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Journal articles on the topic 'Romance novels (form)'
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1
Saito, Kumiko. "From Novels to Video Games: Romantic Love and Narrative Form in Japanese Visual Novels and Romance Adventure Games." Arts 10, no. 3 (June 25, 2021): 42. http://dx.doi.org/10.3390/arts10030042.
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Video games are powerful narrative media that continue to evolve. Romance games in Japan, which began as text-based adventure games and are today known as bishōjo games and otome games, form a powerful textual corpus for literary and media studies. They adopt conventional literary narrative strategies and explore new narrative forms formulated by an interface with computer-generated texts and audiovisual fetishism, thereby challenging the assumptions about the modern textual values of storytelling. The article first examines differences between visual novels that feature female characters for a male audience and romance adventure games that feature male characters for a female audience. Through the comparison, the article investigates how notions of romantic love and relationship have transformed from the modern identity politics based on freedom and the autonomous self to the decentered model of mediation and interaction in the contemporary era.
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Revere, William. "Medieval Futures and the Postwork Romance." New Literary History 55, no. 1 (January 2024): 145–72. http://dx.doi.org/10.1353/nlh.2024.a932374.
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Abstract: This essay explores speculative resources in the premodern past as displayed in some contemporary anglophone fiction, with a focus on novels by Octavia Butler and Margaret Atwood. Among its retrievals, speculative medievalism offers a critical vantage point on ruinous, "neofeudal" futures by fashioning a form of romance narrative centered on workers. The late-fourteenth century English poem Piers Plowman is looked to as a premodern speculative precursor and interlocutor for such versions of the medieval past.
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Wang, Yiting. "Shen Congwen's objectified writing of female characters in romance novels." Journal of Education, Humanities and Social Sciences 18 (August 11, 2023): 31–37. http://dx.doi.org/10.54097/ehss.v18i.10942.
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As a representative of modern Chinese literature, Shen Congwen's works have the brilliance of pure and simple human nature. Shen Congwen's works are mostly written during the "rising period" of China's feminist movement, and through his works, we can glimpse the thinking and consideration of female images and even gender relations by literary representatives at that time. As a representative of an important literary field in an important period of the alternation of old and new ideas, Shen Congwen portrays a female image with a certain modern significance based on the traditional male-centric perspective, showing the harmony of human nature, while revealing the specific form of male ideology ignoring female subjectivity and the specific form of male power to female otherization - objectification. Through Shen Congwen's romance novel's objectification of female characters, readers can have a more comprehensive understanding of the social thought and collective unconsciousness of that period, which provides a certain reference for women to resist the otherization of women by patriarchy and get further obtain gender equality. This paper re-examines Shen Congwen's works from a female perspective, aiming to expose that "male power objectifying women" has become the collective unconsciousness of the whole society and has evolved into an important link in social value standards, and improve society's sensitivity to the hegemonic behavior of "objectification".
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Ryu, Sunhee. "A Study on the Realization of Virtual History in Korean Web Novels." Korean Society of Culture and Convergence 44, no. 8 (August 31, 2022): 225–40. http://dx.doi.org/10.33645/cnc.2022.8.44.8.225.
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This paper discussed the realization of virtual history in romance web novels, focusing on <Midnight Mirage>. <Midnight Mirage> depicted the love story with King Munjong and Queen Hyeondeok as motifs. <Midnight Mirage> used the story of Tumun-dong 72 Loyalists and the achievements of various national institutions in King Sejong to create various central event. The fictional elements of the story were used to form a inter-class romance, emphasize the personal feelings of the opposing forces and highlight the power of the crown prince. The characteristics of a virtual history are as follows. First, it was actively borrowing modern cultural customs. Second, it takes the form of a short episode when a historical figure appears. These characteristics have epic effects such as inducing rapid immersion of readers and relaxing the tension of the narrative.
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Elysa, Elvania, Evizariza Evizariza, and Idayanti Iik. "Analisis Tindak Tutur Pada Roman Panggil Aku Sakai Karya Ediruslan Pe Amanriza." GELIGA JOURNAL : Journal of Humanities and Social Sciences 1, no. 1 (August 5, 2023): 1–12. http://dx.doi.org/10.31849/geliga.v1i1.15566.
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Currently, language has become a benchmark for conducting effective and perfect communication activities. This is due to the ease of using language to communicate and interact with others. In our daily lives, we also require various forms of language, such as spoken language, written language, and speech acts. However, language, especially in the form of speech acts, does not only occur in everyday life but can also be found in various written works, including literary works such as short stories, novels, and romances. It cannot be denied that inspiration from literary works, particularly romances, reflects aspects of everyday life and naturally employs language and speech acts within them. One of these romances is "Panggil Aku Sakai" by Ediruslan Pe Amanriza. This romance serves as the subject of the author's research, which employs a qualitative approach and a descriptive method. The research also emphasizes the study of speech acts, where several types of speech acts, such as representative, directive, expressive, and commissive, can be identified.
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Rachel, Marshella, and Nensy Megawati Simanjuntak. "Indentifikasi Gaya Bahasa Pada Novel “The Antogonist Project” Karya Aranindy." Kopula: Jurnal Bahasa, Sastra, dan Pendidikan 6, no. 1 (March 26, 2024): 64–69. http://dx.doi.org/10.29303/kopula.v6i1.3769.
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Literary works are art in the form of writing or oral that has beauty value in it. Novels are one of the literary works that are popular with teenagers, both physical and electronic fiction stories are still popular. Popular novels include novels with the romance, teen fiction, fan fiction and action genres set in everyday life. This means that the imagination or thoughts expressed are not excessive and still make sense. Apart from an interesting plot, the characteristics and characteristics of the author in presenting his work are also an additional point for teenagers’ interest in reading novels. Therefore, this research was conducted to determine the elements contained in the novel. The aim is to provide insight and knowledge regarding the language styles contained in the novel “The Antagonist Program” by Aranindy, so that in future research on the same subject it can be used as material for consideration. The research method used is descriptive qualitative. Where in the process of collecting data using observation and documentation as well as analysis of language style elements in the novel “The Antagonist Program” by Aranindy.
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Chandra, Tan Michael. "The process of translation, adaptation, and question of feminism in Luo Guanzhong�s Romance of the Three Kingdoms." Indonesian Journal of English Language Studies (IJELS) 4, no. 2 (December 11, 2019): 56–61. http://dx.doi.org/10.24071/ijels.v4i2.2303.
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As one of the Four Great Classic Novels of Chinese literature, Romance of the Three Kingdoms found its way to the constellation of World Literature via translation and being adapted into the movie Red Cliff (2008) and famous video games series Dynasty Warriors (1997-now). This process further made the story of the Three Kingdom is widely known as many cinemagoers and gamers can associate themselves with the story in the form that they adore. Both processes, however, have disadvantages as they erase the Chinese cultural elements that are demonstrated in the novel. This novel is also heavily riddled with patriarchal paradigm that makes scholars consider Romance of the Three Kingdoms masculine novel by portraying women in a very weak position in Chinese society. This paper would try to dissect the issues of translation and women portrayal in detail by analyzing the translated work of Romance of the Three Kingdoms to see what cultural aspect that is disappear as a result of translation and dissecting the dismissive and derogative portrayal of several women characters in the novel.Keywords: Luo Guanzhong, Romance of the Three Kingdoms, Feminism, World Literature
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Grusza, Sylwia. "Lektury bohaterek Jane Austen – utopijna edukacja sentymentalna czy ucieczka przed odpowiedzialnością?" Przegląd Humanistyczny 63, no. 2 (465) (October 25, 2019): 33–45. http://dx.doi.org/10.5604/01.3001.0013.5506.
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The article is to describe an interesting phenomenon of the duplication of the literary patterns of behaviour among female protagonists created by Jane Austen. The subject of the paper is the analysis of the set books of the heroines invented by the British author in the both social and cultural context. Jane Austen’s novels can be regarded as the treasury of knowledge on the existence of the young girls at that time. The omnipresent conventions took away their right to dreams and self-fulfilment in almost every sphere of life. Lots of them found the coveted hope of improving their lives on the pages of overly aesthetic, sentimental novels. The characters from the books became inspirational among the female sex. The view of young ladies was based on their inner cultivation of the behaviour and mood which were inseparable from the girls from the popular romances. The patterns, continually given by fiction, took the place of humanistic and scientific knowledge, making the girls unaware – without the simplest information about the world. The subjects given in a wrong way by wrong teachers lowered their interest in education among youth, which also led to the popularity of sentimental, historical (especially those presenting the romance on the background of crucial events form the history of the given country) and Gothic novels. The text will concern the analysis of the attitude of the heroines created by the British author – on the basis of their set books and the position of Jane Austen in the range of literary criticism and the above-mentioned social phenomenon.
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McCann, Andrew. "ROSA PRAED AND THE VAMPIRE-AESTHETE." Victorian Literature and Culture 35, no. 1 (January 22, 2007): 175–87. http://dx.doi.org/10.1017/s1060150307051479.
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ROSA CAMPBELL PRAED left Australia for London in 1876. In the decade or so subsequent to her arrival in the metropolis she forged a successful career as a writer of occult-inspired novels that drew on both theosophical doctrine and a nineteenth-century tradition of popular fiction that included Edward Bulwer-Lytton and Joseph Sheridan Le Fanu. A string of novels published in the 1880s and the early 1890s, including Nadine: the Study of a Woman (1882), Affinities: A Romance of Today (1885), The Brother of the Shadow: A Mystery of Today (1886), and The Soul of Countess Adrian: A Romance (1891), produced a sort of popular aestheticism that melded an interest in fashionable society, a market-oriented Gothicism, and speculations on the philosophy of art that were indicative of Praed's relationship to a fin-de-siècle Bohemia and its literary circles. There is no doubt that these novels can be located in terms of the numerous popular genres – the art novel, the aesthetic novel, the occult novel – that form the literary background to much better known texts such as Oscar Wilde's The Picture of Dorian Gray, Bram Stoker's Dracula and George du Maurier's Trilby. But to account for Praed's ephemerality in terms of a series of generic categories elides too easily the pressures – economic, political, and aesthetic – impinging on a colonial, female novelist quickly forging a career at the centre of an imperial culture. Praed's novels are hybrid, polysemic creations, over-determined by these pressures, which in turn, no doubt, have contributed to her invisibility in contemporary literary studies. Their Gothicism and their appropriation of theosophical doctrine are both manifest in themes like mesmerism, telepathy, duel personality, and the recurring figure of the spiritual or “moral vampire.” Yet these obviously commercial novels are also intensely invested in aesthetic questions, in the dislocated character of imperial experience, in the accrual of cultural capital, and in their own relationship to the vexed question of their originality vis-à-vis the market for popular fiction.
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Moolla, Fiona. "Her Heart Lies at the Feet of the Mother." African Journal of Gender and Religion 27, no. 2 (December 23, 2021): 1–21. http://dx.doi.org/10.36615/ajgr.v27i2.1044.
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Sudanese-British writer, Leila Aboulela’s novel, Minaret (2005) transforms the plot structure of Western literary and popular romance forms and develops further the plotlines of African-American Muslim romance novels. It does so by foregrounding the dissenting mother as obstruction to the union of the hero and heroine, against the backdrop of the unique status of the mother in Islam. Thus, the ending of the novel is neither happy nor tragic. Instead, the lovers are separated, and closure requires reconciliation on the part of the couple with the concerns of the mother. In addition, because of the significant differ-ence in age, the heroine is in some ways like a mother to the hero. Final contentment of the heroine is undermined by her questionable actions at the end, resulting in psychic and spiritual contraction. The novel is therefore open-ed up to ambiguity and uncertainty in the closure, notwithstanding the faith of the heroine. The specific form which closure takes, is determined by the dissenting mother as obstruction in Islamic romance.
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Swami, Pragati, and Devendra Kumar Sharma. "Mapping the Story of Manga: Graphic Novels and the Cultural Boom in Japan and World." International Journal of English Literature and Social Sciences 9, no. 3 (2024): 500–508. http://dx.doi.org/10.22161/ijels.93.65.
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Manga are circulated in graphic novel format as printed Japanese comic books. They are famous Japanese graphic novels or comic books. A popular form of literature, read by people of different age groups. They certainly provide visual as well as linguistic examples of Japanese culture. They deal with a number of genres like fantasy, romance, supernatural, erotica, action, psychological, science fiction and many more to include. This paper deals with manga-culture, its evolution and, cultural and global aspects attached to it. It highlights the educational element associated with manga. It further discusses about the prospects of manga being a form of cross-cultural literature and, how influential it is not only in Japan but also worldwide.
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Farrell, John P. "ROMANCE NARRATIVE IN HARDY’S A PAIR OF BLUE EYES." Victorian Literature and Culture 42, no. 4 (September 19, 2014): 709–31. http://dx.doi.org/10.1017/s1060150314000266.
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Thomas Hardy came to the writer’s life with prodigious endowments and little self-confidence. His struggle with this unlikely predicament shows up repeatedly in his career, but nowhere so often as in its early stages. The “Studies and Specimens” Notebook, completed in the mid-1860s, bears touching witness to the labor of a greatly gifted writer teaching himself the very rudiments of literary form. The editors of the notebook speak accurately of the “diligence and doggedness” of his striving (Dalziel and Millgate xv). At the time his striving was dedicated to mastering poetry, the first and always most favored of his muses. But in 1867 “under the stress of necessity” he shifted his focus to “a kind of literature in which he had hitherto taken but little interest – prose fiction” (Life and Work of Thomas Hardy 58). With varying results he turned to writing novels, still testing his vocation until 1873 when he published A Pair of Blue Eyes, which, together with his impending marriage, fixed his literary course for decades to come.
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Dash, Pratap Kumar. "The Changing Facets of American Novels of Romance: Interpreting the Creative Flux of Platonic Romance in Danielle Steel’s Safe Harbour versus Calvinist Romance in Marilynne Robinson’s Jack." Shanlax International Journal of English 10, no. 4 (September 1, 2022): 46–50. http://dx.doi.org/10.34293/english.v10i4.5287.
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The paper critically focuses on the creative facets of romance in Danielle Steel’s Safe Harbour and Marilynne Robinson’s Jack. Safe Harbour virtually harbours on mutual faith between an American widow Danielle who is also a social worker and a divorcee form New Zealand named Matt, who happens to be an artist too. In the novel, the youngest daughter of Danielle performs angelic role to bring about a transformation in thoughts and beliefs leading to the union of her mother with Matt. It seems as if the romance between them is more of Platonic than anything else leading to carrying out humanitarian responsibilities. Jack is one of its unique kinds of literary writings based on the love between two young persons Jack and Della of the two well-known racesof America. With the backdrop of the controversy that juxtaposes racial problems and human attributes with the paradigm of Calvinist romance which advocates for the stability and security of a strict religious system in a world that he finds unstable and even absurd without it. It examines how the author has tactfully revealed the pre-ordained bond of love between the two characters leaving behind the so- called social and religious dogmas. There is a reference to Black Lives Matter in the novel admixed with racial trauma whereas in the thematic context, it repeatedly investigates the connection between loneliness and eternal damnation; the soul’s isolation and its torment.
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Bergamo, Edvaldo, and Ana Clara Magalhães de Medeiros. "Lixboa revisitada ou o império retornado: a mito-poética da Mensagem (e uma saudade lusíada) n’As naus de Lobo Antunes." Navegações 10, no. 2 (January 31, 2018): 121. http://dx.doi.org/10.15448/1983-4276.2017.2.23860.
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A experiência histórica portuguesa pós-1974 propiciou a difusão de romances de notável arrojo ético-estético. As naus (1988), de António Lobo Antunes, é prosa que remete à tradição literária enformadora da cultura lusa, em que Os Lusíadas, de Camões, e a Mensagem, de Pessoa, são pilares para o estabelecimento de um grande diálogo mito-poético. Aliando mito e poesia, como propõe o teórico Northrop Frye, à noção de saudade, como traço português inerente (conforme Eduardo Lourenço e Teixeira de Pascoaes), este artigo propõe um estudo comparado do romance de Lobo Antunes especialmente à Mensagem (1934): um encadeamento que impele a revisitação ao icônico épico de Camões. Recorrendo-se, ainda, aos conceitos de romance histórico, de György Lukács, e de dialogismo, de Mikhail Bakhtin, o trabalho amplifica discussões suscitadas pelo romance em causa: a tensão entre a história hegemônica e a vida comum, a tradição literária e os impasses político-sociais do século XX.********************************************************************Lixbon revisited or the returned empire: the mythopoetic of Mensagem (and a miss of lusiads) in As Naus by Lobo AntunesThe Portuguese experience after 1974 propitiated a diffusion of notable boldness ethic-aesthetic novels. As Naus (1998), written by Lobo Antunes, is a prose that remit to the literary tradition of the Portuguese cultural form, in which Lusíadas, by Camões, and Mensagem, by Pessoa, are the pillars to the establishment of a major myth-poetic dialogue. Combining myth and poetry, as proposes the theorist Frye, the notion of saudade [yearning], as an inerent Portuguese feature (according to Lourenço and Pascoaes), we propose a comparated study in the romance of Antunes, especially to the Mensagem (1934): a chaining that drives the revisitation to the iconic Epic of Camões. Recurring to the concepts of the historical novel, by Lukács, and the dialogic of Bakhtin, this document amplifies the discussions instilled by the novel in cause: the tension between hegemoniacal history and common life, the literary tradition and the political stalemates of the XX century. Keywords: Lobo Antunes; Pessoa; Camões; Portuguese Historical Contemporary Novel
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Priydarshi, Ashok Kumar. "Morality, Religion and Capitalism in Jane Austen’s ‘Pride and Prejudice’." International Journal of Advanced Research in Peace, Harmony and Education 05, no. 01 (December 19, 2020): 4–6. http://dx.doi.org/10.24321/2455.9326.202002.
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The rise and development of English novel, like any other phenomenon in literature, can be seen as a part of a history or the process of the individual development. Romantic novels are non-realistic and considered as the aristocratic literature of feudalism. They are non-realistic in sense that their underlying intention is not to help people cope in a positive way. These novels, express and recommend the attitudes of the aristocratic class to which it was ideally supposed to sustain. The genre, developed, however, as a reaction to the aristocratic romance, and grows with the middle class a new art form that centres on a new middle class values, rather than aristocratic patronage. Thus the period after the Restoration of the 16th to 17th century opened up other discourses, thereby breaking the frontier by allowing social mobility and making female writing possible. This allowed Jane Austen to write on realistic and naturalistic themes as morality, religion, captalism, etc. and ‘Pride and Prejudice’ is its fine example.
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Widyastuti, Ika. "Romance Formula dalam Novel Hijab Traveller Love Spark in Korea Karya Asma Nadia." Jurnal Sastra Indonesia 10, no. 1 (March 20, 2021): 37–43. http://dx.doi.org/10.15294/jsi.v10i1.40253.
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ABSTRAK
Sastra populer adalah sebuah fenomena budaya yang bersifat temporal serta adanya keseragaman bentuk yang terjadi pada perkembangan sastra di Indonesia. Salah satu genre sastra populer adalah novel populer. Novel Hijab Traveller : Love Spark In Korea merupakan salah satu novel terkenal. Novel yang sangat populer hingga di angkat ke layar lebar. Novel ini menjadi salah satu novel yang booming dari seorang penulis bernama Asma Nadia. Novel popular bertema percintaan namun menyuguhkan unsur agama yang sangat kental walaupun ini bukan cerita yang dibawa serius. Data penelitian ini berupa tuturan tokoh dan kalimat atau paragraf yang masuk dalam kategori formula romance. Penelitian ini menggunakan metode qualitative-descriptive research. Novel berjudul Hijab Traveller : Love Spark In Korea karya Asma nadia memenuhi kriteria sebagai suatu karya romance dalam pengertiannya yang paling sederhana. Namun dari sisi jalan ceritanya situasi awal dan akhir dari novel Hijab Traveller : Love Spark In Korea ini memang tidak memenuhi formulasi romansa, tetapi plot-plot yang membangun cerita telah mendukungnya. Kemudian Berdasarkan penokohan tokoh utama dalam romance formula sudah tergambar pada tokoh utamanya.
Kata Kunci : Sastra Populer, Romance formula, Novel populer
ABSTRACT
Popular literature is a cultural phenomenon that is temporal in nature as well as the uniformity of forms that occur in the development of literature in Indonesia. One of the popular literary genres is the popular novel. Hijab Traveler: Love Spark In Korea is a famous novel. The novel was so popular that it was picked up to the big screen. This novel is one of the booming novels of a writer named Asma Nadia. A popular novel on the theme of romance, however, presents a very strong religious element even though this is not a story to be taken seriously. The data of this research are in the form of character speeches and sentences or paragraphs that fall into the romance formula category. This study uses a qualitative-descriptive research method. The novel entitled Hijab Traveler: Love Spark In Korea by Asma Nadia fulfills the criteria as a work of romance in its simplest sense. However, in terms of the storyline, the initial and final situation of the Hijab Traveler: Love Spark In Korea novel does not fulfill the romance formula, but the plots that build the story have supported it. Then based on the characterization of the main character in the romance formula, the main character has already been drawn.
Keywords: Popular Literature, Romance formula, Popular Novel
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Kim, Soo-youn. "Narrative of the existence of historically-based, Seonhyeop(仙俠) female characters in Korean full-length novels." Research of the Korean Classic 63 (November 30, 2023): 197–232. http://dx.doi.org/10.20516/classic.2023.63.197.
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The purpose of this article is to examine the narrative characteristics of the female character of the Seonhyeop(仙俠, hermit martial arts) type, which became popular in the 18th century, and to examine the meaning of the appearance of this type of character in terms of the narrative grammar and genre possibilities of Korean full-length novels. If we look at the history of Korean classical novels, we can discover the phenomenon of meaningful character types being developed in earnest around specific genres in each era. Representative examples include ‘fantastic existence’ in biographical romance novels that appeared after the 10th century and ‘evil woman-type characters’ in early full-length novels after the 17th century.
In the 18th century, Korean full-length novels with a large volume were popular, and one of the newly emerging character types at this time was the Seonhyeop type character. This character can be further classified into good and evil people, Confucian and Taoist people, civilized and martial people, internal and external, Taoist and martial arts practitioners, and so on. However, one character does not embody only one type, but is embodied by combining several types of personality.
Among them, if we divide the narrative of the existence of Seonhyeop female character character based on history into the image of Taoist and martial arts, the narrative of the loser of history, and the discourse of loyalty in rebellion. Each shows the characteristics of combining peripheral properties, recalling memories of others, and aiming for the voice of non-relationship and marginal members. These character characteristics form one of the important narrative grammars of Korean full-length novels, and reveal the possibility of genre expansion in that they are connected to the epics of heroism and martial arts novels that appeared in later generations. In particular, we can discover the early aspects of martial arts novels that are still popular to this day. Representative examples include the way of revealing the ability for Seonhyeop, the establishment of relationships centered on factions, and the nature of the argument between right and evil.
The highlighting of the character of the Seonhyeop type can be said to be a discourse event in that it discovers and embodies an object that had not been seen and a voice that had not been heard in previous novels. The world expressed in language makes invisible beings visible and reorganizes the proportion and division ratio of voices participating in the world we live in. It is a self-organizing method of the novel that is unrelated to the author’s conscious intention. Among the voices aimed at by the author, the novel’s expansion of the voices of new characters testifies to the situation at the time and at the same time reflects the voices distributed among members of society. It can be said to be an event that brings about a change in the share of.
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Falah, Fajrul. "Hegemoni Ideologi dalam Novel Ketika Cinta Bertasbih Karya Habiburrahman el Shirazy (Kajian Hegemoni Gramsci)." Nusa: Jurnal Ilmu Bahasa dan Sastra 13, no. 4 (November 30, 2018): 533. http://dx.doi.org/10.14710/nusa.13.4.533-542.
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This research is background by the idea that novels are works that do not only highlight the aesthetic elements of language, but as a medium or means for authors to convey their mission and message. The novel is full of meaning, either clear or implied. Mission, motif, purpose of the author represented through the fictional characters he constructed. The purpose of the research is to reveal the form ideological hegemony in the novel Ketika Cinta Bertasbih (KCB) creation Habiburrahman el Shirazy. Research on novels KCB with the Gramsci hegemony approach the author’s knowledge is based search in online journals indexed doaj.org, in the last five years it has not been found. The research method used is descriptive qualitative. The research approach used Gramsci hegemony. The results of the research show, central figure in a novel like Khairul Azzam dan Anna Althafunnisa able to deal with life’s problems well (happines), because they believe and carry out ther ideology anda religious values. The main problem thet emerged from the two figures was like education, romance, and marriage. The process of hegemony that occurs between two figures and most of the other characters went will, so that able to dampen potential conflict between character.
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Seligey, V. V. "THE TRANSCULTURAL SEMANTICS IN THE WORKS BY JIN YONG." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 200–212. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-200-212.
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The works by Chinese Hong Kong writer Jin Yong (1924-2018) fare in the focus of Chinese readers’ attention as the exemplified wu-xia literature. His novels only recently became the object of literary studies within China, and are seen as an alternative to the literary discourse founded by the May Fourth Movement. The article is focused on the transcultural qualities of his prose. Though the imagery and background in his works are distinctly ancient Chinese, embodying the genre principle ancient clothing“’, a lot of techniques, including plot development, characters’ traits are highly reminiscent of Western literature, namely the works by A. Dumas and Shakespearean drama.
The Chinese component in the work by Jin Yong is defined as threefold. The first and the most easily noticed is the language, drastically different from China mainland official Putonghua or Mandarin, seen as a complicated sometimes to eccentricity mixture of baihua and wenyan, the lively bright and colorful idiom literally breathing the Chinese tradition. The second component is defined by the titular wu-xia genre. The necessary core of Jin Yong’s novels imagery is the ethics and aesthetics of Chinese legendary “river and lake” chivalric society, with its strong and straightforward sense of justice, martial arts, romance, mysticism and complicated political intrigues. The third component is represented by the vast dialogue with the Chinese canon, from the ancient chronicles to the pre-modern novels such as “The Dream of the Red Chamber’’. It can take the form of creative rethinking and character modernization, almost always with distinct irony.
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Berensmeyer, Ingo. "Authors of Slender Means? Female Authorship in Mid-Twentieth-Century British Fiction." Zeitschrift für Anglistik und Amerikanistik 70, no. 4 (November 30, 2022): 385–402. http://dx.doi.org/10.1515/zaa-2022-2073.
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Abstract This article examines women writers as characters in British novels and stories by women writers from the 1940s to the early 1960s. In works by Muriel Spark, Elizabeth Taylor, Mary Renault, and others, there is a reflection on the social and artistic positions available to female authors. Given the gender segregation of the literary field at mid-century, in which ‘womanly’ writing was associated with the commercial form of romance and ‘manly’ writing with seriousness, the predicament of female authorship is rarely explored in fiction. But when it is, fictional women authors point up the constraints and limits of a ‘feminine’ literary aesthetic in illuminating ways. The article reconstructs how mid-twentieth-century British women authors thought about the act of writing, how they viewed the fields of literary creation and production, and which narrative strategies they used to negotiate this difficult terrain.
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Harrington, Christopher. "“Cut it, woman”: Masculinity, Nectar, and the Orgasm in Charlotte Brontë's Shirley (1849)." Victorian Literature and Culture 50, no. 1 (2022): 1–25. http://dx.doi.org/10.1017/s1060150320000340.
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This paper identifies the theme of honey gathering in Charlotte Brontë's fiction and places it within the context of Romantic and early Victorian representations of the nectarium's role in insect-flower relationships. Brontë's novels often invert the conventional use of botany to represent female sexuality by representing men as flowers and endowing her protagonists with an ulterior form of entomological agency. These insects work to express Brontë's desire for greater economic and erotic mobility, but it is argued that this mobility is problematized by the self-absorbed nature of the masculine nectarium, a dulcet gland in flowers originally believed by botanists to ooze sugar to serve a plant's own needs. This is particularly evident in Brontë's industrial romance Shirley (1849), as the theme of honey gathering is pathologized to visualize a crisis in the plotting of Victorian femininity. This paper may be helpful to scholars interested in Brontë's fiction, representations of sexuality, botany, entomology, ecology, and early Victorian pest discourse.
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Fasselt, Rebecca. "Crossing genre boundaries: H. J. Golakai's Afropolitan chick-lit mysteries." Feminist Theory 20, no. 2 (February 25, 2019): 185–200. http://dx.doi.org/10.1177/1464700119831538.
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Crime fiction by women writers across the globe has in recent years begun to explore the position of women detectives within post-feminist cultural contexts, moving away from the explicit refusal of the heterosexual romance plot in earlier feminist ‘hard-boiled’ fiction. In this article, I analyse Hawa Jande Golakai's The Lazarus Effect (2011) and The Score (2015) as part of the tradition of crime fiction by women writers in South Africa. Joining local crime writers such as Angela Makholwa, Golakai not only questions orthodox conceptions of gender and sexuality in traditional iterations of the crime novel, but also combines elements of chick-lit with the crime plot. Reading the archetypal quest structure of the two genres against the background of Sara Ahmed's cultural critique of happiness, I argue that Golakai inventively recasts the recent sub-genre of the chick-lit mystery from the perspective of an Afropolitan detective. Her detective tenaciously undercuts the future-directed happiness script that structures conventional chick-lit and detective novels with their respective focus on finding a fulfilling heterosexual, monogamous romantic relationship, and the resolution of the crime and restoration of order. In this way, the novels defy the frequently assumed apolitical nature of chick-lit texts and also allow us to reimagine the idea of Afropolitanism, outside of its dominant consumerist form, as a critical Afropolitanism that emerges from an openness to be affected by the unhappiness and suffering of others.
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Stepanović, Natalija. "COMRADE-ESS GIRL:1SUNČANA ŠKRINJARIĆ’S AUTOBIOGRAPHICALTRILOGY AS COMING OF AGE IN BETWEEN THE FEMINIST WAVES." Philological Studies 19, no. 1 (2021): 114–27. http://dx.doi.org/10.17072/1857-6060-2021-19-1-114-127.
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This essay analysestheautobiographical trilogy authored by a Croatian writer mostly known for her children’s stories,Sunčana Škrinjarić (1931-2004). The trilogy consists of the novels Ulica predaka [The Ancestor’s Lane], Ispit zrelosti [The Matriculation Exam], and Bijele strijele[White Arrows],published between 1980 and 2004. I interpret them as feminist Bildungsroman, a genre present both in the West and in the East, trackingthe heroine’s venture from the private into public sphere,while downplaying the importance romance and marriage had in the classic, male-centric version ofthe form. Followinganarrative analysis, I discuss Škrinjarić’s portrayal of aesthetic norms and cultural production and outline possibilities of resistance through reading and writing. The third section of the essay engages with the history of Yugoslav feminism and situates Škrinjarić withinarecently revised timeline of women’s activism that emphasizes the continuity between thegovernment-supported project of women’s emancipation and second-wave feminism. By combining textual analysis with wider cultural context,I have found thatŠkrinjarić’s still widely obscure trilogy offers valuable insights intothe formation of female identities and possible plots in which we encounter said identities
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Hanssen, Sarah K. "New Tools for the Immersive Narrative Experience." International Journal of Emerging Technologies in Learning (iJET) 14, no. 16 (August 29, 2019): 40. http://dx.doi.org/10.3991/ijet.v14i16.10591.
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As a result of Snapchat, Instagram, Twitter and Facebook, the way the audi-ence experiences the written word has completely changed. New genera-tions of readers are facing multimedia interaction as a part of the long format narrative. These technologies represent burgeoning strategies to spark and capture readers’ interests. Partnerships between tech companies and tradi-tional publishers are yielding breakthroughs in trans-media storytelling, and, as a consequence, offering new avenues for filmmakers. For example, romance novels read on smart phones now include videos and photos of the hunky love interest, voice messages amongst characters, and even short films accompanying the reading experience. As publishers and authors forge these new avenues for long form storytelling, do these multimedia elements dumb down fiction for readers with already shrinking attention spans? Will saving books undermine reading in general? Or, are the bonds readers feel with fictional characters so strong, that they will thrive in the digital realm. The future of the immersive narrative might not be just the massive specta-cle of IMAX, but, more likely, an intimate experience in the palm of your hand.
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Munari, Ana Cláudia, and Taíssi Alessandra Cardoso da Silva. "O romance de Ricardo Lísias: janelas escancaradas para o sujeito hipermoderno." Letras de Hoje 51, no. 4 (December 31, 2016): 491. http://dx.doi.org/10.15448/1984-7726.2016.4.23691.
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A partir da análise dos romances de Ricardo Lísias e da sua produção autocrítica, este trabalho busca entender algumas relações entre a literatura de autoficção e a publicização do sujeito autor imerso no universo midiático. Partindo de uma revisão bibliográfica que conceitua os objetos aqui circunscritos e de uma apreciação anterior sobre a produção literária de jovens escritores brasileiros selecionados pela revista Granta em 2012, estreitamos nossa focalização no movimento do romancista em direção à escrita de si e à autorreferência. Nesse sentido, analisamos e contextualizamos a modalidade de escritura denominada autoficção, especialmente no que tange às aproximações entre as instâncias do narrador e do autor e entre biografemas e ficção (FIGUEIREDO, 2013; KLINGER, 2012), e evocamos estudos da Sociologia e da Comunicação de modo a caracterizar a sociedade da qual emerge o corpus deste estudo (LIPOVESTKY, 2004; SANTAELLA, 2012). A partir desse contexto, investigamos as obras literárias – O céu dos suicidas (2012), Divórcio (2013) e Delegado Tobias (2014) – e as narrativas midiáticas de Ricardo Lísias e identificamos nelas estratégias da publicidade.********************************************************************The novel by Ricardo Lísias: wide open windows to the subject hypermodernAbstract: Through the analysis of the novels of Ricardo Lísias and its self-critical production, this work intends to understand some relationships between the self-fiction literature and the popularization of the subject author immersed in the media universe. Starting from a literature review that conceptualizes the objects herein bounded and an earlier assessment of the literary production of young Brazilian writers selected by Granta magazine in 2012, we strengthened ur focus on the novelist's movement toward the writing itself nd self-reference. Pursuing this aim, we analyzed and contextualized the form of writing named autofiction, especially with regard to the similarities between instances of the narrator and the author and between biographema and fiction (FIGUEIREDO, 2013; KLINGER, 2012). We also evoked Sociology and Media Studies to characterize the society of which emerges the corpus of this study (LIPOVESTKY, 2004; SANTAELLA, 2012). From these premises, we investigated the literary works – Céu dos suicidas (Heaven suicide, 2012), Divórcio (Divorce, 2013) and Delegado Tobias (Tobias, the police chief, 2014) – and the media narratives of Ricardo Lísias and finally we identified his advertising strategies.Keywords: Self-ficction; Contemporary literature; Hypermodernity; Ricardo Lísias
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Tehseem, Tazanfal, Humera Iqbal, and Saba Zulfiqar. "Depicting Women Through Transitivity Choices: A Comparative Analysis." Pakistan Journal of Women's Studies: Alam-e-Niswan 28, no. 1 (July 30, 2021): 41–59. http://dx.doi.org/10.46521/pjws.028.01.0087.
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The study aims at depicting how male and female authors portray female characters and how their core ideologies and social influences affect these depictions. This study is based on the feminist stylistic approach, proposed by Sara Mills (1995), embedded with the literary theory of feminism. It is an overlapping field that has its roots in critical discourse analysis. This stance is significant as it allows to critically look at the substance to uncover the ideology related to women. From a feminist stylistic perspective, the notion of presenting the distorted image of the female entity is associated with male authors leading to the point that female authors portray female characters positively as compared to their male counterparts. By employing Halliday’s transitivity framework (2004) in Systemic Functional Linguistics (SFL) as an analytic tool, the utterances of the female protagonists from both the novels: The Blithedale Romance by Nathaniel Hawthorne and Jane Eyre by Charlotte Bronte, have been analysed into the process, participants and circumstances. Social influence, mostly in the form of male domination, on ideologies and linguistic choices in the depiction of women in both the writers’ work has been found on almost equal grounds.
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Gocławska, Aleksandra. "‘The Pain of Being and Not Being You’: Passion, Desire, and Queer Reading Encounters in Maria-Mercè Marçal’s La passió segons Renée Vivien." Studia Iberystyczne 23 (December 29, 2023): 89–113. http://dx.doi.org/10.12797/si.23.2023.23.04.
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La passió segons Renée Vivien is the only novel written by the Catalan poet Maria-Mercè Marçal. A novel of many novels, a collage of many languages and genres, by its very form it constantly and systemically dilutes the figure of the author and that of the narrator. Structured around a mysterious manuscript of a screenplay around the life of Renée Vivien, the book seems to problematize the ontology of a literary text. In my paper, I look at the conceptualization of the reading encounter in the novel, as illustrated by the passionate, yet spectral relationship between one of the main narrators, Sara T., and Vivien, an English-born author who wrote in French in the fin-de-siècle Paris, and whose life and work Sara studies. I read the novel in the context of the reader reception theory, as understood by Roman Ingarden, and later Umberto Eco and Italo Calvino. The places of indetermination in Vivien’s life, rather than abstract entities, are political, as Vivien’s disorienting, lesbian life –the backbone of the novel’s plot – has been subjected to systemic silencing and ‘straightening’ by her biographers. Marçal points to certain, socially determined, standardized patterns of filling in the silences of a literary text, patterns that are often a result of a heteronormative and patriarchal bias. The text, rather than a machine, is conceptualized as a site of a passionate encounter between the author and the reader, a destabilizing, queer romance as a result of which the reader’s self may, as Emma Wilson has put it, ‘be re-viewed and identification may thus precede, endorse, or disrupt a fiction of stable identity’ (Wilson, 1996: 5).
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Messenger, Chris. "Joseph Conrad’s Major Fiction and Tender Is the Night: Part Two: Lord Jim, Nostromo, Victory, The Secret Sharer, and What F. Scott Fitzgerald May Have Learned for the Novel’s Form and Narration." F. Scott Fitzgerald Review 20 (October 2022): 97–120. http://dx.doi.org/10.5325/fscotfitzrevi.20.0097.
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Abstract In addition to Heart of Darkness, extensively studied in my 2021 F. Scott Fitzgerald Review essay, “Joseph Conrad’s Major Fiction and Tender Is the Night: Part One: Heart of Darkness and Resentful Caretaking in Tender Is the Night,” this article extends the consideration of F. Scott Fitzgerald’s fascination with Joseph Conrad into more novels that may have influenced his conceptions in Tender Is the Night, including Lord Jim, Nostromo, The Secret Sharer, and Victory. The focus is again on “Fitzgerald’s Conrad” as an exemplary early modernist figure to be learned from and adapted to his narrative needs in the complex novel that became Tender Is the Night. Fitzgerald perhaps shows both conscious and unconscious Conradian influences in his depictions of the material world and historical scene of the book. Conrad’s fiction may have allowed Fitzgerald a way forward to key narrative and stylistic decisions in his novel, which may richly think past its creator to embrace influences and echoes from another classic modernist. The contention is that Conrad’s influence is born out of Fitzgerald’s urgent needs for his long-delayed fourth novel: a protagonist, a viewpoint, a journey, a romance, a tragedy, a self-knowing, and then a leave-taking.
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Cho, Yoon-joo. "Study on the Features of Satire in The Rise of Silas Lapham." Convergence English Language & Literature Association 7, no. 3 (December 31, 2022): 273–301. http://dx.doi.org/10.55986/cell.2022.7.3.273.
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Satire is the genre which could be classified as literature using humor, sarcasm and irony to show that someone or something is foolish and bad, and helps the lower class have the chance to ridicule the behaviors of upper class and their weaknesses or character flaws in European medieval period. The Rise of Silas Lapham(1885) written by William Dean Howells shows the satire to the upper class of New Englanders in the U.S. in the end of 19th century. In fact, Howells believed the future of American writing depended on novels of which form he considered had been shifting from ‘romance’ to a serious form, and he said that realism was “nothing more and nothing less than the truthful treatment of material.” But not only was the status and ethics of Businessmen in 19th century considered as the object of satire to the upper class of New Englanders, the upper also tried to adhere to the tradition from the Old World. For Howells, this kind of Boston Brahmin's adherence to the Old Form might have inversely been interpreted as the object of satire. But the hero as well as anti-hero of The Rise of Silas Lapham, by himself seemed to be a Menippus when he was forced to go into the New World of the Corey'world. Of course, Lapham is not the typical Menippus in 19th century as defined by Mikhail Bakhin or Northrop Frye. But Lapham could be interpreted as a rustic or clown who mocks himself but also a veteran and a businessman who appeared in 19th century.
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Saad, Gad. "Nothing in Popular Culture Makes Sense except in the Light of Evolution." Review of General Psychology 16, no. 2 (June 2012): 109–20. http://dx.doi.org/10.1037/a0027906.
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An evolutionary lens can inform the study of cultural forms in a myriad of ways. These can be construed as adaptations, as exaptations (evolutionary byproducts), as gene–culture interactions, as memes, or as fossils of the human mind. Products of popular culture (e.g., song lyrics, movie themes, romance novels) are to evolutionary cultural theorists what fossils and skeletal remains represent to paleontologists. Although human minds do not fossilize or skeletonize (the cranium does), the cultural products created by human minds do. By identifying universally recurring themes for a given cultural form (song lyrics and collective wisdoms in the current article), spanning a wide range of cultures and time periods, one is able to test key tenets of evolutionary psychology. In addition to using evolutionary psychology to understand the contents of popular culture, the discipline can itself be studied as a contributor to popular culture. Beginning with the sociobiology debates in the 1970s, evolutionary informed analyses of human behavior have engendered great fascination and animus among the public at large. Following a brief summary of studies that have explored the diffusion of the evolutionary behavioral sciences within specific communities (e.g., the British media), I offer a case analysis of the penetration of evolutionary psychology within the blogosphere, specifically the blog community hosted by Psychology Today.
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Arantes, Dimitri Takamatsu. "Notes on Antonio Candido and the Brazilian Novel of the 1930s." Opiniães, no. 23 (August 3, 2023): 40–65. http://dx.doi.org/10.11606/issn.2525-8133.opiniaes.2023.215571.
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From the beginning of his career as a literary critic, in the early 1940s, Antonio Candido gave centrality to modernist production, a field in which he developed fundamental elements of his intellectual thinking. In this article, we will reconstitute the main lines of Antonio Candido’s criticism of the so-called romance of the 1930s [Brazilian novels of the 1930]. As this is a favorite subject of the author’s, disseminated in numerous texts covering at least forty years of intellectual activity we will analyze three concepts formulated at different times: the pre-consciousness of underdevelopment, localist de-repression, and the routinization of modernist aesthetics. By approximating these concepts, without necessarily subjecting them to chronological rigidity, in order to avoid evolutionist schematism, we intend to highlight the points of convergence and interest that remained throughout his work. With this, we will argue that the critic seeks to highlight a new stage in Brazilian life inaugurated by the Revolution of the 1930s and characterized, among other things, by the feeling of displacement of the intellectual class in the face of the modernization that was being announced at the time and by the conception of an aesthetic radicalism present above all in the form of the novel.
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Shalagina, Olga Vadimovna. "The distinctive genre of 9/11 literature about children." Litera, no. 2 (February 2024): 160–70. http://dx.doi.org/10.25136/2409-8698.2024.2.69897.
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The article explores the genre specifics of American 9/11 novels about children. The genre features of 9/11 literature include a modification of the classic educational novel. Such genre elements as the hero’s growing up process, their journey beyond ordinary life, and their return as changed individuals, still form the primary narrative focus of these works. However, the temporality and the impetus for action development are altered compared to the classic educational novel, which is typical for the subgenre of the initiation novel. The main catalyst of the plot becomes the traumatic experiences of the characters, representing either the trauma of loss or mental traumatization of a loved one. The interplay of road motive and motive of search symbolizes personal development and introduces elements of a detective quest, while romantic motives are linked to the outcome of the initiation trial and the formation of the character’s personality. To implement the tasks set, this study employs cultural-historical and comparative-typological methods with elements of structural analysis. The scientific novelty of this work consists in conducting a study of the genre features of literature about children and teenagers thematically based on the events of September 11, 2001, on a little-studied corpus of artistic material. For the first time in Russian science, the author of the article attempts to identify and summarize the characteristic genre features of this body of works. The main results of the study lie in revealing of hybridization of genres: the initiation novel is supplemented with elements of detective and romance novels. An important aspect here is the presence of motives of travel and heroism, coupled with the problem of the trauma of not-knowing, traumatic experiences of loss, and orphanhood. This article deepens scientific knowledge on the issue of the specificity of 9/11 literature, highlighting the process of transformation and enrichment of traditional genre elements in the context of historical events that have been reflected in the literary work of the representatives of contemporary culture.
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Gillis, John R. "“A Triumph of Hope over Experience”: Chance and Choice in the History of Marriage." International Review of Social History 44, no. 1 (April 1999): 47–54. http://dx.doi.org/10.1017/s002085909900036x.
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When Dr Johnson made his famous eighteenth-century remark about second marriages being a triumph of hope over experience, his wit could easily have been directed toward the unions that Steven King has illuminated. It is never entirely clear why people marry or choose to marry the people they do, a situation that is as frustrating to historians as to friends and family. Marriage remains one of life's great mysteries, perhaps the last great mystery left to us. It fascinates and absorbs us, providing an inexhaustible audience for daytime soap operas and evening situation comedies. Romance novels top the fiction charts; and Hollywood returns to the theme time and again.Marriage fascinates precisely because it is so unpredictable, so much beyond our control. One would think that the riskiness of the lottery of love would frighten, even repel, us, but instead we are drawn to it as a gambler is drawn to the slots or the track. Love is, like gambling, a form of “deep play”, which reveals things about ourselves that we can only discover when we move from the world of choice to the realm of chance. Today, marriage is often the central episode in the stories we tell when we try to explain ourselves to ourselves and to others. It is the most elaborately celebrated and ritualized of all the events of the adult life course, the source of our most precious images and memories. Marriage is simply enchanting.
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Buylova, N. N., and O. N. Lyashevskaya. "On Verbal Construction Frequency in Certain Genres of Popular Literature." NSU Vestnik. Series: Linguistics and Intercultural Communication 20, no. 3 (October 14, 2022): 64–74. http://dx.doi.org/10.25205/1818-7935-2022-20-3-64-74.
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Corpora-based language studies is a widespread practice in modern linguistics. In our study, we address so-called mass literature (or paraliterature) via a corpus of texts. The standardization of mass literature allows us to describe its genres by applying literary formulas. In brief, a formula serves for the embodiment of cultural themes and stereotypes in a universal form. While mass literature is a common subject of literary and cultural studies, from a linguistic point of view, literary formulas have not been studied well enough. We suggest that differences between the microgenres of paraliterature may be in syntax as well as in the vocabulary. Our work is based on the mass literature corpora and provides analysis of verb constructions characteristic of microgenres (love story, detective story, science fiction novel, and fantasy). In order to identify the distinctive features of mass literature microgenres, we have conducted a series of machine learning experiments. As a dataset, we compiled a corpus of 1,200 texts belonging to four microgenres. In our previous studies we showed that statistical features (text length, sentence length, and parts of speech frequencies) were insufficient for successful classification. The usage of lexical features has improved the quality of machine learning, however, the classifier based on syntactic features has shown the best results. 81 constructions have been selected as the most important features of syntactic-based machine learning. A verb construction consists of a “verb + dependencies”. We consider several types of dependencies: arguments (subject, direct and indirect objects) and adjuncts (subordinate clause and adverbial classifier). The constructions are described in terms of the fullness of the verb valencies. Several types of constructions are distinguished: complete, incomplete (with omissions of direct or indirect complements), and extended (with adjuncts). Specific examples of verb constructions in each of the microgenres have been analyzed and described. Based on the similarity of the construction profile, romance novels and detective stories show the predominance of verbs and direct speech constructions, whereas science fiction novels and fantasy demonstrate the prevalence of full constructions. Possible non-textual explanations for our observations are also provided. The method proposed in the study can be used for the investigation of various kinds of syntactic features, for instance, those associated with the author’s, temporal or genre specificities.
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Kravtsov, S. M., and T. L. Chernossitova. "APPLICATION AS A WAY OF FORMING A LINGUOCULTURAL DIALOGUE IN NANCY HUSTON'S BILINGUAL NOVEL "CANTIQUE DES PLAINES" / "PLAINSONG"." Modern Linguistic and Methodical-and-Didactic Researches, no. 4(35) (December 31, 2021): 73–79. http://dx.doi.org/10.36622/mlmdr.2021.33.62.008.
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Problem statement. The study of bilingual novels created by translingual writers who use several languages in their creative activities is one of the most urgent problems of language theory, specifically in such areas as sociolinguistics, stylistics, language and society, language and culture. Such works, translated by the author from one language to another and addressed to representatives of different ethnic communities, are of a linguistic and socio-cultural nature, which is achieved by the writer through the creation of an intertext containing intra-textual inclusions based on allegories, reminiscences, allusions, citations and applications. At the same time, the application plays a very important role in problem solving of forming a linguistic and cultural dialogue in a bilingual novel. The results of the study. In the French-language version of Nancy Huston's novel «Cantique des plaines», created as a result of self-translation of the English-language version of her novel «Plainsong», many text applications in the form of fragments of songs are revealed, by means of which the author forms a linguistic and cultural dialogue, and creates not only a semantic, but also a musical background of the novel. It is established that in order to form a linguistic and cultural dialogue in a bilingual novel, applications in the form of song fragments may not coincide in the English and French versions. This effect is achieved in the French-language version through the use of citations with their extension by word combinations; the use of lexemes with a more specific, accurate meaning than their English counterparts; the use of paronyms of their English counterparts; the use of a literal translation of songs from English into French; the use of including a stanza from an English-language song in the translation into French, while preserving the rhyme without distorting the original meaning of the song itself. Conclusion. The results of the analysis lead to the conclusion that the application of song fragments in Nancy Huston's novel «Cantique des plaines» / «Plainsong» is a rather productive stylistic technique and has several types of implementation, depending on the author's need to create a certain semantic, emotional and musical background of the work. Due to the wide use and adequate choice of a particular type of application by a translingual writer, it serves as an effective way of forming a linguistic and cultural dialogue in Nancy Huston's bilingual novel «Cantique des plaines» / «Plainsong». The results of the study indicate that it is relevant not only for the theory of language, but also for Romance and Germanic linguistics.
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Körte, Mona. "Widerstand gegen die große Form. : Patrick Modianos Romane in Untergröße." Zeitschrift für Germanistik 30, no. 3 (January 1, 2020): 609–23. http://dx.doi.org/10.3726/92167_609.
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Abstract Zu erzählenden Großformen wie dem grand récit der französischen Okkupation gehen Patrick Modianos auffallend kurze Romane auf Distanz. Thema seiner rund 30 Bücher ist die Okkupationszeit unter Vichy und der Erinnerungsprozess, der, metonymisch von Spuren ausgehend, in Opposition zu einem Tableau oder Panorama der französischen Kollaboration, Résistance, des Antisemitismus und der Verfolgung steht. Durch ihren gemeinsamen Fluchtpunkt, den Verweisungszusammenhang untereinander und die detektivischen Erzähler entsteht eine Nähe zu seriellem Erzählen, die durch Interferenz, Iteration und Namensidentitäten befördert wird. Das hat die Kritik veranlasst, Modianos zahlreiche Romane als einen einzigen großen Roman zu lesen. Der Beitrag sondiert Modianos Skepsis gegenüber großen Formen und untersucht, inwieweit sich sein poetologisches Interesse auf den Überschuss von Großerzählungen richtet.Patrick Modiano’s remarkably short novels keep their distance from major, more extensive forms such as the grand narrative (or grand récit) of the French occupation. The theme of his approximately 30 books is the occupation under Vichy and the process of memory that, rather than painting a grand tableau or panorama of French collaboration, resistance, anti-Semitism, and persecution, proceeds metonymically from traces. However, his novels suggest seriality through their common vanishing point, the interrelationship of their references, and the recurring presence of detective narrators which is promoted by interference, iteration and name identities. This has led critics to read Modiano’s many novels as one single great novel. This article explores Modiano’s skepticism toward large narrative forms and examines the extent to which his poetic interest is focused on the surplus of grand narratives.
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Rosenmeyer, Patricia A. "The Unexpected Guests: Patterns of Xenia in Callimachus' ‘Victoria Berenices’ and Petronius' Satyricon." Classical Quarterly 41, no. 2 (December 1991): 403–13. http://dx.doi.org/10.1017/s0009838800004560.
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Much of the fascination that Petronius' Satyricon holds for its readers originates in the work's gleeful violation of traditional categories of classical genres. Critical terminology makes explicit the issue of unconventionality, as it is reduced to the neutral word ‘work’ in describing the Satyricon, which, as far as we can tell, belongs to no single category (e.g. novel, romance, satire), but appropriates elements from many sources in both poetry and prose. Perhaps if we had more evidence with which to compare the work, such as a greater selection of Menippean satire or proto-novels from antiquity, we might be able to identify it more accurately. But the suspicion remains that the intense variety of its evocations, allusions, and parodic passages differentiates it clearly from its component genres without allowing it to settle firmly in any one established genre. A certain amount of ‘Kreuzung der Gattungen’ is, of course, typical of both Alexandrian and consequently Roman texts. But the Satyricon seems to revel in its generic instability; it plays with the notion of ‘literariness’ by revealing impulses from non-literary forms such as mime and subliterary prose fiction, raising this material to an unfamiliar level of literary sophistication even as it debases other traditional genres (e.g. epic) through parodic techniques. One of the results of this open experimentation with style and decorum is an extremely dense fabric of literary (and sub-literary) allusion which some would label ‘literary opportunism’. The reader quickly learns to expect intertextual pyrotechnics, swift changes from the sublime to the ridiculous, and humorous incongruities in plot and form, as the stylistic disorder of the text reflects the topsyturvy Petronian world. The modern reader's response to this profusion of referents is to explore the recognizable categories and sources embedded in the work, to tease out the familiar elements in the hope of gaining a better understanding of the whole. Since a great deal of the allusion in the Satyricon functions parodically, there is yet another step necessary in the interpretation, namely taking into account the effect of the decontextualization of language and events from the source material and their recombination and transformation into the new text.
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Salatini Maffia, Erica Aparecida. "DO ROMANCE DE FOLHETIM AO ROMANCE “ROSA”: O ROMANCE ITALIANO DE AUTORIA FEMININA ENTRE OS SÉCULOS XIX E XX." Estudos Linguísticos e Literários 1, no. 66 (September 26, 2020): 234. http://dx.doi.org/10.9771/ell.v1i66.35248.
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<p>O artigo apresenta algumas autoras italianas de romances e novelas publicados no período de 1850 a 1950, escritoras que, apesar da notoriedade e representatividade de sua literatura, foram ignoradas pela crítica e pelo cânone italianos, algumas delas desconhecidas do público brasileiro. Carolina Invernizio (1851-1916) e Matilde Serao (1856-1927) são figuras centrais para a popularização e o desenvolvimento da literatura de consumo italiana, na segunda metade do séc. XIX. Mura (1892-1940) e Liala (1897-1995) são representantes da literatura de massa do começo do século XX até o segundo pós-guerra. Neera (1846-1918) e Alba de Céspedes<strong> </strong>(1911-1997) representam a vertente feminina do romance sentimental psicológico italiano: ambas foram sucesso de público em suas épocas, mas apesar do reconhecimento de uma determinada parcela da crítica italiana, também não fazem parte do cânone italiano.</p>
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Bueno, Mónica. "Macedonio Fernández: la forma de la experiencia." Aletria: Revista de Estudos de Literatura 17, no. 1 (October 28, 2015): 110–16. http://dx.doi.org/10.17851/2317-2096.17.1.110-116.
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Resumo: Podemos supor que, Macedonio Fernández, escritor da vanguardia argentina, constrói uma noção de experiência que descreve de uma maneira singular a relação vida/literatura. Museo de la Novela de la Eterna, sua novela “boa” (assim ele a chamava), não só narra a tensão entre o real e o ficcional senão que é um procedimento básico de construção do não-real, do que ainda não é, no sentido blochiano, e o conhecimento da experiência de Macedonio parece funcionar nessa perspectiva utópica.Palavras-chave: experiência; Macedonio Fernández; romance; vanguarda.Resumen: Podemos suponer, entonces, que Macedonio Fernández, escritor de la vanguardia argentina, construye una noción de experiencia que describe de una manera singular la relación vida/obra. Museo de la Novela de la Eterna, su novela “buena” (así la llamaba), no solo narra la tensión entre lo real y lo ficcional sino que es un procedimiento básico de construcción de lo no-real, de lo que todavía no es, en el sentido blochiano, y el conocimiento de la experiencia de Macedonio parece funcionar en esa perspectiva utópica.Palabras-clave: experiência; Macedonio Fernández; novela; vanguardia.
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Mustafaeva, Samida Toshmukhammedovna. "Conditions For The Formation Of Ming Romans." American Journal of Social Science and Education Innovations 02, no. 10 (October 31, 2020): 440–44. http://dx.doi.org/10.37547/tajssei/volume02issue10-71.
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The Ming period is recognized as a period that introduced a new genre to Chinese literature, especially Chinese prose. During this period, novels from the masterpieces of Chinese literature saw the light of day. They are a valuable source for the study of Chinese literary language, as well as providing valuable information on the plot, historical facts, and the Darwin. In particular, the novel "Three Kingdoms", created in the Ming period, has a large volume and a plot rich in sharp turns, the events of the novel are based on the collapse of the Eastern Khanate, in general, various contradictions in public administration, political, military and foreign relations. The diversity in the author’s depiction of contradictions and struggles, the uniqueness in the depiction of each event, demonstrates the writer’s unparalleled artistic skill. In contrast to the "Three Kingdoms", the plot of “Water Margins” is based on the peasant uprisings and struggles; the play depicts the emergence, development and decline of the peasant uprising. The play praises a number of rebellious heroes, most of the protagonists of the work are extremely vivid, and their character is clearly described. The influence of the successful creation of the novels “Three Kingdoms” and “Water Margins” on the creation of historical and heroic novels of the next period is incomparable. The first phase of the Ming period was a turning point in the history of literature. With the end of the Yuan Dynasty (元朝 Yuán cháo 1206-1368) and the beginning of the Ming Dynasty, no other significant works were created during this period, except for two major novels, the Three Kingdoms (《三国演义》) and the River Basins (《水浒传》). It was not until 1465 that there was a renewal in drama and folk poetry.
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Steer, Philip. "ROMANCES OF UNEVEN DEVELOPMENT: SPATIALITY, TRADE, AND FORM IN ROBERT LOUIS STEVENSON’S PACIFIC NOVELS." Victorian Literature and Culture 43, no. 2 (February 25, 2015): 343–56. http://dx.doi.org/10.1017/s1060150314000588.
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In the late 1880s, around the time he decided to settle on the Samoan island of Upolu, Robert Louis Stevenson's writing began to take a strikingly different shape as he attempted to infuse it with the flavor of his new surroundings. “When Stevenson traveled to the margins of the empire,” John Kucich observes, “he suddenly found new ways of organizing his narratives” (59). His novel-length Pacific works The Wrecker (1892) and The Ebb-Tide(1894), both nominally co-authored with his stepson Lloyd Osbourne, made a marked departure from the dominant models for representing imperial space and themes provided by his own Treasure Island (1883) and by H. Rider Haggard's King Solomon's Mines (1885), and they were generally met by critics with bemusement and disappointment. One reviewer of The Ebb-Tide began by observing, “It certainly has no claim to a place with those romances which are already ranked among the classics of our tongue,” and concluded sorrowfully: “This is not the Stevenson we love, but it is something to be read and remembered, nevertheless” (qtd. in Maixner 458, 59). While recent critical interest in Stevenson's Pacific fiction has tended to focus on works such as “The Beach of Falesá” (1892) and the portrayal of cultural encounter, The Wrecker in particular continues to be held in low regard. As Stephen Arata summarizes, [M]ost critics have dismissed it as overly diffuse, shapeless, and more than a little self-indulgent – the closest thing to a loose baggy monster that Stevenson ever produced. Frank McLynn's assessment is representative: while The Wrecker, he says, is “in some ways the oddest and most intriguing” of Stevenson's novels, it is finally a failure because it lacks a “proper story structure” and because “there are far too many diversions and irrelevancies that clog the action.” (par. 7) Yet the fact that The Wrecker and The Ebb-Tide are not only Stevenson's two longest Pacific-themed works of fiction, but are also marked by similar structural elements and thematic preoccupations, suggests the value of reconsidering their centrality to his engagement with the increasing western domination of the region in the last decades of the century.
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Keithline, Anne. "Mistaken for Ghosts: The Gothic Trope of Catholic Superstition in Conrad and Ford’s ”Romance”." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 87. http://dx.doi.org/10.17951/lsmll.2019.43.2.87-96.
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<p>A perennially fruitful activity in Gothic studies is to track the development of Gothic tropes as popular literature evolves. Joseph Conrad’s career, which spanned Victorianism and early Modernism, provides examples of the evolution of certain Gothic conventions between early- and late-career work. Conrad’s collaboration with Ford Madox Ford on <em>Romance</em> (1903) is an early example of Conrad’s exposure to, and use of, Gothic tropes, especially relating to Catholic ghost-seeing. This paper demonstrates similarities between <em>Romance</em>’s uses of the trope of Catholic superstition and those of three classic Gothic novels, and also outlines the trope’s lasting effect on Conrad’s later work.</p>
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Oliveira, Maria Lúcia Wiltshire de. "Forma e sentido das aberturas nos romances de Saramago." Revista do Centro de Estudos Portugueses 19, no. 24 (June 30, 1999): 45. http://dx.doi.org/10.17851/2359-0076.19.24.45-60.
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<p>Ao concluirmos um estudo em torno de seis romances de José Saramago, detectamos uma singular configuração nos capítulos de abertura. <em>Memorial do convento </em>e <em>O ano da morte de Ricardo Reis </em>se assemelham na forma cinematográfica com que são compostos os seus capítulos iniciais, marcando-se o primeiro pelo uso do <em>close </em>nos aposentos reais e o segundo pelo uso do <em>zoom </em>sobre o personagem que desembarca em Lisboa. Na <em>História do cerco de Lisboa </em>e em <em>O evangelho segundo Jesus Cristo </em>a abertura se torna um espaço de tensão, seja para opor duas concepções conflitantes de História – a oficial e a não-oficial –, seja para deflagrar a luta entre dois tempos do universo, – o eterno e o histórico. Por fim, a narrativa se abre por <em>sumários </em>em <em>Levantado do chão </em>e n’ <em>A jangada de pedra</em>, sendo o primeiro de natureza retrospectiva, remetido ao passado alentejano, e o segundo de intenção recopilativa, voltado para o futuro da península.</p> By the end of our study on six Saramago’s novels, we could notice an special configuration in their first chapters. <em>Memorial do Convento </em>and <em>O ano da morte de Ricardo Reis </em>have both a cinematographical presentations, the first by making <em>close </em>into real rooms and the second by using <em>zoom </em>in a character who just arrive in Lisbon. At the first chapters of <em>História do cerco de Lisboa </em>and <em>Evangelho segundo Jesus Cristo</em>, there are spaces of tension, the first putting opposite conceptions of History – the oficial and the non-official – and the other putting two different times in conflict – the eternal and the historical time. At last, in <em>Levantado do chão </em>and <em>A Jangada de Pedra</em>, the novels begin with summaries, one in a retrospective form toward the alentejano past and the other in the recopilative form toward the future of the peninsula.
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Felippe, Eduardo Ferraz. "Tempo e romance contemporâneo para além do realismo traumático." Revista Brasileira de Literatura Comparada 24, no. 46 (April 2022): 85–102. http://dx.doi.org/10.1590/2596-304x20222446eff.
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RESUMO Esse ensaio tenciona analisar romances contemporâneos que lidam com a memória fora do referencial teórico do denominado realismo traumático. Início tratando de uma das versões mais destacáveis do trauma dentro da produção contemporânea em artes, a relação entre realismo traumático e arquivo. Depois, lido com o tema da nostalgia em dois romances: o Nostalgia de Mircea Cărtărescu e o The Return de Hisham Matar. Por fim, enfatizo a relação entre temporalidade e literatura contemporânea.
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Berchez, Amanda Naves. "A forma do porvir: literatura vitoriana, a máquina, as classes ou sobre a ficção científica de H. G. Wells en fin de siècle e um estudo sobre The time machine." Literartes 1, no. 17 (December 30, 2022): 51–77. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2022.184251.
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O principal objetivo deste artigo é demostrar como o romance vitoriano The time machine de H. G. Wells reverbera, pelas óticas da ficção científica e distópica, questões (de ordem, sobretudo, social) intensamente exploradas no gênero romanesco industrial, também nomeado condition-of-England novels, ao exemplo das lutas de classes e da desumanização para com o proletariado no nicho industrial. Para tanto, recuperamos tanto histórica quanto teoricamente todos os referidos gêneros e formas literários.
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Barría Traverso, Diego. "Representaciones en torno a los empleados públicos en Chile, 1880-1920." Revista de Historia y Geografía, no. 35 (March 19, 2017): 63. http://dx.doi.org/10.29344/07194145.35.345.
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Este artículo analiza otro tipo de discusión en torno a los empleados públicos: aquella que se centró en cuestiones de carácter social. Lo que se busca encontrar en el período 1880-1920 es un conjunto de representaciones que permitan asignar un lugar a los empleados públicos dentro de la estructura social. A partir de la revisión de novelas sobre el período, prensa satírica y ensayos que analizaron la llamada “crisis del centenario”, se muestra que los empleados públicos eran un sujeto social diferenciado de la elite. Igualmente, se destaca que al empleado se lo caracterizaba como un tipo con una serie de vicios asociados a la identidad chilena. Se argumenta que la cantidad de críticas en torno a los empleados presentadas en diversos medios escritos durante la época (novelas, prensa y ensayos) muestran que estos fueron constituyéndose, de forma creciente, en actores relevantes de la vida nacional.Palabras clave: Empleados públicos, clase media, administraciónpública, ChileRepresentations about Public Employees in Chile, 1880-1920AbstractThis article analyzes another type of discussion about public employees: the one that focused on social issues. What is sought to be found in the period 1880-1920 is a set of representations that allow to assign a place to public employees within the social structure. From the review of novels on the period, satirical press and essays that analyzed the so-called “crisis of the centenary”, it can be seen that public employees were social subjects differentiated from the elite. Equally, it is emphasized that the employee was characterized as a type with a series of vices associated with the Chilean identity. It is argued that the number of critics about employees presented in several written media during the time (novels, press and essays) show that they were increasingly becoming relevant actors of national life.Keywords: Public employees, middle class, public administration, ChileRepresentações em torno aos funcionários públicos no Chile, 1880-1920ResumoEste artigo analisa outro tipo de discussão em torno dos funcionários públicos: aquele que se centrou em questões de caráter social. O que se procura encontrar no período 1880-1920 são um conjunto de representações que permitam definir um lugar aos funcionários públicos dentro da estrutura social. A partir da revisão de romances sobre o período, imprensa satírica e ensaios que analisaram a “crise do centenário”, mostra-se que os funcionários públicos foram sujeito social diferenciado da elite. Argumenta-se que a quantidade de críticas em torno aos funcionários públicos apresentadas em diversos meios escritos durante a época (romances, jornais e ensaios) mostra que estes foram se tornando, cada vez mais, em atores relevantes da vida nacional.Palavras-chave: Funcionários públicos, classe média, administração pública, Chile
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Glaubitz, Nicola. "Zeit, Affekt und lange Form: David Foster Wallace und Karl Ove Knausgård." Zeitschrift für Germanistik 30, no. 3 (January 1, 2020): 577–93. http://dx.doi.org/10.3726/92167_577.
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Abstract Wie organisieren, strukturieren und thematisieren lange Romane Zeitlichkeit? Und was erschließen Begriff und Erfahrung von Langeweile in Romanen der Gegenwart wie David Foster Wallaces Infinite Jest (1996) und Karl Ove Knausgårds Min Kamp (2009–2011)? Der Zusammenhang zwischen Lesezeit, ihrer narrativen Strukturierung und Zeitsemantiken wird mit dem Begriff der ästhetischen Eigenzeit beschrieben. Mit Sianne Ngais Konzept des Stuplimen lässt sich eine spezifische Ästhetik der Langeweile (als Resultat einer Überforderung durch eine wenig oder gar nicht strukturierte Detailfülle) auch als formales Merkmal des Langromans in der Tradition der Moderne und Postmoderne beschreiben. Ohne die Berücksichtigung der affektiven Dimension von Langeweile und ihrer Bewältigung (z. B. durch <?page nr="593"?>Leserituale und -routinen) sowohl im Leseprozess als auch auf der thematischen Ebene wäre eine solche formale Beschreibung aber nicht vollständig, wie die Analyse des Ineinandergreifens von Zeitsemantiken und der Ausgestaltung der langen Form bei beiden Autoren zeigt.How do long novels organise, structure, and address temporality? And what kind of diagnostic power do notions and experiences of boredom have for contemporary long novels like David Foster Wallace’s Infinite Jest (1996) und Karl Ove Knausgård’s Min Kamp (2009–2011)? This essay introduces the concept of ,aesthetic individual time (Eigenzeit)‘ in order to analyse the nexus of reading time, its narrative organisation and temporality as a topic. Sianne Ngai’s concept of ,stuplimity‘ can describe a specific aesthetics of boredom not only as a result of diegetic information overload without any structuring devices but also as a formal feature of long novels in the modern and postmodern tradition. In a comparative reading of the two works, the essay argues that a consideration of the affective dimension of boredom and its containment (for example by reading rituals or routines) – both on the formal and the thematic level – is a vital supplement to a formal analysis.
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Pimenta Gonçalves, Luis Carlos. "Variações e recriações cinematográficas de Madame Bovary." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 17, no. 2 (July 1, 2019): 82–108. http://dx.doi.org/10.7195/ri14.v17i2.1355.
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A literatura tem sido desde a criação do cinematógrafo fonte inspiradora de filmes e guiões. Obras literárias pertencentes ao cânone literário foram e são, por conseguinte, objeto apetecível de inúmeras adaptações e não podia escapar a este fenómeno o romance seminal da literatura realista, Madame Bovary, de Gustave Flaubert. Contam-se cerca de vinte adaptações e versões do romance, nomeadamente por cineastas franceses como Jean Renoir (1933) ou Claude Chabrol (1991), ou americanos como Vicente Minelli (1949).
Neste artigo debruçar-me-ei sobre duas variações interartísticas e inter-semióticas baseadas em adaptações indiretas do romance de Flaubert. Uma portuguesa, Vale Abraão (1993), de Manoel de Oliveira, a partir do romance homónimo de Agustina Bessa-Luís centrado na figura de uma Bovary duriense, e outra francesa, Gemma Bovery (2014), de Anne Fontaine, recriação da novela gráfica de Posy Simmonds onde um leitor do romance francês tenta ler o real através da ficção.
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Almeida, Magali Lippert da S., Marlon Mello de M. Almeida, and Júlia De Andrade Gomes. "A produção literária sul-rio-grandense contemporânea (1976-2016)." Navegações 12, no. 2 (January 6, 2020): 35605. http://dx.doi.org/10.15448/1983-4276.2019.2.35605.
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O texto aqui apresentado é resultado da pesquisa “A produção literária sul-rio-grandense: um estudo dos últimos quarenta anos (1976-2016)”. Os autores se propuseram a mapear toda a produção literária produzida no Rio Grande do Sul entre os anos de 1976 e 2016 nos gêneros/subgêneros: Literatura Infantil e Juvenil, Romance/Novela, Conto, Textos Dramáticos, Poesia e Crônica. A pesquisa exploratória com amostra nãoprobabilística intencional mapeou autores com obras individuais impressas e com registro de ISBN. Elaborou-se um quadro em que os escritores (após exaustivo levantamento em dicionários biográficos, sites especializados, associações de escritores e academias literárias, entre outros recursos) foram organizados em ordem alfabética de sobrenome assinalando-se o gênero literário aos quais se dedicaram. Mapeamos 939 escritores, dos quais publicaram exclusivamente: 23,7% Poesia; 14,9% Literatura Infantil/Juvenil; 9,6% Romance/Novela; 9,3% Conto; e 6,6% Crônica. Dos autores que publicaram em mais de um gênero temos 35,5%.
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Nascimento, Naira Almeida, and Márcio Matiassi Cantarin. "Insulamento e trânsitos nos romances de Mia Couto: travessias." Navegações 10, no. 2 (January 31, 2018): 187. http://dx.doi.org/10.15448/1983-4276.2017.2.25239.
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A produção de Mia Couto tem se mostrado uma das mais profícuas no espaço das literaturas em Língua Portuguesa. Nela destaca-se uma simbiose recorrente entre uma prática política, patente na forma de ensaios e de intervenções públicas, e sua obra ficcional, com destaque especial para a prosa. A análise dos romances, fundada numa leitura de viés mais estruturalista, demonstra a persistência de um mesmo enredo que recoloca os problemas oriundos da história colonial. O insulamento e a viagem despontam aí como temas-chave de leitura. Nesse sentido, categorias espaciais e tipologias de personagens, interpretados muitas vezes a partir de conceitos do fantástico ou do animismo, extravasam o campo puramente ficcional para revelarem-se enquanto expressões latentes de um desejo da ordem do histórico.********************************************************************Insulation and passer in novels of Mia Couto: crossingAbstract: The production of Mia Couto has shown to be one of the most fruitful in the space of literature in Portuguese language. It stands a recurring symbiosis between a political practice, patent in the form of essays and public interventions, and his work fictional, with particular attention for the prose. The analysis of the novels, founded on a reading of bias more structuralist, demonstrates the persistence of a same storyline that relocates the problems arising from the colonial history. The insulation and the trip technologies include there as key themes of Reading. In this sense, spatial categories and typologies of characters, interpreted very often from concepts of fantastic or of animism, beyond the purely fictional field to reveal himself as expressions of a latent desire of the order of history.Keywords: Journey; Insulation; Mia Couto