Relevant bibliographies by topics / Love-letters – Fiction

Academic literature on the topic 'Love-letters – Fiction'

Author: Grafiati
Published: 27 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Love-letters – Fiction"

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Ataeva, Ranusha, and Guzal Egamberdieva. "EXPRESSIVE LOVE VOCABULARY IN THE LETTERS OF TATIANA AND ONEGIN." Alfred Nobel University Journal of Philology 2, no. 26/1 (December 20, 2023): 194–204. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-14.

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The crucial aspect of constructing a fictional text lies in identifying linguistic clichés and speech patterns that reflect the speaker’s thinking, behaviour, and cultural background. This is particularly important when exploring the love theme description in A.S. Pushkin’s novel “Eugene Onegin” and examining expressive and semantic speech mechanisms. The research aims to consider the techniques of using expressive language units of love context in the letters of the novel “Eugene Onegin”. The research offers novel insights into the extensive use of love vocabulary and illogical thematic organization in Onegin’s letter, providing a contrasting expressive context and character portrayal. It highlights the absence of letter etiquette and explores the significance of love letters in fiction. To achieve the research objectives, various methods, such as descriptive, content analysis, and comparative approaches, were employed. The research findings highlighted that comprehending linguistic clichés and speech standards, specifically their semantics and expressive nature, is essential for readers to grasp and fully immerse themselves in the depicted reality within the text. The love lexicon of the textual letters of the characters in A.S. Pushkin’s novel “Eugene Onegin” is no longer one of the elements reproduced and quoted in the text, but has become an important structural tool for describing the theme of love in the fiction text. The significance of the linguistic organization of the fragments representing the letters of Tatiana and Onegin is noted by Pushkin already at the level of the way they are included in the overall text. These ways include the introduction of the letters by a separate title, provided that neither chapters nor stanzas of the novel have titles, as well as the presence of special segments of text in the lyrical digressions, indicating a certain singularity of the letters. In addition, it has been determined that in the novel the synthesis of love vocabulary and expression has been developed in a linguistic-genre context of a higher level: the novel is permeated with the properties of lyrical poetry. In the composition of the text, such properties have found a clear form in the two most representative speech genres: in the love letter and the author’s multi-thematic and multidimensional reflections on love in the lyrical digressions. The practical significance lies in the use of the research results by scholars, as well as specialists in the field of linguistics and literary studies.
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Rabkin, Eric S. "Science Fiction and the Future of Criticism." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 457–73. http://dx.doi.org/10.1632/003081204x20488.

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Science fiction, ranging from films to industrial design to world's fairs, is a cultural system no more confined to literature than love is to love letters. From its self-recognition in 1926, science fiction has involved commercial and social realities most obviously visible in fandom and the hundreds of annual science fiction conventions. This system includes many types of consumers and producers, even collaboratively self-correcting volunteer bibliographers. Collectively, science fiction fandom, the first organized fandom, has created vast informational resources that allow not only reference but also statistical inquiry. The Genre Evolution Project (http://www.umich.edu/~genreevo/) shows that these social structures and resources potentiate, in an age of widespread computer networking, the transformation of criticism from acts of isolated scholars working with narrowly defined subjects to collaborative projects drawing on human and informational resources across disciplinary boundaries. Science fiction points to a future in which criticism will be more systematic, collaborative, and quantitative.
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Teske, Joanna Klara. "“Nonsensical” Caring in Ali Smith’s Fiction and Its Kierkegaardian Defence." Roczniki Filozoficzne 71, no. 2 (June 28, 2023): 261–88. http://dx.doi.org/10.18290/rf237102.14.

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The present paper considers the possible sense of “nonsensical” caring—caring (1) which for various reasons apparently cannot help the cared-for, and (2) in which the carer, though convinced that it will not be effective, whole-heartedly engages. The project is inspired by the fiction of Ali Smith, which offers varied, vivid and memorable examples of such caring: worried that her dead sister misses life experience, Clare in Hotel World makes sure her sensations are doubly intense and rich though she knows her sister, being dead, will not benefit from them; in Summer Hannah and Daniel write to each other tender letters which they immediately burn for safety’s sake so that the addressee has not even the slightest chance of ever reading them; in “Virtual” a bed-ridden girl diligently takes care of her virtual pet, well aware that it is not alive, let alone sentient. Smith’s examples of “nonsensical” caring are strangely compelling, yet in real life such caring—predictably ineffective (as regards helping the other) and costly—is rare. Why? Under what metaphysical assumptions, if any, could “nonsensical” caring make sense? The paper considers these questions, taking Søren Kierkegaard’s extensive discussion of agape love in Works of Love (1847) as its primary point of reference.
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Goodman, Bryna. ""Words of Blood and Tears": Petty Urbanites Write Emotion." NAN NÜ 11, no. 2 (2009): 270–301. http://dx.doi.org/10.1163/138768009x12586661923063.

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AbstractRecent attention to the modern history of emotion in China has traced multiple and shifting discourses. The New Culture Movement that competed with "butterfly fiction" in the first decade of China's new Republic championed an autonomous form of individual personhood that broke with the authoritarian family and arranged marriages, and embraced free love and free choice marriage. In the late 1920s, projects of revolutionary emotional retooling reoriented passion, loyalty, and identity in the direction of the nation. But historians have relatively little source material that illuminates the linkage between changes in elite discourses and the everyday experiences of individual commoners, particularly for the study of emotional expression. The unusual survival of a set of petty-urbanite love letters permits the close textual mapping, in this essay, of the ways in which the broad public circulation in the Republican era of multiple and contradictory discourses of emotion entered into and affected particular commoner lives.
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Elina, E. G. "Pogorelskaya, I. and Levin, S. (2020). Isaak Babel: A life. St. Petersburg: Vita Nova. (In Russ.)." Voprosy literatury, no. 2 (May 6, 2022): 276–81. http://dx.doi.org/10.31425/0042-8795-2022-2-276-281.

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By examining archived records, letters, memoirs and fiction, the authors set out to reconstruct the story of Babel’s life and resurrect his spiritual biography. An exemplary scholarly study, the book also conveys a strong humanistic message; the authors clearly love the object of their reflections and respond to his pain with deep compassion. Babel is shown through comparison with his contemporaries. Main characters of the story include Gorky, Voronsky, and Polonsky. The biographers portray Babel as he enters the lives of his friends and correspondents and wins their hearts. The book is dedicated to A. Pirozhkova, the writer’s widow — an astonishing woman who spared no effort in reacquainting readers with Babel. The writer’s biography will provide an enduring inspiration for scholars of Babel and literature of the 1920s — 1930s, and offer a key to understanding of the unpredictable and incredibly complicated situation of this Soviet author.
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Allison, Mark. "Carlyle’s “Phallus-worship”: An Annotated Transcription." Victorians Institute Journal 48, no. 1 (December 2021): 161–84. http://dx.doi.org/10.5325/victinstj.48.2021.0161.

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Abstract In this hitherto unpublished manuscript essay (c. 1848), Thomas Carlyle uses ancient Dionysian ritual as a symbol for a complex of contemporaneous social tendencies that he deplores. Foremost among these tendencies is the displacement of piety and duty by the exaltation of sensualism and romantic love, which Carlyle associates with revolutionary France, George Sand and her epigones, and circulating-library fiction more generally. “Phallus-worship” represents a jointure between Carlyle’s humane youthful writings and the authoritarian jeremiads of his old age, combining the literary virtuosity of the former with the caustic perspective of the latter. More broadly, “Phallus-worship” is a textual locus of the shift between early and mid-Victorian sensibilities, as Carlyle’s own residual puritanism marked the limits of his capacity to engage with the literary and cultural developments that interested a rising generation of Victorian men and women of letters.
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Latham, Monica. "Thieving Facts and Reconstructing Katherine Mansfield’s Life in Janice Kulyk Keefer’s Thieves." European Journal of Life Writing 3 (October 14, 2014): 103–20. http://dx.doi.org/10.5463/ejlw.3.83.

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The aim of this article is to examine how the biographical material that Janice Kulyk Keefer “steals” from Mansfield’s life is used to re-create a “quasi-real” life in a novel which absorbs reality, digests it, and offers an oxymoronic, semi-fictitious product: a biofiction. Keefer selected biographèmes or kernels of truth on which her fictitious details and characters could be grafted: following Mansfield’s physical, emotional and intellectual trail was an imperative part of Keefer’s research plan, as essential as close reading of the modernist author’s letters and journals. Besides seamlessly fusing reality and fiction, historical and imaginative truths, these hybrid products bring together the characteristics of literary and genre fiction. The article also focuses on the generic aspect of Thieves, which “sells” a scholarly literary background by using a commercial format that borrows features from popular genres such as love stories, thrillers, mystery and detective novels. The result is a multi-layered story endowed with great narrative virtuosity and variety, with leaps in time and space and with parallel stories that finally intersect. The article ultimately concludes with more general considerations on how such biofictions recreating the myth of iconic figures have proved to be a flourishing literary genre on the current book market. This article was submitted to the EJLW on 28 November 2013 and published on 14 October 2014.
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Martynov, D. E., and Yu A. Martynova. "The Biography and Bibliography of Ivan Antonovich Efremov Expanded with New Materials [Review: Efremov I.A. Women in My Life: Novels; Letters. Moscow, Izd. Yukhnevskaya S.A., 2022. 480 p. A Retro Collection of Adventure and Science Fiction. Ser.: Collections. Complete Works by I. Efremov. Vol. VIII. (In Russian)]." Uchenye Zapiski Kazanskogo Universiteta Seriya Gumanitarnye Nauki 166, no. 1 (April 13, 2024): 144–56. http://dx.doi.org/10.26907/2541-7738.2024.1.144-156.

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This article reviews the first-ever published materials from the archive of Taisia Iosifovna Yukhnevskaya, the late wife of Ivan Antonovich Efremov (1908–1972). The focus is on I.A. Efremov’s collection of autobiographical and erotic short novels titled “Women in My Life”. These fourteen stories (one of which is incomplete) are believed to have been written between the 1950s and 1960s. They fit perfectly with the style of the writer, for whom there was no division between the physical aspects of love and the spiritual development of a normal person. The short novels contain a wealth of personal details, thus offering a new and deeper perspective on the early years of the rising geologist and social thinker. In terms of fiction, they continue the 1940s series “Tales of the Extraordinary” and conform to the genre characteristics of romantic storytelling, as well as colonial and Western novels. There are clear similarities and plot parallels with I.A. Efremov’s other novels such as “Andromeda: A Space-Age Tale”, “The Bull’s Hour”, “Razor’s Edge”, and “Thais of Athens”. An interesting finding is that the letters between I.A. Efremov and his wife bring out an unforeseen side of the writer’s character, especially his ability to inject humor, which is a departure from his usual literary approach.
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Heinrich, Tobias. "Katja Herges and Elisabeth Krimmer (eds.), Contested Selves: Life Writing and German Culture." European Journal of Life Writing 11 (June 7, 2022): R35—R39. http://dx.doi.org/10.21827/ejlw.11.38685.

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In Johann Wolfgang von Goethe's Die Leiden des jungen Werthers (1774), a piece of life writing constitutes one of the founding documents of modern German literature. The tragic story of the young bohemian Werther and his beloved Charlotte is partly based on the life and suicide of Goethe's friend Karl Wilhelm Jerusalem, but is also infused with passages from Goethe's own letters and inspired by his unrequited love for Charlotte Buff. Validating Paul De Man's assertion that autobiography is not necessarily a genre or a type of writing, but rather a way of approaching and interpreting literature, Goethe's Werther can equally be read as biography, autobiography or as a work of fiction. Despite the fact that the novel sets the scene for the intricate interplay of life and literature that became a distinguishing mark of European Romanticism, the particular significance of life writing for German literature and thought is obvious if one considers the role of biography for German Historism in the tradition of Leopold Ranke and Gustav Droysen, of autobiographical writing from Goethe's Dichtung und Wahrheit (1811-1833) to Ruth Klüger's Weiter leben (1992), or of auto/biographical tropes in fictional genres like the Bildungsroman. This makes it all the more surprising that no comprehensive study has yet been devoted to the role of life writing within the German context. Even the term ‘life writing,’ bridging the gap between different genres and media, has only recently and somewhat reluctantly been adopted in German-language scholarship. A recent collection of essays, edited by Katja Herges and Elisabeth Krimmer, entitled Contested Selves: Life Writing and German Culture has set itself to remedy this shortcoming.
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Panov, S. I., and O. Yu Panova. "Soviet Publishers and Readers of French Literature, Late 1920s – 1930s." Modern History of Russia 11, no. 3 (2021): 738–54. http://dx.doi.org/10.21638/11701/spbu24.2021.311.

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Soviet images of French literature are often reduced to the Stalinist canon of the late 1930s that comprised classical literature, including “modern classics,” like Romaine Rolland or Anatole France; and Communist and leftist writers selected as ideologically and aesthetically suitable for the Soviet reading audience, such as Henri Barbusse, Paul Vaillant Couturier, and others. This stereotype being partially true suggests, however, a simplistic and flattened view of the Soviet reception of French literature. It should be noted that even in the late 1930s there existed a certain amount of diversity in the choice of French authors; for example, International Literature magazine from time to time published ideological opponents like Pierre Drieu la Rochelle or Henry de Montherlant. As for the 1920s, in the course of the New Economic Policy both state and private publishing companies offered a wide and varied range of writers and books that included classics, “proletarian” and “revolutionary” authors along with adventure fiction, love stories, and “colonial novels,” easy reading, “decadent,” conservative, and “reactionary” writers. The paper traces transformations of publishing policy during the pivotal years of late 1920s and early 1930s, the period of the “Great Turn” in Soviet society, marked by processes of centralization, total state control, and tightening of censorship. Archival documents allow us to analyze the role of Soviet intellectuals (literary critics, reviewers, editors, publishers) in the elaborating of new guidelines and implementing new practices in publishing policy and organizing readers feedback. A collection of readers’ letters of the mid-thirties, stored in the archival funds of GIKHL (State Publishing House of Fiction), documents the process of the making of the Soviet reader and shows a range of readers’ opinions and attitudes to French writers and their works at the early stage of Stalinist canon forming.
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Dissertations / Theses on the topic "Love-letters – Fiction"

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Wlodarski, Jonathan. "Love Letters to a Future Ice Age: Stories." Youngstown State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1522669533708643.

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Jolivet, Jean-Christophe. "Allusion et fiction épistolaire dans les "Héroïdes" : recherches sur l'intertextualité ovidienne /." Rome : Paris : École française de Rome ; diff. De Boccard, 2001. http://catalogue.bnf.fr/ark:/12148/cb38807426b.

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Books on the topic "Love-letters – Fiction"

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Pascal, Francine. Love letters. Toronto: Bantam, 1985.

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Alers, Rochelle. Love letters. New York: Pinnacle Books, 1997.

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L'Engle, Madeleine. Love letters. Wheaton, Ill: Harold Shaw Publishers, 1996.

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Macomber, Debbie. Love letters. New York: Ballantine Books, 2015.

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Letters of Love. Toronto: Harlequin Books, 1989.

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Lewis, Beverly. The love letters. Waterville, Maine: Thorndike Press, A part of Gale, Cengage Learning, 2015.

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Fforde, Katie. Love letters: A novel. New York: St. Martin's Press, 2011.

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Williams, Niall. Four letters of love. London: Picador, 1997.

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Williams, Niall. Four letters of love. Thorndike, Me., USA: G.K. Hall, 1997.

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Francis, June. Love letters in the sand. Surrey, England: Severn House, 2015.

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Book chapters on the topic "Love-letters – Fiction"

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McDOUGALL, BONNIE S. "Modern Chinese Letters and Epistolary Fiction." In Love-Letters and Privacy in Modern China, 90–93. Oxford University Press, 2002. http://dx.doi.org/10.1093/acprof:oso/9780199256792.003.0009.

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Knapp, Liza. "3. Love." In Leo Tolstoy: A Very Short Introduction, 30–48. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198813934.003.0003.

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Tolstoy’s love life has been extensively documented and debated. Tolstoy himself addressed all this directly in letters, in diaries, and in frank conversation with memoirists; others involved, including his wife, also left their own accounts. ‘Love’ explains that Tolstoy’s major fiction, known for its autobiographical and ‘autopsychological’ elements, roughly follows the trajectory of Tolstoy’s life and loves. It documents Tolstoy’s views on love, sex, marriage, adultery, and family happiness in Childhood, Boyhood, Youth; War and Peace; Anna Karenina; ‘The Kreutzer Sonata’; and ‘Alyosha Pot’. Tolstoyan heroes are often haunted by the Ant Brothers’ dream of love and happiness for all. It may be an insurmountable obstacle on their course toward family happiness or sexual bliss.
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"“Imaginative sentiment”: love, letters, and literacy in Thomas Hardy’s shorter fiction." In Thomas Hardy's Short Stories, 98–116. Routledge, 2016. http://dx.doi.org/10.4324/9781315551036-15.

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Bodenheimer, Rosemarie. "Belacqua and Mr. Beckett." In Samuel Beckett, 33—C2.P76. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192858733.003.0003.

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Abstract Chapter 2 focuses on the early fictions Dream of Fair to Middling Women, More Pricks Than Kicks, and Murphy, alongside Beckett’s letters from his period of youthful turmoil. It connects Beckett’s refusal to conform to his family’s bourgeois standards with his satirical resistance to older novel forms. His first self-enclosed heroes are named after Belacqua, an indolent figure from Dante who eludes definition and defies the path of improvement or redemption. The chapter includes Beckett’s resistance to conventional notions of fictional character which, he implies, should be unknowable in fiction and in life. The challenge is extended in Beckett’s refusal to conform to conventional literary boundaries between character, narrator, and author. In Murphy, his London novel, Beckett engages more playfully with earlier writers, creating a more sympathetic story of aspiration, love, and loneliness.
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Nasrallah, Laura Salah. "On History and Love." In Archaeology and the Letters of Paul, 224–55. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199699674.003.0008.

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Early Christians acted “out of love” for Paul—to quote a phrase from Tertullian—producing other texts and stories in his name or associated with him. Such pseudepigraphical writings should be understood in the context of Roman “practices of history” found, for example, in the spheres of education, entertainment, and literature. Pseudepigraphical and other references to Paul are found in Thessalonikē: 1 Thessalonians becomes the grounds for civic pride in the apostle over several centuries. Letters in Paul’s name (like 2 Thessalonians) or stories about him (as in the Acts of the Apostles) indicate ongoing engagement. These are improvisations that complicate the categories of history and fiction. Such texts and practices, for which we also find archaeological evidence in Ephesos and Philippi, must be understood within the context of “epistolary narratives” in antiquity that sought to expand the life of a famous figure, not as instantiations of forgery or lies.
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Gilbert, Nora. "The New Runaway-Woman Novelist." In Gone Girls, 1684-1901, 173—C7P69. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198876540.003.0008.

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Abstract This chapter examines the most overtly feminist genre explored in this study, fin-de-siècle New Woman fiction. Structurally, this chapter has the most in common with my first chapter on amatory fiction, in that it puts the personal biographies of some of the female authors who were most associated with the New Woman movement into conversation with the semi-autobiographical, runaway-woman künstlerromanae they chose to write. Focusing primarily on Mona Caird’s The Daughters of Danaus (1894), Sarah Grand’s The Beth Book (1897), and George Egerton’s The Wheel of God (1898), this chapter brings the book’s discussion of the relationship between female authorship, female sexuality, and female rebellion full circle, with a final beat comparing Egerton’s lesser-known epistolary novel Rosa Amorosa: The Love-Letters of a Woman (1901) to Aphra Behn’s originary Love-Letters Between a Nobleman and His Sister (1684) with which my literary history began.
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Hoefle, Arnhilt Johanna. "Zweig and the Chinese Love-Letter Fever." In China's Stefan Zweig. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824872083.003.0003.

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In the 1920s and 1930s China was swept by a “love-letter fever,” a craze for real and fictional romantic letters (qingshu). One of this trend’s most important representatives was the notoriously frivolous writer Zhang Yiping (1902-1946). This chapter places Zhang’s retranslation of Stefan Zweig’s Letter from an Unknown Woman of 1933 against the background of the young Chinese Republic’s ongoing struggles for modernity, when a multitude of theories on literature and its social functions were competing with each other. It also shows how Zhang used the prestige of a European writer in his feud with Lu Xun (1881-1936), one of China’s most influential writers. Taking the Chinese discourses as a starting point, a close reading of Letter from an Unknown Woman concludes the chapter. Beyond the framework of epistolary fiction and the love-letter genre the work reveals complex narrative strategies and literary dimensions which significantly complicate existing interpretations of Zweig’s most famous novella.
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Rosenberg, Joseph Elkanah. "Elizabeth Bowen’s Junk Mail." In Wastepaper Modernism, 80–116. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198852445.003.0003.

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In Elizabeth Bowen’s The Death of the Heart (1938), the novel’s victimized, orphan-heroine Portia is said to cherish a “wretched little escritoire” stuffed full, as if it “were a bin,” with junk mail. Crammed into an overflowing desk, the advertisements and begging letters that Portia collects have been rendered void: they are circulars that have been taken out of circulation. Like Portia’s desk, Bowen’s fiction is stuffed full of letters: letters sent, lost, found, returned to sender, read, unread, buried, and burned. Such letters offer an image of intimate print reduced to wastepaper. In Bowen’s fiction, the degraded materiality of print corrupts the privacy of the epistolary form, mediating the depths of feeling into clutter. And when wrongly re-circulated—as happens to the letters intercepted by the orphan Leopold in The House in Paris (1935), or the mysterious packet left behind by Guy Danby in A World of Love (1955)—junk mail transforms into a menacing remainder that shatters the boundary between the interior world of memory and consciousness and the exterior world of objects and others.
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Owens, Louis. "Erdrich and Dorris’s Mixed-bloods and Multiple Narratives." In Louise Erdrich’S Love Medicine, 53–66. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127218.003.0006.

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Abstract Despite The Import A”< c E (l F N. Scott Momaday’s Pulitzer Prize for House Made of Dawn in 1969, no American Indian author has achieved such immediate and enormous success as Louise Erdrich with her first novel, Love Medicine. A best-seller, Love Medicine not only outsold any previous novel by an Indian author, but it also gathered an impressive array of critical awards, including the National Book Critics Circle Award for Fiction in 1984, the American Academy and Institute of Arts and Letters award for best first novel, the Virginia McCormack Scully Prize for best book of 1984 dealing with Indians or Chicanos, the American Book Award from the Before Columbus Foundation, and the LA. Times award for best novel of the year.
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Gilbert, Nora. "The Rise of the Runaway-Woman Novelist." In Gone Girls, 1684-1901, 16–42. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198876540.003.0002.

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Abstract Dubbed in their own time “the Fair Triumvirate of Wit,” Aphra Behn, Delarivier Manley, and Eliza Haywood tantalized and scandalized the public with the sexual promiscuity of the stories they wrote and (it was widely believed) the lives they led. But their fictions and biographies were deemed scandalous on other grounds as well: it was not just that the Fair Triumvirate symbolized overt female sexuality in the public’s eyes, in other words, but that they symbolized unapologetic rejection of the social expectation for women to stay put in the home as well. Through close readings of Behn’s Love-Letters Between a Nobleman and His Sister (1684–87), Manley’s The New Atalantis (1709), and a representative sampling of Haywood’s runaway-woman fiction from the 1720s to the 1750s, this chapter highlights the extent to which the topos of female flight dominated and proliferated in the formative years of the novel form.
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