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1
Poncarová, Petra Johana. « Spatial and Sonic Monstrosities in William Hope Hodgson’s “The Whistling Room” ». AUC PHILOLOGICA 2022, no 2 (16 mars 2023) : 67–77. http://dx.doi.org/10.14712/24646830.2022.38.
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The article focuses on the corpus of tales featuring “Carnacki, the Ghost-Finder” by the British author William Hope Hodgson, an influential figure in the history of horror, fantastic literature, and speculative fiction. Drawing both on classical works of criticism by Tzvetan Todorov and Dorothy Scarborough and on the rather scarce corpus of scholarship devoted to Hodgson himself, the essay analyses the employment of space and sound in “The Whistling Room”.
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f, f. « Daily life and literature in China's modern times, its recollection and representations : Focusing on ‘Detective Novels’ ». Society for Chinese Humanities in Korea 85 (31 décembre 2023) : 355–82. http://dx.doi.org/10.35955/jch.2023.12.85.355.
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Modern China had all the conditions for the development of popular fiction such as detective novels, thanks to the development of various modern media, the expansion of mass education, and urbanization. In addition to the basic principles of presenting a case and resolving it logically, detective novels have secured their own unique territory based on the selection of themes that attract readers' attention, the surprise of unexpected endings, and the scientific knowledge and rational thinking that can convince readers. The popularity of modern detective novels in China is closely related to the daily life of modern society, which dynamically reflects the tastes and hobbies of the times and the specificity of modern thinking and perception. This paper is motivated by the same problem: in order to approach the substance of modern Chinese detective fiction, it is necessary to understand the cultural and literary characteristics of the society in which it is written. Therefore, this paper aims to identify the modern ideas and perceptions that made detective novels possible as a genre of fiction based on a comprehensive set of texts, including detective novels, as well as related novel publicity, event reports, and novel criticism, during this period. Specifically, it explored the daily life and literature of modern China, focusing on the aesthetic phenomena of expectation and fun in detective fiction. Second, it examined detective fiction in terms of the logic of the Enlightenment, represented by scientific knowledge and rational thinking. Third, it explored the possibilities of detective fiction in terms of hobby tastes as a modern reading material. This study, which examines the daily life and literature of modern China, as well as its memory and representation, through the analysis of modern Chinese detective fiction works and extracurricular materials, will provide an opportunity to reestablish the status of detective fiction.
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Fuehrer, Bernhard. « The Columbia History of Chinese Literature. Edited by Victor Mair. [New York : Columbia University Press, 2001. 1,342+xxiv pp. $75.00 ; £52.50. ISBN 0-231-10984-9.] ». China Quarterly 178 (juin 2004) : 535–36. http://dx.doi.org/10.1017/s0305741004390296.
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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.
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Stachura, Paweł. « Anticipation and Divination of Technological Culture : Dialectic Images of the Internet in Emerson’s Nature ». Polish Journal for American Studies, no 10 (2016) (29 août 2023) : 147–62. http://dx.doi.org/10.7311/pjas.10/2016.09.
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The article presents certain aspects of the Internet (interface design, user behavior, advertising, codes of conduct) as new incarnations of the American pastoralism, defined in terms derived from literary criticism and history of American literature. The rationale of this procedure is provided in terms of “dialectic images,” which are old pieces of imagery that seem to anticipate subsequent technological and social developments. Of particular importance is the set of dialectical images derived from Ralph Waldo Emerson’s writings, and the pastoral descriptions of nature derived from various American poets and fiction writers. Arguably, dialectic images of the Internet offer an opportunity for a better understanding of contemporary development of the Internet, and its possible future.
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Osmukhina, O. Yu, A. D. Karpov et E. A. Beloglazova. « Christian Context of Historical Novel (Zakhar Prilepin’s “Abode”) ». Nauchnyi dialog, no 9 (29 septembre 2021) : 181–99. http://dx.doi.org/10.24224/2227-1295-2021-9-181-199.
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The specificity of the synthesis of elements included in the historical narrative, and Christian motives, images in the novel of the largest contemporary Russian prose writer Zakhar Prilepin is comprehended in the article. The relevance of the article is due to the need to build a coherent and consistent history of the development of Russian literature over the past two decades, an important part of which is the legacy of the popular writers. The scientific novelty of the work lies in the fact that for the first time in Russian literary criticism “Abode” is considered from the proposed perspective: its genre specificity is analyzed in a Christian context. It has been established that, despite the presence of elements of documentary, adventurous, love-psychological novels, in terms of genre, “The Abode” can be attributed to a historical novel (it depicts a turning point in Russian history through a conflict between historical figures and fictional “average” heroes, combines historical facts and fiction). At the same time, an interest in eternal moral issues, problems of life and death, conscience and duty, love and fidelity in their Christian understanding becomes a feature of Prilepin’s understanding of the historical theme. In their work, the authors of the article used comparative historical, biographical, socio-cultural methods, as well as the method of a holistic analysis of a work of art.
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Sozina, Elena K. « Epoch / Period vs Generation in the Literary and Critical Consciousness of the 19th Century ». Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no 3 (2022) : 9–25. http://dx.doi.org/10.15826/izv2.2022.24.3.041.
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This article analyses the functioning of the concepts of “epoch”, “period”, and “generation” in nineteenth-century literature, criticism, and literature studies. The concept of “epoch” presupposes a linear stage understanding and interpretation of history, and “period” can also be used within other concepts of historical development. The “epoch”, sometimes replaced by the “century”, and the “period” were traditionally used as measurement units of literature and culture history (cf. works of A. Bestuzhev, I. Kireevsky, V. Belinsky, etc.). One of the first periodisations of the history of Russian literature which employed these concepts was given by I. M. Born. The concept of “generation” in its meaning contains a biological, natural connotation, and therefore is not necessarily associated with the linear stage understanding of historical time. As S. N. Zenkin puts it, “a generation is time embodied in people, in their dramatic destiny”. The concept of “generation” is often used in periods of historical time which require a person to comprehend themselves and their place in history. A good example is Romanticism in the first decades of the nineteenth century. Another factor that actualises generational problems is the influence of biological and naturalistic ideas when a community motif of people doomed to be born and live with this influence “in their blood” emerges in this quite unfavorable time. This situation is considered by the author of this paper regarding the functioning of the “generation” concept in A. P. Chekhov’s works, who actively marked himself as belonging to the eighties’ “artel” (generation) in the 1880s. This concept as a subject of his characters’ argument subsequently recurs in Chekhov’s works of fiction. All the concepts mentioned are also analysed in the History of the Russian Literature of the 19th Century (1908–1911, ed. D. N. Ovsyaniko-Kulikovsky), which summed up the achievements of the nineteenth-century cultural and historical school. The author emphasises how this book (History...) develops a method of working with these concepts, and this method later comes in demand with the twentieth-century humanities.
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Kozlyk, Ihor. « Being a Literary Critic : The Methodology of Specialist’s Life in the Profession (based on B. F. Egorov’s epistolary oeuvre) ». Pitannâ lìteraturoznavstva, no 104 (27 décembre 2021) : 197–238. http://dx.doi.org/10.31861/pytlit2021.104.197.
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The article, which is historical and scientific by character, presents the current humanitarian issues of professional epistolary communication of an outstanding Russian literary critic, Doctor of Philology, Professor B. F. Egorov (1926–2020) with fellow literary critics. The main directions of scientist’s active and versatile practices are considered on the grounds of his published letters and some letters to him in 1998–2020. The article focuses on professional communication and interaction between Ukrainian and Russian literary critics in the complex modern socio-historical and political conditions of interstate relations. The letters are published for the first time and are accompanied by the necessary historical and cultural comments and bibliographic notes. The material contained in them is important not only for the history of Russian and East Slavic literary criticism of the 20th century, but also it is relevant in terms of the prospects of academic studies of literature and the development of productive communication between scholars studying fiction in order to perform the main cultural function of literary studies.
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Bareis, J. Alexander. « The Implied Fictional Narrator ». Journal of Literary Theory 14, no 1 (1 mars 2020) : 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.
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AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular during the heyday of classical literary narratology. For scholars like Genette (1988) and Cohn (1999), the category of the fictional narrator was at the centre of theoretical debates about the demarcation of fiction and non-fiction. Arguably, theorising about the fictional narrator necessitates theorising about fiction in general. From this, it follows that any account on which the fictional narrator is built ideally would be a theory of fiction compatible with all types of fictional narrative media – not just narrative fiction like novels and short stories.In this vein, this paper applies a transmedial approach to the question of fictional narrators in different media based on the transmedial theory of fiction in terms of make-believe by Kendall Walton (1990). Although the article shares roughly the same theoretical point of departure as Köppe and Stühring, that is, an analytical-philosophical theory of fiction as make-believe, it offers a diametrically different solution. Building on the distinction between direct and indirect fictional truths as developed by Kendall Walton in his seminal theory of fiction as make-believe (1990), this paper proposes the fictional presence of a narrator in all fictional narratives. Importantly, ›presence‹ in terms of being part of a work of fiction needs to be understood as exactly that: fictional presence, meaning that the question of what counts as a fictional truth is of great importance. Here, the distinction between direct and indirect fictional truths is crucial since not every fictional narrative – not even every literary fictional narrative – makes it directly fictionally true that it is narrated. To exemplify: not every novel begins with words like »Call me Ishmael«, i. e., stating direct fictional truths about its narrator. Indirect, implied fictional truths can also be part of the generation of the fictional truth of a fictional narrator. Therefore, the paper argues that every fictional narrative makes it (at least indirectly) fictionally true that it is narrated.More specifically, the argument is made that any theory of fictional narrative that accepts fictional narrators in some cases (as e. g. suggested by proponents of the so-called optional narrator theory, such as Currie [2010]), has to accept fictional narrators in all cases of fictional narratives. The only other option is to remove the category of fictional narrators altogether. Since the category of the fictional narrator has proved to be extremely useful in the history of narratology, such removal would be unfortunate, however. Instead, a solution is suggested that emphasizes the active role of recipients in the generation of fictional truths, and in particular in the generation of implied fictional truths.Once the narratological category of the fictional narrator is understood in terms of fictional truth, the methodological consequences can be fully grasped: without the generation of fictional truths in a game of make-believe, there are no fictional narratives – and no fictional narrators. The fictionality of narratives depends entirely on the fact that they are used as props in a game of make-believe. If they are not used in this manner, they are nothing but black dots on paper, the oxidation of silver through light, or any other technical description of artefacts containing representations. Fictional narrators are always based on fictional truths, they are the result of a game of make-believe, and hence the only evidence for a fictional narrator is always merely fictional. If it is impossible to imagine that the fictional work is narrated, then the work is not a narrative.In the first part of the paper, common arguments for and against the fictional narrator are discussed, such as the analytical, realist, transmedial, and the so-called evidence argument; in addition, unreliable narration in fictional film will be an important part in the defence of the ubiquitous fictional narrator in fictional narrative. If the category of unreliable narration relies on the interplay of both author, narration, and reader, the question of unreliable narration within narrative fiction that is not traditionally verbal, such as fiction films, becomes highly problematic. Based on Walton’s theory of make-believe, part two of the paper presents a number of reasons why at least implied fictional narrators are necessary for the definition of fictional narrative in different media and discusses the methodological consequences of this theoretical choice.
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Petrovic, Ivana, et Andrej Petrovic. « General ». Greece and Rome 65, no 2 (17 septembre 2018) : 282–97. http://dx.doi.org/10.1017/s0017383518000244.
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I was very excited to get my hands on what was promising to be a magnificent and extremely helpfulHandbook of Rhetorical Studies, and my expectations were matched – and exceeded! This handbook contains no less than sixty contributions written by eminent experts and is divided into six parts. Each section opens with a brief orientation essay, tracing the development of rhetoric in a specific period, and is followed by individual chapters which are organized thematically. Part I contains eleven chapters on ‘Greek Rhetoric’, and the areas covered are law, politics, historiography, pedagogy, poetics, tragedy, Old Comedy, Plato, Aristotle, and closing with the Sophists. Part II contains thirteen chapters on ‘Ancient Roman Rhetoric’, which similarly covers law, politics, historiography, pedagogy, and the Second Sophistic, and adds Stoic philosophy, epic, lyric address, declamation, fiction, music and the arts, and Augustine to the list of topics. Part III, on ‘Medieval Rhetoric’, covers politics, literary criticism, poetics, and comedy; Part IV, on the Renaissance contains chapters on politics, law, pedagogy, science, poetics, theatre, and the visual arts. Part V consists of seven essays on the early modern and Enlightenment periods and is decidedly Britano-centric: politics, gender in British literature, architecture, origins of British Enlightenment rhetoric, philosophy (mostly British, too), science, and the elocutionary movement in Britain. With Chapter 45 we arrive at the modern age section (Part VI), with two chapters on feminism, one on race, and three on the standard topics (law, political theory, science), grouped together with those on presidential politics, New Testament studies, argumentation, semiotics, psychoanalysis, deconstruction, social epistemology, and environment, and closing with digital media. The volume also contains a glossary of Greek and Latin rhetorical terms. As the editor states in his Introduction, the aim of the volume is not only to provide a comprehensive history of rhetoric, but also to enable those interested in the role of rhetoric in specific disciplines or genres, such as law or theatre and performance, to easily find those sections in respective parts of the book and thus explore the intersection of rhetoric with one specific field in a chronological sequence.
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Kolbuszewski, Jacek. « Uwagi o początkach „literatury górskiej” ». Góry, Literatura, Kultura 14 (17 août 2021) : 11–48. http://dx.doi.org/10.19195/2084-4107.14.3.
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One of characteristic phenomena in contemporary Polish literary culture is the emergence of a niche phenomenon of mountain literature. The term “mountain literature” has become part of colloquial discourse, also aspiring to be present in the language of literature studies (including literary criticism), which previously featured terms like “Alpine literature”, “mountaineering literature”, “Tatra literature”, “Tatra prose”. Other commonly used terms were “mountain climbing literature” and “exploration literature”. The term “Alpine literature” was introduced into scholarly discourse by Claire-Éliane Engel (1903–1976). The author of the present study points to links between the history of mountain literature, and the history of mountain exploration as well as history of tourism and mountaineering, referring to the literary traditions of various mountain ranges: the Alps, the Tatras, Karkonosze (Giant Mountains), Bieszczady, Gorce, Beskids, Góry Świętokrzyskie (Holy Cross Mountains). In addition, there are strands of research dealing with a typological analysis of mountain motifs and their function. The significance of such studies lies in the fact that they demonstrate in a clear manner the introduction of mountain motifs into literature and the evolution of the artistic forms of their expression. However, transformations in the literary approach to the mountains cannot be documented only by means of a territorial selection of specific motifs, and the whole question of depicting mountains and responding to them cannot be locked within the limited framework of the various national literatures. What is useful in this respect is a comprehensive comparative approach to the subject matter, interpreted both in the synchronic (formation of attitudes) and diachronic perspective (so-called influences, impact of models, borrowing of poetics also in connection with changes in tourist or mountaineering styles). What becomes of crucial significance here is the use of more general categories and comprehensive collective terms — mountain literature, mountaineering literature, mountain climbing literature. These categories encompass works dealing primarily with the mountains and human interactions with them. They bring in a supranational and supraterritorial understanding of the subject of mountains, without limiting the role of territorial detail in the construction of literary motifs and images. In defining mountain literature the author uses the classification of the function of nature motifs in literary works presented by Tadeusz Makowiecki in Sprawozdania Towarzystwa Naukowego w Toruniu in 1951, in his article “Funkcja motywu przyrody w dziele literackim” (Function of a nature motif in a literary work).1 On the other hand, when it comes to the phenomena discussed in the study, what is representative of fiction is a type of narrative genre known as mountain novel (roman de montagne, Bergroman). Referring to archetypic formulas of mountain literature (Dante, Petrarch, Salomon Gessner, Jean A. Deluc, H.B. de Saussure), the author points to their formal aspects: thematic-substantive, linguistic and genological. In addition, he discusses the emergence of mountaineering literature (Edward Whymper, Leslie Stephen, Polish mountaineers’ prose).
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Kovalets, Lidiia. « Books as Salvation from Stiffness… Taras Shevchenko of the Time of Exile in the Dimension of his Reading ». Pitannâ lìteraturoznavstva, no 104 (27 décembre 2021) : 59–87. http://dx.doi.org/10.31861/pytlit2021.104.059.
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The study refutes the idea that existed in the minds of some Shevchenko era’s cultural figures, about Taras Shevchenko’s lack of education and poor literacy. For this purpose, the history of the poet’s reading interests evolution in the most difficult period of his life, the period of exile (1847–1857) was analyzed. His own direct testimonies (epistolary, diary, memoirs of relatives and acquaintances, etc.) were involved in the analysis. The study clarified how the disgraced artist’s previous habit of reading and the need to do it was established. The main focus was on Shevchenko’s reading behavior in the Orsk Fortress and in the Aral Expedition, in the Novopetrovsk Fortress. It relates to the active search, selection and perception of books, and even to special communication establishing. The study traces persons, who valued such poet’s behavior and stimulated it, also how functional Shevchenko’s current reading turned out to be at that period. Its composition was outlined as Russian, Ukrainian and Polish books, mainly in the field of fiction literature and literary criticism, as well as works on history, culturology, ethnology, natural and other fields of knowledge. Only due to reading and to his own artistic work the artist's spirit was saved from psychological exhaustion. Reading contributed to the intellectualization of his work. Shevchenko as a reader completely realized himself in exile considering special circumstances (loneliness, forced self-centeredness), his reading for the first time was not episodic, but complete, sometimes the leading form of the poet’s creative activity.
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Naumov, Aleksandr V. « From Criticism to Practice : Music in the Early Literary Heritage of V.I. Nemirovich-Danchenko ». Observatory of Culture 19, no 2 (13 avril 2022) : 182–92. http://dx.doi.org/10.25281/2072-3156-2022-19-2-182-192.
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The article examines the relationship between the literary work of V.I. Nemirovich-Danchenko that preceded the opening of the Moscow Art Theater, and his directorial activity. For him, journalism, fiction and drama formed a unity that had a serious impact on his pedagogical and staging practice. The main issues related to the topic of the work have been repeatedly raised by researchers of theater and literature, but have not yet come to the attention of musicologists, which determines the main parameter of the study’s novelty. In this context, the article aims at pinpointing the actual musical textual details, and its main methodology is based on the interpretation of statements and their comparison with the factual theater history. The article attempts to review the “favorite repertoire” of V.I. Nemirovich-Danchenko as a writer — the musical works mentioned in his novels, stories and plays. There is also identified the “projections” of such sympathies on the design of performances. The article reveals fundamental differences in V.I. Nemirovich-Danchenko’s attitude to vocal and instrumental music, the special role of opera in his perception of the world. There is noted the tendency to attach special semantic and moral-ethical meaning to sound components, as well as the affordance, opened in dramas of the late 1890s, of maximum avoidance of noise elements for the sake of relief identification of a word. The article ends with an attempt to substantiate from a musical standpoint the failure of the drama “In Dreams” at its first and only staging at the Moscow Art Theater (1901). The conclusion contains a number of findings characterizing the musicality of V.I. Nemirovich-Danchenko in 1898, at the time of the opening of his theater. There are partially highlighted the stages of his evolution not mentioned before, which led the director to experiments in the genre of tragedy at the turn of the 1910s and 1920s, the foundation of his own opera studio and the revision of literary positions that remained relevant for the last decades of his life and work.
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Ashutosh Kumar Yadav et Prof. Sanjoy Saxena. « The Role of Women Characters in the Select Novels of Salman Rushdie ». Creative Launcher 8, no 3 (30 juin 2023) : 67–73. http://dx.doi.org/10.53032/tcl.2023.8.3.08.
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Salman Rushdie, a postmodernist immigrant, is considered as one the greatest novelist of the 20th century. His apt use of magical realism, incorporates mythology, religion, history, fantasy, and humor into the real world. He narrates his life story and relates it to the national history of India. Rushdie uses the magical realist technique to deal about the postcolonial people of India, and various postcolonial issues. His writing focuses on India’s history, politics, and identity as seen through his narrators. There is a blending of fantasy and reality with his fantastical fiction. Salman Rushdie presents women as strong characters to break free from their oppressive roles through his works. He develops strong female characters who face life with great fortitude and strength rather than meek personality. This research article critically investigates the role of women characters in selected novels by the acclaimed author, Salman Rushdie. A corpus of three major works—Midnight’s Children, The Satanic Verses, and Shame—has been selected for detailed analysis. The study aims to illuminate the varying dimensions of women’s representation, their influence, and the evolution of their roles in these narratives, serving as mirrors to the sociopolitical realities of their time. The article applies a combined theoretical framework of feminist literary criticism and postcolonial discourse to unpack the intricate characterizations and their wider implications. Findings reveal that Rushdie’s women characters are often depicted as multi-dimensional, complex individuals who actively influence the plot and resist conforming to traditional roles. They embody strength, resilience, and liberation in the face of cultural, political, and religious adversities, breaking the mold of passive feminine stereotypes. Despite being enmeshed within patriarchal societal structures, these characters often subvert normative constraints, highlighting the intersection of gender, power, and resistance in Rushdie’s novels. Through the use of magical realism, Rushdie juxtaposes reality with the fantastical, further challenging conventional expectations of women in literature. Rushdie’s depiction of women provides significant insights into the complexities of postcolonial feminist identities, societal norms, and cultural heritage. His novels, while being grounded in their specific contexts, resonate on a universal scale, enriching the discourse around the representation of women in literature.
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Zabiyako, Anna A., et Wang Yuqi. « The Image of the Perception of the Japanese and Japan in the Pre-Revolutionary Experience of Artistic Reflection : The Genre Aspect ». Humanitarian Vector 17, no 1 (février 2022) : 19–28. http://dx.doi.org/10.21209/1996-7853-2022-17-1-19-28.
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The relevance of the research is determined by the interest of modern literary criticism in the imagological aspects and the problem of developing a research strategy in relation to this kind of texts. The novelty of the work is defined by the genre approach to the study of the image of perception of Japan and the Japanese in Russian pre-revolutionary literature dedicated to the events of the Russian-Japanese war, the introduction of previously unknown texts into scientific circulation, a comparative analysis of narrative strategies that determine the genre specificity of each text. The purpose of the work is to explicate the genre originality of works on the RussianJapanese war, which determines the perspective of the pre-revolutionary artistic reception of the image of perception of Japan and the Japanese in Russia. The methodology is based on an interdisciplinary approach that underpins the imagological paradigm of research. The authors rely on Russian and Chinese works on the history of Japan, Russian-Japanese relations, ethnography of Japan, ethnopsychology, religious studies, on the broad context of imagological research; apply historical-literary, comparative-historical, immanent analysis methods. The complex research is based on modern works concerning the problems of genre studies. The article traces the path of transformation of perceptions of Japan and the Japanese in Russian literature since the middle of the 19th century to the beginning of 20th century which is determined by the genre task of the works: from the first travelogues to the jingoistic notes in periodicals and further to “pacifist” fiction and post-war artistic experiences – the spy and detective text by A. I. Kuprin, the military diaries by V. V. Veresaev, a children’s ethnographic story by I. I. Mitropolsky. We conclude that the tragic and inglorious experience of the Russian-Japanese war pushed the horizons of not only the scientific comprehension of Japan and the Japanese by Russian scientists but also giving development to various genres of Russian literature opened the artistic possibilities of new ethnocultural and ethnopsychological experiences of self-knowledge of Russianness and Russians.
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Kolchanov, Vladimir V., et Svetlana A. Kosyakova. « To the sources of the motive of mass psychosis in M.A. Bulgakov’s novel “The Master and Margarita” ». Neophilology, no 2 (2022) : 312–23. http://dx.doi.org/10.20310/2587-6953-2022-8-2-312-323.
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The aim of the work is to analyze the motive of mass psychosis in the novel “Master and Margarita” by M.A. Bulgakov. It is relevant nowadays, when the tendency of close study of madness motive in the writer's works as a particular case of madness motive in Russian literature is outlined in literary criticism. The subject of the research is the consideration of this motive as a technique of parody, creating a unique satirical palette of the sociopolitical life of the country in the era of 1920–1930. Therefore, the methodology of the article includes, along with traditional historical, cultural and mythopoetic approaches, a psychographic commentary. As a result, sources from various humanitarian spheres of human activity are involved in the analysis: fiction, historiography, cultural studies, religion, and psychiatry. Among them: a methodological guide to organizing mass singing “Mass Feasts” (1927) by E.F. Ryumin, , the history of burials in the Vagankovo Cemetery “Men of the Forties” (1869), the novel by A.F. Pisemsky and the related ideology of early twentieth-century literary movements (Symbolism and Proletkult), I.S. Lukash’s emigrant novel “Devil” (1922), a journal version of N. Ognev’s (M. G. Rozanov) novel “Diary of Kostya Ryabtsev” (1926–1928), work by English religion historian D. Robertson “Primordial Christianity” (Russian translation 1930), and N. Kalashnikov’s essay “The Count Cagliostro, the Sorcerer of the Last Century” (1893). Particular emphasis is placed on the psychiatric practice of subduing violent patients. It is concluded that to recreate the motive of mass hysteria Bulgakov’s parody goes from high to low, from laughter to a stamp of horror on the face.
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Motornyi, Andrii. « CZECH WRITER ALEXEJ PLUDEK IN LETTERS TO UKRAJINIAN SCHOLAR VOLODYMYR MOTORNYI ». Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no 12(80) (23 décembre 2021) : 109–12. http://dx.doi.org/10.25264/2519-2558-2021-12(80)-109-112.
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Personal letters of the Czech writer, of the middle of the second half of the twentieth century Alexej Pludek (1923–2002) to the Ukrainian scholar-slavist, literary scholar, professor of Lviv University Volodymyr Motornyi (1929-2015) are presented in this work. The issues, given in the letters are considered on the background of the specifics of the development of the literary process in Czechoslovakia in so-called “normalization period”. There are also issues related to the creation of individual works by the Czech writer and further evaluation of them by Czechoslovak and foreign literary criticism. Problems related to the history of the creation of individual works of the Czech prose writer and their subsequent assessments by Czechoslovak and foreign literary critics are also covered. Special attention is paid to the place of Serbo-Lusatian themes both in V. Motornyi's literary studies and in A. Pludek's literary work. The presented letters cover the 70s – 90s of the last century, which were the period of particularly active socio-political and creative activity of Alexei Pludek. Alexei Pludek, whose literary debut took place in the 1940s, was a Czech writer, politician, playwriter, editor and public figure whose works were especially popular in the 1970s and 1980s. The author is known primarily for his novels on historical themes, as well as works in the genre of science fiction. Volodymyr Motornyi (1929–2015) was a Ukrainian scholar, professor of Slavic philology at National Ivan Franko University of Lviv, author of numerous works on Czech and Serbo-Lusatian literature as well as on Czech-Ukrainian, Lusatian-Ukrainian and Czech-Lusatian literary and cultural ties.
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Forsdick, C. « Postcolonial Criticism : History, Theory, and the Work of Fiction ». Comparative Literature 58, no 3 (1 janvier 2006) : 263–65. http://dx.doi.org/10.1215/-58-3-263.
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Podolyaka, N. « РЕДАКТОРСЬКО-ВИДАВНИЧА ДІЯЛЬНІСТЬ АГАПІЯ ШАМРАЯ ». State and Regions. Series : Social Communications, no 3(43) (18 février 2021) : 48. http://dx.doi.org/10.32840/cpu2219-8741/2020.3(43).7.
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<p><strong><em>The aim of the study</em></strong><em>. </em><em>The editorial activity of the famous literary critic of the twentieth century Agapiy Filippovich Shamrai was investigated. Its role in preparing for printing and popularizing works of fiction in Ukraine is determined.</em></p><p><strong><em>Research methodology.</em></strong><em> </em><em>To highlight the materials characterizing A. Shamray as a publisher or editor, the general scientific methods of deduction, induction, analysis, synthesis and generalization were used, as well as the historical-critical method was used, which made it possible to extract reliable information from archival documents, reconstruct historical facts, compare data with generally known information.</em></p><p><strong><em>Results.</em></strong><em> </em><em>As a result of the study, it was found out that critics of that time noted the literary critic’s close attention to the text in his prefaces and notes. The purpose of the purposeful work of A. Shamray was to identify, organize, structure and prepare for publication the best works of Ukrainian literature. Thanks to this, an important milestone in the development of domestic publishing was the release of a three-volume collection «Kharkov School of Romantics», works by T. Shevchenko, I. Kotlyarevsky, Kvitka-Osnovyanenko and the like.</em></p><p><strong><em>Novelty</em></strong><strong><em>.</em></strong><em> </em><em>The scientific novelty of the publication lies in the fact that new facts based on archival sources and publications of the early twentieth century have been revealed and put into scientific circulation, facts of the scientist’s editorial and publishing activities have been highlighted, which researchers have not yet paid attention to. Today, the scientist’s legacy requires rethinking, because very little is known about editorial activity, the biography of the scientist has been hushed up for a long time, and no in-depth studies of the scientist’s creative heritage have been conducted.</em></p><p><strong><em>Practical </em></strong><strong><em>significance</em></strong><strong><em>.</em></strong><em> </em><em>Practical value is determined by the fact that publication materials can be used in the preparation of fundamental works on the theory and history of publishing, literary studies, and materials from historical conferences on local history.</em></p><p><strong><em>Key words:</em></strong><em> Shamray Agapiy Filippovich, editorial activity, literary criticism, history of publishing.</em></p>
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Roberts, R. « American Science Fiction and Contemporary Criticism ». American Literary History 22, no 1 (20 novembre 2009) : 207–17. http://dx.doi.org/10.1093/alh/ajp048.
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DESIREE ROBERT, JENNA. « POSTCOLONIAL CRITICISM IN SABAH : A REVIEW ». BORNEO AKADEMIKA 5, no 1 (1 juin 2021) : 34–40. http://dx.doi.org/10.24191/ba/v5i1/49882.
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Sabah, formerly known as North Borneo during the period of British colonisation from 1888- 1963 produced many texts about the British presence and their activities on the island. This review highlights that the post-war studies especially Sabah’s colonial literature is the missing link to its alternative history. Colonial literature has left its legacy in the form of history, anthropology and art but also in the textual and literary representations of Sabah through a western lens. The critique of colonial fiction and non-fiction texts in former colonies in Malaya and Sarawak have paved the way for critical examination and commentary on the modes of representation of the indigenous and immigrants. This review discusses the highlights of postcolonial criticism in Malaysia. It briefly introduces some of the issues about postcolonial criticism in Sabah and its potential.
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Syrotinski, Michael. « Postcolonial Criticism : History, Theory and the Work of Fiction ». French Studies 60, no 3 (1 juillet 2006) : 418–19. http://dx.doi.org/10.1093/fs/knl067.
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Lechte, John. « Fiction and Polyphony ». Tekstualia 4, no 75 (11 décembre 2023) : 105–16. http://dx.doi.org/10.5604/01.3001.0054.1400.
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The article delves into the symbolic nature of literature and evokes the concept of the deathof the author, drawing attention to the author’s absence and simultaneous presence in the text.It emphasizes the dual role of psychology in literary criticism, oscillating between discoveriesof referential truth and engagements with fi ctional elements in literary works.
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O’Malley, Maria. « Taking the Domestic View in Hawthorne’s Fiction ». New England Quarterly 88, no 4 (décembre 2015) : 657–80. http://dx.doi.org/10.1162/tneq_a_00494.
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Shifting the emphasis within feminist criticism from the act of speech to the act of hearing, this article argues that, in The Scarlet Letter, The House of the Seven Gables, and Blithedale Romance, Nathaniel Hawthorne reveals how the public sphere depends on the voices of dispossessed women even as it attempts to silence them.
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Mătăsaru, Luca. « “Close Criticism” : A Personalized Approach to Studying Fiction ». Caietele Echinox 45 (1 décembre 2023) : 395–400. http://dx.doi.org/10.24193/cechinox.2023.45.28.
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Przytuła, Piotr. « Krytycznie o gatunku – Lema i Dukaja poglądy na fantastykę naukową ». Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, no 3 (13 décembre 2021) : 125–40. http://dx.doi.org/10.36770/bp.626.
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In the essay Science fiction: a hopeless case - with exceptions, Stanisław Lem spoke negatively about science fiction (but also about its authors and fans), proving its secondary nature and entanglement in market laws, pointing out the lack of reliable criticism from outside the fandom and flattering the tastes of recipients who only seek entertainment in literature. The author of Solaris included science fiction in the “lower kingdom” of literature, contrasting it with mainstream (“upper kingdom”). Thus, he symbolically strengthened the division into the fantastic “ghetto” and mainstream literature.Jacek Dukaj also spoke about science fiction in a slightly less categorical tone. In the essay Krajobraz po zwycięstwie, czyli polska fantastyka AD 2006 [Landscape after victory, or Polish fantasy AD 2006], the author of Ice noticed similar problems that Lem had seen in the past (lack of external criticism, lack of ambition, stagnation and reluctance of SF writers to go beyond plot and language patterns, flattering fashions and treating science fiction prose only as entertainment literature); however, unlike Lem, he seemed to be interested in the fate of his environment and proposed specific solutions that could raise the rank of science fiction.
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Shaytanov, I. O. « History of Russian translations of fiction in 1800–1825 ». Voprosy literatury, no 6 (8 décembre 2023) : 174–79. http://dx.doi.org/10.31425/0042-8795-2023-6-174-179.
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The research is presented in the form close to a fundamentally annotated bibliography demonstrating how European literary experience was advanced in the first quarter of the 19th c. in Russia at the time when contemporary Russian literature was being shaped. Six parts are devoted successively to French, German, English, Italian, Spanish, and classical literatures. The major aspects of research are outlined in an extensive foreword (E. Dmitrieva, M. Koreneva). Highlights include: Comparative analysis of the international contacts of Russian literature; a new interest in the novel, the genre that manifested a new literary taste; publishing and the audience in Russia compared to other European cultures; the birth of literary criticism on the margins of rhetoric; the evolution of a literary taste where gallomania was being substituted by anglo- and germanophilia; the change in the forms of contacts from imitation to stylization in accordance with the formula suggested by Konstantin Batyushkov ‘The stranger’s treasure is mine.’
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MacKenzie, Robin. « Approaches to Teaching Proust's Fiction and Criticism ». French Studies 59, no 4 (1 octobre 2005) : 567–68. http://dx.doi.org/10.1093/fs/kni242.
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Collinge, James T. « ‘With envious eyes’ : Rabbit-poaching and class conflict in H. G. Wells’s The Time Machine and The Island of Doctor Moreau ». Literature & ; History 26, no 1 (mai 2017) : 39–55. http://dx.doi.org/10.1177/0306197317695082.
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Allusions to rabbits and poaching recur throughout H. G. Wells's work. In spite of the frequency with which they appear, these motifs remain overlooked within scholarly criticism. This article, by analysing Wells's representations of rabbit-poaching, first considers how nineteenth-century histories of industrialisation and game-crime shape his science fiction. It then explores the contradictory nature of these representations, which both demonise and sympathise with the figure of the rabbit-poacher, providing further insight into the class confusion that recent criticism perceives to characterise Wells's writing in this period.
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Enslen, Joshua Alma. « Between diplomacy and letters : a sketch of Manuel de Oliveira Lima's search for a Brazilian identity ». História (São Paulo) 24, no 2 (2005) : 243–59. http://dx.doi.org/10.1590/s0101-90742005000200010.
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Manuel de Oliveira Lima as an important diplomat of the First Republic in Brazil reflects on an individual, national, and universal plane the convergence of politics and literature. His writing demonstrates an explicit attempt to construct a national identity that emanates not only between literature and diplomacy, but also between the personal and the historical, as well as, the foreign and the national. This paper analyzes brief examples of his criticism, personal correspondence, and fiction that demonstrate the convergence of these fields.
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Syofyan, Donny. « Literary Criticism In The Post-Truth Era ». Andalas International Journal of Socio-Humanities 1, no 1 (27 juin 2019) : 25–36. http://dx.doi.org/10.25077/aijosh.1.1.25-36.2019.
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Post truth relates to circumstances whereby objective facts are less influential in shaping the opinion of the public, rather appealing to personal belief and emotion. Post truth era is bordering a blurry line between lies and truths, dishonesty and honesty, nonfiction and fiction. The entire phenomenon of post truth is about an individual’s opinion being worth more than the facts. As such, the present paper seeks to understand new insights or perspectives in literary criticism in the post truth era. The criticism of the literature was always based on broad schools of thoughts/theories, which were employed for many centuries. Some of the traditional approaches the paper highlights include: formalistic criticism, biographical criticism, historical criticism, gender criticism, psychological criticism, sociological criticism, mythological criticism, reader-response criticism, and deconstructionist criticism. Equally, the paper extensively analyzes some of the new perspectives or insights to literary criticism in the post truth era: reflective approach, didactic approach, partisan approach, and religious approach. In reflective approach to literature criticism in the post truth era, the meaning in the literature is reflected by the outside of its own being. On the other hand, in didactic approach to literature criticism, truth and meaning is taught in the literature. Moreover, in partisan approach to literature criticism, there is the truthful meaning that is already known and can be found in the literature. Lastly, in the religious approach to literature criticism in post truth era, the meaning and truth is the literature itself, while the outside world has nothing to do with it.
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Syofyan, Donny. « Literary Criticism In The Post-Truth Era ». Andalas International Journal of Socio-Humanities 1, no 1 (27 juillet 2019) : 25–36. http://dx.doi.org/10.25077/aijosh.v1i1.6.
Texte intégralRésumé :
Post truth relates to circumstances whereby objective facts are less influential in shaping the opinion of the public, rather appealing to personal belief and emotion. Post truth era is bordering a blurry line between lies and truths, dishonesty and honesty, nonfiction and fiction. The entire phenomenon of post truth is about an individual’s opinion being worth more than the facts. As such, the present paper seeks to understand new insights or perspectives in literary criticism in the post truth era. The criticism of the literature was always based on broad schools of thoughts/theories, which were employed for many centuries. Some of the traditional approaches the paper highlights include: formalistic criticism, biographical criticism, historical criticism, gender criticism, psychological criticism, sociological criticism, mythological criticism, reader-response criticism, and deconstructionist criticism. Equally, the paper extensively analyzes some of the new perspectives or insights to literary criticism in the post truth era: reflective approach, didactic approach, partisan approach, and religious approach. In reflective approach to literature criticism in the post truth era, the meaning in the literature is reflected by the outside of its own being. On the other hand, in didactic approach to literature criticism, truth and meaning is taught in the literature. Moreover, in partisan approach to literature criticism, there is the truthful meaning that is already known and can be found in the literature. Lastly, in the religious approach to literature criticism in post truth era, the meaning and truth is the literature itself, while the outside world has nothing to do with it.
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Syofyan, Donny. « Literary Criticism In The Post-Truth Era ». Andalas International Journal of Socio-Humanities 1, no 1 (27 juillet 2019) : 25–36. http://dx.doi.org/10.25077/aijosh.v1i1.6.
Texte intégralRésumé :
Post truth relates to circumstances whereby objective facts are less influential in shaping the opinion of the public, rather appealing to personal belief and emotion. Post truth era is bordering a blurry line between lies and truths, dishonesty and honesty, nonfiction and fiction. The entire phenomenon of post truth is about an individual’s opinion being worth more than the facts. As such, the present paper seeks to understand new insights or perspectives in literary criticism in the post truth era. The criticism of the literature was always based on broad schools of thoughts/theories, which were employed for many centuries. Some of the traditional approaches the paper highlights include: formalistic criticism, biographical criticism, historical criticism, gender criticism, psychological criticism, sociological criticism, mythological criticism, reader-response criticism, and deconstructionist criticism. Equally, the paper extensively analyzes some of the new perspectives or insights to literary criticism in the post truth era: reflective approach, didactic approach, partisan approach, and religious approach. In reflective approach to literature criticism in the post truth era, the meaning in the literature is reflected by the outside of its own being. On the other hand, in didactic approach to literature criticism, truth and meaning is taught in the literature. Moreover, in partisan approach to literature criticism, there is the truthful meaning that is already known and can be found in the literature. Lastly, in the religious approach to literature criticism in post truth era, the meaning and truth is the literature itself, while the outside world has nothing to do with it.
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Громова, П. С. « LITERARY CRITICISM OF THE L. N. GUMILYOV’S LEGACY ». Вестник Тверского государственного университета. Серия : Филология, no 1(76) (17 avril 2023) : 39–46. http://dx.doi.org/10.26456/vtfilol/2023.1.039.
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В статье сопоставляются характерные черты романтического героя и пассионарной личности, как ее понимал Л.Н. Гумилев. Делается вывод о том, что теория пассионарности может быть применена при анализе художественной литературы, поскольку позволяет уточнить и углубить понимание данного литературного феномена. The article compares the characteristic features of a romantic hero and a passionate personality, as understood by L.N. Gumilev. It is concluded that the theory of passionarity can be applied in the analysis of fiction, since it allows clarifying and deepening the understanding of this literary phenomenon.
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Hayot, Eric. « Literary History after Literary Dominance ». Modern Language Quarterly 80, no 4 (1 décembre 2019) : 479–94. http://dx.doi.org/10.1215/00267929-7777832.
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Abstract The various pronouncements of the nation’s dissolution seem to have been premature. Literary history is still very much within the nation, especially if one considers the realm of the middle- and lowbrow, or indeed the vast swaths of genre fiction. What has changed in literary history is the position of literature itself. The discipline of literary study (whether one thinks of it as literary history or literary criticism) institutionalized itself during a period of literary dominance. Now that that dominance is over—now that the field of narrative aesthetic culture includes television, film, and video games, and now that those genres dominate not only markets but the forms of representativity that used to belong almost exclusively to literature—what is the future for literary studies, either as a scholarly discipline or as an institutional field?
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Adkoli, Bharati N. « Environmental Literature and Ecocriticism - A Study ». Shanlax International Journal of English 12, no 3 (1 juin 2024) : 32–36. http://dx.doi.org/10.34293/english.v12i3.7705.
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The paper aims at studying the significance of Environmental Literature and Eco criticism from a humanitarian perspective. The study is based on the critical analysis of the secondary data, collected through sources such as books, Magazines, review of related articles from Newspapers, Journals, Internet and Govt. Websites. While narrating the tradition of Environmental literature and Eco criticism the paper examines with illustrations how the concern and care for our environment has been expressed in the select literary texts (both fiction and nonfiction) and genres of different periods of time. Further the paper makes an attempt to throw light upon what reformative influence it had upon the society in general. The paper concludes with the reflections upon the emerging trends in the approaches towards Environmental Literature and Eco- criticism.
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Pezzotti, Barbara. « “I am Just a Policeman” : The Case of Carlo Lucarelli’s and Maurizio de Giovanni’s Historical Crime Novels Set during Fascism ». Quaderni d'italianistica 37, no 1 (9 juin 2017) : 89–106. http://dx.doi.org/10.33137/q.i..v37i1.28280.
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This article analyzes two successful Italian novels set during the Ventennio and the Second World War, namely Carlo Lucarelli’s Carta bianca (1990) and Maurizio De Giovanni’s Per mano mia (2011). It shows how Lucarelli confronts the troubling adherence to Fascism through a novel in which investigations are continually hampered by overpowering political forces. By contrast, in spite of expressing an anti-Fascist view, De Giovanni’s novel ends up providing a sanitized version of the Ventennio that allows the protagonist to fulfil his role as a policeman without outward contradictions. By mixing crime fiction and history, Lucarelli intervenes in the revisionist debate of the 1980s and 1990s by attacking the new mythology of the innocent Fascist. Twenty years later, following years of Berlusconi’s propaganda, De Giovanni waters down the hybridization of crime fiction and history with the insertion of romance and the supernatural in order to provide entertaining stories and attract a large audience. In the final analysis, from being functional to political and social criticism in Lucarelli’s series, the fruitful hybridization of crime fiction and history has turned into a mirror of the political and historical de-awareness of Italian society of the 2000s in De Giovanni’s series.
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HAMZA REGUIG MOURO, Wassila. « From Feminization of Fiction to Feminine Metafiction in Gaskell’s Wives and Daughters and Woolf’s Orlando ». Arab World English Journal For Translation and Literary Studies 4, no 4 (15 octobre 2020) : 187–201. http://dx.doi.org/10.24093/awejtls/vol4no4.13.
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Feminism developed and widened its scope to different disciplines such as literature, history, and sociology. It is associated with various other schools and theories like Marxism and poststructuralism, as well. In the field of literature, feminist literary criticism managed to throw away the dust that cumulated on women’s writing and succeeded in raising interest in those forgotten female artists. Some critics in the field of feminism claim that there are no separate spheres, masculine and feminine, whereas others have opted for post-feminist thinking. Some women writers used metafiction to write literary criticism. Therefore, how do Gaskell and Woolf implement metafiction in their stories? Accordingly, this work aims at shedding light on Wives and Daughters by Gaskell and Orlando by Woolf to tackle metafiction from a feminist perspective. Examples from both novels about intertextuality, narration, and other aspects, that are part of metafiction, will be provided to illustrate how and where metafiction is used.
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Myshkina, Albina Fedorovna, et Inessa Vladimirovna Iadranskaia. « Aesthetic and Ethical Significance of Work of Art in Educational Environment ». Development of education 5, no 3 (27 septembre 2022) : 32–37. http://dx.doi.org/10.31483/r-103123.
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The article is devoted to the study of the role of fiction in the field of education and upbringing. The most important functions of literature that are essential for education (more broadly – the educational environment) are indicated. The works of Chuvash writers, which are included in textbooks-readers on native (Chuvash) literature of basic general and secondary general education, are selectively analyzed. In this article, fiction is considered not so much as a subject of study of literary criticism and criticism, but rather as a socio-cultural phenomenon that has the ability to directly influence the emotional and sensory perception of a person. Fundamental to this scientific research is the descriptive method, which includes techniques of interpretation, comparison, generalization. As a result of the conducted research, it was summed up that verbal creativity always reflects the worldview and feelings of the writer and his people. The following article concludes about a work of art, its representation through the prism of a certain aesthetic microcosm, with its own rules and laws. That is why the work of literature is considered fiction and fantasy of the writer. But on the other hand, in his works the author recreates a certain life situation.
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Richards, Christine. « Gender, Race and the ‘Art’ of Fiction : Henry James's Criticism and Harriet Beecher Stowe ». Literature & ; History 9, no 1 (mai 2000) : 43–55. http://dx.doi.org/10.7227/lh.9.1.3.
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Pavlenko, Yuliia. « SELF-WRITING IN THE DIMENSION OF EVERYDAY LIFE : DYNAMICS, CHALLENGES, PERSPECTIVES ». CONTEMPORARY LITERARY STUDIES, no 18 (13 décembre 2021) : 101–7. http://dx.doi.org/10.32589/2411-3883.18.2021.246984.
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The article presents a study of the everyday life discourse in writing about the Self of a fictional subject. It seems obvious that involvement of self-writing in everyday practice calls into question the power of self-writing in the context of everyday life for the self-knowledge of the individual. The purpose of this scientific research is to debunk this illusion and explain the connection between the everyday life and self-writing. It transforms the practice of incorporating one’s own «I» in writing into the dimension of constructing the subject’s identity. There are no works on this topic in modern literary criticism and this fact also indicates the relevance and novelty of the research that is unfolding in the following article. Nowadays, the history of everyday life is booming. It is evidenced by a whole array of scientific papers on this issue. The study of self-writing in the dimension of everyday life appeals to the semiotic approach of Y.M. Lotman and G. Knabe for the analysis of the sign-symbolic nature of everyday life, to the sociological studies of A. Schutz, P. Berger and T. Lukman to identify the ways of constructing everyday life as reality or as a «life world», to the works of V.D.Leleko in the field of aesthetics and culturology of everyday life. The works of the philosophical and anthropological school serve the basis for the research. Particular attention is given to the text-letter of the Enlightenment. The protagonists of the Enlightenment Age invest the issues of everyday life in the work of writing that is a daily practice in the XVIII century. Due to its characteristics, the sphere of everyday life is a measure of self-knowledge and self-affirmation of the individual that was first artistically embodied by enlightened characters. The study shows that everyday life asa strong ground for self-affirmation of the subject was discovered with the help of the personal writing in the novel of the XVIII century, but this discovery became a lost testament to the text-writing of the Enlightenment. Changing the picture of everyday life under the influence of new technologies does not interfere with the text-writing. In the dynamic picture of everyday life offered to us by the 21st century, writing about the Self of a fictional subject opens up new facets of the power of everyday life discourse for the anthropological laboratory of literature. The study is illustrated by thesuch texts as: «Robinson Crusoe» by D.Defoe, «Nun» by D. Diderot, «Memoirs of two young wives» by O. de Balzac, «Poison of Love» by E.-E. Schmitt, «Self-portrait of the radiator» by K. Boben.
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Caminada Rossetti, Lucía. « Argentine Literature as Part of the Latin-American : Debates, Characteristics and Dialogues ». Interlitteraria 25, no 2 (31 décembre 2020) : 359–66. http://dx.doi.org/10.12697/il.2020.25.2.8.
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The article will suggest that the texts and ways of reaching some materials and perspectives in Argentina, remains at a national level. It is important to notice that in order to read criticism and theory regarding Latin American literature, Spanish from Río de la Plata separates at some point the fields. In that regard, one of the greatest assets and achievements of Argentinian literary research concerns the relationship between politics and fiction. In connection with this it might be asked how we can think of Argentinian literature without linking it to the social discourse? How can we think of the comparative field of Latin-American and Argentinian literature as one academic area of studies? In our view, comparatism seems to be one of the loneliest areas of studies in terms of the fields of theory, fiction and criticism. We thus suggest that in Argentina, literary research and criticism in general are strictly concerned with only one option: the national culture. Thus, exclusively, western theoretical frames are chosen to read literature and comparative perspectives are mostly applied to European studies. That is why I insist on the fact that comparative literary research is not represented institutionally at all.
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Caminada Rossetti, Lucía. « Argentine Literature as Part of the Latin-American : Debates, Characteristics and Dialogues ». Interlitteraria 25, no 2 (31 décembre 2020) : 359–66. http://dx.doi.org/10.12697/il.2020.25.2.8.
Texte intégralRésumé :
The article will suggest that the texts and ways of reaching some materials and perspectives in Argentina, remains at a national level. It is important to notice that in order to read criticism and theory regarding Latin American literature, Spanish from Río de la Plata separates at some point the fields. In that regard, one of the greatest assets and achievements of Argentinian literary research concerns the relationship between politics and fiction. In connection with this it might be asked how we can think of Argentinian literature without linking it to the social discourse? How can we think of the comparative field of Latin-American and Argentinian literature as one academic area of studies? In our view, comparatism seems to be one of the loneliest areas of studies in terms of the fields of theory, fiction and criticism. We thus suggest that in Argentina, literary research and criticism in general are strictly concerned with only one option: the national culture. Thus, exclusively, western theoretical frames are chosen to read literature and comparative perspectives are mostly applied to European studies. That is why I insist on the fact that comparative literary research is not represented institutionally at all.
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So, Richard Jean, et Edwin Roland. « Race and Distant Reading ». PMLA/Publications of the Modern Language Association of America 135, no 1 (janvier 2020) : 59–73. http://dx.doi.org/10.1632/pmla.2020.135.1.59.
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This essay brings together two methods of cultural‐literary analysis that have yet to be fully integrated: distant reading and the critique of race and racial difference. It constructs a reflexive and critical version of distant reading—one attuned to the arguments and methods of critical race studies—while still providing data‐driven insights useful to the writing of literary history and criticism, especially to the history and criticism of postwar African American fiction, in particular James Baldwin's Giovanni's Room. Because race is socially constructed, it poses unique challenges for a computational analysis of race and writing. Any version of distant reading that addresses race will require a dialectical approach. (RJS and ER)
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Tymoshchuk, N. « "They Did not Know How to Build Their Own State, so They Were in Someone Else's Hands" : Artistic Concept of the Liberation Struggle of the Ukrainian People in the Leonid Poltava Novel "Above the Blue Black Sea" ». Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no 1(87) (13 mai 2018) : 158–61. http://dx.doi.org/10.35433/philology.1(87).2018.158-161.
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The peculiarities of the artistic modeling of historical reality of 1917–1920 by Leonid Poltava in the novel "Above the blue Black Sea" are considered in the article, the specificity of the artistic text is also clarified by the researcher. The novel "Above the blue Black Sea" Leonid Poltava is unfairly left out of contemporary literary criticism in the scientific Ukrainian space. The main plot is the events of the Civil War period in Ukraine, Turkey, Bulgaria and the Czech Republic.
Leonid Poltava has systematically analyzed the causes of the failure of the Central Council and its allies; he is sure that they have created the conditions for "soviet" totalitarianism and the embodiments of the Bolsheviks basic principle the devide et impera in life. The author has used two approaches to realizing his plan; they are a research and aesthetic ones; Leonid Poltava has skillfully combined historical facts and literature, science and art. The prevailing place in the large gallery of characters is occupied by historical figures, representatives of various warring camps (Hetman Skoropadskyi, Symon Petliura, Troitskyi, Nestor Makhno, Kutiepov, etc.). It is, of course, determined by the specifics of the genre. In our opinion, all the fictional characters, episodes from their lives are closely linked to the historical specifics of the first decades of the twentieth century. They give the novel a significant artistic value. Leonid Poltava recreated the image of the whole people in the documentary-historical concretization of being through every "non-historical" personality, human destiny, action and moral position. The work is characterized by an objective third-form narrative; such a narrative causes the reader to experience the self-deployment of the narrative, the absence of any biased considerations.
In conclusion, Leonid Poltava skillfully recreated the civil war as a historical reality, modeled the political, social, cultural and mental processes of that days in the novel "Above the blue Black Sea". The writer studied its nature in detail, investigating the behavior of the masses as the main creator of history in the turbulent age of 1917-1920. Of course, the author was not a direct witness of these terrible events, but the artistic means reminded compatriots of these liberation burials. Now the work of Leonid Poltava has become extremely relevant, the problems raised by the author are close to modern Ukrainians.
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Heise-von der Lippe, Anya. « Histories of Futures Past : Dystopian Fiction and the Historical Impulse ». Zeitschrift für Anglistik und Amerikanistik 66, no 4 (19 décembre 2018) : 411–25. http://dx.doi.org/10.1515/zaa-2018-0035.
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Abstract This article traces the historical impulse in two intertextually connected dystopian texts – George Orwell’s 1984 (1949) and Margaret Atwood’s The Handmaid’s Tale (1985) – by reading the two novels in the context of the construction of historical narrative after the proclaimed ‘end of history’ in the twentieth century. It considers their representation of history within the framework of literary criticism of the historical novel (György Lukács), critical dystopias (Tom Moylan), and memory as an active, mediated engagement with the past (Astrid Erll and Ann Rigney). It looks, more specifically, at how the texts contrast personal experience and the meta-narrative contemplation of memory with institutionalized versions of history on different diegetic levels by juxtaposing the narrators’/focalizers’ view of history with that presented in the framework of pseudo-historical appendices that accompany and significantly modify the interpretations of both narratives.
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Emma Liggins. « Victorian Sensation Fiction : A Reader's Guide to Essential Criticism (review) ». Victorian Periodicals Review 43, no 1 (2010) : 83–84. http://dx.doi.org/10.1353/vpr.0.0110.
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Martirosian, G. E. « AFRICANFUTURISM IN CONTEMPORARY NIGERIAN LITERATURE : THE CASE OF ‘PET’ BY AKWAEKE EMEZI ». Bulletin of Udmurt University. Series History and Philology 32, no 5 (14 octobre 2022) : 1104–9. http://dx.doi.org/10.35634/2412-9534-2022-32-5-1104-1109.
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This article is devoted to the literary analysis of Akwaeke Emezi’s ‘Pet’, the novel, as an Africanfuturist artifact of the contemporary literature of the Nigerian diaspora in the United States. Africanfuturism is considered in both political and methodogical opposition to Afrofuturism, and is understood as a critical artistic method that, within the framework of Black science fiction, recounts an alternative version of the future of African people. The scientific article describes the features of the implementation of science fiction subgenres in the literature of Nigerians, residents of Nigeria, and representatives of the Nigerian diaspora, and also substantiates their differences from traditional (European) fantasy narratives. By the case of ‘Pet’ by A. Emezi, which at many artistic levels goes against both the Nigerian and pan-European canons of science fiction, the markers of Africanfuturist criticism of the culture, the correlation between the magical (mythogical) and futurological as the main difference between Africanfuturism and Afrofuturism are shown.
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Santamarina, Xiomara. « Fugitive Slave, Fugitive Novelist : The Narrative of James Williams (1838) ». American Literary History 31, no 1 (1 janvier 2019) : 24–46. http://dx.doi.org/10.1093/alh/ajy051.
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AbstractThis essay argues for reading a discredited slave narrative—the Narrative of James Williams (1838)—as an early black novel. Reading this narrative as a founding black novel à la Robinson Crusoe complicates the genealogy and theoretical parameters of literary criticism about early US black fiction. Such a reading revises accounts about the emergence of the third-person fictive voice inaugurated by Frederick Douglass and William Wells Brown in the 1850s. It also offers a new understanding of the antislavery movement’s quest for authenticity. More importantly, reading NJW as novelistic fiction illustrates how a fugitive slave might narrativize muddied textual politics and effectively challenge the reparative vision with which we theorize the genres and politics of early African American literary texts.
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Lansky, Ellen. « All Aboard ». English Language Notes 60, no 1 (1 avril 2022) : 139–49. http://dx.doi.org/10.1215/00138282-9560265.
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Abstract This essay situates Ernest Hemingway’s iconic “Hills Like White Elephants” as a short story about drinking. From this perspective, Hemingway’s story enables readers to experience a personal and deeply felt emotional engagement with the characters, the scene, and the situation. Moreover, his technique enlists readers as “drinking buddies” and provides an entrée into the culture of alcohol. Despite the macho image that Hemingway himself helped construct and deploy, his work invites women into the scene and, indeed, centralizes a key figure often overlooked in the history of modern American fiction criticism: the drinking woman.
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Nikiforov, Konstantin. « From Tito to Milošević : from Brezhnev to Gorbachev ». Slavic Almanac, no 1-2 (2024) : 479–86. http://dx.doi.org/10.31168/2073-5731.2024.1-2.25.
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S. Selinić’s monograph examines six years of Serbian history – from the death of the long-time ruler of Yugoslavia J. Broz Tito to the establishment of the new Serbian leader S. Milošević in power. This was a time of numerous crises – in the economy, politics, and in the Serbian autonomous region of Kosovo. New trends in Serbian journalism, fiction and scientific literature were especially pronounced, where a wave of criticism of Tito’s legacy began to rise. The taboo was lifted from previously prohibited topics – Ustashs, Chetniks, Naked Island. Serbian criticism of what previously was seen as the very foundation of society was similar to the perestroika that took place in the USSR in the same years, in particular with the policy of glasnost proclaimed by Gorbachev.