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Journal articles on the topic 'Malay fiction History and criticism'

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Published: 10 December 2022
Last updated: 29 January 2023

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1

Roberts, R. "American Science Fiction and Contemporary Criticism." American Literary History 22, no. 1 (November 20, 2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.

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2

Forsdick, C. "Postcolonial Criticism: History, Theory, and the Work of Fiction." Comparative Literature 58, no. 3 (January 1, 2006): 263–65. http://dx.doi.org/10.1215/-58-3-263.

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3

Syrotinski, Michael. "Postcolonial Criticism: History, Theory and the Work of Fiction." French Studies 60, no. 3 (July 1, 2006): 418–19. http://dx.doi.org/10.1093/fs/knl067.

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4

Teguh Adimarta, Saidina Usman, Nori Nopita Sari,. "ISLAMIZATION AND THE SOCIO-ECONOMIC HISTORY OF JAMBI MALAY." International Journal of Islamic Education, Research and Multiculturalism (IJIERM) 2, no. 2 (December 12, 2020): 80–99. http://dx.doi.org/10.47006/ijierm.v2i2.33.

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Abstract One theory of the arrival of Islam to the archipelago states that the arrival of Islam was brought by merchants. There are those who say that the merchants came from Gujarat and some who got direct opinions from Arabia. Not a few also disagree that Islam was brought to the archipelago by traders, but rather by religious scholars from Arabia. This paper is not to discuss the pros and cons of this theory, but focuses on the relationship between trade activities and Islamization in the Jambi remoted area. By using historical research methods covering heuristics, internal and external criticism, interpretation and historiography, this article argues that the process of Islamization in Jambi is similar to the processes and flows of Islamization that occurred in other regions in Sumatra.
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5

Zimra, Clarisse. "Postcolonial Criticism: History, Theory and the Work of Fiction (review)." MFS Modern Fiction Studies 50, no. 3 (2004): 798–99. http://dx.doi.org/10.1353/mfs.2004.0093.

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6

Van Dongen, Richard. "Non-fiction, History, and Literary Criticism in the Fifth Grade." Children's Literature Association Quarterly 12, no. 4 (1987): 189–90. http://dx.doi.org/10.1353/chq.0.0343.

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7

Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (April 2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.

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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.
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8

MacKenzie, Robin. "Approaches to Teaching Proust's Fiction and Criticism." French Studies 59, no. 4 (October 1, 2005): 567–68. http://dx.doi.org/10.1093/fs/kni242.

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9

O’Malley, Maria. "Taking the Domestic View in Hawthorne’s Fiction." New England Quarterly 88, no. 4 (December 2015): 657–80. http://dx.doi.org/10.1162/tneq_a_00494.

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Shifting the emphasis within feminist criticism from the act of speech to the act of hearing, this article argues that, in The Scarlet Letter, The House of the Seven Gables, and Blithedale Romance, Nathaniel Hawthorne reveals how the public sphere depends on the voices of dispossessed women even as it attempts to silence them.
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10

Abdul Aziz, Sohaimi. "The Secession of Singapore from Malaysia: a Historical Interpretation of the Novel Satu Bumi." Malay Literature 27, no. 1 (June 1, 2014): 53–71. http://dx.doi.org/10.37052/ml.27(1)no3.

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History has often become the inspiration for writers, as it has for Isa Kamari in the case of his novel Satu Bumi ( One Earth ) (1998). What were the historical sources for this author, and how were they employed in his fiction? What was the author’s aim in fictonalizing these historical sources? These are the questions that receive attention in this paper. Using a historical approach and textual analysis, the historical facts found in the novel Satu Bumi and the author’s aims behind fictionalizing them are examined in this study. The study finds that the novel Satu Bumi is based on the history of Malaysia and Singapore, and fictionalizes the historical events using elements of romance and drama. However, even in this romantic and dramatic setting, the historical elements used do not merely serve to record the history of Malaysia and Singapore but are also employed to predict the future of the Malay community in Singapore. It is an alarming state due to the island state’s physical development and a political situation that could be deemed racist, apart from the attitude of the Malay community itself. Keywords: history, historical fiction, Malays, Singapore, Malaysia
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11

Burger, Willie. "Historiese korrektheid en historiese fiksie: ’n respons." Tydskrif vir Letterkunde 52, no. 2 (February 17, 2015): 78. http://dx.doi.org/10.4314/tvl.v52i2.6.

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Historical correctness and historical fiction: a responseIn this article the relationship between history and fiction is examined in response to the historian, Fransjohan Pretorius’s criticism of recent Afrikaans fiction about the Anglo-Boer War in Tydskrif vir Letterkunde 52.2 (2015). The intricate relationship between history and fiction is examined by pointing, on the one hand to the problematic of the relationship between history and the past and on the one hand, to the difference between fiction and history. The function of aesthetic illusion, verisimilitude and conceptions of reference is investigated theoretically before turning to the specific novels that Pretorius discusses. The article shows that historical fiction cannot be restricted to novelized versions of accepted history, but that historical fiction also reminds the reader that the past is always culturally mediated and that the primary aim of novels is not to represent the past but to examine aspects of human existence. A comparison between fiction and history can therefore not be used as a norm to assess novels.
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12

Zhang, Zhehui. "A Post-Colonial Approach to The Man Who Ended History: A Documentary." English Language and Literature Studies 10, no. 2 (April 16, 2020): 53. http://dx.doi.org/10.5539/ells.v10n2p53.

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The Man Who Ended History: A Documentary is a science fiction by Chinese American science fiction writer Ken Liu (1976-). Based on the theory of Post-Colonial Criticism, this paper makes a concrete analysis of the text from the perspectives of three eminent contemporary theorists, aiming at the readers’ better understanding of the work, and eliminating ethnocentrism, racism, unilateralism and hegemony; keeping history in mind and justifying the names of innocent humans who have been persecuted; safeguarding world peace, and building a community with a shared future for mankind.
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13

Ge, Liangyan. "The Mythic Stone inHonglou mengand an Intertext of Ming-Qing Fiction Criticism." Journal of Asian Studies 61, no. 1 (February 2002): 57–82. http://dx.doi.org/10.2307/2700189.

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Until very recently, much of the literary scholarship on the eighteenth-century Chinese novelHonglou meng(The Story of the StoneorDream of the Red Chamber) was centered on what was seen as the autobiographical nature of the work. Critics of the novel, especially those in China, tended to focus their attention on the life of the author, Cao Xueqin (d. 1763), believing the interpretation of the novel to be—to a large extent—hinged on a successful reconstruction of Cao Xueqin's familial relationships, especially with those members of the Cao clan such as Red Inkstone (Zhiyanzhai) who were the original audience of his manuscript. Yet, any literary work—even a truly autobiographical one—arises from its tradition. Its meaning will be better understood and its aesthetic values better appreciated when we consider it in relation to other works in that tradition. For our interpretation ofHonglou meng, what is more pertinent is therefore not the author's personal ties tohisrelatives but the ties of the novel toits“relatives,” works that formed the literary context for its creation.
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14

Kambon, Ọbádélé Bakari, and Lwanga Songsore. "Fiction vs. Evidence: A Critical Review of Ataa Ayi Kwei Armah’s Wat Nt Shemsw and the Eurasian Rhetorical Ethic." African and Asian Studies 20, no. 1-2 (April 27, 2021): 124–53. http://dx.doi.org/10.1163/15692108-12341486.

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Abstract At the 2018 Outstanding African Thinkers Conference on Nna Chinweizu, attendees – the first author included – took a pledge that “In all branches of our lives, we must be capable of criticizing and of accepting criticism. But criticism, proof of the willingness of others to help us or of our willingness to help others, must be complemented by self-criticism – proof of our own willingness to help ourselves to improve our thoughts and our actions. This is a sacred principle and it is my sacred duty to apply and defend it at all costs” (Chinweizu 2018). In response to that call to action, this article represents an effort to restore MꜢꜤt ‘Maat.’ Ataa Ayi Kwei Armah’s Wat Nt Shemsw: The Way of Companions epitomizes undeclared fiction masquerading as an accurate reflection of the mythology of classical Kmt ‘Land of Black People.’ By cross-checking Ataa Armah’s undeclared fiction with actual historical, iconographical, and archaeological data, we are able to debunk his numerous misrepresentations. We find that the best way to approach Kmt ‘Land of Black People’ is through direct engagement with actual evidence rather than through the distortions of fiction writers turned Egyptologists. Further, we will address the personality cult, or what we term “Ataa Armah’s Manor Shemsw model,” which embodies the rhetorical ethic whereby all egalitarians are equal, but some egalitarians are more equal than others (Orwell, Baker, and Woodhouse 1996).
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15

SWASTIWI, Anastasia Wiwik. "Penyengat Island Riau Island: Towards A World Heritage." International Journal of Environmental, Sustainability, and Social Science 3, no. 1 (March 31, 2022): 116–29. http://dx.doi.org/10.38142/ijesss.v3i1.169.

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Malay history and culture cannot be separated from the existence of Penyengat Island. This island once had a strategic role. First, Penyengat Island was the fortress of Raja Haji during the war against the Dutch. Second, as the administrative center of the Riau-Lingga Kingdom. Third, to become the center of Islamic Malay studies which is well-known in the Malay world. Various disciplines have existed on this island. Studies from various disciplines have been carried out. The results mostly recommend that Penyengat Island provide lessons for the life of the Malay community now and in the future. This study uses the historical method through four stages of work, namely heuristics (collection of sources), source criticism (external to the material and internal to the content), interpretation and historiography. The primary sources are Malay manuscripts that were born on Penyengat Island in the late 19th and early 20th centuries. The secondary sources are scientific journals and government policies that discuss Penyengat Island. These primary and secondary sources are then analyzed and interpreted. The final stage is historiography to strengthen the narrative and support data for the submission of Penyengat Island as a world heritage. Penyengat Island has a tangible and intangible cultural heritage. The forerunner of the Indonesian language is recognized as being born from there. Penyengat Island deserves to be a world heritage.
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16

Drozdova, Daria N. "Francis Bacon, Between Myth and History." Epistemology & Philosophy of Science 58, no. 3 (2021): 6–21. http://dx.doi.org/10.5840/eps202158339.

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Over the last 400 years, attitudes toward Francis Bacon's philosophy have changed considerably: the 17-century interest and the 18-century enthusiasm have been replaced by the 20-century criticism and reevaluation. However, both the praise and the rejection of the Lord Chancellor’s philosophical ideas often originate from the isolation and absolutization of particular features of his philosophy that can sometimes be in opposition to each other. These partial readings are justified by the fact that the reference to Bacon’s methodological and epistemological legacy has a symbolic meaning and is part of what is called “image of science” in Y. Elkana’s terminology. The way in which references to Bacon are used at different times and in different contexts is, in fact, a functional myth or theoretical fiction (I. Kasavin) in which the “historical Bacon” is fading away and what emerges is important and meaningful to those who declare themselves his followers or who lash out at him with criticism.
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17

Collinge, James T. "‘With envious eyes’: Rabbit-poaching and class conflict in H. G. Wells’s The Time Machine and The Island of Doctor Moreau." Literature & History 26, no. 1 (May 2017): 39–55. http://dx.doi.org/10.1177/0306197317695082.

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Allusions to rabbits and poaching recur throughout H. G. Wells's work. In spite of the frequency with which they appear, these motifs remain overlooked within scholarly criticism. This article, by analysing Wells's representations of rabbit-poaching, first considers how nineteenth-century histories of industrialisation and game-crime shape his science fiction. It then explores the contradictory nature of these representations, which both demonise and sympathise with the figure of the rabbit-poacher, providing further insight into the class confusion that recent criticism perceives to characterise Wells's writing in this period.
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18

Johns, Anthony H. "Sufism in Southeast Asia: Reflections and Reconsiderations." Journal of Southeast Asian Studies 26, no. 1 (March 1995): 169–83. http://dx.doi.org/10.1017/s0022463400010560.

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In 1961 I published in this Journal a paper on the Islamization of peninsular and insular Southeast Asia. It was a paper I had presented to the first meeting of the conference of historians of Southeast Asia organized in January of that year at the University of Malaya in Singapore by the then Raffles Professor of History, K.G. Tregonning. It was a paper often referred to in discussions concerning the coming of Islam to the Malay world, and attracted its share of approbation and criticism.
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19

Penier, Izabella. "Modernity, (Post)modernism and New Horizons of Postcolonial Studies. The Role and Direction of Caribbean Writing and Criticism in the Twenty-first Century." International Studies. Interdisciplinary Political and Cultural Journal 14, no. 1 (November 1, 2012): 23–38. http://dx.doi.org/10.2478/v10223-012-0052-2.

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My article will take issue with some of the scholarship on current and prospective configurations of the Caribbean and, in more general terms, postcolonial literary criticism. It will give an account of the turn-of-the century debates about literary value and critical practice and analyze how contemporary fiction by Caribbean female writers responds to the socioeconomic reality that came into being with the rise of globalization and neo-liberalism. I will use David Scott’s thought provoking study-Refashioning Futures: Criticism after Postcoloniality (1999)-to outline the history of the Caribbean literary discourse and to try to rethink the strategic goals of postcolonial criticism.
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20

Emma Liggins. "Victorian Sensation Fiction: A Reader's Guide to Essential Criticism (review)." Victorian Periodicals Review 43, no. 1 (2010): 83–84. http://dx.doi.org/10.1353/vpr.0.0110.

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21

Lähteenmäki, Ilkka. "Possible Worlds of History." Journal of the Philosophy of History 12, no. 1 (March 22, 2018): 164–82. http://dx.doi.org/10.1163/18722636-12341354.

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Abstract The theory of possible worlds has been minimally employed in the field of theory and philosophy of history, even though it has found a place as a tool in other areas of philosophy. Discussion has mostly focused on arguments concerning counterfactual history’s status as either useful or harmful. The theory of possible worlds can, however be used also to analyze historical writing. The concept of textual possible worlds offers an interesting framework to work with for analyzing a historical text’s characteristics and features. However, one of the challenges is that the literary theory’s notion of possible worlds is that they are metaphorical in nature. This in itself is not problematic but while discussing about history, which arguably deals with the real world, the terminology can become muddled. The latest attempt to combine the literary and philosophical notions of possible worlds and apply it to historiography came from Lubomír Doležel in his Possible Worlds of Fiction and History: The Postmodern Stage (2010). I offer some criticism to his usage of possible worlds to separate history and fiction, and argue that when historiography is under discussion a more philosophical notion of possible worlds should be prioritized over the metaphorical interpretation of possible worlds.
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22

Heise-von der Lippe, Anya. "Histories of Futures Past: Dystopian Fiction and the Historical Impulse." Zeitschrift für Anglistik und Amerikanistik 66, no. 4 (December 19, 2018): 411–25. http://dx.doi.org/10.1515/zaa-2018-0035.

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Abstract This article traces the historical impulse in two intertextually connected dystopian texts – George Orwell’s 1984 (1949) and Margaret Atwood’s The Handmaid’s Tale (1985) – by reading the two novels in the context of the construction of historical narrative after the proclaimed ‘end of history’ in the twentieth century. It considers their representation of history within the framework of literary criticism of the historical novel (György Lukács), critical dystopias (Tom Moylan), and memory as an active, mediated engagement with the past (Astrid Erll and Ann Rigney). It looks, more specifically, at how the texts contrast personal experience and the meta-narrative contemplation of memory with institutionalized versions of history on different diegetic levels by juxtaposing the narrators’/focalizers’ view of history with that presented in the framework of pseudo-historical appendices that accompany and significantly modify the interpretations of both narratives.
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23

So, Richard Jean, and Edwin Roland. "Race and Distant Reading." PMLA/Publications of the Modern Language Association of America 135, no. 1 (January 2020): 59–73. http://dx.doi.org/10.1632/pmla.2020.135.1.59.

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This essay brings together two methods of cultural‐literary analysis that have yet to be fully integrated: distant reading and the critique of race and racial difference. It constructs a reflexive and critical version of distant reading—one attuned to the arguments and methods of critical race studies—while still providing data‐driven insights useful to the writing of literary history and criticism, especially to the history and criticism of postwar African American fiction, in particular James Baldwin's Giovanni's Room. Because race is socially constructed, it poses unique challenges for a computational analysis of race and writing. Any version of distant reading that addresses race will require a dialectical approach. (RJS and ER)
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24

ROLLS, ALISTAIR. "Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages." Australian Journal of French Studies 58, no. 1 (April 1, 2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.

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Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.
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25

Richards, Christine. "Gender, Race and the ‘Art’ of Fiction: Henry James's Criticism and Harriet Beecher Stowe." Literature & History 9, no. 1 (May 2000): 43–55. http://dx.doi.org/10.7227/lh.9.1.3.

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26

Enslen, Joshua Alma. "Between diplomacy and letters: a sketch of Manuel de Oliveira Lima's search for a Brazilian identity." História (São Paulo) 24, no. 2 (2005): 243–59. http://dx.doi.org/10.1590/s0101-90742005000200010.

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Manuel de Oliveira Lima as an important diplomat of the First Republic in Brazil reflects on an individual, national, and universal plane the convergence of politics and literature. His writing demonstrates an explicit attempt to construct a national identity that emanates not only between literature and diplomacy, but also between the personal and the historical, as well as, the foreign and the national. This paper analyzes brief examples of his criticism, personal correspondence, and fiction that demonstrate the convergence of these fields.
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Qomariah, Siti, Hasan Sazali, and Abdul Karim Batubara. "Tari Inai: Identitas Budaya Masyarakat Desa Kuala Bangka, Kabupaten Labuhanbatu Utara." Warisan: Journal of History and Cultural Heritage 2, no. 1 (June 10, 2021): 29–34. http://dx.doi.org/10.34007/warisan.v2i1.707.

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This article discusses the Inai Dance in Kuala Bangka Village, North Labuhanbatu Regency. Inai Dance is a typical dance from the North Labuhanbatu Malay community which is usually performed at wedding processions. This study uses the historical method in four writing steps, namely; heuristics, verification or criticism, interpretation, and historiography, with a cultural approach. In its history, it is not known when and who brought the Inai Dance to Kuala Bangka Village. However, according to several sources, this tradition has long been practiced by the Malay community in this village. Inai Dance is a dance that comes from the acculturation of local culture with Arabic (Islamic) culture. This dance is usually performed by three dancers who will dance this dance in turn. Inai Dance is a dance that is performed during the procession of plain flour. This dance is performed in front of the bride and groom, apart from being an entertainment for the two brides, it also pays tribute to them as a king and queen for a day.
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28

Hayot, Eric. "Literary History after Literary Dominance." Modern Language Quarterly 80, no. 4 (December 1, 2019): 479–94. http://dx.doi.org/10.1215/00267929-7777832.

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Abstract The various pronouncements of the nation’s dissolution seem to have been premature. Literary history is still very much within the nation, especially if one considers the realm of the middle- and lowbrow, or indeed the vast swaths of genre fiction. What has changed in literary history is the position of literature itself. The discipline of literary study (whether one thinks of it as literary history or literary criticism) institutionalized itself during a period of literary dominance. Now that that dominance is over—now that the field of narrative aesthetic culture includes television, film, and video games, and now that those genres dominate not only markets but the forms of representativity that used to belong almost exclusively to literature—what is the future for literary studies, either as a scholarly discipline or as an institutional field?
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Huttar, Charles A. "The Screwtape Letters as Epistolary Fiction." Journal of Inklings Studies 6, no. 1 (April 2016): 87–125. http://dx.doi.org/10.3366/ink.2016.6.1.5.

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Epistolary fiction, often thought of as an eighteenth-century phenomenon, enjoys considerable vitality in our time and has attracted much welcome critical attention in recent years. The focus, however, has been on selected aspects of the epistolary tradition, to the neglect of others that are part of its rich history. At the same time, discussions of C. S. Lewis's The Screwtape Letters (1942) have generally concentrated on its theological, moral, and satirical aspects, with little consideration of the generic identification declared in the book's title. Attention to its striking affiliations with the epistolary tradition in fiction sheds light on Lewis's artistry in the work, on current critical discourse concerning epistolarity, on Lewis's social and cultural criticism, and on his contributions to critical theory. In the present study, selected aspects of the nineteenth- and early-twentieth-century epistolary tradition are briefly surveyed; then, matters of setting, plot, characterization (especially), and handling of viewpoint in The Screwtape Letters are considered, as well as its widespread debts to the literary heritage and its relationship to Lewis's own contributions as a literary scholar and critic. Attention is given to the implications of Lewis's original preface which has recently been discovered.
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Lau, David. "Drastic Measures in Los Angeles." Boom 3, no. 2 (2013): 82–86. http://dx.doi.org/10.1525/boom.2013.3.2.82.

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This essay is a review of two recent books of criticism: Bill Mohr's account of the Los Angeles poetry scene and Ignacio Lopez-Calvo's account of recent film and fiction set in Latino L.A. The essay argues for a conception of L.A. rooted in understanding the political and economic history of the city, and concludes with some speculation on the future of cultural production in the southern California region.
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Santamarina, Xiomara. "Fugitive Slave, Fugitive Novelist: The Narrative of James Williams (1838)." American Literary History 31, no. 1 (January 1, 2019): 24–46. http://dx.doi.org/10.1093/alh/ajy051.

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AbstractThis essay argues for reading a discredited slave narrative—the Narrative of James Williams (1838)—as an early black novel. Reading this narrative as a founding black novel à la Robinson Crusoe complicates the genealogy and theoretical parameters of literary criticism about early US black fiction. Such a reading revises accounts about the emergence of the third-person fictive voice inaugurated by Frederick Douglass and William Wells Brown in the 1850s. It also offers a new understanding of the antislavery movement’s quest for authenticity. More importantly, reading NJW as novelistic fiction illustrates how a fugitive slave might narrativize muddied textual politics and effectively challenge the reparative vision with which we theorize the genres and politics of early African American literary texts.
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HAMZA REGUIG MOURO, Wassila. "From Feminization of Fiction to Feminine Metafiction in Gaskell’s Wives and Daughters and Woolf’s Orlando." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 187–201. http://dx.doi.org/10.24093/awejtls/vol4no4.13.

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Feminism developed and widened its scope to different disciplines such as literature, history, and sociology. It is associated with various other schools and theories like Marxism and poststructuralism, as well. In the field of literature, feminist literary criticism managed to throw away the dust that cumulated on women’s writing and succeeded in raising interest in those forgotten female artists. Some critics in the field of feminism claim that there are no separate spheres, masculine and feminine, whereas others have opted for post-feminist thinking. Some women writers used metafiction to write literary criticism. Therefore, how do Gaskell and Woolf implement metafiction in their stories? Accordingly, this work aims at shedding light on Wives and Daughters by Gaskell and Orlando by Woolf to tackle metafiction from a feminist perspective. Examples from both novels about intertextuality, narration, and other aspects, that are part of metafiction, will be provided to illustrate how and where metafiction is used.
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Gildea, Niall, and David Wylot. "The And of Modernism: On New Periodizations." Modernist Cultures 14, no. 4 (November 2019): 446–68. http://dx.doi.org/10.3366/mod.2019.0267.

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The study of literary modernism is in the ascendant in the academy. From alternate modernisms, to neomodernisms, to metamodernism and global modernisms, modernism scholarship has evolved through a configuration of modernism into a cross-cultural and inter-generational aesthetic practice. This article critically examines the periodizing logic implicit in this new modernism scholarship, specifically as it pertains to the study of what is loosely called ‘neomodernism’, which we suggest presents a notable development in literary history for accounts of contemporary fiction and postmodern culture. We are principally interested in a recent trend we observe in modernism literary criticism concerning the futurization of the object (literary modernism), and of critical work thereupon. This work, which specifically addresses developments in contemporary Western Anglophone literature, seeks to extend the project of modernism (sometimes called its ‘promise’) into the present, understanding it as the principal agency in literary distinction and merit. We examine this criticism through a series of case studies, and discern three interconnecting strands in neomodernist criticism – three ways of futurizing modernism, and of self-futurizing modernism criticism.
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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Jurnal POETIKA 5, no. 1 (July 31, 2017): 37. http://dx.doi.org/10.22146/poetika.25810.

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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Poetika 5, no. 1 (July 31, 2017): 36. http://dx.doi.org/10.22146/poetika.v5i1.25810.

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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Pezzotti, Barbara. "“I am Just a Policeman”: The Case of Carlo Lucarelli’s and Maurizio de Giovanni’s Historical Crime Novels Set during Fascism." Quaderni d'italianistica 37, no. 1 (June 9, 2017): 89–106. http://dx.doi.org/10.33137/q.i..v37i1.28280.

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This article analyzes two successful Italian novels set during the Ventennio and the Second World War, namely Carlo Lucarelli’s Carta bianca (1990) and Maurizio De Giovanni’s Per mano mia (2011). It shows how Lucarelli confronts the troubling adherence to Fascism through a novel in which investigations are continually hampered by overpowering political forces. By contrast, in spite of expressing an anti-Fascist view, De Giovanni’s novel ends up providing a sanitized version of the Ventennio that allows the protagonist to fulfil his role as a policeman without outward contradictions. By mixing crime fiction and history, Lucarelli intervenes in the revisionist debate of the 1980s and 1990s by attacking the new mythology of the innocent Fascist. Twenty years later, following years of Berlusconi’s propaganda, De Giovanni waters down the hybridization of crime fiction and history with the insertion of romance and the supernatural in order to provide entertaining stories and attract a large audience. In the final analysis, from being functional to political and social criticism in Lucarelli’s series, the fruitful hybridization of crime fiction and history has turned into a mirror of the political and historical de-awareness of Italian society of the 2000s in De Giovanni’s series.
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Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.

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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.
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Basu, M. "A Matter of Light and Shade: Fiction and Criticism in R. K. Narayan's Malgudi." boundary 2 40, no. 2 (June 1, 2013): 215–38. http://dx.doi.org/10.1215/01903659-2151857.

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Alonso-Breto, Isabel. "Sunil Yapa’s Your Heart is a Muscle the Size of a Fist: Protest, Fiction and the Ethics of Care." American Studies in Scandinavia 51, no. 2 (September 26, 2019): 3–24. http://dx.doi.org/10.22439/asca.v51i2.5970.

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Sunil Yapa’s politically engaged first novel vindicates the massive pacific protests that occurred during five days in Seattle in November-December 1999. These protests were summoned against the World Trade Organization summit. The novel responds to the wish to inscribe in the history of fiction a crucial event which would inspire and inflect the later anti-globalization movement and protests, and which according to some has not yet received the attention it deserves by media or criticism. This article discusses Yapa’s work in the light of the Ethics of Care, and develops an exegesis, which, incorporating elements of Hardt and Negri’s ideas about the Multitude, understands the novel mainly as a reflection of the crucial preoccupation thathumans have for other human beings, and the innate wish to actively take care of the Other and improve his or her life conditions.
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Frolova, Marina V. "Indonesian Horror Story by Intan Paramaditha." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 3 (2020): 368–79. http://dx.doi.org/10.21638/spbu13.2020.304.

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Analysis and interpretation of the short stories by Indonesian female writer Intan Paramaditha (Intan Paramaditha, born in 1979) make it possible to understand that her writing occupies a special niche in the modern Indonesian literary paradigm. Paramaditha’s feminist texts are disguised as horror stories with settings in contemporary Indonesia. The article examines five short stories (“Spinner of Darkness” (Pemintal Kegelapan), “Vampire” (Vampir), “Polaroid’s Mystery” (Misteri Polaroid), “The Blind Woman without a Toe” (Perempuan Buta tanpa Ibu Jari), and “The Obsessive Twist” (Goyang Penasaran)). Using the intertextual method, it was possible to prove the gothic poetics of these literary works. The short stories contain the mosaic of folklore-mythological motives from the Malay Archipelago, Biblical and Quranic narratives, as well as European fairy tales and allusions to American horror fiction and horror films. Her prose is built upon some borrowed European literary forms for expression of authentic Indonesian content. The social themes are intertwined with feminist criticism that is presented as a Kitsch of the Indonesian mass culture. In “The Obsessive Twist” the main conflict is focused on the heated debates on sexuality, politics, violence, and religion. The feminist agenda of her prose is contrasted with the turn of contemporary Indonesia towards a Muslim patriarchal society. Paramaditha’s works represent a unique product of West-East-synthesis aimed not only at the Indonesian, but also the global audience.
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Fuadi, Ahmad, Hayatun Sabariah Abdullah Hamid, and Muhammad Sufawi. "Hayatun Sabariah The Urgency of Knowledge of The History of The Langkat Sultancy Social Revolution for The Youth of Langkat." Ilomata International Journal of Social Science 3, no. 3 (July 31, 2022): 360–66. http://dx.doi.org/10.52728/ijss.v3i3.508.

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History in the form of material during the Langkat Sultanate with an important instrument in tracing an event and as tangible evidence of the history that occurred. Sultanate of Langkat which was established on 12 Rabiul Awal in 1320 H. Coinciding with June 13, 1902 AD The research technique that the author did was through a historical approach with research methods in the form of heuristics (data collection), criticism (external and internal), interpretation, architectural analysis (morphology, stylistics, technology, environment, cultural acculturation) and historiography (historical writing). The data collection technique that the author uses is through interviews, literature studies and direct observation to the location of the research object. Based on the research that the author did, it was found that the Langkat Sultanate Revolution for young people was more characterized by modernity as evidenced by the more attractive style of Malay dress. Various architectural arts of the Langkat Sultanate and have officially become cultural heritage objects in 2010 with the mosque identity number 01.5.02.05.11.00000.
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Karmela, Siti Heidi, and Ferry Yanto. "Tradisi Lokal dan Kehidupan Masyarakat Melayu Jambi Di Kawasan Jambi Kota Seberang." Jurnal Ilmiah Dikdaya 12, no. 2 (October 3, 2022): 341. http://dx.doi.org/10.33087/dikdaya.v12i2.323.

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This research is a historical research with the theme of cultural history that seeks cultural morphology, studies of structure, central concepts, developments and changes in certain societies, including traditions. Therefore, the purpose of this study is to explain the existence of traditions in the life of the Jambi Malay community which are socio-religious and social in the Jambi area of the opposite city and start from their growth, development to preservation, as well as the noble values contained in these traditions. Meanwhile, the research method is the historical method by following the stages of heuristics, criticism, interpretation, and historiography.The conclusion of the study shows that there are two types of traditions that are still preserved by the Jambi Malay community in the Jambi area of the opposite city, namely socio-religious (Nisfu Sya'ban, Burdah, Assyura, Barzanji, Syuro) and social society (Nuak, Nginau, Nyukur Baby, Makan Besamo, Grave pilgrimage). This tradition is closely related to Islamic values, passed down from generation to generation and taught the procedures by Tuan Guru.The findings during the research were changes in the meaning and implementation of existing traditions due to various factors, furthermore the fact that the tradition still has values that are realized in the lives of people in Jambi kota seberang.
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Winstead, Karen A. "Critical Fiction: Reading Seinte Margarete through Robyn Cadwallader’s The Anchoress." Hiperboreea 47, no. 2 (July 1, 2021): 189–209. http://dx.doi.org/10.5325/jmedirelicult.47.2.189.

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Abstract This article examines Robyn Cadwallader’s 2015 novel The Anchoress as an interpretation of the early thirteenth-century saint’s life Seinte Margarete. The Anchoress is at once a scrupulously researched historical novel and what the author calls a “critical fiction,” that is, a work of fiction that undertakes the same analytical project as conventional literary criticism: it self-consciously interprets a narrative through its own narrative and investigates many of the same issues that are explored in more familiar forms of literary scholarship and cultural history. The author analyzes The Anchoress’s critical strategies and considers how it can prompt us to think in new and creative ways about Seinte Margarete and the devotional culture that produced it. As it interprets Seinte Margarete, this article shows, Cadwallader’s novel mimics the medieval text, producing a Saint Margaret for a twenty-first-century secular audience. Despite their limitations, which are also considered, critical fictions such as Cadwallader’s can deepen our appreciation of the past we love and stimulate us to rethink its relation to the present we inhabit.
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Henrot Sostero, Geneviève. "Approaches to Teaching Proust’s Fiction and Criticism edited by Elyane Dezon-Jones and Inge Crosman Wimmers." Studi Francesi, no. 145 (XLIX | I) (July 1, 2005): 196–97. http://dx.doi.org/10.4000/studifrancesi.36627.

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45

Mutasa, D. E., and W. L. Chigidi. "Black writers’ Shona novels of the liberation war in Zimbabwe: an art that tells the truth of its day." Literator 31, no. 2 (July 13, 2010): 61–82. http://dx.doi.org/10.4102/lit.v31i2.47.

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Over the years Shona fiction that portrays Zimbabwe’s liberation war has been a subject of severe criticism because of its tendency to falsify and distort history. This article attempts to provide answers to the question of why authors of Shona war fiction tended to romanticise the war of liberation. In pursuance of this objective this article looks at circumstances and conditions that prevailed at the time that most of the Shona stories about Zimbabwe’s liberation war were written. These stories were published during the first decade of Zimbabwe’s independence and it is possible to look at this time and come up with a set of interdependent cultural, economic, political and ideological conditions that helped to shape writers’ perspectives on the war. The article argues that the conditions of artistic freedom that interfaced with internalised fear, the euphoria and celebration, the dominant ideology of the time, as well as the situation of competition were responsible for shaping the consciousness of the war fiction writers. In this article views expressed in interviews by some of the writers of Shona war fiction are taken into consideration. All interviews with authors referred to in the article were carried out by the researcher.
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Mũrĩithi, Wairimũ. "Fragments Towards an Impossible (Domestic) Genre of the Human in Kenyan Crime Fiction." English in Africa 47, no. 3 (February 10, 2021): 99–119. http://dx.doi.org/10.4314/eia.v47i3.6s.

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Extrajudicial executions and other forms of police violence in Kenya have always been an issue of significant concern in local and international media and human rights organisations. Reflective of this, scholarly interest in crime fiction in Kenya has grown significantly in recent years. However, the gendered implications of criminality – from sex work to errant motherhood to alternative modes of investigation – are still largely overlooked in postcolonial literary fiction and criticism. As part of a larger study on how women writers and characters shape crime fiction in Kenya, this paper critically engages with stories that the criminalised woman knows, tells, forgets, incarnates, discards or hides about the city. It does so by examining the history of urban sex workers in Kenya, the representation of ‘urban women’ in postcolonial Kenyan novels and contemporary mainstream media, and the various (post) colonial laws that criminalise sex work. Through Justina, an elusive character in Yvonne Adhiambo Owuor’s Dust, I consider how (post)colonial legislative frameworks and social life attempt to manage “impossible domesticity” (Saidiya Hartman) inside and against the geo-history of gendered and classed criminality in urban Kenyan spaces. My purpose is to interrogate hegemonic constructions of the citizen – and by extension, of the human – in Kenyan law and public morality Keywords: crime fiction, feminism, sex work, human, homo narrans
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Lansky, Ellen. "All Aboard." English Language Notes 60, no. 1 (April 1, 2022): 139–49. http://dx.doi.org/10.1215/00138282-9560265.

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Abstract This essay situates Ernest Hemingway’s iconic “Hills Like White Elephants” as a short story about drinking. From this perspective, Hemingway’s story enables readers to experience a personal and deeply felt emotional engagement with the characters, the scene, and the situation. Moreover, his technique enlists readers as “drinking buddies” and provides an entrée into the culture of alcohol. Despite the macho image that Hemingway himself helped construct and deploy, his work invites women into the scene and, indeed, centralizes a key figure often overlooked in the history of modern American fiction criticism: the drinking woman.
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Hill, L. "The Power of Rhetoric, the Rhetoric of Power: Jean Paulhan's Fiction, Criticism, and Editorial Activity." French Studies 62, no. 1 (January 1, 2008): 96–97. http://dx.doi.org/10.1093/fs/knm267.

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Davies, Jude. "The Occasions of Theodore Dreiser’s Literary Criticism – a View from the Theodore Dreiser Edition." Literature of the Americas, no. 11 (2021): 271–88. http://dx.doi.org/10.22455/2541-7894-2021-11-271-288.

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Theodore Dreiser published over fifty items of literary criticism between 1900 and 1945 on a wide variety of subjects, while additional discussion of literary matters is scattered through his correspondence, memoirs, unpublished speeches, and cultural and philosophical essays. Hitherto this work has proved useful piecemeal, in its illumination of Dreiser’s fiction, while a few outstanding pieces have served to define Dreiser’s version of realism or literary naturalism. This essay takes the literary criticism seriously as a body of work in itself, sketching out some categories and topics, and providing detailed historical contexts for several items, which reveal under-appreciated nuances and engagements in even better-known pieces such as “True Art speaks Plainly” and “Life, Art and America.” The essay sees coherence across the diverse foci of Dreiser’s literary criticism via the concept of the “occasions of literary criticism,” by which is meant the historical and cultural contexts into which he was writing. It charts the roots of Dreiser’s literary criticism in his need to respond to charges of “literary immorality,” its growth through his very particular response to censorship, and its maturity in his suggestion, in a speech given as part of the peace conference in Paris in 1938, of an American literary tradition dedicated to social justice, taking in Mark Twain and H. D. Thoreau as well as the expected cohort of realists and naturalists. The essay concludes by relating these contexts and preoccupations to the history and practice of the Theodore Dreiser Edition.
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Ibrahim, Azhar. "Malay Literature in Singapore: Lines of Thought and Conflicting Ideas." Malay Literature 27, no. 1 (June 1, 2014): 131–60. http://dx.doi.org/10.37052/ml.27(1)no8.

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A line of thought exists and develops from the socio-political and cultural atmosphere, apart from the writer’s level of public and individual awareness. Beginning with the call for “literature for society” by ASAS’50, the following decades saw more variety in literary trends, although, on the whole, established writers still remained committed to use literature as a means for raising awareness and channelling social criticism, while at the same time using it to present the ideal to which the writer aspires. In the cultural and political context of Singapore, there are three lines of thought. The first is a kind of foregrounding, in which the writer makes a universal observation of humankind and/or describes the condition of the Malay community with all its challenges and problems, touching on issues that have a basis in history or current realism. The second is the tendency to offer alternatives or echo moral messages that call for people to be more spiritual and more ethical in this life, without making a concrete link to the communal life or the structures and systems that underlie the society and nation. The third is a kind of escapism, indicated by a domestication of thought or “popularization” of literature following the dictates of a market in which light reading and entertainment-type reading materials are what sells. In Singapore today, writing is becoming more varied. What is to be observed is how literature has become the vehicle for refuting dominant ideas, apart from becoming the ground for competing ideas as writers present what they feel is the best idea in the interest of society. The challenge for developing an effective literary culture is ensuring that literary works have a clear social vision, employing good techniques and language skills, while at the same time building a grounded, people-oriented literature. This discussion will analyse the obstacles that complicate the literary culture of the Malay literature of Singapore as it aims to achieve all this. Keywords: modern literature, Singapore Malay, political culture, humanity, conflicting ideas
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