Academic literature on the topic 'Novelistic model'
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Journal articles on the topic "Novelistic model"
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Alina, Aluaș. "Le potentiel théâtral chez David Foenkinos. Analyse du roman, du scénario et du film La Délicatesse." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 297–319. http://dx.doi.org/10.24193/subbdrama.2020.2.15.
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"The Theatrical Potential in David Foenkinos’ Work. Analysis of the Novel, the Scenario and the Film “La Délicatesse”. Our interest, especially when it comes to the subject of literature, is to show the manner in which the text processing done by the author (script writer/director) brings to light the guidelines of the novelistic text’s semantics, which under careful analysis reveals a kind of personal myth of the novelist. The skewed, syncopated, interrupted writing which disrupts the chronotope serves the needs of the script as well as the director’s selective vision. Unconsciously, the novel seems to follow the structure of the theatrical model. These traits can also be found in the cinematographic structure of the film. Keywords: love, eroticism, delicacy, theatricality, scenario, film. "
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Stone, Jonathan. "Polyphony and the Atomic Age: Bakhtin's Assimilation of an Einsteinian Universe." PMLA/Publications of the Modern Language Association of America 123, no. 2 (March 2008): 405–21. http://dx.doi.org/10.1632/pmla.2008.123.2.405.
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Mikhail Bakhtin described a novelistic world bound to the reader's point of view and perception of reality. Albert Einstein's theory of relativity justified Bakhtin's elevation of the reader to a central position in his theory of the novel. This essay examines Bakhtin's engagement with Einsteinian relativity in the context of two of his most influential contributions to critical discourse—polyphony and the chronotope. Originating in the 1920s, Bakhtin's notion of polyphony was initially an expression of his Kantian mind-set. When Bakhtin reworked his formulation of polyphony in 1963 (having already broached the topic of literary spaciotemporality with the chronotope), Einstein had replaced Kant as Bakhtin's guiding intellectual paradigm. In advocating a relativistic model to explicate the literary world, Bakhtin aligned centuries of novelistic tradition with a distinctly modern worldview. His use of the epistemological possibilities inaugurated by twentieth-century physics allowed him to interpret centuries-old texts with an insightfulness available only to a post-Einsteinian reader.
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Smoley, Christine. "Mrs Dalloway’s Dialogic Discourse and the Function of the Written Fragment." Transcultural Studies 11, no. 2 (April 10, 2015): 199–215. http://dx.doi.org/10.1163/23751606-01102004.
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The text of Virginia Woolf’s novel Mrs Dalloway is constructed from multiple character ‘voices’ or discourses in such a way that gives the novel a dialogic form. After discussing Mrs Dalloway’s dialogic model of sane and insane discourse and subjectivity—a model which is transposed into the text through the discourses of Clarissa Dalloway and Septimus Smith—by drawing upon Mikhail Bakhtin’s theory of novelistic discourse, this paper demonstrates how the novel makes use of its dialogic form and structure, positing a model of modern subjectivity by demonstrating the paradoxical inhabitation of ‘insanity’ within sanity, and the fundamental role which ‘unreason’ plays as a constituent of reason.
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Baghiu, Ștefan, and Emanuel Modoc. "Compensation and Kin Selection in the Long Nineteenth Century Translationscapes." Metacritic Journal for Comparative Studies and Theory 8, no. 1 (July 13, 2022): 216–29. http://dx.doi.org/10.24193/mjcst.2022.13.13.
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Using network models and quantitative methods, the present article provides a bird’s-eye-view of the Romanian novelistic translationscape published in volumes during the “long 19th century”. The study approaches the cultural production of translated novels in the selected period from a relational perspective, aiming to investigate the connections between different publishers, with their respective editorial practices, and the translated authors selected from both major and minor source cultures. With this in mind, our paper will attempt not only to analyze the actor-network aspect of the translational networks established in the country, but also to provide an interpretive model for the selection of specific translated authors over others and their role in the cultural and nation-building process of early-modern Romanian culture.
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Rizq, Rosemary. "“Familiar Artifice”: Ways of Telling in the Short Story, Psychoanalysis, and Alice Munro’s “The Moons of Jupiter”." Journal of the American Psychoanalytic Association 70, no. 1 (February 2022): 77–102. http://dx.doi.org/10.1177/00030651221077312.
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Theoretical ideas about “narrative coherence” and “autobiographical competence” remain prevalent in contemporary therapeutic culture, and are frequently deployed in the service of the patient’s producing a narrative “I” that can tell its own story. A preference for novelistic accounts of the self is countered here by proposing the short story form as an alternative model for the telling of a self within psychoanalysis. Alice Munro’s “The Moons of Jupiter,” the roots of the short story form in fable, and a rereading of Freud’s Totem and Taboo are used to illuminate how the short story may be seen as an exemplary tale paralleling the origin of the self in its identification with the other.
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Radaeva, E. A. "A MODEL OF EXPRESSIONIST STRATEGY DEVELOPMENT IN THE WORK OF THE WRITER (ON THE EXAMPLE OF THE WORKS OF LEO PERUTS)." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 78 (2021): 59–63. http://dx.doi.org/10.37313/2413-9645-2021-23-78-59-63.
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The purpose of this study is to present a model for the development of the expressionist method in the genre of the novel using the example of the evolution of the novelistic work of the Austrian writer of the early twentieth century L. Perutz. The results obtained: the creative method of the Austrian writer is moving from scientific knowledge to mysticism; in the center of all novels created with a large interval, there is always a confused hero, broken by what is happening (in other words, the absurdity of the world), whose state is often conveyed through gestures; the author finally moves away from linear narration to dividing the plot into almost autonomous stories, thematically gravitating more and more to the distant historical past. Scientific novelty: the novels of L. Perutz are for the first time examined in relative detail through the prism of the aesthetics of expressionism.
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Jackson, Jeanne-Marie. "Stanlake Samkange’s Insufferable Zimbabwe: Distanciating Trauma from the Novel to Philosophy." Cambridge Journal of Postcolonial Literary Inquiry 8, no. 2 (April 2021): 158–76. http://dx.doi.org/10.1017/pli.2020.37.
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This article theorizes the Zimbabwean writer Stanlake Samkange’s turn from the novel to philosophy as an effort to circumvent the representational pressure exerted by African cultural traumatization. In breaking with the novel form to coauthor a philosophical treatise called Hunhuism or Ubuntuism in the same year as Zimbabwe achieves independence (1980), Samkange advances a comportment-based, deontological alternative to the psychic or subjective model of personhood that anchors trauma theory. Revisiting the progression from his most achieved novel, The Mourned One, to Hunhuism or Ubuntuism thus offers fresh insight into the range of options available to independence-era writers for representing the relationship between African individuality and collectivity. At the same time, it suggests a complementary and overlooked relationship between novelistic and philosophical forms in an African context.
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Alhamid, Lolav M. Hassan. "The representation of post-conflict gender violence in Iraqi Kurdish novelistic discourse in Bahdinan." Kurdish Studies 6, no. 1 (May 27, 2018): 31–57. http://dx.doi.org/10.33182/ks.v6i1.433.
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This article explores the processes of finding a voice, learning to speak, and breaking silence around gender violence for a Kurdish woman endeavouring to resist oppression and destroy forced negative images and identities. It examines the ways in which she struggles to break imposed silences through resisting gender discrimination and telling stories of violence and exploitation, as represented in the Kurdish novelistic discourse in Bahdinan. Studying Sabri Silevani’s Mariama: Kiçe-Jinek ji Zemanek Di (Mariama: A Woman from Another Time, 2007), the article examines the various forms and layers of violence imposed on Kurdish women by the tribal and patriarchal norms and the social and political structures within the post-conflict Kurdish society in Iraqi Kurdistan. The three-fold typological model of violence developed by the political scientist Johan Galtung is adopted in the article to explore the ways in which the personal characteristics of individuals and the political, economic, and cultural structures of society are viewed as factors affecting the generation of gendered aggression. Most importantly, for the purpose of this article, is the significant utilisation of the association of Galtung’s typology with feminist studies of violence in the exploration of Kurdish women’s attempt to resist marginalisation and their struggle for recognition. Moreover, Rita Felski’s description and study of modern writing by women as a medium through which female political identities and collective consciousness are constructed and represented are adopted to discuss the structural and thematic properties of the text.ABSTRACT IN KURMANJITemsîla şideta cinsî ya piştî şerî di gotara edebî ya kurdên Iraqê de li herêma BehdînanEv meqale berê xwe dide merheleyên peydakirina dengî, fêrbûna axiftinê û daşikandina bêdengiya li dor şideta cinsî li cem jineke kurd a hewl dide li hember zextan ber xwe bide û wêne û huwiyetên menfî yên dasepandî ji nav bibe. Meqale lê hûr dibe ka çawa jin têdikoşe ku bi rêya berxwedana li hember cudakariya cinsî û bi gotina hikayêtên şidet û bikaranînê, wek ku di gotara romana kurdî ya li Behdînan tê temsîlkirin, bêdengiyên dasepandî bişikîne. Ev meqale li ser romana Sebrî Silêvanî ya bi navê Meryema: Kiçe Jinek Ji Zemanek Dî (2007) hûr dibe û dikeve dû destnîşankirina wan awa û tebeqeyên cihêreng ên şideta li ser jina kurd yên bi destê dab û nerîtên eşîrî û babsalarî û herwiha bi destê dezgehên civakî û siyasî yên di nav civaka kurd a li Kurdistana Iraqê ya piştî şerî têne dasepandin. Di meqelayê de modêla tîpolojîk û sê-tebeqeyî ya şidetê, ku Johan Galtungê zanyarê siyasetê dahînaye, hatiye bikaranîn ji bo veçirandina awayên ku taybetiyên şexsî yên ferdan û binyadên civakê yên siyasî, aborî û çandî wek fakterên kartêker ên peydabûna êrîşkariya cinsî têne dîtin. Ji bo armancên vê gotarê, ev tîpolojiya Galtung ligel xebatên fêmînîst ên li ser şidetê têne bikaranîn da ku hewla jinên kurd a berxwedana li hember perawêzxistinê û venasînê berçavtir bibe. Herwiha, pênase û lêkolîna Rita Felski ya li ser nivîsînên hevçerx ên jinan wek amrazek ji bo avakirin û temsîlkirina huwiyetên siyasî û şiûra cemawerî hatine bikaranîn ji bo vedîtina xasyetên metnê yên binyadî û têmayî.ABSTRACT IN SORANIWênekirdinî tundûtîjîy cenderî le gutarî novêlîstîkî kurdîy 'Êraq le BadînanEm meqaleye degerrêt be dway ew prosaney dozînewey deng, fêrbûnî peyivîn û şkandinî ew bêdengîye ke ballî be ser tundûtîjî cenderî da kêşawe, le xebatî ew jine kurde da ke deyewêt rûberrûwî stemkarî bibêtewe û wêne û şunase nerênîye be zor dasepênrawekan têk bişkênêt. Ew rêgayane be taqî dekatewe ke ew jine le xebatî da be kariyan dehênêt bo şkandinî bêdengiye be zor beserî da sepêndrawe le rêgay rûberrûbûnewey ciyakarî cenderî û gêrranewey dastangelî tundûtîjî û pawankirdin, herweku le gutarî novêlîstîkî da be kar hênrawin le nawçey Badînan. Le rêgay xwêndinewey "Meryeme Kiçejinek Ji Zemanek Dî" nûsraw le layen Sebrî Slêvanîyewe, em meqaleye ew şêwaz û rehendaney tundûtîjî be taqî dekatewe ke le rêga bawe hozgerayî û bawsalarîyekan û bunyade siyasiyekanî komellgay kurdî dway şerr le Kurdistanî 'Êraq da xirawnete ser jinanî kurdewe. Lem meqaleye da modêlî sê çînî taypolojîy tundûtîjî bekarhênrawe ke le layen zanay siyasî Johan Galtungewe dirust kirawe, be mebestî dozînewey ew rêgayaney ke pêyan karakterîstîke kesiyekanî takekan û bunyade siyasî û abûrî kelepurîyekanî komellga weku fakterî karîger nîşan drawin be ser qehrî cenderîyewe. Giringtirîn layenî mebestî em meqaleye nîşandanî ew sudbexşîye giringeye ke peywendîdarkrdinî taypolojî Galtung legell lêkollînewey fêmînîstî le gerran da be dway hewllî jinanî kurd bo rûberrûbenewe le hember perawêzxistin û xebatyan bo ewey ke danyan pêda binirêt. Herweha wesf û lêkollînewey Rîta Felski le nusînî hawçerxî jinan weku geyenerêk ke le rêgayiyewe şunasgelî siyasî û agayîy giştîy mê bunyad denirêt û nîşan dedirêt, be mebestî giftûgokirdin le ser layene bunyadî û tewerîyekanî deq, be kar hênrawe.
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Rajan, Supritha. "The Epistemology of Trust and Realist Effect in Charles Dickens’s Bleak House." Nineteenth-Century Literature 72, no. 1 (June 1, 2017): 64–106. http://dx.doi.org/10.1525/ncl.2017.72.1.64.
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Supritha Rajan, “The Epistemology of Trust and Realist Effect in Charles Dickens’s Bleak House” (pp. 64–106) This essay argues that the narrative structure of Charles Dickens’s Bleak House (1852–1853), which repeatedly shifts from the omniscient narrator’s skeptical stance to Esther’s trusting disposition, demonstrates how skepticism is ultimately grounded in an epistemology of trust. Trust constitutes a non-skepticist, affective attitude whose certitude in the phenomenal world is not subject to demonstrative proof. The latter model of trust is not only fundamental to epistemology, but also to ethical relations and practical life. The important role that trust plays in everyday life also poses relevance to our understanding of realist representation. Using Bleak House as its novelistic example, this essay considers realism as a mode that achieves its effect by inviting readers to adopt an attitude of trust. Such an account runs counter to traditional epistemologies of realism, which have typically aligned it with post-Cartesian skepticism.
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Newark, Cormac. ""Vous qui faites l'endormie": The Phantom and the Buried Voices of the Paris Opééra." 19th-Century Music 33, no. 1 (2009): 62–78. http://dx.doi.org/10.1525/ncm.2009.33.1.062.
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Abstract Gaston Leroux's Le Fantôôme de l'Opééra (1909––10), as well as providing the model for some famous adaptations in other media, represents an important late stage in the development of a venerable French novelistic tradition: the soiréée àà l'Opééra. Notwithstanding his obvious lack of musical expertise (or perhaps because of it), Leroux's keen exploration of operatic reception deserves its place alongside more eminent contributors to that tradition such as Balzac, Dumas, and Flaubert. The richness of his portrayal of the institution's mythology and place in contemporary popular consciousness derives partly from his direct use of a large number of sources, which goes far beyond the conventions of the Gothic novel. These range from real and fictional operas to reportage concerning the famous fatal accident at the Opééra in 1896 and the rivalry between Christine Nilsson and Marie Miolan-Carvalho. The most significant of them, though, is the set of gramophone records buried underneath the Opééra in 1907, which was Leroux's inspiration and which emerges as the metaphorical key to interpreting the novel——if not the tradition as a whole.
Dissertations / Theses on the topic "Novelistic model"
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Goffinet, Bruno. "Entre Kuma et Kune. Lectures socio-littéraires des rires romanesques dans la Collection « Monde noir poche », Hatier 1980-1988." Thesis, Sorbonne université, 2021. http://www.theses.fr/2021SORUL169.
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Afin de comprendre la structuration authentique du récit fictionnel africain, on peut détacher délicatement les strates du Sérieux apparent et de la Dérision réaliste de plusieurs mondes en révolution permanente. C’est la mission que s’est fixée cette thèse, au premier sens du terme « symbolique », dans la mesure où elle se confronte d’abord aux grandes théories du rire en littérature, en tant qu’action sociale partant d’une quête ésotérique native. Avançant dans la démystification de l’objet et du sujet écrivant/lisant en fin post-colonialisme trentenaire, on découvre une armature immémoriale de statuts initiés sans cérémonie, faite de princes déchus, de novices aveugles ou de sorcières mal aimées, qui suggèrent avec beaucoup d’autres une tentation : celle de distinguer, sous la page imprimée en coopération, une distribution de tragi-comédie inhumaine, survolée par l’Écrivain noir unique, guidé en ses enfers par un philosophe naturel. Dans cette recherche de l’ironique survie ancestrale, grâce à la risible contingence humaine, l’ordonnancement des signes africains dévoile à son tour la refondation d’un discours vieux comme le Cynisme historique, dévoyé par ses avatars pragmatiques-inertes, vite devenus machiavélismes éternels. À la lumière de cette lanterne romanesque en plein jour sociétal du sous-continent françafricain ténébreux, les rires spontanés ou cultivés, et des éclats plus subtilement enformulés trouvent un chemin à leur démarche supposée commune : promouvoir littérairement individus et collectivités dans un monde noir débarrassé de la barbarie innommable et sans un scrupule d’humour, sinon sadiqueSo as to unterstand the authentic structuration of the africain fictional story, strata can be gently removed from the patent Serious and the realistic Derision out of several universes on their permanent revolving orbit. It is the mission assumed by this thesis, by the first meaning of the word « symbolic », insofar as it first confronted with the great theories of laughter in literature as a social action coming from an esoteric native quest. Promoting demystification both of the writing and readind object and of the subject at the end of a thirty-year ood period of post-colonialism, an immemorial framework of initiated status can be discovered, made of deposed princes, blind novices or unloved witches. They suggest, along with many others, a temptation : to distinguish, under the page printed by cooperation, the casting of an inhuman tragicomedy overflew by the unique black Writer, guided throught his hells by a natural philosopher. In this research of the ironical ancestral survival, thanks to the risible human contingency, this arrangement of the african signs reveals in its turn the refoundation of a discourse as old as the historical Cynism. This has been misguided by its inert-pragmatic avatars, quickly transformed into permanent machiavellianisms. Under the illumining of this novelistic lantern, in the societal daylight of the dark franco-african subcontinent, the spontaneous or cultured laughters, and the more subtly expressed roarings, find a way for their supposed common approach : to literarily promote individuals and collectivities, in a black world freed from unspeakable barbarity, lacking in the least scruple of humour other than a sadictic one
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Francis, Diana Pharaoh. "Models to the universe : Victorian hegemony and the construction of feminine identity." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1159142.
Full textBooks on the topic "Novelistic model"
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Potter, Dennis. Blackeyes. New York: Vintage Books, 1988.
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Potter, Dennis. Blackeyes. London: Faber and Faber, 1987.
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Half crazy: A novel. Beverly Hills, Calif: New Millennium Press, 2000.
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McDonell, J. M., and J. M. McDonell. Half Crazy. Boston: Little, Brown and Co., 1995.
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Hooper, Kay. Mask of passion. Waterville, Me: Thorndike Press, 2003.
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Jean-Paul Sartres "L'idiot de la famille", ein methodisches Modell der Dichterbiographie: Ein Vergleich zwischen Wilhelm Diltheys verstehender und Jean-Paul Sartres dialektischer Konzeption der Biographie. Frankfurt am Main, Germany: P. Lang, 1991.
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Murder, she wrote: Martinis & mayhem. Thorndike, Me: G.K. Hall, 1999.
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Donald, Bain. Murder, she wrote: Murder in a minor key. Bath, England: Chivers, 2003.
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Bain, Donald. Murder, she wrote: A little Yuletide murder. Bath, England: Chivers Press, 2000.
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Murder, she wrote: A palette for murder. Bath, England: Chivers Press, 2001.
Find full textBook chapters on the topic "Novelistic model"
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Couderc, Christophe. "Sobre el papel de Lope de Vega en la construcción del relato nacional del clasicismo francés." In Studi e saggi, 23–39. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.4.
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This essay deals with an aspect of the formation process of the image of the Spanish Baroque theatre in France as an irregular and chaotic aesthetic form, which was also considered inferior with respect to the French classical model. In this theoretical construction, Lope de Vega embodies all of the Spanish theatre's flaws and, more generally, Hispanic literature's ones, in turn conceived as an expression of the Spanish nation’s spirit. This process of elaborating an image of an author at the service of the invention of a national stereotype is possible thanks to the early reception of some prose works by Lope (La Arcadia, El peregrino en su patria) which are enjoying a widespread diffusion in their translations. In a context marked by controversy surrounding the tragi-comédie, assimilated by his detractors to a simple theatrical deformation of novelistic material, Lope de Vega assumes the function of representative of a literature considered extraneous to any rule and to the separation between literary genres.
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Bellringer, Alan W. "James the Modem Novelist — ‘The Beast in the Jungle’, The Golden Bowl." In Henry James, 105–22. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19539-8_6.
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Di Noi, Barbara. "Il Musil di Claudio Magris." In Biblioteca di Studi di Filologia Moderna, 119–34. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.14.
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This paper discusses the importance and frequency of Magris’ explorations of Musil and his major work as a novelist, Der Mann ohne Eigenschaften. It investigates the reasons why Musil’s novel is so important, and not only so for the Germanist. Indeed, Musil’s work and its interpretation can also be considered as a kind of ‘model’ for the writer that Magris would become later on in his career. The paper focuses on different features of Musil’s masterpiece, which better meet Magris’ ideal of diegesis, and somehow subvert the classic and rational paradigm of the Bildungsroman, pointing to the magic realism of a writer like Borges.
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Britton, Jeanne M. "Novelistic Sympathy in Frankenstein." In Vicarious Narratives, 152–79. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198846697.003.0005.
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In Mary Shelley’s Frankenstein, a pivotal scene shows the monster weeping together with the Arabian Safie over the fate of Native Americans. The monster embodies an unrecognizable difference that Shelley’s novelistic model of sympathy seeks to accommodate through acts of vicarious narration, and his telling and transcription of Safie’s story are not only the structural center of the novel’s narrative levels but also the conceptual pivot of Shelley’s reformulation of sympathy. Frankenstein explicitly puts forth the genre of the novel as compensation for the impossibility of sympathetic experience. Throughout this novel, moments of narration, transcription, and transmission consistently intersect with experiences of sympathy, which produce the impetus for narrative to be both told and recorded. The shifts in perspective around which Smith centers his definition become, in Shelley’s novelistic sympathy, acts of narrative framing and novel-writing that attempt to overcome difference that defies classification.
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Dancer, Thom. "Introduction to Critical Modesty." In Critical Modesty in Contemporary Fiction, 1–19. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192893321.003.0001.
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The Introduction examines Kazuo Ishiguro’s Never Let Me Go to explore how the modest and minor mode of thinking practiced in it might be broadened to an emerging set of contemporary fiction, criticism, and theory. Drawing on the work of philosophical pragmatism, the Introduction argues that modesty as a temperament in novels entails the principle that fiction holds no special position outside the world from which to speak about it, and therefore, it frames novelistic expression as a process of thinking. Crucially, recognizing the novel as a process of thinking with the world requires a reciprocal critical modesty in which we understand critical work as something that happens in collaboration with the novel rather than to it. Critical modesty is not a theory or method to be applied but a temperament sourced from the ways texts model their own relations. Thus, the Introduction offers an account of the book’s key terms that follow from the ways that novelists and critics practice critical modesty.
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McClanahan, Annie. "Behavioral Economics and the Credit-Crisis Novel." In Dead Pledges. Stanford University Press, 2016. http://dx.doi.org/10.11126/stanford/9780804799058.003.0002.
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Chapter 1 analyzes novelistic representations of the 2008 credit crisis. Focusing on Jonathan Dee’s The Privileges, Adam Haslett’s Union Atlantic, and Martha McPhee’s Dear Money, it reads the post-crisis novel’s interest in individual psychology alongside and against the rise of behavioral economics. Behavioral economists understand the financial crisis as a consequence of individual choices and cultural climates: from excessive optimism and irrational exuberance to greed and overweening self-interest. At once mirroring and refuting these explanations, the post-credit-crisis novel reveals a deep ambivalence about the model of psychological complexity that undergirds both novelistic character and behavioralist economics. Exploring these problems through experiments with narrative perspective, these post-crisis novels suggest that the rich, full, autonomous homines economici of both the realist novel and microeconomic theory are bankrupt.
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Vandelanotte, Lieven. "Clearer Contours." In Speech Representation in the History of English, 131–55. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190918064.003.0006.
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This chapter focuses on free indirect speech in nineteenth-century novels, where providing varied forms of access to characters (their speech, their motivations, their minds more generally) is an overriding concern in employing free indirect speech. Against the background of a broadly constructional model of present-day free indirect speech, nineteenth-century novelistic examples are analysed to show a variety of ways in which writers gradually “free up” indirect speech, using means like punctuation and quotation marks, and eventually clausal structures, some of which look decidedly out of date from the present perspective. Alongside free indirect forms, early forms of a more narrator-oriented counterpart, distancing indirect speech, are also discussed, as providing a subtly different mode of access to characters’ speech.
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Britton, Jeanne M. "The Ends of Kinship in the French Romantic Novel." In Vicarious Narratives, 126–51. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198846697.003.0004.
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René and Atala by François-René de Chateaubriand and Paul et Virginie by Jacques-Henri Bernardin de Saint-Pierre each specify a novelistic version of sympathy that arises when stories of forbidden sibling attachment that threaten incest pass between figurative fathers and sons. These texts did not begin as novels, and their internal stories of textual genesis suggest that a particular model of sympathy shapes the transformation of narrative episode into stand-alone novel. In each of these novels, which were popular after the French Revolution’s critique of paternity and its cry of fraternité, siblinghood poses problems of extreme resemblance, a stymied present, and a resistance to the representation and transmission of narrative. Kinship metaphors in scenes of narrative transmission suggest that in order to become independent works of fiction, these extracted episodes rely in part on the accommodated differences, temporal progression, and narrative channels that figurative relationships of paternity offer.
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Christoff, Alicia Mireles. "Wishfulness." In Novel Relations, 46–107. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691193106.003.0003.
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This chapter discusses The Mill on the Floss and W. R. Bion that both care about sympathy and render it as paramystical and real, as a kind of unconscious communication. It points out fantasies of breaking novelistic, provincial, and subjective frames and reveals wishful thinking as the disavowed basis of George Eliot's theory of social realism. In The Mill on the Floss, books and subjectivities overflow like rivers. The key psychoanalytic interlocutor in the chapter is Bion, whose unconventional ideas fundamentally altered modern psychoanalysis in the 1960s and 1970s, and yet remain opaque to nonspecialists. The chapter also argues that The Mill on the Floss constructs an intersubjective model of mind that helps to shape Bion's later theories of unconscious communication. In turn, Bion's work helps to uncover Eliot's deeper aim in the novel: not necessarily to strengthen social sympathies, but to animate psychic processes in generative, unpredictable ways.
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"The Dialogic Community: The Nationalist Model." In Novelists in Conflict, 137–66. BRILL, 2004. http://dx.doi.org/10.1163/9789004486683_008.
Full textConference papers on the topic "Novelistic model"
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Correard, Nicolas. "¿Lazarillo Libertin? Sobre la primera recepción en Europa del Norte: traducciones e inspiraciones anticlericales." In Simposio internacional El Lazarillo y sus continuadores: Facultad de Ciencias de la Educación, 10 y 11 de octubre de 2019, Universidade da Coruña: [Actas]. Servicio de Publicaciones. Universidade da Coruña, 2021. http://dx.doi.org/10.17979/spudc.9788497497657.29.
Full textAbstract:
It has often been argued that the picaresque genre derived from the Lazarillo castigado, if not from the Guzmán de Alfarache, more than from the original Lazarillo. Such an assumption neglects the fact that the first French and English translations did rely on the 1554 text, whose influence, conveyed by the 1555 sequel also translated in French in 1598, did last until the early 17th century. Probably designed in an Erasmian circle, the anticlerical satire, enhanced by provoking allusions to certain catholic dogmas, did not pass unnoticed: the marginal comments of the translations, for instance, testify for a strong interest for this theme. It is no wonder, therefore, if the first satirical narratives freely inspired by the Lazarillo, such like The Unfortunate Traveller by Nashe, the Euphormio Lusinini Satyricon by Barclay, or the Première journée by Viau, adapted its religious satire to their own actuality: in the context of the rise of libertine thinking, characters of Jesuits and Puritans could become new targets for novelistic scenes based on an obviously “lazarillesque” model.
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Levitskaia, Tatiana. "THE FORGOTTEN WAR: WORKS BY N. A. LUKHMANOVA ABOUT MANCHURIA." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.28.
Full textAbstract:
Nadezhda Lukhmanova (1841–1907) was a novelist, playwright, publicist, lecturer. Today her name is almost forgotten, but at the turn of the 19th–20th centuries she was well-known throughout Russia: her artistic and dramatic works were widely in demand, she gave lectures in the capital and abroad, worked as a journalist in the leading St. Petersburg newspapers. At the age of 62, she took part in the Russian-Japanese war as a nurse of the Red Cross and war correspondent (Peterburgskaia gazeta, Yuzhniy Krai). During her stay in the war and later in Japan, Lukhmanova wrote not only travel notes and articles for newspapers, but also short plays, stories based on real events (Shaman, Black stripe, Tree in the Palace of Chizakuin, Li-Tun-Chi), stylization of Chinese and Japanese fairy tales (The Only Language Clear for a Woman, Human Soul, Typhoon, Golden Fox). The writer raised a variety of topics: the place and role of women in the war, the organization of hospitals, unjustified victims of war and the problem of moral choice, as well as ethnographic sketches devoted to the traditions and mode of life of Manchuria and Japan. And if its early records resemble ethnographic sketches, filled with wariness towards the local population and a lack of understanding of Chinese customs, then later, in fairy tales and diary sketches, the sense of guilt before the Chinese people for the bloody slaughter taking place on their land becomes more clearly apparent. The works of the writer were undeservedly forgotten for more than a hundred years and are just beginning their return to literary memory.