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Journal articles on the topic 'Novelists'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Domazet, Sanja. "SPORT IN THE LIFE AND ART OF NOVELISTS." SPORTS, MEDIA AND BUSINESS 8, no. 1 (December 31, 2022): 35–44. http://dx.doi.org/10.58984/smb2201035d.

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The idea of a connection between sports and literature sometimes does not seem intuitive. However, considering that it is said that literature gives another meaning to the reality, thus depicting social circumstances, sport is one of the topics that many novelists have dealt with. Apart from the role of sport in literature, this paper also examines the connection between the novelist and sport as such, especially through the life and works of Miloš Crnjanski. Although novelists are usually perceived as lonely utopians who rarely engage in everyday social activities, this paper’s findings show the opposite especially through the analysis of the persona and works of Miloš Crnjanski, who was one of the founders of a sports magazine "Sportista". Through sports, Miloš Crnjanski displayed his extremely adventurous life, but also his patriotism. Besides his rich legacy in literature, his role in sports in the Yugoslav society remains indelible. Therefore, this paper aims at showing the connection between sports and literature by examining one novelist’s life circumstances.

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2

Tomé, Mario. "La actual narrativa francesa (y II)." Estudios Humanísticos. Filología, no. 10 (December 1, 1988): 205. http://dx.doi.org/10.18002/ehf.v0i10.4352.

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<p>Presentación y breve comentario de la obra más significativa de los actuales novelistas franceses. Grandes figuras actuales: Michel Tournier, J.M.G. Le Clézio, Patrick Modiano. Premios literarios y éxitos editoriales: Romain Gary, Yves Navarre, Angelo Rinaldi, Dominique Fernández, Frédérick Tris-tan, Héctor Bianciotti, Marguerite Duras, Yann Queffelec.</p><p>A short introduction of the most outstanding works of some recent French novelists. Top novelists: Michel Tournier, J.M.G. Le Clézio and Patrick Modiano. Literary Prizes and best-sellers: Emile Ajar, Yves Navarre, Angelo Rinaldi, Dominique Fernández, Frédérick Tristan, Héctor Bianciotti, Marguerite Duras, Yann Queffélec.</p>

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3

Benchouiha, Lucie, and Efraim Sicher. "Holocaust Novelists." Modern Language Review 101, no. 2 (April 1, 2006): 509. http://dx.doi.org/10.2307/20466806.

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4

Rettberg, Scott. "Novelists' Elegy." American Book Review 29, no. 2 (2008): 29. http://dx.doi.org/10.1353/abr.2008.0047.

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5

Lamri, Mohammed. "Identity crisis of Algerians diaspora between self-culture and foreign language." مجلة قضايا لغوية | Linguistic Issues Journal 4, no. 2 (June 15, 2023): 85–98. http://dx.doi.org/10.61850/lij.v4i2.53.

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The Algerian novel, written in French, addressed various issues relating to Algerian man, as it was able to portray his reality and express his personality with creative artistic insights. However, the problems of identity and religious, ethnic and ideological affiliation continued to occupy the minds of Algerian immigrant novelists who lived away from the homeland and language. Hence, was the Algerian novelist able to overcome the identity crisis in his journey of searching for the Algerian self and expressing its cultural particularities in his literature? Or did the language barrier prevent it? The research therefore highlights the issue of proving national identity while writing in the language of the other among Algerian novelists such as Malek Haddad, who likened French language writings to exile.

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6

Nozen, Seyyedeh Zahra. "Femalization of the Genre of Literature; Novel Owners of the Novel." Khazar Journal of Humanities and Social Sciences 26, no. 4 (November 2023): 62–84. http://dx.doi.org/10.5782/2223-2621.2023.26.4.62.

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Unfairly female authors have been deprived of the title of “mothers” of English Novel and “fathers” have been taken as the sole male owners of the Novel. While not only the first professional novelist was a woman but the numbers of female novelists exceed that of the males. Female authors indefatigably undertook the process of femalization the genre of literature and the current study conducted through the qualitative research and text-analysis methods together with historical approach tried to put light to the fact that how female novelists contributed to the great genre of literature and strengthen it due to their fairness and their gender as well as their treatment of their subject. Aphra Behn penned Oroonoko of 1688 much earlier than Danial Defoe’s Robinson Crusoe of 1719. The purpose of this paper has, by no means, been to convert female writers from the lower novelists to higher ones. However, under the strict social conventions of the seventeenth and eighteenth century England, there had been buried some masterpieces of literary works which need to be delivered again to the world of literature, the negligence of which is a loss and the revival of which is a gain to both consumers and producers of literary works.

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7

Schuh, Melissa. "‘Which I Presume is Permitted, Since We Are Talking About A Writer.’ Lateness, Memory, and Imagination in Literary Autobiography." European Journal of Life Writing 9 (December 28, 2020): BE111—BE130. http://dx.doi.org/10.21827/ejlw.9.37328.

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In Summertime, a fictional biographer, Mr Vincent, conducts interviews with contemporaries of the novelist J.M. Coetzee for a biography of the late author. However, every claim made about the late Coetzee by the characters in Summertime is composed by the author himself, so the hidden, yet obvious presence of the novelist gives the book’s supposedly biographical outlook an autobiographical twist. Summertime’s Coetzee is distinctly both alive and dead. I propose to analyse works such as Summertime as literary autobiographies that employ narrative strategies otherwise found in fiction in order to creatively explore lateness, belatedness, and a sense of ending with regard to their writing life. Performative contradiction, as a deliberate stylistic manifestation of paradoxical contradictions, is a result of such narrative strategies. This enables a portrayal of memory and sincerity in autobiography that acknowledges the fraught nature of these notions. Drawing on autobiographical writing by novelists, such as Coetzee, Philip Roth, and Günter Grass, this article analyses the use of tense and fictionality to create performative contradiction. It shows how the novelist’s memory and imagination engage with the ever-present possibility of death to subvert traditional ideas of lateness as well as perceived limitations to the temporality of autobiographical writing.

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8

Menton, Seymour. "Cuba's Hegemonic Novelists." Latin American Research Review 29, no. 1 (1994): 260–85. http://dx.doi.org/10.1017/s0023879100035469.

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9

Davis, Robert Murray, and John Haffenden. "Novelists in Interview." World Literature Today 60, no. 3 (1986): 475. http://dx.doi.org/10.2307/40142309.

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10

Sankar, G., and L. Kamaraj. "SOCIAL REALISM AND PSYCHOLOGICAL TRANSFORMATION OF WOMEN PROTAGONIST IN NAYANTARA SAHGAL’S STORM IN CHANDIGARH AND A SITUATION IN NEW DELHI-A STUDY." Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 5, no. 2 (February 28, 2018): 17. http://dx.doi.org/10.19085/journal.sijmas050201.

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The Research paper aims to focus on Nayantara Sahgal’s position in it as a novelist. It also discusses in detail a critical study of the social realism and Psychological Transformation with survival strategies of the woman protagonist in Nayantara Sahgal’s Storm in Chandigarh and A Situation in New Delhi. How Nayanara Sahgal’s writing was different from other Indian writers. During almost six decades of post-colonial history of Indian English fiction, a wide variety of novelists have emerged focusing attention on a multitude of social, economic, political, religious and spiritual issues faced by three conceding periods of human experience. With the turn of the century the Indian English novelists have surpassed their male counterparts outnumbering hem quantitatively as well as maintaining a high standard of literary writing, equally applauded in India and abroad, experimenting boldly with not only technique but also incorporating tabooed subject matters in their novels and short stories.

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11

Al-Matrafi, Huda. "Power of the Saudi Woman's Novel From Silence to Empowerment." International Journal of Language and Literary Studies 5, no. 2 (July 15, 2023): 177–91. http://dx.doi.org/10.36892/ijlls.v5i2.1267.

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Against the backdrop of an extended history of Arab women’s silence in general, and Saudi women’s in particular, in the field of literature, this paper seeks to introduce the development of the Saudi female novelist’s voice and its progress. It traces the improvement of the Saudi female novelist chronologically, demonstrating how writing is an essential tool for self-identification and self-expression. An analysis is made of how novels by Saudi women writers have changed through recent decades and how Prince Mohammad Bin Salman's 2030 Vision initiative might be said to have empowered these voices expressed in fictional words. It introduces the significance of Saudi female novels and how they create new fictional environments that uncover the inner strength of women and highlight their individual and collective empowerment. This paper demonstrates how Saudi female novelists have been fully aware of the significant influence of novels as one artistic means of expression. Today, they can openly express their previously unspoken thoughts and feelings. Moreover, the paper addresses the important implications of their writing, i.e. the remarkable progress achieved in the Kingdom of Saudi Arabia.

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12

Lakanse, Obakanse. "Of Difficult Mothers and Rebellious Daughters: Investigating the Electra Complex in Contemporary Nigerian Feminist Fiction." NIU Journal of Social Sciences 9, no. 4 (December 31, 2023): 155–60. http://dx.doi.org/10.58709/niujss.v9i4.1769.

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Chimamanda Ngozi Adichie, Sefi Atta and Lola Shoneyin are undoubtedly three of the most celebrated feminist novelists in the contemporary Nigerian literature. These three women-writers have one thing in common – each has written at least a novel in which she employs the usual problematic relations between a mother figure and a daughter as a means of exploring feminism – inflected issues such as identity-construction, subjecthood, and patriarchy, etc. I am making reference to Adichie’s Half of a Yellow Sun, Atta’s Everything Good Will Come and Shoneyin’s The Secret Lives of Baba Segi’s Wives. These novelists thematize in various ways albeit unconsciously the Electra complex. This paper argues that it seems something of a paradox that these women – novelists in engaging in feminist critiques of patriarchy, should to some extent appear to do so through the agency of the difficult relationship between a mother-figure and a daughter even when no psychological exploration in the delineation of these characters appears to be intended in these novels. The paper aims to draw attention to each of these writers’ representation of certain aspects of the relations between the female protagonist of their respective novels, who appears to embody the novelist’s feminist values, and her parents, especially to the uneasy tensions that seem to exist between them. Keywords: Patriarchy, Feminism, The Electra Complex, The Symbolic Realm, The Unconscious

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13

Brauner, David. "Interview with Howard Jacobson." European Judaism 55, no. 2 (September 1, 2022): 95–113. http://dx.doi.org/10.3167/ej.2022.550208.

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This is a detailed, wide-ranging interview with the Booker-Prize-winning novelist, broadcaster and public intellectual Howard Jacobson, conducted by the author of the only monograph on his work. On the eve of the publication of his memoir, Mother’s Boy, Jacobson discusses that work, his relationship with his parents, his attitude towards other novelists, and his views on, among other things, Jewishness, antisemitism, poetry, art, television and Trump.

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14

Masson, Margaret. "God and the Novelists." Expository Times 110, no. 11 (August 1999): 352–57. http://dx.doi.org/10.1177/001452469911001103.

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15

Kelly, James L. "Residences of American Novelists." Journal of Cultural Geography 13, no. 1 (September 1992): 41–54. http://dx.doi.org/10.1080/08873639209478399.

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16

SUTHERLAND, JOHN. "Victorian novelists: a survey." Critical Quarterly 30, no. 1 (March 1988): 50–61. http://dx.doi.org/10.1111/j.1467-8705.1988.tb00279.x.

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17

Ziolkowski, Theodore. "Nietzsche among the Novelists." Philosophy and Literature 42, no. 2 (2018): 323–43. http://dx.doi.org/10.1353/phl.2018.0022.

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18

Polack, Gillian. "Novelists and their history." Rethinking History 18, no. 4 (March 20, 2014): 522–42. http://dx.doi.org/10.1080/13642529.2014.893669.

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19

Watson, J. R. "God and the Novelists." Expository Times 109, no. 9 (June 1998): 262–65. http://dx.doi.org/10.1177/001452469810900903.

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20

Fuller, David. "God and the Novelists." Expository Times 110, no. 1 (October 1998): 5–8. http://dx.doi.org/10.1177/001452469811000102.

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21

Gasiorek, Andrzej. "God and the Novelists." Expository Times 110, no. 2 (November 1998): 37–42. http://dx.doi.org/10.1177/001452469811000202.

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22

Hass, Andrew W. "God and the Novelists." Expository Times 110, no. 3 (December 1998): 68–72. http://dx.doi.org/10.1177/001452469811000302.

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23

Patrick, Graham A. "God and the Novelists." Expository Times 110, no. 6 (March 1999): 169–72. http://dx.doi.org/10.1177/001452469911000602.

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24

Gasiorek, Andrzej. "God and the Novelists." Expository Times 110, no. 8 (May 1999): 241–46. http://dx.doi.org/10.1177/001452469911000802.

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25

Palmer, William J. "Spies and Their Novelists." Contemporary Literature 47, no. 3 (2006): 497–501. http://dx.doi.org/10.1353/cli.2007.0009.

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26

Staves, Susan. "Women Writers ≠ Women Novelists." Tulsa Studies in Women's Literature 26, no. 1 (March 2007): 87–95. http://dx.doi.org/10.1353/tsw.2007.a220827.

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27

Alden, Natasha. "From the Effective to the Affective: Postmemory in Emma Donoghue’s The Sealed Letter." Contemporary Women's Writing 14, no. 1 (March 2020): 107–24. http://dx.doi.org/10.1093/cww/vpaa017.

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Abstract This article has a dual focus. It demonstrates the recent repoliticization of Linda Hutcheon’s category of historiographic metafiction through the extension of Marianne Hirsch’s concept of postmemory to lesbian novelists, arguing that this theoretical framework offers a lens through which we can understand some recent trends in lesbian historical fiction. Focusing on the novelist and critic Emma Donoghue’s 2008 novel The Sealed Letter, it also argues that this text’s evocation of an imagined lesbian past, and its use of metafictional techniques, are illuminated by reading it as a highly political engagement with lesbian postmemory.

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28

Culler, Jonathan. "Flaubert’s Provocation." Text Matters, no. 7 (October 16, 2017): 55–70. http://dx.doi.org/10.1515/texmat-2017-0003.

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Madame Bovary, which was scandalous in its own day for its focus on the adultery of a provincial woman, has had a strange, complex fate. Flaubert remade the image of the novelist, as pure artist, for whom style was all that mattered, and disrupted novelistic technique, in ways that critics and writers have found exemplary, treating this as the novel novelists cannot overlook; yet for readers Madame Bovary is not a “book about nothing” but provides a searing portrait of provincial life and of the condition of women. The vividness and complexity of the character Flaubert created here made Emma a type: a sufferer of “Bovarysme.” Flaubert’s revolutionary notion that a trivial subject was as good as a noble subject for a serious novel was taken to be connected to the democratic notion that every human subject is as worthy as another and allowed to have desires. Yet, while promoting Emma as a valid subject of literature, equal to others, Flaubert writes against the attempt to democratize art, to make it enter every life, and renders trivial the manifestations of this subject’s desires, while making her an exemplary figure.

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29

Sheikh, Ebrahim Yahya Saleh, Ibrahim Ali Al - Shami, and Mr Salim Alshageri. "Representation of Violence in Yemeni Novel: A Study of Fekriah Shahrah’s ‘The Smile Owner’." Journal of Social Studies 28, no. 4 (February 16, 2023): 27–37. http://dx.doi.org/10.20428/jss.v28i4.2039.

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This paper focuses on daily violence as the main theme in novel The Smile Owner which was written by Fekriah Shahrah. It depicts the hegemony of Houthi militia in Yemen. It is an analytical study which interprets the novelist’s literary work The Smile Owner. Moreover, as an instrument of data collection an interview with the novelist has been conducted to shed more light on the novel. This study is based on critical analysis of the literary text, which interprets the real context of violence in Yemen. Violence is a global issue between good and evil, and war and love. Shahrah as many of Yemeni novelists depicted the consequences of violence in their literary platform. The novel represents the situation of Yemen in the ongoing war in Yemen. Hence, the war in Yemen, death, abduction, retaliation and social fragmentation are the main themes of written and spoken Yemeni literature. This paper exposes the horrible implications of the coup led by Houthi Militia backed by Iran against the legal government backed by coalition led by Saudi Arabia and Emirates. Therefore, Fekriah Shahrah in the literary platform to portrayed violence in Yemeni society using the narrated text as a tool to convey the awful war consequences.

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30

Ngeh, Andrew T. "Medium and Credibility in the African Novel: The Novelistic Vision of G.D Nyamndi and Blessed A. Njume." Studies in Media and Communication 5, no. 2 (September 4, 2017): 30. http://dx.doi.org/10.11114/smc.v5i2.2633.

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The post-colonial African novelist is committed beyond his/her art to a statement of value. Thus he is not interested in art for art’s sake. This study distances itself from Dan S. Izevbaye’s 1971 position for a ‘suppressed social reference’ in literary discourse. The post-colonial novelist believes that he must be socially committed in order to be universally engaged. In his/her novelistic vision, he/she questions the very foundation of the independence of most African nations. There is a consensus amongst African creative writers that the independence of most African countries is a sham because independence means self-determination. George D. Nyamndi in his The Sins of Babi Yar (2012) and Blessed Ambang Njume in his In a Web (2016) set out to bring out the visionary role of a committed writer and his moral obligation to his society. Using the medium of effective communication, the two novelists highlight corruption and the abuse of power as banes to socio-political development in Cameroon in particular and Africa as a whole. Using new historicism and the concept of socialist realism to interpret, evaluate and analyse the two novels under study, the paper explores and highlights the moral responsibility of a committed novelist in post-colonial African society. In this light, this study submits that the law courts, the judiciary, the military, the church and the educational systems in post-independent Africa are conduits and mechanisms for the propagation of neocolonialism and imperialism. Rev. Father Aaron in a Web and Justice Dan Mowena in The Sins of Babi Yar provide clear justifications for these social ills.

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31

Knapp, Bettina L., and Lucille Frackman Becker. "Twentieth-Century French Women Novelists." World Literature Today 64, no. 1 (1990): 74. http://dx.doi.org/10.2307/40145818.

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32

Kelly, Shirley. "The Dearth of Women Novelists." Books Ireland, no. 252 (2002): 233. http://dx.doi.org/10.2307/20632460.

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33

Benchouiha, Lucie. "Holocaust Novelists by Efraim Sicher." Modern Language Review 101, no. 2 (2006): 509–10. http://dx.doi.org/10.1353/mlr.2006.0284.

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34

Nicholson, Mary Naana, and Oladele Taiwo. "Female Novelists of Modern Africa." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 20, no. 1 (1986): 145. http://dx.doi.org/10.2307/484721.

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35

PILLING, J. "Beckett's Stendhal: 'Nimrod of Novelists'." French Studies 50, no. 3 (July 1, 1996): 311–17. http://dx.doi.org/10.1093/fs/50.3.311.

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36

Townsend, Michael J. "Book Reviews : Reflections By Novelists." Expository Times 112, no. 10 (July 2001): 357. http://dx.doi.org/10.1177/001452460111201026.

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37

PILLING, J. "BECKETT'S STENDHAL: 'NIMROD OF NOVELISTS'." French Studies L, no. 3 (July 1, 1996): 311–17. http://dx.doi.org/10.1093/fs/l.3.311.

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38

Bruner, Charlotte H., and Oladele Taiwo. "Female Novelists of Modern Africa." World Literature Today 60, no. 3 (1986): 508. http://dx.doi.org/10.2307/40142394.

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39

Higgins, James. "Two Poet-Novelists of Peru." Bulletin of Hispanic Studies 69, sup2 (January 1992): 289–96. http://dx.doi.org/10.1080/0007490x.1992.12035767.

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40

Lukas, Michael. "Golems, Novelists, and Other Superheroes." Tikkun 24, no. 4 (July 2009): 61–63. http://dx.doi.org/10.1215/08879982-2009-4020.

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41

Busch, R. L., and Peter Conradi. "Fyodor Dostoevsky. Macmillan Modern Novelists." Slavic and East European Journal 34, no. 2 (1990): 253. http://dx.doi.org/10.2307/309152.

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42

Faulkner, Peter. "Novelists on Novelists. Edited by David Dowling. Pp. xvi + 283. London: Macmillan, 1983. £20.00." Notes and Queries 32, no. 3 (September 1, 1985): 415–16. http://dx.doi.org/10.1093/notesj/32.3.415-a.

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43

Pastoor, Charles Cornelius. "Authorial Atonement in Ian McEwan’s Atonement and Sweet Tooth." Christianity & Literature 68, no. 2 (December 28, 2018): 297–310. http://dx.doi.org/10.1177/0148333118794017.

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Ian’s McEwan’s 2001 novel Atonement ends with a question: “how can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God?” (350). And it concludes, in response to this question, that there “There is … No atonement for God, or novelists, even if they are atheists” (350–51). I consider in the first part of this article what leads Briony Tallis, the novel’s fictive author, to this bleak conclusion. In the second part I consider how McEwan takes up the question again in his 2012 novel Sweet Tooth and how he arrives at a more hopeful answer.

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44

Manzoor, Saima. "HARDY AS A MODERN NOVELIST." Journal of Social Sciences and Humanities 54, no. 2 (December 31, 2015): 57–67. http://dx.doi.org/10.46568/jssh.v54i2.119.

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Hardy is the last of the Victorian and one of the most popular novelists of England. He, being an author of unique endowments, was not much esteemed in his life time. Hardy became the victim of stereotypical criticism and was badly ostracized by the ecclesiastical circles and the critics of his time as they merely focused on the depressing features of his fiction. This paper intends to reveal certain aspects of his work which remained neglected for a long time. The present study is designed to focus on those characteristics of his work which win the title of a modern novelist for him. Hardy was quite conscious of the shifting environment around him at the vogue of industrialization that left profound marks on his meditative temperament. His depiction of the 19th century scenario is dominated with clash and collision between innovation and tradition. His art deals with twofold aspects of modernity exposing the sanguine and gloomy consequences of modernity. Owing to such an approach of the writer he is regarded as a social realist and one of the earliest of the modern novelists. Hardy poignantly observes the pathetic condition of the labourers, on one hand, and the modern mechanical advancements, one the other, which were of little benefit for the common man in society. The current study is designed to focus upon his approach to the modern developments in the broad context of social and political changes. Hardy is a modern novelist as he concentrates on the current issues such as gender, class, social and psychological disorders, etc. He is a supporter of class and female liberation.

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45

Gagiano, Annie. "South African Novelists and the Grand Narrative of Apartheid." Journal of Language and Politics 5, no. 1 (April 14, 2006): 97–109. http://dx.doi.org/10.1075/jlp.5.1.06gag.

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The apartheid policies and practices by means of which South Africa was formerly governed also had an ideological or mythological dimension, which functioned as its justificatory narrative. The process of replacing that narrative which needs to be undertaken in South Africa can make use, among other processes, of the re-presentations of this society by our novelists. This paper sketches something of the complex interplay between fiction, social reality, and moral-political understanding at the hand of six novels. It focuses on depictions of acts and experiences of violation as the signature of the ruthless force and after-effects of the apartheid system. It draws attention to the various, but socially meaningful workings of novelistic discourse in these texts, functioning as they do within a situation requiring profound psychic and social readjustment.

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46

Alkhafaji, Hameed Abdulameer Hameed. "FEMININE HEROES: THE WOMAN’S MAN IN A LITERATURE OF THEIR OWN: BRITISH WOMEN NOVELISTS FROM BRONTE TO LESSING, BY ELAINE SHOWALTER." American Journal of Interdisciplinary Innovations and Research 6, no. 6 (June 1, 2024): 5–6. http://dx.doi.org/10.37547/tajiir/volume06issue06-01.

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The chapter V highlights the feminine perspective of women novelists when they present the man in their novels. In another word, the novelists have described the man through “female glasses” which didn’t care much of the realty. That’s why the term “Woman’s Man” has embodied what mentioned recently.

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47

Alkhafaji, Hameed Abdulameer Hameed. "FEMININE HEROES: THE WOMAN’S MAN IN A LITERATURE OF THEIR OWN: BRITISH WOMEN NOVELISTS FROM BRONTE TO LESSING, BY ELAINE SHOWALTER." American Journal of Interdisciplinary Innovations and Research 6, no. 6 (June 1, 2024): 5–6. http://dx.doi.org/10.37547/tajiir/volume06issue06-02.

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The chapter V highlights the feminine perspective of women novelists when they present the man in their novels. In another word, the novelists have described the man through “female glasses” which didn’t care much of the realty. That’s why the term “Woman’s Man” has embodied what mentioned recently.

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Sharma, Vishal, Kirsten E. Bray, Neha Kumar, and Rebecca E. Grinter. "Romancing the Algorithm." Proceedings of the ACM on Human-Computer Interaction 6, CSCW2 (November 7, 2022): 1–29. http://dx.doi.org/10.1145/3555651.

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Many romance novelists have shifted to self-publishing mediated through online technologies, such as online retailer platforms for selling novels and social media for marketing. However, engagement with such complex algorithmic systems has posed challenges, including understanding continually changing algorithms, frequently changing silently, impacting novelists' successful professionalization and monetization. We conducted surveys and interviews with romance novelists to examine how they experience, interpret, and navigate algorithms. Our findings detail interviewees' efforts to comprehend algorithms, both individually and collectively, and leverage that comprehension to navigate and manipulate algorithms. We discuss how our interviewees constructed literacy of precarious algorithms on their work platforms, suggesting implications for designing algorithmic systems supporting digital work.

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ATTIA, Nesrine, and Kantaoui MOHAMED. "CONTEMPORARY CREATIVE FICTION WRITING SOCIAL AND HOMELAND ISSUES." RIMAK International Journal of Humanities and Social Sciences 03, no. 07 (September 1, 2021): 11–16. http://dx.doi.org/10.47832/2717-8293.7-3.2.

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The narrative story has evolved from its precursor, when the old myths are shattered, in which the new novel has become a text with numerous cultural formats within its contents. Fragmentation and separation have been two of the most significant aspects of modern creative writing. In order to grasp the evolving reality, novelists must assume new creative forms in which the reader joins the realms of secrecy and marginalization. Those looking for the positions of the novelist critics will notice that contemporary writing has occupied a distinguished position due to the issues it raises regarding humanity and the homeland and pushing its readers to become conscious and understand what is lacking. The issues of the homeland have become thorny issues due to the imagination of the novelist and his intellectuality. It became more and more evident. The novel, with its transformation and development in content and structure, has become an autonomous literary genre that hides complex topics beyond the words. Its reader must search for distinct critical mechanisms to read it and decode its words. Hence, contemporary novelists did not write fictional texts arbitrarily. But, behind every text there was a significance and a human issue affecting the community whose conditions deteriorated socially and politically. From the above, we will try, in this research paper, to dig into the depth of the issue and reveal the features of the contemporary fictional text and its marginalization. Perhaps the most important question is: Did contemporary creative writing really contribute to educating societies? And revealed the issues that are absent and marginalized? Will the continuation of this type of writing change and solve the nation's crises? In order to answer these questions, we have to research contemporary creative writing and dive into the most important cultural, social, political and even ideological systems.

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Nida Ansari. "Predicament of a Woman in Manju Kapur’s Home." Creative Launcher 4, no. 6 (February 29, 2020): 12–17. http://dx.doi.org/10.53032/tcl.2020.4.6.02.

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Manju Kapur is an Indian novelist. She was born on 25th October 1948. She is an archetypal representative of the postcolonial women novelists. She was a professor of English Literature at her alma mater at Miranda House College, Delhi. But she is retired from there. She joined the growing number of Indian women novelists, who have contributed to the progression of Indian fiction i.e. Shashi Deshpande, Arundhati Roy, Kamla Das, Geetha Hariharan, Anita Nair, Shobha De. Her novels reflect the position of women in the patriarchal society and the problems of women for their longing struggle in establishing their identity as an autonomous being. Her works not only gives voice to the society’s effort to improve its women population but it is for every woman’s self–consciousness in order to improve the society. She has written five novels, Difficult Daughters (1998), A Married Woman (2002), Home (2006), The Immigrant (2008), and Custody (2011). Kapur’s most memorable female characters are Virmati, Astha, Nisha, Nina, Shagun and so many others. All of them strive to assert themselves. These characters give us a rare glimpse of modernized Indian women who are in their aggression may enter into a scandalous relationship with her married neighbor, the professor or develop lesbian relationship as Virmati does in Difficult Daughters and Astha in A Married Woman. But Nisha in Home is different from her predecessors.

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