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1
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 (giugno 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.
Testo completoAbstract (sommario):
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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Togola, Adama. "Du polar d’Afrique francophone et des stratégies pour contourner la marge instituée". International Journal of Francophone Studies 24, n. 3 (1 dicembre 2021): 207–19. http://dx.doi.org/10.1386/ijfs_00038_1.
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This study attempts to reassess the critical discourse on the Francophone African detective fiction in order to show how the dynamics of genres and discourse in the crime novel participates in a reflection on writing and the boundaries between so-called popular literature and the so-called ‘literate’. It is about analysing the workaround strategies implemented by writers to lift the crime novel from the sidelines in which it has long been placed. Born in the nineteenth century with modernity, the African detective fiction is today one of the axes of development of African literature. It competes, by its dynamism and its originality, with the canonical novel. The resumption of thematic recurrences (immigration, social and political criticism) shows that it contributes to a broad representation of social semiosis. It now claims a discursive space of which the dominant field is obliged to recognize the relevance.
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Petrovic, Ivana, e Andrej Petrovic. "General". Greece and Rome 65, n. 2 (17 settembre 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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Forsdick, C. "Postcolonial Criticism: History, Theory, and the Work of Fiction". Comparative Literature 58, n. 3 (1 gennaio 2006): 263–65. http://dx.doi.org/10.1215/-58-3-263.
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Roberts, R. "American Science Fiction and Contemporary Criticism". American Literary History 22, n. 1 (20 novembre 2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.
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Syrotinski, Michael. "Postcolonial Criticism: History, Theory and the Work of Fiction". French Studies 60, n. 3 (1 luglio 2006): 418–19. http://dx.doi.org/10.1093/fs/knl067.
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O’Malley, Maria. "Taking the Domestic View in Hawthorne’s Fiction". New England Quarterly 88, n. 4 (dicembre 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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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, n. 1 (maggio 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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MacKenzie, Robin. "Approaches to Teaching Proust's Fiction and Criticism". French Studies 59, n. 4 (1 ottobre 2005): 567–68. http://dx.doi.org/10.1093/fs/kni242.
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Громова, П. С. "LITERARY CRITICISM OF THE L. N. GUMILYOV’S LEGACY". Вестник Тверского государственного университета. Серия: Филология, n. 1(76) (17 aprile 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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Podolyaka, N. "РЕДАКТОРСЬКО-ВИДАВНИЧА ДІЯЛЬНІСТЬ АГАПІЯ ШАМРАЯ". State and Regions. Series: Social Communications, n. 3(43) (18 febbraio 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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So, Richard Jean, e Edwin Roland. "Race and Distant Reading". PMLA/Publications of the Modern Language Association of America 135, n. 1 (gennaio 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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Richards, Christine. "Gender, Race and the ‘Art’ of Fiction: Henry James's Criticism and Harriet Beecher Stowe". Literature & History 9, n. 1 (maggio 2000): 43–55. http://dx.doi.org/10.7227/lh.9.1.3.
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Hayot, Eric. "Literary History after Literary Dominance". Modern Language Quarterly 80, n. 4 (1 dicembre 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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Bareis, J. Alexander. "The Implied Fictional Narrator". Journal of Literary Theory 14, n. 1 (1 marzo 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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Lansky, Ellen. "All Aboard". English Language Notes 60, n. 1 (1 aprile 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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Emma Liggins. "Victorian Sensation Fiction: A Reader's Guide to Essential Criticism (review)". Victorian Periodicals Review 43, n. 1 (2010): 83–84. http://dx.doi.org/10.1353/vpr.0.0110.
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ROLLS, ALISTAIR. "Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages". Australian Journal of French Studies 58, n. 1 (1 aprile 2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.
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Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.
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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, n. 1 (9 giugno 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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Santamarina, Xiomara. "Fugitive Slave, Fugitive Novelist: The Narrative of James Williams (1838)". American Literary History 31, n. 1 (1 gennaio 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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Friedman, Susan Stanford. "Alternatives to Periodization: Literary History, Modernism, and the “New” Temporalities". Modern Language Quarterly 80, n. 4 (1 dicembre 2019): 379–402. http://dx.doi.org/10.1215/00267929-7777780.
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Abstract Can literary history be done without the conventional reliance on linear periodization? What might a literary history of modernism look like without the usual periodization of roughly 1890–1940? This essay reviews the arguments for and against periodization and then argues that the new time studies—based in nonlinear concepts of time for the study of the contemporary—offers alternatives to the Eurocentric periodization of modernism. These new temporalities were anticipated by early twentieth-century Euro-American modernism, presented in the essay with an account of the dramatic debate between Albert Einstein and Henri Bergson in 1922 and a discussion of Virginia Woolf’s experiments with the relationality of space and time in her fiction. Multidimensional, layered, and disjunctive concepts of time are better suited for the study of planetary modernisms that incorporate the colonial and postcolonial modernities. Kabe Wilson’s multimedia installation based on a remix of A Room of One’s Own and selected criticism on modernism are used to illustrate alternatives to linear periodization.
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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, n. 4 (19 dicembre 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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Henrot Sostero, Geneviève. "Approaches to Teaching Proust’s Fiction and Criticism edited by Elyane Dezon-Jones and Inge Crosman Wimmers". Studi Francesi, n. 145 (XLIX | I) (1 luglio 2005): 196–97. http://dx.doi.org/10.4000/studifrancesi.36627.
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Huisman, Rosemary. "The discipline of English Literature from the perspective of SFL register". Language, Context and Text 1, n. 1 (4 febbraio 2019): 102–20. http://dx.doi.org/10.1075/langct.00005.hui.
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AbstractThe paper first traces the history and elaboration of the tertiary discipline English Literature through the 19th and 20th centuries to the present day, with special focus on the axiology, the values, given to the discipline and with a brief account of literary criticism and literary theory. It then refers to the work on registerial cartography in systemic functional linguistics (SFL) and explores the register of the contemporary discipline in first-order field of activity and second-order field of experience, with examples from the language of webpages and exam papers of Australian universities. It continues with a brief overview of the author’s own work using SFL in the study ofthe poeticandthe narrativein English poetry and prose fiction of different historical periods and concludes with a caveat on the central disciplinary process, that of interpretation.
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Johnsen, Rosemary Erickson. "Reading on the Dark Side: Or, the Productive Pleasures of the Scholarly Administrator". Reception: Texts, Readers, Audiences, History 15 (luglio 2023): 65–72. http://dx.doi.org/10.5325/reception.15.1.0065.
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ABSTRACT This article builds on the models of the teacher-scholar and the public scholar to delineate the role of the scholarly administrator. Literary studies faculty members who transition to the administrative ranks face obstacles to continuing their scholarly research and writing, and Johnsen argues that such administrators should persevere in their efforts as these can serve ethical, civic, and institutional progress. Reading is the foundation for this work, and scholarly administrators should read widely for pleasure and productivity. Sources include literary criticism on women’s writing, crime fiction, and mass observation along with personal experience as faculty member and academic affairs administrator.
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Basu, M. "A Matter of Light and Shade: Fiction and Criticism in R. K. Narayan's Malgudi". boundary 2 40, n. 2 (1 giugno 2013): 215–38. http://dx.doi.org/10.1215/01903659-2151857.
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Zibrak, Arielle. "The Progressive Era’s New Optimists". American Literary History 32, n. 2 (2020): 376–84. http://dx.doi.org/10.1093/alh/ajaa001.
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Abstract New scholarship in the literature and print culture of the Progressive Era emphasizes the socially and politically transformative power of aesthetic experience. Through their attention to the physical as well as ideological spaces in which the dual projects of political reform and cultural formation via textual production and consumption were carried out, these scholars offer an account of Progressive-Era aesthetic products ranging from fiction to journalism to comics to productions of Elizabethan drama as democratic sites of social good. While previous criticism of the era’s literature aligned its ideological orientation with the regressive politics of nativism and rising class divisions, these scholars, through both recovery and rereading, take a more optimistic approach that emphasizes the reciprocal nature of the textual engagement undertaken by immigrants and the working class.
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Fresán, Rodrigo. "The Sebald Case". boundary 2 47, n. 3 (1 agosto 2020): 169–75. http://dx.doi.org/10.1215/01903659-8524479.
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In this essay, the author offers a candid discussion of Sebald’s legacy and the flurry of criticism aimed at securing his place in the literary canon. It engages many of Sebald’s signature themes: memory, amnesia, silence, history, and trauma. The author acknowledges Sebald’s masterful blend of language, photography, and archival material, resulting in a uniquely hybrid narrative form falling somewhere between essay and fiction. The essay is critical of Sebald’s most dedicated admirers—not because of any perceived paucity in Sebald’s work, but rather the shortsightedness of the critical machine that is desperately trying to fossilize Sebald as the end point of modern literature.
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Logan, Peter Melville. "PRIMITIVE CRITICISM AND THE NOVEL: G. H. LEWES AND HIPPOLYTE TAINE ON DICKENS". Victorian Literature and Culture 46, n. 1 (marzo 2018): 125–42. http://dx.doi.org/10.1017/s1060150317000353.
Testo completoAbstract (sommario):
In a controversial article onthe life and fiction of Charles Dickens, George H. Lewes ponders the inexplicable preference of readers for the novelist's too-simplistic characters over the more complex characters of other writers. He finds an answer in the primitive reaction to fine art: “To a savage there is so little suggestion of a human face and form in a painted portrait that it is not even recognized as the representation of a man” (“Dickens” 150). The implication, it would seem, is that readers turn to Dickens because they are similarly incapable of appreciating more refined modes of art. Today the remark reads as gratuitous and insulting to readers, to Dickens, and to the other cultures Lewes stereotypes as savage. At the same time, the casual nature of the passage also suggests that it reflects commonly held beliefs about primitive life, beliefs we do not have but that Lewes and his readers took for granted. He was clearly safe in assuming such a body of common knowledge, for many other articles in theFortnightly Review(in which Lewes's article appeared in 1872) had similar references to primitivism. Reading through the journal issues of the time, the extent to which anthropological concepts had escaped the covers of books on primitive society and taken up residence in the pages of review essays on contemporary issues – from history, to life in the colonies, to life in Britain itself – is striking. In its print context, the comment about savages and art is less isolated and inexplicable than it is representative of a broad turn to the topic of primitivism in social commentary and analysis during the 1870s.
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Hill, L. "The Power of Rhetoric, the Rhetoric of Power: Jean Paulhan's Fiction, Criticism, and Editorial Activity". French Studies 62, n. 1 (1 gennaio 2008): 96–97. http://dx.doi.org/10.1093/fs/knm267.
Testo completo
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Wanzo, Rebecca. "The Unspeakable Speculative, Spoken". American Literary History 31, n. 3 (2019): 564–74. http://dx.doi.org/10.1093/alh/ajz028.
Testo completoAbstract (sommario):
Abstract Exploring various absences—what is or should not be represented in addition to the unspeakable in terms of racial representations—is the through line of three recent books about race and speculative fictions. Mark C. Jerng’s Racial Worldmaking: The Power of Popular Fiction (2018) argues racial worldmaking has been at the center of speculative fictions in the US. In Posthuman Blackness and the Black Female Imagination (2017), Kristen Lillvis takes one of the primary thematic concerns of black speculative fictions—the posthuman—and rereads some of the most canonical works in the black feminist literary canon through that lens. Lillvis addresses a traditional problem in the turn to discussions of the posthuman and nonhuman, namely, what does it mean to rethink black people’s humanity when they have traditionally been categorized as nonhuman? Sami Schalk’s Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction (2018) speaks to the absence of a framework of disability in African American literature and cultural criticism. In addressing absence—or, perhaps silence—Schalk offers the most paradigm-shifting challenge to what is speakable and unspeakable: the problem of linking blackness with disability and how to reframe our treatment of these categories.
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Buell, Lawrence, e Christof Mauch. "Imagining Rivers: The Aesthetics, History, and Politics of American Waterways. A Conversation Between Lawrence Buell and Christof Mauch". Review of International American Studies 14, n. 1 (30 settembre 2021): 229–37. http://dx.doi.org/10.31261/rias.10414.
Testo completoAbstract (sommario):
This contribution features a transatlantic conversation between Christof Mauch, environmental historian and Americanist from Ludwig Maximilian University in Munich, and Lawrence Buell, literary scholar and “pioneer” of Ecocriticism from Harvard University. Buell’s The Environmental Imagination: Thoreau, Nature Writing, and the Formation of American Culture (1995) marked the first major attempt to understand the green tradition of environmental writing, nonfiction as well as fiction, beginning in colonial times and continuing into the present day. With Thoreau’s Walden as a touchstone, this seminal book provided an account of the place of nature in the history of Western thought. Other highly acclaimed monographs include Writing for an Endangered World (2001), a book that brought industrialized and exurban landscapes into conversation with one other, and The Future of Environmental Criticism: Environmental Crisis and Literary Imagination (2009), which provides a critical survey of the ecocritical movement since the 1970s, with an eye to the future of the discipline.
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Gómez-de-Tejada, Jesús. "Parodia, intertextualidad y sátira en la narrativa policial de Lorenzo Lunar Cardedo". Studia Romanica Posnaniensia 47, n. 1 (15 marzo 2020): 5–17. http://dx.doi.org/10.14746/strop.2020.471.001.
Testo completoAbstract (sommario):
Detective fiction as parodic reformulation of genre’s defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region’s societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo’s style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction.
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Byrne, Deirdre C. "“The Wings of the Redwing Hawk”". Extrapolation: Volume 63, Issue 2 63, n. 2 (1 luglio 2022): 181–204. http://dx.doi.org/10.3828/extr.2022.12.
Testo completoAbstract (sommario):
Ursula K. Le Guin is well known and widely studied for her outstanding career as an author of speculative fiction. There is much less scholarly criticism of her poetry, which constitutes eleven volumes (Ursula K. Le Guin Literary Trust) and deserves sustained attention. This article explores one section of her poetry—the poems published in Always Coming Home (1986, hereafter ACH)—as a response to the environmental degradation that has been the hallmark of the past two centuries. I explore Le Guin’s creative practices within the framework of her insistence on a flattened ontology where humans and nonhuman living beings enjoy equal status and humans’ dependency on nonhuman nature is acknowledged. The article probes the status of the poems in an exceptionally innovative text, namely the imagined history of a people who “might be going to have lived a very long time from now in Northern California” (ACH n.p.). In exploring Le Guin’s view of human inter- and intra-actions with nonhuman animals, I also take note of the formal features of the poems which are intertwined with their semantic aspects.
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FREADMAN, ANNE. "Writing for the Papers: Colette’s Chroniques and the Question of Genre". Australian Journal of French Studies 60, n. 4 (14 dicembre 2023): 442–54. http://dx.doi.org/10.3828/ajfs.2023.38.
Testo completoAbstract (sommario):
Apart from her familiar fiction and memory writing, Colette wrote hundreds of short pieces for the periodical press. Some of these are theatre and music criticism; many are chroniques. This article selects several of these in which Colette reflects on this very fluid genre. Firstly, she receives advice from a child about writing without an assigned topic. This is a parodic poetics. Secondly, she tells us where she finds her topics: it is in the streets, not in the “factory” that makes the paper. Yet, in an evident paradox, her vehicle for this lesson is a story about crackpots who do not respect this boundary. Thirdly, in another paradox, she wanders in the streets, writing while taking time off from writing. This last chronique foreshadows the work of Ross Chambers on Loiterature.
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Lisowska, Katarzyna. "Women and Intertextuality: On the Example of Margaret Atwood’s The Penelopiad". Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre 2, n. 1 (1 gennaio 2014): 18–27. http://dx.doi.org/10.18778/2353-6098.2.03.
Testo completoAbstract (sommario):
The aim of the study is to consider feminist retellings of myths and legends. As an example, Margaret Atwood’s book The Penelopiad is analyzed. The interpretation is situated in a broader context of intertextual practices characteristic of the feminist vision of literature. I present the ideas which Atwood shares with authors engaged in women’s movement. Among these there is Atwood’s understanding of intertextuality (noticeable especially in The Penelopiad). Bibliographical basis of the study comprises books which are fundamental to feminist and gender criticism (e.g. Poetics of Gender, ed. by N. Miller, New York 1986; S. M. Gilbert, S. Gubar The Madwoman in the Attic. The Woman Writer and the Nineteenth- Century Literary Imagination, New Haven and London 1984). What is more, the study refers to the books which allow considering the notion of intertextuality (G. Allen, Intertextuality, London and New York 2010, J. Clayton. E. Rothstein (eds.), Influence and Intertextuality in Literary History, Wisconsin 1991) and connecting the interpretation with the problems crucial to contemporary literary studies (L. Hutcheon L. A Poetics of Postmodernism. History, Theory, Fiction, New York and London 1988, B. Johnson, A World of Difference, Baltimore and London 1989).
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Tobin, Vera. "Ways of reading Sherlock Holmes: the entrenchment of discourse blends". Language and Literature: International Journal of Stylistics 15, n. 1 (febbraio 2006): 73–90. http://dx.doi.org/10.1177/0963947006060556.
Testo completoAbstract (sommario):
Current work on conceptual integration and literary texts often features detailed analysis of a single reading of a text in terms of the conceptual integration networks involved in constructing that interpretation. However, a single linguistic form can inspire manifold readings. This article takes a historical view of the conceptual blends involved in a range of different literary interpretations generated by different groups of readers of a single set of texts, the Sherlock Holmes detective stories by Arthur Conan Doyle. First, it examines the case of the numerous and diverse historical readers who took these fictional texts to be non-fiction, and how their conceptions mirror and diverge from the ways readers become immersed in texts they know to be fiction. This is followed by an analysis of the early ‘Sherlockian’ essays, criticism operating under the pretense of a historical Holmes and a historical Watson who recorded his adventures with varying accuracy. In the Sherlockian tradition, something very like the naïve believer stance independently emerges from this playful and parodic novel blend. The history of this stance among its practitioners is then shown to be an example of the routinization of a blend within a discourse community. These complex discourse blends turn out to have much the same capacity for entrenchment and semantic change as any grammatical construction.
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Kisantal, Tamás. "The Practical Past as a Field of Metahistorical Approach. Some Remarks on the Contemporary Situation of Historical Theory". Acta Universitatis Sapientiae, Philologica 11, n. 1 (1 novembre 2019): 109–23. http://dx.doi.org/10.2478/ausp-2019-0008.
Testo completoAbstract (sommario):
Abstract The narrative theory of history that studies historical works from the viewpoint of their narrative, rhetorical devices, and ideological strategies highly emphasized the necessity of renewing historiography. In his early essays, the trend’s founding father, Hayden White, positioned history between art and science or fiction and reality and defined the role of historical theory as a kind of “critical historiography” that is both a criticism of actual historical works and a prescriptive theoretical approach with which the contemporary historical discipline can reform itself. This renewal basically meant a formal reorganization with which the historical works and the historical discipline itself could come closer to literature by using narrative methods and rhetorical devices of recent literary works and films. However, after the 1990s, White and his followers had to face some radical problems that compelled them to rethink the role of recent historiography and their theoretical positions as well. Firstly, the so-called “new” historiography did not actually come into existence, or at least not in a way they suggested. Secondly, new forms of “unofficial” history, from varieties of public history through conspiracy theories to contemporary historical fictions, forced to reconceptualize the task of historical theory and its approach to the social and ideological functions of “official” history. Analysing some recently published works of this trend (above all, Hayden White’s concept of “modernist event” and his distinction between two forms of the past, theoretical and practical), my essay tries to define the situation of historical theory among the forms of contemporary historical experience.
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Zhou, Ziyang. "Analysis of The Great Gatsby from the Perspective of Western Marxism". International Journal of Education and Humanities 10, n. 1 (16 agosto 2023): 20–23. http://dx.doi.org/10.54097/ijeh.v10i1.10912.
Testo completoAbstract (sommario):
Fitzgerald (1896-1940) is one of the most outstanding novelists in America of the 1920s and the spokesman of the “Lost Generation”, as well as the creator of “the Jazz Age”. As a typical writer of “Lost Generation” in the United States during the post-war period of the economic prosperity, he not only experienced false prosperity of “the 1920s-full of clamor” – “the Jazz Age”, but also predicted that it would not last long. His representative works The Great Gatsby, is a novel about a typical American young man -- Gatsby’s pursuit of the American dream, which vividly portraits the trend of money worship and epicureanism in America of the so-called “Jazz Age” and reveals people’s selfishness and indifference in the United States during the economic prosperity period after the World War I. Georg Lukács, a Western Marxist theorist, points out in Historical Novel, critical works that “A historical fiction is a story in which history is set among historical events ”. Fitzgerald’s purpose is to show the postwar social life and mental outlook of the Americans in the 1920s and try to arouse people’s introspection and exploration for the value of survival. Since the advent of the novel, it has been the focus of most critics. Among a large number of comments, most focus on the analysis of the text and the subject matter of the novel, as well as the author’s writing techniques. While few have tried to employ Western Marxist criticism to analyze the themes and techniques of the literature perspectives of Georg Lukács. The paper attempts to conduct an analysis of realistic themes, such as impressionism and symbolism in The Great Gatsby from the theory of Western Marxist criticism to reflecting the corruption of people’s value.
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Di Stefano, Eugenio. "The Rules of the Game in Carlos Reygadas’s “Serenghetti”". Praktyka Teoretyczna, n. 4(50) (28 marzo 2024): 75–108. http://dx.doi.org/10.19195/prt.2023.4.4.
Testo completoAbstract (sommario):
At first glance, Mexican filmmaker Carlos Reygadas’ Serenghetti (2009) appears to be a documentary, capturing nothing more than an amateur women’s soccer match filmed in Santo Domingo Ocotitlán (Morelos, Mexico). Commentary on the film has focused on social issues such as urban development, anthropocentrism, and sport as spectacle. This essay, however, argues that Serenghetti is much more interested in examining the aesthetic dimension of cinema, or what Reygadas calls the film’s “fiction.” In some respects, Serenghetti recalls Douglas Gordon and Philippe Parreno’s Zidane: A 21st Century Portrait (2006), as both movies record complete soccer matches. But where Gordon and Parreno’s film engages, as Michael Fried contends, with the issue of absorption in contemporary art, this essay suggests that Reygadas’s film is concerned with contesting an anti-representational account of cinema, particularly the question of time, which has been central to how slow cinema scholarship has understood his work. Indeed, since his Cannes award-winning film Japón (2001), Reygadas’ films have been labeled as slow cinema—films that are understood less as a representation of time than as what Thiago de Luca calls “duration itself.” This essay proposes that through the concept of the soccer game, Serenghetti not only asserts itself as fiction but also, in doing so, provides a reading of cinematic time that challenges many political and aesthetic fantasies endorsed by contemporary cultural criticism.
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Solis, Luis. "Three Voices in the Wake of an Earthquake". University of Bucharest Review. Literary and Cultural Studies Series 9, n. 2 (19 novembre 2020): 34–43. http://dx.doi.org/10.31178/ubr.9.2.4.
Testo completoAbstract (sommario):
Like practically every single country, Mexico has had its fair share of pain and trauma. Bloodshed and utter devastation are rife in Mexico’s modern history. To civil wars and —in recent years— drug-related violence, one has to add the destruction and horror caused by earthquakes. The seism that devastated Mexico City on the 19th of September was the most destructive and painful in living memory. As an uncanny coincidence, also on the 19th of September, but in 2017, another earthquake hit the capital. Perhaps not surprisingly, Mexican novelists and poets have written profusely about their country’s long history of seismic destruction. Poet and journalist Manuel Gutiérrez Nájera —who ushered Mexican letters into Modernism— chronicled the earthquake of the 2nd of November 1894. For his part, Juan Rulfo — arguably Mexico’s most important fiction writer of the twentieth century— penned the “The Day of the Earthquake”, included in his collection of short stories The Plain in Flames, published in 1953. Rulfo uses a natural disaster and its toll as a metaphor for the unbridgeable gap between the political elites and the dispossessed. Finally, José Emilio Pacheco published a series of poems on the 1985 earthquake, the aftermath of which was felt not only in terms of human suffering, but also as a watershed event that ultimately resulted in social and political upheaval. An idiosyncratic brand of humour, trenchant criticism, and a sense of the ineffable before the enormity of utter devastation are some of the ways three of Mexico’s best poets and writers have found to cope with catastrophe and trauma.
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Mundeja, Ruchi. "‘Always half-and-half’: ‘Voyage in’ as halfness in Jean Rhys’s short fiction". Short Fiction in Theory & Practice 13, n. 1 (1 marzo 2023): 53–66. http://dx.doi.org/10.1386/fict_00073_1.
Testo completoAbstract (sommario):
From the initial years when criticism on the writer Jean Rhys largely circled around Wide Sargasso Sea to an interest in her other novels growing since then, Rhys’s short stories have evoked comparatively scant critical interest. Yet the thematic concerns in her short stories contribute as vitally to the writer’s continuing close scrutiny of coloniality as her novels do. In this article, it is the criss-cross traffic of imperialist voyages that is looked at through Rhys’s short stories. The thematics of contamination, bastardization and halfness that these stories probe complicate more utopian theorizations of cosmopolitanization. The voyage into the imperial capital is inseparable from the experience of creolized, stigmatized, ‘halfness’ in Rhys’s corpus and that makes for a contestatory understanding of the polyphony often ascribed to these increasingly porous cityscapes. This article looks at two stories from the writer, ‘Overture and Beginners Please’ and ‘On Not Shooting Sitting Birds’, both foregrounding the ex-centric position of the women protagonists who are specifically tied to a Caribbean background, to suggest how Rhys’s work haunts that writing of the trope of voyaging whereby the brutal abrasions of colonial history are retrospectively subsumed into the more pluralistic folds of hybridity. In these stories, the journey into the imperial metropolis sets up a probe into the limits and blindspots of cosmopolitan Europe in the early to mid-twentieth century. Rhys’s short fiction spectrally interrupts the modernist narrative of aesthetic border-crossings to tell another, more experiential, one, where boundary crossing is a haunted experience from the point of view of those voyaging in.
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D, Yogalakshmi, e Vijayalakshmi S. "The Gift of Writers in Animating the Past to the Present as Tales of Remembrance: A Comparative Study of Salman Rushdie’s Victory City and Amitav Ghosh’s Jungle Nama". World Journal of English Language 13, n. 7 (25 luglio 2023): 292. http://dx.doi.org/10.5430/wjel.v13n7p292.
Testo completoAbstract (sommario):
The research focuses on how fantasy is manifested as part of storytelling. Salman Rushdie’s Victory City (2023) and Amitav Ghosh’s Jungle Nama (2021) adopt ancient myths and histories that serve as remembrance tales. Both Rushdie and Ghosh evince a common interest in exploring social issues in their writings through an allegorical form. Rushdie’s Victory City is about the history of the Vijayanagar Empire, one of the most distinguished empires of medieval India (14th century to 16th century). Rushdie submitted his final edits of Victory City before the attack in New York City (Chautauqua) for his controversial novel The Satanic Verses. In the month of August 2022, he was stabbed in public by a youngster. He tweets that there is no freedom for authors to express themselves through writing. So, the research focuses on how fantasy serves as a tool for authors to express their views. His Victory City made him overcome all the negative criticism that he had encountered during the attack. Ghosh’s Jungle Nama also adopts the history of Sundarbans’ Forest goddess, Bon Bibi. Ghosh through his narration blends the myth and history of Bon Bibi who have been worshipped for centuries by the people of Sundarbans. Blending the real and imaginary in both fictions greatly challenges the differentiation between authenticity and fantasy. The supernatural phenomena in these narratives transport the reader from reality as a kind of escapism. During this, the characters in the fiction recall the past events and visions of the future in their present, and these aspects are also explored in the analysis. Victory City and Jungle Nama encounter the experience of mysticism in their narration which embarks on a voyage of difficulties and hindrances in the unreal world. Both these speculative fiction explore the concepts of fantasy and mystery so the theory of Magical Realism is applied to the strange creatures, other worlds, evils, demons, and demi-gods that exist in the fanciful setting which is also discussed.
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Lopez, Beatriz. "Muriel Spark and the Art of Deception: Constructing Plausibility with the Methods of WWII Black Propaganda". Review of English Studies 71, n. 302 (4 agosto 2020): 969–86. http://dx.doi.org/10.1093/res/hgaa039.
Testo completoAbstract (sommario):
Abstract From May to October 1944, Muriel Spark was employed by the Political Warfare Executive (PWE), a secret service created by Britain during the Second World War with the mission of spreading propaganda to enemy and enemy-occupied countries. This was a formative experience which allowed her to develop an understanding of literal truth as elusive and historically contingent—even a constructed effect—as well as an interest in fictional fabrication and deception. Drawing on an account of the methods of WWII British black propaganda, Spark’s biographical accounts, and heretofore untapped archival documents from the Political Warfare Executive Papers (National Archives), this essay analyses how Spark employs the fictional equivalent of the methods of WWII black propaganda in order to examine the creation of plausibility in her novels. It explores Spark’s deployment of verifiable facts, evidence, precise information, appropriate tone, narrative coherence, targeting, covert motives, chronological disruption and repetition to construct the key elements of fiction in her novels. I argue that such fictional strategies provide a political and moral antidote to totalitarian thinking by presenting reality as necessarily contingent, and therefore open to external contestation and democratic debate. Bringing together history, biography and literary criticism, this is the first systematic and archivally supported examination of how Spark’s work for the PWE opens up a way of rethinking her fascination with the art of deception.
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Üstün Külünk, Sema. "The novel Mütercim as a site of transfiction: A case of translation in life and the translation of life in the transformational republican era in Turkey". International Journal of Translation and Interpreting Research 15, n. 1 (28 febbraio 2023): 236–52. http://dx.doi.org/10.12807/ti.115201.2023.a12.
Testo completoAbstract (sommario):
Translation has a rich history in Ottoman and Turkish literature, and a study of transmesis in a transfiction has great potentials for analyzing the praxis and pragmatics of translation in Turkey. This study focuses on the translational action in the mirror of fiction with a case study on the Turkish novel Mütercim (2013) [Translator] by Alper Gürkan. Investigating translation both as a performance (i.e., text) and an experience (i.e., agency), the analysis is constructed upon four categories: 1) actual translation in its technical sense; (2) the agency of the translator as a subject and object of the translation; (3) figurative/metaphoric use of translation; and (4) the potentials of mistranslation vis-a-vis pseudotranslation. The multi-layered translational baggage of the novel serves as a site par excellence to delimit the definition of translation, which begins as a faithful translation and ends up as an almost genuine writing, a mistranslation in the novel. Skillfully imposed attributions to change, transformation, fragmentation, and dislocation under a translational context determine the fate of both the text and the agent in Mütercim: corrupted and originally lost. This elegy for origins resonates in the discourse of the author as neo- Ottoman fantasy where we witness the emergence of translation as the lieu of historical criticism under the guise of a transfiction.
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Wang, Yuanfei. "Java in Discord". positions: asia critique 27, n. 4 (1 novembre 2019): 623–52. http://dx.doi.org/10.1215/10679847-7726916.
Testo completoAbstract (sommario):
In the late sixteenth century, thriving private maritime trade brought forth maritime trouble to the late Ming state. In times of rampant “Japanese” piracy and Hideyoshi’s invasion of Korea, Chinese literati composed unofficial histories and vernacular fiction on China’s foreign relations. Among them, Yan Congjian 嚴從簡 wrote Shuyu zhouzi lu 殊域周咨錄 (Records of Surrounding Strange Realms) (1574), He Qiaoyuan 何喬遠 compiled Wang Xiangji 王享記 (Records of the Emperors’ Tributes) (1597–1620), Luo Yuejiong 羅曰褧 penned Xianbin lu 咸賓錄 (Records of Tributary Guests) (1597), and Luo Maodeng 羅懋登 composed a vernacular novel Sanbao taijian xiyangji tongsu yanyi 三寶太監西洋記通俗演義 (Vernacular Romance of Eunuch Sanbao’s Voyages on the Indian Ocean) (1598). This article examines how the imminent maritime realities reminded the late Ming authors of one cross-border war and two genocides in Java and Sanfoqi during Yuan and early and mid-Ming times. These transgressions that violated Chinese official tributary order became memorable and made Sino-Java relations a definite point of comparison for the late Ming maritime piracy problems. This article argues that the cultural memory of Sino-Java military and diplomatic exchange enabled the authors to lament and condemn the executed pirates Wang Zhi and Chen Zuyi. The four authors imbue their narratives with personal anxieties and nationalistic sentiments. While the historical narratives tend to moralize and idealize China’s tributary world order, the vernacular fiction paints a more realistic picture of the late Ming state by involving heterogeneous voices of the “other.” Collectively, the four narratives represent various images of the Ming Empire, revealing the authors’ deep apprehension of the Mings’ identity, their political criticism of the state, and their divergent and even self-conflicted views toward maritime commerce, immigrants, and people of different races.
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Anih, Uchenna Bethrand. "Une redéfinition du féminisme africain dans Femme nue, femme noire de Calixthe Beyala, romancière à contre-courant". International Journal of Francophone Studies 26, n. 1 (1 giugno 2023): 75–87. http://dx.doi.org/10.1386/ijfs_00056_5.
Testo completoAbstract (sommario):
This article examines the issues of literary impudence and homosexuality so much repudiated by African feminist theorists in Calixthe Beyala’s erotic novel, Femme nue, femme noire. It reflects on the pertinence of using African feminist ideologies in the criticism of Beyala’s fictions considering the fact her novelistic themes run contrary to the African feminist postulation where homosexuality, sex work and other transgressive tendencies constitute a strange and imported phenomenon. This article analyses the radicalization of African feminism through a close reading of Calixthe Beyala’s Femme nue, femme noire by highlighting recourse to subversion as a radical tendency in Beyala’s writings, which consists not only subverting the status quo through engaging in taboo-related discourse but also defending the sexual independence of the modern African woman as a form of emancipation. It concludes that the novel exhibits a new African feminism which is neither adapted to the collective feminist ethics nor to the African literary canon but to the individual feminine reality aimed at the total emancipation of the African woman.
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Lucey, Michael. "Aesthetic Apprehension and the Novel". PMLA/Publications of the Modern Language Association of America 125, n. 2 (marzo 2010): 404–9. http://dx.doi.org/10.1632/pmla.2010.125.2.404.
Testo completoAbstract (sommario):
Even Though the Range of Aesthetic Objects that Have Captured Leo Bersani's Attention Over the Years is Wide, The Novel remains one of the more privileged objects among them and could arguably be taken as the point of departure for many of his reflections. His attention has been on the modern French novel in particular, from Honoré de Balzac to Marcel Proust and Samuel Beckett—Proust and Beckett being two of the writers to whom Bersani has returned with the most frequency and inventiveness over the years. In the 1960s Bersani began elaborating a critical agenda for the reading of novels in books such as Marcel Proust: The Fictions of Life and Art (1965) and Balzac to Beckett: Center and Circumference in French Fiction (1970). His critical references in these books are also mainly French or francophone. He positions himself in various kinds of opposition to literary critics of the time like Jean Starobinski, Georges Poulet, and Jean-Pierre Richard, as well as the early Roland Barthes. This is also the moment when a certain number of other now familiar French thinkers were beginning to be read in the United States, and so Balzac to Beckett opens with a favorable reference to Michel Foucault, the author of The Archaeology of Knowledge, and Jacques Derrida, the author of Of Grammatology. Bersani notes that these two books represent “in recent years … the most brilliant analyses of the history and consequence of those habits of thought” that believe that “significance precedes experience, which is both expressive and deceptive and which therefore needs to be decoded or interpreted” (4). For Bersani it is a failure of critical imagination to assume that present experience comes to be meaningful solely or primarily in relation to prior structures of meaning, which are simply rehearsed or repeated, instantiated or exemplified, by way of new experience. One could do worse than imagine that at the core of all Bersani's work is an effort to challenge the priority or precedence given by many writers and critics to significance over experience, and it is in this light that an association with some of the critical impulses (impulses that strive after yet-to-be-determined futures) of Derrida and Foucault makes a certain sense. Starobinski, Poulet, and Richard are often grouped together as “phenomenological critics,” critics who view a literary work as the expression of the patterns and structures by means of which a particular consciousness apprehends the world and who view the critical task as that of revealing the patterns or structures of apprehension that characterize a particular artistic subjectivity and allow it to produce a particular image of the world. Bersani's disagreement with these critics had to do with their focus on the “secret thematic selves which inform the writer's work but which the language of the work does not explicitly express.” Thus, “the writer's self” is equated to the work's “principal theme,” and such criticism places an emphasis on “centers … from which particular performances ‘radiate’ and back to which the critic draws the work” (Balzac 16–17). Bersani's preference, in opposition to this “centripetal” critical impulse, has been for “centrifugal” forces, both in art and in criticism: “My commitment to … open-ended, projective, and self-contesting art … will be expressed by a critical emphasis on those occasions in fiction which tend to disintegrate theme” (19).
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De Grazia, Diane. "Carl Goldstein. Visual Fact over Verbal Fiction. A Study of the Carracci and the Criticism, Theory, and Practice of Art in Renaissance and Baroque Italy. Cambridge: Cambridge University Press, 1988. 143 figs. + xix + 244 pp. $59.50." Renaissance Quarterly 42, n. 4 (1989): 866–68. http://dx.doi.org/10.2307/2862304.
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Grimberg, Phillip. "The Objectionable Li Zhi: Fiction, Criticism, and Dissent in Late Ming China. Edited by Rivi Handler-Spitz, Pauline C. Lee, and Haun Saussy. Seattle: University of Washington Press, 2021. vii, 265 pp. Map, Glossary, Bibliography, List of Contributors, Index. US$ 30 / € 28.30 (PB). ISBN 978-0-295-74838-2". Monumenta Serica 70, n. 1 (2 gennaio 2022): 262–66. http://dx.doi.org/10.1080/02549948.2022.2061187.
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