Journal articles on the topic 'Novel, Fiction, Creative Prose'
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1
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.
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Marchuk, Liudmyla. "Terminological polysemy in the prose of Mariia Matios." Terminological Bulletin, no. 5 (2019): 291–98. http://dx.doi.org/10.37919/2221-8807-2019-5-40.
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The article is one of the attempts to analyze the linguistic features of modern Ukrainian female prose. Despite the fact that in recent decades literary scholars have revealed some important features of the works of this genre, the language of feminine prose remains poorly understood. The obtained results supplemented the information about the general patterns of the use of terminological vocabulary in the artistic text. In the article, we distinguish the main ways of using terminology as an artistic means of language of Ukrainian writers. The urgency of the topic of scientific research is determined by the increased attention to the genres of contemporary women’s prose and the creation of a separate term “female prose”. A thorough linguistic study of the language of Ukrainian novels by Mariya Matios will help to understand the influence of science and technology on the fiction language of the 21st century. Creative individual and author’s use of terms by an artist is the reflection of the main characteristic processes not only in the language of fiction, but also in the whole contemporary commonly used language. Scientific and technical terminology is at the present stage the leading place in the enrichment of expressive means of language, therefore, in our work, we highlight some of the most relevant aspects. First of all, from the standpoint of styles interaction the modern Ukrainian language, since terminology is a product of scientific style. The study of the place and functions of terminological vocabulary in the language of Ukrainian prose deserves attention also in terms of stylistics of artistic speech. It is important to establish certain regularities in the gradual development of the terms of modern prose – from their use in the literal sense to full inclusion in the artistic text, use in the form of tropes. The work will contribute to further study of the functional and stylistic features of the terminological vocabulary in prose, to reveal the main characteristic processes not only in the prose text, but also in the modern universal language.
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Aitimov, M., and А. Naimanbayev. "ARTISTIC IMAGES OF ALASH FIGURES IN MODERN KAZAKH PROSE." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 193–200. http://dx.doi.org/10.51889/2021-1.1728-7804.32.
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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 article examines the features of the image of historical reality and artistic solutions in modern Kazakh novels, reveals how documentary is combined in them with artistic fiction. The analysis is performed on a material of novels Sabit Dosanov "Kylburau", “Yiyk". The article analyzes how modern Kazakh novels depict human life against the background of nature, how national and ethnographic traditions relate to the realities of time, and other features of the aesthetics of the artistic solution. The authors also note that in these works, writers try to create literary and artistic images of Alash leaders Alikhan Bokeikhanov, Akhmet Baitursynov and other historical figures.
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Kupina, Natalia A. "Metaphoric Interpretation of Communicative Values in Today’s Flash Fiction." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 4 (2021): 283–96. http://dx.doi.org/10.15826/izv2.2021.23.4.079.
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Referring to literary texts, this article considers the possibilities of systematisation and interpretation of the values of Russian culture. For specialised analysis, the author chooses flash fiction by Denis Dragunsky, Mikhail Shishkin, and novel prose by Pavel Krusanov, Alexey Slapovsky, Alexey Salnikov, and Maria Stepanova. The purpose of the research, which is carried out within the field of axiological stylistics, is to identify relevant communicative values with the help of the latest Russian prose. A brief outline of the politicisation and depoliticisation of the Russian language and basic values of culture provides a general idea about the basic values on the time scale of the twentieth and twenty-firstcenturies. The coordination of stylistic and linguacultural methods of analysis identified a strategy of word-centrism, which is common for the authors chosen and finds its expression in the formation of an open supra-textual lexical paradigm. Each component of the paradigmatic row nominates a communicative value and at the same time acts as an object of the author’s metaphorical interpretation. The verdict on the “dead” language of the totalitarian era and the “stillborn” language of modern mass literature, full of viruses of vulgarity, profit, and consumerism, is accompanied by the construction of a detailed metaphor of the road, which makes it possible to put forward a socially significant task of linguo-axiological construction. Based on metaphorical diagnostics of speech existence, there are distinguished numerous axiological constants, i.e. a living language and a living word. Not “the only true” word, but a word charged with emotional energy should become an instrument of linguo-axiological construction, which is to be carried out on the basis of creative use of language as a system of possibilities. The ethnotype of a real Russian writer is formed, which is contrasted with the linguacultural type of a successful word seller. The Russian writer, who selflessly serves the Russian language, is to pave the way to a living language by creating texts, which would continue the traditions of classical Russian literature as an imperishable national value.
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Borbat, T., and I. Yachmyanova. "ETNAGRAFIZM WORKS V.L. KARATKEVICH (BASED ON THE NOVEL “SPIKES UNDER YOUR SICKLE”)." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 190–98. http://dx.doi.org/10.17721/2075-437x.2019.35.19.
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The article is devoted to the study of the distinctive feature of V. Korotkevich’s idiostyle, in particular, the folklore and ethnographic reflection of objective reality, the maximum and immediate proximity of themes, topics and visual means of the social and historical life of people, their traditional artistic creation-folklore, images and typical symbols of this people , to a living folk language in the diversity of its dialectal features. The historical paths of Belarus, the daily life of Belarusian people, their identity, the Belarusian Polesie along with its inhabitants, including flora and fauna, are widely and truthfully shown, apoetized by V. Korotkevich with true love of his son for his mother (nature, land,Motherland). The object of our study was such linguistic (speech) units that acquired a reference, symbolic, and metaphorical meaning in the work “Ears under your sickle” and identified the national culture, having significant value in the development of the modern material and spiritual culture of Belarusian people. V. Korotkevich’s novel “Ears under your sickle” is incomplete: it was stopped writing halfway not only in the creative, but also in the physical life of the writer-patriot, the poettribune, the artist-philosopher. During his short life, V. Korotkevich appeared both as an outstanding poet, and as an original prose writer-narrator, and as an original screenwriter as well and playwright who does not repeat the specific methods and techniques of reflecting objective and subjective reality demonstrated by his predecessors, but has his own so- called idiostyle. The authors of the article come to the conclusion that V. Korotkevich’s use of the Belarusian-language phrases and paremias, their creative processing and genre development give the works a nationally realistic sound, bring them closer to the living folk language, traditional artistic creation, typical images and symbols of Belarusian people, thus creating a distinctive feature of V. Korotkevich’s idiostyle , his folkloreethnographic reflection of objective reality. Such linguistic material enriches not only the language of Belarusian fiction, but also the entire Belarusian literary language.
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Aleinik, L. V. "Formation of creative individuality and socialization of personality in autobiographic novel-essay by A. Fedorenko “Mezha”." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 67, no. 2 (May 6, 2022): 225–33. http://dx.doi.org/10.29235/2524-2369-2022-67-2-225-233.
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The autobiographical novel-essay “Mezha” by the modern Belarusian writer Andrei Fedorenko is investigated. The stages, functional components, different-level socio-cultural contexts, the general structure of the processes of personality socialization and the formation of a creative individuality, which are reflected in the literary text, are determined. The increased relevance of autobiographical prose is substantiated in connection with the processes of world globalization and industrialization of modern society, the main target of which is the younger generation. The general role of fiction as a socio-cultural practice, contributing to the development of cultural competence, social adaptation and productive socialization of the individual, is analyzed, since the fundamental civilizational values and their semantic models are codified and transmitted in society to a large extent with the help of such phenomena as text and books. It is revealed that the autobiographical work of A. Fedorenko psychologically reliably reflects the content of socialization – a kind of convention between a person and society, a two-way process of an individual’s assimilation of social norms and cultural values and their creative reproduction. It is argued that the novel-essay “Mezha” has a high socializing potential, is an effective catalyst for the reflexive activity of the reader, a stimulator of creative thinking, an indirect way of comprehending the norms and rules of social and social life.
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Chaves, Vania Pinheiro. "Nas origens do romance brasileiro: As primeiras narrativas de J. M. Pereira da Silva." Navegações 11, no. 2 (February 20, 2019): 147. http://dx.doi.org/10.15448/1983-4276.2018.2.33155.
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Este ensaio se debruça sobre as seis narrativas que, publicadas por J. M. Pereira da Silva no periódico carioca Gabinete de Leitura, em 1837, não tiveram o seu pioneirismo reconhecido pelos historiadores e críticos da literatura brasileira. A análise dos temas, assuntos e formas desses relatos procura demonstrar o importante contributo do autor para a criação e nacionalização da prosa de ficção brasileira. *** In the origins of the Brazilian novel: the first narratives of J. M. Pereira da Silva ***This essay focuses on the six narratives that, published by J. M. Pereira da Silva in the Rio newspaper Gabinete de Leitura, in 1837, didn’t have its pioneering role recognized by the historians and critics of Brazilian Literature. The themes, subjects and forms analysis of these stories seeks to demonstrate the author’s important contribution to the creation and nationalization of Brazilian prose fiction.Keywords: Brazilian romanticism; prose fiction; J. M. Pereira da Silva; Gabinete de Leitura.
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G.Zh., Bolatova, and Mukhametkali A.A. "Expressive function of intertext in the philosophical prose (based on the novel "Sled ptici v nebe" by B. Momyshuly)." Keruen 75, no. 2 (June 10, 2022): 166–75. http://dx.doi.org/10.53871/2078-8134.2022.2-13.
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The article examines the expressive activity of intertext in philosophical prose. The relevance of the work is due to the lack of a special scientific study devoted to the expressive activity of intertext. The object of the study was Bakytzhan Momyshuly’s philosophical novel “The Trail of a bird in the sky”. Intertextual elements link the text with other texts of the functional style. In this regard, intertextual elements are found in a literary text in various typologies and perform a different function. Expressiveness means strengthening the content of this text, systematization of certain information, drawing attention to it. The implementation of the expressive function of the intertext is possible only when the intertext is connected to the communication process, i.e. to the communication process. Expressiveness, according to many researchers, consists in a complex understanding, the main components of which express each other and interact in language. These include emotionality, intensity, imagery, evaluation. Artistic text is especially characterized by expressiveness as a means of creating artistic images. An artistic image is the basis of a literary text. In philosophical novels, it is reflected in the form of emotions, feelings, states of consciousness, connecting reality and fiction through the imagination of the writer. Possessing artistic and aesthetic qualities, the language of fiction refers to a certain system of means of verbal and artistic expression. Artistic speech has its own linguistic features. Expressiveness contributes to the creation of new means of conveying the thoughts and feelings of the speaker. A philosophical text affects the reader emotionally and aesthetically by communicating certain information.The difference between the concepts of expressiveness and emotionality made it possible to clarify a number of provisions concerning expressive semantics. The work of E. M. Galkina-Fedoruk, L. E. Mikhailova is devoted to the correlation of the concepts of expressiveness, emotionality. In their opinion, the category of emotionality is divided into several types: expressiveness-emotionality-evaluative (emotional); words defining moral assessment (decent, honest) refer to units of emotional assessment as expressive. The author’s position: even without expressiveness, these units cannot be emotionally evaluative. Although many linguists have studied the theoretical foundations of linguistic expression in fiction and its practical application, it is the expressive function of intertext in works of fiction that has not yet been sufficiently studied.
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Myslina, Julia N. "J.A.A. Joyce’s type of chronotope in Mikhail Shishkin’s non-fiction “Russian Switzerland”." Vestnik of Kostroma State University 27, no. 4 (December 23, 2021): 168–73. http://dx.doi.org/10.34216/1998-0817-2021-27-4-168-173.
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The article is devoted to the comparative analysis of the organisation of spatio-temporal structures in the novel “Ulysses” by James Augustine Aloysius Joyce and the literary-historical guide “Russian Switzerland” by Mikhail Shishkin. The general way of permeability of the boundaries of fiction – non-fiction genres and the reflection of this process in the world and Russian literature of the 20th–21st centuries is investigated. It is proved that for Mikhail Shishkin, as well as for J.A.A. Joyce, everyday life becomes an experimental field, where J.A.A. Joyce's deliberately destroyed time is rethought by the modern author into the category of simultaneity, which allows people and events separated by centuries to be viewed at one point in space. J.A.A. Joyce and Milhail Shishkin think of time as a way of organising events and facts as a spatial one, which allows us to present world history as a creative chaos of events, the expansion of which into the genre of non-fiction makes the narrative strategy more multidimensional, rather than as a system of causes and effects. The two authors are brought together not only by a common literary tradition, but also by an autobiographical understanding of emigration, thanks to which Mikhail Shishkin deliberately builds himself as a mediator between cultures, for whom J.A.A. Joyce’s speech techniques are a self-evident core of the artistic style of the new emigre prose.
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Дев'ятко, Наталія Володимирівна. "Жанрові особливості та творчий потенціал сучасної української літератури (на прикладі українського цифрового самвидаву)." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 2, no. 98 (2021): 122–51. http://dx.doi.org/10.34142/2312-1076.2021.2.98.07.
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The article is devoted to the study of genre features and creative potential of modern Ukrainian literature, which has the form of digital self-publishing. The study used hermeneutic, comparative, system-structural and structural-functional methods, as well as conceptual, plot-image, problem-thematic analysis, text-analytical method of "careful reading" to read the archetypal and code content of texts and others. Currently, there are more than 10 literary digital self-published resources inUkraine. However, the prose resources "Booknet" and "Arkush" have the real influence on the literary process. Both allow authors to communicate with readers through digital self-publishing. Five factors influence the work of modern Ukrainian authors: 1) the influence of classical Ukrainian and world canons; 2) the influence of postmodernism both in the literature and at the social and ideological levels; 3) the influence of mass literature of the Russian Federation; 4) the influence of translations and modern European literature; 5) the influence of the Internet and communication with the reader. In the context of digital self-publishing, each of these factors has its own specifics. The influence of cinema on mass literature is especially powerful. This can be manifested as a replication of the template (simplification), and in the form of systemic plot and psychological complication of textual structures. Today, digital self-publishing is represented by a whole range of genres: fiction (science fiction, fantasy, mystical prose, etc.), realism (historical, romantic, social, psychological novel, detective, thriller, etc.), and literature for children and youth. In each genre we see original novels that are not inferior in quality to those published through publishing houses. The latter makes it possible to talk about the emergence of writers inUkrainewho can be "indie authors". That corresponds to the global changes in book publishing.
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Janicki, Joel J. "Forgotten Books: On the Making of Jane Porter’s "Thaddeus of Warsaw"." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 309–28. http://dx.doi.org/10.36770/bp.485.
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This article attempts to identify and examine some of the factors and sources that led to the creation of a largely forgotten prose work of English fiction titled Thaddeus of Warsaw (1803) which became an immediate and extraordinary success. Jane Porter’s novel deals with a fictitious Polish patriot Thaddeus Sobieski, who is modelled on the Polish national hero Tadeusz Kosciuszko. The novel presents an excellent illustration of the cultural links between Great Britain and Poland towards the end of the 18th century and constitutes a cautionary tale for Porter’s English readers, one that creates a basis for moral reform and political engagement.
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Meškova, Sandra. "SEMANTICS OF THE DEPICTION OF DAUGAVPILS IN ANITA LIEPA’S DOCUMENTARY PROSE AND FICTION." Via Latgalica, no. 6 (December 31, 2014): 64. http://dx.doi.org/10.17770/latg2014.6.1658.
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<p>Anita Liepa (born 1928) is a contemporary Latvian prose writer whose creative work was closely related to the post-soviet period in Latvia in the late 20th – and the beginning of the 21st century. In her works she depicted significant evidence of complex and contradictory processes in the history of Latvia in the 20th century, especially those related to World War II and its consequences for Latvia. Her works are divided into two distinct groups: documentary prose and fiction. The writer was born in Daugavpils, a town on the south-eastern border of Latvia, that had a significant role in the history of Latvia, especially in relation to World War II, as the town, was the place of dislocation of the major cavalry corps regiment in Daugavpils fortress. A. Liepa’s uncle Anatolijs Sondors was the fortress commandant, who faced the entrance of the Red Army and along with other Latvian army officers was deported to the Far North of the Soviet Union and died there.</p><p>The present paper regards the depiction of the cultural space of Daugavpils in Liepa’s works, searching for parallels with the writer’s biography and views expressed in different media, that attribute specific connotations to the semantic of the topos of Daugavpils with border as its major dominant. The paper follows up the depiction of Daugavpils both in Liepa’s documentary prose (“Exhumation”, “Colt Years”, “Silenced Pages”) and fiction (“Windfall”). The paper is methodologically based on the notions of cultural geography, semiotics and feminist autobiography studies. It makes use of Mikhail Bakhtin’s term “topos” to denote a model of spatial construction. Border is singled out as the central element of the semantic of the topos of Daugavpils in Liepa’s works, focusing on its spatial, temporal aspects, as well as the depiction of culture environment.</p><p>The topos of Daugavpils is most precisely and extensively depicted in the memory novel “Colt Years” („Kumeļa gadi”). Though published in 1993, the novel had actually been completed before any other of Liepa’s documentary works; this may partially be the reason, why she made depictions of Daugavpils in her following works more laconic. However, the major difference is determined by the genre of her works. In documentary prose the topos of Daugavpils reveals the information about the epoch or what may be called “signs of the time”, activating the culture code (according to Roland Barthes’ division of codes into hermeneutic, semic, proairetic, symbolic, culture codes), yet also developing a bond with the depiction of action and manifestations of the narrator’s subjective emotional states and the system of values. In works of fiction, space is a poetic category closely related to other poetic elements of the text, foregrounding the hermeneutic, semic, proairetic and symbolic codes. Hence, in “Colt Years” the topos of Daugavpils depicts not only the historical and cultural realia and landmarks of the town in the period of the 1930–1940s, but also spatial opposites of two homes the homodiegetic narrator lived in (her deceased father’s house, where she spent the happiest time of her childhood, and her uncle’s hous, where she lived during her school years), accentuating the bond between space and the narrator’s psycho-symbolic reality (referring to the semic and symbolic codes). The link between the topos of Daugavpils and the plot in all documentary works regarded is implied by the locus of Daugavpils railway station as a point of departure or arrival of characters involved in central plot lines. Scenery seen through the train window is realistically described in detail, providing place names, geographical names, referring to earlier episodes of characters’ lives. Thus, the proairetic code is activated along with the culture and other codes. The hermeneutic code is activated in the novel “Windfall” in a very interesting way. On the one hand, the author realistically describes the town of Daugavpils referring to historical events of the time of Awakening there; on the other, the toponym “Daugavpils” is replaced by an imagined name “Rūdunava”. Thus, the analysis of the depiction of Daugavpils in A. Liepa’s works leads to conclusions about the close connection between the category of space and the genre.</p>
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Puzyreva, O. G. "GENRE DEFINITIONS OF THE AUTHOR'S EDUCATIONAL AND FICTIONAL TEXT OF A TEACHER FOR A FOREIGN AUDIENCE AT THE LEVEL OF PROFICIENCY IN RUSSIAN B1-C1." National Association of Scientists 3, no. 26(53) (2020): 4–27. http://dx.doi.org/10.31618/nas.2413-5291.2020.3.53.177.
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The article analyzes the genre originality of the author's educational fiction text for a foreign audience. The formal and substantial connection of the proposed text with the autobiographical narrative, autobiographical and lyrical-prose discourses, as well as with the representative definitions of the novel is investigated. It is suggested that the text of such a mixed type contributes to the successful implementation of the complex educational goals that the teacher has in mind, creating a similar artistic and methodological structure.
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Chernyak, Maria A., and Marine A. Sargsyan. "METAFICTIONAL STRATEGIES IN MODERN PROSE." Вестник Пермского университета. Российская и зарубежная филология 12, no. 2 (2020): 130–38. http://dx.doi.org/10.17072/2073-6681-2020-2-130-138.
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With the advent and development of the theory of metafiction, the range of works that can be referred to this phenomenon is constantly expanding, with the deepest origins of metafiction being found in the history of novel as a genre. Modern Russian metafiction, developing in the context of literary centrism rebooting and new practices being created, is widely represented in different strata of modern Russian literature: in elite literature (Pushkin House by A. Bitov, t by V. Pelevin, Blue Fat by V. Sorokin, etc.), in fiction (Happiness Is Possible by O. Zayonchkovsky, Quality of Life by A. Slapovsky, Medvedki by M. Galina, Self- Taught by A. Utkin, etc.), in mass literature (Stylist by A. Marinina, Boys and Girls by E. Kolina, Point of No Return by P. Dashkova, etc.). The article analyzes different metafictional strategies in modern prose. The process of creating literary text is found to be one of the crosscutting subjects of modern metafiction. This is primarily connected with the writers’ desire to capture and reflect the complex and contradictory strategies of writing in the 21st century. The article considers different manifestations of metafictional strategy, such as: ‘triple literary matryoshka’ (Literary Slave: Weekdays and Holidays by N. Sokolovskaya), the theme of translation and mystification (Interlinear Translation by E. Chizhov and Stylist by A. Marinina), the author’s reflection (Adaptor by A. Slapovsky), ‘novel about a writer’ (Happiness is Possible by O. Zayonchkovsky), text created in collaboration with the new type of the reader (Arbeit. The Wide Canvas by E. Popova). All the analyzed texts raise questions about the changing role of the writer and the reader in the modern world and about the new relations between the writer and the publisher.
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Valikova, Olga. "CREATIVITY IN THE CONTEXT OF KAZAKH PROSE: WHY MASKS WONDER AROUND." Creativity Studies 11, no. 2 (November 14, 2018): 244–57. http://dx.doi.org/10.3846/cs.2018.6172.
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Particular genres are becoming more appealing in modern fiction, including dystopia, post-apocalyptic novels, and eco-horror. Post-industrial consciousness threatens the world due to environmental impacts and the loss of the most important living “landmarks” (orientations), i.e., dehumanization. In the “man versus nature” relations system, the Kazakh writer Aslan Zhaksylykov differentiates key elements in the “man versus man” paradigm: first, the “social animal” and secondly, the involuntary outcast or biological mutant. Starting with the Dreams of the Damned (first edition in 2006) literary cycle, in the creative thinking perspective the author discusses the “ilinxian” text phenomenon, the discursive space of connectomes and humanistic ideas embodied in ethno-cultural masks. Santrauka Tam tikri žanrai šiuolaikinėje grožinėje literatūroje, įskaitant distopiją, poapokaliptinius romanus ir ekologijos siaubą, įgyja daugiau patrauklumo. Postindustrinė sąmonė kelia grėsmę pasauliui dėl poveikio aplinkai ir dėl pačių svarbiausių gyvenimo gairių (orientyrų) praradimo, i.e. dehumanizacijos. „Žmogus versus gamta“ santykių sistemoje kazachų rašytojas Aslanas Zhaksylykovas atskiria pagrindinius „žmogus versus gamta“ paradigmos elementus: pirma, „socialinį gyvūną“ ir, antra, nevalingai atstumtąjį ar biologinį mutantą. Pradėdama nuo Pasmerktųjų svajonių (pirmasis leidimas pasirodė 2006 m.) literatūros ciklo, kūrybinio mąstymo perspektyvoje autorė aptaria ilinx teksto fenomeną, diskursyviąją konektomų ir humanistinių idėjų, reiškiamų etnokultūrinėmis kaukėmis, erdvę.
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Maksimenko, Ekaterina Dmitrievna. "The problems of reader’s experience and the search for style in V. S. Naipaul's essayistic writing." Litera, no. 5 (May 2021): 40–46. http://dx.doi.org/10.25136/2409-8698.2021.5.35357.
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This article conducts a chronological reconstruction of the key milestones of the reading path of V. S. Naipaul, as well as reviews the problems of his reader’s experience and the search for writing style. Emphasis is placed on the creative and personal relationship between V. S. Naipaul and his father S. Naipaul, who was his teacher and mentor, developed his literary taste, aptitude and style of the future Nobel laureate. Their collaboration draws the interest of researchers based on the fact that namely S. Naipaul introduced world literature to his son, affected his choice of books, and helped to understand a different sociocultural context. The author reveals the impact of the Russian writers (Gogol, Tolstoy) and the Spanish picaresque novel (“Lazarillo de Tormes”) upon writing style of V. S. Naipaul; as well as determines the reading preferences of V. S. Naipaul at a mature age. Among the authors who considerably influenced V. S. Naipaul in different periods of his creative path, the author names R. Kipling, D. Defoe, J. R. R. Tolkien, and J. Conrad. The analytical overview of the “writer's library” and his reading preferences allows carrying out a more systematic, consistent, and logical examination of V. S. Naipaul's works. The idea of the circle of authors and writings that considerably influenced the creative personality of V. S. Naipaul gives the key to the analysis of quotations, borrowings, allusions and reminiscences, i.e. the problems of intertextuality in his prose fiction. V. S. Naipaul's essayistic writing has not been published in the Russian language; this article introduces it into the Russian scientific discourse in literary studies.
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Oladayo, Muniru Murana, and Hafsat AbdulWahab. "An Exploration of Adamu Kyuka Usman’s Style of Introduction in Hope in Anarchy." International Journal of English and Comparative Literary Studies 2, no. 1 (January 26, 2021): 13–23. http://dx.doi.org/10.47631/ijecls.v2i1.160.
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Every good piece of writing, fictional or otherwise is marked by a good introduction. This initial part is the primary provider of the reader’s first impression that sustains the reading. The introduction as well as the other parts of a written or spoken text is essentially realized through specially selected language. In prose fiction, special selections and patterns are the hallmarks. This paper explores the devices of style deployed by Usman in the creation of the introduction to Hope in Anarchy. It involves an intensive reading of the first chapter of the novel to unravel its artistic underpinnings for creating and sustaining the interest of the reader in the story. This thorough reading follows a general but careful reading of the entire text to establish the writer’s preoccupation and general tone. Excerpts from the introductory chapter form the data, and the analytical framework is linguistic stylistics. The analysis reveals that the novelist annexes contrastive lexical and syntactic devices, adjectives and adverbs of varied types and semantic nuances and morpho-phonological choices to introduce and delineate characters, develop events and create suspense. The paper concludes that both the novelty and typicality of the narrative derive from these stylistic constructs.
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Babikov, Andrei. "Ada’s Penmanship To the publication of an excerpt from the Russian translation of Nabokov’s novel." Literary Fact, no. 16 (2020): 8–67. http://dx.doi.org/10.22455/2541-8297-2020-16-8-67.
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The material offered to the readers is a translation into Russian, with extensive notes, of an excerpt from the First Part of Vladimir Nabokov’s novel Ada, or Ardor: A Family Chronicle (1969). The published material consists of a translator’s Preface, five chapters from the novel, notes by V.V. Nabokov and the translator’s annotations. The Preface to the publication describes the creative and biographical circumstances of the creation of one of the most significant and controversial novels of the twentieth century, and indicates the sources of its conception, which goes back to the English short story of Nabokov Time and Ebb (1944), and considers its formal peculiarities. The Preface outlines the basic principles of Ada’s poetics, which distinguish it from the number of other works of the outstanding master and innovator of prose and affect it’s readers perception, such as: deliberate complexity of the narrative technique and an unprecedented variety of language tools used by Nabokov. The author of the Preface draws attention to the fact that the subtitle of the novel, indicating that it belongs to the genre of family chronicles, serves as one of the elements of Nabokov’s game poetics, since the classical tradition becomes the subject of parody in Ada. The novel is considered by the author of the Preface and translator of Ada as a grand compendium of European literature of Modern period, as an experiment in combining many varieties of the novel, from pastoral and Enlightenment utopian fiction of the 16– 17 centuries to the Nouveau roman of the 1950s and 1960s. The new Russian version of Nabokov’s most untranslatable novel took into account detailed annotations (in progress) by B. Boyd, works by A. Appel, Jr., and other researches, observations by one of the German translators of Ada, D. Zimmer, and the text of the French translation of the novel, which was prepared under Nabokov’s supervision. The Preface to the publication and the translator’s annotations involve archival material, in particular the draft of several chapters of the Russian translation of Ada, prepared by Véra Nabokov.
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Henck, Nick. "Subcommander Marcos and Detective Fiction: The Case of Mexico’s Mysterious Masked Man." Crime Fiction Studies 3, no. 2 (September 2022): 194–214. http://dx.doi.org/10.3366/cfs.2022.0074.
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The paper focuses on Mexican guerrilla leader and global rebel icon Subcommander Marcos, and in particular on his acquaintance with and affinity for detective fiction. More specifically, it explores his exposure to the genre and the influence it had upon him; his references to it in his communiqués; and his relationship with the detective novelists Manuel Vázquez Montalbán from Spain and Paco Ignacio Taibo II from Mexico. This study examines numerous communiqués and oral presentations by the Subcommander that mention Conan Doyle’s Sherlock Holmes stories as well as Marcos and Taibo II’s co-authored highly-political crime novel, The Uncomfortable Dead. This novel, which represents Marcos’s longest piece of unified prose-writing and features his literary creation, the indigenous detective Elías Contreras, exhibits certain shared preoccupations on the part of Marcos, Montalbán and Taibo: namely, the detrimental impact of neoliberal globalisation, and the importance of historical memory in combatting it. Finally, the paper explores the factors that led Marcos to employ a crime novel as a major vehicle for conveying his socially inclusive, pro-indigenous, pro-ecology, pro-democracy, pro-female empowerment, pro-LGBTQ, anti-capitalist and anti-neoliberal globalisation political philosophy.
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Ricquier, Kirsten. "The early modern transmission of the ancient Greek romances: a bibliographic survey." Ancient Narrative 15 (February 14, 2019): 1. http://dx.doi.org/10.21827/5c643a2ff2600.
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This contribution offers a new, critical bibliography of translations and editions of the five extant Greek romances in the early modern era, from the beginning of printing to the eighteenth century. By consulting catalogues of libraries, digitalised copies, and secondary literature, I expand, update and correct earlier bibliographies. I identify alleged editions and include creative treatments of the texts as well as incomplete versions. As an interpretation of my survey, I give an overview of broad, changing tendencies throughout the era and filter the dispersion over Europe in a wider area and period than was available so far, in order to get a more complete picture of their distribution. Furthermore, I point to some peculiar (tendencies in) combinations, among the lemmata themselves, as well as with other stories.Kirsten Ricquier studied Classical Philology at Ghent University (Belgium). She is currently a researcher at this institution funded by the European Research Council Starting Grant Novel Saints under the supervision of Professor Koen De Temmerman. Her research concerns the afterlife of ancient prose fiction in medieval Greek hagiography and the early modern era, the classical tradition (particularly in the long 18th century), and genre theory.
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Zvonska, Lesia. "UKRAINIAN TRANSLATIONS OF ANCIENT GREEK LITERATURE: ACHIEVEMENTS AND PROSPECTS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 30 (2021): 17–20. http://dx.doi.org/10.17721/1728-2659.2021.30.5.
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The article presents the history of Ukrainian translations of ancient Greek literature and describes the translation work of Ukrainian classical philologists, poets and prose writers. The reception of literary works of antiquity is represented by texts of different styles, poetic schools and Ukrainian language of different periods, which demonstrate the glorious tradition of domestic translation studies. It is noted that Ukrainian translations have a long history (from the first translation in 1788 and the first textbook in 1809); they were published in separate periodicals, collections, almanacs, as well as complete books and in textbooks and anthologies. Ukrainian translations of literature in the ancient Greek language of the аrchaic, сlassical and Hellenistic periods are analyzed. Translations of poetry (epic, elegy, iambic, monodic and choral lyrics, tragedy, comedy, folk lyrics, mimiyamb, epilium, bucolic, idyll, epigram) and prose (fable, historiography, philosophy, rhetoric, fiction, ancient novel, New Testament and Septuagint, early Christian patristic) are described. Significant in the history of translations are the achievements of the brilliant connoisseur of antiquity I. Franko. The high level of linguistic and stylistic assimilation of ancient Greek prose and poetic texts is demonstrated by the creative style of such outstanding translators as Borys Ten, V.Svidzinsky, M. Bilyk, G. Kochur, A. Smotrych, V. Derzhavуn, V. Samonenko, P. Striltsiv, A. Tsisyk, Y.Mushak, A. Biletsky, V. Maslyuk, J. Kobiv, Y. Tsymbalyuk, L. Pavlenko.The glorious traditions are continued by well-known antiquaries, writers and poets, among whom A. Sodomora has a prominent place. At the level of world biblical studies there are four translations of the Holy Scripture in Ukrainian (P. Kulish, I. Pulyuy, I. Nechuy-Levytsky, I. Ogienko, I. Khomenko, R. Turkonyuk). Іt is summarized that despite numerous Ukrainian translations of various genres of ancient Greek literature there is a need to create a corpus of translations of ancient Greek historiography, rhetoric, philosophy, natural science texts, Greek patristic.
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Noor, Redyanto. "PROSES KREATIF PENGARANG CHICKLIT DAN TEENLIT INDONESIA." HUMANIKA 22, no. 2 (December 1, 2015): 10. http://dx.doi.org/10.14710/humanika.22.2.10-24.
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An author creative process includes the issue of why and how the author wrote the novel. Among the chicklit and Teenlit novelists there are similar supporting factors, namely talent, hobby, intelligence, and daily life experience around them. The Supporting factors are then combined with skills, methods and storytelling which spontaneous and honest.They never thought about storytelling techniques when writing a novel. They do not think about the structure of fiction such as the grooves, figure-characterizations, backgrounds, storytelling, and so on.The creative process of the authors can not be separated from the influence of life in their surrounding environment that provides reality as a source of inspiration to write the story. The reality is in the form of social problems, personal problems, society, humanity, divinity, and so on. All sorts of information and experience are gained through association and access to information technology. All are quickly and simultaneously enrich the treasury of their knowledge so that they can talk anywhere, anytime, and about anything. Thus, the young chicklit and Teenlit novelists become successful and famous is not in a sudden and without a process. Nor because special facilities given by publisher or certain parties, but through hard work. Lot of terms and conditions that they can meet through their struggle.Thus, it can be concluded that the creative process of chicklit and Teenlit novelist is a blend of natural talent, hobby, intelligence, and life experience, supporting by intelligence, hard work, a wealth of experience, breadth of relationships, social sensitivity, the ability of storytelling and writing skills.
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Laranjeira, Antonio Eduardo S. "Recursos cinematográficos na prosa pop de André Sant’Anna." Txt: Leituras Transdisciplinares de Telas e Textos 4, no. 7 (June 30, 2015): 45. http://dx.doi.org/10.17851/1809-8150.4.7.45-55.
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<p><strong>Resumo</strong>: No discurso literário pop, é notável a fusão de linguagens e<br />referências. Considerando-se o texto pop pós-moderno de André Sant’Anna como objeto, é possível observar de que maneira os recursos cinematográficos são utilizados no processo de construção das narrativas “Aquarius”, conto publicado em Amor e outras histórias, e Sexo, romance subseqüente. Com base nos estudos de Marinyze Prates de Oliveira sobre a ficção de João Gilberto Noll, a partir da sistematização do uso dos recursos cinematográficos na literatura contemporânea, é possível afirmar que a prosa pop de André Sant’Anna é perpassada pela presença de estratégias narrativas do cinema.</p><p><strong>Abstract</strong>: The fusion of languages and references is remarkable in pop literary discourse. Taking as subject André Sant'Anna's post-modern pop text, it's possible to see how cinematographic strategies are used in the creative process of the narratives Aquarius, a short-story published in Amor e outras histórias, and Sexo, Sant'Anna's subsequent novel. Based on the researches by Marinyze Prates de Oliveira about João Gilberto Noll's fiction, and on the systematizing of the uses of cinematographic strategies in contemporary literature, it's possible to state that André Sant'Anna's pop prose is marked by the presence of narrative strategies of cinema.</p><p><strong>Keywords</strong>: pop literature; cinema; André Sant'Anna.</p>
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Donets, Paul. "STYLISTIC MEANS OF EXPRESSING TRANSHUMANISM IN OLES BERDNYK'S EARLY NOVELS." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2019, no. 29 (November 2019): 92–103. http://dx.doi.org/10.24195/2616-5317-2019-29-8.
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The article examines stylistic devices in which distinguished Ukrainian writer Oles Berdnyk expresses transhumanist ideas. The author is famous for being one of the brightest representatives of native science fiction. His early novels “Paths of Titans”, “The Arrow of Time” and “Children of Infinity”, which depict a utopian future, have been chosen as an object to be studied. It is found out that the message translated by the author in a given period of his creative activity reproduces primarily the techno-optimistic discourse that prevailed in the middle of the twentieth century and has some obvious transhumanist and immortalist indications, which can be observed both at substantive (the evolution of a man into an omnipotent immortal being is being depicted) and stylistic level. In its simplest form, this is manifested in the active use of positively colored epithets, hyperbolized metaphors, metonymic embodiments and other stylistic means which shape central features of the author's idiostyle. The tropes and figures of speech used by the author are in most cases emotionally expressive, that is, they contain elements of value (mostly positive, in this case). One common characteristic of Berdnyk’s prose is its high expressiveness, that is, solemn and pompous style, contrast and bright images. Building on the ideas of cosmism philosophy, he follows the scientistic trends of the Golden Age of western science fiction on the one hand and introduces some distinctive elements of national Ukrainian conceptosphere into the established genre on the other. His late works, however, underwent drastic philosophical changes, resulting in a gradual departure from his previous views.
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Polishchuk, Volodymyr. "PANTELEIMON KULISH IN THE FATE AND WORKS OF MYKHAILO STARYTSKYI (APPROACHING THE ISSUE)." Слово і Час, no. 3 (May 26, 2021): 3–21. http://dx.doi.org/10.33608/0236-1477.2021.03.3-21.
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The paper focuses on the relationship of two Ukrainian literature classics of the 19th century Panteleimon Kulish and Mykhailo Starytskyi, the viewpoint of the latter being basic in this research. The study reveals some aspects of biographical and then creative nature that had an impact on the outlook of the younger writer (M. Starytskyi). There were noticeable differences in the characters and temperaments of the two writers. The noble tolerance on the part of M. Starytskyi allowed maintaining a constructive dialogue between colleagues, despite the substantial worldview and historiosophical ‘swings’ of P. Kulish in the 1870s and 80s. As to typological convergences and differences in the field of literature, it is noted that P. Kulish’s “Commoners’ Council” (“Chorna Rada”) had a signifi cant and long-lasting impact on Starytskyi’s outlook and subsequently his prose works (especially fiction). The prophetic potential of Kulish’s novel (commoners’ councils as the causes of ‘ruin’, the destructive nature of the thoughtless spontaneity of the masses, the threat of populism, etc.) was realized in Starytskyi’s writings. The study shows that in different spheres of creative work, both P. Kulish and M. Starytskyi tended to innovations and experiments focused on the best achievements of European literatures. Special attention is paid to the debatable issue of the classics’ priority in ‘breaking the patterns’ of imitating Shevchenko’s manner of verse (based on the judgments of I. Franko, M. Zerov, and Ye. Nakhlik). The author of the paper defends the view of at least simultaneous overcoming the mentioned patterns by P. Kulish and M. Starytskyi. Some analytical comments are given to M. Starytskyi’s judgments about T. Shevchenko, contained in his letters to P. Kulish. The analysis of M. Starytskyi’s works (novels, dramas, some poems) shows that their author did not share the views of the late works by P. Kulish concerning the historical role of the Cossacks and haidamak movement.
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Gracheva, Alla. "“CHILDREN’S PROSE OF THE 1920S BY ANASTASIA VERBITSKAYA, THE BANNED WRITER ANASTASIA VERBITSKAYA / INTRODUCTORY NOTE AND PUBLICATION OF TEXTS BY A. M. GRACHEVA”." Children's Readings: Studies in Children's Literature 20, no. 2 (2021): 258–80. http://dx.doi.org/10.31860/2304-5817-2021-2-20-258-280.
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The introductory note to the publication analyzes the reasons for the success of A. A. Verbitskaya “modern novels” “The Spirit of Time” and “ Keys of Happiness” with the young reading audience of the 1910s. In these two bestsellers the writer was able to combine a diverse, aesthetically and politically relevant topic of interest to the younger generation with the poetics of the adventure and adventure novel genres that descended from the heights of classics into the field of fiction. Verbitskaya managed to achieve, as K. Chukovsky put it, a successful “combination of Rockambole and Darwin, Pinkerton and Marx”. Having banned Verbitskaya’s novels in 1924, the new government, represented by N. Bukharin, gave the writers the task of creating new entertaining literature, their own “communist Pinkerton”, in effect urging them to continue the stylistic traditions of Verbitskaya’s rejected and banned literary experiments. In the Appendix, Verbitskaya’s stories from the 1920s are published for the first time from archival sources: “Joy”, “How Buttercup became a communist”, “Our pioneers”, “Memories of Lenin by pioneer Shura Andreeva, recorded from her words”.
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Gracheva, Alla. "“CHILDREN’S PROSE OF THE 1920S BY ANASTASIA VERBITSKAYA, THE BANNED WRITER ANASTASIA VERBITSKAYA / INTRODUCTORY NOTE AND PUBLICATION OF TEXTS BY A. M. GRACHEVA”." Children's Readings: Studies in Children's Literature 20, no. 2 (2021): 258–80. http://dx.doi.org/10.31860/2304-5817-2021-2-20-258-280.
Full textAbstract:
The introductory note to the publication analyzes the reasons for the success of A. A. Verbitskaya “modern novels” “The Spirit of Time” and “ Keys of Happiness” with the young reading audience of the 1910s. In these two bestsellers the writer was able to combine a diverse, aesthetically and politically relevant topic of interest to the younger generation with the poetics of the adventure and adventure novel genres that descended from the heights of classics into the field of fiction. Verbitskaya managed to achieve, as K. Chukovsky put it, a successful “combination of Rockambole and Darwin, Pinkerton and Marx”. Having banned Verbitskaya’s novels in 1924, the new government, represented by N. Bukharin, gave the writers the task of creating new entertaining literature, their own “communist Pinkerton”, in effect urging them to continue the stylistic traditions of Verbitskaya’s rejected and banned literary experiments. In the Appendix, Verbitskaya’s stories from the 1920s are published for the first time from archival sources: “Joy”, “How Buttercup became a communist”, “Our pioneers”, “Memories of Lenin by pioneer Shura Andreeva, recorded from her words”.
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Kolhan, Olena, and Yuliia Matsokina. "Terms of the Military Business in the Novel by Walter Scott Ivanhoe: Structural Organization." Terminological Bulletin, no. 5 (2019): 298–304. http://dx.doi.org/10.37919/2221-8807-2019-5-41.
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Terminological stylistics is one of the most relevant areas of linguistics in the 21st century. The subject of the study, according to A. Kryzhanovska, is “using multidisciplinary terminology in its definitive sense, the author’s creating the necessary and special words on models of the real terms, introducing redefined terminology in the arsenal of artistic means.” In modern Ukrainian linguistics, as you know, there are no comprehensive studies on using the terms in styles unusual for them, including the belles-lettres. Today, in Ukrainian terminology, there are only a small number of works that deal exclusively with some aspects of the functioning of special words in journalistic and belles-lettres styles that are specific to this type of vocabulary. The article continues the cycle of publications in the field of studying the specific functioning of military terminology in the writings of the writers from different countries of the world. The investigation is aimed at studying the peculiarities of the structural-component organisation of the military terms in the language of the work by W. Scott “Ivanhoe”, in particular, the word terms and phrase terms have been analysed. The authors of the study present the main problematic ideas existing at the present stage in the circle of narrow specialists, which are terminology. The relevance of the paper, first of all, is due to the lack of comprehensive studies on the peculiarities of using the military terms in the works by Walter Scott and the need for linguistic analysis of the texts, in particular the novel “Ivanhoe”, which is a pearl of world literature. The paper gives the main thoughts on defining the concepts “word term”, “phrase term”. The authors’ classification of the military terms which Walter Scott successfully introduced in his fiction work is represented on the basis of the generally accepted in modern Ukrainian linguistics. The military terms of the above mentioned work are analysed, and the specifics of their use is defined, their structural-component organisation in the prose work of the prominent writer Walter Scott is determined. The investigators in their article define the main characteristics of the military terms that function in the analysed fiction work, present these units determine their grammatical categories and structure. The word term and phrase terms, which include military terms, which are introduced into the language of the text by the author, are investigated. The function of this vocabulary taking into account the subject area, the ideological content, the purpose of the work, the creative idea of the author is determined. The quantitative characteristics of the military terminological units of Walter Scott’s novel “Ivanhoe” have confirmed the opinion of most linguists regarding the benefits of the multi-component terms over the word terms. This phenomenon is due to the fact that such units, which have a large number of components, allow describing in more detail, describing the concept of a particular industry, in particular military affairs. Introducing such multicomponent terms is absolutely justified in fiction texts, because the author must take into account the fact that the reader of his work may not only be a person who has special military training, but also be a representative of another profession, or the reader does not have any specialty, education, etc. This can complicate the reader’s understanding of the work, so the true artist takes on such multicomponent terms in his text to create the most vivid and understandable image.
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Markelova, Olga. "The sturlung era in modern Icelandic historical prose: Einar Kárason." St.Tikhons' University Review. Series III. Philology 70 (March 31, 2022): 20–32. http://dx.doi.org/10.15382/sturiii202270.20-32.
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The period from 1220 to1262-64, the so-called Sturlung era, is significant in Icelandic culture, not only due to its dramatic political events, but also because by that time the great works of the Old Icelandic literature have been written down. In modern Icelandic historical fiction the most noticable text, devoted to the Sturlung era, is the tetralogy by Einar K?rason ("A Gathering of Foes“ 2001, "Fury“ 2008, "The Skald“ 2012 and "The Axe era“, 2014). It is based on the Old Icelandic "Sturlunga saga“, in particular, on "The Saga of Icelanders“ by Sturla Thordarson. The writing technique in the tetralogy s nevertheless antipodal to the saga manner: the events are described fragmentary, from the subjective point of view of a variety of persons, also the episodical ones; thus the complexity and the multifaceted character of the historical prcess is being stated. In each novel of the tetralogy there is one central character, the other narrators reflect upon. Snorri Sturluson, the most iconic figure of this era, is often mentioned, but is never among the narrators. The writing of sagas is being described (especially in "The Skald“), and the inner intentions of the 13th century scribes creating their texts turn out to be similiar to the intentions of modern authors. The narration manner and the universal thinking way of thecharacters neutralizes the historical distance between the narration and the readers. In modern Icelandic literature a firm narrative tradition of perception of the Sturlung era is absent, thus, the works of Einar K?rason can be regarded as the direct reception of the Old Icelandic sourse texts as they are, but not as an interplay with a set tradition of their perception. But such a tradition can be formed in future by this tetralogy.
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Oliynyk, L. "YANUSH-LEON VYSHNEVSKY-NOVELIST: FEATURES OF THE CREATIVE MANNER." Current issues of linguistics and translation studies, no. 19 (October 30, 2020): 82–85. http://dx.doi.org/10.31891/2415-7929-2019-19-16.
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The article considers the work of Polish author Janusz-Leon Wisniewski. The peculiarities of his creative manner are indicated. It is noted that the work of the writer in modern European novels is an extraordinary phenomenon. It is characterized by thematic richness, appeal to both traditional topics for literature and contemporary problems. In addition, it is noted that J. Vyshnevsky is an expert on human psychology in general and women’s psychology in particular. At the beginning of the XXI century. a new name appeared in Polish literature – Janusz Leon Wisniewski – Doctor of Informatics and Chemistry, the most popular writer in modern Poland. He is responsible for developing software in the chemical industry. J. Vyshnevsky is a co-author of the first computer software product in the world, based on the automatic creation of systematic names of organic compounds based on their structural formulas. The author’s unique artistic world was presented for Polish and world literature in the first novel “Loneliness in the Network”, later in small narrative genres and other examples of great prose. The works amaze modern readers with candid pictures of events, psychologism of the image of the characters, current topics of today. J. Vyshnevsky is the author of 22 books, the most famous of which are “Loneliness on the Net” (“S @ motność w sieci”), “Martyna”, “Bikini”, “Why do you need men?” (“Czy mężczyźni są światu potrebne?”), “On Facebook with my son” (“On Facebook with my son”), “Love and other dissonances” (“Czułość oraz inne cząstki elementarne”). Vyshnevsky does not describe fictional events. His works focus on the real image of reality. The main creative credo of the writer is the true reproduction of the present. He does not depict reality, but analyzes the circumstances of life. Emotions and real stories are always present in the writer’s works. That is why it is easy for the reader to accept, believe and pass the story through his mind. The author skillfully describes the world of feelings, focuses on the concept of “woman”. It is female images that create the center of the semantic structure of novels, short stories, short stories of the writer. In the works of J. Vyshnevsky it is openly said that he makes his wife, mother, sister, daughter, mistress happy, and destroys their hearts and souls, takes away the desire to live.
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Motornyi, Andrii. "CZECH WRITER ALEXEJ PLUDEK IN LETTERS TO UKRAJINIAN SCHOLAR VOLODYMYR MOTORNYI." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 12(80) (December 23, 2021): 109–12. http://dx.doi.org/10.25264/2519-2558-2021-12(80)-109-112.
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Personal letters of the Czech writer, of the middle of the second half of the twentieth century Alexej Pludek (1923–2002) to the Ukrainian scholar-slavist, literary scholar, professor of Lviv University Volodymyr Motornyi (1929-2015) are presented in this work. The issues, given in the letters are considered on the background of the specifics of the development of the literary process in Czechoslovakia in so-called “normalization period”. There are also issues related to the creation of individual works by the Czech writer and further evaluation of them by Czechoslovak and foreign literary criticism. Problems related to the history of the creation of individual works of the Czech prose writer and their subsequent assessments by Czechoslovak and foreign literary critics are also covered. Special attention is paid to the place of Serbo-Lusatian themes both in V. Motornyi's literary studies and in A. Pludek's literary work. The presented letters cover the 70s – 90s of the last century, which were the period of particularly active socio-political and creative activity of Alexei Pludek. Alexei Pludek, whose literary debut took place in the 1940s, was a Czech writer, politician, playwriter, editor and public figure whose works were especially popular in the 1970s and 1980s. The author is known primarily for his novels on historical themes, as well as works in the genre of science fiction. Volodymyr Motornyi (1929–2015) was a Ukrainian scholar, professor of Slavic philology at National Ivan Franko University of Lviv, author of numerous works on Czech and Serbo-Lusatian literature as well as on Czech-Ukrainian, Lusatian-Ukrainian and Czech-Lusatian literary and cultural ties.
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Markulyak, Larysa Vasylivna. "Means of Character Portraying in Mykhailo Kotsiubynsky's Literary Works." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 14, no. 24 (2021): 36–43. http://dx.doi.org/10.34079/2226-3055-2021-14-24-36-43.
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The article examines a portrait as a means of creating a character in the works of Mykhailo Kotsiubynsky, an outstanding Ukrainian writer of the fin de sièclе period. It is traced that an important category of poetics is the portrayal of a character. It helps to better understand the writer's intention, to reveal his creative individuality, to understand the problems of prose. Various types of portraits are identified, and the features of portraying in the novels of M. Kotsiubynsky's works are analysed. It is proved that the portrait is an emphasis on the anthropocentrism of fiction. The significance of portraing in the context of the formation of the character's image is clarified. The author of the article believes that Mykhailo Kotsiubynsky was one of the first among the modernist writers to feel the need to search for new approaches in the depiction of artistic images in order to create not only his own world, but also an integral paradigm of the Ukrainian cultural space. In the end, the research helped him develop his own holistic and unique style, a creative manner in which the writer translates the vision angle from a blind reflection of reality into the psychology of his characters. This work of M. Kotsiubynsky went beyond the realism discourse, absorbing the main features of neo-romanticism. It is traced that the neo-romantic stream of the story is more expressive with the ethnographic part, which is complemented by the portraits of the characters. It is due to the ethnographic portrait that the mental characteristics of the characters are reflected. In the story “Shadows of Forgotten Ancestors” M. Kotsiubynsky skilfully uses an ethnographic portrait, supplementing it with a psychological one, which helps to strengthen the mental features of the characters, to create vivid images. It has been proved that it is the character's portrait as a component of the human image that acquires special significance in the repertoire of Mykhailo Kotsiubynsky's works. It helps to better reveal the nature of the character and to better understand the nature of his actions. At the same time, M. Kotsiubynsky goes beyond the limits of ethnographic descriptiveness: he is interested in the soul of a person and human nature in general, therefore the writer resorts to a combination of ethnographic features of a portrait with its psychological manifestations. It is proposed to consider a portrait as a means of expressiveness in revealing the ideological content of a prose work. The role of the artistic detail is substantiated, which emphasizes the semantic content of the psychological portrait on the one hand, and, on the other, it enriches the ethnographic gamma of the writer's prose. It is traced that the use of contrast creates a dynamic that serves the emergence of a cohesive image. Portrait descriptions are not only plot elements, but are full-fledged components of the work. It has been established that the image of the writer himself also appears through the portrait characterization of the characters, so the representation of a work of art occurs through the prism of the artist's individual perception.
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Нгуен, Тхи Хоан. "THE INFLUENCE OF F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT” ON THE WORKS OF VIETNAMESE WRITERS." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 3(112) (October 15, 2021): 60–67. http://dx.doi.org/10.37972/chgpu.2021.112.3.009.
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В статье впервые дано общее представление о влиянии «Преступления и наказания» Ф. М. Достоевского на творчество вьетнамских писателей на протяжении целого столетия. Автор обращает внимание, что роман «Преступление и наказание» занимает особое место в культурном пространстве Вьетнама, оказывая влияние на поэтику художественных произведений вьетнамских прозаиков, их мировоззренческие и эстетические ориентиры. В работе наглядно иллюстрируется процесс вхождения «Преступления и наказания» в культуру Вьетнама, который шел через творческую адаптацию романа. Автор отмечает, что сложные философские проблемы, которые поднимались в романе Ф. М. Достоевского, вызывали большой интерес у вьетнамских читателей, а у ряда вьетнамских писателей и стремление к подражанию. Исследование показало, что «Преступление и наказание» оказало заметное влияние не только на сюжет, идею художественных произведений, но и на языковой стиль многих известных вьетнамских романистов в ходе модернизации вьетнамской литературы. Интерес к роману великого русского писателя сохраняется сегодня на высоком уровне, что способствует развитию культурных связей между двумя народами. В статье делается вывод о незаменимой позиции романа «Преступление и наказание» в сердцах вьетнамских читателей. Научная новизна настоящего исследования определяется изучением творческой адаптации романа Ф. М. Достоевского в литературной практике вьетнамских художников слова на протяжении XX-XXI веков, а также обозначением различных линий в рецепции известного русского романа во Вьетнаме. Результаты исследования могут быть использованы на занятиях по истории русской и зарубежной литератур, будут интересны учителям-словесникам, а также всем увлеченным художественной литературой и культурой. The article for the first time gives a general idea of the influence of “Crime and Punishment” by F. M. Dostoevsky on the works of Vietnamese writers for a whole century. The author observes that the novel “Crime and Punishment” occupies a special place in the cultural space of Vietnam, influencing the poetics of the artistic works of Vietnamese prose writers, their ideological and aesthetic guidelines. The work clearly illustrates the process by which “Crime and Punishment” enters into the culture of Vietnam, which went through the creative adaptation of the novel. The author notes that the complex philosophical problems that were raised in the novel by F. M. Dostoevsky aroused great interest among Vietnamese readers, and a number of Vietnamese writers also had a desire to imitate. The study showed that “Crime and Punishment” had a noticeable impact not only on the plot, the idea of literary works, but also on the language style of many famous Vietnamese novelists during the modernization of Vietnamese literature. Interest in the novel of the great Russian writer remains today at a high level, which contributes to the development of cultural ties between the two peoples. The article concludes about the irreplaceable position of the novel “Crime and Punishment” in the hearts of Vietnamese readers. The scientific novelty of this study is determined by the study of the creative adaptation of the novel by F. M. Dostoevsky in the literary practice of Vietnamese authors during the 20th-21st centuries, as well as the designation of various lines in the reception of the famous Russian novel in Vietnam. The results of the research can be used in classes on the history of Russian and foreign literature, and will be of interest to teachers of literature as well as to all those who are interested in fiction and culture.
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Pecherskyh, L. "ELEMENTS OF ANTI-UTOPIA IN THE NOVEL "RADIO NIGHT" BY YU. ANDRUKHOVYCH." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 2(95) (December 17, 2021): 27–35. http://dx.doi.org/10.35433/philology.2(95).2021.27-35.
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The article deals with the relevance of anti-utopian discourse in the twentieth century, which is considered a time of anti-utopian social thinking in view of historical reality. The study outlines the problems of transformation of the genre of anti-utopia in the postmodern era on the basis of the most notable research on the material of modern Ukrainian prose. It is emphasized that anti-utopia in the XXI century expands the boundaries of its existence as a literary genre, becoming a socio-cultural phenomenon of perception of reality. The list of characteristic features of the genre of literary anti-utopia is given. Based on the analysis of the novel "Radio Night" by Yu. Andrukhovych, the author finds out that this text contains features of both utopia and anti-utopia. The utopian thinking embodied in the work is based on an optimistic perception of the past, anti-utopianism is rooted in the area of doubt, which emphasizes the negative aspects of society and social consciousness as a result of the effect of dependence on previous development ("path dependence") or the effect of track, social inertia, when the negative attitudes that have been developed over the decades make positive progress impossible. It is noted in the article that the anti-utopian nature of the novel by Yu. Andrukhovych is manifested in the reflection of despair in the possibility of embodying the ideals of the Revolution of Dignity, illusory human freedom, the theme of confrontation to the digital sphere, determinism of human destiny, the modality of constant movement, the idea of an artificial man, the creation of a collective negative image of the state. It is stated that the fate of the hero is in the center of the plot, the attention is focused on the consequences of resistance to the system for the privacy of the average person. The article points out that the genre variety of the novel "Radio Night" testifies to the process of genre diffusion in the dynamics of genre transformations: elements of utopia evolve into elements of anti-utopia, micro-elements of science fiction genre are involved, which can be classified as included genre. The synthetic nature of the genre of the text by Yu. Andrukhovych is stated, a conclusion is made about the unfolding of a genre variety of escapic metautopia or postutopia in the novel.
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Soedjijono, Soedjijono. "Menuju Teori Sastra Indonesia: Membangun Teori Prosa Fiksi Berbasis Novel-Novel Kearifan Lokal." ATAVISME 12, no. 1 (June 30, 2009): 47–63. http://dx.doi.org/10.24257/atavisme.v12i1.157.47-63.
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Tujuan utama kajian ini adalah memerikan karakteristik struktur novel-novel kearifan lokal. Hasil kajian ini diharapkan untuk mengembangkan teori kesastraan Indonesia, terutama teori prosa fiksi. Empat novel Pengakuan Pariyem karya Linus Suryadi, Pasar karya Kuntowijoyo, Para Priyayi karya Umar Kayam, dan Ibu Sinder karya Pandir Kelana adalah subjek kajian ini. Pendekatan struktural dinamik dipilih untuk menganalisis masalah-masalah yang dipertanyakan. Dengan begitu, analisis ini mampu menerangkan elemen intrinsik, ekstrinsik dan historis untuk interpretasi lebih lanjut. Kajian ini telah menemukan tiga hasil penting: (1) karakteristik khas novel-novel kearifan lokal; (2) karakteristik khusus elemen struktural dalam novel-novel kearifan lokal; dan, (3) teori prosa fiksi Indonesia yang dihasilkan dari karakteristik yang ditemukan sebelumnya.
Abstract:
This fundamental study aims at describing the characteristics of the structure of local wisdom novels. The results of this study are expected to contribute to putting up Indonesian literary theory, particulary the theory of fiction prose. Four novels Linus Suryadi’s Pengakuan Pariyem, Kuntowijoyo’s Pasar, Umar Kayam’s Para Priyayi, and Pandir Kelana’s Ibu Sinder are the subjects of this study; and dynamic-structural approach is chosen to analyse the issues on question. Hence, it will be able to shed a light on the intrinsic, extrinsic and historical elements for further interpretation. This study has found out three important results: (1) typical characteristics of local wisdom novels; (2) specific characteristics of structural elements of local wisdom novels; and, (3) theory of Indonesian prose fiction resulting from the characteristics previously found.
Keywords: theory of fiction prose, local wisdom novels, dynamic-structural approach
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Kontje, Todd. "Of Mutts and Mann: The Mischling Theme in Herr und Hund." Seminar: A Journal of Germanic Studies 58, no. 2 (May 1, 2022): 149–66. http://dx.doi.org/10.3138/seminar.58.2.2.
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This article focuses on Thomas Mann’s autobiographical essay about his dog in the light of his early fiction and wartime journalism. Herr und Hund represents not only an idyllic retreat from troubled times but also an ongoing engagement with themes central to Mann’s creative prose and cultural politics, including distinctions between human reason and animal passions, alleged racial differences among humans, and relations between nature and civilization. Issues currently cordoned off into the discrete categories of animal, environmental, and critical race studies inform one another in Mann’s multi-faceted essay. Herr und Hund marks both an end to the reflections that preoccupied Mann during the war and their continuation by other means, revisiting themes that inspire his earliest prose and will continue to inform his political thought and creative practice for years to come.
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Post, Felix. "Verbal Creativity, Depression and Alcoholism." British Journal of Psychiatry 168, no. 5 (May 1996): 545–55. http://dx.doi.org/10.1192/bjp.168.5.545.
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BackgroundAn earlier study of 291 world famous men had shown that only visual artists and creative writers were characterised, in comparison with the general population, by a much higher prevalence of pathological personality traits and alcoholism. Depressive disorders, but not any other psychiatric conditions, had afflicted writers almost twice as often as men with other high creative achievements. The present investigation was undertaken to confirm these findings in a larger and more comprehensive series of writers, and to discover causal factors for confirmed high prevalences of affective conditions and alcoholism in writers.MethodData were collected from post-mortem biographies and, where applicable, translated into DSM diagnoses. The frequencies of various abnormalities and deviations were compared between poets, prose fiction writers, and playwrights.ResultsA high prevalence in writers of affective conditions and of alcoholism was confirmed. That of bipolar affective psychoses exceeded population norms in poets, who in spite of this had a lower prevalence of all kinds of affective disorders, of alcoholism, of personality deviations, and related to this, of psychosexual and marital problems, than prose fiction and play writers.ConclusionsA hypothesis is developed, which links the greater frequency of affective illnesses and alcoholism in playwrights and prose writers, in comparison with poets, to differences in the nature and intensity of their emotional imagination. This hypothesis could be tested by clinical psychologists collaborating with experts in literature on random samples of different kinds of writers.
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Nuraeni, Iin, and Fahrus Zaman Fadhly. "CREATIVE PROCESS IN FICTION WRITING OF THREE INDONESIAN WRITERS." Indonesian EFL Journal 2, no. 2 (September 12, 2017): 117. http://dx.doi.org/10.25134/ieflj.v2i2.644.
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This research investigates the creative process in fiction writing employed by three writers of different writing genres: short story, novel, and poem. This study applied a qualitative method that involved one male and two female writers in Kuningan and Majalengka. The data collected from document analysis, observation, and interview were analyzed through descriptive qualitative method. The results of the analysis revealed that there were five creative processes of writing fiction used by the writers in writing fiction, namely preparation, incubation, insight, evaluation, and elaboration. Besides, it also revealed that novel writer is more creative than short story and poem writers since he uses all steps of creative process. In addition, the researcher found that there were some ways of exploring imagination in writing fiction, including drawing and deepen characters in the film or theater, making mind mapping to write, developing a shorter text, and expecting that the writing will be read by younger generation.Keywords: creative process, writing fiction, fiction writers, imagination process
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Mintsys, E., and E. Chik. "Metaphors and Similes in Contemporary American Prose: D. Tartt’s Novel “The Goldfinch”." Journal of Vasyl Stefanyk Precarpathian National University 3, no. 4 (December 30, 2016): 95–99. http://dx.doi.org/10.15330/jpnu.3.4.95-99.
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The article presents a survey of the metaphor- and simile-related researches in modern linguistics and considers stylistic functions of metaphors and similes in contemporary fiction. It is based on the novel The Goldfinch (2013) written by the American writer D. Tartt, the winner of the Pulitzer Prize for Fiction (2014). It proves that the tropes in question used in the book are unique and striking. They perform figurative and descriptive functions, contribute to the expressiveness and emotiveness of the text, help to convey the characters’ psychological frame of mind and produce a dramatic effect
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Pakhsaryan, Natalia. "CYRANO DE BERGERAC AS A PREDECESSOR OF SCIENCE FICTION PROSE." RZ-Literaturovedenie, no. 1 (2021): 113–24. http://dx.doi.org/10.31249/lit/2021.01.11.
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The article considers the genre of Cyranoʼs novel «Another world», widely discussed in both domestic and foreign literary studies. It explores the elements of science fiction in contrast to those of the miraculous, as they appear in the 17th-century literature, and identifies the features of utopianism and the peculiarities of scientific forecasting in the work. Both parts of «Another world» are examined in their similarities and differences from one another, as well as combination of universalism and topical issues of the novel with narrative irony and burlesque.
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Edkins, Jenny. "Novel writing in international relations: Openings for a creative practice." Security Dialogue 44, no. 4 (July 23, 2013): 281–97. http://dx.doi.org/10.1177/0967010613491304.
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Prompted by Elizabeth Dauphinee’s The Politics of Exile, the article explores the political potential of novel ways of writing in international relations. It begins by examining attempts to distinguish between narrative writing and academic writing, fiction and non-fiction, and to give an account of what narrative might be and how it might work. It argues that although distinctions between narrative writing and academic writing cannot hold, there are nevertheless ways of judging the practical political effects that writing can produce. It briefly examines feminist, postcolonial and other international relations scholars who collect other people’s stories or tell their own, and points to an instructive body of work in fiction and literary non-fiction beyond the discipline. It argues that writing that disrupts linear forms of temporality and instead inhabits ‘trauma time’ can open the possibility of an aesthetic political practice, and suggests that we foster such a creative practice in international relations.