Littérature scientifique sur le sujet « Love Triangle, fiction »

Abstract This article interprets the central erotic triangle between Lily Bart, Lawrence Selden, and Simon Rosedale in The House of Mirth (1905) as a modernized restaging of the love triangle in Madame de Lafayette’s La Princesse de Clèves (1678). Through the lens of the seventeenth-century French novel, which Wharton characterized as inaugurating the debut of “modern fiction” in The Writing of Fiction, readers can see how Wharton condemns, in The House of Mirth, the stated motivations of its characters as fundamentally unreliable and their attempts at self-knowledge as futile. In this way, both novels highlight epistemological failures—whether about love, friendship, or status—when characters falter just on the brink of attaining their desires. The last part of this study examines Rosedale’s love for Lily, his active care for her, and his jealousy, which have not received adequate scholarly attention, as well as proposes a new reading of Lily’s rejection of Rosedale’s last marriage proposal.

Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.

Here We Are (2020), Graham Swift's latest novel to date, tells the story of a love triangle between three young variety artists over a few weeks in the summer of 1959. As it is narrated from the present-day perspective fifty years later, when the last surviving member of the trio looks back on her life, remembering in particular the events of the fateful summer which culminated in the tragic loss of her ex-fiancé, the novel at first sight resembles Swift's immediately preceding piece, Mothering Sunday (2016), which employs a similar narrative strategy and revolves around a similar central theme. This paper, however, argues that besides these similarities, Here We Are differs from Mothering Sunday in a number of key regards, which is why it can be read as its precursor's loose duology which complements rather than replicates it. This paper demonstrates that the novel not only combines its author's idiosyncrasies with the narrative forms and perspectives to which he has turned to recently, but also allows him, through metacommentary, to indirectly express his ideas concerning the social, ethical and aesthetic aspects of fiction writing.

As Star Wars women Rey, Jyn Erso, Ahsoka Tano, and others build on Leia’s legacy, it is also important to celebrate the mid-century science fiction writer who influenced Star Wars earlier on – Leigh Brackett, Queen of Space Opera. Brackett not only wrote the first draft of The Empire Strikes Back (1980) before her death, but she also influenced American film and sf in the decades before. She was an accomplished screenwriter when Lucas approached her for The Empire Strikes Back, having written Rio Bravo (1959) and co-written The Big Sleep (1946) with William Faulkner, for example. And her pulps and novels established her as an authority in the science fiction genre, as well. She was the first woman to be shortlisted for the Hugo Award for The Long Tomorrow (1955), a novel that denounces the toxic violence of militarized science and venerates resistance. Similarly, Brackett’s Shadow Over Mars (1944) condemns authoritarian exploitation and reveres rebellion. These familiar themes, of course, are also in The Empire Strikes Back. While some of her elements did not make it to the final film – the Luke-Leia-Han love triangle and Luke’s Jedi twin Nellith, for instance – her style of frontier anti-authoritarian Space Opera resistance comes through clearly. Resurrecting Brackett’s work on The Empire Strikes Back and analyzing the influence of her earlier work situates the Star Wars saga as a descendant of mid-century feminist sf as we simultaneously celebrate its more inclusive contemporary narratives.

Abstract Helen Oyeyemi’s 2011 novel Mr. Fox artfully remasters the “Bluebeard” fairytale and its many variants and rewritings, such as Jane Eyre and Rebecca. It is also the first novel in which Oyeyemi does not overtly address blackness or racial identity. However, the present article argues that Mr. Fox is concerned with the status of all women writers, including women writers of colour. With Mr. Fox, Oyeyemi echoes the assertiveness and inquisitiveness of Bluebeard’s last wife, whose disobedient questioning of Bluebeard’s canonical authority leads her to discover, denounce, and warn other women about his murderous nature. A tale of the deception and manipulation inherent in storytelling, Mr. Fox allows for its narrative foul play to be exposed on the condition that its literary victims turn into detective-readers and decipher the hidden clues left behind by the novel’s criminal-authors. This article puts the love triangle between author St. John Fox, muse Mary, and wife Daphne under investigation by associating reading and writing motifs with detective fiction. Oyeyemi’s ménage à trois can thus be exposed as an anthropomorphic metaphor for the power struggle between the patriarchal literary canon, established feminist literature, and up-and-coming (black British) women writers, incarnated respectively by Mr. Fox, Mary Foxe, and Daphne Fox.

Proposing the notion of translational space, I consider the classroom and the literary text as crucial though differentiated spaces of translation. The idea of translational space borrows from Doreen Massey’s elaboration of space as a “complex web of relations of domination and subordination, of solidarity and cooperation.” I interlink the complexity of Massey’s “web” with an intention by the radical Other to translate, and interrogate how selected Caribbean diasporic texts might be shown to engage a process of translation, and for whom, particularly in light of George Lamming’s pronouncement concerning the West Indian writer, that “[h]e writes always for the foreign reader”. What is the translational impetus of a later generation of writers who Lamming was unable to imagine, namely, women authors of the region? I consider the translational space created by those authors’ challenging of canonical traditions that not only break through publication barriers, but place black women protagonists as central to their writing. The crux of my enquiry is the diasporic imaginary–represented in Beryl Gilroy’s In Praise of Love and Children, Andrea Levy’s Small Island, and Velma Pollard’s Karl–an imaginary which, centring black women characters is also concerned with a dialogic representation of the Other. I highlight issues of Creole or Caribbean identity that such an imaginary figures in its aesthetics and I foreground the diaspora as contested space whether public or intimate. Additionally in these texts, the (re)turn, as I consider it, affords a contemporary contextual presencing in dialogue with a violently muted historical past. Arising from this, my larger questions concern the meanings that might be inferred from such a Creole diasporic imaginary and its representation in terms of aesthetics and translational space. I explore the fictional representation of Caribbean lives “on the move” in Cresswell’s terms and their transnational representation. In their gendering of creolisation, diaspora and race, how do the writers translate the spatial interface that their characters negotiate? Whether in memories of Toronto in Pollard’s writing or in the London of Levy’s and Gilroy’s fiction, how do these texts represent space not only as cultural crossings but also as translational space within the new triangle that contests and dislodges notions of identity?

Введение. Освещение женской проблематики являлось одной из доминирующих тем в творчестве целого ряда английских писателей XIX в. и давало ключ к пониманию места женщины в социуме и ее роли в развитии общественного прогресса. В рамках освещения женского вопроса в викторианском романе актуальным представляется обращение к творчеству Б. Дизраэли (1804–1881). Воплощение женских образов в романе «Генриетта Темпл: история любви» (1837) является показательным с точки зрения эволюции представлений о роли женщины и ее жизненных установок.Цель – анализ стратегий интерпретации главных женских персонажей романа «Генриетта Темпл: история любви» в русских переводах с учетом актуальных тенденций литературно-общественного процесса России 1850–1860-х гг. Материал и методы. Материалом исследования послужили оригинальный текст романа «Henrietta Temple: a love story», а также его анонимные переводы, опубликованные в журналах «Библиотека для чтения» в 1859 г. и «Переводы отдельных романов» типографии Н. С. Львова в 1867 г. В работе использовались историко-литературный, сравнительно-типологический и структурный методы. Для выявления особенностей интерпретации главных женских образов романа был проведен анализ оригинального текста романа и его переводов с привлечением методики, включающей пять основных параметров образа: интродукция персонажа, словесный портрет, речевая характеристика, описание поступков и авторское отношение. Результаты и обсуждение. С перевода романа «Генриетта Темпл: история любви» началось знакомство русского читателя с творчеством Б. Дизраэли. Сочинение английского писателя, созвучное общим тенденциям в русской литературе середины XIX в., было дважды анонимно переведено с разницей в восемь лет. Каждый из переводов стал отражением не только основных принципов художественного перевода и литературных норм своего времени, но и позиции, занимаемой переводчиком по отношению к вопросу о роли женщин и их прав в русском обществе. В данном аспекте интерес представляет интерпретация ключевых женских персонажей романа Б. Дизраэли, демонстрирующих различные характеры и жизненные установки. В центре повествования находятся образы героинь, вовлеченных в любовный треугольник: Генриетты Темпл и Кэтрин Грандисон, а также образ матери главного героя Констанции Армайн. Заключение. Как показывает анализ, не все параметры образов главных героинь романа Дизраэли нашли свое отражение в переводах. Особенность русской версии, опубликованной в «Библиотеке для чтения» в 1859 г., заключалась в том, что переводчик, действуя в рамках норм переводческого дела в России середины XIX в. и политики журнала, существенно редуцировал оригинальный текст романа, что привело к значительному упрощению и схематизации образов «новых» героинь, в частности Генриетты. Автору русской версии романа, опубликованной в «Переводах отдельных романов» в 1867 г., в большей степени удалось воспроизвести пять основных параметров художественного образа героинь и воссоздать образ женщины нового типа, способной отстаивать свои интересы и реализовывать себя в полезной деятельности. Introduction. The coverage of the women’s issue was one of the predominant themes in the works of famous English writers of the XIXth century and gave the key to understanding the place of a woman in the society and her role in the development of the social progress. In this context, an appeal to the fiction of B. Disraeli (1804–1881) is relevant. The objectification of female images in his novel ‘Henrietta Temple: a Love Story’ (1837) is illustrative in terms of evolution of the woman role and her life attitudes.Aim and objectives. The aim of the research is the study of the translation peculiarities of the novel’s key female characters taking into account the current trends in the literary and social processes of Russia in the 1850s – 1860s.Material and methods. The research material included the original text of ‘Henrietta Temple: a love story’, as well as its anonymous translations published by ‘Library for Reading’ [Biblioteka dlya Chteniya] in 1859 and ‘Translations of individual novels’ [Perevody Otdel’nyh Romanov] in 1867. Historical literary, comparative, typological, and structural methods were used in the research. To identify the peculiarities of the main female images interpretation, an analysis of the original text and its translations was carried out using a methodology including five main image parameters, such as character introduction, verbal portrait, speech characteristics, description of actions and author’s attitude.Results and discussion. First acquaintance of the Russian reader with the fiction by B. Disraeli began with the translation of the novel ‘Henrietta Temple: a Love Story’ 1859. The novel of the English writer was consonant with the general trends in Russian literature of the mid-19th century and was twice anonymously translated. Each of the translations reflected not only the basic principles of literary translation, but also the position taken by the translator in relation to the issue of the role of women and their rights in Russian society. In this aspect, the interpretation of the key female characters of B. Disraeli’s novel is of interest. At the center of the narrative there are female characters involved in a love triangle: Henrietta Temple and Catherine Grandison, as well as the image of the main character mother, Constance Armine.Conclusion. The analysis demonstrates that not all the parameters of the Disraeli’s female images are reflected in Russian translations. The peculiarity of the version published in the ‘Library for Reading’ [Biblioteka dlya Chteniya] in 1859 was that the translator significantly reduced and simplified the original text of the novel due to the journal policy and translation norms, which led to simplification of new woman images, in particular Henrietta. The author of the translation published in 1867 managed to better reproduce five main parameters of the female images and recreate a new ideal of a woman capable of defending her interests and realizing herself.

Las novelas Margarita de niebla (1927) de Jaime Torres Bodet y El réferi cuenta nueve (1943) de Diego Cañedo tienen protagonistas varones mestizos/criollos de clase alta. Éstos se encuentran en triángulos amorosos que los fuerzan a escoger entre una mujer mestiza y mexicana, por un lado, y una mujer blanca y alemana, por otro. En ambos casos, los hombres optan por la extranjera, pero se arrepienten poco después cuando ven que no son compatibles. Este ensayo categoriza ambas novelas como ficciones fundacionales fallidas. Doris Sommer acuñó el término “ficciones fundacionales” al analizar literatura que imaginaba una reconciliación nacional a través del romance y matrimonio heterosexual entre personas de sectores distintos de la sociedad. Las novelas que analizamos a continuación hacen lo opuesto, pues interpretan el romance entre hombres mexicanos de la élite y mujeres extranjeras como una afrenta a los intentos del Estado posrevolucionario por construir una nación a través del proyecto oficial de mestizaje. Tanto Torres Bodet como Cañedo pintan a los hombres que evitan el matrimonio interracial como obstáculos a la institucionalización de una comunión nacionalista. The novels Margarita de niebla (Jaime Torres Bodet 1927) and El réferi cuenta nueve (Diego Cañedo 1943) follow the lives of well-to-do mestizo/criollo Mexican males who find themselves in love triangles that force them to choose between a Mexican mestiza or a white, German woman. In both cases, the men opt for the foreigner, but they soon regret their decisions when they realize that they are incompatible with their mates. For this reason, I view these novels as failed foundational fictions. Doris Sommer coined the term “foundational fictions” while analyzing literature that imagined a national reconciliation through heterosexual romance and marriage between people from different sectors of society. These novels do the opposite because they view romances between Mexican elites and foreign Others as antithetical to the nation-building project of official mestizaje. As such, both Torres Bodet and Cañedo depict those men who eschew interracial marriage as a hindrance to the institutionalization of a nationalist communion.

Sergienko’s novel “Kseniaˮ (“Ксенияˮ), which addresses the events of the Time of Troubles, is considered in such interrelated contexts as the traditions of European and Russian historical prose, the preceding versions of the plot about False Dmitry, the work of the writer and his contemporaries. These readings of the book do not cancel its in-text analysis. The traditional plot-forming motives of the historical novel, assimilated and developed in “Ksenia”, include the wanderings and fate of a private person in a crisis era. In accordance with this tradition, the fictional character Mikhail Turenev is equated in the book with the real figures of that era. He, like Princess Ksenia, is brought to the epilogue by the author. The central place of the heroine in the system of characters is emphasized by both the title of the book and the ring composition – from the birth of Ksenia and naming her by this name to the announcement by Prince Dmitry Pozharsky of the name of his daughter in honor of Princess Ksenia. According to the place and role in the development of the plot, the Impostor is comparable to Turenev and Ksenia, and not with Shuisky, like Sumarokov, not with Boris Godunov, as in Pushkin’s tragedy. The illusory presence of False Dmitry in history is enhanced by his disorder, reverse gradation, and other techniques. The influence of Pushkin’s tragedy is noticeable, in particular, in the end-to-end character Pronka: he has the same role at the end of the book as the fool in “Boris Godunovˮ – to be the “voice of the peopleˮ. The love triangle formed by Ksenia, the antipodes Turenev and False Dmitry, resembles the arrangement of their respective characters in “Dimitri the Impostor” (“Димитрий Самозванецˮ), “The Captain’s Daughterˮ (“Капитанская дочкаˮ), “Prince Serebryanyˮ (“Князь Серебряныйˮ). The complex of plot-forming motives in the novel, which is stable in historical novelistics and in Sergienko’s work, is complicated by original motives. These are the motives of impracticable plans, the “crossingˮ of the paths of the heroes as manifestations of the determinism they realize, the motives of love and creativity. Mutual love, creation, participation in the defense of the Fatherland overcomes the destructive element of life, the unrealization of plans and the harmony sought by the heroes of the novel is achieved. Another motif is correlated with these motives – peace in different meanings, especially in its understanding as balance in nature, which should be the basis of a harmonious human existence in the world. The high degree of rapprochement between the writer and his protagonists reminds of the works of Sergienko’s contemporaries, whose heroes accept an absurd reality and find the strength to resist it. In the novel “Kseniaˮ, starting from previous works about the Russian crisis of the early 17th century and taking into account the traditions of historical prose and knowledge about the catastrophic experience of the 20th century, the writer offers his view on the cause-and-effect relationships of the events of the Time of Troubles.

Armstrong, Kelley. The Rising. Toronto: HarperTeen, 2013. Print. Ontario-based award-winning writer Kelley Armstrong, author of the New York Times and Globe and Mail bestselling Darkest Powers young adult urban fantasy trilogy, brings us the third and final title of her Darkness Rising trilogy. The first in the trilogy, 2011’s The Gathering, was previously reviewed in the inaugural issue of Deakin, Vol. 1 No 1 and the second, The Calling, was reviewed in Vol. 2 No. 4. As with the previous book in the trilogy, this book is not meant to be read on its own, as again the author’s recap on events and characters is minimal. I felt the need to revisit the second book and familiarize myself with the plot before I started in on The Rising as it had been a year between books, the price of being a fan of series fiction. Sixteen-year-old supernatural, Maya Delaney, and her fellow supe friends are assumed dead after an apparent helicopter rescue-turned-crash leaves them running for their lives. With no one they can trust to turn to, the teens are truly in harm’s way as their supernatural abilities start careening out of control. Corey’s headaches are increasing, Nicole’s mental state is fragile at best and even Maya is concerned that she herself may be regressing. Like it or not, the friends need assistance from the rival networks that seek to exploit their abilities. Maya’s biological father, Calvin Antone, plays a larger role in this book and again, his intentions are often unclear. The intensifying romance of the previous book does indeed lead to the expected supernatural YA love triangle, but it feels forced and formulaic, as if the author’s fans would expect it and so it was hastily written in. There is a continued lack of storyline that seems to centre around the characters’ need to run and hide, which is echoed in Armstrong’s other works. I am giving this book three stars out of four because true Armstrong fans will enjoy the series as a whole as well as the tie-in to well-loved characters in her Darkest Powers trilogy and devour it regardless of its limitations. The epilogue will be particularly satisfying. I would not be surprised to learn of yet another spin-off series with Maya or some of the new characters introduced in the series. Recommended: 3 out of 4 stars Reviewer: Debbie Feisst Debbie is a Public Services Librarian at the H.T. Coutts Education Library at the University of Alberta. When not renovating, she enjoys travel, fitness and young adult fiction.

In this queer take on erotica fiction, the love triangle among Fire, Wolf, and their shared object of desire, Qi Shishi, spans decades and is nothing short of spectacular, comical, and absurd. The story contains all the elements that romantic erotica should have, but in a departure from the conventional heterosexual motif, homoeroticism takes center stage, taking readers on a rollercoaster ride through the two young men’s adolescence. In Cui’s writing, queer sexuality is portrayed as part of the mundane way of life, of the everyday human experience.

Chapter 4 takes up the perspective of Kate Croy over against that of lover Merton Densher, to recognize how James’ The Wings of the Dove moves the reader beyond the short-sighted Anglo-Puritan ethics of Densher to contemplate the “beauty” of Marian-Catholic beneficence, mercy, and non-zero-sum romantic vision—especially when it comes to the otherwise dark entwinements of love and death. From mid-century English critics Yvor Winters and F.R. Leavis to the latest U.S. aestheticians, Wings has long been understood to be a sordid tale of greed and betrayal redeemed precisely yet only by the rise of conscience in Densher—who, not coincidently, takes over the indirect discourse of the second half of the novel, to the point of declaring his personal Christian ascension. And yet it is not a coincidence that this part of Wings is set in Adriatic-Catholic Venice: a city of waterways and alleyways in which to go straight is to get there by gorgeous indirection—which, this chapter argues, is the objective correlative of how James’ notorious late style (postponements, fractures, multivalences) and huge melodramatic, Veronese-inspired canvas serves the alternative Marian knowingness, not only of Kate Croy, the visionary mistress among the Marian figures, but also of the dying yet still sexual Milly Theale, her surreptitious acolyte; and not only that of the two women in the romantic triangle but also of the three wondrous queer characters in support—besmitten yet selfless Susan Stringham, visionary doctor Sir Luke Strett, and Eugenio the major-domo of Venetian Living.