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Banchenko, Aleksandra. "The Poetic Concept of Art of L.F. Dostoevskaya." Dostoevsky and world culture. Philological journal, no. 3 (2020): 270–91. http://dx.doi.org/10.22455/2619-0311-2020-3-270-291.
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L.F. Dostoevskaya’s oeuvre consists of short stories and two novels, together with a biography of F.M. Dostoevsky. Her fiction is perceived by researchers as largely autobiographical; her book about F.M. Dostoevsky as a father is considered the least reliable source of biography. Therefore a mixture of genres can be considered: her prose displays features of the poetics of autobiography; her documentary contains fiction, while the author’s discourse dominates the character of the book. This article discusses some features of the poetics of fiction and the documentary prose of L.F. Dostoevskyaya. Dostoevskaya’s works suggest that the narrator is close to the author, since in some works the narrator is an autobiographical narrator named Lyubov Feodorovna. This article presents elements of a narratological analysis of her oeuvre of novels and short stories; this can help the reader trace the connections between the perspectives of the protagonists and narrators. In some narrative structures, the positions of the protagonists and narrators become equivalent due to the extra-narrative roles of the latter. The article also provides a partial analysis of the main themes and motifs of her prose, indicating their connection to the work of F.M. Dostoevsky. In particular, we discuss the connection between Dostoevskaya’s prose and her father’s unfinished novel ‘Netochka Nezvanova’. Taken as a single text, the prose of the great writer’s daughter demonstrates features of the Bildungsroman.
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Daugirdaitė, Solveiga. "Žemaitė XX a. II pusės lietuvių poezijoje ir prozoje." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (March 10, 2022): 105–19. http://dx.doi.org/10.37384/aplkp.2022.27.105.
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The article dedicated to the works of the Lithuanian literature written in the second half of the 20th century depicting the writer Žemaitė (pen name of Julija Beniuševičiūtė-Žymantienė, 1845–1921). This writer was not rejected by the Soviet authorities because of her realistic outline and her democratic political views, the social criticism expressed in her work towards greed, selfishness and clericalism. Lithuanian writers dedicated to her their poetry, fiction, and drama works. However, Soviet writers were also impressed by Žemaitė’s personality traits, which mentioned less frequently in public: independence, perseverance, wit, the courage to stand out from her surroundings and to disregard the societal norms that stifled older women in traditional society. The article analyses the features of Žemaitė’s personality in works of Lithuanian literature created by poets Salomėja Nėris, Judita Vaičiūnaitė, and others. The author reveals how different aspects of Žemaitė’s work and personality were emphasised depending on the time of writing. This change partly reflects the shift of literature from socialist realism to more modern literature. Among the works of prose, the author singles out Bitė Vilimaitė’s cycle of short stories “Apsakymai apie Žemaitę” (Short Stories about Žemaitė) from her collection Papartynų saulė (Fernery Sun, 2002). The stories reveal both the character of Žemaitė, her environment and people close to her, and the most important features of Vilimaitė’s own work: attention to a woman’s fate, subtle psychological insight, attention to detail, and a specific model of a short novella. Since the protagonists of the cycle are usually real people, Vilimaitė’s talent for using documentary material and combining it with fiction is also evident here. The article concludes that Soviet-era authors portraying Žemaitė’s character raised aspects relevant to the time of writing, such as the promotion of national culture, problems of women’s emancipation and, also the fact that for female writers, Žemaitė was a role model.
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Butros, Albert. "The English Language and Non-Native Writers of Fiction." International Journal of Arabic-English Studies 5, no. 1 (January 1, 2004): 59–92. http://dx.doi.org/10.33806/ijaes2000.5.1.5.
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Although fiction in English by non-native authors is one of long standing, there has been in the last two decades a surge in novels and short stories written by individuals whose native language is not English or by bilingual authors whose native command of a language other than English has been used to advantage in furthering the stylistic effect of their works. This paper explores the actual (and potential) contribution of four such writers (two Arab: Ahdaf Soueifand Ibrahim Fawal, and two Indian: Rohinton Mistry and Arundhati Roy) to the English language in terms of words, phrases, idioms and fixed expressions as well as broader elements of tone and emphasis. Extensive reference is also made to other Arab as well as African and Chinese novelists. The paper finds that longer strings are more readily recognizable as additions to English than single words, notwithstanding the legitimacy of many word-additions. It also looks into some practical considerations like the need or otherwise of textual glossing, glossaries as appendices and italicization..
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Yu., Munkh-Amgalan. "Монгол хэлээр орчуулагдсан италийн уран зохиолын товч тойм." Mongolian Journal of Foreign Languages and Culture 25, no. 547 (February 10, 2023): 9–25. http://dx.doi.org/10.22353/mjflc.v25i547.1833.
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Mongols have a long and rich tradition of translating literary works from many different countries into Mongolian. Specifically, thousands of literary works from over 100 different countries written in dozens of different languages have been translated into Mongolian. Among these, a large number of Italian literary works have been translated into Mongolian from Russian, English, and Romanian. As for the literary genres of these works, they primarily consist of poetry, prose, and plays (including screenplays). Specifically: 1) Poetry: poems (58 works), songs (1), long poems (3); 2) Prose: folktales (33), authored tales (36), short stories (40), traditional jokes (3), novellas (5), framed stories (1), novels (5); 3) Plays (2), and screenplays (1). In addition, works of non-fiction, including stylized biographical sketches, reminiscences, as well as a political philosophical treatise, have been published. Literary works are generally divided into one of the following two different categories depending on whether they have a specific author or not: a) oral folklore; and b) written literature. The following tasks need to be undertaken to properly study Italian literary works which have been translated into Mongolian and published in Mongolia: A complete bibliography of Italian literary works translated into Mongolian must be compiled, All of the Italian originals must be located and correctly identified, The Russian, English, and Romanian intermediate translations must also be found and carefully consulted, If a work has been translated multiple times by a single translator, the multiple translations must be compared with each other and studied, If a work has been translated multiple times by different translators, the multiple translations must likewise be compared with each other and studied, The Italian originals of poems, songs, tales, and short stories which have been translated into Mongolian should be located and juxtaposed with their translations and published in book format for teaching and research purposes.
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UMUDOVA, Ş. Ə. "MİLAN KUNDERA – “GÜLMƏLİ MƏHƏBBƏTLƏR” HEKAYƏSİNDƏ MƏHƏBBƏT İDEYASI." Actual Problems of study of humanities 2, no. 2024 (July 15, 2024): 149–52. http://dx.doi.org/10.62021/0026-0028.2024.2.149.
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Milan Kundera – The Idea of Love in the Story "Laughable Loves" Summary Born in Brno, Czechoslovakia, Milan Kundera was a student when the Czech communist regime was established in 1948, and later worked as a laborer, jazz musician and professor at the Institute for Advanced Cinematographic Studies in Prague. His books were banned after the Russian occupation in August 1968. She and her husband settled in France in 1975, and in 1981 became French citizens. He is the author of the novels "Joke", "Life is Elsewhere", "Goodbye Waltz", "Book of Laughter and Forgetfulness", "The Unbearable Lightness of Being" and "Immortality" and a collection of short stories "Laughable Loves" – all originally in Czech. His most recent novels, Slowness, Personality, and Ignorance, as well as his non-fiction works, Roman Art and Betrayed Will, were first written in French. The core of the themes that the author will work on in his later novels, as well as the original and innovative narrative methods in the development of these themes can be found in Kundera's "Laughable Loves", written with the greatest pleasure and delight. It can be said that the story book, which took ten years to write, is very different in terms of both content and form. In Kundera's stories, men persecute women with their "erotic passions." Married, single, old and young men face social difficulties, accept the loss of time and economic difficulties and try to attract women. Kundera beautifully reflects the universal challenges they face during this marathon. "Laughable Loves" is about raising the power of expression and aesthetics, as well as the successful depiction of this universal event – with humor.
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Romanets, V. M., and N. T. Podkovyroff. "COMPOSITION AND ARCHITECTONICS OF A WORK OF FICTION AS A CHARACTERISTIC OF THE AUTHOR’S STYLE. J. CHAUCER «THE CANTERBURY TALES»." Writings in Romance-Germanic Philology, no. 1(50) (October 13, 2023): 238–52. http://dx.doi.org/10.18524/2307-4604.2023.1(50).285566.
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The study presented here examines the problems of composition and architectonics of a work of fiction. The author analyses the correlation of these notions. A close examination of the types of compositional organization of a work of fiction has been carried out. It is noted that the problem of the composition of a work of fiction has a fairly long tradition. At the time, the problem was considered by Aristotle (4th century BC), who focused on the fact that the perfection of a work could be achieved by motivated selection and combination of separate elements into a single whole, which forms complete harmony. A study has been made of the theoretical aspects of the notion of «composition», as well as a demarcation with similar values such as «structure» and «architectonics», and a description of compositional techniques that clarify the functions of composition in a work of fiction. The article discusses the features of the composition and architectonics of «Canterbury Tales», a work by Geoffrey Chaucer, which was written at the end of the 14th century in Middle English, but remained unfinished. Chaucer’s literary skill is manifested in the fact that the stories reflect the individual traits and individual manner of narrating of the characters. The author depicts a wide canvas of English reality of his contemporary era. The book consists of a «Prologue», 22 verse and two prose stories, which are interconnected by interludes. The framing story reports on the development of the action. Borrowing the themes from numerous stories by other authors, Chaucer complicates the plot, saturates it with realistic details. At the same time, he connects the dynamics of action with psychological analysis. It is emphasized that the composition of a work of fiction is structured from the following main elements: plot — a series of events that are depicted in the work of fiction; conflict is a clash of characters and circumstances, views and principles of being, which are the basis of action. The conflict may arise between the individual and society or between characters. And in the mind of the hero, it can be explicit, hidden or imaginary. Plot elements reflect the stages of development of the conflict; prologue — a kind of introduction to the work, which tells about the events of the past and it emotionally sets the reader to perceive the work; exposition — an introduction to the main action, an description of the conditions and circumstances that preceded the beginning of the action (it can be expanded, non-deployed, integral and «torn», located at the beginning, in the middle or at the end of the work); familiarization with the characters of the work, the circumstances and chronology against which the action takes place; starting point of the plot — the beginning of the plot movement (the event from which the conflict begins, further events develop); development of action — a system of events that are the result of the starting point of the plot; the conflict escalates, and contradictions appear more clearly and sharply; climax — the moment of the highest tension of the action, the peak of the conflict — after the climax, the action weakens; denouement — the resolution of the main conflict, or an indication of possible ways to resolve it. This is the final moment of the action of the work of fiction. At this stage of the composition, either the resolution of the conflict is demonstrated or the impossibility of its resolution is shown; epilogue — the final part of the work of fiction, which indicates the direction of further development of events and the fate of the characters. A short message about what happened to the acting characters of the work of fiction after the end of the main storyline. The study considers plot options: the plot can be presented in a direct sequence of events with digressions into the past — retrospectives. In addition, the plot may depict «excursions» into the future or deliberately show an altered sequence of events. Non-plot elements are: inserted episodes, author’s digressions. Therefore, it should be noted that the main function of the plot is to expand the scope of the depicted events and, thus, to reflect the position of the author in relation to various phenomena of life. The work of fiction may lack individual elements of the plot, and sometimes there are several storylines. Architectonic techniques used by the author create a special unique author’s style. And it is the author himself who chooses the main compositional elements. Thus, the composition of a work of fiction can be multifaceted, linear, circular, «a thread with beads». Masterful architectonics is not just the unity of the constituent parts of a work, it is the originality of a particular work, its beauty and uniqueness. It has been determined that the most important property of the composition of this work of Chaucer is its logical sequence. It is with the help of the composition that one can determine that in the «Canterbury Tales» the center of events is the journey of the pilgrims to the holy place. Architectonics is consequently the relationship between the parts of the work. For example, the prologue and epilogue are traditionally small, the prologue being located at the beginning and the epilogue at the end of the work. And the larger elements are located between the prologue and the epilogue. Thus, the architectonics of the elements of the work is logically consistent with each other. In the «Canterbury Tales», the event type of composition has a chronological form. There is a time distance between separate events, but there is no violation of the natural chronology.
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Khachaturov, Sergei V. "Prince Vladimir Fedorovich Odoevsky — Visionary of Contemporary Art." Koinon 2, no. 2 (2021): 84–105. http://dx.doi.org/10.15826/koinon.2021.02.2.017.
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The author examines the work of the famous writer and inventor, statesman and philanthropist of the XIX century Vladimir Fedorovich Odoevsky in the light of the addition of a new type of personality of the researcher and Herald of the modern artist. Odoevsky belonged to the kind of Desk scientist. He turned his homes into laboratories where various experiments were performed (from anatomical, electrical to culinary). Contemporaries called him “Russian Faust”. The life of a recluse was combined in him with an extraordinary breadth of interests and an all-embracing knowledge. In his experiments, he sought to overcome the isolation of various Sciences and arts and restore the rights of a single Universe of knowledge about the world. This article is the first attempt to bring this strategy closer to the world of Renaissance researchers and artists on the scale of Leonardo da Vinci, on the one hand, and to the metamodern themes of transparent borders and hybrid understanding of the Sciences and arts in modern times. The platform for the synthesis of sciences and arts in Odoevsky’s world, of course, was literature. Based on the interpretation of his philosophical works, science fiction novels and short stories, the author concludes that the “instinctual” knowledge extolled by Odoevsky is close to the ideas of the Surrealists (Andre Breton, Jan Schwankmayer). And the universe created inside the study silence anticipates the images of a strange collector of knowledge, the Creator of installations on poetic and scientific themes in shadow-boxes by Joseph Cornell. Locked in the walls of the study, like a “town in a snuffbox” (the name of the Prince’s most famous novel), the philosophical art world of V. F. Odoevsky is endowed with the power of prophecy and inquiry about many subsequent discoveries in science, art, and society. As a modern artist, Prince Odoevsky does not give ready-made recipes and systematic explanations of the laws of life, but forces the interlocutor (reader-viewer) to be a co-Creator and take responsibility for the intellectual solution of the situations and incidents presented by the author. At the end of the article, we offer a brief overview of the exhibition held in the Museum of Moscow in 2019 (‘Cosmorama XVIII’), in which the life and art (the art of life) of Prince Vladimir Odoevsky entered into a dialogue with the works of contemporary artists.
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Crowe, Chris. "Don Gallo: The Godfather of YA Short Stories." English Journal 86, no. 3 (March 1, 1997): 73–77. http://dx.doi.org/10.58680/ej19973358.
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Presents an interview with Don Gallo, editor of seven anthologies of short stories and one collection of plays, and author or editor of seven books about young adult fiction for teachers and scholars.
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Khronopulo, L. Yu. "The influence of Fredric W. Brown’s micro fiction on Hoshi Shin’ichi’s and Akagawa Jirō’s short-short stories." Japanese Studies in Russia, no. 2 (July 4, 2022): 95–107. http://dx.doi.org/10.55105/2500-2872-2022-2-95-107.
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The short-short story was first introduced by Japanese writer Tsuzuki Michio, who in the late 1950s – the early 1960s familiarized the Japanese reader with extra-short stories of American author Fredric W. Brown (1906–1972); his traditions were followed by Japanese writer Hoshi Shin’ichi (1926–1997), Akagawa Jirō (b. 1948), and other authors experimenting in the new genre of social and psychological science fiction, as well as in the genre of fantasy and detective stories. In American literature, three major specific features of a short-short story were formulated: 1) a fresh idea, 2) an unexpected turn of events, 3) an unpredictable ending. These specific features can be traced in Japanese extra-short stories as well. Since the process of the emergence and development of the extra-short story as a new form of Japanese literature was influenced by American micro fiction, the research examines the elements borrowed from Fredric W. Brown’s micro fiction in Hoshi Shin’ichi’s and Akagawa Jirō’s first short-short stories; this includes genres, topics, canons, artistic styles and devices, as well as the treatment of certain social problems. The paper analyzes Hoshi’s and Akagawa’s short-short fiction from a comparative perspective, with an emphasis on intertextuality – shaping of a text’s meaning by another text, in this case, the texts by an American writer. Some literary parallels to Fredric W. Brown’s micro fiction can be found in Hoshi Shin’ichi’s first collection of short-short stories «Bokko-chan» (1971), which consists of stories written in 1958–1970, as well as in Akagawa Jirō’s first collection of short-short stories «The Dancing Man» (1986), which consists of stories written in the late 1970s – early 1980s. The succession of plots and philosophical ideas by Brown is examined on the material of seven early short-shorts by Hoshi, where the allusion to the American writer’s micro fiction can be traced; in addition, it is also noted that, in some mystic extra-short stories by Akagawa, it is not the plots which are borrowed, but mostly artistic devices and various techniques, such as psychologism, black humor, wordplay, and metaphorical images. American origins of the Japanese short-short story are investigated for the first time.
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Holovan, Taras. "The concept of fiction in Soroka’s «Crumbs»." Philological Review, no. 2 (December 10, 2022): 144–51. http://dx.doi.org/10.31499/2415-8828.2.2022.268668.
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In the article, we analyze the concept of fiction in the short story collection «Crumbs» (2019) by the Ukrainian writer Petro Soroka. In this book, the author directly speaks out about his vision of literature; in some tales, he makes digressions, comments on his writing practice and narration, and outlines his understanding of fiction. All these things create a balance between the author’s intentions and concrete texts. In a broad context, the book is a valuable source for researching short stories in modern Ukrainian literature, the nature of fiction in general, and the understanding of fictionality these days. Soroka considered «Crumbs» the pinnacle of his writing. But the book remains unnoticed. The relevance of the article is grounded on this.
The aim of the article is to outline and identify the conception of fiction proposed in «Crumbs». For that, we solve two main tasks – analyzing the author’s reflections and tracing the realized and unrealized intentions in concrete works.
The central thesis of Soroka is that literature should mirror life. He uses theological reasoning to explain the mirror reflection in fiction (because God creates human fates, he is the best artist, so the goal of literature is not to make-believe but to reflect what God intended). We interpret this thesis and conclude that the author eliminates the main components of fictionality – the make-believe and the filling with meaning. He finds some fictionality in the representation of characters, the depiction of the current time, and the mastery of retelling. But we state that all these fictional components have lost their status because, these days, they are the constituents of nonfictional genres or texts in nonfictional spheres. The only thing that remains when it comes to fiction is the genre. The author names his writings «short stories». So the fictionality of «Crumbs» is a consensus between author and reader about the genre of the book. It arises in a receptive context. Soroka’s short stories are like artifacts that occur because of rethinking subjects in an uncharacteristic, changed context. In this sense, they are contemporary art phenomena.
These conclusions about «Crumbs» may become a basis for researching the other writings by Petro Soroka and the short stories of other Ukrainian writers.
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Al-Alami, Suhair. "Fiction From a Critical Perspective." Theory and Practice in Language Studies 11, no. 9 (September 1, 2021): 990–97. http://dx.doi.org/10.17507/tpls.1109.03.
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With English as a lingua franca in mind, it has become essential for undergraduate students to acquire the English language. Additionally, undergraduate students are expected to acquire a repertoire of critical thinking skills for lifelong learning. Inspired by the need to augment mastery of English as a foreign language (EFL) whilst at the same time enhancing critical thinking on the part of EFL learners, the research study this paper portrays was conducted for one academic semester involving a number of students at the institution where the author of this paper works. The research aimed to investigate whether using English novels; novellas; and short stories for teaching purposes would have any significant impacts on subjects’ attitudes towards using literary texts for enhancement of both critical thinking and EFL skills. To achieve the intended aim, the researcher used eight English short stories and one novella in class besides assigning one English novel as extensive reading, while teaching the course Communication Skills during the implementation stage. The researcher also administered a pre-post questionnaire with the aim of measuring subjects’ attitudes towards utilizing novels; novellas; and short stories as a means for fostering both critical thinking and EFL skills. Based on the statistical tests, there were significant differences in favor of the post questionnaire regarding the majority of the questionnaire’s items. Based on this study, it can be concluded that English novels; novellas; and short stories have a significant role to play in relation to developing critical thinking and EFL skills.
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Fernandes, Ana Raquel. "Transgression and Empowerment in Sarah Hall’s Short Fiction." American, British and Canadian Studies 35, no. 1 (December 1, 2020): 152–72. http://dx.doi.org/10.2478/abcsj-2020-0021.
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Abstract This essay delivers an analysis of the innovative short fiction of contemporary British writer Sarah Hall. It gives particular consideration to the first two collections of short stories published by the author, The Beautiful Indifference (2011) and Madame Zero (2017), as well as looking into the possibilities offered by her latest collection, Sudden Traveler (2019). Hall focuses attention on such varied contemporary preoccupations as identity, gender, violence and death. My goal is to discuss the way that identities are subverted or transgressed in her short stories and how the topic of identity representation intersects with other themes becoming a fundamental and empowering factor in the narrative structure. Hall’s short story collections present an interesting case study, not only because they display the writer’s quest for a unity of subject-matter, but also because they evince the strength and vitality of the short story as a genre.
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Donawerth, Jane. "Body Parts: Twentieth-Century Science Fiction Short Stories by Women." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 474–81. http://dx.doi.org/10.1632/003081204x20532.
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This essay is a feminist, historical exploration of body parts in short science fiction stories by women. In early-twentieth-century stories about prostheses, blood transfusion, and radioactive experiments, Clare Winger Harris, Kathleen Ludwick, and Judith Merril use body parts to explore fears of damage to masculine identity by war, of alienation of men from women, and of racial pollution. In stories from the last quarter of the twentieth century, the South American author Angélica Gorodischer depicts a housewife's escape from oppressive domestic technology through time travel in which she murders male leaders, while Eileen Gunn offers a critique of bioengineering and sociobiology, satirizing fears of women in modern business and of erasure of identity in global corporate structures. An end-of-the-century fiction by the African American Akua Lezli Hope imagines a black woman altered through cosmetic surgery to become a tenor sax and critiques technologies that transform women's bodies into cultural signifiers of social function and class.
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Darby, Robert. "‘An instinct for freedom’: Political undercurrents in the short fiction of Marjorie Barnard." Literature & History 26, no. 1 (May 2017): 56–73. http://dx.doi.org/10.1177/0306197317695408.
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It is generally held that the short stories of the Australian writer Marjorie Barnard (1897–1987) do not express political values or deal with social issues, but are confined to the exploration of personal concerns. The author herself referred to her short stories as subjective ‘indulgences’, and this evaluation has largely been accepted by commentators. In this paper I challenge this interpretation and argue that the political pressures of the later 1930s seeped or forced themselves into her short fiction and, further, that several of her most interesting stories were directly instigated by and concerned with contemporary political and social questions. I further suggest that as her own political commitment intensified under the pressures of fascism and war, her original devotion to practising art, untainted by propaganda, came under severe pressure.
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Ambio, Marissa L. "Drowned Out: Silence in Junot Díaz’s Short Stories." Revista Canadiense de Estudios Hispánicos 45, no. 2 (June 5, 2023): 259–81. http://dx.doi.org/10.18192/rceh.v45i2.6684.
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This study proposes the silence that defined Junot Díaz, as revealed in his New Yorker (2018) essay “The Silence,” also permeates his fiction. I explore how the artistic and ideopolitical function of silence in Drown (1996) informs violence and masculinity. The representations of sound and its absence, though seemingly innocuous, articulate hierarchies that reinforce and contest masculine codes, while gestures transform them. Drown’s stories are “moment of truth” narratives predicated on the rupture of silence and subsequent protagonist development. This essay elucidates Yunior’s complex relation to silence and his evolution from vocal boy to reticent adolescent and, eventually, to the author-narrator of the collection’s stories.
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KVACHAKIDZE, Natia. "Guram Rcheulishvili: A Georgian Hemingway?" Journal in Humanities 10, no. 2 (February 1, 2022): 110–14. http://dx.doi.org/10.31578/hum.v10i2.458.
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Ernest Hemingway's works are often interpreted in the context of his biography as Hemingway stressed the significance of his own experiencefor his fiction. He explained it, “In order to write about life first you must live it” (Ernest Hemingway on Writing, 2004). The same rhetoric of thenexus of “life” and fiction is used by Guram Rcheulishvili (1934-1660) who obviously followed Hemingway’s notions of literature. Rcheulishvili’sshort fiction is a reply to Hemingway’s iconic writing style creatively worked into the Georgian literary tradition. The aim of this paper is to analyzeimportant parallels between the short stories of Ernest Hemingway and Guram Rcheulishvili to demonstrate this relationship. The use of everydaylanguage as well as short and simple sentences, a concise and sparse style, repetitions, intense dialogues are some of the essential traitscharacteristic to both writers. Themes like birth and death, war and violence, family, nature, disillusionment prove to be vitally important in theirshort stories. One of the significant similarities is also that both Hemingway and Rcheulishvili “place” their work mainly in “their time” so familiarto each of them. They both try to write what they know well about and doing so, they do not often employ the first-person narration(or, at least, as frequently as one could expect). Complex interconnections between the author, the narrator and the protagonist (oftenautobiographical) is another interesting subject to study in the short stories of both Ernest Hemingway and Guram Rcheulishvili.Keywords: Hemingway, Rcheulishvili, short fiction
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Assi.Inst. Sumaya Ahmed. "Passive Voice in Short Stories: Analytical Study." Journal of the College of Basic Education 20, no. 82 (January 28, 2023): 923–42. http://dx.doi.org/10.35950/cbej.v20i82.9869.
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A short story is a work of fiction. A prose narrative of shorter length thanthe novel, and it usually concentrates on a single theme. Many writers preferwriting short stories when they want to present a single significant episode orscene involving a limited number of characters.
Writers differ in their style, but they agree on certain basic elements inwriting the short story. Readers also differ in their preference, some might prefercrime short stories, others like fantasy ones, while many are obsessed byromance or mystery short stories.
The way in which the writers present their short stories is restricted toeach writer’s point of view and the angle from which he wants to show hisopinion and makes it apprehensive for his readers. So different parts of speechare involved in writing short stories, and different structures are used, but thefocus of this paper is on the use of passive voice in short stories. Do writersprefer or prefer not to use the passive voice in their writings, and if they doprefer using it, will this affect the phrasing of the short story in a way that ties upthe process of comprehension in the mind of the reader? This paper tries toanswer this question, depending on the analysis of four short stories, chosenfrom different types for different writers.
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Zanko, Aldona. "På Vej Mod Short Storyen." Folia Scandinavica Posnaniensia 14, no. 1 (December 1, 2012): 147–56. http://dx.doi.org/10.2478/v10252-012-0013-3.
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ABSTRACT The article derives from the intertextual approach to the notion of literary identity, introduced to the modern literary theory in the 1960’s by Julia Kristeva (born 1941). The main idea behind this approach is that no literary text should be perceived as an isolated unity, but always in relation to other texts, which it refers to. The author applies the intertextual perspective to examine the signs of external literary influences in Lise Andersens minimalist prose collection ”En særlig sommer og andre billeder”, published in 2008. The analysis aims to highlight influences from the American short story genre, which appears as an important source of inspiration not only for Andersen herself, but in fact for most of the Danish writers of minimalist fiction. The analysis provides examples of, how inspiration from the American short story manifests itself in form, narration and structure of the selected stories in the collection. Last but not least, the author draws attention to the general importance of American influences in Danish contemporary short fiction and their role for the critical perception of this literary genre both in Denmark and abroad.
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Kostenko, Olena. "EROTIC SIGNIFICANCE AND GROTESQUE BODY IMAGE IN SHORT STORIES BY VOLODYMYR VYNNYCHENKO." Odessa National University Herald. Series: Philology 28, no. 1(27) (December 23, 2023): 27–34. http://dx.doi.org/10.18524/2307-8332.2023.1(27).297877.
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The article outlines the modes of manifestation of the corporeal as a dominant in the artistic world of V. Vynnychenko. The author substantiates the modernist approach to the problem of the body in the writer’s short fiction, where it manifests itself in a new quality (bodily self) and not only determines the artistic space, but is a determinant of intrapersonal processes and structures. The corporeal becomes a “material substance”, a hypostasis of the human self, human subjectivity, and individuality. The lifting of the taboo on the manifestation of the corporeal as an expression of human vital intentions was embodied in the cultivation of hedonistic, erotic motives, deepened interest in any manifestations of the physiological, somatic in direct connection with mental, internal processes, the subconscious, which was embodied in the work of V. K. Vynnychenko. Therefore, the author emphasizes the specific forms and means of artistic depiction of the corporeal in the artist’s works. A detailed characterization of bestiary images is given, the essence and role of the phenomenon of the affective body in the writer’s short fiction is revealed. The researcher focuses on the portrait characterization of the characters, where a special place is occupied by an abstract portrait and a portrait “scattered throughout the text”. Particular attention is paid to the grotesque image of the body, which is clearly outlined in Volodymyr Vynnychenko’s artistic picture of the world.
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Sobihah Rasyad, Abdul Rozak. "POLA AKHIR EMPAT CERITA PENDEK (The Ending Pattern of Four Short Stories)." METASASTRA: Jurnal Penelitian Sastra 7, no. 2 (March 11, 2016): 127. http://dx.doi.org/10.26610/metasastra.2014.v7i2.127-142.
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Cerita pendek sebagai karya fiksi memberikan berbagai kemungkinan pembacaan dan pemaknaan kepada para pembacanya. Pengarang yang cerdas selalu memberikan peluang kepada para pembaca dengan menyusun peristiwa secara beruntun dan berlogika. Pengarang menyadari kecerdasan para pembacanya. Kualitas cerita pendek ditentukan oleh cara pengarang memosisikan para pembacanya. Logika cerita fiksi tidak dirasakan sebagai pembohongan oleh pembaca. Atas dasar logika cerita fiksi itu penulis menelusuri gaya pengarang dalam melibatkan pembaca untuk berpikir setelah cerita dalam cerpen itu diselesaikan pengarang. Gaya pengarang menyelesaikan cerpen pada umumnya mempunyai kesamaan dalam hal memosisikan pembaca sebagai orang yang cerdas. Dari empat buah cerpen yang dianalisis pada intinya pengarang menyisakan peristiwa yang harus dilanjutkan oleh pembaca dengan meninggalkan petunjuk yang berarti. Pembaca dimungkinkan menyusun cerita berdasarkan bagian penutup cerpen. Pengarang telah menyelesaikan ceritanya dan pembaca memulai ceritanya. Tentu saja muncul keragaman gaya akhir yang disajikan pengarang.Abstract:Short story as a fiction gives various possible interpretations to its readers. A smart author always gives opportunity to his readers by constructing structured events. He realizes that his readers are smart. The quality of a short story is determined by how the author puts his readers. A logical fiction is the story that is not considered as lies and deception by its readers. Regarding that, the writer attempts to trace authors’ style in making the readers involve in order to recon- struct the story. Generally, authors’ style in finishing the story has something in common in term of how they put them as smart readers. The main point from the four short stories is that the authors give a space of some events that can be interpreted by their readers by leaving some important clues. It is possible for readers to reconstruct a story based on the ending of the story. The author has completed the story while the reader starts to reconstruct the story. Indeed, there will be vari- ous ending style made by the author.
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Luboń, Arkadiusz. "Centenarian “Weird Fiction” from Providence in Contemporary Poland. Translational Models and the Reception of Short Stories by Howard Phillips Lovecraft – the Case Study of “Dagon”." Tematy i Konteksty specjalny 1(2020) (2020): 311–34. http://dx.doi.org/10.15584/tik.spec.eng.2020.17.
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The article discusses the conventional models and translation techniques, which are most common among the Polish translators of the weird fiction by Howard Phillips Lovecraft. The proposed classification of such models, aimed at either “popularisation,” “stereotypisation” or “revision” of Lovecraft’s short stories, presents the impact of extra-textual factors (vision of the writer, target group of readers, cultural and political influences) on the content, language and style of translated works by the American author. The comparative analysis takes into consideration one of the early short stories by Lovecraft, “Dagon” (1917), and its Polish versions by Arnold Mostowicz (1973), Robert Lipski (1994) and Maciej Płaza (2012).
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Walter, Susan. "Female Objectification in Two Short Stories by Emilia Pardo Bazán." Anuari de Filologia Lleng�es i Literatures Modernes - LLM, no. 10 (December 3, 2020): 49–57. http://dx.doi.org/10.1344/aflm2020.10.4.
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In two short stories by the canonical author Emilia Pardo Bazán, “Primer amor” and “La argolla” we find a double-voiced discourse, which Elaine Showalter has suggested is very common in women’s fiction (1981: 204). In both of Pardo Bazán’s tales there are small objects that symbolically allude to women’s objectification in the patriarchal society of the time. The dialogue created between these two tales is noteworthy for a number of reasons, including their critical portrayals of romantic relationships, their symbolism, descriptive language and the narrative techniques employed. In this study I posit that both tales critique the objectification of women by the patriarchal society of the time by linking society’s tendency to objectify women with symbolic references to confinement.
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Burton, Robert A. "Double Talk." Cambridge Quarterly of Healthcare Ethics 31, no. 4 (October 2022): 570–71. http://dx.doi.org/10.1017/s0963180122000354.
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Symptoms of ConsciousnessIn this series of short essays, stories, poems, and personal observations, Robert A. Burton, neurologist and writer, uses both fiction and nonfiction to explore many paradoxes and contradictions inherent in scientific inquiry. A novelist as well as author of On Being Certain and A Skeptic’s Guide to the Mind, Burton brings story to science and science to story.
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Cook, Nina Elisabeth. "The Painterly Poe: Architect, Artist, Author." Edgar Allan Poe Review 24, no. 2 (November 2023): 198–220. http://dx.doi.org/10.5325/edgallpoerev.24.2.0198.
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Abstract Many scholars have read Edgar Allan Poe as uniquely enmeshed in an interdisciplinary and intermediary web connecting the visual and practical arts. Poe’s prose is intrinsically multimodal and multisensory, a transgression of disciplinary boundaries that leads to a horrific affect. This article examines three of Poe’s short stories with attention to the figure of the artist, architect, and author within his fiction, arguing that these characters can be read as exemplars of Poe’s aesthetic philosophy laid out in “The Philosophy of Composition.” Poe pushes and explores the limits of disciplinary boundaries by showing the various conjunctions and conflations inherent to artistic practice. In his stories, Poe explores what distinguishes literature from other creative endeavors. It is his fascination with the porous nature of artistic boundaries that drives both the form and content of his tales—and it is this very liminality, this porousness, that makes them truly the harbingers of horror as a genre.
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Nabutanyi, Edgar Fred. "Language, fiction, and heteropatriarchal critique in selected recent Ugandan short fiction." Sociolinguistic Studies 17, no. 1-3 (August 7, 2023): 141–58. http://dx.doi.org/10.1558/sols.23998.
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There is an emerging Ugandan queer writing tradition that adopts an activist stance to imagine an alternative Ugandan queer subjecthood beyond popular and polarising perspectives of this subjectivity that were instantiated by the Anti-Homosexuality Act of 2014. This emerging archive of Ugandan writing, often deploying the short fiction genre, weaves intricate tales of queer Uganda that sidestep the censorship of an ostracised sexuality deemed sinful, dangerous, and unUgandan to claim the agency and humanity of Ugandan homosexuals. While this archive of Ugandan queer short fiction has attracted significant critical attention from scholars such as Edgar Fred Nabutanyi (2017, 2018), Ken Junior Lipenga (2014) and Ben de Souza (2020), who focus on the political activism of these texts in Ugandan sexuality debates, little critical attention has been paid to how writers deploy sociolinguistic tools to empower their characters to author their agency and life experiences as same-sex loving Ugandans. Using sociolinguistic discursive tools, I refer to a textuality that includes illocutionary techniques such as letter writing, dialogue, and stream of consciousness that subversively empower excluded and muted subjects to articulate their essence and humanity. Deploying textual analysis of selected short stories, their analyses, and Ugandan queer theoretical treatises, I read Monica Arac de Nyeko’s ‘Jambula tree’ (2006) Beatrice Lamwaka’s ‘Pillar of love’ (2016) and Anthea Paleo’s ‘Picture frame’ (2013) using a sociolinguistic lens to unveil how the selected writers’ subversion of patriarchal tropes of an amorous letter, an ideal heterosexual family, and a romantic date critique the ostracisation of a sexual orientation.
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Daneshzadeh, Amir. "Analysis of James Joyce Short Stories." International Letters of Social and Humanistic Sciences 54 (June 2015): 115–22. http://dx.doi.org/10.18052/www.scipress.com/ilshs.54.115.
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Collection of short stories of James Joyce in a book under the title of “Dubliners” (1914) is a collection composing of 15 short stories, which topic of all of them is living in Dublin (stories about death, love, live in school, etc.). Short story of “sisters” narrates feelings of a boy about death of a priest. The first woman, who is afraid of love, a mother in law speaks about ambition and destroys her daughter. It ispainful narrative of a single man, who leaves the woman he loves and the woman finds in the time of her death that he has been in his loneliness all his life. Accordingly, it could be mentioned that the author has selected in his short stories a style that Flober has been its establisher. Hence, stories in the collection of Dubliners have been strongly image-based and have been less relied on storied actions. (Stein et al, 2008)The present study has analyzed two short stories of the mentioned collection under the titles of “The Dead Persons” and “The sisters\s”. In this analysis, the author has considered internal modes and feelings of characters of the story. Process of analyzing the two works has been firstly related to analysis of every story separately and then has been related to goals and destinies of creator of the work and totally his collection of short stories. Finally, the study has considered investigation and analysis of short stories of James Joyce, which analysts and critics of his works have presented it and it is that Dubliners should be considered as an origin and generality. Considering stories of this artist separately can’t be a competent work, since as it is obvious in this collection, the author has been tended to achieve a specific goal through considering a certain order for these stories.
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Cook, Daniel. "Walter Scott's Late Gothic Stories." Gothic Studies 23, no. 1 (March 2021): 43–59. http://dx.doi.org/10.3366/gothic.2021.0077.
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While ‘Wandering Willie's Tale’, above all of Walter Scott's shorter fictions, has often been included in Gothic anthologies and period surveys, the apparently disposable pieces that appeared in The Keepsake for 1829, renegades from the novelist's failed Chronicles of the Canongate series, have received far less attention. Read in the unlikely context of a plush Christmas gift book, ‘My Aunt Margaret's Mirror’ and ‘The Tapestried Chamber’ repay an audience familiar with the conventions of a supernatural short story. But to keep readers interested, The Author of Waverley, writing at the end of a long and celebrated career in fiction, would need to employ some new gimmicks. As we shall see, the late stories are not literary cast-offs but recastings finely attuned to a bespoke word-and-image forum.
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D Singh, Dr Madhu. "The Craft of Short Story : A Critique of The Habit of Love." SMART MOVES JOURNAL IJELLH 9, no. 7 (July 28, 2021): 130–38. http://dx.doi.org/10.24113/ijellh.v9i7.11130.
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Author of several works of fiction and non fiction , Namita Gokhale is a well known name in the field of Indian Writing in English not only as a writer but also as a publisher and as a founder director of Jaipur Literature Festival . Her short stories published under the title The Habit of Love ( 2012) are remarkable for adding a new dimension to the craft of short story writing.
The Habit of Love is a collection of thirteen short stories encapsulating the myriad experiences of their female protagonists who lay bare before the readers their inner world – their desires , passions, fear , anxiety, happiness, anger , ennui and sadness – in kaleidoscopic lights. Based mainly on the themes of love, lust and death , these stories are interwoven with the motifs of time, memory , dreams travels and mountains. The writer frequently shifts from present to past or vice versa , making several technical innovations like unexpected , abrupt endings; use of startling similes/ metaphors; choice of queer , quirky titles for these short stories. The use of the technique of first person narrative in many of these stories imparts more intimacy to them as if the narrator is engaged in a tete- a- tete with her readers. Gokhale emphasizes the importance of a convincing narrative voice in making a short story effective. In response to a question as to which is the most critical part of a story: the storyline, the characters or the storytelling, she says, “Finding the right voice that convincingly tells the story, whether in first person or otherwise is the most crucial part.”( Recap: Twitter chat with Namita Gokhale,TNN,22 March 2018 )
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Bijelic, Marijana, and Lucija Mandaric. "SCIENCE AND TECHNOLOGY IN SVETOSLAV MINKOV'S SHORT STORIES." Ezikov Svyat volume 21 issue 2, ezs.swu.v21i2 (May 26, 2023): 144–52. http://dx.doi.org/10.37708/ezs.swu.bg.v21i2.18.
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This paper analyses the role of the motifs associated with the development of science and new technologies in Svetoslav Minkov’s short stories. The author developed a rather unusual hybrid genre which consists of fantastical, science-fictional, satirical and absurdist elements. In the first phase all the elements (even those typical of science fiction) are merely in the function of representing an estranged, mystical, diabolical world; whereas in the second one, evil is no longer mystified in the form of a strange diabolical presence – now it becomes clear that the main source of the absurd is a form of capital production as well as the new model of modern pseudo-rationality that reduces the human life to a role in profit making and consumer spending, resulting in its total subservience to the market. After the loss of religious faith, or metaphysical ground, i. e. the ultimate loss of the Father, symbolical and social order have become circumferential systems of production and consumption, so the new man is no longer a child of God, but rather a strange being whose lack of being is represented by metaphors of either an animal or a robot.
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Hesti Indah Sari and Monalisa Ratuliu. "Analisis Struktural dan Nilai Moral dalam Cerpen “Rembulan Di Mata Ibu” Karya Asma Nadia." Morfologi: Jurnal Ilmu Pendidikan, Bahasa, Sastra dan Budaya 1, no. 6 (November 13, 2023): 01–10. http://dx.doi.org/10.61132/morfologi.v1i6.62.
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This article aims to analyze the structural and moral values in the short story Rembulan in the Eyes of Mother by Asma Nadia. Short stories are a form of fiction that usually focus on one event, have a single plot, and have a relatively short and limited time scope. The type of research used is structural study. This study focuses on the coherence between the intrinsic elements of short stories. Theme, setting, plot, point of view and characters must have a reciprocal relationship, determine and influence each other so that they form a complete short story and the researcher will research and explain the moral values that the short story writer wants to convey to the reader.
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Dolk, Liesbeth. "Allemaal Gelogen." Acta Neerlandica, no. 15 (July 10, 2020): 219–33. http://dx.doi.org/10.36392/actaneerl/2019/15/11.
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In this article I briefly introduce the Dutch diplomat and author Carel Jan Schneider (Batavia 1932-Den Haag 2011) and his literary work. Under his pseudonym F. Springer he published fourteen books: novels and short stories. His work has been translated into French, German, Thai, Danish, Bulgarian, Slovak and Japanese. In 1995 Springer was awarded the prestigious Constantijn Huygens Prize for his complete works of fiction.
In my article I will touch upon the following questions: did Schneider’s profession as a diplomat influence his way of writing and to what extent are fact and fiction interwoven in his work?
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Rao, M. Narasimha, and Prof K. Ratna Shiela Mani. "SIGNIFICANCE OF RURAL CULTURE IN THE SHORT FICTION OF MANOJ DAS." Journal of English Language and Literature 09, no. 01 (2022): 68–73. http://dx.doi.org/10.54513/joell.2022.9107.
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A brief survey of Indian Short Fiction in English indicates that there is a wide scope for its study. Manoj Das has presented a serene and simple way of life of rural community in India in his fiction which is rapidly disappearing. He is one of the foremost short story writers in Post-Independent India and an outstanding bilingual writer both in English and Oriya at ease. He depicts very effectively and skillfully the way of life of people living in villages, their values, norms, beliefs, attitudes, traditions, customs, superstitions, religion, etc., in his stories. He is a keen observer of the changing socio-political and cultural scenario in the post independent India. The stories of Manoj Das are so subtle and suggestive that they have a concealed element of didacticism, a zeal for social reform as he is keenly interested in fostering and promoting the qualitative life of the rural people of India. Hence, in this paper I presented my views and opinions from Indian perspective keeping in mind the life of the rural people with all their day to day activities and problems as portrayed by Manoj Das. In spite of their penury, the cultural values and conventional ways are not given up. Thus, the author preserves the rich Indian cultural heritage in spite of his depicting the follies and foibles of human life.
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Bellardi, Marco. "The cinematic mode in fiction." Frontiers of Narrative Studies 4, s1 (November 22, 2018): s24—s47. http://dx.doi.org/10.1515/fns-2018-0031.
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AbstractThis article focuses on the imitation of film form in cinematic novels and short stories on the level of narrative discourse and introduces the concept of ‘para-cinematic narrator’. The author compares the temporality expressed by verbal tenses in literature and the temporality expressed through film semiosis. The connection between film and literary fiction is explored in terms of foreground and background narrative style. It is argued that the articulation of narrative foreground and background – i. e. the “narrative relief” (Weinrich 1971) – in film form tends to favour the foreground style, and that such narrative relief is ‘flattened’ due to the “monstrative” quality (Gaudreault 2009) of the medium. This flattening is remediated in strongly cinematised fiction and conveyed through the use of verbal tenses. The imitation of montage and specific cinematic techniques is conceived, consequently, as a separate feature that can integrate into this remediated, para-cinematic temporality. Finally, the author recalls the concept of “mode” in genre theory (Fowler 2002), which describes a “distillation” of traits from one genre to another. With the category of cinematic mode the remediation of basic traits from film to literary fiction can be framed in terms of genre-related discourses.
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Sohár, Anikó. "From the United States (via the Soviet Union) to Hungary." Pázmány Papers – Journal of Languages and Cultures 1, no. 1 (June 13, 2024): 195–212. http://dx.doi.org/10.69706/pp.2023.1.1.12.
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Isaac Asimov was the favourite American science-fiction author in the Kádár era due to extraliterary reasons, many of his works were therefore translated when science fiction, a previously prohibited popular genre was introduced to the Hungarian public. This paper analyses the first two Hungarian translations, that of a short story entitled ‘Victory Unintentional’ and that of a collection of short stories entitled I Robot. Both indirect and direct translations exhibit multiple traces of censorship and revision, significantly changing the structure, atmosphere and message of the original works. The paper also calls attention to the need to gather information about the literary translators of the Kádár era as long as some of them are still alive, make use of oral history.
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Dykstal, Andrew. "The Voyeur in the Confessional: Reader, Hoax, and Unity of Effect in Poe's Short Fiction." Poe Studies 51, no. 1 (2018): 3–21. http://dx.doi.org/10.1353/poe.2018.a723583.
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ABSTRACT: Poe's short fiction tends toward extremes—toward the grotesque and arabesque. This crowd-pleasing (or crowd-horrifying) content plays within carefully designed formal structures that complicate the act of reading and draw attention to "the reader," a figure of some interest to Poe's critical essays. I argue that the play between content and form in Poe, coupled with his ideas of readership, exposes a series of traps within many of his tales. Poe's stories draw the reader into an active role responsive to moral problems before shifting ground and rendering a moral response difficult, impossible, or paradoxical. Through the confessional mode in particular, Poe guides readers into positions that extend the work of the tale beyond the fictional realm, transmuting his stories into practical jokes or complex moral problems. The visibility of these jokes and problems, however, and their deliberate layering into so many of Poe's works, suggest an author working to prepare his audience for a specific flavor of hoax. By blurring the boundaries of the short story, and perhaps even finding ways to undermine its shortness, Poe opens a relationship between himself, his "reader," and whatever human being happens to actually be holding a copy of his tales. Poe's famous "unity of effect" unfolds through the creation of a predictable, synthetic commonality between author, reader, and audience.
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Anwar, Muhammad Javaid, Basri Sattar, and Muhammad Naveed Anwar. "Maslow’s Hierarchy of Needs in “Button Button” by Richard Matheson." IJOHMN (International Journal online of Humanities) 4, no. 6 (December 28, 2018): 10. http://dx.doi.org/10.24113/ijohmn.v4i6.76.
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A short stories author and novelists named Richard Matheson was born on 1926 in US state New Jersey. Story writer Richard Matheson is best known for his science fiction’s works. His first story was “Born Man and Woman.” He also earned a good name for his popular fiction “I am Legend” as well as due to short story “Button Button” He passed away on June 23, 2013 (Editors, 2014). Alike various famous novelists and story writers Matheson also leave a deep impression of his readers. He also turned minor incidents and situations into extraordinary situations.
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Sembiring, Anggi Shavira. "Application Of Contextual Methods To Improve Short Writing Ability For Class Ix Students Of Junior High School." Edumaniora : Jurnal Pendidikan dan Humaniora 1, no. 01 (February 3, 2022): 9–14. http://dx.doi.org/10.54209/edumaniora.v1i01.15.
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Writing is an activity to express thoughts, ideas or opinions and solve problems through written language media. Short stories are works of fiction that are fictitious, narrative or short storytelling (the storyline is solid while the background and flashbacks are included in passing). Because of its short form, short stories demand a concise narrative, not specific details that are "less important" and are more protracted. The purpose of this study was to improve the ability to write short stories through students' contextual methods. The research method used in this research is the classroom action research method. Data collection techniques were carried out by giving tests, observations and documentation. The data analysis techniques used are: 1) Test data analysis 2) Observation Result Data (Observation) Documentation Result Data 3) Documentation Result Data, The data source of this research is the making of this student short story which will be the main study of the author. The results of this study concluded that there were 7 students who completed the first cycle and 25 students who completed the second cycle, the application of contextual methods to students' short story writing contains many benefits for readers by animating the students' writing spirit.
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Lucio-Villegas Spillard, Iris Melanie. "Before I Say Goodbye." International Journal of English Studies 21, no. 2 (December 26, 2021): 139–55. http://dx.doi.org/10.6018/ijes.475711.
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Alice Munro published in 2012 her last collection of short stories, Dear Life, which includes “Finale”, a quartet of stories introduced by the author in semiautobiographical terms. The relevance of the themes addressed is, as may be inferred, significant in relation to her life and previous work. In fact, they echo her first two collections of short stories —Dance of the Happy Shades (1968) and Lives of Girls and Women (1971)— not only in motifs and events, but also in style. This paper analyses and compares this last section —Munro’s conclusive contribution to the literary world— with her early work to establish joint features and similarities in order to support and extend the often-claimed autobiographical dimension of Munro’s fiction from this unexplored perspective. In addition, this process of analogy has recognised the author’s literary and emotional closure in relation to her mother, a hitherto elusive endeavour in her work.
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Liao, Xinyu. "A Study of Robot Identity Writing in Isaac Asimov’s Fiction." Communication, Society and Media 7, no. 1 (June 30, 2024): p64. http://dx.doi.org/10.22158/csm.v7n1p64.
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Isaac Asimov, a famous contemporary American science fiction writer, constructs the identity of robots through describing entities and dialogues in his short story “The Last Question”. If we compare and analyze the author’s other short stories with conceptual metaphor theory and Bakhtin’s theory of dialogue, we will find that the author pushes the development of the storyline through the constructing the robot’s identity and the blurring of the boundaries, and from then on, maps the development of the relationship between man and machine and the course of its development. The purpose of this paper is to explore the special significance of the construction of robot identity and its contribution to the development of the narrative, as well as to analyze the expectations of the human-machine relationship embedded in the novel.
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Halim, Shanjida, and Tanzina Halim. "An Exploration of ‘Married Love’ by Tessa Hadley." International Journal of English Literature and Social Sciences 8, no. 5 (2023): 069–70. http://dx.doi.org/10.22161/ijels.85.13.
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One of the most accomplished fiction writers of the twenty-first century, the British writer Tessa Hadley (1956-till present), is known for her exceptional power of seizing the familiar moments in our life that we would normally not think of highlighting. She is the author of several acclaimed novels and short stories such as Accidents in the Home, Everything Will Be All Right, The Master Bedroom, The London Train, Clever Girl, The Past, Late in the Day, Free Love, Married Love and Other Stories, Bad Dreams, etc. Capturing the beauty of ordinary lives, she writes about the drama of everyday life: complicated family relationships, love affairs, marriages, divorces, and betrayal.
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Bacanu, Horea. "Globalisation of Cultural Circuits. The Case of International Awards for Fiction." European Review Of Applied Sociology 8, no. 11 (December 1, 2015): 19–30. http://dx.doi.org/10.1515/eras-2015-0008.
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Abstract In the international circuit of fictional texts from the last fifty years (perhaps even one hundred years, in some cases), several independent international organizations, academic and editorial platforms of critique and debate have been established. They have been organizing international contests, fine authorities of critical appreciation, evaluation and awarding of most prolific authors and most successful fictional texts: novels, short stories, stories or utopian and dystopian fictions. The allotment on cultural corridors, the geographical identification of both author and title dynamics which have been nominated at the most prestigious international awards for fiction demonstrates an increased emergence of several zones where wide international circulation texts were seldom, fifty years ago. In this paper, we suggest a reinterpretation and a comprehension of the political context from the contemporary fiction, by regrouping in one category, the three classical genres (historic novel, social novel, political novel) and also the universal fiction which implies characters and relations of power. Thus, we create a category which is known as „political fiction”. The increased individualization of this literary macro-genre called „political fiction” is also a creative answer to the high speed of circulation and at the general international amplitude with which contemporary socio-political novels are distributed.
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Курникова, Наталия Сергеевна. "POETIC STYLE OF RACHEL JOYCE’S SHORT STORIES." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 4(109) (January 26, 2021): 71–78. http://dx.doi.org/10.37972/chgpu.2020.109.4.008.
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Статья посвящена исследованию поэтики «малой прозы» Рэйчел Джойс - яркой представительницы современной британской литературы. Автор статьи рассматривает художественные особенности семи рассказов из сборника «Заснеженный сад и другие истории» (2015). Сюжетообразующую роль в этих рассказах играет Рождество, что позволяет рассматривать их как проявление литературного архетипа «рождественского рассказа». Герои Рэйчел Джойс - «маленькие» люди, которые в канун Рождества оказались в сложной жизненной ситуации. Их частные истории о крахе и возрождении звучат на фоне предпраздничной рождественской суеты и всеобщего ожидания чуда. Используя сравнительно-сопоставительный и филологический анализ текстов рассказов, а также применяя методологию исторического и типологического подходов к рассматриваемым текстам, автор статьи выявляет и анализирует такие нарративные техники Рэйчел Джойс, как обращение к внутренней жизни и интимным переживаниям нестатусных героев; расширение границ жанра рассказа за счет взаимодействия с романной повествовательной формой; кинематографическая техника монтажа; иронические аллюзии на прецедентные тексты и явления массовой культуры; нарушенная хронология событий и преобладающее использование настоящего времени. Анализ поэтики рассказов Р.Джойс позволяет говорить о влиянии модернистских и постмодернистских эстетических традиций на жанр рождественской истории. The article is devoted to the study of the poetic style of “flash fiction” of Rachel Joyce, an outstanding representative of modern British literature. The author of the article analyzes the expressive manner and peculiarities of style of seven short stories collected in the book “A Snow Garden and Other Stories” (2015). The plot of these stories is centered on Christmas, which is reasonable ground to consider them as a manifestation of the archetype of a Christmas story, a long-standing literary tradition. Joyce’s characters are every men who found themselves in a difficult situation on Christmas Eve. Their private and intimate stories are told against the festive background and longing for a miracle. The comparative and philological analysis of Joyce’s short stories, as well as the methodology of the historical and typological approaches to the texts under consideration enable the author of the article to reveal and dwell on such narrative techniques in Joyce’s arsenal as addressing the inner life and intimate feelings of non-status characters; expansion of the genre of a short story through its interaction and contamination with the genre of a novel; cinematografic montage; ironic allusions to precedent texts and objects and phenomena of mass culture; distorted chronology of events and prevalence of the present tense. All these techniquestestify to the influence of modernist and postmodernist aesthetic traditions on the genre of a Christmas story.
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Round, Siân. "Southern Stories for Northern Readers: Julia Peterkin’s Short Stories in The Reviewer and the Disruption of Dialect." Journal of Modern Periodical Studies 14, no. 1 (July 2023): 47–69. http://dx.doi.org/10.5325/jmodeperistud.14.1.0047.
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ABSTRACT This article examines the short stories of South Carolina author Julia Peterkin published in Richmond literary magazine The Reviewer between 1921 and 1925. Placing these peculiar stories of postbellum plantation life into their publication context, this article concerns itself with how the stories unsettle the ambitions for the Southern magazine set out by H. L. Mencken and The Reviewer’s editor, Emily Tapscott Clark. Following the publication of Mencken’s controversial article “The Sahara of the Bozart,” the focus of the Southern literary magazine was to present a progressive yet identifiable image of Southernness. Peterkin’s Reviewer stories are violently grotesque and, through the recurrence of disability and mutilation, disrupt the methods of reading dialect bound up in local color fiction, both fulfilling and defying the model for Southern writing. This article focuses on how the stories alter the relationship between the Northern reader and the Southern story, while examining the complex dynamics of Peterkin as a white writer using the lives of African American plantation workers as her subject.
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Guerini, Andreia, and Antonia Sales. "A representação das artes nos contos de Clarice Lispector." Revista Épicas E4, no. 2021 (March 31, 2021): 27–39. http://dx.doi.org/10.47044/2527-080x.2021vne4.2739.
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Clarice Lispector is a multifaceted writer, who excelled in narrative forms. Novels, short stories and chronicles are some of the modalities used by the skilled author. Based mainly on the considerations of Oliveira (2019) on art in the fiction of Clarice Lispector and the “pictorial description”, proposed by Louvel (2006), this article aims to present and analyze the presence of the arts in her stories, published in Todos os Contos (2016), organized by Benjamin Moser. The question that permeates the discussion is: how do the arts appear and how are they represented in Clarice Lispector's short stories? And how does it materialize in stylistic procedures? After analysing the selected corpus, we can say that Clarice Lispector uses procedures such as ekphrastic description, synesthesia and hypotypes to highlight the most varied artistic manifestations through countless references to music, dance, cinema, painting, sculpture, among others, to point that these elements are (co)adjuvant to the singular Clarician narrative.
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Lucio-Villegas Spillard, Iris. "“Honey, Where Are the Kids?”: Motifs of the Past, Water, and Photography in Munro’s Stories Featuring Dead Children." ELOPE: English Language Overseas Perspectives and Enquiries 19, no. 1 (June 23, 2022): 29–40. http://dx.doi.org/10.4312/elope.19.1.29-40.
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As indicated by many critics, the death of children features prominently in Alice Munro’s short fiction. This paper approaches the theme in six of her short stories from the standpoint of her personal experience to establish shared elements that combine to build the narratives, reverberating in her writing. These elements are the past, water, and photography. The argument and literary exploration are grounded on previous literature on the author, short story theory, and photography theory, and ultimately pursue a double objective, i.e., to develop an interpretation of the figure of the lost child in Munro’s work, while providing supporting evidence for the autobiographical nature of her literature.
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Intihar Klančar, Nataša. "Slovene reactions to Truman Capote's writing." Acta Neophilologica 37, no. 1-2 (December 1, 2004): 39–48. http://dx.doi.org/10.4312/an.37.1-2.39-48.
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The article focuses on Slovene reactions to Truman Capote's writing. It takes into consideration both his early and his later work. The former (as e. g. Other Voices, Other Rooms and A Tree of Night and Other Stories) earned him recognition as a talented young author whose fame rested on stylistically accomplished short stories, while the latter (as e. g. In Cold Blood) praised him mainly as the father of the so-called "non-fiction" novel. It is somehow hard to believe that his openly acknowledged homosexuality still represents an intriguing enough theme for Slovene literary crities to comment on,and thus a very recent article on the subject is dealt with as well.
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Bajer, Michał. "Le cosmopolitisme et l’étrangéisation : Anna Nakwaska (1781-1851) et les géographies de la littérature polonaise d’expression francophone." Studia Romanica Posnaniensia 50, no. 1 (April 28, 2023): 107–18. http://dx.doi.org/10.14746/strop.2023.50.1.8.
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The studies on Polish francophone literature put an emphasis on a selected group of authors (Potocki, Mickiewicz, Krasiński) and on some literary genres (diary and travelogue). The aim of this paper is to study the work of a lesser-known feminine writer, Anna Nakwaska, member of cosmopolitan literary milieu and author of several short stories and novels, written in French. Applying selected concepts of spatial literary studies, the first part of the article proposes to perceive the publishing strategies of Nakwaska as a tool for introducing Polish feminine literature in a broader European context. In the second place, the study of some Nakwaska’s short stories show her interest for a literary presentation of several geographical problems, including demography (put in the context of antisemitism) and regional ecology. The use of Polish toponymy brings a foreignization of the francophone fiction.
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Avidzba, Vasiliy Sh. "The Role of Leo Tolstoy’s Legacy in the Development of Abkhaz Culture and Literature in Late 19th–20th Centuries." Two centuries of Russian classics 4, no. 4 (2022): 138–53. http://dx.doi.org/10.22455/2686-7494-2022-4-4-138-153.
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The article examines the influence of Leo Tolstoy’s legacy on the development of Abkhaz fiction and the cultural life of Abkhazia. At the stage of the birth of national literature, Tolstoy was one of the most translated Russian writers. The recognition of Tolstoy’s works by Abkhaz readers, as shown, began with his pedagogical articles and short stories for children and the people. The author of the article presents lists of Tolstoy’s stories first translated into the Abkhaz language and most frequently translated. The research addresses the literary problem of translating the classics into the Abkhazian language. The article also contains a review of the works of Tolstoy and articles about Tolstoy published in the Abkhaz language in the 19th–20th centuries, including a significant amount of materials dedicated to Tolstoy and published in the newspaper “Soviet Abkhazia.” The author examines in detail various versions of Tolstoy’s meeting with N. Ladaria.
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Tekenova, Ulyana. "Heaven (“Ustigi Oroon”) and Hell (“Altygy Oroon”) as Seen in Works of Dibash Kainchin." Philology & Human, no. 3 (September 7, 2021): 102–16. http://dx.doi.org/10.14258/filichel(2021)3-09.
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The article gives the analysis of images of heaven (“Ustigi Oroon”) and hell (Altygy Oroon”) in the philosophical works of Altaian writer Dibash Kainchin. It reveals the author’s idea of “earthly heaven” and “earthly hell” in his short stories as reflection of his worldview, morale and attitude to people. There have been discussed poetic techniques significant for D. Kainchin, such as dream and related states (delirium, hallucinations, and quick views under some external influence) which help the author to give an insight into a person. The author of this article uses comparative historical, structural and semiotic methods and the method of complex analysis of fiction. The literary texts employed have been translated by Dibash Kainchin himself and the author of the article.
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Puzyreva, Olga Grigoryevna. "LOVE STORIES IN THE AUTHOR'S EDUCATIONAL FICTION TEXT OF THE TEACHER FOR A FOREIGN AUDIENCE." EurasianUnionScientists 1, no. 2(71) (2020): 45–66. http://dx.doi.org/10.31618/esu.2413-9335.2020.1.71.582.
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The article describes the interpretation of the theme of love in the author's educational fiction text of the teacher for a foreign audience at the level of Russian language proficiency B1-C1 as a key value-semantic concept of the Russian mental-language picture of the world. The author presents psychological, pedagogical, methodological and philosophical arguments for the need to include this topic in the proposed cycle of short stories. Special attention is paid to how the speech and "creative-motor " (S. V. Dmitriev) dialogue of the situation of love is interconnected with the surrounding socio-cultural space.