Academic literature on the topic 'Novel, Fiction, Creative Prose'
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Journal articles on the topic "Novel, Fiction, Creative Prose"
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Nosenko, Tamara. "Corneliu Irod – Ukrainian Writer from Romania (Creative Work Overview)." Слово і Час, no. 10 (October 16, 2019): 90–100. http://dx.doi.org/10.33608/0236-1477.2019.10.90-100.
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The essay surveys the works written by C. Irod, one of the leading contemporary Ukrainian writers of Romania. The main attention is paid to his trilogy of novels “The Feast” and stories that vary in thematic features and stylistics, some of them belonging to a particular type of short prose works – allegoric pieces called “blunder stories”. Considering main themes and ideas of C. Irod’s works and focusing on peculiarities of their literary interpretation, the researcher intends to represent the originality of the writer’s prose heritage, to determine his role in developing the genre of the modern novel and renovating flash fiction in Ukrainian literature of Romania. To achieve this aim, the researcher adds a comparative aspect and refers to the major development patterns of the world novel of the 1960s–1980s, in particular, focusing on such a remarkable feature as ‘new epics’. The themes and issues of the works by C. Irod have been compared to those in the works by Romanian writers, in particular D. R. Popescu. It is noted that C. Irode’s stories have the inherent connection with the flash fiction of the Ukrainian masters – H. Tiutiunnyk and Ye. Hutsalo. The essay follows correspondences in themes and literary technique that relate the Romanian writer to the mentioned Ukrainian authors. The essay also informs about C. Irod’s achievements in the Цeld of literary translation. In particular, he worked over translation of T. Shevchenko’s “Diary”, as well as the book “Taras Shevchenko’s life” by P. Zaitsev. The researcher also gives some details concerning C. Irod’s translations of the tales “When the animals could talk” and “Mykyta the Fox” by I. Franko, the stories written by H. Tiutiunnyk and some pieces in poetry and prose by junior Ukrainian authors.
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Nabytovych, Ihor. "BIBLE TOPICS IN THE HISTORICAL PROSE OF UKRAINIAN EMIGRATION." Polish Studies of Kyiv, no. 35 (2019): 231–42. http://dx.doi.org/10.17721/psk.2019.35.231-242.
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In the article there are summarized innovative approaches to artistic mastering of Bible topics in creative work of Ukrainian emigration writers of 1920th – 1970th: Natalena Koroleva, Leonid Mosendz and V. Domontovych (Victor Petrov). Ukrainian tradition of mastering Bible topics was interrupted by Russian occupation; it finds its bright artistic embodiment in artistic historical prose of Ukrainian emigration. This artistic experience enriches Ukrainian writing by mastering of Bible topics and motives via Bible stylizations, renaissance or creation of newly created new genre formations, contaminations of religious and historiosophical problems, searches of new narrative strategies of artistic mastering of the Holy Scripture. The article traces the way biblical stylizations become a style-forming means in the Ukrainian prose of the XX century. Historical novels Quid est Veritas?(What is the Truth?) by Natalena Koroleva and The Last Prophet by Leonid Mosendz are the basic works of fiction wherein they, playing forming roles, become an important element in poetic language and style. The way L. Mosendz uses bible stylizations in his novel The Last Prophet results in a special art amplification. The author conditionally expands his text’s sense by dint of bible stylizations and his allusive returning to the semiotic-semantic significance of the “base-text”. As the latter is the Bible (or, rather, the Old Testament), generating the said allusive amplifications, Mosendz’ novel, thus, sounds in several creative aspects. One of them is “filling up” the gaps in evangelical texts about John the Baptist’s life. Such “fillings up” occur both through the author’s fiction and his artistic reconstruction based on historical sources. The transformed and adsorbed through bible stylizations elements of neoclassicism and neo-romanticism create in the stylistic palette of novel Quid est Veritas? that unique stylistic aura, which represents Natalena Koroleva’s experimentalist attempts both in the genre field (her attempt to create a Ukrainian historical epopee representing the epoch historically very remote from the artist) and in the stylistic domain. One more specific feature of Koroleva’s novel – its epic character – is also created by help of bible stylizations. The allocation of the said stylistic macrostructures enables to present the general exhibitions of each of the author’s basic idiostyle elements.
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Ogneva, Elena. "DIALOGUE OF CRIME AND INTELLECTUAL FICTION IN THE WORKS OF ADOLFO BIOY CASARES IN THE 1940 S." Herald of Culturology, no. 3 (2022): 109–24. http://dx.doi.org/10.31249/hoc/2022.03.07.
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The article deals with the prolific creative period of the prominent Argentine prose writer of the twentieth century Adolfo Bioy Casares - 1940-s. This is the time when his original artistic style was formed, which is studied in the context of the interrelation of elements and features, inherent in both popular and “elevated” literature. The analysis of the novel The Invention of Morel (1940) and the short story In Memory of Pauline (1948) allows us to trace how in Bioy Casares’s prose the features of the crime fiction genre are organically combined with philosophical fiction, and what enriching imprint on this artistic experiment has been left by the collaboration of the writer with Jorge Luis Borges and Silvina Ocampo.
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Gibson Yates, Sarah. "Writing digital culture into the young adult novel." Book 2.0 10, no. 1 (May 1, 2020): 59–70. http://dx.doi.org/10.1386/btwo_00020_1.
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This article investigates how creative fiction writing has responded to the problem of representing the multimodal landscape of digital culture in young adult literature (YAL). Twenty years ago, Dresang’s theory of Radical Change presented a new breed of digitally engaged YAL that addressed changes in thinking about digital technologies and how young people interacted with them. Nikolajeva predicted the phenomenon three years earlier arguing for YAL coming of age as a literary form. In this article, I argue for the necessity of this work to continue, from the perspective of author-practitioner, and for the importance for authors to develop an expanded writing practice that foregrounds formal experiment that both reflects and critiques the thematic concerns and practices of digital culture. I begin by presenting some context for the work, in the form of a brief discussion of formal experimentation within selected YAL, and then go on to discuss my methods and approaches. This creative writing practice research has been undertaken during the course of Ph.D. study that has explored combining dramatic and multimodal writing techniques into a traditional prose fiction text, in this case a novel, aimed for YAL readers.
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Hesabi, Akbar, Mobina Bakhshi, and Pouria Sadrnia. "Metaphors and the Degree of Conventionality in Translation of Prose Fiction: A Fraction of the Whole in Focus." Hikma 20, no. 2 (December 23, 2021): 153–76. http://dx.doi.org/10.21071/hikma.v20i2.13369.
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The idea of metaphor classification is regarded as how felicitously they are entrenched in everyday language spoken by ordinary people. Metaphor conventionality can be regarded as a scale whose opposite ends constitute conventional and creative metaphors. Logic indicates that the majority of linguistic metaphors are well-worn and conventional rather than novel, since an excess of novel metaphors may remarkably bring about “communicative surprise” (Rabadán Álvarez, 1991) thus increase cognitive processing time and even hinder perceiving. Metaphorical creativity, as the other extreme of the scale of conventionality, can be looked at as the use of conceptual metaphors and/ or their linguistic manifestations that are creative or novel. This study seeks to scrutinize the scale of conventionality in the Persian translation of A Fraction of the Whole. MIP known as Metaphor Identification Procedure put forward by the Pragglejaz Group (2007) was employed in the study to identify metaphors. The findings reveal that, sometimes, the metaphors used in L1 are novel or creative, but the translator draws upon conventional or entrenched ones in L2, or vice versa. The aim is to show the translator's choice of metaphor in terms of a conventionality scale using some previous cognitive models in this regard.
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Sametova, Z., and M. Aitimov. "ARTISTIC HARMONY OF THE POETICS OF HISTORICAL TRUTH." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 267–73. http://dx.doi.org/10.51889/2020-3.1728-7804.40.
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This article States that the classic artistic basis of modern Kazakh prose, which influenced its content and form, were the works of new written realistic literature ( works of Abay, Y. Altynsarina et al.). Images of Kazakh prose created by Shokan, Ibrai, Abai and works written at the subsequent stages of the development of Kazakh literature are national spiritual values. It also examines the literary process of the early twentieth century and the work of individual writers who contributed to the development of the novel genre in Kazakh prose along with examples of world literature. A large number of Kazakh novels created during the period of independence were published in the 90s of the XX century and the beginning of the XXI century. The article examines how the centuries-old history of the Kazakh people, the history of the Kazakh state from ancient times to the present day is depicted in fiction within the framework of the traditional creative process.
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Bryzgalova, Maria D. "The New Prose of Tatyana Tolstaya." Tyumen State University Herald. Humanities Research. Humanitates 5, no. 4 (2019): 87–97. http://dx.doi.org/10.21684/2411-197x-2019-5-4-87-97.
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This article studies the characteristics of Tatyana Tolstaya’s prose of the 2010s, that was compiled with her essays and previous works into a tetralogy: “The Imperceptible Worlds” (2014), “The Girl in Blossom” (2015), “The Invisible Maiden” (2015), “The Century Made of Felt” (2015). This study aims to identify the creative strategies used by the writer, as well as to trace how Tolstaya describes her particular topics in different genres. Hopefully, this will fill in the lacuna in the contemporary Russian literature studies, as Tolstaya’s works have received little academic attention despite their popularity among contemporary readers. To achieve this goal, the author of this article has applied structural-semantic and textological methods. The main feature of Tolstaya’s “new prose” is the transition from the third person narrative to the first. These changes are closely related to Tatyana Tolstaya’s creative roles, such as a teacher, a journalist, a TV-presenter, and a blogger. The role of an author is the main role as it affects the rest. The topics and motifs, present in Tolstaya’s previous fiction and non-fiction works though quite indirectly and detached, come to the fore in 2010s. The main themes include time, memory, and folk mentality. New novels and short stories can also be characterized by the motive of many worlds: the real world is surrounded by other worlds — the “aetherial” ones. Tolstaya’s “new prose” is undoubtedly intertextual, which is necessary for her style. It combines documentary and artistry, autobiographical features and a certain measure of detachment, which allow seeing an autobiographical heroine in the text.
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Stoletova, Anna S. "The transformation of the socialist worldview of the village prose writers and the ideological basis of acutely social works about the Russian North peasant lifestyle." Vestnik of Kostroma State University, no. 4 (2019): 135–39. http://dx.doi.org/10.34216/1998-0817-2019-25-4-135-139.
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We highlight the contribution of Vologda writers Alexander Yashin and Vasily Belov to the development of village prose – the phenomenon of fiction of the 20th century. The prose writers were at the origins of the formation of themes, style, ideology of creative work of the Northern authors realm, became the ancestors of the transition from socialist to critical realism. Special attention is paid to the issues of transformation of consciousness and alteration of the problematic of the writers' narration, in the aggregate leading to the publication of sensational works about the village. The processes of the literary reputation of the writers are displayed, while the points of popularity are determined – for instance the story "Vologda Wedding" and the novel "Business as Usual" of an unusual fate. Portraying a suffering village, the authors experienced a difficult time of forced silence, their figures and creative work were discussed during ideological discussions. The conclusion that having witnessed the stage of crisis phenomena in the evolution of the collective-state farm village, the breaking of the traditional peasant way of life, Alexander Yashin and Vasily Belov were among the first among the village prose writers to express a public protest.
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Kertman, L. L. "Tsvetaeva reads Tolstoy. Leo Tolstoy in Marina Tsvetaeva’s reading and creative consciousness." Voprosy literatury 1, no. 1 (February 20, 2020): 92–120. http://dx.doi.org/10.31425/0042-8795-2020-1-92-120.
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The article discusses Tsvetaeva’s reception of L. Tolstoy’s prose, as detailed in her letters and diaries as well as literary works ( The Tale of Sonechka [ Povest o Sonechke ] etc.). According to the author, Tsvetaeva’s attitude to Tolstoy’s characters was extremely personal and highly emotionally charged (which often interfered with her ability to judge them objectively), blurring the borders between the reality of her personal life and the fictional world of Tolstoy’s novels. For example, examining Tsvetaeva’s reception of Tolstoy’s three major female characters (Natasha Rostova, Princess Maria Bolkonskaya, and Anna Karenina), Kertman points out that Tsvetaeva would respond to them differently at different points in life but would always draw parallels with her personal circumstances. Therefore, the world of Tolstoy’s characters was vitally important for Tsvetaeva and, despite the prejudice in her evaluation of his fiction and philosophy (or perhaps because of it), Tolstoy’s works make a deeply personal and emotional impression on Tsvetaeva, establishing themselves as her all-time reading favourites.
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Aitimov, M., and G. Karimova. "FEATURES OF HISTORICAL TRUTH AND ARTISTIC SOLUTIONS IN MODERN KAZAKH NOVELS." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 335–43. http://dx.doi.org/10.51889/2020-2.1728-7804.51.
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The article examines and systematizes the artistic features of the images of Abay and one of his students Abdrakhman and Alash Alikhan Bokeikhanov (author's narration, dialogue, monologue, characterization, portrait, etc.) in the novel-Hamsa by writer Ramazan Toktarov "Abaydyn zhumbagi" (Abay's Riddle). Novels of modern Kazakh prose are the result of creative work in the system of national and world literary processes. The works of modern writers, who are followers of artists who described various periods in the history of the Kazakh people, have a direct impact on the formation and renewal of the historical and national consciousness of the current reader. The subject of special consideration is the features of the image of historical truth and artistic solution in the novel-Hamsa by Ramazan Toktarov "Abaydyn zhumbagi" (the Abay Riddle). The article also analyzes the artistic solution of the continuity of motives of realism and romanticism (realistic character and artistic fiction ) in modern Kazakh novels.
Dissertations / Theses on the topic "Novel, Fiction, Creative Prose"
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Shieh, Wen-Shan. "Literature in masks : Katherine Mansfield, Eileen Chang and the possibilities of creative writing." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45906/.
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The thesis proposes that the figurative and extensive use of the ‘mask'—persona, masquerade, disguise, impersonation—provides a crucial literary device for the development and liberation of the expressive potential of Katherine Mansfield and Eileen Chang (1920-1995). Chapter 1, ‘Introduction', elucidates the relationship between mask and language with respect to the writings of Mansfield and Chang by revising John Keats's idea of ‘the chameleon poet', Robert Browning's conception of dramatic monologue, Oscar Wilde's insights into truth and masks, and Ezra Pound's adoptions of ‘personae' in his poetry. The affinities between Mansfield and Chang will be explored by looking at their critical writing as well as criticism on them, revealing their shared awareness of the masks of a person in daily life as well as in fiction and drama. Chapter 2, ‘Katherine Mansfield's Art of Changing Masks', explores how Mansfield's characters switch between three types of masks—speech and the non-verbal, gender, animality—to respond to changes in their situations. Particularly important for this exploration are Joan Rivi re's ‘Womanliness as Masquerade', Michael Goldman's theory of masks in acting, and Gilles Deleuze and Félix Guattari's concept of ‘becoming-animal'. Chapter 3, ‘Prosopopoeia: Katherine Mansfield's “special prose” ', considers Mansfield's attempt ‘to bring the dead to life again' in what she calls ‘special prose' as a ‘prosopopoeia', or in Cynthia Chase' phrase, ‘giving a face to a name'. In this chapter I will also trace how Mansfield's work was first translated into Chinese in 1923 by the Chinese poet, Zhimo Xu (1897-1931), which made her one of the most widely-read foreign writers in the Chinese-speaking world. More importantly, I suggest that Xu's use of quotations from Keats and other nineteenth-century poets in portraying Mansfield in his memoir calls our attention to her decisive and still insufficiently examined relationship to poetry. Chapter 4, ‘ “Hiding behind a foreign language”: Eileen Chang's Self-Translation and Masquerade', examines Chang's penchant for translating her fiction and essays from Chinese into English or vice versa. Taking a cue from Pound's view of translations as ‘elaborate masks' and Deleuze's idea of the writer being a ‘foreigner' in their own language, I examine some of the ways in which that the mask of a foreigner / foreign language enables Chang, a bilingual fiction writer and essayist, to gain the emotional and spatial distance from which to reflect on Chinese culture and her personal life. Being inspired by Mansfield and Chang's courage to get away from the notion of writing as self-expression and Dionysus' gift of crossing boundaries through the assistance of the mask, the creative component of the thesis, Chapter 5, consists of 4 short stories. I conclude the thesis with a poem entitled ‘Gifts (for Katherine Mansfield)' and a quick fiction called ‘The Functions of Theory', considering theory and literary terms as a variety of make-up that I apply to the face of my thesis. While critical chapters contain embedded fiction, the creative component demonstrates and tests how the interior space behind the mask allows me to liberate my creative energy. In these stories, I attempt to cross the boundaries between male and female, Chinese and non-Chinese, human and animal, creative and critical writing.
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Fennick, Ruth McLennan Fortune Ron. "The creative processes of prose-fiction writers what they suggest for teaching composition /." Normal, Ill. Illinois State University, 1991. http://wwwlib.umi.com/cr/ilstu/fullcit?p9203044.
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Thesis (D.A.)--Illinois State University,Title from title page screen, viewed December 19, 2005. Dissertation Committee: Ronald Fortune (chair), Janice Neuleib, Ray Lewis White, Elizabeth McMahan, Russell Rutter. Includes bibliographical references (leaves 441-479) and abstract. Also available in print.
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Anderson, Joseph. "Visitations: A Novel." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1267.
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VISITATIONS, a novel, explores themes of haunting and desire in New York City, in two time periods. The modern-day action focuses on Alan Philips whose wife, Beth, has recently died. His efforts to resume a normal life are sabotaged by what he comes to believe is her ghost. In the parallel story, in 1924, Oliver Nathan Blackburn, a pulp writer, in the midst of a breakdown writes a story that may play a role in Beth’s death.
VISITATIONS presents Alan and Oliver’s perspectives in third person narration, so that the reader is both close to and may question the subjectivity of their perceptions. The book employs a black-comic tone for the contemporary period and a more formal one for Oliver’s sections.
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Colagrande, John Jr. "Headz, a novel." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2401.
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This novel reveals the counterculture as seen through the eyes of a group of coming-of-age, vulnerable, reckless, and often pretentious youths. In New York, Thelonious Horowitz is an up-and-coming musician who is uninspired and decides to trek to Chicago for the biggest musical festival of the summer. A diverse cast of characters, living in New York, Miami, and San Francisco, round out the novel, of which Thelonious is the connective tissue, ultimately bringing everyone together at the festival where paths converge for an event none will soon forget, and a concert a few will get to see.
The novel explores the spirit of youth through classical themes like love, wanderlust, freedom, betrayal, and family, all placed within a contemporary context, and in opposition to technology, fame, consumerism, the New Age, and to many, responsibility. This post-modern tragicomedy captures a moment in time in the spirit of Kerouac’s On the Road and Wolfe’s The Electric Kool-Aid Acid Test.
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Chia, Leigh Stephen. "The novel as panopticon : exploring surveillance." Thesis, University of Northampton, 2012. http://nectar.northampton.ac.uk/8852/.
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Elens, James N. II. "Facility 47 - A Novel." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/598.
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FACILITY 47 is a psychological horror novel set in Germany just after the end of World War II. The novel is written in a naturalistic style that seeks to ground paranormal genre elements in a believable world. The story follows a group of Americans, led by Michael Powell, as they seek out and become trapped within an abandoned Nazi research facility in the Harz Mountains that contains a very dangerous secret; an unknown force capable of controlling people’s actions and forcing them to destroy themselves. FACILITY 47 focuses on a character driven by greed, moral outrage at dubious American postwar policy, and a desire to create a world for himself where he is in control. In the end of the novel, Michael learns that the obsessive quest for control can have catastrophic consequences, but this discovery is made too late to save himself or his friends from the mysterious power inside the facility.
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Pledge-Amaral, Carolyn D. "Desert Palms." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2977.
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DESERT PALMS is a contemporary women’s novel set in an Arizona RV park. When Miamians Margie Campos and her husband, Carlos, unexpectantly inherit Desert Palms, a rundown retirement community, Margie reluctantly agrees to stay in Arizona to overhaul the park. With the discovery of a secret letter that threatens to unravel the family, an unscrupulous broker determined to buy the park on the cheap, and a husband bent on hitting it big, Margie digs in and starts to find purpose amidst a desert microcosm.
Told from Margie’s perspective in a closely attached third person, DESERT PALMS is a realistic and humorous narrative that falls somewhere between the style of Liane Moriarty in, “The Husband’s Secret” and Anne Tyler in her novel, “Back When We Were Grownups.” DESERT PALMS offers an offbeat cast of central characters who help Margie gain a deeper understanding of herself and what makes life worth living.
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Suarez, Gabriela P. "The Last Cold Winter." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3273.
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The Last Cold Winter is a historical novel that takes place in Romania at the end of the 1989 Communist Revolution. George Bird, a naturalized American citizen, returns with his thirty-year-old son, Adrian, to the country they had defected from twenty-eight-years earlier. George Bird is dying of lung cancer, and he wishes to see his parents and his country one last time. The trip quickly turns into a nightmare when he is kidnapped the first day back. Adrian, who doesn’t speak Romanian, must now meet the kidnapper’s demand for a list he knows nothing about in order to save his father. With the help of a hotel clerk, Simona, they travel to Transylvania to uncover his father’s troubled past. In the end, the journey helps Adrian understand the circumstances that had influenced his father’s decision to defect, and his need to atone for them now.
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Josaphat, Fabienne Sylvia. "Haiti, 1965 - A Novel." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1171.
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HAITI, 1965 is a historical novel set in Haiti where a struggling taxi driver, Raymond L’Eveillé, struggles to provide for his family under the rule of the infamous dictator François Duvalier Sr.
Raymond’s brother Nicolas, a professor and attorney, lives a more luxurious lifestyle, and both brothers are at odds over finances. When Nicolas decides to write a book about the crimes committed by the government, the inevitable happens. The brutal Tonton Macoutes militia raid his home and find notes that are as evidence enough to send him to Haiti's most notorious gulag of the era, Fort Dimanche, It will be up to Raymond to save his brother. He will have to use his resources and street smarts to get himself arrested, infiltrate the dungeons of Fort Dimanche to find Nicolas, and plan a near-impossible escape.
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Birch, Mona. "Once a Catholic : a novel in stories and poems." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1682.
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"Once A Catholic" is a novel about the indelible effects of growing up Catholic.
The novel is told in a series of stories and poems. The first story, "Credo," offers an overview of the rich culture of Catholicism that binds the Daley family together. "Before The Fall" recalls the safety and warmth of that Catholic faith.
Subsequent stories focus on individual family members and events, and the Catholicity that lies at their core. "Holy Orders" tells the story the firstborn male child whose destination is the priesthood. "Finding Ecstasy" is a daughter's story of rebellion through sexual exploration. "Sweet Reconciliation" is the story of a search within oneself for forgiveness, the cornerstone of Catholic upbringing.
"Acts of the Apostle" demonstrates the hopelessness of a faith under attack. The final story, "Holy Relics," demonstrates the never-ending desire for redemption and the important act of returning sacredness to its rightful place.
Books on the topic "Novel, Fiction, Creative Prose"
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The novel sentence: Creative writing hints from the prose. St. Louis, Mo: Goodspeed Publications, 1991.
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Amigoni, David. The English novel and prose narrative. Edinburgh: Edinburgh University Press, 2000.
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Rosenberg, Liz. Seventeen: A novel in prose poems. Chicago: Cricket Books, 2002.
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Zuckerman, Albert. Writing the blockbuster novel. Cincinnati, Ohio: Writer's Digest Books, 1994.
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Writing the blockbuster novel. London: Warner, 1996.
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Zuckerman, Albert. Writing the blockbuster novel. Cincinnati, Ohio: Writer's Digest Books, 1994.
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Get that novel written! Cincinnati, Ohio: Writer's Digest Books, 1996.
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The creative writing murders: A short novel. Hammond, LA: Louisiana Literature Press, 2007.
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Van Cleave, Ryan G., 1972- and Pierce Todd James 1965-, eds. Behind the short story: From first to final draft. New York: Pearson Longman, 2006.
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Watt, Alan. The 90-day novel. [Charleston, S.C.]: The 90-day Novel Press, 2010.
Find full textBook chapters on the topic "Novel, Fiction, Creative Prose"
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Baines, Elizabeth. "Innovative Fiction and the Novel." In The Creative Writing Handbook, 129–63. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-13814-2_6.
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Baines, Elizabeth. "Innovative Fiction and the Novel." In The Creative Writing Handbook, 129–63. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-349-90813-4_6.
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Raeside, Ian. "Early Prose Fiction in Marathi 1." In The Novel in India, 75–101. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003324423-3.
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Clark, T. W. "Bengali Prose Fiction Up to Bankimcandra." In The Novel in India, 21–74. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003324423-2.
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Jaffe, Audrey. "Modern and Postmodern Theories of Prose Fiction." In A Companion to the Victorian Novel, 424–41. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996324.ch25.
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McGregor, R. S. "The Rise of Standard Hindi, and Early Hindi Prose Fiction 1." In The Novel in India, 142–78. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003324423-5.
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Renk, Kathleen. "Introduction: “Erotic ‘Victorians’: Women, Neo-Victorian Fiction, and Creative Eros”." In Women Writing the Neo-Victorian Novel, 1–22. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48287-9_1.
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Meyntjens, Gert-Jan. "Creative Writing Crosses the Atlantic: An Attempt at Creating a Minor French Literature." In New Directions in Book History, 309–24. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_13.
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AbstractThis chapter analyzes literary advice culture from a transnational-comparative perspective. It sheds light on the reception of the American poetics of creative writing in contemporary France by examining the specific case of Outils du roman: Avec Malt Olbren sur les pistes et exercices du creative writing à l’américaine (2016, Tools of the Novel. Exploring American Creative Writing with Malt Olbren) by the experimental prose-writer François Bon. This text represents a broader dynamic in which French authors of literary advice resort to a repertoire of American writing techniques in an attempt to revive French literature. To conceptualize this process of transfer, I use Deleuze and Guattari’s concept of “minor literature.” This notion conveys how literary advice in France must constantly position itself vis-à-vis its American counterpart, but also how it appropriates and transforms this same body of ideas and techniques. More generally, this chapter makes a case for an increased consideration of supranational transfers in the domain of literary advice when studying processes of local literary change.
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Atwell, Mary Stewart. "“You Will Be Surprised that Fiction Has Become an Art”: The Language of Craft and the Legacy of Henry James." In New Directions in Book History, 79–105. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_3.
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AbstractAs some scholars have noted, the technical principles that modern creative writing workshops identify as “the craft of fiction” owe a great deal to Henry James and the prefaces to the New York edition of his novels, later published in a single volume as The Art of the Novel. However, James, far from setting out to help aspiring writers to develop their technical knowledge, was in fact fairly hostile to the very idea of craft, famously declaring that he “cannot imagine composition existing in a series of blocks.” The prefaces were instead intended to provide a sort of Cliff’s Notes to his own work, naming the tricks of his trade for the edification of his most dedicated readers, and it was these readers, most notably including Percy Lubbock, Joseph Warren Beach, and Caroline Gordon, who adapted James’s principles in some of the first literary handbooks used in the creative writing classroom. Though Lubbock, Beach, and Gordon borrowed significantly from James, they balanced his emphasis on aesthetics with the more accessible and egalitarian approach of earlier authors of fiction-writing handbooks, including the work of Walter Besant. This essay argues that a scholarly examination of the historical development of the discourse of the craft of writing serves not only to correct an over-emphasis on James’s influence, but also to address the equally erroneous assumption that principles of technique are eternal and universal, and thus exist apart from subject position and historical contingency.
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Grinevich, Olga A. "Interaction of fact and fiction in the “estate” poetry of V.V. Nabokov." In Estate real — estate literary: vectors of creative transformation, 118–28. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0676-5-118-128.
Full textAbstract:
The article examines the interaction between fact and fiction in V. Nabokov’s “estate text” at three levels of semiosis. The level of semantics is made up of a system of images, motifs and toposes that together form the semantic core of the “estate” text. The level of syntactics is formed by horizontal connections between elements of semantics, the sequence of their implementation (for example, a plot), as well as the interaction between text and contexts. At the level of pragmatics are considered dialogical connections within the supertext (for example, the features of the subjective structure) and the interaction between different artistic languages that form the supertext (verbal and visual, artistic and documentary, poetry and prose). The semantics of “estate” poetry is associated with the topos of remembrance, the transformation of the real space of the estate into the space of memory and imagination. At the same time, a mechanism of decontextualization is operating: attention is focused not on the historical and cultural contexts of the functioning of the “estate topos”, but on the author’s personal memories. In autobiographical prose (the novel “Other Shores”, 1953–1954) the different relationship between text and context can be observed: the space of the estate fits not only into the biographical, but also into the literary context. At the pragmatic level, there is a blurring of intersemiotic boundaries, which leads to an active interaction between verbal and visual, poetic and prosaic artistic languages. Thus, in the novel “The Gift” (1938), the ecphrastic border between reality and the image is blurred, and in the prose text the plot of an elegiac walk is used, being typical for the “estate” poetry of the 19th century.
Conference papers on the topic "Novel, Fiction, Creative Prose"
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Cogut, Sergiu. "A Daring and Fascinating Rewriting of a Canonical Romanian Fairy Tale." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.34.
Full textAbstract:
The author of the article proposed to highlight the advantages of returning to Ion Creangă’s writings by elucidating their importance as sources of inspiration for contemporary prose writers who publish valuable works rewriting the famous creations of the Romanian classic. Such an indisputable achievement in the context of Romanian prose of the last decades is the novel that came out in 2004 and is entitled „Relatare despre Harap Alb” („A Report about Harap Alb”) by Stelian Țurlea, a prolific author that has dozens of books on his record, but who, surprisingly, does not feature in the recent histories of Romanian literature („The Critical History…” of Nicolae Manolescu and that of Mihai Iovănel which covers the time segment between 1990 and 2020), although he is the holder of several literary awards, including the one from 2005 which was awarded for this exceptional rewriting, in a postmodern register, of the Crengian fairy tale about Harap Alb. Thus, is emphasized and motivated the necessity to valorize the Crengian literary heritage, but also that of recognizing the merits of the novelist Stelian Țurlea by highlighting his contribution and his position in the landscape of current fiction.
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Nicoglo, Diana. "Reflection of the events of the “Balkan” period in the Gagauz fiction." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.32.
Full textAbstract:
The most detailed description of the “Balkan” period is found in the novel by D. Tanasoglo “Uzun Kervan”. In other genres (poetry), the poeticized image of the Balkans as the historical homeland of the Gagauz is presented to a greater extent. The main events of the “Balkan” period in the history of the Gagauzians, reflected in fiction, are: the adoption of Christianity by the Oghuz / Uzes – the ancestors of the Gagauzians, relations with the local population of the Balkans, the struggle against the Ottoman Turks, and the creation of a fictional Gagauz state called Uzi Eyalet. The authors also draw attention to the way in which changes occur in the traditional everyday culture of ancestors of the Gagauz as a result of changing economic-cultural type, and religion. In the Gagauz environment of creative people, there is a unity in the perception of the historical past associated with the presence of the ancestors of the Gagauz people in the Balkans. As a rule (with a few exceptions), the past broadcast by Gagauz writers is largely mythologized: and the writers themselves play a significant role in the process of constructing ethnicity.
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Vallis, Carmen. "Writing against the tide." In 25th Australasian Association of Writing Programs Conference 2020. Australasian Association of Writing Programs, 2020. http://dx.doi.org/10.32613/acp/2020.73.
Full textAbstract:
A tide of conservatism is rising. Despite bushfires and a global epidemic, many are unwilling or unable to grapple with the facts behind these catastrophes. What is not said drifts in and out of public consciousness. In present silences and lacunae, past stories wait to be told anew. In this presentation, I reflect on discontinuity and continuity in the curious silence around the Joh Bjelke-Petersen era in Queensland history, a time remembered for corrupt politicians and cops, but otherwise culturally (and conveniently) forgotten in literary fiction. I discuss my creative response to this era, and outline processes that are saving me from drowning in entwined political, cultural and personal silences as I write an exegesis and novel.