Artículos de revistas sobre el tema "Victor (fictional character)"
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Koloshuk, Nadiia. "IMAGE OF V. PETROV-DOMONTOVYCH IN MEMOIRS AND CORRESPONDENCE OF HIS CONTEMPORARIES-EMIGRANTS". LITERARY PROCESS: methodology, names, trends, n.º 17 (2021): 45–54. http://dx.doi.org/10.28925/2412-2475.2021.17.6.
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Actuality. The modern study of literature now does not give the answer for a question, if it is possible to create a character of a man from the life by facilities of nonfiction narration, however, it is convincing and full-blooded in the reader’s perception as an artistic image. Stating the Subject of the Study: forming of character-image of writer V. Petrov-Domontovych in the circle of the Ukrainian emigrants of the post-war wave due to their remembrances, letters, and essays. Research methodology: through the comparative hermeneutic interpretation of texts, and also later fiction texts that formed the character-image of V. Petrov. Stating the Aim of the Study. Other mechanisms of reader reception work in nonfiction genres, then in fiction, id est it becomes possible another result – the character of real V. Petrov. Results of the Study and originality. The image of Victor Petrov, formed in the memory of representatives of Ukrainian literary emigration and recorded in their memoirs and correspondence, is no less ambivalent, than images of characters in the fictional works of Victor Domontovych. Expatriate contemporaries saw their colleague differently and remembered in different situations, however, it is significant that people, in many respects disagree with moral assessments, hostile to others (as Ihor Kachurovsky, who always biased towards Yuri Sherekh-Shevelov and even repeated stereotyped allegations against him after his death) they were largely controversial in the estimation of V. Petrov. On the one hand, V. Domontovych deserved respect as a talented prose writer; on the other hand, V. Petrov was a mystery as a person. His collaboration with the Soviet special services did not cause unequivocal condemnation, since the circumstances of his "disappearance" from Munich in 1949 remained unclear. Most of those people who spoke about this event immediately after it was treated to the disappeared man with compassion because they suspected the "human beings"-brothers (Yuriy Lavrinenko) from the Soviet side. Image of V. Petrov mostly appears "split", as well as images of characters in the novels of V. Domontovich. The practical significance. In non-fictional texts, the researcher can trace the path of the formation of the image and stereotype, returning and approaching the prototype.
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Gomar Calatayud, Marc. "La Lucrècia Borja de ficció en el drama d’Hugo i els seus derivats". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 6, n.º 6 (29 de diciembre de 2015): 100. http://dx.doi.org/10.7203/scripta.6.7825.
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Resum: El drama Lucrèce Borgia de Victor Hugo confereix al personatge històric una sèrie d’atributs en sintonia amb el gust sensacionalista de l’època: en ser dona, poderosa, bella i formada. Lucrècia Borja és el millor exemple d’allò que Kristeva anomena «l’abjecte» en les Pouvoirs de l’horreur (1980). Una imatge de femme fatale lligada al verí o l’incest que es popularitzarà gràcies a les nombroses obres derivades del drama: de l’òpera de Donizetti als romanços populars de manera que les característiques del personatge de ficció s’imposaran a l’històric en l’imaginari col·lectiu. Lucrècia Borja, que fins aleshores havia estat considerada un instrument al servei de les polítiques familiars, entrarà a formar part per «mèrits» propis del triangle del mal junt amb l germà, Cèsar Borja, i son pare, el papa Alexandre VI. Paraules clau: Lucrècia Borja, Victor Hugo, Gaetano Donizetti, llegenda negra, literatura de cordell, paròdia, segle XIX, Francesc Godó, abjecte Abstract: The Victor Hugo’s drama Lucrezia Borgia gives to the historical character some attributes in line with the sensationalist preferences of that time: being a female, powerful, beautiful and educated. Lucrezia Borgia is the best example of what Kristeva names «the abject» in Pouvoirs de l’horreur (1980). The character is a femme fatale image linked to poison or incest and it was popularized thanks to the many works resulting from this drama. So that, the features of the fictional character prevailed to the real historical character in the popular beliefs, this happened in Donizetti's opera, but also in the chapbooks of that time. Lucrezia Borgia had previously been considered an instrument in the service for family policies, but she became part of an evil triangle, thanks to her own attitude, along with her brother, Cesare Borgia, and her father, the pope Alexander VI. Keywords: Lucrezia Borgia, Victor Hugo, Gaetano Donizetti, black legend, chapbook, parody, nineteenth century, Francesc Xavier Godó, abject
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Toorawa, Shawkat M. "The Modern Literary (After)lives of al-Khiḍr". Journal of Qur'anic Studies 16, n.º 3 (octubre de 2014): 174–95. http://dx.doi.org/10.3366/jqs.2014.0172.
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Prominent examples of major Qur'anic characters in modern world literature include Joseph (and Zulaykha) -like characters in the 1984 Arabic novel, al-Rahīna (The Hostage) by the Yemeni writer Zayd Muṭīʿ Dammāj (d. 2000) and the fictionalised portrayal of the women around the Prophet Muḥammad in Algerian filmmaker and novelist Assia Djebar's 1991 French novel, Loin de Médine (Far from Medina). In this article I focus, rather, on a ‘minor’ Qur'anic character, al-Khiḍr (cf. Q. 18:65–82). I begin by looking briefly at the evolution of al-Khiḍr in Islamic literatures generally and then focus on his deployment in several short fictional accounts, viz. the 1995 French novella L'homme du livre (Muhammad, A Novel) by Moroccan author Driss Chraïbi (d. 2007); Victor Pelevin's 1994 Russian short story, ‘Prints Gosplana’ (Prince of Gosplan); the 1998 short story, ‘The Mapmakers of Spitalfields’, by Bangladeshi-British writer Manzu Islam; and Reza Daneshvar's 2004 Persian tale, ‘Mahboobeh va-Āl’ (‘Mahboobeh and Ahl’). I characterise the ways in which these modern authors draw on the al-Khiḍr type, persona, and legend, and go on to suggest how and why the use of al-Khiḍr in modern literature is productive and versatile.
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Brustur, Ioana Camelia. "Instances of fame in postmodern fictional works an analysis based on Philip Roth’s and Marin Preda’s novels". Swedish Journal of Romanian Studies 6, n.º 1 (15 de mayo de 2023): 268–82. http://dx.doi.org/10.35824/sjrs.v6i1.24896.
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This article will discuss multiple instances of fame in postmodern fictional works. The authors chosen are Philip Roth, the American author well known for works such as “I Married a Communist”, “The Human Stain”, “The Dying Animal” etc. and Marin Preda, the Romanian author who wrote “The Moromete Family”, “The Intruder”, “The Delirium”. The novels representing the postmodern literary current in this article “merican Pastoral (1997)” and “The Most Beloved of Earthlings (1980)”. Through a close analysis of the main characters and the most important events in the novel, the theme of fame will be observed in multiple instances such as the historical point of view, the sociological point of view, the psychological point of view. The first part of the article will introduce the reader to Philip Roth and one of his most famous novels “American Pastoral” in which the theme of fame suffers a metamorphosis because of the events that take place in the novel and therefore affect the main character. In this part the concept of deconstruction will be observed and conceptualized with examples from the novel, the depiction of the utopic world through the American dream, and finally, the transformation of this world into a dystopian one because of the social issues presented in the novel. The social issues presented are related to true historical events which took place in the 1960’s in America. These events are also represented in the micro universe of the main character through the family problems of the main character. The second part of the article will focus on a comparison between the main characters of the novels stated above, Seymour Levov respectively Victor Petrini. This comparison is based on the analysis of their physical and behavioral characteristics and finally, some significant events they are part of. In this section, the concept of dandy will be discussed, and relevant examples will be given to demonstrate that both have traits in this direction. This article aims to prove that the theme of fame in postmodern fictional works is a topic worth studying. It brings new viewpoints upon the American and Romanian postmodern works because of the complexity and multiplicity of concepts that come into its construction. Also, I intend to demonstrate how certain social issues, such as the impact of totalitarian regimes on society, influenced the writers to create works in which the effect of these problems is visible on successful people. The theme of fame in postmodern fictional works in these two novels encompasses myths and literary concepts, creating the impression of the perfect world for the perfect celebrity. Finally, the authors chose to transform everything into chaos and destroy this seducing illusion, converting fame into disgrace.
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Myslina, Julia N. "The Joyce’s Tradition of V. Pelevin’s Novel «Empire ‘V’»: from Anti-scientism to the Invention of a New Character". Вестник Пермского университета. Российская и зарубежная филология 14, n.º 4 (2022): 94–105. http://dx.doi.org/10.17072/2073-6681-2022-4-94-105.
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The article examines how Joyce’s detached attitude to progress in the novel Ulysses transforms into the parody-comic anti-scientism of Victor Pelevin’s novel Empire ‘V’. The Russian author not only refuses to recognize positive ontology as of scientific mood but also reduces its mission only to the destruction of reality and return to the basic intuition. The paper proves that Joyce’s methods of splitting the consciousness of the one acquiring scientific knowledge (cognizer) are rethought by Pelevin as the cognizer’s consciousness multiplied to infinity, which produces a subjective multiple reality, turning into a hypertext. Therefore, Pelevin turns Joyce’s hypostatized elements into independent agents, being characters of a new type. These characters are faced with the question of their real / possible existence in a subjective multiple reality. Thus, these new characters are interpreted within the framework of the subject-object antinomy, as fiction proceeds from subject-object relations. The paper aims to determine the influence of the Joycean principle of splitting subjective consciousness in Ulysses on the creation by V. Pelevin of characters and ways of expressing the new type in Empire ‘V’. The subject of study is the features of the invention of the new-type characters as a tool for organizing fictional decisions in Pelevin’s novel Empire ‘V’. The paper is the first study to prove that the artistic method showing the split consciousness in the heroes of the Pelevin’s novel directly develops Joyce’s epistemological tradition of the cognizer’s crisis, but in the era of weird-philosophy. The main research techniques employed: comparative method, historical and cultural contextualization, discourse analysis.
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Rasheed, Lamiaa Ahmed. "The Portrayal of Human Chaotic Behaviors as Exemplified in Chuck Palahniuk’s Choke". JOURNAL OF LANGUAGE STUDIES 8, n.º 6 (30 de junio de 2024): 67–76. http://dx.doi.org/10.25130/lang.8.6.4.
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Chaotic human behavior refers to the exhibition of unpredictable, disrupted, or disordered manners. The chaotic individuals embrace chaos as a means of self-expression or rebellion against particular harmful experience and to defy societal norms. They act impulsively and destructively; their behavior may stem from a desire to disrupt established systems or challenge authority. When they reach the edge of chaos, the most exciting place to be, though it is insecure condition sometimes, to get balance between order and chaos, they manage to overcome their limitations and liberating themselves from the self-destructing thoughts, accordingly they reorder the disorder and chaos. In fiction, such characters often create conflicts and unpredictability within the story. They can serve as catalysts for conflict, pushing other characters to question their own beliefs or take action. Fictional example of chaotic characters include in Chalk Palahniuk's Choke. This paper aims at analyzing the human behavior within a chaotic system and suggests chaos theory as a systematic approach to analyze the novel Choke, demonstrating human behavior between determinism and free will within a chaotic system, handling the life of its main character, Victor, who live in chaos as a consequence of his damaging childhood and his struggle scrutinizing his behavior to get order back. He advocates for anarchy and destruction as a means of personal liberation, whose violent and antisocial behavior challenges the boundaries of morality. This novel serves as catalysts for chaos and reordering the disorder. To attain this aim, the study adapts chaos theory as an approach of analyzing this topic in Choke. At the end when he reached the maximum of chaos, he gets the balance between order and chaos liberating himself from his self-destructive thoughts. He owns eventually a free will to change his destiny and find out new paths of happiness and self-organization.
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Sen, Erhan y Sedat Karagul. "A Study of Secondary School Students’ Perceptions of Fictional Characters". International Journal of Educational Methodology 7, n.º 3 (15 de agosto de 2021): 433–46. http://dx.doi.org/10.12973/ijem.7.3.433.
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<p style="text-align: justify;">Fictional characters give literary works a sense of reality. The actions of fictional characters play a crucial role in children's personality development. Young readers who lack critical reading skills are more likely to incorporate fictional characters into their lives because they have a hard time telling reality from fiction. Therefore, we should determine how children perceive fictional characters and teach them that they are imaginary figures. In this way, we can help them approach those characters' actions from an external and critical perspective. This study adopted a qualitative research design (case study) to investigate secondary school students' perceptions of fictional characters. The sample consisted of 45 secondary school students (28 female and 17 male). Data were collected through interviews and document review techniques. Data were analyzed using content analysis. Results showed that participants were more likely to be interested in and identify with characters with appealing personality traits. They had four types of approaches to fictional characters: (1) Wanting to change the storyline depending on what the fictional character goes through, (2) being influenced by them, (3) seeing them as role models, or (4) ignoring them. They wanted to change the storyline, especially when the villain got what he wanted or when the hero or the victim was unhappy, suggesting that they mostly took the protagonist's side (the good guy). While most participants attributed an ontological meaning to anthropomorphic characters, the symbolic meaning became of secondary importance. They were more interested in and identified more with characters with good living conditions and no death experiences.</p>
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Romanyshyn, Robert D. "Diagnostic Fictions". Journal of Humanistic Psychology 59, n.º 1 (26 de julio de 2018): 107–20. http://dx.doi.org/10.1177/0022167818790300.
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Beginning with a case in Part 1 of this article, I illustrate a key difference between the person who comes to therapy and the figure(s) who come for therapy. In Part 2, I describe some features of a literary approach that attend to this difference and animate diagnostic descriptions with images and stories found in literature. Using Mary Shelley’s Frankenstein and drawing on my rereading of her tale, I demonstrate in Part 3 how the character of Victor Frankenstein and his story vividly personify and enrich the DSM category of narcissistic personality disorder. This approach does not reduce Victor Frankenstein and his story to the diagnosis; it magnifies the diagnostic category through the lens of his image and his story.
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Briedik, Adam. "A postcolonial feminist dystopia: Margaret Atwood’s The Handmaid’s Tale". Ars Aeterna 13, n.º 1 (1 de junio de 2021): 57–67. http://dx.doi.org/10.2478/aa-2021-0004.
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Abstract Postcolonial criticism offers a radically new platform for the interpretation of science fiction texts. Mostly preoccupied with the themes of alien other and interstellar colonization, the genre of sci-fi breaths with colonial discourse and postcolonial tropes and imagery. Although Margaret Atwood rejects the label of science fiction writer, her dystopian novel The Handmaid’s Tale (1985) explores similar ethical concerns to the anti-conquest narratives of postcolonial authors. Atwood’s identification of Canadian identity as a victim of the former British Empire is challenged by her introduction of a female character rejecting their postcolonial subjugated identity in a patriarchal society. Her variation on dystopian concerns is motivated by sexuality, and her characters are reduced to objects of colonial desire with no agency. The protagonist, Offred, endures double colonization from the feminist perspective; yet, in terms of postcolonial criticism, Attwood’s character of Offred is allowed to reconstruct her subaltern identity through her fragmented narration of the past and speak in an authoritative voice. The orality of her narration only confirms the predisposition of the text to interpretation in the same terms as postcolonial fiction.
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Morozova, Inna Viktorovna. "Fiction Space and Time in Victor Kolupaev's Fantastic Story "Dzyapiki" (1989)". Филология: научные исследования, n.º 7 (julio de 2023): 13–20. http://dx.doi.org/10.7256/2454-0749.2023.7.39742.
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The article is devoted to the study of the work of the Tomsk science fiction writer, member of the Union of Writers of the USSR Viktor Dmitrievich Kolupaev (1936-2001). The purpose of the study is to identify the features of the representation of the category of fiction space and time in the poetics of the fiction writer's short prose based on the novella "Dzyapiki" (1989). The theoretical basis of the research was made up of works devoted to the consideration of the spatio-temporal organization of the literary text in science fiction works. The practical significance of the article is that its materials and general conclusions can be used in the study of the history of Russian literature and Soviet fiction, regional literature in the framework of special courses. The scientific novelty of the work lies in the study of the spatio-temporal organization of Kolupaev's short prose, as well as in the involvement of a previously unexplored novella as a research material, which is important for understanding the originality of the author's fiction world. The three-part chronotope system is defined and analyzed, the originality of the time travel plot used for traditional science fiction in order to reveal social issues is revealed. Three chronotopes (the epoch of the Dziapiks, real time and their mixing), the characteristic features of which are represented in the landscapes and characters allow us to depict the shortcomings of the system that negatively affects a person.
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Spampinato, Erin A. "Rereading Rape in the Critical Canon". differences 32, n.º 2 (1 de septiembre de 2021): 122–60. http://dx.doi.org/10.1215/10407391-9309373.
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This essay identifies what the author terms “adjudicative reading,” a tendency in literary criticism to read novels depicting sexual violence as if in a court of law. Adjudicative reading tracks characters’ motivations and the physical outcomes of their actions as if novels can offer evidence, or lack thereof, of criminal conduct. This legalistic style of criticism not only ignores the fictionality of incidences of rape in novels, but it replicates the prejudices inherent in historical rape law by centering the experiences of the accused character over and against the harm caused to the fictional victim of rape. By contrast, the “capacious” conception of rape proposed here refuses to locate rape in a particular bodily act (as the law does), rejects the yoking of rape’s harms to a particular gender, and understands various forms of violence as equally serious (rather than creating a hierarchy of sexual assault, as current legal conceptions tend to do).
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D, Yogalakshmi y Vijayalakshmi S. "The Gift of Writers in Animating the Past to the Present as Tales of Remembrance: A Comparative Study of Salman Rushdie’s Victory City and Amitav Ghosh’s Jungle Nama". World Journal of English Language 13, n.º 7 (25 de julio de 2023): 292. http://dx.doi.org/10.5430/wjel.v13n7p292.
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The research focuses on how fantasy is manifested as part of storytelling. Salman Rushdie’s Victory City (2023) and Amitav Ghosh’s Jungle Nama (2021) adopt ancient myths and histories that serve as remembrance tales. Both Rushdie and Ghosh evince a common interest in exploring social issues in their writings through an allegorical form. Rushdie’s Victory City is about the history of the Vijayanagar Empire, one of the most distinguished empires of medieval India (14th century to 16th century). Rushdie submitted his final edits of Victory City before the attack in New York City (Chautauqua) for his controversial novel The Satanic Verses. In the month of August 2022, he was stabbed in public by a youngster. He tweets that there is no freedom for authors to express themselves through writing. So, the research focuses on how fantasy serves as a tool for authors to express their views. His Victory City made him overcome all the negative criticism that he had encountered during the attack. Ghosh’s Jungle Nama also adopts the history of Sundarbans’ Forest goddess, Bon Bibi. Ghosh through his narration blends the myth and history of Bon Bibi who have been worshipped for centuries by the people of Sundarbans. Blending the real and imaginary in both fictions greatly challenges the differentiation between authenticity and fantasy. The supernatural phenomena in these narratives transport the reader from reality as a kind of escapism. During this, the characters in the fiction recall the past events and visions of the future in their present, and these aspects are also explored in the analysis. Victory City and Jungle Nama encounter the experience of mysticism in their narration which embarks on a voyage of difficulties and hindrances in the unreal world. Both these speculative fiction explore the concepts of fantasy and mystery so the theory of Magical Realism is applied to the strange creatures, other worlds, evils, demons, and demi-gods that exist in the fanciful setting which is also discussed.
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Kononenko, Vitaly. "Author and Style: Intellectualization of Victor Domontovych`s Artistic Discourse". Journal of Vasyl Stefanyk Precarpathian National University 8, n.º 2 (2 de junio de 2022): 45–55. http://dx.doi.org/10.15330/jpnu.8.2.45-55.
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The article highlights the features of the idiostyle of Victor Domontovych, a writer of 1920s, a representative of modernist artistic discourse. The stylistic manner of the author's writing shows his intellectualism, principles of his extraordinary scientifically oriented linguistic thinking. V. Domontovych depicts artistic reality through the prism of the ontological clash of categories of rational and irrational, real and unreal, intellectual and primitive-bourgeois, sexual and asexual. Using the concepts of plausible and implausible, real and conditional, the author characterizes the psycho-behavioral stereotypes of his characters in order to comment and evaluate their actions and decisions; he often uses a descriptive and contemplative manner, and forms of logical conclusions; therefore, a symbiosis of scientific and fictional presentation is formed.
Domontovych's texts are full of ironic and mocking intonations in order to expose spirituality, low culture, meanness; the author strongly condemns selfishness, callousness, dishonesty in the behavior of the characters; the sharpness of his critical vision is directed against the arrogance of the intelligentsia, unjustified rationalism, scientific-like thinking, and bourgeoisie. The intellectual novels of the writer can be considered as extended metaphorical constructions, integral figurative and symbolic structures, profound artistic worldview carriers, as well as systems of meaning mythologizing. The author’s usage of linguistic and stylistic means is not extensive; they are unusual in their associative-figurative aspect and intended for the domain of cognitively meaningful perception. The expressiveness of texts is achieved through an implicit coded word usage, there is space for the reader to think creatively as the texts rely on the conceptual interaction within the system Author-Text-Reader.
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Ivanov, Ivan. "Salman Rushdie’s Novels in the Perspectives of Postmodernism in the Third Millennium". Chuzhdoezikovo Obuchenie-Foreign Language Teaching 51, n.º 1 (1 de marzo de 2024): 43–53. http://dx.doi.org/10.53656/for2024-01-06.
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The text is dedicated to the novels of Salman Rushdie, one of the world's novelists of the third millennium, who preserve the importance and significance of postmodern fiction. Different novels from different decades are presented that employ a variety of postmodern practices and forms such as intertextuality, metafiction, heteroglossia, remitification, parody and the grotesque. The author builds a colorful world in which images and plots from the dynamic present, but also historical and mythological creatures and heroes are intertwined. Main attention is focused on the novel Quixote, which follows the lives of the fictional Quixote and Sancho in the very real American world. With a colorful palette of fantastic creatures, but also real characters from different eras, the author raises pressing issues about racism, consumer gluttony and obsession with the media spectacle. A brief review of the latest novel, Victory City, with which the author returns to India, building a magical, magnetic, fairy-tale world in which "the conventions of the outside world lose their meaning and melt away", but at the same time references are made to reality. In conclusion, the importance of Salman Rushdie as a global and postmodern author is reaffirmed.
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Palomino-Manjón, Patricia. "Savior or Villain? A Corpus Stylistic Approach to the Linguistic Construction of Victim-Survivors of Sexual Violence in Westworld". Atlantis. Journal of the Spanish Association for Anglo-American Studies 44, n.º 2 (23 de diciembre de 2022): 65–87. http://dx.doi.org/10.28914/atlantis-2022-44.2.04.
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This paper explores how the identity of victim-survivors of sexual violence is portrayed in the dystopian TV series Westworld (2016-present) by analyzing the linguistic characterization of the lead female character, Dolores Abernathy. To do so, this paper adopts a mixed methodology which combines corpus stylistics and Appraisal Theory with a feminist critical reading of the results in order to examine the textual cues in Dolores’ dialogue which characterize her journey from being a victim to becoming an empowered being. The results of the analysis show that the series features a misappropriation of female empowerment and liberation since Dolores presents a masculinization of her fictional identity which mirrors patriarchal practices and attitudes against women.
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Ibrahim, Juan A. "Modernity, Mass Culture, and Self-Delusion in Nabokov’s Lolita and Martin Amis’ Money". Koya University Journal of Humanities and Social Sciences 3, n.º 1 (23 de junio de 2020): 94–101. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp94-101.
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Vladimir Nabokov’s Lolita (1955) and Martin Amis’ Money (1984) discuss the disadvantages of mass media. Amis uses John Self to reflect the disintegration of the self in the modern, Capitalist society of England in 1980s. Self represents the failure of the postmodern world by portraying a dystopian society. Amis and Nabokov tackle subjects pertaining to money, incest, delusion, and disappointment. Lights are shed on the moral aspect of the characters. The modernity of Amis’ fiction lies in its double deception of its characters; there is the American motif and a character who is not able to resist the magic of such motif. It is about consumerism or how aspects of post modernity and the consumer culture are portrayed. This paper aims to show the impact of mass media on the characters who are self-deluded and indulged in loving money, advertisements, and sex. It also aims at showing duality and corruption in both texts, John Self is bankrupt and wants to commit suicide. Humbert cheats many and is imprisoned and Lolita dies. Lolita becomes the victim of incest. It is an attempt to urge human beings to refuse cultural divisions and encourage human spirituality instead of Materialistic point of view.
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Wójcikowska-Wantuch, Paulina. "Dyskurs postkolonialny w powieści „Dzieci Wołgi" Guzel Jachiny". Rusycystyczne Studia Literaturoznawcze 33 (6 de octubre de 2023): 1–25. http://dx.doi.org/10.31261/rsl.2023.33.09.
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In this article, Paulina Wójcikowska-Wantuch analyzes the presence of postcolonial discourse in A Volga Tale, a novel by Guzel Yakhina, a Russian author of Tatar origin, whose fiction is concerned with themes of history and identity. Yakhina focuses on the tragic events of the Soviet period shown from the perspective of a single person and her fictions represent the post-memory trend in literature. She stresses the cultural and linguistic distinctness of the German minority, which ultimately fell victim to Stalin’s imperialistic policy. Yakhina exposes the destructive mechanisms of the imperial power, but refrains from unambiguous assessments of historical reality. She focuses on the problem of responsibility for one’s neighbors, emphasizing the importance of the characters’ individual choices. In the light of the ethical issues raised in the novel, the problem of national identity is of secondary importance. In connection with the above, A Volga Tale and also other novels by Yakhina elude any unambiguous assignment to postcolonial literature.
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Zalesskaya, Olga V. y Alena V. Orobii. "Image of a Chinese Revolutionary in the Era of the Civil War in the Far East: An Ideological Aspect (Based on the Novel My Great Brother by Ilya Chernev)". Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, n.º 1 (2023): 43–57. http://dx.doi.org/10.15826/izv2.2023.25.1.003.
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The aim of this interdisciplinary article is to analyse the image of a Chinese character, as well as reflect the historical facts of the presence of the Chinese in Russian fiction. The article focuses on the ideological context. The authors refer to My Great Brother (1954), a historical and revolutionary novel by Ilya Chernev. The novel highlights the main stages of the revolutionary struggle of the Amur and Trans-Baikal proletariat. Most of the key characters in the novel are Chinese people. In the article, following H. Gьnther, the authors single out four diverse characters, the Chinese, that reflect the participation of foreign revolutionaries during the civil war: a proletarian, a warrior, a victim, and a politician. The “historical” component of the article confirms that workers who were subjects of other states and stayed on the territory of Russia were recruited into armed formations to fight counter-revolutionary forces, taking an active part in the partisan movement, and supplying the partisans with food, medicines, and ammunition. The article identifies the reasons why the Chinese joined the revolutionary associations: liberation from exploitation, socialisation, but at the same time, the ideological instability of the Chinese revolutionaries due to the motley social composition and poor knowledge of the Russian language. The article discusses the artistic means Chernev employs to portray the Chinese characters. It is proved that the novel is an example of a work commissioned by the state. Even though the novel My Great Brother has not gained fame, its value is determined by the material itself underlying its artistic canvas. The participation of Chinese citizens in the civil war remains one of the little-studied topics of Russian history, and in literature, the novel My Great Brother is the only work of fiction on this topic.
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Gibert, Teresa. "Margaret Atwood’s Visions and Revisions of "The Wizard of Oz"". Journal of English Studies 17 (18 de diciembre de 2019): 175. http://dx.doi.org/10.18172/jes.3578.
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L. Frank Baum’s The Wonderful Wizard of Oz (1900) and Victor Fleming’s film The Wizard of Oz (1939) play an important intertextual role in Margaret Atwood’s critical and fictional writings. Atwood has often been inspired by both versions of this modern fairy tale and has drawn attention to the main issues it raises (e.g. the transformative power of words, gendered power relationships, the connection between illusion and reality, the perception of the artist as a magician, and different notions of home). She has creatively explored and exploited themes, settings, visual motifs, allegorical content and characters (Dorothy, her three companions, the Wizard and the witches, especially Glinda the Good and the Wicked Witch of the West), subversively adapting her literary borrowings with a parodic twist and satirical intent. Parts of Life Before Man (1979) may be interpreted as a rewrite of a story defined by Atwood as “the great American witchcraft classic”.
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Fulweiler, Howard W. ""A Dismal Swamp": Darwin, Design, and Evolution in Our Mutual Friend". Nineteenth-Century Literature 49, n.º 1 (1 de junio de 1994): 50–74. http://dx.doi.org/10.2307/2934044.
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Our Mutual Friend, published just six years after Darwin's The Origin of Species, is structured on a Darwinian pattern. As its title hints, the novel is an account of the mutual-though hidden-relations of its characters, a fictional world of individuals seeking their own advantage, a "dismal swamp" of "crawling, creeping, fluttering, and buzzing creatures." The relationship between the two works is quite direct in light of the large number of reviews on science, evolution, and The Origin from 1859 through the early 1860s in Dicken's magazine, All the Year Round. Given the laissez-faire origin of the Origin, Dicken's use of it in a book directed against laissez-faire economics is ironic. Important Darwinian themes in the novel are predation, mutual relationships, chance, and, especially, inheritance, a central issue in both Victorian fiction and in The Origin of Species. The novel asks whether predatory self-seeking or generosity should be the desired inheritance for human beings. The victory of generosity is symbolized by a dying child's "willing" his inheritance of a toy Noah's Ark, "all the Creation," to another child. Our Mutual Friend is saturated with the motifs of Darwinian biology, therefore, to display their inadequacy. Although Dickens made use of the explanatory powers of natural selection and remained sympathetic to science, the novel transcends and opposes its Darwinian structure in order to project a teleological and designed evolution in the human world toward a moral community of responsible men and women.
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Mazurkiewicz, Adam. "Dziwność istnienia. O nurcie „bizarro fiction” w polskiej literaturze". Literatura i Kultura Popularna 22 (6 de septiembre de 2017): 61–74. http://dx.doi.org/10.19195/0867-7441.22.4.
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Strangeness of Being. On a Current of Bizarro Fiction in Polish LiteratureIn modern culture bizarro fiction is an individual current of horror fantasy. It is distinguished by intentionally iconoclastic character of its artistic visions. To the axiological glittering of bizarro fiction undoubtedly contributes placing of this phenomenon somewhere between the pop culture it is inspired by typical for the kind usage of props and the fiction schema, independent culture overcoming the cultural and social taboo and avant-garde from whom it takes the idea of artistic experiment. Because creators of this phenomenon often use the technique of artistic excess the viewer cannot be sure if — searching for latent sense — they are not the victim of provocation; on the other hand, scandal and buffoonery may constitute amask which enables touching culturally important problems.
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Duncan, Dawn. "Banville's Fiction Comes of Age as It Lays to Rest Old". ABEI Journal 2, n.º 1 (1 de junio de 2000): 53–59. http://dx.doi.org/10.11606/issn.2595-8127.v2i1p53-59.
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For twenty-five years, John Banville's protagonists have tried to come to grips with the other brother/shadow self. If the protagonist can come to grips with the shadow figure he can create, for a moment, order in his chaotic world, as do Gabriel Godkin, Copernicus, Kepler. When the character fails to embrace the brother/other se!f, he destroys and se!f-destructs, as do Gabriel Swan, Victor Maskell and, for a time, Freddie Monigomery. Freddie Montgomery, as he attempts to lay to rest old ghosts, is a recurring figure not onty in the three novels in which he figures--Book of Evidence, Ghosts, and Athena-but, in a sense, Freddie and his shadow self appear as archetypes in all of Banville's fiction, creating an allegorical tale that is long overdue for attention, especially with regard to its Irish nature. Using Jung's concept of the Shadow combined with the implications of Chaos Theory, I analyze the story beneath the stories -the Irish allegory.-in the fiction of John Banville, a premier Irish novelist.
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Łaszkiewicz, Weronika. "For fear of the Other: Simulation of Indigenous presence in horror fiction". Horror Studies 14, n.º 1 (1 de abril de 2023): 119–34. http://dx.doi.org/10.1386/host_00065_1.
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The following article examines the portrayal of Indigenous peoples and traditions in modern horror fiction written by non-Indigenous Euro-American authors. While the figures of the noble savage, beautiful maiden and victim of white progress are some of the most enduring stereotypes associated with indigeneity, in this article I demonstrate how in modern horror Indigenous characters and traditions serve as the embodiment of evil, which the White protagonists need to defeat to ensure their own survival. If any Indigenous characters appear in these narratives, they do so mostly in the roles of helpers, which contributes to the marginalization of Indigenous characters in the genre. To illustrate these problems, I draw examples from a number of horror stories ranging from classic to pulp fiction in order to expose the genre’s latent colonial rhetoric, which reinforces the simulation of Indigenous presence in contemporary culture – a phenomenon analysed by the Anishinaabe scholar, Gerald Vizenor, whose work will provide a theoretical background for my investigation.
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Ravindra Shivaji Mali y DR. P. G. Sonawane. "Subjugation and Transformation of the Major Female Character in Chetan Bhagat’s One Indian Girl". Creative Launcher 5, n.º 6 (28 de febrero de 2021): 28–33. http://dx.doi.org/10.53032/tcl.2021.5.6.05.
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Chetan Bhagat is a popular Indian writer. He exposes the various issues being practiced in society. All his novels present the problems of youths, their hopes, aspirations, dreams and frustrations. The Present novel One Indian Girl is acclaimed for his stance on female issues. This novel is presented from the female perspective. Radhika is the major female character in the fiction. She is victim of the male chauvinism. She undergoes many tribulations but in the end she takes her own decision. She doesn’t accept the male choice. After much emphasis she accepts to do arrange marriage but at the she realizes her own importance and refuses to marry. She determines to live life according to her own terms. The writer presents her expedition in a fantastic way.
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Pimonov, Vladimir I. "Character-writers and their "texts within the text"". Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 8, n.º 3 (1 de septiembre de 2023): 55–65. http://dx.doi.org/10.18522/2415-8852-2023-3-55-65.
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This paper deals with “character-writers”, i.e. fictional characters acting as “secondary authors” who create their own texts within the main text of a literary work. The meaning of “texts within the text” written by Chekhov’s characters from “The Seagull” – writer Trigorin and playwright Treplev, as well as their literary predecessor, Shakespeare’s Hamlet, is discussed. The paper focuses on written “texts within the text” that have a prophetic meaning, foreshadowing the fate of their authors. Ham-let appears to be the first hero in European literature who writes dramatic “texts within the text” that contain a foreshadowing of his own death. It is shown that “The Mousetrap”, the play within the play (equivalent of “the text within the text”) in which the murderer (“a certain Lucianus, the king’s nephew”) poisons his victim, not only imitates the homicidal poisoning of Hamlet’s father by Claudius in the past, but prefigures the future murder of king Claudius by his real nephew Hamlet. It is noteworthy to mention that Hamlet kills Claudius also with the help of poison: first, stabbing him with an “envenomed” dagger, and then forcing him to drink off his “potion”. The author argues that the motif of murder by poisoning in “The Mousetrap” is also a foreshadowing of homicidal poisoning of another king – Hamlet himself. Indeed, after prince Hamlet kills Claudius, he, according to the rules of succession, becomes the rightful king of Denmark. Hamlet is wounded by Laertes, using the poisoned weapon, and dies. The poison is tempered by Claudius. Thus, the play within the play about homicidal poisoning that Hamlet composed about Claudius turns out to be a foreshadowing of Ham-let’s own death from poison prepared by Claudius. In a symbolic sense, Hamlet falls into his own “Mousetrap”.
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RAKIOVSKI, Tsvetan. "SYMBOLISM AND SMIRNENSKI". Ezikov Svyat volume 22 issue 1, ezs.swu.v22i1 (23 de febrero de 2024): 104–9. http://dx.doi.org/10.37708/ezs.swu.bg.v22i1.10.
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The article examines the influence of symbolist aesthetics on the poetry of Hristo Smirnenski. The author combines the high stylistics of symbolism with the social theme – this is how the exquisite expression decorates the stories of social outsiders (urban tyrants, soldiers, prostitutes, street musicians). The poet calls them “children of the city” and portrays them in contrast with another type of social character – Homo Faber, the people of production (workers, blacksmiths, stonemasons, charcoal burners). These are the two types of city characters. The first one is called a swashbuckling hero and represents the victim – poor, sick, blind, and hungry, while the second one is the person of struggle – the person of rebellion who is ready to transform the “old world”. One of the greatest strengths of Smirnenski’s poetry is its expression of pathos, which is not only loaded with social density, but also adorned with striking and complex epithets. The fictional universe of this young author is replete with recurring elements of symbolism – nocturnal or mostly evening landscapes, strange topoi, glamorous shop windows, mournful music, fiery looks, etc. Additionally, the works are characterized by the typical of Smirnenski brilliant poetic parody. He parodies everything – politics and politicians, love, human vices, etc. The article also draws attention to the reciting energy of Smirnenski’s poems, which is not generated by the literary qualities of the text, but by the emotion and expectation of the listener – in this case the category of the reader is missing.
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Dhannoon, Iman Saud. "Psychoanalytic Perspectives on The COVID-19 Pandemic in Sarah Hall’s Burntcoat and Sarah Moss’s The Fell". JOURNAL OF LANGUAGE STUDIES 7, n.º 3 (30 de noviembre de 2023): 340–59. http://dx.doi.org/10.25130/lang.7.3.19.
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Globally, pandemics and epidemics have been largely argued in literature. The calamity of COVID-19 has largely paralyzed individuals and societies. The research deals with fictional responses of individuals who are infected by coronavirus and the impact of the virus on the way of coping with each other and with the surrounding. The research deals with two English novels; Burntcoat (2021) by Sarah Hall and The Fell (2021) by Sarah Moss. These novels are chosen for the critical analysis due to the variety of themes. The texts chosen depict experiences of the victim characters during quarantine. The objectives of the research are to identify the characters that experienced the pandemic, analyzing their unconscious behavior. This will be done according to the Freudian psychoanalytic theory. Also, to examine the responses of the infected characters to the calamity based on Cathy Caruth’s trauma theory. And to show the impact of coronavirus on the selected characters in coping with others relaying on Judith Herman’s PTSD. The aim is to explore themes of isolation, dislocation, unconsciousness, and hysteria. This will be discussed within the limits of the main concepts of the psychoanalytic theory.
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Lemos, Francisca das Chagas. "A dramatic narrative: crime or fatefulness? Felony, felon and victim in "The attendant’s confession", by Machado de Assis". Anamorphosis - Revista Internacional de Direito e Literatura 7, n.º 1 (30 de junio de 2021): 231–54. http://dx.doi.org/10.21119/anamps.71.231-254.
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Studies of Law and Literature have been fruitful due to the area’s interdisciplinary aspect, as well as the possible effects that literature is able to bring to the Law, that is, due to the dialogue between such opposite situations. Thus, the Law’s dogmatism and conventionalism, not to mention its pursue for legal safety, are interposed by the playfulness, the inventiveness, and the flexible, progressive aspects so dear to literature. Understanding how the two areas articulate to each other has gained momentum. This paper is an analysis of the short story The Attendant’s Confession, written by Brazilian author Machado de Assis, within the Law in Literature approach. Hence, the fictional traits seem to point to formal aspects regarding legal offenses, as well as the felon and the victim, which go beyond the facts narrated by the character in the short story.
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Bečejski, Mirjana. "ZAŠTO JE ANDRIĆ UBIO VUKA? (NARATIVNA EMPATIJA U PRIPOVECI „ASKA I VUK” IVE ANDRIĆA)". Nasledje Kragujevac 18, n.º 49 (2021): 235–65. http://dx.doi.org/10.46793/naskg2149.253b.
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There are two main objectives of this paper. The first one, more general and partly liter- ary-theoretical, is to show, within the author’s wider study of narrative empathy and using Andrić’s short story “Aska and the Wolf ” as an example, that what is important for this concept is not whether it deals with documentary or fictional stories, but whether the author has and by which means convinced us of the life truthfulness they convey, that is, whether the aesthetic form and the represented experience of his characters have and to what extent activated neuro- logical regions of the readers responsible for empathy. A methodological approach to “the text as world” is equally applicable to both fictional and documentary narration since the worlds are essentially imaginary in both cases. Reality represents a framework for understanding textual universes; likewise the world of fiction can be a telescope for understanding reality. The second objective of this paper is linked to this: to finally ask the question why the shepherds, i.e. why Andrić had to kill the wolf. The destiny of the wolf – not only in this sto- ry-parable where narrative empathy is an excuse for the cruel hand of justice – becomes para- digmatic for one view of the world in which there is no forgiveness and redemption for a mur- derer. If the writer had allowed art to win over the evil in the wolf, if he had left the wolf alive, the short story would have definitely become multilayered, but it would have betrayed that view of the world and the empathic-altruistic expectations of the victim. But would it betray a “naive reader”, who it is meant for? Our answer is that it would not since it turned out that that youngest reader is not as naive as it might seem at first sight and that narrative empathy represents above all and before all a reader’s response to the cry for humanity.
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Iroegbu, Obinna. "Character as social semiotic in Wole Soyinka’s The lion and the jewel". EJOTMAS: Ekpoma Journal of Theatre and Media Arts 8, n.º 1-2 (11 de marzo de 2022): 252–73. http://dx.doi.org/10.4314/ejotmas.v8i1-2.14.
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Semiotics is context bound. Therefore, it is appropriate to situate the locale of any interpretation of art as veritable vehicle for proper understanding. In this regard, Wole Soyinka’s The Lion and the Jewel as a dramatic text derives a better metaphorical essence when assessed as a semiotic correlative of the socio-political conditions in the Nigerian post-colonial experience. Beyond its engagement in the dramatization of events that constitute narrative, character plays a pivotal role as a means by which thematic concerns can be mirrored. In other words, in all ramifications of its application, character usually plays representative roles, especially considering the fact that fiction aims at reflecting what is obtainable, probable or conceivable in a given context. Relating the dramatic events that played out in the text, it is observed that The Lion and the Jewel in its characterization captures a proper representation of socio-political personalities in Nigeria, including the author, Soyinka. From the jewel of contest which is the political power to the predatory turncoats who plunder and rape the patrimony, the drama demonstrates how character can assume a mimetic essence that indicates prophetic act. Just as it is common practice to tag an overbearing political leader the Orwellian Big Brother, and considering how the drama has succeeded to relate or relay socio-political identities, it is duly recommended that examination of characters in literature, especially African literature, should account for their roles as counterpart identities of politically exposed persons. Thus, there is a Baroka in the politician who snatches power by unorthodox means; a Lakunle in the upstart whose feeble attempt to contest political power is laughable and a Sadiku who is an accomplice in spite of being a victim.
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Katsitadze, M. y M. Turava. "THE ISSUE OF PERSONAL CHOICE IN ANCIENT GEORGIAN WRITING ANNOTATION". ARTS ACADEMY 7, n.º 3 (30 de septiembre de 2023): 80–89. http://dx.doi.org/10.56032/2523-4684.2023.3.7.80.
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In the modern world, relevant concepts are personality and individuality. The present article analyzes the issue of personal choice in the prism of ancient Georgian literature. In our valuable creative heritage, there are many fictional or authentic characters, whose presence and personal decisions changed the course of humanity, and left a mark on human consciousness. Such are Saint Shushanik, Abo Tbileli, and Grigol Khandzteli, characterized by hagiographic authors (Jacob Tsurtaveli, Ioane Sabanisdze, Giorgi Merchule), who proved their personality by overcoming physical fear, victory over death, selfless work, caring for the soul. The article briefly reviews the worldview of our glorious poets Shota Rustaveli and Davit Guramishvili regarding this issue. According to them, each person carries the whole universe in himself - from the beginning to the end. Those who understand this will at least be able to gain access to self-knowledge and the regularity of life. This will help a person to achieve originality
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Alzouabi, Lina. "Social Environment and Crime in Dickens' Oliver Twist and Great Expectations". International Journal of Linguistics, Literature and Translation 4, n.º 6 (30 de junio de 2021): 163–70. http://dx.doi.org/10.32996/ijllt.2021.4.6.19.
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This study reads Charles Dickens' Oliver Twist and Great Expectations as crime novels by applying Sutherland's theory of "differential association" which postulates that criminal behavior is learned rather than inherited, and it is learned through interaction with other people within intimate personal groups in which one learns techniques and acquires motives for committing crimes. In Oliver Twist, Oliver is portrayed as a victim of the corrupted social environment as well as Monks' conspiracy with Fagin to drag him down to the underworld.; he is raised as an orphan in a workhouse and subjected to mistreatment. Thus, he unknowingly indulges in Fagin's gang and learns the crime of pickpocketing, as all the members of the gang come from a poor background and are taught how to commit crimes within the gang, their intimate social group. Nancy's poverty also compels her to join the gang, which ultimately leads to her death, as criminality is not innate in her personality. Criminality in Oliver's character is not innate either, so he ends up leading a decent life in a healthier environment. Like Fagin, Compeyson in Great Expectations favors the violation of law and has others indulge in the criminal world, thereby exploiting Magwitch and Orlick who turn into criminals. By presenting criminal characters with various motives and from harsh backgrounds, Dickens' fiction suggests that crime behavior has nothing to do with heredity. Rather, criminal characters are implicated in crimes as a result of the corrupted social environment forced on them, along with gangs and corrupt people they have to encounter.
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Rokem, Freddie. "The Processes of Eavesdropping: Where Tragedy, Comedy and Philosophy Converge". Performance Philosophy 1, n.º 1 (10 de abril de 2015): 109. http://dx.doi.org/10.21476/pp.2015.1120.
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Eavesdropping scenes, where one of the characters eavesdrops or spies on one or several of the other characters (usually with the knowledge of at least one of them) will serve as my point of departure for exploring the relations between tragedy, comedy and philosophy. The eavesdropper is a spectator inside the fictional world who because of what he (and most frequently it is a male) learns by eavesdropping or just by carrying out this act of transgression is transformed into a victim. I exemplify with Polonius (in Hamlet, III, 4) and Orgon (in Tartuffe, IV, 5), who are physically situated in a focal (liminal) point where the eavesdroppers become vulnerable and can quickly be transformed from tragic to comic figures and vice versa, transgressing the generic borderlines between tragedy, melodrama, comedy and farce. There are also many instances where philosophical discourses originate from an eavesdropping situation, the most obvious being the form of teaching practiced by Pythagoras, lecturing to his students from behind a curtain. My article also examines examples of eavesdropping in the writings of Plato and Walter Benjamin.
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Fisher, Joel. "Sinclair Lewis and the Diagnostic Novel: Main Street and Babbitt". Journal of American Studies 20, n.º 3 (diciembre de 1986): 421–33. http://dx.doi.org/10.1017/s0021875800012755.
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Sinclair Lewis's critical reputation could not easily be lower than it is at present. In the discussion that follows I want to suggest that a radical re-evaluation of this reputation, and of Lewis's achievement as a novelist, is necessary; not just because he ought to be read and studied seriously in his own right, but also because in his best fiction he addresses very important issues of narrative technique and of historical and structural analysis. And I believe that without a proper understanding of Lewis's engagement with his material in these areas, most notably in Main Street (1920) and Babbitt (1922), the two texts I want to concentrate on here, any account of the re-shaping of American fiction in the years after the First World War must be seriously incomplete.Lewis has proved to be an extremely easy writer to dismiss from any literary or intellectual canon, and not without good reason. His fictions are direct, accessible, and for the most part actively simple. Like Wells and Bennett in England he is a provincial writer of materialist romances, apparently left behind by Modernism; like Upton Sinclair he is a clumsy and over-productive fictionaliser of obvious social problems; in the 1920s he is a man of middle age writing stories about middle-aged characters for a middle-aged readership in a literary and intellectual climate obsessed and characterized by youth; he is a “wildly inconsistent writer, who in his weakest work unquestionably justifies Schorer's description of him as “one of the worst writers in modern American Literature.” And probably more than any other twentieth-century writer of comparable stature, Lewis has been a victim of literary history-writing. With only the very weak platform of spectacular popular success to support him, he stands as the clearest (and unfortunately also the most vociferous) representative of the American fiction that Hemingway and Fitzgerald and their apologists were careful to be seen to be superseding in the 1920s and 1930s.
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Pojprasat, Somboon. "A pragmatic analysis of Shylock’s use of thou and you". Open Linguistics 8, n.º 1 (1 de enero de 2022): 496–511. http://dx.doi.org/10.1515/opli-2022-0221.
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Abstract Shakespeare’s Shylock has been so debatable a character since its introduction to the English stage. According to the existing literature, there is an on-going debate as to whether this Jewish character is a villain or falls victim to the anti-Semitic community. The current study applies deictic theory of pronouns to examine the relationship between this character’s employment of thou and you, and his affect based on the hypothesis that a person’s use of pronouns, among other function words, can reveal their sense of self. Findings have shown that Shylock uses both pronouns in the normative way considerably more than in the pragmatic way; that he adheres to the normative use of the terms more than do his Christian counterparts; and that when he pragmatically uses them, expressions of his negative emotions often appear. Findings also suggest that (fictional) persons’ use of second-person pronouns reflects to some degree their sense of freedom and reciprocity relative to others. In this case, the rather restrictive and abusive employment of thou and you by the Jew indicates him being suppressed and alienated from society, which in turn drives him to wreak vengeance on the Christians – the culminating action that makes him meet his eventual downfall.
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Rahmasari, Gartika y Iis Kurnia Nurhayati. "Strategies in Power Relations in a Fictional Work: A Foucauldian Analysis". TEKNOSASTIK 17, n.º 2 (18 de octubre de 2019): 19. http://dx.doi.org/10.33365/ts.v17i2.301.
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In a family, power relations can be seen in a father-child relationship, where the father has the authority to control the life of the child and the child must approve the father's decision. Not only the father, however, the son might also have different objective that he wants to achieve. Here both parties will usually try to keep pursuing their own objectives. In other words, both parties will look for strategies of how to win their objective in the power relation by acting certain ways. Hence, strategy can be used as the means to obtain victory (Foucault, 2002). The purpose of this paper is to analyze power relations that occurred in a family in a fictional work, namely Family Matters novel by Rohinton Mistry, particularly between Nariman Vakeel and his father, Marzi Vakeel. Nariman’s objective is to acquire his father’s approval for his desire to marry his girlfriend, Lucy Braganza, who is a Catholic. This is the opposite of Marzi’s belief, that his family should marry a Parsi. Power relations and strategies used between Nariman and his father were examined using the theory of power relations from Michel Foucault. The findings show that each character implements different strategies in imposing power and confronting each other. As for Nariman, his strategies include persuading his father, and when this does not work, he started to show a clear insubordination every time. On the other hand, Marzi’s strategies include writing a letter to newspaper to let other people know his opposition to interfaith marriage, objecting Lucy’s presents in his house by rejecting Nariman’s suggestion to invite Lucy over for dinner, and being patience in confronting Nariman’s insubordination for eleven years. During these years, Marzi never utilized violence. In the end, Marzi succeeded in achieving his objective to make Nariman marry a Parsi woman when Nariman was finally tired of confronting his father, and let his father choose a Parsi woman. Nariman ended up having an arranged marriage.Keywords: Family, Foucault, power relation, strategies
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Gonzalez, Angelo. "Mysteriously Murderous Manors of Crime Fiction". Digital Literature Review 10, n.º 1 (18 de abril de 2023): 75–84. http://dx.doi.org/10.33043/dlr.10.1.75-84.
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Crime fiction has many common tropes often associated with its setting, including large houses with wealthy families, isolated homes in vast expanses of forest, and technological deserts, in which everyday things like cell phones are all but useless. These characteristics assist with the plot, and oftentimes are key contributors to the facts of the case. The manor in the 2019 film Knives Out, directed by Rian Johnson, displays these tropes outrightly, as it is in a large expanse of woods, and the family living in the house is built upon a family legacy of vast amounts of wealth. In many cases of crime fiction, the old manors come from old generations of money. Many characters throughout the film believe victim Harlan Thrombey to be from old money, although it is revealed later that this may not be a genuine portrayal of his rise into wealth, altering the perception of how his manor and ultimately his legacy is viewed. Unlike other crime fiction settings, Knives Out utilizes technology in order to put together pieces of the crime, instead of eliminating its use, as is common in crime fiction settings. The setting of the film is as important a piece to a crime fiction narrative as any other plot devices, like characters or events. As Joel Goldman writes: “A setting with a heartbeat represents the difference between good and great crime fiction; and allows readers to develop a true attachment to protagonists and, yes, a deep-seated fear and loathing of the villain” (1). This essay seeks to examine the tropes utilized in the film, and how they worked in providing evidence towards the case of the murder of Harlan Thrombey. The film also plays with crime fiction tropes in terms of technology. The mansion has aspects that are both archaic, like the VHS tape security system, but also modern, in the use of social media throughout the film. This essay will also show how the film used inverse versions of crime fiction stereotypes to craft a crime narrative.
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Spotts, K. "Black American History and Culture: Untold, Reframed, Stigmatized and Fetishized to the Point of Global Ethnocide". European Journal of Philosophy, Culture and Religion 7, n.º 1 (19 de abril de 2023): 1–41. http://dx.doi.org/10.47672/ejpcr.1423.
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Purpose: A poetic work of fiction haunts the base of the Statue of Liberty. The act overshadowed the original tribute to the Civil War victory and the Emancipation Proclamation. Abraham Lincoln's praises of the Black American military fell silent. Eurocentrists shrouded centuries of genius and scaled-down Black American mastery. Sagas of barrier-breaking Olympians, military heroes, Wild West pioneers, and inventors ended as forgotten footnotes. Today, countries around the world fetishize Black American history and culture to the point of ethnocide. The real-time case study of Woni Spotts explores the phenomenon. Until ancient traditions evolve with authenticity, global cultures will wither and die. The presented research chronicles over half a millennium of archives. Lists with names, dates, and genealogies seal the Black American legacy in stone.
Methodology: The presented research for case studies draws from archival data, dated events, news articles, and an interview with Woni Spotts. The case studies generated three lists. Fifty sports and competitions were dated and cataloged. The athletes were analyzed by a genealogist. Forty music and dance genres were cataloged by publishing or recording dates. The artists were analyzed by a genealogist. Copyright infringements were noted. Inventors were researched for U.S. patents. NASA astronauts and inventors were analyzed by a genealogist.
Findings: The presented research showed centuries of untold, reframed, stigmatized, and fetishized Black American history and culture. In the case studies, foreigners of African descent (Africans, Caribbeans, Central Americans, and South Americans) practiced ethnocidal behavior in concert with European descendants. Prolific abolitionists, patriots, politicians, and inventors were written out of history. Superstar athletes were obstructed or outshined by fictional
Recommendations: Case studies showed centuries of fragmented narratives created biases and distortions. Black Americans were written out of history, reframed as background characters, stigmatized with skewed statistics, and fetishized globally to the point of ethnocide. The presented research stands as a vital resource for preservationists. Music and dance genre architects were solidified by publishing and recording dates. Athletic events, inventions, and NASA scientists were recorded.
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S., Roopha y Patchainayagi S. "The Postmodern Rewritings of Great Expectations to Reinvent Antipodean identities; A Study on Jack Maggs by Peter Carey and Mister Pip by Lloyd Jones". Revista de Gestão Social e Ambiental 18, n.º 7 (12 de abril de 2024): e05530. http://dx.doi.org/10.24857/rgsa.v18n7-062.
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The present study pivots on the individual analysis of the antipodean writers` novels Jack Maggs by Peter Carey and Mister Pip by Lloyd Jones the retellings of Great Expectations by Charles Dickens. The paper concentrates on the approaches based on its perception towards ideological, historical, authorial, cultural, narrative and geographical representations of Australia in literature. The select novels are under analysis for their employment of postmodern narrative strategies such as intertextuality and carnivalesque. By applying these theories, the writers are successful in generating new ideologies, varying perspectives and reframing the status of canon. The fictionist takes cues from the fictional world which is a rhetorical construct, by having the possibility of adding and filling gaps to complete it by using intertextuality. In a postmodern scenario, the literary mode of carnivalesque is utilized to reverse the conviction of realism. The novelists give liberty to their protagonists Maggs and Matilda to vindicate their rights by unearthing the voices as well as to vocalize their stories in a way of deconstructing artificial stereotypes. One of the ideologies of postmodernism is “incredulity towards metanarratives” (p. xxiv) propound by Lyotard, it replaces by mini or local narratives. Thus, oral narratives/ storytelling take dominion and unfold a space for a new authentic narrative rendering from the indigenous other, by a subaltern voice and a cast-out victim. Objective: The paper strives to analyze its antipodean characters and their continuum with historical equivalents in Australia. The novelists try to imply and recontextualize rewritings from a broader spectrum of cultural reproductions. The article also endeavors to readdress nineteenth-century texts into their contemporary postmodern relevance. Theoretical Framework: The theoretical framework of the study is to look through the lens of postmodernism. Postmodernism believes that every text carries the fragment or traces of other texts and every work can be read against the relation or background to each other texts. In Jack Maggs the story gives the background to why and how the eponymous character becomes a convict and thus offering him a voice and re-centering him in the center like an Englishman Pip. Mister Pip is about the journey of an indigenous girl named Matilda who dives into the fictional world of Dickens amidst war and personal losses. The select novels have the ability of genre-blurring intersecting with historical novel, fictional biography, and metafiction. The point of departure from the existing research about the novels Jack Maggs and Mister Pip is that there is an alteration of focus from political resistance towards foregrounding postmodern literary struggle in rewriting. Method: The paper discusses with a postmodern study of the novel Jack Maggs and Mister Pip as a retelling of Dickens` Great Expectations. The methodology of the study is qualitative textual analysis with a postmodern approach. The theories that are applied to the select texts are, Julia Kristeva`s Intertextuality and Mikhail Bakhtin's Carnivalesque. The select novels are written to subvert Eurocentric metanarratives, which is further explained by Jean-Françoise Lyotard that, ‘those totalizing narratives are to be replaced with mini or local narratives.’ The framework of the paper is restricted to study the textual, intertextual, thematic and contextual analysis. Results and Discussion: This article investigates the way in which Australian identities are remodeled using fictional constructs. Finally, by reading these novels the readers get to know the multiple perceptions of the canon. The novel`s self-reflexivity has subdued any fixed, totalizing or final assertion towards any narrative. These novels foreground the importance of storytelling, writing, each creating their own story amid falsehood and misrepresentation. Postmodern novels are concerned with the representation of reality. It is cynical towards versions of history and reminds the readers that history itself is an artificial construct. The oral narratives/ storytelling take dominion and unfold a space for a new authentic narrative rendered from the indigenous other, by a subaltern voice and a cast-out victim. The fictional reinvention of the antipodean authors not only questions the ambiguous status of representation, but they are successful in recreating their autonomous versions of their self-supporting narratives. Thus, by reading Careys` and Jones` novels through the lens of postmodernism have attempted to evaluate the validity of western metanarratives and cultural conventions.
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Biliatska, Valentina Р. y Oleg A. Rarytskyi. "THE ANTHOLOGY “STATE OF WAR”: SYNERGY, PROBLEMATICS, GENRE ORIGINALITY OF THE TEXTS". Alfred Nobel University Journal of Philology 1, n.º 27 (3 de junio de 2024): 364–75. http://dx.doi.org/10.32342/2523-4463-2024-1-27-23.
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The anthology “State of War” is a fiction and documentary prose about the bloody war unleashed by Russia on Ukrainian lands, a prose in which the authors, through the prism of their own worldview, experience and emotions, offer the general readership the recorded tragedies of “timeless truth”, the facts of grave illegal crimes committed by the Russian occupiers. The article aims to examine the reception of martial law events in the anthology as non-fiction literature in contemporary Ukrainian prose. The object of the study is the texts of the anthology “State of War”, united by the subject of depicting military events in Ukraine in order to document the war in its various manifestations and tell the world about it in the “Ukrainian voice”. The study was conducted using elements of descriptive, structural and semantic, receptive and interpretive, and contextual methods of analysis. The anthology “State of War” is a genre transformation that combines “sophisticated fiction and the accuracy of documentary” (V. Sayenko), and is dominated by essays, narratives, and memoirs that have only recently been classified as fiction and documentary literature. The textual and social conclusions of “State of War” with an appeal to autobiographical memory made it possible to consider texts in the genre of “non-fictional prose” (T. Bovsunivska): they contain autobiography, the authors appeal to personal experience, indicate involvement in the events described, the narrative is in the first person and is based on a reliable fact, as in memoir genres. The core format of the anthology’s textual content is determined by the history of everyday life. The authors of the book (fifty of them), like the characters in the stories, are writers and public figures, journalists and scholars, volunteers and soldiers of the Armed Forces of Ukraine. Combatant writers, i.e., active military personnel – Oleksandr Mykhed, Artem Chapai, Artem Chekh – create stories not based on other people’s impressions but on what they have seen and experienced, proving that the problems of a soldier are not only related to fighting and defending positions, but also to the aesthetics of survival, to the belief in victory over the aggressor for the further development of society. The texts of the anthology “State of War” contain genre “inclusions” (“Siren-Hyena” by L. Taran, “Under the Bridge” by S. Povaliaiev, “After the Occupation” by V. Puzik) that organically fit into the author’s narrative, confirm significant events, and increase the recipient’s responsibility in the reading process. The semantic core of the narrative of “State of War” is determined by the titles: they influence architectonic expressiveness, inform the reader about the objective reflection of events, facts and phenomena, transform into message titles, decode the content (“Being a Teacher Under Occupation” by L. Denysenko, “My First Bomb Shelter” by I. Pomerantsev, “After the Occupation” by V. Puzik, “Roots Up, or Fear of Migration” by T. Gundorova, “Presentation with Stress” by Y. Vynnychuk).
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Olkhovych-Novosadiuk, M. M. "VERBALIZATION OF THE CONCEPT «JOY» IN THE UKRAINIAN WORLDVIEW:BASED ON THE MATERIAL OF FICTIONAL PROSE". Opera in linguistica ukrainiana, n.º 28 (28 de septiembre de 2021): 248–55. http://dx.doi.org/10.18524/2414-0627.2021.28.235549.
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JOY is considered to be one of the basic human emotions and key concepts in culture. The study of emotional concepts is complex as it combines psychological, cognitive, linguistic and ethnocultural fields. The study of concepts is valuable because it enables us not only to identify the culturally specific worldview of a certain lingual-cultural community and single out its national and cultural peculiarities, but also understand the word as a lexical unit in the context of culture, cognition, and communication. The article is dedicated to the research of the emotional concept JOY, its structure and means of verbalization in the Ukrainian worldview. The research is a part of a more complex study which is being conducted by applying the method of cognitive definition suggested by Jerzy Bartmiński ‒ a famous Polish linguist and ethnologist. The source of the material for the research ‒ the electronic corpus of texts "Mova Info", in particular its subcorpus – fictional prose of the Ukrainian literature from the second half of the XX century to the beginning of the XXI century (300 examples). The research showed that the concept JOY in the Ukrainian linguaculture has the following meanings: Joy is a positive feeling, emotion, psychological state, mood, character trait, and can denote a person who causes joy. Joy has different qualities such as duration, sincerity, reality, expectation, frequency, order, degree of control, intensity, depth and volume. Joy is expressed through facial expressions, physiological, behavioral and vocal reactions. The common reasons for Ukrainians to feel joy are universal concepts and values (life, freedom), faith in God, psychological state (love, desire), people (family, friends), humor, jokes, home, objects and phenomena of nature, seasons, material goods, money, gifts, food, drinks, news, important events in life (marriage, child birth), having sex, celebrations, meeting people, mental activities (thinking, learning), entertaining, having a rest, going for walks, travelling, adventures, achievements, success, victory, discovery.
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Lingard, John. "Till My Change Come: Nature, Justice, and Redemption in Åsa Larsson’s Until Thy Wrath Be Past". Scandinavian-Canadian Studies 22 (1 de diciembre de 2014): 106–26. http://dx.doi.org/10.29173/scancan102.
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ABSTRACT: Åsa Larsson’s Till dess din vrede upphör (2009) [Until Thy Wrath Be Past 2011] is the fourth of five Rebecka Martinsson mysteries. Larsson enhances the genre with an exceptionally vivid depiction of the Swedish Arctic. All the characters are affected by the forbidding landscape of forests, frozen lakes, and mountains. The harshness of nature in this region leads some to violence and death; others to self-understanding and redemption. The novel’s most striking feature is, however, a remarkably successful introduction of the supernatural into the story. The first narrator is the spirit of a murder victim, who hovers above the other characters, influencing their actions and thoughts. Freed from the constraints of time and place, she is able to travel back as far as World War II and witness the dark collaborationist underworld of a so-called neutral Sweden. With her skilful interweaving of mystery, nature, and the supernatural, Larsson has created a powerful and moving addition to Nordic crime fiction.
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Longmuir, Anne. ""Reader, perhaps you were never in Belgium?": Negotiating British Identity in Charlotte Brontëë's The Professor and Villette". Nineteenth-Century Literature 64, n.º 2 (1 de septiembre de 2009): 163–88. http://dx.doi.org/10.1525/ncl.2009.64.2.163.
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Critical investigations of the foreign settings of Charlotte Brontëë's The Professor (1857) and Villette (1853) have tended to conceive Belgium (fictionalized as Labassecour in Villette) as simply "not England." In contrast, this essay considers the historic and geographic specificity of The Professor and Villette, arguing that Belgium represents a crucial middle-ground between British and French values in the mid nineteenth century. Not only was Belgium the location of the decisive British victory over the French at Waterloo, but British commentators also increasingly depicted Belgium as a "little Britain on the continent," or potentially Anglicized space, in the 1840s. Drawing on both Brontëë's explicit references to the Napoleonic Wars in The Professor and Villette and contemporary Victorian conceptions of Belgium, this essay argues that Brontëë's use of this particular foreign space is not just a result of her experiences in Brussels in the early 1840s. Instead, the overlooked middle——ground of Belgium epitomizes the conflict between British and French values in Brontëë's fiction——and the possibility of their reconciliation. While Brontëë ultimately rejects the idea that Belgium represents the site of a possible Anglo-Continental union, it is nonetheless a space in which Brontëë's characters reformulate or consolidate their ideas of home, revealing Britishness to be both culturally produced and value-laden in Brontëë's fiction.
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KSENOFONTOV, VLADIMIR. "CULTURE OF THE RUSSIAN WORLD - A SPIRITUAL SLOGAN FACTOR OF VICTORY IN THE GREAT PATRIOTIC WAR". Sociopolitical sciences 10, n.º 2 (30 de abril de 2020): 169–73. http://dx.doi.org/10.33693/2223-0092-2020-10-2-169-173.
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The article reveals the essence and specificity of culture as an important component of the spiritual factor of victory. Special attention is paid to the characteristics of fiction. The article substantiates the moral and aesthetic impact on the consciousness of defenders of the Motherland, such works of art as“They fought for the Motherland”,“Leningrad poem”,“Russian character”,“Invasion”, etc. The article describes the significant role of theatrical art, which reveals the moral values of the people and Soviet soldiers. This is reflected in such plays as: “the Front”; “the Guy from our city”; “Once upon a time”, etc. The article substantiates the important role of the spiritual influence of cinema on Soviet people. This influence was realized through artistic images of selfless service to the Motherland, loyalty to military duty. Among these films: “Two fighters”, “Wait for me”, “Front-line friends”. During the war, as the article emphasizes, an important component of the spiritual factor of victory was the musical art. Activities in this area of culture famous musicians:B. Astafiev, S. Prokofiev, D. Shostakovich, A. Alexandrov, V. Soloviev-Sedoy, and others, was implemented in operas, symphonies, cantatas and songs, which by their nature emotional expression differed Patriotic and epic strength. The purpose of the research : to reveal the axiological components, culture of the Russian world, as important components, spiritual factor during the great Patriotic war. Conclusions : the culture of the Russian world at various stages of the great Patriotic War, through a variety of means and forms, actively mobilized all Soviet people to defend the Motherland and defeat Nazi Germany. The spiritual culture of our country and its types, in the course of functioning, during the war, clearly and expressively revealed the idea of patriotism, courage, bravery and heroism, and encouraged the Soviet people, the soldiers of the red Army, to achieve a great Victory.
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De Paula Souza, João Vitor. "A origem do mal: a tríade detetive-criminoso-vítima em O sorriso da hiena, de Gustavo Ávila// The origin of evil: the detective-criminal-victim triad in O sorriso da hiena, by Gustavo Ávila". O Eixo e a Roda: Revista de Literatura Brasileira 32, n.º 1 (20 de octubre de 2023): 186. http://dx.doi.org/10.17851/2358-9787.32.1.186-216.
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Resumo: O presente artigo tem por objetivo analisar as desestabilizações do gênero policial clássico em O sorriso da hiena, obra policial brasileira contemporânea, publicada por Gustavo Ávila em 2017, de modo a evidenciar caracterizações das personagens que compõem a configuração esperada da tríade policial clássica: detetive-criminoso-vítima. Dessa maneira, a fundamentação teórica parte de textos que discutem o gênero policial, desde sua gênese até atualizações desse tipo de narrativa, especialmente no que diz respeito à tríade mencionada, como França & Sasse (2016), Leidens (2019), Marques (2016), Massi (2011), Oliveira (2016), e Todorov (2006). Assim, a partir da análise interpretativa dos trechos do romance, foram tecidos apontamentos que evidenciam como as personagens da narrativa são descritas e como se relacionam no transcorrer da obra, levando à sua reconfiguração. Os resultados indicam, portanto, que os componentes da tríade policial clássica não são categorias rígidas ou estanques, mas antes, elementos bastante flexíveis e adaptáveis a diferentes épocas, culturas e obras. Desse modo, ilustra-se uma desestabilização, ainda que parcial, do gênero policial clássico, tendo em vista que a obra de Ávila apresenta caracterizações e relações entre as personagens que podem ser descritas como inovadoras e, nesse sentido, possibilitam reflexões não esperadas ou não observadas em obras clássicas, o que testemunha a inventividade do gênero policial, sempre propício a algum tipo de evolução, tanto no nível formal como no temático.Palavras-chave: literatura brasileira contemporânea; literatura policial; Gustavo Ávila; tríade policial clássica; desestabilização do gênero policial.Abstract: The present article aims to analyze the destabilization of the classic detective genre in O sorriso da hiena, a contemporary Brazilian detective novel published by Gustavo Ávila in 2017, to highlight delineations of the characters that make up the expected configuration of the classic crime fiction triad: detective-criminal-victim. Thus, the theoretical framework consists of texts that discuss the detective genre, from its genesis to updates of this type of narrative, especially regarding the mentioned triad, such as França & Sasse (2016), Leidens (2019), Marques (2016), Massi (2011), Oliveira (2016), and Todorov (2006). Therefore, from the interpretative analysis of the excerpts from the novel, there are comments made to highlight how the characters of the narrative are described, and how they relate to each other throughout the novel, leading to their reconfiguration. The analyses indicate, therefore, that the elements that compose the classic crime fiction triad are not rigid or fixed categories, but rather elements that are very flexible and adaptable to different times, cultures, and narratives. Hence, a destabilization, even if partial, of the classic whodunit genre, is illustrated, considering that Ávila’s work presents delineations and relationships among characters that can be described as innovative. In this sense, the research enables unexpected reflections that were not observed in classic works, which testifies to the inventiveness of the genre, always prone to some kind of evolution, both at the formal and thematic levels.Keywords: Brazilian contemporary literature; crime fiction; Gustavo Ávila; classic crime fiction triad; destabilization of crime fiction.
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Khadija Bibi, Abdul Rashid y Unaiza Khudai. "Palestinian Woman’s Identity Shift from Implicit-Being to Explicit-Becoming: A Review of Susan Abulhawa’s Against the Loveless World". sjesr 5, n.º 3 (30 de septiembre de 2022): 90–98. http://dx.doi.org/10.36902/sjesr-vol5-iss3-2022(90-98).
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Susan Abulhawa takes the concept of Palestinian Woman’s Identity Shift on account of the Israeli-Palestinian conflict and experiences of homelessness. Her novel, Against the Loveless World, has been selected for this study. The present study on account of being qualitative in nature has been thematically analyzed in the light of Stuart Hall theory of representation (1997). In the light of analyzed data, we find that Palestinians are transported from their ancestral lands to refugee camps without crossing international borders. Characters of the novel Against the Loveless World demonstrate how difficult it is to tackle all these issues and build a Palestinian identity while living in exile. Palestinians' exile boosted their sense of national identity by developing strong bonds among refugees and strong anti-Israeli sentiment. The protagonist fought for love and belonging in a world that wanted to give her nothing. Nahr’s life unfolds in unexpected directions like imperialism, invasion, occupation, and colonialism; racism, sexism, psychological diseases, and class are the context of her life. On the brink of poverty and shouldering the responsibility to keep her family afloat, Nahr struggled for everything she could do to ensure her survival. She suffers much. She survives. Nahr is willing to face dangers, and she proves the gritty realness of women’s trek toward feminist defiance and individual dignity. Nahr is determined to find love in a loveless world, a ray of hope for others. This is a woman's journey from Being nothing to becoming something, being a victim and traumatized character to becoming powerful and determined to survive and constructing an individual identity in a loveless world. It vindicates the significant process of identity shift taking place in Palestinian fiction.
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Balsoy, Gülhan. "Crime, Gender, Sexuality: Female Villains in Late Ottoman Crime Fiction". International Journal of Middle East Studies 54, n.º 1 (febrero de 2022): 141–48. http://dx.doi.org/10.1017/s0020743822000058.
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In 1914, a Turkish novella depicting a young woman pressing a dagger to the throat of a bearded old man on its cover, with the title Bloody Fairy (Kanlı Peri), appeared for sale on bookshelves in the capital of the Ottoman Empire (Fig. 1). This relatively small book of fifty-four pages, with its price as low as 50 paras, was available to almost anybody who wanted to purchase and read it. Bloody Fairy was the first of a popular series of ten murder mysteries, National Collection of Murders (Milli Cinayat Koleksiyonu), written by Süleyman Sudi and Vassaf Kadri. On the back cover of the first book, the publishers promised readers that the series would tell matchless mysterious and murderous stories that “will arouse curiosity and excitement” (merak-aver ve heyecan-amiz ) among readers. This cover image must have been rather curious since popular crime fiction usually featured male protagonists as their central characters. In those books women were almost always the target, not the ones attacking men or committing crimes. A crime story featuring a female character leading a gang, not falling victim to a male criminal or being his lover, was not a figure that readers would expect. The preface of this book—and indeed the whole series—depicts countless oddities, strange events, enigmatic murders, and other crimes that had taken place in Istanbul during the prior twenty years. Many of these events were carried out by women. The authors write that although there was nothing astonishing in crimes committed because of a woman, women committing crimes was something never seen or heard of. Thus, they surely hoped that this extraordinary crime series about two female criminals would be a commercial success. On the back cover of the first book, they announced that the series would be published as two parts, comprising ten books each, and would be offered for sale as individual titles every Thursday. Unfortunately, their grand plans were never fulfilled; only the first ten books were published. Although the series is far from complete and we will never know about the authors’ plans to unfurl further crimes and mysteries, something wondrous eventually happened: these two authors, who were never among the canon of Ottoman Turkish literature, were discovered in the 2000s. In addition to National Collection of Murders, several of their other works have been transcribed and published. Süleyman Sudi and Vassaf Kadri, who yearned for popularity in the early 20th century, indeed became popular, albeit a century late.
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Beller, Anne-Marie. "Brief Encounters: Sensation Fiction and the Short Story". Victoriographies 12, n.º 3 (noviembre de 2022): 269–87. http://dx.doi.org/10.3366/vic.2022.0470.
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Building on recent work on sensation short fiction, which has convincingly argued for the form’s significance to our knowledge of mid-Victorian sensationalist culture more broadly, this article examines Wilkie Collins’s ‘A Marriage Tragedy’ (1857–58), and Mary Elizabeth Braddon’s ‘Levison’s Victim’ (1870) and ‘The Mystery at Fernwood’ (1861). Through a focus on generic hybridity, marriage, and identity, the connections and divergences between the short and long forms of literary sensationalism are traced, from the passing of the Divorce and Matrimonial Causes Act in 1857 to the first Married Women’s Property Act of 1870. These particular markers reflect the distinct emphasis on matrimony within these texts during a crucial period of public interest in the Marriage Question. It is argued that the sensation short story is more heavily characterised by gothic tropes than its longer counterpart, even as it eschews the supernatural. Female characters in these stories encounter marriage as an uncanny site of terror and are silenced and traumatised by these intimate experiences. Despite the legal reforms and ongoing public debate of the 1860s and 1870s, writers of the sensation short story suggest that modern marriage retains the threats to female liberty, safety, and sanity that characterised the gothic narratives of an earlier period.
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Radler, Dana A. "Gaps, silences and witnesses: the quest for identity in Henriette Yvonne Stahl’s "My Brother, the Man"". Swedish Journal of Romanian Studies 1, n.º 1 (20 de mayo de 2018): 28–46. http://dx.doi.org/10.35824/sjrs.v1i1.17240.
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Evident from her first book Voica (1924), and up to her last novel Le Témoin de l’Eternité printed first in France in 1975 and translated into Romanian in 1995, Henriette Yvonne Stahl becomes from a promising writer a unique voice in the inter-war and post-war literary scene in Romania.
Starting from Rimbaud’s illuminating pensée “Love has to be reinvented” (Felman 2007: 213), this paper aims to explore the identity of protagonists in My Brother, the Man (Fratele meu omul, first published in1965), drawing on identity and trauma theory as developed by Penny Brown (1992), Cathy Caruth (1995; 1996), Shoshana Feldman (2007) and Dori Laub (1992; 1995). In addition, the mixture of memory and narrative analyses types of ‘talk fiction’ (Kakandes 2005), the shift of focus from the subject of remembrance to the mode in which it takes place (Whitehead 2009), and how narratives impact readers (Piątek 2014).
Both male and female characters in My Brother, The Man have clear dominant traits, so that their actions and inner voices are marked by abrupt shifts, meant to stimulate a noticeable response from those they love or dislike. Are the main characters engulfed in a dense life texture able to explore their personal dilemmas, difficult choices and detach themselves from the flux of their own passions and desires? Or are they going to fall victim to their own inability to understand life’s meaning, paralleled by a lack of vision and humanity as manifested by other characters? How do they act and react to the actions and emotions they experience? The present paper examines how memories, dilemmas and changes nuance a story moving from a classically-structured narrative to crime fiction, embedding numerous interior monologues and deep psychological impasses, the result being a female novel of self-development.
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Kolář, Stanislav. "Everybody’s Holocaust? Tova Reich’s Satirical Approach to Shoah Business and the Cult of Victimhood". Genealogy 3, n.º 4 (27 de septiembre de 2019): 51. http://dx.doi.org/10.3390/genealogy3040051.
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This paper sets out to demonstrate the changes that post-Holocaust fiction has been undergoing since around the turn of the new millennium. It analyzes the highly innovative and often provocative approaches to the Holocaust and its memory found in Tova Reich’s novel My Holocaust—a scathing satire on the personal and institutional exploitation of Holocaust commemoration, manifested in the commodification of the historical trauma in what has been termed “Shoah business”. The novel can be seen as a reaction to the increasing appropriation of the Holocaust by popular culture. This paper focuses on Reich’s critical response to the cult of victimhood and the unhealthy competition for Holocaust primacy, corresponding with the growth of a “victim culture”. It also explores other thematic aspects of the author’s satire—the abuse of the term “Holocaust” for personal, political and ideological purposes; attempts to capitalize on the suffering of millions of victims; the trivialization of this tragedy; conflicts between particularists and universalists in their attitude to the Shoah; and criticism of Holocaust-centered Judaism. The purpose of this paper is to show how Tova Reich has enriched post-Holocaust fiction by presenting a comic treatment of false victimary discourse, embodied by a fraudulent survivor and a whole gallery of inauthentic characters. This paper highlights the novel’s originality, which enables it to step outside the frame of traditional Holocaust fiction.