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Journal articles on the topic 'Novella criticism'
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1
Bird, Sabrina R., and Siegfried Weing. "The German Novella: Two Centuries of Criticism." German Studies Review 18, no. 3 (October 1995): 542. http://dx.doi.org/10.2307/1431807.
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Swales, Martin, and Siegfried Weing. "The German Novella: Two Centuries of Criticism." Modern Language Review 91, no. 3 (July 1996): 806. http://dx.doi.org/10.2307/3734191.
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Morton, Michael, and Siegfried Weing. "The German Novella: Two Centuries of Criticism." South Atlantic Review 65, no. 2 (2000): 201. http://dx.doi.org/10.2307/3201830.
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Zhuravlev, Mikhail E., Irina V. Golovacheva, and Polina V. de Mauny. "What Issues of Literary Analysis Can Differential Equations Clarify?" International Journal of Applied Evolutionary Computation 6, no. 3 (July 2015): 49–63. http://dx.doi.org/10.4018/ijaec.2015070104.
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The authors investigate to what extent differential equations can describe the dynamics of love relations in masochistic novellas. Unlike previous researchers, they base their analysis not only on psychological credibility. They relate their model to the ideas of literary criticism. The authors compare Ivan Turgenev's Torrents of Spring with the most famous masochistic novella Venus in Furs by Leopold von Sacher-Masoch. To prove that the dynamics of masochistic relationships differ from that of the other types of romance they also investigate the plot of the undoubtedly non-masochistic story by Anton Chekhov “The Lady with the Dog.” Instruments of literary criticism coupled with mathematical modelling allow the authors to reproduce the temporal and spatial dynamics of love plots in fiction more precisely and clearly than it was done in previous research.
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Roth, Marty. "Feminism and Alienated Labor: Rebecca Harding Davis's Life in the Iron Mills." Prospects 26 (October 2001): 239–50. http://dx.doi.org/10.1017/s0361233300000934.
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As One of the primary works of American literature to be recovered by feminist archaeology, Life in the Iron Mills (1861) can also stand as the test of a theoretical blind spot of early feminist criticism – its inability to see “bad writing” – for Davis's novella is notably awkward in its conception and construction. An obvious reason for the lack is that this kind of judgment fulfills an assumption of patriarchy in regard to women's writing: “that the reason for the absence of women [in the literary canon] is that women have not written in the past – or that what they have written is not very good” (Spender, 1). In the older formalist critical dispensation, aesthetic defects had to be publicly identified and labeled, like Hester Prynne's badge of shame. I certainly do not mean to suggest that feminism (however constituted) has any obligation to reproduce this order of judgment, but not owning such effects has consequences. Davis's novella can temporarily resolve this dilemma by using feminism to expose the traditional aesthetics of judgment.
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Classen, Albrecht. "The Fourteenth-Century Verse Novella Dis ist von dem Heselin: Eroticism, Social Discourse, and Ethical Criticism." Orbis Litterarum 60, no. 4 (August 2005): 260–77. http://dx.doi.org/10.1111/j.1600-0730.2005.00837.x.
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Zabihzadeh, Seyedeh Robabeh. "Engendered Violence Against Afghan Women in Atiq Rahimi’s A Thousand Rooms of Dream and Fear." English Language and Literature Studies 10, no. 2 (April 27, 2020): 57. http://dx.doi.org/10.5539/ells.v10n2p57.
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The universal concern of domestic violence against women in its various manifestations came to the center of scholarly attention due to its harmful effects and consequences on the lives of thousands of women worldwide. This umbrella term that refers to any form of physical, sexual, and psychological abuse against women is the result of gender-based power imbalance and sexist inequalities in societies where patriarchal norms hold sway. However, the enormity and severity of the problem is more profound in third-world countries where governing policies are determined by traditional and religious doctrines. Afghanistan is one such third-world country where woman’s oppression and abuse originate from the reigning religious principles that dominate its culture, society and politics. Nevertheless, there is a recent trend among literary figures of the Afghan Diaspora in highlighting the plight of Afghan women in Afghanistan through the medium of fiction. This paper therefore intends to investigate the manifestations of domestic violence against women in the Afghan context through a reading of Atiq Rahim’s novella, A Thousand Rooms of Dream and Fear (2007). Rahimi’s novella narrates the story of a male protagonist named Farhad and simultaneously highlights the miserable living conditions of the Afghan people, particularly the lives of Afghan women during the turbulent period of the Soviet Invasion as well as the many internal political upheavals that followed soon after. Using feminist literary criticism, the present paper shall discuss the depictions of three prominent forms of domestic violence against women as experienced by the female characters in the novella, namely physical, sexual and psychological violence that have shaped them into oppressed, silenced and traumatized individuals.
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Doran, Michelle, and Georgina Nugent-Folan. "Digitized Beckett: Samuel Beckett’s Self-Translation Praxes Mediated through Digital Technology." Anglia 139, no. 1 (March 4, 2021): 181–94. http://dx.doi.org/10.1515/ang-2021-0009.
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Abstract The Beckett Digital Manuscript Project (BDMP) brings together digital facsimiles of the manuscripts of Samuel Beckett’s works – documents currently held in over thirteen libraries and archives in Europe and North America – with the aim of furthering genetic criticism. Incorporating three of the eight modules available for researchers engaging with the BDMP website as of August 2020, together with one forthcoming monograph study whose corresponding digital module has yet to be made live on the site, this article will, in effect, make use of three novels and one novella, all in both their French and English iterations, in order to present concrete examples of the ways in which the exposition of idiosyncratic features of Beckett’s œuvre is being facilitated by this nascent digital archive.
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Arong, Marie Rose B. "Nick Joaquin’s Cándido’s Apocalypse: Re-imagining the Gothic in a Postcolonial Philippines." Text Matters, no. 6 (November 23, 2016): 114–26. http://dx.doi.org/10.1515/texmat-2016-0007.
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Nick Joaquin, one of the Philippines’ pillars of literature in English, is regrettably known locally for his nostalgic take on the Hispanic aspect of Philippine culture. While Joaquin did spend a great deal of time creatively exploring the Philippines’ Hispanic past, he certainly did not do so simply because of nostalgia. As recent studies have shown, Joaquin’s classic techniques that often echo the Hispanic influence on Philippine culture may also be considered as a form of resistance against both the American neocolonial influence and the nativist brand of nationalism in the 1950s and 1960s. Despite the emergence of Gothic criticism in postcolonial writing, Joaquin’s works have rarely received the attention they deserve in this critical area.
In this context, this paper explores the idea of the Gothic in Joaquin’s writing and how it relates to Joaquin being the “most original voice in postcolonial Philippine writing.” In 1972, the University of Queensland Press featured Joaquin’s works in its Asian and Pacific writing series. This “new” collection, Tropical Gothic (1972), contained his significant early works published in Prose and Poems (1952) plus his novellas. This collection’s title highlights a specific aspect of Joaquin’s writing, that of his propensity to use Gothic tropes such as the blending of the real and the fantastic, or the tragic and the comic, as shown in most of the stories in the collection. In particular, I examine how his novella (Cándido’s Apocalypse) interrogates the neurosis of the nation—a disconnection from the past and its repercussions on the present/future of the Philippines.
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Noletto, Israel A. C., and Sebastião A. T. Lopes. "Heptapod B and the Paradox of Foreknowledge: Confronting Literature and its Filmic Adaptation." arcadia 54, no. 1 (May 31, 2019): 86–100. http://dx.doi.org/10.1515/arcadia-2019-0003.
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Abstract Ted Chiang’s Story of Your Life (1998) and its filmic adaptation Arrival (2016) both use Heptapod B, an artificial language from extra-terrestrial origin, capable of conferring on its speakers the ability of precognition, as a primordial narrative framework. Innovative as it is, it not only determines the way the stories are recounted, but also raises some very interesting philosophical issues. Focusing on that fantastical language, we promote a comparative analysis of the differing perspectives of the novella writer and the filmmakers regarding the free will and determinism dichotomy in connection with foreknowledge, and how these distinct views may have been influenced by the adaptation process. With the aim of providing a solid basis for such discussion, we collect and review the contributions of Linda Hutcheon, Brian McFarlane, George Bluestone, Linda Gualda as well as of others in relation to the plot developments in the literary text and its filmic adaptation. As a result, we point out what is prioritized or transformed in the adaptation process, thus offering a theoretical and philosophical criticism on the two stories and a comprehensive exegesis of the texts.
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Martinicorena, Sofía. "The Ideology of Self-making and the White Working Class in Rebecca Harding Davis’ "Life in the Iron Mills"." REDEN. Revista Española de Estudios Norteamericanos 2, no. 1 (November 30, 2020): 59–68. http://dx.doi.org/10.37536/reden.2020.2.1383.
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Rebecca Harding Davis’ novella Life in the Iron Mills, published in 1861 in The Atlantic Monthly, is now considered a landmark of early American realism. This paper analyses the text’s depiction of the white working class and the ideological consequences of the myth of upward mobility and self-making, which are presented as an impossibility to Hugh Wolfe, the story’s main character. I will argue that Davis’ choice to offer a representation of the precarious lives of the workers of Northern industrial capitalism implies a criticism of the quintessentially American narrative of upward mobility, and a subsequent reflection on how foundational narratives operate in a society that is not homogeneous in terms of race or class. More specifically, I willmaintain that Life in the Iron Mills operates as a contestation to the myth of the self- made man, evinced by the comparison between Hugh Wolfe’s situation and that of the mill owners, who encourage his aspirations from an oblivious position of privilege. Lastly, Hugh’s tragic death will be taken as proof that the myth of self-making mystifies the actual social and economic dynamics of industrial capitalism.
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Katsouli Pantzidou, Lydia. "Jekyll, Hyde and the Victorian Construction of Criminal Working-Class Masculinities." ATHENS JOURNAL OF LAW 7, no. 2 (March 31, 2021): 233–52. http://dx.doi.org/10.30958/ajl.7-2-6.
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Violent crime has long been associated with ideas of insane and/or intrinsically dangerous masculinities in the global north. Victorian Gothic literature, generated during a period when positivist discourse around dangerousness, madness and crime was gaining in authority and coherence, provides particularly useful insights into the narratives underpinning these associations. This paper focuses on the Strange Case of Dr Jekyll and Mr Hyde (1886), which, being a work of cautionary horror written during an era of powerful cultural fascination with violent urban crime is particularly rich in such discourse. A range of methodological tools borrowed from literary criticism, legal studies and discourse analysis turn Stevenson's novella into a penetrative lens to examine the anxieties of 19th century medico-legal thinking. The many layers of the Jekyll-Hyde binary are analysed along a series of other relevant binaries that characterise many Victorian narratives around crime: reason against insanity, normativity against deviance, and respectable bourgeois masculinities against uncontrollable working-class masculinities, whose savage sexuality poses a threat to social order. Contextualised historically as part of the wider fin de siècle preoccupation with degeneration theory, as well as legally, having followed a long series of legislative and policing moves to control the disconcerting underclasses amassing in urban spaces, the Strange Case of Dr Jekyll and Mr Hyde arises as a uniquely informative testament of the profound contradictions of a terrified post-Industrial Revolution Europe – what Moretti (1982) would call a dialectic of fear. Narratives such as the ones unfurling in the Strange Case are not, however, taken as mere reflections of the activities and anxieties of the Victorian medico-legal apparatus. Rather, this paper finds that the tensions permeating the novella constitute elements of a wider narrative construct whose main achievement was the validation and naturalisation of a deeply rigid social taxonomy, justifying the exertion of social and legal control upon populations inscribed as monstrous and Other. Keywords: Law and Literature, Criminology, Victorian Studies, Masculinities, Legal Psychiatry
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Obidič, Andrejka. "Margaret Atwood’s Postcolonial and Postmodern Feminist Novels with Psychological and Mythic Influences: The Archetypal Analysis of the Novel Surfacing." Acta Neophilologica 50, no. 1-2 (November 13, 2017): 5–24. http://dx.doi.org/10.4312/an.50.1-2.5-24.
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The paper analyzes Margaret Atwood’s postcolonial and postmodern feminist novels from the psychological perspective of Carl Gustav Jung’s theory of archetypes and from the perspective of Robert Graves’s mythological figures of the triple goddess presented in his work The White Goddess: A Historical Grammar of Poetic Myth (1997). In this regard, the paper focuses on the mythic and psychological roles embodied and played by Atwood’s victimized female protagonists who actively seek their identity and professional self-realization on their path towards personal evolution in the North American patriarchal society of the twentieth century. Thus, they are no longer passive as female characters of the nineteenth-century colonial novels which are centered on the male hero and his colonial adventures. In her postcolonial and postmodern feminist novels, Atwood further introduces elements of folk tales, fairy tales, legends, myths and revives different literary genres, such as a detective story, a crime and historical novel, a gothic romance, a comedy, science fiction, etc. Moreover, she often abuses the conventions of the existing genre and mixes several genres in the same narrative. For instance, her narrative The Penelopiad (2005) is a genre-hybrid novella in which she parodies the Grecian myth of the adventurer Odysseus and his faithful wife Penelope by subverting Homer’s serious epic poem into a witty satire. In addition, the last part of the paper analyzes the author’s cult novel Surfacing (1972 (1984)) according to Joseph Campbell’s and Northrop Frye’s archetypal/myth criticism and it demonstrates that Atwood revises the biblical myth of the hero’s quest and the idealized world of medieval grail romances from the ironic prospective of the twentieth century, as it is typical of postmodernism.
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Pozdnyakov, Konstantin S. "Elements of expressionism in the story of A. Green «Gray Car»." Semiotic studies 1, no. 1 (April 19, 2021): 26–32. http://dx.doi.org/10.18287/2782-2966-2021-1-1-26-32.
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The topic of the work is relevant, since at present the Russian literary criticism is rediscovering the features of the artistic expression of Soviet literature of the 1920s. The aim of the study was to discover the features of the poetics of Greens text that allow us to identify the novel under consideration as expressionist. Research methods used in the article: comparative-historical and semantic analysis of texts. At the beginning of the article, the research of the novella Gray Car by A.V. Polupanova and L.U. Zvonareva is considered, inaccuracies and obvious factual errors are noted, indicating a lack of understanding of the text, a mixture of such forms of expression of the authors position (according to B.O. Korman) as hero-narrator and author-narrator. As an empirical material, in addition to the novel by A. Green, the works of G. Mayrink, F. Kafka and L. Perutz were used. As a result of consideration of the novels the Golem, Castle, the Cossack and the Nightingale, the Wizard of judgment was allocated with the following features art in the world of the expressionist literary works: a) the problem of identity associated, as a rule, the main character; 2) semema madness, which became a constant for expressionist texts; 3) mysterious (hidden) order of a seemingly chaotic world; 4) the lack of success of speech acts. All these features were found in the story of A. Green, so it seems that the new approach to the work of the writer as a representative of Russian expressionism, demonstrates its consistency and can be contrasted with the more traditional consideration of the authors prose as a super-textual unity.
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MADDEN, DEBORAH. "Patriarchal Politics in Pre-Civil War Spain: Prostitution in Ángela Graupera’s Anarcho-feminist Novellas." Bulletin of Hispanic Studies: Volume 98, Issue 4 98, no. 4 (April 1, 2021): 375–94. http://dx.doi.org/10.3828/bhs.2021.22.
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For anarchists and leftists in pre-Civil War Spain, prostitution epitomized women’s sexual and economic subordination under patriarchal, capitalist structures. Though both anarchist and Marxist discourses conflated gender and class equality, believing women’s emancipation to be an organic consequence of social revolution, the lack of focus on female-specific concerns in anti-capitalist ideations has attracted criticism from feminist scholars. Grounding an analysis within these theoretical and historical contexts, this article interrogates how Ángela Graupera, a little-known Catalan activist and writer, used the trope of prostitution to examine these issues in her novellas, published as part of the La Novela Libre and La Novela Ideal series that were printed by the anarchist magazine La Revista Blanca in the 1920s and 1930s. Through a close reading of selected texts, the examination explores how prostitution functions as a metaphor for female subordination, facilitating a critique of androcentric socio-economic discourses and hegemonic sexual politics in early twentieth-century Spain.
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Ahmad Bhat, Zubair. "Resistance in Literature: A Close Reading of Charles Dickens’ Hard Times and Little Dorrit." International Journal of Applied Linguistics and English Literature 8, no. 2 (March 31, 2019): 120. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.2p.120.
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Literature is the reflection of life or society. Whatever is going on in the society it reflects all. It may be any aspect of the society such as, political, historical, economical, religious, educational or administrational. All these driving forces of the society are being reflected by the literature. Literature on the whole encompasses all these parameters of the society. Resistance is always present in literature or in its genres. It may be present least or most, but it depends, whether it is expressed or not. From the evolution of English literature, English was mainly written in the genre of poetry, prose and drama in medieval era, but with the advent of advancement it takes other forms as well in the coming eras such as novel and novella. Many writers or authors from time to time put forward their issues in front of the society through their writings. They either satire their society indirectly or they put their issues in front of the society or governing bodies. Either they dissatisfied by the system or they revolt against them. A Modest Proposal by Jonathan Swift or Animal Farm by George Orwell, are satires on the political system of their era. But with the passage of time resistance in literature take dominant form in English literature as Resistance literature in the Third World. It encompasses the literature of third world writers especially of the colonized and imperialized ones. It covers all the dimensions of third world literature such as political, historical and sociological. By the introduction of Barbara Harlow’s Resistance Literature which is a ground breaking work in western literature, the third world literature came into being recognized and it was once avoided; now it is being studied in most of the western universities. Harlow not only presents new writing but a new critical perspective through Resistance Literature and part of her argument is that works written in the context of resistance does not allow for an independent approach, but instead requires an abandoning of the western model of criticism that renders art as apolitical. This paper analyses Dickens’ works as a precursor of resistance in literature and it especially takes into account Little Dorrit and Hard Times as revolting works.
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Sumiati, Ati, and Romel Noverino. "CRITICIZING THE TRANSLATION OF GIBRAN’S “THE BROKEN WINGS”: EXTRA AND INTRA-TEXTUAL ANALYSIS." IJLECR - INTERNATIONAL JOURNAL OF LANGUAGE EDUCATION AND CULTURE REVIEW 7, no. 1 (June 30, 2021): 46–58. http://dx.doi.org/10.21009/ijlecr.071.04.
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This research was based on the fact that in the discipline of Translation Studies, Translation Criticism (TC) is highly underrated. Not many research that discuss about the issue due to the fact that doing TC is not as simple as flickering your fingers. It requires mastery of the theories of translation and mastery of linguistic and socio-cultural aspects from both languages. It was therefore, this study aimed to: (1) identify and elaborate the aspects of doing TC from extra- textual and intra-textual aspects; (2) give evaluation on the basis of the quality of the translation. To achieve the aims of the study, Gibran famous novel The Broken Wings (TBW) and its Indonesian translation Sayap-sayap Patah (SSP) are used as the data. Data collecting procedures are identifying the extra-textual and intra-textual aspects from TBW and SSP, highlighting them, and placing them on the table of data collection. The writer then analysed the data by employing the theory proposed by Nords and Newmark on TC and the Larson for the quality of translation. The findings showed that the analysis of extra-textual focusing on the ST and TT has shown that the intention of Gibran to write TBW is to depict the life during his era during which the era deals with various problems that plagued early-twentieth-century Lebanon and foremost to tell a tale of tragic love, set at the turn of the 20th century in Beirut. It is perhaps most aptly described as a “love-poem-in-prose,” unified by the force of its universal theme of love, though critics have regarded it from the traditional perspective of the novella. Based on the analysis of the intra- textual aspects, it is shown that TBW contains many figures of speech, to name a few are the similes which dominate, the metaphor and the personification. TBW also contains so many cultural words that refer to ecology to describe the beautiful landscape of the Lebanon, the material culture to describe the flowers, fruits, and also the organization of Lebanese with the “houris”. The translator was able to perceive and retain the meaning of each making the translation fulfilled the criteria of good translation, clear, accurate and natural.
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Nagornaya, Yana V. "А. М. REMIZOV AND FOLKLORE: ON THE ISSUE OF RESEARCH METHODOLOGY." Philological Class 26, no. 2 (2021): 155–66. http://dx.doi.org/10.51762/1fk-2021-26-02-13.
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The article presents a critical review of research works on the topic “Folklore-literary interaction in the creative activity of A.M. Remizov” published in Russian. The study of the topic has been conducted mainly within the framework of literary criticism. Meanwhile, for a writer known for his commitment to preservation and innovative approach to traditional literary genres, folklore is one of the dominant sources of creativity. Currently, Remizov studies cannot boast of generalizing works on folklorism in the writer’s creative activity and on the influence of oral folk art genres on his artistic system, so one of the aims of the article is to attract scholarly interest to the issue and stimulate further research in this area. The publication gives a brief description of the current state of research on the problem, identifies the main vectors of its consideration and reveals the academic lacunae. The author analyzes the works, which deal with the creative heritage from the point of view of folklore studies and address the problems of the typology of folklorism and mythologism of the writer, clarify the range of folklore sources and the specificity of working with them, as well as the role and function of the author’s comments on the miniatures of Posoloni. These notes to the texts were created under the influence of a literary scandal related to the accusation of the writer of plagiarism. The assessment of the events around this incident by specialists in Remisov studies and folklorists does not coincide, the article outlines prospects for further research. The author undertakes a detailed description of the influence of the texts of calendar rite, spiritual verses, fairy tale, conspiracy-spell tradition, folk drama, children’s folklore and Russian folk pictures on the writer’s creative activity. For the first time, the author poses a hypothesis about the possible influence of the aesthetics of rayok (“World Cosmorama”) on the work of A. M. Remizov by the example of the fairy-tale novella “What is Tobacco”, which which depicts the reformatting of the apocryphal model by artistic means of lubok and rayok. The analysis of numerous studies made it possible for the author of the article to conclude that the writer’s creative activity does not only reflect the real diversity of folklore genres but also such specific features of them as oral format and variability. The results of the study can be used in the design of the course of the history of Russian literature and folklore studies of the beginning of the early 20th century, in the studies dealing with folklore-literary interaction, and in popularization and publication of folklore texts.
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Dautova, S. B., and B. R. Ospanova. "THEORETICAL ASPECTS OF STUDYING THE GENRE OF HISTORICAL NOVELS IN MODERN LITERARY CRITICISM." European Journal of Natural History, no. 4 2021 (2021): 22–26. http://dx.doi.org/10.17513/ejnh.34193.
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Rogers, Jonathan P., and Jonathan Patterson. "Thérèse Raquin by Emile Zola: Surgical method in psychiatry." British Journal of Psychiatry 207, no. 1 (July 2015): 36. http://dx.doi.org/10.1192/bjp.bp.114.157982.
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There are several novels that pique our common interest, but Zola's ambition to put a ‘scientific aim above all others' in his 19th-century novel Thérèse Raquin provides a particularly interesting topic for collective reflection. After being criticised for vulgarity, in the preface to the second edition of his work Zola justified his portrayal of a gruesome ménage àtrois as being analogous to the ‘analytical work that surgeons conduct on cadavers'. Criticism of Zola's work often focuses on whether he achieves the degree of reductionism and determinism that he allegedly strove for or whether, in fact, his predilections for the gothic and fantastic overshadow the novel's scientific, ‘surgical’ veneer. Similarly, psychiatric case notes often begin with a highly formulaic scientific account, yet on closer inspection digress to read more like a tragic novel.
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Isya, Muhammad. "Novel dan Kritik Politik Luar Negeri (Studi Sastra Realis Historis Al-Zaynī Barakāt Karya Al-Ghitani)." Buletin Al-Turas 19, no. 2 (January 23, 2018): 369–84. http://dx.doi.org/10.15408/bat.v19i2.3726.
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Abstrak Penelitian ini ini membuktikan bahwa salah satu kritik politik Novelis al-Ghitani di dalam novel al-Zayni> Baraka>t ialah kritikan terhadap kinerja Presiden Nasser atas kekalahan Arab pada perang Arab-Israel tahun 1967. Menurutnya, pemerintah ini terlalu disibukkan dengan memperbaiki internal Mesir sehingga kurang memperhatikan eskternal. Dengan kata lain, sepanjang tahun 1960-an, Presiden terlalu disibukkan dengan penanaman pan-Arabisme sehingga kurang dalam persiapan dan perencanaan melawan Israel tahun 1967.---Abstract This research this proves that one of the criticisms of the political Novelist al-Ghitani in novel Zayni al-Baraka is the criticism of the performance of President Nasser over the defeat of the Arabs in the Arab-Israel war of 1967. According to him, the Government is too preoccupied with internal fix Egypt so little regard for external. In other words, throughout the 1960s, the President is too preoccupied with planting of pan-Arabism so lacking in preparation and planning against Israel in 1967.
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Martínez Ojeda, Beatriz. "“Claire d’Albe” (1799) de Mme Cottin y la traducción al español de 1822." Epos : Revista de filología, no. 33 (August 23, 2018): 167. http://dx.doi.org/10.5944/epos.33.2017.20259.
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Sophie Cottin fue una novelista francesa que destacó con luz propia entre la pléyade de narradoras de finales del xviii. Considerada por la crítica literaria, junto a Mme de Genlis, como la creadora en Francia de la novela histórica, sus relatos serán una especie de oasis en el desierto literario que se extiende desde los inicios de la Revolución hasta finales del Primer Imperio. Claire d’Albe es un relato imbuido del sentimentalismo fúnebre que preludia el Romanticismo. Los personajes femeninos que en ésta se describen hacen gala de innumerables virtudes morales que en la mente del lector evocarán a los de la Nouvelle Héloise de Rousseau. En esta obra de Cottin se narra la historia de una joven atrapada en un triángulo amoroso, quien se debate entre someterse a la virtud o sucumbir a una pasión desenfrenada, argumento que deja entrever el carácter preeminentemente aleccionador de la novela. El objetivo principal de este trabajo es llevar a cabo un análisis de la novela francesa Claire d’Albe, tras el que se abordará el estudio de la versión española de la obra, publicada de forma anónima en el año 1822 con el título de Clara de Alba. Novelita en cartas.Sophie Cottin was a French novelist who set above her female writer peers in the late 18th century. Literary criticism has named her, along with Mme de Genlis, as the engenderer of the historical novel in France. Cottin’s body of literary works can be regarded as a visage amid the literary desert that ranges from the very beginning of the French Revolution to the fall of the First Empire. Claire d’Albe is a novel imbibed with a melancholy and sentimental touch that foreshadows Romanticism. In like fashion, its female characters are tinged with myriad moral virtues the reader can easily acknowledge in Rousseau’s Nouvelle Héloise. In particular, Cottin’s novel tells the story of a young lady caught in a love triangle. She is constantly at war with herself when it comes down to virtue or to surrendering to unbridled passions, an inner conflict which in essence reflects the didactic tone breathed throughout the novel. The primary objective of this study is to carry out an overall analysis of Claire d’Albe and to study in depth the novel’s translated version into Spanish, entitled Clara de Alba. Novelita en cartas and published anonymously in 1822.
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PUJANTE SEGURA, Carmen María. "HA DEJADO DE LLOVER (2012), UNA “NOVELA DE NOUVELLES”, DE ANDRÉS BARBA." Signa: Revista de la Asociación Española de Semiótica 29 (April 8, 2020): 703. http://dx.doi.org/10.5944/signa.vol29.2020.23404.
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Resumen: Se analiza la apuesta de Andrés Barba por una “novela denouvelles” con la obra titulada Ha dejado de llover (2012). Se podríaleer como una apuesta novedosa para el público y también para la críticaliteraria, que ha aplaudido los hallazgos de ese escritor en numerosasreseñas que contrastan con los escasos estudios sobre su obra. Barba,conocedor de la tradición y actualidad literarias, tras varias tentativas conlas que ha creado un mundo literario de coherencia y personalidad queincluye más nouvelles, novelas y recopilaciones, parece encontrar así unasolución narrativa, una propuesta lectora y un lugar propio en el panoramaliterario. Abstract: This article analyses Andres Barba’s commitment to the literaryform of the nouvelle. It stopped raining (2012) can be read as a new focusfor the public and for literary criticism. In sharp contrast to literary critics,who have applauded the writer in numerous reviews, there have been fewstudies on this author. Barba knows the traditional and current literatureand has attempted to create his own literary world, which includes morenouvelles, novels and compilations. In this case, he seems to find a narrativesolution, a reading proposal and his own place in the literary panorama.
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Robertson, Ritchie. "Reviews : Poetic Realism in Scandinavia and Central Europe, 1820-1895. By Clifford Albrecht Bernd. Studies in German Literature, Linguistics and Culture. Columbia, SC: Camden House, 1995. Distributed by Boydell & Brewer, Woodbridge, Suffolk. Pp. vi + 243. £40.00. The German Novella: Two Centuries of Criticism. By Siegfried Weing. Studies in German Literature, Linguistics and Culture: Literary Criticism in Perspective. Columbia, SC: Camden House, 1994. Distributed by Boydell & Brewer, Woodbridge, Suffolk. Pp. xii + 191 pp. £38.00." Journal of European Studies 25, no. 2 (June 1995): 214–16. http://dx.doi.org/10.1177/004724419502500220.
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Abbasova, Sadagat. "THE CHARACTERISTICS AND APPROACHES OF IMMANENCE CRITICISM IN DORIS LESSING’S NOVEL OF “THE GOLDEN NOTEBOOK”." SCIENTIFIC WORK 15, no. 2 (March 9, 2021): 6–10. http://dx.doi.org/10.36719/2663-4619/63/6-10.
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Unlike the XIX century, literary culture of the XX century made a strong aesthetic leap in women’s identity. This process has caused to the emergence of a large number of new generation women writers in world literature and moreover, these writers had succeeded in revealing a real and contemporary literary phenomenon, such as “immanence- immanentism” which is focused on female landscapes in their stories and novels. In general, the works of “immanence” authors have a feminist background. As a doctrine, imamnence is used to explain the connection with the spiritual world, which is confirmed by some philosophical and metaphysical theories and critics. But later, immanence was replaced by Kant as a philosophical concept, and this awareness began to include a philosophical disposition perceived by the senses on the basis of personal experience. Lessing, who donated many works to world culture, created a portrait of the physical and spiritual characteristics of people (especially women) with her strong logic and talent in all her stories and novels and tried to explain in detail the special feelings that exist in them. With the help of this concept, Lessing aimed not only to represent the love experiences and emotional vibrations of women in her novels, but also to present a strong and courageous woman in a socio-cultural and political context, unlike female literature. In this paper is discussed, the feature elements of immanent culture in Doris Lessing’s novel in (“The Golden Notebook”). In the novel, Lessing interprets the classic drama of a woman of art who is free ones like as herself and in their examples, examines the potential and profiles of creative women seeking their place in social society. In her works, Doris Lessing reproduces the female perspective in the universe by thinking from the prism of immanentism and pays particular attention to the psychology of female characters and the identification of their inner states of heroes. Based on all of these, the author also refers to the expanding principle of women sovereignty regarding the rights and the status of women in society. At the same time, Lessing also explores the possibility of a relationship based on the concept of mundane reality as an alternative to romantic love parodies of postmodernism, and with this in mind, she erects a “protective wall” against the expansion of the “Western world” in Rhodesia (Zimbabwe). Key words: existence, immanence, Sufism, "The Golden Notebook", socio-cultural
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Page, Tony. "Friedrich Halm’s Earliest Extant, Melodramatic Novelle, St. Sylvesterabend: An Austrian Dramatist’s Hidden Beginnings as a Narrative Fiction Writer." Manusya: Journal of Humanities 23, no. 2 (August 5, 2020): 224–52. http://dx.doi.org/10.1163/26659077-02302005.
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To date there has been no scholarly exploration of the genesis and nature of Friedrich Halm’s earliest extant Novelle, St. Sylvesterabend (New Year’s Eve). The present research article attempts to fill that gap by determining the contested date of the story’s origin, establishing it as 1823. Furthermore, the article examines the tale’s simplicity of style, which is distinct from Halm’s later Kleist-influenced narratives. Furthermore, it analyzes the novel’s structural principle of parallels and contrasts, and its themes of monomania, secularised religiosity, and Christian caritas. The article also indicates how vicious criticism of the tale by Halm’s literary mentor, Michael Enk von der Burg, lacerated the young Halm’s self-confidence as a Novelle writer and crippled his novelistic creativity for decades to come.
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Williams, Raymond L. "New Approaches to the novel: From Terra Nostra to twitter literature." Co-herencia 12, no. 22 (June 2015): 13–23. http://dx.doi.org/10.17230/co-herencia.12.22.1.
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This article addresses new approaches to the novel in the twenty-first century. It begins with an affirmation that even the most avant-garde of contemporary critics in the late twentieth and early twenty-first century share a commonality: a background in what was identified as “close reading” in the Anglo-American academic world and analyse de texte in French. After numerous declarations in recent decades about the death of the novel, the death of the author and the death of literary criticism, it is evident that the novel as a genre has survived, authors remain a subject of study, and new approaches are possible. The study of trauma in fiction (as introduced by Cathy Caruth and David Aberbach), as well as eco-criticism, are promising new points of departure. The required close reading implied by Twitter also opens up new possibilities.
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Whitworth, Michael H. "Traces of War in Virginia Woolf's Night and Day." Modernist Cultures 16, no. 3 (August 2021): 408–29. http://dx.doi.org/10.3366/mod.2021.0341.
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Katherine Mansfield's review of Virginia Woolf's Night and Day (1919) has dominated criticism of the novel and contributed to its critical neglect, but Mansfield's belief that the novel ignores the First World War has never been challenged. The present essay identifies the novel's oblique references to the war and to combat. It considers the novel's status as a historical novel: its awareness that the pre-war era is irretrievably lost, and its creation of situational ironies for its characters. It considers the themes of isolation, insulation, and near-obliviousness, and the awareness of sounds at the edge of consciousness, as symptomatic of the novel's war-time moment.
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ŞEKER, Aziz. "Yaşar Kemal’in Romanlarının Sosyolojik Dokusunu Feminist Edebiyat Eleştirisi Bağlamında Değerlendirmek." İstanbul Üniversitesi Kadın Araştırmaları Dergisi 2019, no. 19 (February 11, 2020): 15–35. http://dx.doi.org/10.26650/iukad.2019.19.002.
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Franken K, Clemens A. "Vicente Leñero y el fracaso de su inspector." Literatura y Lingüística, no. 21 (June 25, 2015): 13. http://dx.doi.org/10.29344/0717621x.21.130.
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ResumenLuego de exponer brevemente la obra literaria del escritor Vicente Leñero y su lugar dentro de literatura mexicana, se analiza, en su novela posmoderna Los albañiles, la conductade los personajes sospechosos, la figura y el método de investigación del detective y desus colaboradores que fracasan en su búsqueda de la verdad, la crítica social y cultural de la sociedad mexicana de los años sesenta y aspectos formales como, por ejemplo, ellenguaje, el narrador y la forma de asimilación.Palabras clave: Vicente Leñero, Los albañiles, novela policial mexicana posmoderna, asimilación (de Sherlock Holmes y Maigret)AbstractAfter presenting the literary work of Vicente Leñero and his place in the mexican literature, this article analyzes, whitin his postmodern novel Los albañiles, the behavior ofthe suspicious characters, the figure and the investigation method of the detective andhis collaborators who fail to look for the truth, the social and cultural criticism of the mexican society in the seventies, along with formal aspects, namely the language, thenarrator and the assimilation method.Keywords: Vicente Leñero, Los Albañiles, postmodern mexican detective novel, assimilation(Sherlock Holmes and Maigret)
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Mehnert, Antonia. "Climate Change Futures and the Imagination of the Global in Maeva! by Dirk C. Fleck." Ecozon@: European Journal of Literature, Culture and Environment 3, no. 2 (October 6, 2012): 27–41. http://dx.doi.org/10.37536/ecozona.2012.3.2.470.
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This article is aimed at making a contribution to the only recently emerging literary criticism of climate change fiction. Facing a global environmental disaster such as climate change requires a departure from an overemphasis on place in ecocriticism. Incorporating ideas from the concept of eco-cosmopolitanism can therefore be helpful for the analysis of literary works dealing with global warming, opening up new planetary perspectives. However, while many climate change novels fall short of engaging with the global, D. Fleck’s Maeva! serves as a counter-example from German science fiction. This article therefore explores the ways in which Fleck’s novel embraces an “eco-cosmopolitan manifesto” as a political vision of dealing with the climatically changed world of tomorrow while showing that this thereby newly created “space” is contested and fragile as interests between the local and the global have to be constantly re-negotiated. Finally, this article also discusses Fleck’s innovative textual approach, which can be read as an attempt at imagineering—creating a manual for critical intervention derived from creative ideas. Resumen Este articulo trata de hacer una contribución a la recientemente surgida crítica literaria de novelas de ficción sobre cambio climático. Hacer frente a un desastre global del medioambiente como el cambio climático requiere alejarse del excesivo énfasis en lo “local” de la ecocrítica. Incorporar ideas del concepto eco-cosmopolitismo podría ser útil en el análisis de obras literarias sobre calentamiento global, desarrollando nuevas perspectivas planetarias. Sin embargo, muchas novelas sobre cambio climático han sido criticadas por no incluir la perspectiva global. Maeva!, del autor alemán de ciencia ficción Dirk Fleck, es uno de los pocos contraejemplos. Por ello, este artículo analiza cómo la novela incluye un “manifiesto eco-cosmopolita” como visión política para proceder en el mundo del mañana, cuyo clima va a cambiar, mientras muestra que ese nuevo “espacio” creado es disputado y frágil a medida que los intereses entre lo local y lo global tienen que ser renegociados continuamente. Finalmente, este artículo también explora el enfoque textual innovativo de Fleck, que pueden leerse como un intento de imagineering – creando un manual para la intervención crítica que se deriva de ideas creativas.
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Prádanos, Luis I. "Decrecimiento o barbarie: ecocrítica y capitalismo global en la novela futurista española reciente." Ecozon@: European Journal of Literature, Culture and Environment 3, no. 2 (October 19, 2012): 74–92. http://dx.doi.org/10.37536/ecozona.2012.3.2.473.
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This essay analyzes three futuristic Spanish novels published in 2011 from an ecocritical perspective. The three works are critical dystopias and depict future scenarios in which the current social and ecological crisis has arrived to unsustainable extremes. These futures would be the result of continuing with the logic of constant economic growth in the context of a limited biosphere. Thus, this essay reveals, deploying degrowth theory, how these novels imply a criticism to the unsustainable global capitalism and an invitation to the reader to question its legitimacy. Resumen El presente ensayo analiza desde una perspectiva ecocrítica tres novelas de anticipación publicadas en España en el año 2011. Las tres obras son distopías críticas y representan escenarios futuros en los que la crisis ecológica y social actual ha llegado a extremos insostenibles. Dichos futuros serían el resultado de continuar con la lógica del crecimiento económico constante en el marco de una biosfera limitada. Así, el ensayo pone de manifiesto, desde un marco teórico decrecentista, el modo en que las tres novelas suponen una crítica a la insostenibilidad del capitalismo global e invitan al lector a cuestionar su legitimidad.
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Rente, Renata Santos. "O “criticismo de gêneros” na poética de Guimarães Rosa." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 1 (March 21, 2019): 15–31. http://dx.doi.org/10.17851/2358-9787.28.1.15-31.
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Resumo: Autor de contos, novelas e do romance Grande sertão: veredas, Guimarães Rosa é reconhecido pela engenhosidade de suas narrativas e por um estilo que seria expressão de uma personalidade artística ímpar na literatura brasileira. O poder que suas narrativas têm de surpreender os leitores em suas expectativas convencionais se manifesta de modo singular no último livro do escritor. Neste artigo, pretendemos apresentar e analisar o modo como Tutaméia: terceiras estórias está sistematicamente voltado a desautomatizar o leitor das convenções na apreensão da verossimilhança e como suas estórias e prefácios encenam aquilo que, segundo Bakhtin, seria a característica do romanesco enquanto gênero: o “criticismo”.Palavras-chave: Guimarães Rosa; Tutaméia; Bakhtin; romanesco; teoria dos gêneros.Abstract: Author of a range of literary genres, such as short stories, novels and the well-known novel Grande Sertão: Veredas, Guimarães Rosa is recognized for the ingenuity of his narratives. Moreover, the author is acknowledged for a style which is the expression of a unique artistic personality in Brazilian literature. The power of his narratives to astonish readers’ conventional expectations is manifested in his last book, Tutameia: Terceiras Estórias, in quite a singular way. In this article we intend to present and analyze the way in which Tutameia: Terceiras Estórias is systematically aimed at de-automating the readers’ conventions regarding their apprehension of verisimilitude. In addition, it is intended to show how Guimarães Rosa stories and forewords stage what Bakhtin would define as the characteristic of the Romanesque as a genre: the “criticism”.Keywords: Guimarães Rosa; Tutameia; Bakhtin; romanesque; genre theory.
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Anderson, Jill E. ""Blown away like apples by the fickle wind of the Twentieth Century”: Counterculture Resistance and the Wilderness Condition in Richard Brautigan’s Trout Fishing in America // Resistencia contracultural en Trout Fishing in America." Ecozon@: European Journal of Literature, Culture and Environment 4, no. 1 (April 25, 2013): 30–43. http://dx.doi.org/10.37536/ecozona.2013.4.1.498.
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Abstract Many critics consider Richard Brautigan’s 1967 novel Trout Fishing in America a coming-of-age account of a wayward, outsider narrator discovering that the pastoral mode is no longer viable in mid-century America. However, these readings often ignore Brautigan’s explicit political affinity and his conscious engagement with a specific setting—southern California in the mid- to late-60s. This paper explores Brautigan’s Counterculture ethic, which critiques the mindless prevalence of mainstream, middle-class America’s habit of consumption, production, and destruction of the natural world. Linking the lack of individual free will with the postwar technology boom, Brautigan engages with the natural landscape and in communities of one’s own making. As a result, the novel is peopled with alienated drop-outs, the victims of America’s technocracy. The “trout fishing in America” refrain, with its many incarnations, is one of the modes through which these characters’ operate within Counterculture principles, namely through their self-imposed poverty and criticism of the way America uses and abuses its citizens and the natural world. Resumen Muchos críticos consideran la novela de Richard Brautigan Trout Fishing in America (1967) un relato iniciático de un narrador forastero y obstinado que descubre que el modo pastoril ya no es viable en los Estados Unidos de mediados de siglo. Sin embargo, estas lecturas a menudo ignoran la afinidad política explícita de Brautigan y su compromiso consciente con un escenario específico - la California sureña de los últimos años de los años 60. Este ensayo explora la ética contracultural de Brautigan, que critica la preponderancia ciega de la clase media de los Estados Unidos y su hábito de consumo, producción y la destrucción del mundo natural. Conectando la falta de voluntad propia con el "boom" tecnológico posterior a la segunda guerra mundial, Brautigan se implica con el paisaje natural y en las comunidades de creación propia. Como resultado, la novela está llena de bohemios alienados, las víctimas de la tecnocracia estadounidense. El refrán "trout fishing in America," con sus muchas encarnaciones, es una de las formas en las que estos personajes actúan dentro de los principios contraculturales, concretamente a través de su pobreza auto-impuesta y del criticismo de la manera en que los Estados Unidos usan y abusan de sus ciudadanos y del mundo natural.
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Alfaro Vargas, Roy. "Crítica a la acrítica en Cantos de las guerras preventivas, de Fernando Contreras." LETRAS, no. 45 (April 20, 2009): 157–70. http://dx.doi.org/10.15359/rl.1-45.7.
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Este artículo presenta un análisis de la novela Cantos de las guerras preventivas, de Fernando Contreras tratando de establecer los elementos posmodernos que funcionan a nivel textual, como medio para abordar el texto como antiutopía. Se estudia el papel del deseo insatisfecho en relación con la trama textual, con el fin de señalar las fallas que existen en relación con la crítica que el autor pretende dirigir contra las guerras preventivas.This article presents as analysis of Fernando Contreras’ novel Cantos de las guerras preventivas, in an effort to establish the post-modern elements existing in the text, and to approach it within the anti-utopian genre. The role of unsatisfied desire is addressed with regard to the plot, in order to discuss the failures existing with regard to the author's criticism of preventive wars.
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Carlos Magno, Maria Ignês. "QUANDO O BRASIL FICCIONAL FAZ PENSAR O BRASIL REAL. Como a crítica entra nessa história?" Revista Observatório 3, no. 3 (May 1, 2017): 459. http://dx.doi.org/10.20873/uft.2447-4266.2017v3n3p459.
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Esse texto é parte da pesquisa: A telenovela brasileira sob os olhos da crítica nos anos 1970. Considerando a teleficção como objeto de pesquisa dado seu diálogo constante com a realidade brasileira locus dessa relação, a proposta desse artigo é compreender no âmbito da linguagem crítica que relações podemos estabelecer entre a crítica de telenovela com as discussões históricas que ocorriam no Brasil nos anos 1970. A crítica é entendida como parte do processo social e atividade teórica que ao veicular os pensamentos e reflexões sobre televisão e telenovela, exerce uma função cultural e histórica. Para desenvolver o estudo sobre os diálogos existentes entre críticas veiculadas na mídia impressa e as temáticas históricas das telenovelas, escolhi a novela Os Ossos do Barão (1973/74) de Jorge Andrade e as críticas de Helena Silveira e Artur da Távola publicadas nos jornais Folha de S. Paulo e no jornal O Globo. PALAVRAS-CHAVE: Telenovela; Crítica; História; Helena Silveira e Artur da Távola. ABSTRACT This text is part of the research: The Brazilian soap opera under the eyes of criticism in the 1970s. Considering telefiction as an object of research given its constant dialogue with the Brazilian locus of this relationship, the proposal of this article is to understand in the scope of critical language which relations can be established between the soap opera critique and the historical discussions that took place in Brazil in the 1970s. Criticism is understood as part of the social process and theoretical activity that, in the transmission of thoughts and reflections on television and soap operas, exerts a cultural and historical function . In order to develop the study of the dialogues between criticism in the print media and the historical themes of soap operas, I chose Jorge Andrade's novel Os Ossos do Barão (1973/74) and the critiques of Helena Silveira and Artur da Tavola published in Folha de S. Paulo and in the newspaper O Globo. KEYWORDS: Soap opera; Criticism; History; Helena Silveira and Artur da Távola. RESUMEN Este texto es parte de la investigación: La telenovela brasileña bajo los ojos de la crítica en la década de 1970. Teniendo en cuenta la teleficção como objeto de investigación, dada su constante diálogo con la realidad brasileña el locus de esta relación, el propósito de este artículo es entender que relaciones se pueden establecer entre la crítica de telenovela con los debates históricos que tuvieron lugar en Brasil en la década de 1970. La crítica es vista como parte del proceso social y actividad teórica que al transmitir los pensamientos y reflexiones sobre las óperas de televisión y telenovela, desempeña una función cultural e histórica. Para desarrollar el estudio de los diálogos existentes entre la crítica transmitidos en forma impresa y temas históricos de telenovelas, he elegido la novela Os Ossos do Barão (1973/74) de Jorge Andrade y las críticas de Helena Silveira y Artur da Távola publicados en el diario Folha S. Paulo y O Globo. PALABRAS-CLAVE: Telenovela; Crítica; Helena Silveira; Artur da Távola.
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Ezama Gil, María de los Ángeles. "Juan Ochoa: hacia una comprensión del relato breve." Estudios Humanísticos. Filología, no. 10 (December 1, 1988): 163. http://dx.doi.org/10.18002/ehf.v0i10.4349.
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<p>El relato breve, una de las formas literarias más antiguas constituye en su configuración moderna, un producto del siglo XIX; momento éste en que el desarrollo del género se vio favorecido por factores tales como el auge del periodismo. Y, sin embargo, el cuento es objeto de una marginación crítica que obedece a motivos como: la inexistencia de una definición estable del género, la confusión terminológica o la diversidad metodológica. La falta de atención crítica se hace notar en el terreno del relato breve decimonónico, no abordado sino de forma parcial y a través de sus más destacados cultivadores (Alas, Pardo Bazán o Alarcón). Al lado de éstos, y en un segundo plano, se sitúa un amplio grupo de escritores, mediocres en la mayor parte de los casos, pero que contribuyen, con su obra, a escribir la historia del género. Juan Ochoa (1864-1899) es uno de estos oscuros escritores de segunda fila. Con la aproximación a su breve obra narrativa (tres novelas cortas y una docena de cuentos) se pretende, por una parte, singularizar al relato breve como género, y por otra, si bien sólo en la práctica, delimitar las áreas concernientes al cuento y a la novela corta. Al primer objetivo responde el manejo de cinco principios estructurales (cuya base fundamental es el libro de Genette, 1972): tiempo, modo, voz, personaje y recurrencias. Al segundo se llega tras el análisis de éstos, que resultan formulados de distinta manera en el cuento y en la novela corta. El trabajo concluye señalando la escasa originalidad (manifiesta especialmente en el lenguaje) de un escritor que se mueve, la mayor parte de las veces, siguiendo modelos ajenos. Con todo, lo mejor de su producción es la novelita Un alma de Dios (1898), sin duda su obra más elaborada.</p><p>Short fiction ¿one of the oldest literary forms¿ got finto its present shape during the 19th century, when the development of the genre was favoured by such a circumstance as newspapers boom.</p><p>However, short story has been set aside by criticism because of some reasons as: need for a steady genre definition, confused terminology and too much diversity in methodology.</p><p>This lack of critical interest becomes more noticeable since short story hasn't been considered other than partially and only through its most outstanding exponents (Alas, Pardo Bazán or Alarcón).</p><p>Besides them -although in a lower level as most of all are second rate- we find an important group of writers who contributed significantly to the development of this genre.</p><p>Juan Ochoa (1864-1899) is one of these very little known authors. Our approach to his short fiction works (three short novels and a dozen of short stories) intends to attain two purposes: first, to individualize short fiction as a genre; and second, to delimit -only in practice- the areas concerning particulaly short story and short novel.</p><p>For the first object, we have used five structural principies (on the basis of Genette's 1972 book): time, mode, voice, characters and concurrences. Then, we get the second aim after the analysis of these principies which show us that short story and short novel are not two different genres, but two different ways of making the same suppositions.</p><p>The final conclusion of our paper proves the scarce originality -specially concerning language- of a writer who very often followed foreign patterns. Nevertheless, we can point out that his best work was a short novel titled Un alma de Dios (1898), his most elaborated text whithout any doubt.</p>
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Tasnimah, Tatik Maryatut. "KEPELOPORAN MAHMŪD TAYMŪR DALAM CERPEN ARAB MODERN." Adabiyyāt: Jurnal Bahasa dan Sastra 7, no. 1 (July 31, 2008): 175. http://dx.doi.org/10.14421/ajbs.2008.07110.
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Mahmud Taymur was one of the founders of the Egyptian realistic short story, also known as Syaikh al-Qisasah alQashīrah. Remaining productive over a long life Taymur wrote extensive literary criticism and was the author of short stories, novellas, and plays totaling a score of volumes. Most notable for his skill in characterization, he achieved a literary eminence shared by few other Arabs of his generation in Cairo in 1947, and individual stories by him gave and appeared widely in English and European Anthologies. Taymur’s early works were influenced by Chekhov and Maupassant. His short stories of the 1920s and 1930s portrayed various social strata in Egypt. Taymur’s prose is marked by humanism and psychological subtlety. In the late 1930s and in the 1940s his prose was influenced by symbolism but after the revolutionary coup of 1952, Taymur’s works were predominantly realistic.
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Wolny, Ryszard W. "Travel and Disease in Thomas Mann’s Death in Venice." European Journal of Language and Literature 5, no. 2 (May 31, 2019): 13. http://dx.doi.org/10.26417/ejls-2019.v5i2-196.
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Thomas Mann’s novella, Death in Venice (Der Tod in Venedig, 1912), presents a story of an artist, Gustav von Aschenbach, suffering from the writer’s block who travels to Venice to look for inspiration and where he eventually finds his death. In the meantime, he suffers from depression strengthened by feats of febrile listlessness, pressure in the temples, heaviness of the eyelids that make discontent befall him. The putrid smell of the lagoon hastens his departure, but a strange coincidence makes him change his mind. He returns to the hotel drawn by the enthrallment for the young lad, Tadzio, he had spotted there. Wandering through the streets of Venice, he ignores the health notices in the city, only later learning that there is a serious cholera epidemic in Venice. But he does not escape, nor does he warn the boy’s family of the fatal danger. He dies in his beach chair, looking at the boy on the beach. The aim of this paper is, therefore, to explore the relationship between travel and disease as juxtaposed with a growing passion for a youth, unmistakably, a sign of life affirmation in a sickly body and burnt-out mind.Thomas Mann’s novella has been a subject of extensive commentaries and criticisms for over a century since it was published in Germany, first, in serial form in 1912 and 1913 and, then when it was translated into the French and English in the 1920s, thus introducing it to the rest of the world. The peak of critical interest in Mann’s oeuvre may be pinpointed to the 1970s when Luchino Visconti’s film, Morte a Venezia (1971), was released and Benjamin Britten’s opera composed and first staged (1973).
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Sheils, Barry, and Julie Walsh. "Tragedy and Transference in D.M. Thomas's The White Hotel." Psychoanalysis and History 15, no. 1 (January 2013): 69–89. http://dx.doi.org/10.3366/pah.2013.0122.
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In the novel The White Hotel, D.M. Thomas's superimposition of a Freudian-style case history onto a traumatic event of World War II explores both the necessity and the gratuitousness of representing trauma. The novel's primary device of relating the sexual fantasies of its protagonist Lisa Erdman/‘Frau Anna G.’, depicted as being a psychoanalytic patient of Freud's, to the massacre of over 30,000 Jews at Babi Yar in 1941, is an enduringly controversial one. The notoriety of Thomas's novel though, stems not only from its difficult treatment of the sexual desire of a victim of the Shoah, but also from the critical disbelief regarding the author's production of an original text. In this article we suggest that these sites of controversy are intimately linked. Allegations that Thomas was guilty of literary theft – of plagiarizing a more ‘authentic’ account of the historical events at Babi Yar – resonate with criticisms of the novel's gratuitous representations of sex. Ultimately, however, it is through this gratuitousness, evident in the novel's formal commitment to repetition, that Thomas's work invites reflection on the difficulty of an ethics of representation by implicating the aesthetic concerns of literature with those of psychoanalysis and historical fact. Specifically, we shall suggest that Thomas's positioning of the term anagnorisis – a critical term referring to the moment of recognition or clarification in tragic drama – is central to this project.
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Gates, Sarah. "Intertextual Estella: Great Expectations, Gender, and Literary Tradition." PMLA/Publications of the Modern Language Association of America 124, no. 2 (March 2009): 390–405. http://dx.doi.org/10.1632/pmla.2009.124.2.390.
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The treatment of Estella in Dickens criticism has tended to replicate the ways she is explained by Pip and the other characters in the novel. This article reveals a more complex psychology in her by unpacking the significance of three of the novel's intertexts—The London Merchant, Hamlet, and Frankenstein—as those texts seem to have been received by mid-Victorian audiences. Reading the differences between the Estella revealed in this authorial intertextual commentary and the Estella produced by Pip's experiential narration reveals in Dickens a more complicated negotiation with gender ideology and a greater intuition of its destructive forces than he is generally credited with. The article thus suggests a way to understand more fully the complex relations to ideology found even in works traditionally considered “patriarchal” and to recuperate such figures as Estella, who exceed—while seeming to promulgate—the worst stereotypes of their eras.
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Vickers, Anita. "Social Corruption and the Subversion of the American Success Story in Arthur Mervyn." Prospects 23 (October 1998): 129–45. http://dx.doi.org/10.1017/s0361233300006293.
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Because both parts of Charles Brockden Brown's Arthur Mervyn; or, Memoirs of the Year 1793 (1799–1800) were clearly not composed under the same creative impetus as his other novels were (critics conjecture that the novel was written in three segments within a two-year span), the novel as a whole evinces the author's propensity to improvise more than any of his other works do (Ringe, 49). Early critics, notably R. W. B. Lewis (The American Adam) and David Lee Clark (Pioneer Voice in America), choose to ignore and/or gloss over the troublesome second part. Later criticism, however, deals with both part 1 and part 2. Kenneth Bernard, for one, concisely identifies one of the novel's themes as the correlation between innocence and experience, the first part dealing with Mervyn's innocence and inexperience, and the second dealing with his experience and his cognizance because of that experience (441).
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Steer, Philip. "The Climates of the Victorian Novel: Seasonality, Weather, and Regional Fiction in Britain and Australia." PMLA/Publications of the Modern Language Association of America 136, no. 3 (May 2021): 370–85. http://dx.doi.org/10.1632/s0030812921000286.
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AbstractAnthropocene criticism of Victorian literature has focused more on questions of temporality and predictability than on those related to climate in the nineteenth century. Climate knowledge is central to the regional novel, which is attuned to the seasonal basis of agriculture and sociality, but the formal influence of the British climate also becomes more apparent through a consideration of the genre's adaptation to colonial conditions. Thomas Hardy's The Mayor of Casterbridge highlights how a known seasonal cycle underpins the differentiation of climate and weather and explores the role of economic systems in mediating the experience of climate. Rolf Boldrewood's The Squatter's Dream, set amid the nonannual seasonal change of Australia, demonstrates the fracturing of the regional novel form under the stress of sustained drought. Such a comparative approach highlights the importance of regular seasonality as the basis of the Victorian novel's ability to conceptualize the relation of climate, weather, and capital.
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Uscátegui Narváez, Alexis Francisco. "Joaquín Senderos y Yemeyá, dos protagonistas “subalternos” en la novela eclipse de luna,de Ricardo Estupiñán Bravo." Revista Historia de la Educación Colombiana 17, no. 17 (November 4, 2014): 281–320. http://dx.doi.org/10.22267/rhec.141717.48.
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Este artículo sintetiza los resultados de un trabajo investigativo que busca, a través de la crítica literaria y la teoría de la subalternidad, repensar la historia de aquellas personas a las que se consideraba como subalternos en la sociedad latinoamericana. Este documento destaca los aportes socioculturales de dos razas (indígena y afrodescendiente), representadas por dos protagonistas de la novela Eclipse de luna, del escritor colombiano Ricardo Estupiñán Bravo, quienes por cosas del destino afrontan un apasionante universo de amor, dolor y muerte. En términos claves, erguido con firmeza sobre dichos supuestos, Estupiñán expresa, con esta maravillosa novela, la dolorosa y cruda verdad de la subalternidad en Nariño, el desarraigo y la miseria de Cumbal y Barbacoas. Por esta razón, se realizó una interpretación que desplaza los discursos coloniales al olvido y legitima la heterogeneidad cultural y literaria que presentan las letras de Nariño, el mundo sureño, en cuyo verbo prolifera la libertad.ABSTRACTThis article summarizes the results of a research project which seeks, through literary criticism and the theory of subalternity, to rethink the history of those who are regarded as subordinate in Latin American society. This paper highlights the social and cultural contributions of two races (indigenous and African descent), represented by two main characters in the novel entitled Lunar Eclipse by the Colombian writer Ricardo Estupiñán Bravo. These characters, for reasons of fate face an exciting universe of love, pain and death. In key terms, standing firmly on these assumptions, Estupiñán through this wonderful novel describes the painful and raw truth of subalternity in Nariño and the uprooting and misery of Cumbal and Barbacoas. For this reason, an interpretation that displaces colonial discourses to forgetfulness and legitimizes the cultural and literary heterogeneity expressed in the letters of Nariño - the southern world-, was performed-, in which the word freedom revolves.RESUMOEste artigo sintetiza os resultados de un trabalho de pesquisa que busca, através da crítica literaria e da teoría da subordinação, repensar a historia daquelas pessoas às quais são considerada como subordinados da sociedade latinoamericana. Este documento destaca as contribuições sociais e culturais de duas raças (indígena e afrodescendente), representadas por dois protagonistas da novela Eclipse de luna, do escritor colômbiano Ricardo Estupiñán Bravo, quem por coisas do destino diante de um apaixonante universo de amor, dor e morte. Em termos chaves, erguer-se firmemente sobre ditas suposições, Estupiñán expressa, com esta maravilhosa novela, a dolorosa e crua verdade da subordinação em Nariño, o desenraizamento e miséria de Cumbal e Barbacoas. Por estarazão, se realizou uma interpretação que move os discursos coloniais ao esquecimento e legitima a heterogeneidade cultural e literária que apresentam as letras de Nariño, o mundo do sul, no qual se dá a proliferação da liberdade.
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Climent-Espino, Rafael. "El tratado médico-culinario como género de ficción en la narrativa hispanoamericana actual: Héctor Abad Faciolince y Mayra Santos-Febres." Revista Canadiense de Estudios Hispánicos 41, no. 2 (January 10, 2017): 325–47. http://dx.doi.org/10.18192/rceh.v41i2.2150.
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Este ensayo ofrece, tomando como marco teórico la llamada gastrocrítica, un recorrido historicista por los tratados médico-culinarios clásicos y medievales para analizar la influencia de éstos en Tratado de culinaria para mujeres tristes de Héctor Abad Faciolince y en Tratado de medicina natural para hombres melancólicos de Mayra Santos-Febres. Se sitúa así a ambos escritores como evocadores o imitadores de la tradición secular del tratadismo médico y culinario haciendo énfasis en la necesidad de poner en relación periodos aparentemente inconexos para un análisis literario más provechoso. Palabras clave: gastrocrítica, tratadismo culinario, novela hispanoamericana Using the theoretical framework of gastrocriticism, this essay traces a historicist route through classic and medieval medical-culinary treatises to analyze their influence on Héctor Abad Faciolince’s Tratado de culinaria para mujeres tristes and Mayra Santos-Febres’ Tratado de medicina natural para hombres melancólicos. Both writers evoke or imitate the secular tradition of medical and culinary treatises; an analysis of these contemporary authors through the lens of works from an earlier era emphasizes the possibilities for literary criticism that identifies intersections of thought across various periods. Keywords: gastrocriticism, culinary treatises, Spanish American novel
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Bertonneau, Thomas F. "Like Hypatia before the Mob: Desire, Resentment, and Sacrifice in The Bostonians (An Anthropoetics)." Nineteenth-Century Literature 53, no. 1 (June 1, 1998): 56–90. http://dx.doi.org/10.2307/2902970.
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Recent criticism of Henry James's The Bostonians (1885) tends to vindicate the plan of Olive Chancellor to recruit the young Verena Tarrant to the cause of radical feminism. This essay argues that such an interpretation can be made only at the cost of ignoring the novel's plea for recognizing the validity of the subject's own plan for himself or herself, a recognition that Olive's intentions regarding Verena violate. The essay makes use of an allusion in James's novel to Charles Kingsley's Hypatia (1853) that has been over-looked by previous critics. Exploring the relation between James's and Kingsley's novels permits us to understand that The Bostonians is a novel about sacrifice-the dedication of individuals to causes not their own and against their will. James ultimately affirms a dialogical view of human existence in which each individual makes an implicit demand to be included as an equal partner in a reciprocal conversation about life. The highest form of this conversation is love.
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RUBIN, JOAN SHELLEY. "REPOSSESSING THE COZZENS–MACDONALD IMBROGLIO: MIDDLEBROW AUTHORSHIP, CRITICAL AUTHORITY, AND AUTONOMOUS READERS IN POSTWAR AMERICA." Modern Intellectual History 7, no. 3 (September 30, 2010): 553–79. http://dx.doi.org/10.1017/s1479244310000235.
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Dwight Macdonald's 1958 attack on James Gould Cozzens's novelBy Love Possessedposited that the book's popularity was an “episode” in “The Middlebrow Counter-Revolution” then under way among American critics. That conclusion neglected the strategies of publishing, advertising, and authorial stance that Cozzens and his wife, the agent Sylvia Baumgarten, wielded to create a best seller. Macdonald also did not see how he and Cozzens shared a high-culture aesthetic and competed for power over readers threatening to make criticism irrelevant. Each tried to consolidate that power by depicting his adversary as socially inferior: as Jew, queer, or feminized “middlebrow.” Although Macdonald's appropriation of Cozzens's own values succeeded in damaging Cozzens's reputation, the authority that Macdonald hoped to preserve was likewise about to collapse under pressure from mass culture and postmodern relativism. The Macdonald–Cozzens imbroglio thus provides a useful example of the provisional nature of cultural hierarchy at any given historical moment.
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Hoogland, Renée C. "(Sub)textual Configurations: Sexual Ambivalences in Sylvia Plath's The Bell Jar." Keeping Ourselves Alive 3, no. 2-3 (January 1, 1993): 179–96. http://dx.doi.org/10.1075/jnlh.3.2-3.05sub.
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Abstract Sylvia Plath's The Bell Jar (1963/1980) has become one of the classic 20th-century stories of female adolescence. Feminist critics have analyzed this tale of madness and self-destruction primarily in terms of gender conflicts. From a specifically lesbian feminist perspective, this article presents a "stressed read-ing"1 of The Bell Jar, arguing that it is not in the first place the operations of gender ideology, but rather the contradictions of female (hetero)sexuality that play a determining part. The resulting conflicts are shown to operate on the novel's narrative as well as discursive levels. The discussion centers on the two most striking features in which sexual ambivalences surface in the text: the relationship between the narrator and her protagonist and the figure of the Doppelgänger. Behind the mask of the female adolescent, it is argued, the configuration of a truly transgressive,2 lesbian sex/textuality can be discerned. (Literary criticism; gay and lesbian studies)
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Pittner, Fruzsina, and Iain Donald. "Gaming the Heart of Darkness." Arts 7, no. 3 (September 4, 2018): 46. http://dx.doi.org/10.3390/arts7030046.
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The history of Joseph Conrad’s Heart of Darkness has been one of adaptation and change. The enduring story is based upon Conrad’s experiences in the Congo in the 1890s and was published as a novella in 1902. Since then, the story has been criticised for racism by Nigerian writer Chinua Achebe and relocated to Vietnam by Francis Ford Coppola as Apocalypse Now, influencing computer games such as Far Cry 2 and Spec Ops: The Line. In examining the adaptations of Heart of Darkness, we can consider how the story evolves from the passive reading of post-colonial narratives through to the active participation in morally ambiguous decisions and virtual war crimes through digital games: examining Conrad’s story as it has been adapted for other mediums provides a unique lens in which to view storytelling and retelling within the context of how we interpret the world. This paper compares the source material to its adaptations, considering the blending of historical fact and original fiction, the distortion of the original story for the purpose of creating new meaning, and reflects on whether interactivity impacts upon the feeling of immersion and sense of responsibility in audiences of different narratives.
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Soler Molina, Abel. "Perpètua de Cartago i Camar de Tunis. Sobre algunes fonts del Curial accessibles a Itàlia." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 8 (December 13, 2016): 90. http://dx.doi.org/10.7203/scripta.0.9283.
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Resum: Els estudiosos del Curial han relacionat fàcilment l’enamorament de l’africana Camar amb els amors –també africans– d’Enees i Dido. Tanmateix, els ha passat desapercebuda la figura de la màrtir romana Perpètua de Cartago, jove estudiosa de l’Eneida, que fou lligada a un pal i exposada als lleons, entre altres aspectes biogràfics relacionables amb el personatge curialesc de Camar. La revisió de les Actes del martiri (versions A i B, divulgades ensems) i de la novel·lada Passio Perpetuae (segle III) permet detectar coincidències argumentals i connexions intertextuals amb la novel·la cavalleresca del segle XV. El fet que aquestes fonts foren fàcilment accessibles a Itàlia (Milà, Nàpols), però no a la Península Ibèrica, reforça la idea –generalment acceptada per la crítica– d’un Curial e Güelfa escrit en relació amb la cort napolitana d’Alfons el Magnànim. El tractament paròdic que l’anònim fa de les fonts devocionals, d’altra banda, resulta també especialment interessant per a caracteritzar-lo intel·lectualment i per a interpretar com cal l’obra. Paraules clau: santa Perpètua de Cartago, Camar, Curial e Güelfa, novel·la cavalleresca, Passio Perpetuae et Felicitatis. Abstract: The scholars of the Curial have easily related the love of the African Camar with the love stories –also African– of Eneas and Dido. However, they have not paid attention to the figure of the Roman martyr Perpetua of Carthage, a young scholar of the Eneida who was tied to a post and exposed to the lions, among other biographical aspects that could be linked to the character of Camar in the Curial. The revision of the Minutes of the martyrdom (versions A and B, released together) and the fictionalized Passio Perpetuae (3rd century) allow us to notice coincidences in the plot and intertextual connections with the chivalric novel of the 15th century. The fact that these sources were easily accessible in Italy (Milano, Naples) and unknown in the Iberian Peninsula reinforces the idea –generally accepted by the criticism– of a Curial e Güelfa written in relation with the court in Naples of Alfonso the Magnanimous. The parodic treatment that the anonymous