phrases, and of Kindred Terms, Etymological, Historical, Geographical and Discursive. W. Crooke, Ed. London: J. Murray. Retrieved from: https://archive.org/ details/hobsonjobsonagl00croogoog Sources www.amazon.com/Indo-Anglian-Literature-Edward-Charles-Buck/dp/1358184496 www.archive.org/stream/livingage18projgoog/livingage18projgoog_djvu.txt www.catalog.hathitrust.org/Record/001903204?type%5B%5D=all&lookfor%5B%5D=indo%20anglian&ft= www.en.wikipedia.org/wiki/B.L._Indo_Anglian_Public_School,_Aurangabad www.everyculture.com/South-Asia/Anglo-Indian.html www.solo.bodleian.ox.ac.uk/primo_library/libweb/action/search.do?fn=search&ct=search&initialSearch=true&mode=Basic&tab=local&indx=1&dum=true&srt=rank&vid=OXVU1&frbg=&tb=t&vl%28freeText0%29=Indo-Anglian+Literature+&scp.scps=scope%3A%28OX%29&vl% 28516065169UI1%29=all_items&vl%281UIStartWith0%29=contains&vl%28254947567UI0%29=any&vl%28254947567UI0%29=title&vl%28254947567UI0%29=any www.worldcat.org/title/indo-anglian-literature/oclc/30452040

Omer Aijazi is a PhD candidate in the Department of Educational Studies, University of British Columbia. His research examines place based, community led micro processes of social repair after natural disasters. His research destabilizes dominant narratives of humanitarian response and disaster recovery and offers an alternate dialogue based on structural change.Jessica Marion Barr is a Toronto artist, educator, and PhD candidate in Cultural Studies at Queen’s University. Her interdisciplinary practice includes installation, found-object assemblage, drawing, painting, collage, and poetry, focusing on forging links between visual art, elegy, ecology, ethics, and sustainability. "In October 2013, Jessica curated and exhibited work in Indicator, an independent project for Toronto's Nuit Blanche.Gary Barwin is a poet, fiction writer, composer, visual artist, and performer. His music and writing have been published, performed, and broadcast in Canada, the US, and elsewhere. He received a PhD in Music Composition from SUNY at Buffalo and holds three degrees from York University: a B.F.A. in music, a B.A. in English, and a B.Ed.O.J. Cade is a PhD candidate in science communication at the University of Otago, New Zealand. In her spare time she writes speculative fiction, and her short stories and poems can be found in places like Strange Horizons, Cosmos Magazine, and Abyss and Apex. Her first book, Trading Rosemary, was published in January of 2014 by Masque Books.Kayla Flinn is a recent graduate from the Masters in Environmental Studies program, with a Diploma in Environmental and Sustainable Education from York University. Originally from Nova Scotia, Kayla is both an artist and athlete, spending majority of her time either surfing or trying to reconnect people to nature/animals through art she produces.Frank Frances is a playwright, poet, music programmer, artistic director, community arts and social justice activist, former jazz club owner, and believer of dreams of a greater humanity. Frank majored in English, creative writing, post colonial literature and theory, drama and theatre, and is a graduate of York University.Sarah Nolan is a PhD candidate at the University of Nevada, Reno, where she studies twentieth and twenty-first century American poetry. Her dissertation considers developing conceptions of ecopoetics and how those ideas contribute to poetry that is not often recognized as environmental.Darren Patrick is an ecologically minded queer who lives in a city. He is also a PhD candidate in the Faculty of Environmental Studies at York University in Toronto, Ontario.Portia Priegert is a writer and visual artist based in Kelowna, B.C. She completed her MFA in Creative Writing at UBC Okanagan in 2012, with funding from the Social Sciences and Humanities Research Council of Canada.Elana Santana is a recent graduate of the Masters in Environment Studies program at York University. Her research focuses on the intersections of feminist, queer, posthumanist studies and the environment. Her academic work informs her creative pursuits a great deal, particularly in her attempts to photograph the non-human world in all its agential glory. Conrad Scott is a PhD candidate in the University of Alberta’s Department of English and Film Studies. His project examines the interconnection between place, culture, and literature in a study of dystopia in contemporary North American eco-apocalyptic fiction.Joel Weishaus has published books, book reviews, essays, poems, art and literary critiques. He is presently Artist-in-Residence at Pacifica Graduate Institute, Carpinteria, CA. Much of his work is archived on the Internet: http://www.cddc.vt.edu/host/weishaus/index.htmMichael Young is presently the University and Schools advisor for Operation Wallacea Canada, a branch of a UK based biodiversity research organization. He is a recent graduate of the Masters in Environmental Studies program at York University (MES), where his culminating portfolio examined apocalyptic narratives and popular environmental discourse. He is presently in the process of developing an original television pilot, which he began writing as a part of his master’s portfolio.

Literature is one of human creativity that has universal meaning as one of the way to communicate each other about the emotional , spiritual and intellectual experiences that needed to build up intellectual and moral knowledge of mankind . A creative writer has the perception and the analytical mind of a sociologist who provides an exact record of human life, society, and social system. Fiction , being the most powerful form of literary expression today, has acquired a prestigious position in Indian literature. Indian women novelists in English and in other vernaculars try their best to deal with , apart from many other things , the pathetic plight of forsaken women who are fated to suffer from birth to death.

Abstract This paper looks at three Indian crime fiction series by women writers who employ different types of female detectives in contemporary India. The series will be discussed in the context of India’s economic growth and the emergence of a new middle class, which has an impact on India’s complex publishing market. I argue that the authors offer new identification figures while depicting a wide spectrum of female experiences within India’s contemporary urban middle class. In accordance with the characteristics of popular fiction, crime fiction offers the possibility to assume new roles within the familiar framework of a specific genre. Writers also partly modify the genre as a form of social criticism and use strategies such as the avoidance of closure. I conclude that the genre is of particular suitability for women in modern India as a testing-ground for new roles and a space that helps to depict and accommodate recent transformations that connect to processes of globalization.

Abstract General accounts of Gustave Flaubert’s influence on English-language writers have tended to assume that the publication of his fiction was enough to change the style of English prose. However, close examination of Flaubert’s reception in the second half of the nineteenth century shows that the novels and stories alone did not bring about a widespread shift in English prose style. Before such a transformation could happen, his theoretical statements about style in the correspondence needed to be shared with and interpreted for a new audience. Flaubert’s fiction did exert a qualified influence on the relatively few English-language writers who read and responded to it, including Mary Elizabeth Braddon and Henry James. However, not until the 1883 publication of his correspondence with George Sand, as well as significant critical mediation and translation (most notably by Guy de Maupassant, Walter Pater, and Eleanor Marx-Aveling), did his influence on English writers reach its full extent.

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.

The world has been growing more globalised, people have been moving and absorbing different cultural peculiarities. Now intercultural perspective might seem insufficient to describe the extent to which local cultures and identities are linked globally. As a result, language contact and communication between and across cultures have been changing. The present paper aims at studying modern RussianAmerican fiction from intercultural and transcultural perspectives emphasizing the translingual features and transcultural changes. The paper discusses the phenomenon of creative translingualism, which means writing in one or two languages that are not the native tongues. Contemporary American literature may be proud of its modern writers of Russian and Soviet descent: Olga Grushin, Sana Krasikov, Lara Vapnyar, Anya Ulinich, Irina Reyn. All the authors changed their country of birth and moved to the USA and as a result, they chose English as the language of their creative writings. However, the English of their works reflects the Russian language, culture, and identity of the writers making the English text not truly English. The research primarily studies the linguistic tools (borrowing, code mixing, code-switching and broken English) used by the writers to render Russian culture by means of the English language as well as the transcultural shift that has been inevitable and has become an inalienable part of new cultural identities.

Rohinton Mistry is one of the most celebrated new wave fiction writers of Indian writing in English. Mistry is a well-known name for his heritage fiction and Parsi consciousness. As being a Parsi, Mistry seems to be more concerned with his community and its diminishing numbers like their symbol bird vultures. Parsi is one of the most educated communities all around the world and famous for their sense of charities yet with each passing year this one of the oldest religious communities is facing the threat of extinction; and this threat put each and every Parsi writers on their toes to preserve their culture through their writings, and the fiction of Rohinton Mistry is also no exception to this thought. Mistry tried his level best to put Parsi life as it is with their core consciousness and dilemmas on paper.

Hedges and boosters are two important sources of linguistic devices to express tentative evaluations and to mitigate solidarity with readers. Men and women have different tendencies of using these linguistic devices. Women are usually considered to follow a personal and polite style whereas men are more competitive and assertive. Hence, gender-preferential features of women and men are one of the prerequisites of understanding the functions of hedges and boosters. One relatively neglected aspect of gender-based studies of these linguistic devices is fiction. In this paper, we explored male and female English writers’ use of hedges and boosters in HUM19UK Corpus, a corpus of 19th century British fiction. We calculated a statistically significant overuse in the deployment of hedges and boosters by female writers in the 19th century, which is an indication of a new writing style adapted by the female writers in that era. However, the most common items of hedges and boosters were identical in both corpora.

Abstract Some nineteenth century writers like the Scottish born poet William Golder, used the term ‘the Great Britain of the south’ as a description of his new home. He was not alone in this characterisation. There were of course other possible perspectives, not least from the Māori point of view, which these British writers inevitably fail to capture. A third reality was more specific to lawyers or at least to those caught up in the legal system. The phrase ‘the Great Britain of the south’ fails to capture the complexity of the way that English law was applied in the early colony. The law administered throughout the British Empire reflected the common law origins of colonial legal systems but did not mean that the law was identical to that in England. Scholars have emphasised the adaptability of English law in various colonial settings. New Zealand contract law of this time did draw on some English precedents. The early lawyers were steeped in the English legal tradition. At the same time, English authorities were used with a light touch. The legal and social framework within which contract law operated was also quite different. This meant, for example, that mercantile juries were important in adapting the law to local conditions. Early New Zealand contract law provides a good example of both the importance of English law in a colonial setting and its adaptability.

The language of fiction is probably not the most dynamically but still changing. These new trends in collacability are of a great interest to us. The definition of collocation is present in the text; the authors also distinguish the concepts of collocation and lexical function. This article will discuss the trends considered in synchrony and diachrony, which were highlighted on the material of John Grisham “Gray Mountain”, which is relatively new English-language material (2014), and a bit dated J. D. Salinger “Nine Stories” (1953 ) to track trends and their development in the language. 150 examples were reviewed and analyzed. 5 trends were highlighted on a given case. The authors use dictionaries, linguistic search on the Internet, the COCA (Grisham and Salinger are both from the USA). The authors conclude that the trends that have been considered are the most frequent for the language of fiction and deserve the attention of the researchers due to their productivity. The reasons why stable word combinations change: the emergence of new realities and the need for a new nomination and (which is more typical for the prose) the search for the new forms of self-expression of the writers.

In ‘Interpreting History Through Fiction: Three Writers Discuss their Methods’, creative historical authors Thom Conroy, Joanna Grochowicz and Cristina Sanders engage in a conversation about the intersection of history and fiction. Arising from a session of the 2021 New Zealand Historical Association Conference entitled ‘Learning History Through Fiction’, the three-way dialogue interrogates the role of learning history from creative texts, navigates the fact/fiction balance in creative historical writing, explores concerns about the potential for harm in historical fiction, outlines the authors' own motives for adopting a creative approach to history, and examines what Hilary Mantel calls the ‘readerly contract’ in historical fiction. The conversation does not seek consensus nor finality in the answers offered to the questions the authors have put to one another. Rather, the authors allow contradictions and disagreements to remain intact, thus conveying their collective sense of open-endedness regarding creative approaches to history. This open-endedness is intentional, as the answers that arise from dialogue are intended to be as provisional and contingent as the evolving genre of historical fiction itself.

Previous studies have provided exciting findings for language variations in theses and dissertations. However, not many studies have revealed the rhetorical analysis of the undergraduate abstracts. This study investigated the rhetorical structure of undergraduate thesis abstracts to reveal the constructions of the genre by novice writers. It further explored the variations between two groups of writers, students with the native language of English and Indonesian students writing in English. The aim was to present the commonalities and differences within the genre and finally conclude the genre’s conventions. The corpus for this study consisted of 180 undergraduate thesis abstracts from 12 universities in the United States, New Zealand, and Indonesia from Computer Science. The findings of this study revealed certain conventions consisting of rhetorical moves and rhetorical strategies used to perform the rhetorical moves. Differences between native writers of English and non-native writers of English included the use of lexical items and lexico-grammatical constructions in presenting arguments and evidence. The study concluded that socio-cultural factors, such as institutional guidelines for thesis writing and students’ first language, may contribute to the genre's variations.

Abstract This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures.

The paper deals with the study of peculiarities of mythopoetics inclusion in British and American literatures. In particular, it highlights the specificity of the way English-speaking writers refer to such mythopoetic images as tree, raven and dragon. The study is done on the works by famous fantasy and sci-fi writers: John Ronald Reuell Tolkien, Roger Zelazny, Jack Vance and George Martin. A wide range of writings in various genres of literature brings certain difficulties connected with the selection of the study material. The criteria applied to fictional texts selected for the undertaken research are as follows: the degree of influence of a particular writer, the significance of mythologemes under consideration in terms of a particular text, and their level of reinterpretation in the writings of selected novelists. The novelty of a given research is connected with considering selected mythopoetic images in the context of particular examples of British and American fantasy and science fiction never regarded together before. The research findings highlight two leading directions of English-language literatures references to the world mythopoetic heritage of ancient times. Firstly, we see the way such mythologemes as tree, raven and dragon are interwoven in the fictional discourse to create a medieval atmosphere; secondly, writers incorporate archetypical images into their texts as elements of their own myth. The second direction seems to be more promising for it results in new interpretations of classical images rather than their exploitation in new texts, thus encouraging the expansion of their symbolic content.

Much of the reaction, both positive and negative, to the publication of Alan Duff's novel Once Were Warriors centred on its language. This article analyses the ways in which characteristic linguistic features of New Zealand English are represented in the novel, in particular by its Maori protagonists. It also draws stylistic comparisons with other writers, such as Scotland's James Kelman, who have attempted to give their characters a particular local voice outside of, or in opposition to, Standard English by having them speak in their own language or variety of English.

Feminism in western nations are epitomized in literature and different books, that is in composed shape however in the east, especially in nations like India, attributable to its oral tradition and more noteworthy lack of education, the effect of these investigations was limited to the urban populace. In any case, as of late, even the rural regions have been secured due to the regularly spreading wing of electronic media. Since the most recent couple of decades, women have been attempting their hands at writings and that too effectively. Anita Desai is a standout amongst other known contemporary women writers of Indian fiction in English. She has picked up qualification in investigating the human psyche and the enthusiastic sentiments of her protagonists. She has included a new dimension and great support to the contemporary Indian English fiction and has a huge place because of her creative topical concerns and arrangements in her fiction with feminine sensibility.

The long awaited publication of Madeline G. Levine’s retranslation of Schulz’s fiction has sparked new interest in the reception of Schulz in English-speaking countries. In Poland, the general view seems to be that the author has not received the attention he deserves. Based largely on a review non-specialized periodicals from 1963–2018, the paper presents a strong and lasting trend in the reception of the English Schulz, namely the admiration of hosts of fellow authors: writers of high-brow and popular fiction, poets and playwrights from the whole anglophone world, form Australia to Canada. Examining their reviews of Schulz’s stories, interviews and articles promoting their own work, and intertextual references to Schulz which some of them employed, the paper adds some a new names to the small handful of Schulz-loving anglophone authors of whom Polish scholars have been aware so far.

Dr.Saeed Naqvi is a verstyle writer. He has also written essays besides poetry, fiction writing, translations and Novels. His essays are about all the fields of life. Most of his essays have been published in different literary magazines. “Nayee Basti” is an important litrary magazine of Halqa Arbab-e-zauq New York. Esayes of Saeed Naqvi have also been published in “Nayee Basti”.Saeed Naqvi is considered among those writers who enable to be prominent in Urdu fiction writing. While living in American state. He has also done. The task of fiction writing novel writing and translation of English literature into Urdu besides literary essays. Saeed Naqvi created literature selflessly and is doing creative work without desire of any award or appreciation.

In 1995 I Taught a Course in New Zealand Literature at Tokyo University. The Students Were Attentive, and Curious About New Zealand, but they found my Kiwi English hard to follow, being accustomed to American or British varieties. I wondered about their seeming tolerance recently while teaching a similar course to undergraduates back home, at Victoria University, in Wellington, when one of the Maori students complimented a Pākehā (New Zealand European) colleague for her Maori pronunciation. Like most Pākehā, I have a rudimentary grasp of Māori, enough to be familiar with the words and phrases that have entered everyday speech and those in the poetry and fiction I teach. But I cannot conduct a conversation in Māori or read a Māori text, and I am as embarrassed by the irritation that my pronunciation of te reo (the Māori language) causes Māori speakers as I was by the difficulty my rising terminals and strange accent posed for competent English speakers in Japan.

The article explores borrowings in terms of linguacultural transfer in the ethnic (Russian) fiction written in the English language, the material being works of Helen Litman, an American writer of Russian-Jewish ancestry. The research significance is related to communicative value of the original culture both for interpretation of the author’s style and purport as well as for developing the theory of Russian English in terms of the World Englishes paradigm. Since the primary message of H. Liman’s writings is the difficulty of integrating into a new reality, reference to the past is embodied in numerous cases of lexical and conceptual borrowings. The author explores such types of loans as exoticisms describing Russian prototypical historical, and everyday life concepts which are absent in American culture; Russian transcribed words including exclamations, slang words, incorporated in the texts; zoonyms as a particular case of conceptual borrowings, and phraseological calques. Numerous examples are conditioned by the absence of Russian culture-specific concepts in American linguacultural continuum. Traces of transferring cultural identity in bilingual writers’ fiction, which are found in this article, make it possible to infer the author’s purport as well as broaden the research field of contact fiction.

The article offers an interpretation of Stephen Edwin King’s novel ‘Salem’s Lot (1975) in the context of how its author productively works with the elements of the ‟vampire myth” created and developed by British gothic writers of the 19th century (John William Polidori, Joseph Thomas Sheridan Le Fanu, Bram Stoker, etc.). The principal of these mythologems (“the depravity of the century, condensed in the figure of a vampire”; “the foreign origin of a vampire, which emphasises its otherness”; “the aristocracy of a vampire”) are successfully adapted by King in accordance with his artistic objectives, which allows the writer to include his text in a rich literary tradition, while preserving the opportunity to express his own creativity. An important artistic finding of King is the synthesis of two genre subforms of the horror novel proposed by him – a vampire novel and a small-town-horror novel: King fruitfully works with the special aesthetics of the first subform and the ideological content of the second, thus making his novel a socially engaged one and turning the plot about the appearance of vampires in New England provincial town into an allegorical narrative about the loss of moral guidelines and general spiritual degradation in America in the 1970s.

Данная статья освещает долгую историю транслингвизма как явления и его относительную новизну как концепции. В фокусе нашего внимания находятся произведения, написанные неанглоязычными авторами на английском языке: они составляют обширный пласт мирового литературного наследия. С опорой на методы, разработанные интерлингвокультурологией, настоящее исследование выявляет следы родной лингвокультуры, проступающие в англоязычных текстах, и рассматривает транслингвизм в новом аспекте – как инструмент создания уникального художественного произведения. На материале романов русско-американской писательницы А. Рэнд “We the Living” и немецко-английского писателя Р. Ноймана “Children of Vienna” данное исследование обнаруживает разницу, с которой родной лингвокультурный субстрат проступает в произведениях, написанных на чужом для обоих авторов языке. Выявлено, что в немецко-английском произведении родство языков, общность алфавита и «европейского психического склада» маскирует следы родной лингвокультуры, в то время как в русско-английском романе они проступают более отчетливо. The present article demonstrates that translingualism as a phenomenon has had a long history, whereas as a concept it is relatively new. An extensive layer of world cultural heritage is presented by narratives that are created by non-English authors in the English language. The article reveals the traces of writers’ native linguaculture, which emerges through English texts. Based on the methods of interlinguaculturology, our research considers translingualism in a relatively new aspect, as a powerful tool of creating fiction that is unique in itself. The analysis of two novels “We the Living” by Russian-American writer A. Rand and “Children of Vienna” by German-English writer R. Neumann, shows how traces of native linguistic and cultural substratum vary from one fiction to the other. It has been argued, that the kinship of English and German languages, together with shared alphabet and European mentality, disguises the traces of native linguaculture in “Children of Vienna”, whereas in Russian-English narrative they can be distinguished quite clearly.

Internationalization of doctoral study means more doctoral writers working across language and cultural borderlands. How can their access to a self-reliant understanding of English language be enabled? How can they acquire the confidence to find their textual voice? How can academics supporting these writers help them to adapt to western cultures of thinking, learning, and communicating? Behind this article sits an extensive investigation into how to support international doctoral candidates to make such crossings pleasurably: eight doctoral candidates from across disciplines at the University of Auckland, Aotearoa New Zealand, collectively close-read literary items, and Banksy’s street art. The purpose was to deepen understanding of argumentation, critical analysis, rhetoric that persuades, voice and creative positioning. Two interactive classroom sessions used Banksy’s street art to promote creative thinking about powerful communication. Here, we explain how Banksy’s graffiti gave a good foundation for the development of analytical skill, socio-political confidence, and cultural learning—and doctoral participants found the courage to be more creative thinkers and thesis writers.

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.

AbstractFor world literature studies, Indian writing in English offers an exceptionally rich and variegated field of analysis: On the one hand, a set of prominent Indian or diasporic writers accrues substantial literary capital through metropolitan review circuits and award systems and thus maintains the high international visibility that Indian writing in English has acquired ever since the early 1980s. Addressing a readership that spans countries and continents, this kind of writing functions as a viable tributary to world literature. On the other hand, a new boom of Indian mass fiction in English has emerged that, while targeting a strictly domestic audience, is always already implicated in the dynamics of world literature as well, albeit in a very different way: As they deploy, appropriate and adopt a wide range of globally available templates of popular genres, these texts have globality inscribed into their very textures even if they do not circulate internationally.

End of second world war brought in some new changes in Indian English fiction. Most of the writers were touched by the agony of wars that affected western world as well as Indian subcontinent; their inclination towards portraying violence, bloodshed, social issues, major event like Partition of India. Writers like Dr Mulk Raj Anand had a sharp-edged axe to grind on all the social evils of the society in his peculiar coarse, blunt satire but at the same time, there was R K Narayan who portrayed most common issues of very common people (residing strictly in Malgudi). When and if he used satire, they were always carried a mild tone. Somewhere in between, or beyond them sits All about H. Hatter, the only novel written by Desani. Present paper aims at revisiting the peculiarities—concerning its theme, characterization and language—of this monumental work, sadly forgotten by common readers.

In 1995 two novels by Singaporean writers were published. Ming Cher’s Spider Boys, a first novel, was published by Penguin in New Zealand, while Rex Shelley’s Island in the Centre was published in Singapore by the regional publisher, Times Books. The marketing of both implied that they were authentic voices of Singapore. The varieties of English used and represented in the two novels are compared to the varieties of English attested in sociolinguistic studies of Singapore. Shelley’s novel represents Singapore English in a way that allows a readership familiar with Singapore to relate the characters to their sociolinguistic setting, and it has a Singaporean readership as its major target. Cher’s novel has a non-Singaporean readership as its primary target and is written throughout in a variety of English that results from Cher’s experiences as a learner of English, mediated by editors. The novels are used to illustrate concepts of authenticity in representation of language and in marketing strategies.

This article considers the functioning of the English language in its secondary cultural orientation. Examples of a foreign language substratum are identified in literary works of fiction (R. DeWoskin “Foreign Babes in Beijing: Behind the Scenes of a New China” and G. Shteyngart “The Russian Debutante’s Handbook”), their role and ways of adaptation for a recipient are described. The analysis shows that adaptation of all identified examples is carried out by the writers through internal translation, which is presented by a complex of various language techniques: practical transcription, descriptive translation, literal translation, selection of optional match, the use of wide context. The used substratum units create a special atmosphere in the text, help learn more about the described culture and its people’s mentality.

It is important to stress that Arab women writers have produced a new kaleidoscope of narrative fiction in English. They focus on a variety of representations with respect to identity, dislocation, cultural hybridity and belonging. Moreover they have tried to construct a stable subjectivity and a space of belonging. These narratives are now dispersed and relocated by Arab women diasporic novelists such as Hala Alyan. This article will examine Hala Alyan’s 2017 novel, Salt Houses. This debut novel has amalgamated different narrative experimentations and techniques, and how polyphonic spaces have dislocated the conventional act of narration and relocated it in tandem with the non-homogeneity of the Arab world itself.

This article argues that, unlike most other science fiction writers, H.G. Wells gives considerable attention to language and language change in his futuristic writing; this is because he was, from the beginning of his career, fascinated by the ways in which language had shaped human lives and cultures. In many of the early scientific romances, particularly The Time Machine and The Island of Dr Moreau, failures in communication play an important part in the events of the story. In the later utopias such as The World Set Free and The Shape of Things to Come, Wells makes English the basis of a new world language, which plays an essential part in establishing social cohesion and extending the cognitive powers of the individual citizen.

We present findings of a project that investigated the potential of an online tandem program to enhance the foreign language learning of two groups of school-aged beginner learners, one learning English in Colombia and the other learning Spanish in New Zealand. We assessed the impact of the project on students’ learning with a free writing activity done as pretest and posttest and used a semi-structured interview to explore their attitudes towards language learning and their perceived development of their native language. Data analysis indicated statistically significant gains in foreign language writing and positive attitudinal changes toward foreign and native language learning.

Children’s literature expectedly seeks to describe the daily life of a child, in which gastronomic images often have a certain set of symbolic and social meanings. Consideration of images of food in works for children and adolescents through the prism of contemporary literary theories makes it possible to fit the motif of food, which includes, among other things, rituals of eating and cooking, into a broader cultural context. The article analyzes the works of American writers L.M. Alcott, F.H. Burnett and L. Ingalls Wilder, written in the second half of the XIX – early XX century and constituting classics of English-language children’s literature. The study of images of food in semiautobiographical works of American writers about girls and for girls, which include the novels of Alcott, Burnett and Ingles-Wilder, is important for a number of reasons. Firstly, in works for teenagers, food acts as a social marker, and the ability to cook it indicates the entry into adulthood. Secondly, each of the works presents various ways of interacting with other cultures, including via gastronomic issues, which, in accordance with the tasks of adolescent literature, questions the role of significant adults who support the child in getting acquainted with a new culture or insist on preserving their own.

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.

The paper deals with the peculiarities of the interpretation of the problem of immortality in the English-language science fiction literature of the late 20th - 21st centuries. On the example of the works of R. Sawyer, P. Watts, G. Egan, N. Stevenson, V. Vinge, the author analyzes various ways of considering anthropological aspects of the problem of immortality in science fiction, related to the rethinking of the goals and meaning of existence in the case of the implementation of a transhumanist project to extend the human life. The author concludes that in modern science fiction the theme of immortality is presented in the form of two main options: physical immortality, which implies the impossibility of separating human consciousness from the brain as its material carrier, and digital immortality, associated with a hypothetical technology for scanning consciousness and moving it into a virtual world. Considering these options for immortality, science fiction writers discover in them both technological and humanitarian problems: firstly, it is the unattainability of real immortality, associated with the finiteness of the existence of the universe and (in the second version) with the technical impossibility of eternally ensuring the functioning of the virtual world. Secondly, this is the problem of the semantic fullness of immortal existence, recognized by all the listed writers, associated with the need for a person to set new long-term goals, and, in the case of digital immortality, the problem of rethinking by a person who has turned into pure consciousness, his own nature and acceptance of virtual reality as the only option for him. In general, the ways of revealing the theme of immortality in modern science fiction literature make it possible to see in the transhumanist concepts of immortality a serious anthropological problem related to the fact that the improvement of a persons physical and intellectual abilities will have to entail a change in his consciousness and self-awareness, but to predict the character and the result of such changes is much more difficult than to predict the results of physical modifications of the human body.

The article discusses the specificity of implicit representation of uncertainty by means of the English language in the British postmodern literary discourse. The data for analysis was selected from the novels written by I. McEwan, D. Mitchell and D. Lodge. Implicitness is viewed as an inherent feature of language and is a promising object for linguistic analysis, as its mechanisms are unfolded in a new way within the cognitive-discursive paradigm. Within any language, uncertainty is verbalized not only explicitly, but also through a wide range of implicit means. While explicit statements can directly express doubt or lack of certainty, implicit expressions of uncertainty add subtlety and nuance to communication. Uncertainty can be verbalized by various language means in English directly and indirectly. The English language provides a rich array of choices that enable speakers to express uncertainty implicitly. Uncertainty is a key concept of postmodernism, therefore postmodern authors attach great significance to representing it in their texts. Postmodern fiction conveys uncertainty which underlies and shapes the characters’ perception and self-identity via a number of language means and some communicative strategies that are of special interest for our research. The paper analyzes the implicit expression of uncertainty in the British postmodern fiction discourse represented by the novels of I. McEwan, D. Mitchell, D. Lodge. It has been identified that the main language means that the authors opt for are hedging, various means of expressing modality, “vague” expressions, qualifiers, euphemisms, іnterrogative sentences in inner represented speech, filler words, and aposiopesis. The article examines how their usage contributes to the nuanced portrayal of uncertainty in the Englishlanguage fiction, and in what ways the authors combine these means in order to reach their goal – give the readers the impression of the characters’ lack of certainty, hesitation, indeterminacy and doubt. The analysis reveals that these implicit meanings are not directly stated, but are suggested in the wording or can be understood from the context. The writers mostly resort to a combination of various language means that imply the characters’ uncertainty, in order to intensify the implied meanings and to make sure the reader interprets them adequately.

The Parsi writers of the Indian diaspora have enriched the Indian literature as well as world literature through their literary contributions. They aimed to present Parsis' psyche through the presentation of historical legends, the cadences of mythology, the problems arising out of migration, family conflicts, the east-west encounter, and the cultural diversity. A sense of displacement, search for balance, cultural assimilation and the complexities of new civilization which lead them to nostalgia, are the other major points of discussion to Parsi writers.Parsi fiction in English also gives voice to the works of members of the Indian diasporic writers, such as Rohinton Mistry and others. These writers have discussed and explored the various experiences of displacement on the base of socio-cultural pattern of their community. They look at them on the margins of the two cultures. The concept of cultural identity played a critical role in all the post-colonial struggles which have so profoundly reshaped world. It reflects the common historical experiences and every country has a distinct culture. Cultural diversity adds colour and variety to the human world but at the same time it divides people into numerous groups and thus proves a great barrier to human relationships.

The science fiction writer Han Song's trilogy Hospital, published between 2016 and 2018 in China, presents an eerie world of eternal pain within futuristic hospitals. With Michael Berry's translation coming out from January 2023, this work by one of the most well-known writers of contemporary Chinese science fiction is made available to an English readership. This article interrogates the nature of this pain which articulates not an impending risk of death but the patients’ inability to die. Through a process of datafication and digitalization, the patients are converted into streams of algorithmic codes and dehumanized as digital “profiles” to be collected, deposited, and re-accessed. These “profiles” become sophisticated enough to develop their own agency that replaces the patients as the targets of biopolitics, indicating an ontological transition that disempowers human beings and subjectivizes the meta-being of the patients’ digital “changelings.” I argue that this ontological transition signals a historical change in governmentality, epistemology, and political economy, gesturing towards new methods for the governance and commodification of populations in a discourse of patior ergo sum — I suffer, therefore I am.

Abstract: Women in India have had a challenging time developing in a male subjugated society, class and caste systems. But within time, women have become educated, emancipated and independent. In the era of globalization and change, Women are no longer confined to the walls of a house. They have become cognizant of the need to be modern and new woman. The image of woman in literature in recent decades as presented by Indian English writers is different from that past. The journey of women smashing the stereotypical roles and stepping ahead towards modernity and ‘new woman’ has been depicted by several Chick Lit writers in their writings. Being a Subgenre of Chick Lit, Indian Chick Lit is a genre of fiction written for and advertised to young women, particularly solitary and employed women in their twenties and thirties. This new genre has appeared as a different tendency especially for the young independent employed women who are struggling hard to find a space for themselves in the twenty first century. This paper highlights the journey of women from stereotypical roles towards modernity. It elucidates how the protagonists in Indian Chick Lit novels smash the stereotypes of self-sacrificing and self-effacing roles of women discussing the novels Piece of Cake by Swati Kaushal and and Salaam, Paris by Kavita Daswani. These leading characters of selected Indian chick lit novels are at great pains to get themselves free from the stereotypical and traditional roles

Chetan Bhagat a very popular name among the modern age and new generation because of different style and subjects. Being well qualified man from IIT and IIM he could get the best job in corporate sector specially known as IT industry. In spite of his good educational background he chooses creative writing as his career and passion. He gave new dimension to Indian Writing in English because of his innovative themes and subjects handled in his creative fiction. His fictions have been transformed into movies. He explores cross cultural issues of marriage and career. He earned name and fame in very short period of time and that is the secret of his writing. He discusses the crucial issues of the present world. Almost all his novels are based on IT sector and that are labeled as Campus novels. LPG has brought many changes in the life of thousands of Indian. Chetan Bhagat is and intellectual magician of creative writing. Who has given new dimension to Indian Writing in English? He one of the popular and new generation fiction writers of IT sector. He is known for his different style, themes and ideas. But he is famous for career and feminism. When the world was in modern age, India was in medieval. For Indians modernism mean to adopt new way of life and that is fashion. He is well qualified man from IT sector but he chooses to be creative writer. The present paper is an honest attempt to bring into notice of researcher and readers that Chetan Bhagat's One Indian Girl is skillful depiction of Careerist woman of present age.

The relationship between Ireland and the Gothic goes back to the early days of the genre, when the Sublime, as identified by the Irish philosopher Edmund Burke, became central to the aesthetic concepts which would abound in the articulation of the Gothic as a literary form. The “dark, desolate and stormy grandeur” of the perception of Ireland which was held by the English reading public in the late eighteenth century was readily adaptable for the use of the island as a kind of pre-Enlightenment wilderness which, when combined with its linguistic, religious and cultural “otherness”, provided a fertile territory for the growth of a literature which favoured the supernatural, the uncanny and the numerous features which unite to make up the genre. As early as 1771, Elizabeth Griffin’s "The History of Lady Barton" contains elements of the Gothic, and the huge popularity of Waterford-born Regina Maria Roche’s "The Children of the Abbey"gave a definitive boost to the genre with regard to Irish writers. The success of Sydney Owenson’s "The Wild Irish Girl", and that of Charles Robert Maturin with "The Milesian Chief" and "Melmoth the Wanderer" helped foster a tradition which would be continued throughout the nineteenth century by writers such as Joseph Sheridan Le Fanu, L.T. Meade and Bram Stoker. It is Le Fanu who, arguably, was the first writer to merge the Gothic with crime fiction. For Begnall, his works “oscillate between the poles of supernatural horror and suspenseful detection”, and, in short fiction such as “The Murdered Cousin” and “The Evil Guest” and novels including "Uncle Silas" and "Wylder’s Hand" Le Fanu consciously merges the emerging format of the murder mystery with the lugubrious labyrinths of the Gothic. Le Fanu’s influence was, of course, international, but the paths he trod were also followed by numerous Irish writers. One of the most successful of these is John Connolly who, since the introduction of Charlie Parker with the publication of "Every Dead Thing" in 1999 has, in the eighteen novels which have appeared to date, successfully revised the concepts and tropes which make up the Irish Gothic. In this paper these works will be analysed with reference to their debt to the Irish Gothic tradition and, most specifically, to the writing of Le Fanu.

In Shakespeare's The Tempest, the meeting between Prospero and Caliban is an allegory of a Renaissance colonial encounter. Although Prospero emphasizes his gift of language to Caliban, he deems him incapable of ‘nurture’ (cultural progress). After the Second World War, the Barbadian novelist Georges Lamming saw in that gift the possibility of a ‘new departure’, which in the following decades was to modify not only Caliban's prospects but most emphatically the European, and specifically, the British cultural scene. I intend to illustrate this transformation through the contribution of postcolonial writers to the metamorphosis of the ‘Great Tradition’ of the English novel. The changes are formal, linguistic but also evince a metaphysical cross-culturalism best exemplified, among others, in the fiction of the Guyanese-born, British novelist Wilson Harris.

Abstract The borrowing of words from one language into another is most likely as ancient as language itself. While ample linguistic attention has focused on various linguistic contact scenarios in which words from one language enter productive use into another, their aim has been largely restricted to documenting the words which are borrowed, their frequency, and other situation-specific information. In this paper, we propose new methods for studying loanwords, namely a combination of statistical testing techniques which can be used together to increase knowledge in this area. We illustrate these tools with a case-study of loanwords from an indigenous language (Māori) into a world dominant language (New Zealand English). Using a topic-constrained newspaper corpus in conjunction with quantitative methods, we explore the use of loanwords diachronically and analyse variation in loanword use across newspapers and across writers.

Contemporary Portuguese American literature written by Thomas Braga (1943-), Frank Gaspar (1946-), and Katherine Vaz (1955-) share a profusion of topics - with ethnic food being, perhaps, the most representative one. What these writers have in common is that their roots can be traced to Portugal's Atlantic islands - the Azores - and not to continental Portugal. They are native Americans and write in English, though their characters and themes are Portuguese American. Some of them lived close to the former New England whaling and fishing centers of New Bedford and Nantucket, which Herman Melville has immortalized in Moby-Dick and in his short story, “The 'Gees,” in The Piazza Tales. These seaports were renowned worldwide and eventually attracted Azorean harpooners. The Azorean background of Thomas Braga and Frank Gaspar helps us to understand why fish and seafood feature so extensively in their writings instead of dishes containing meat as is the case in the fiction of Katherine Vaz.

Jurji Zaydan was born in Beirut, Lebanon on Dec. 14, 1861, into a Greek Orthodox family. Many of his works focused on the Arab Awakening. The journal that he founded, al-Hilal, is still published today. His writings have been translated from Arabic into Persian, Turkish and Urdu as well as English, French and German. By the time he died unexpectedly in Cairo on July 21, 1914, at the age of fifty three, he had already established himself, in a little over twenty years, as one of the most prolific and influential thinkers and writers of the Arab Nahda (Awakening), but also as an educator and intellectual innovator, whose education was not based on traditional or religious learning. Philip Thomas called Zaydan, “the archetypical member of the Arab Nahda at the end of nineteenth century.” Zaydan transformed his society by helping build the Arab media, but he was also an important literary figure, a pioneer of the Arabic novel, and a historian of Islamic civilization. Zaydan was an intellectual who proposed new world view, a new social order, and new political power. Zaydan was the author of twenty-two historical novels covering the entirety of Arab/Islamic history. In these novels Zaydan did not attempt to deal with the history in chronological order, nor did he cover the whole of Islamic history; rather, his purpose was to popularize Islamic history through the medium of fiction. This paper will offer a brief analytical outline of Zaydan’s historical novels and how his critics viewed them.

Background. The cultural reforms at the end of the 20th century in China opened to the world a whole variety of genres of Chinese short stories, as well as science fiction and historical fiction. Thanks to the Internet, they are gaining popularity at the present stage of literature formation, expanding the range of genres of online works with new types such as xianxia, xuanhuan, wuxia, which are rich in lexemes that denote the realia of Chinese culture and are of interest to translators. Purpose. The article considers the stratum of equivalent-free vocabulary and reveals a variety of ways to translate realia from Chinese into English and Russian Materials and methods. The research material comprises the popular Chinese short stories of the xianxia genre by the writers Mo Xiang Tong Xiu “Mo Dao Zu Shi” (also known as “The Untamed”), published by Jinjiang Literature City online publishing house (晋江文学城), 2015-2016, and the short story “Divine Doctor: Daughter of the First Wife” by Mo Shu Liu, published by Motie (磨铁图书), 2015. The material was analyzed using the continuous sampling and content analysis method, as well as the lexical-semantic and translation analysis. Results. In this article the authors reviewed the scientific definition of the term “realia”. They also analyzed a new genre of Chinese online literature (xianxia) as one of the rapidly gaining popularity. Examples of realia from two online novels were classified according to the typology by four principles of division (subject, local, temporal, translational). It is defined that the indicated division of analyzed realia while translating them from Chinese into Russian and English manifested itself in creating a neologism, which results in preservation of content and flavor of the translated realia, as well as the descriptive, approximate and contextual types of translation. Practical implications. The practical usefulness of the results of the study consists in the possibility of replenishing the cross-cultural dictionary of Chinese realia with new lexemes and their interpretation in Russian and English, in the use of the analyzed lexemes when compiling the trilingual corpus for linguists, philologists, literary scholars to work with.