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Artykuły w czasopismach na temat "Literature fiction history criticism general"
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Poncarová, Petra Johana. "Spatial and Sonic Monstrosities in William Hope Hodgson’s “The Whistling Room”". AUC PHILOLOGICA 2022, nr 2 (16.03.2023): 67–77. http://dx.doi.org/10.14712/24646830.2022.38.
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The article focuses on the corpus of tales featuring “Carnacki, the Ghost-Finder” by the British author William Hope Hodgson, an influential figure in the history of horror, fantastic literature, and speculative fiction. Drawing both on classical works of criticism by Tzvetan Todorov and Dorothy Scarborough and on the rather scarce corpus of scholarship devoted to Hodgson himself, the essay analyses the employment of space and sound in “The Whistling Room”.
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f, f. "Daily life and literature in China's modern times, its recollection and representations: Focusing on ‘Detective Novels’". Society for Chinese Humanities in Korea 85 (31.12.2023): 355–82. http://dx.doi.org/10.35955/jch.2023.12.85.355.
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Modern China had all the conditions for the development of popular fiction such as detective novels, thanks to the development of various modern media, the expansion of mass education, and urbanization. In addition to the basic principles of presenting a case and resolving it logically, detective novels have secured their own unique territory based on the selection of themes that attract readers' attention, the surprise of unexpected endings, and the scientific knowledge and rational thinking that can convince readers. The popularity of modern detective novels in China is closely related to the daily life of modern society, which dynamically reflects the tastes and hobbies of the times and the specificity of modern thinking and perception. This paper is motivated by the same problem: in order to approach the substance of modern Chinese detective fiction, it is necessary to understand the cultural and literary characteristics of the society in which it is written. Therefore, this paper aims to identify the modern ideas and perceptions that made detective novels possible as a genre of fiction based on a comprehensive set of texts, including detective novels, as well as related novel publicity, event reports, and novel criticism, during this period. Specifically, it explored the daily life and literature of modern China, focusing on the aesthetic phenomena of expectation and fun in detective fiction. Second, it examined detective fiction in terms of the logic of the Enlightenment, represented by scientific knowledge and rational thinking. Third, it explored the possibilities of detective fiction in terms of hobby tastes as a modern reading material. This study, which examines the daily life and literature of modern China, as well as its memory and representation, through the analysis of modern Chinese detective fiction works and extracurricular materials, will provide an opportunity to reestablish the status of detective fiction.
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Fuehrer, Bernhard. "The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]". China Quarterly 178 (czerwiec 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.
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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.
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Stachura, Paweł. "Anticipation and Divination of Technological Culture: Dialectic Images of the Internet in Emerson’s Nature". Polish Journal for American Studies, nr 10 (2016) (29.08.2023): 147–62. http://dx.doi.org/10.7311/pjas.10/2016.09.
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The article presents certain aspects of the Internet (interface design, user behavior, advertising, codes of conduct) as new incarnations of the American pastoralism, defined in terms derived from literary criticism and history of American literature. The rationale of this procedure is provided in terms of “dialectic images,” which are old pieces of imagery that seem to anticipate subsequent technological and social developments. Of particular importance is the set of dialectical images derived from Ralph Waldo Emerson’s writings, and the pastoral descriptions of nature derived from various American poets and fiction writers. Arguably, dialectic images of the Internet offer an opportunity for a better understanding of contemporary development of the Internet, and its possible future.
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Osmukhina, O. Yu, A. D. Karpov i E. A. Beloglazova. "Christian Context of Historical Novel (Zakhar Prilepin’s “Abode”)". Nauchnyi dialog, nr 9 (29.09.2021): 181–99. http://dx.doi.org/10.24224/2227-1295-2021-9-181-199.
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The specificity of the synthesis of elements included in the historical narrative, and Christian motives, images in the novel of the largest contemporary Russian prose writer Zakhar Prilepin is comprehended in the article. The relevance of the article is due to the need to build a coherent and consistent history of the development of Russian literature over the past two decades, an important part of which is the legacy of the popular writers. The scientific novelty of the work lies in the fact that for the first time in Russian literary criticism “Abode” is considered from the proposed perspective: its genre specificity is analyzed in a Christian context. It has been established that, despite the presence of elements of documentary, adventurous, love-psychological novels, in terms of genre, “The Abode” can be attributed to a historical novel (it depicts a turning point in Russian history through a conflict between historical figures and fictional “average” heroes, combines historical facts and fiction). At the same time, an interest in eternal moral issues, problems of life and death, conscience and duty, love and fidelity in their Christian understanding becomes a feature of Prilepin’s understanding of the historical theme. In their work, the authors of the article used comparative historical, biographical, socio-cultural methods, as well as the method of a holistic analysis of a work of art.
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Sozina, Elena K. "Epoch / Period vs Generation in the Literary and Critical Consciousness of the 19th Century". Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, nr 3 (2022): 9–25. http://dx.doi.org/10.15826/izv2.2022.24.3.041.
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This article analyses the functioning of the concepts of “epoch”, “period”, and “generation” in nineteenth-century literature, criticism, and literature studies. The concept of “epoch” presupposes a linear stage understanding and interpretation of history, and “period” can also be used within other concepts of historical development. The “epoch”, sometimes replaced by the “century”, and the “period” were traditionally used as measurement units of literature and culture history (cf. works of A. Bestuzhev, I. Kireevsky, V. Belinsky, etc.). One of the first periodisations of the history of Russian literature which employed these concepts was given by I. M. Born. The concept of “generation” in its meaning contains a biological, natural connotation, and therefore is not necessarily associated with the linear stage understanding of historical time. As S. N. Zenkin puts it, “a generation is time embodied in people, in their dramatic destiny”. The concept of “generation” is often used in periods of historical time which require a person to comprehend themselves and their place in history. A good example is Romanticism in the first decades of the nineteenth century. Another factor that actualises generational problems is the influence of biological and naturalistic ideas when a community motif of people doomed to be born and live with this influence “in their blood” emerges in this quite unfavorable time. This situation is considered by the author of this paper regarding the functioning of the “generation” concept in A. P. Chekhov’s works, who actively marked himself as belonging to the eighties’ “artel” (generation) in the 1880s. This concept as a subject of his characters’ argument subsequently recurs in Chekhov’s works of fiction. All the concepts mentioned are also analysed in the History of the Russian Literature of the 19th Century (1908–1911, ed. D. N. Ovsyaniko-Kulikovsky), which summed up the achievements of the nineteenth-century cultural and historical school. The author emphasises how this book (History...) develops a method of working with these concepts, and this method later comes in demand with the twentieth-century humanities.
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Kozlyk, Ihor. "Being a Literary Critic: The Methodology of Specialist’s Life in the Profession (based on B. F. Egorov’s epistolary oeuvre)". Pitannâ lìteraturoznavstva, nr 104 (27.12.2021): 197–238. http://dx.doi.org/10.31861/pytlit2021.104.197.
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The article, which is historical and scientific by character, presents the current humanitarian issues of professional epistolary communication of an outstanding Russian literary critic, Doctor of Philology, Professor B. F. Egorov (1926–2020) with fellow literary critics. The main directions of scientist’s active and versatile practices are considered on the grounds of his published letters and some letters to him in 1998–2020. The article focuses on professional communication and interaction between Ukrainian and Russian literary critics in the complex modern socio-historical and political conditions of interstate relations. The letters are published for the first time and are accompanied by the necessary historical and cultural comments and bibliographic notes. The material contained in them is important not only for the history of Russian and East Slavic literary criticism of the 20th century, but also it is relevant in terms of the prospects of academic studies of literature and the development of productive communication between scholars studying fiction in order to perform the main cultural function of literary studies.
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Bareis, J. Alexander. "The Implied Fictional Narrator". Journal of Literary Theory 14, nr 1 (1.03.2020): 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.
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AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular during the heyday of classical literary narratology. For scholars like Genette (1988) and Cohn (1999), the category of the fictional narrator was at the centre of theoretical debates about the demarcation of fiction and non-fiction. Arguably, theorising about the fictional narrator necessitates theorising about fiction in general. From this, it follows that any account on which the fictional narrator is built ideally would be a theory of fiction compatible with all types of fictional narrative media – not just narrative fiction like novels and short stories.In this vein, this paper applies a transmedial approach to the question of fictional narrators in different media based on the transmedial theory of fiction in terms of make-believe by Kendall Walton (1990). Although the article shares roughly the same theoretical point of departure as Köppe and Stühring, that is, an analytical-philosophical theory of fiction as make-believe, it offers a diametrically different solution. Building on the distinction between direct and indirect fictional truths as developed by Kendall Walton in his seminal theory of fiction as make-believe (1990), this paper proposes the fictional presence of a narrator in all fictional narratives. Importantly, ›presence‹ in terms of being part of a work of fiction needs to be understood as exactly that: fictional presence, meaning that the question of what counts as a fictional truth is of great importance. Here, the distinction between direct and indirect fictional truths is crucial since not every fictional narrative – not even every literary fictional narrative – makes it directly fictionally true that it is narrated. To exemplify: not every novel begins with words like »Call me Ishmael«, i. e., stating direct fictional truths about its narrator. Indirect, implied fictional truths can also be part of the generation of the fictional truth of a fictional narrator. Therefore, the paper argues that every fictional narrative makes it (at least indirectly) fictionally true that it is narrated.More specifically, the argument is made that any theory of fictional narrative that accepts fictional narrators in some cases (as e. g. suggested by proponents of the so-called optional narrator theory, such as Currie [2010]), has to accept fictional narrators in all cases of fictional narratives. The only other option is to remove the category of fictional narrators altogether. Since the category of the fictional narrator has proved to be extremely useful in the history of narratology, such removal would be unfortunate, however. Instead, a solution is suggested that emphasizes the active role of recipients in the generation of fictional truths, and in particular in the generation of implied fictional truths.Once the narratological category of the fictional narrator is understood in terms of fictional truth, the methodological consequences can be fully grasped: without the generation of fictional truths in a game of make-believe, there are no fictional narratives – and no fictional narrators. The fictionality of narratives depends entirely on the fact that they are used as props in a game of make-believe. If they are not used in this manner, they are nothing but black dots on paper, the oxidation of silver through light, or any other technical description of artefacts containing representations. Fictional narrators are always based on fictional truths, they are the result of a game of make-believe, and hence the only evidence for a fictional narrator is always merely fictional. If it is impossible to imagine that the fictional work is narrated, then the work is not a narrative.In the first part of the paper, common arguments for and against the fictional narrator are discussed, such as the analytical, realist, transmedial, and the so-called evidence argument; in addition, unreliable narration in fictional film will be an important part in the defence of the ubiquitous fictional narrator in fictional narrative. If the category of unreliable narration relies on the interplay of both author, narration, and reader, the question of unreliable narration within narrative fiction that is not traditionally verbal, such as fiction films, becomes highly problematic. Based on Walton’s theory of make-believe, part two of the paper presents a number of reasons why at least implied fictional narrators are necessary for the definition of fictional narrative in different media and discusses the methodological consequences of this theoretical choice.
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Petrovic, Ivana, i Andrej Petrovic. "General". Greece and Rome 65, nr 2 (17.09.2018): 282–97. http://dx.doi.org/10.1017/s0017383518000244.
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I was very excited to get my hands on what was promising to be a magnificent and extremely helpfulHandbook of Rhetorical Studies, and my expectations were matched – and exceeded! This handbook contains no less than sixty contributions written by eminent experts and is divided into six parts. Each section opens with a brief orientation essay, tracing the development of rhetoric in a specific period, and is followed by individual chapters which are organized thematically. Part I contains eleven chapters on ‘Greek Rhetoric’, and the areas covered are law, politics, historiography, pedagogy, poetics, tragedy, Old Comedy, Plato, Aristotle, and closing with the Sophists. Part II contains thirteen chapters on ‘Ancient Roman Rhetoric’, which similarly covers law, politics, historiography, pedagogy, and the Second Sophistic, and adds Stoic philosophy, epic, lyric address, declamation, fiction, music and the arts, and Augustine to the list of topics. Part III, on ‘Medieval Rhetoric’, covers politics, literary criticism, poetics, and comedy; Part IV, on the Renaissance contains chapters on politics, law, pedagogy, science, poetics, theatre, and the visual arts. Part V consists of seven essays on the early modern and Enlightenment periods and is decidedly Britano-centric: politics, gender in British literature, architecture, origins of British Enlightenment rhetoric, philosophy (mostly British, too), science, and the elocutionary movement in Britain. With Chapter 45 we arrive at the modern age section (Part VI), with two chapters on feminism, one on race, and three on the standard topics (law, political theory, science), grouped together with those on presidential politics, New Testament studies, argumentation, semiotics, psychoanalysis, deconstruction, social epistemology, and environment, and closing with digital media. The volume also contains a glossary of Greek and Latin rhetorical terms. As the editor states in his Introduction, the aim of the volume is not only to provide a comprehensive history of rhetoric, but also to enable those interested in the role of rhetoric in specific disciplines or genres, such as law or theatre and performance, to easily find those sections in respective parts of the book and thus explore the intersection of rhetoric with one specific field in a chronological sequence.
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Kolbuszewski, Jacek. "Uwagi o początkach „literatury górskiej”". Góry, Literatura, Kultura 14 (17.08.2021): 11–48. http://dx.doi.org/10.19195/2084-4107.14.3.
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One of characteristic phenomena in contemporary Polish literary culture is the emergence of a niche phenomenon of mountain literature. The term “mountain literature” has become part of colloquial discourse, also aspiring to be present in the language of literature studies (including literary criticism), which previously featured terms like “Alpine literature”, “mountaineering literature”, “Tatra literature”, “Tatra prose”. Other commonly used terms were “mountain climbing literature” and “exploration literature”. The term “Alpine literature” was introduced into scholarly discourse by Claire-Éliane Engel (1903–1976). The author of the present study points to links between the history of mountain literature, and the history of mountain exploration as well as history of tourism and mountaineering, referring to the literary traditions of various mountain ranges: the Alps, the Tatras, Karkonosze (Giant Mountains), Bieszczady, Gorce, Beskids, Góry Świętokrzyskie (Holy Cross Mountains). In addition, there are strands of research dealing with a typological analysis of mountain motifs and their function. The significance of such studies lies in the fact that they demonstrate in a clear manner the introduction of mountain motifs into literature and the evolution of the artistic forms of their expression. However, transformations in the literary approach to the mountains cannot be documented only by means of a territorial selection of specific motifs, and the whole question of depicting mountains and responding to them cannot be locked within the limited framework of the various national literatures. What is useful in this respect is a comprehensive comparative approach to the subject matter, interpreted both in the synchronic (formation of attitudes) and diachronic perspective (so-called influences, impact of models, borrowing of poetics also in connection with changes in tourist or mountaineering styles). What becomes of crucial significance here is the use of more general categories and comprehensive collective terms — mountain literature, mountaineering literature, mountain climbing literature. These categories encompass works dealing primarily with the mountains and human interactions with them. They bring in a supranational and supraterritorial understanding of the subject of mountains, without limiting the role of territorial detail in the construction of literary motifs and images. In defining mountain literature the author uses the classification of the function of nature motifs in literary works presented by Tadeusz Makowiecki in Sprawozdania Towarzystwa Naukowego w Toruniu in 1951, in his article “Funkcja motywu przyrody w dziele literackim” (Function of a nature motif in a literary work).1 On the other hand, when it comes to the phenomena discussed in the study, what is representative of fiction is a type of narrative genre known as mountain novel (roman de montagne, Bergroman). Referring to archetypic formulas of mountain literature (Dante, Petrarch, Salomon Gessner, Jean A. Deluc, H.B. de Saussure), the author points to their formal aspects: thematic-substantive, linguistic and genological. In addition, he discusses the emergence of mountaineering literature (Edward Whymper, Leslie Stephen, Polish mountaineers’ prose).
Rozprawy doktorskie na temat "Literature fiction history criticism general"
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Van, Hove Hannah Jean. "'How to begin to find a shape?' : situating the mid-twentieth century fiction of Anna Kavan, Alexander Trocchi and Ann Quin". Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8199/.
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This thesis is concerned with situating the works of Anna Kavan (1901-1968), Alexander Trocchi (1925-1984) and Ann Quin (1936-1973) within a discussion of British mid-twentieth century fiction. The relative neglect of these authors in academic criticism may be due to the fact that much British experimental writing has previously been ignored in surveys of this period. This thesis argues that a study of their work warrants a more nuanced understanding of the mid-twentieth century literary landscape than conventional accounts have allowed for. In that sense, it aims to contribute to research undertaken in more recent years which is concerned with revising dominant accounts of this period. The broader framework for the thesis is provided in Chapter 1 which examines past and present accounts and categorizations of mid-twentieth century British fiction. The remaining three chapters then focus on the 1940s work of Kavan, the fiction written during the 1950s by Trocchi and Quin’s novels of the 1960s. As well as contributing to research concerned with overviews of this period, this thesis furthers individual studies of each of the novelists presented here. By drawing on archival material and reading their works in conversation with their time and place, it attempts to understand the ways in which the experimental fiction of these three authors responded to the social, cultural and historical forces at work in Britain between the forties and the sixties. Whilst all three authors started out from a strategy of subjectivity, rooting their experimentation in a turn inwards, their works, as this thesis suggests, can be construed of as political in their concern with drawing attention to the osmotic effects of exteriority on interiority.
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Vázquez-Medina, Olivia. "Cuerpo presente : imaginería corporal, representación histórica y textura narrativa en Yo el Supremo (1974), Noticias del Imperio (1987) y el General en su Laberinto (1989)". Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670014.
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Muscolino, Stephen J. "Writing in real-time, fictions of digitization : the novels of Don DeLillo and Dave Eggers". Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8276/.
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By tracking the intersection of contemporary fiction and the information technologies of the digital age, this thesis argues that the narratives being produced over the past ten years have evolved into a distinct genre of literature, one where the aesthetics of fragmentation and postmodern uncertainty must confront the new realities of a digitally saturated culture and society. In order to demonstrate this alteration in contemporary fiction, this thesis considers novels written within the past ten years that reflect on this new form of textuality, namely Don DeLillo’s Cosmopolis (2003) and David Eggers’ The Circle (2013). These texts demonstrate a paradigm shift in contemporary literature, a new kind of fiction in which American society, culture, economics, and politics, are all directly affected by various forms of digital mediatisation. These authors reflect an altered cultural zeitgeist within their fiction—writings which can be differentiated from the postmodern literary aesthetic—prompted by neoteric digital technologies coupled with the ubiquitous nature of the Internet. Although this topic is broad and covers multiple fields of scholarly interests, my thesis nonetheless concerns itself with a very specific line of questioning: will our authors have the imaginative wherewithal and social sensitivity to keep pace with changes brought forth by the explosion of information technologies? If so, what type of fiction is likely to emerge from this new digital environment? By taking a focused approach and using contemporary literature as representative of these massive social, economic, and political transformations, my research recalls Kurt Vonnegut’s “Canary in the Coal Mine” dictum: the writer has always been the first to notice the dramatic effects of technology on the individual and the culture at large.
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Stratton, Sarah Louise. "More than throw-away fiction : investigating lesbian pulp fiction through the lens of a lesbian textual community". Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8245/.
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This thesis argues for, and conducts close reading on, lesbian pulp fiction published in the United States between 1950 and 1965. Though a thorough investigation of a lesbian textual community centred on the lesbian periodical, The Ladder (1956-1952), this thesis forms a lens through which to closely read lesbian pulp fiction novels. This thesis maintains that members of this textual community were invested in literary discussions, as evinced through the publication of book reviews. Moreover, the lesbian textual community of The Ladder actively participated in literary discussions through the ‘Readers Respond’ column. Spring Fire (1952) by Vin Packer and The Beebo Brinker Chronicles (1957 to 1962) by Ann Bannon are investigated for implicit and explicit criticisms of 1950s sexual politics and the politics surrounding lesbian representation in popular media. For the members of The Ladder’s lesbian textual community, pulp novels belonging to the ‘Golden Age of Paperbacks’ were more than cheaply produced reading materials.
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Allen, Elizabeth. "The dislocated mind : the fiction of Raymond Williams". Thesis, Liverpool John Moores University, 2007. http://researchonline.ljmu.ac.uk/5857/.
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Chan, Wai-ying, i 陳惠英. "Chinese lyrical fiction in the period 1919-1989". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212864.
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Buscall, Jon. "'Being Helle', +, Creative writing at the nexus of fiction & theory : a case study analysis of the interaction between fiction & critical praxis". Thesis, Liverpool John Moores University, 2004. http://researchonline.ljmu.ac.uk/5856/.
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This project is comprised of a novel, Being Helle, and an accompanying dissertation. Being Helle explores in fictional form a number of ideas relating to the uneasy relationship between the individual, digital media and late-capitalism that emerge after undertaking a reading of the fiction of Don Delillo and Bret Easton Ellis alongside the critical theory of Jean Baudrillard and Fredric Jameson. Being Helle interrogates Baudrillard's contentious notion that the hegemony of capitalism undermines the autonomy of the individual subject. This is evident on a number of levels, both stylistically and thematically: the novel explores and reflects how late-capitalism's pervasive digital media affects the writer, the individual and the shape, form and scope of fiction writing. Following the life of photographer Helle Dahl, who has recently moved to Copenhagen, Being Helle ultimately challenges the limits of Jean Baudrillard's theoretical position as regards the influence of capitalism on the individual subject. Although the essential self may well be under attack in an era of rabid capitalism, Being Helle considers whether there are ways and means of formulating some kind of resistance to this, especially through artistic endeavour. The accompanying dissertation, Creative Writing at the Nexus of Fiction & Theory, is a case study analysis of the interaction between reading and creative praxis, focusing in detail on the kind of reading and thinking that took place in the production of Being Helle. In this way, the critical component of this project documents how when a writer engages in reading critical theory alongside fiction a "possibility space" is established which allows for a criticalcreative "cross-over" to occur. In the dissertation I posit that a writer who's methodological approach to novel writing embraces the reading of critical theory and fiction in tandem establishes a useful basis from which an informed cultural debate in the form of a novel can occur.
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Mathews, Peter David 1975. "Strategies of realism : realist fiction and postmodern theory". Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8656.
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Oppelt, Riaan. "The valley trilogy: a reading of C. Loius Leipoldt's English-language fiction circa 1925-1935". Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_7246_1257247882.
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C. Louis Leipoldt is known as a canonical figure in the history of Afrikaans poetry, He is customarily included in the pantheon of writers such as C.J. Langenhoven who not only established Afrikaans as a standardized national language in the early twentieth century, but also contributed to the idea of the Afrikaner Volk as a distinct nation within South Africa. The recent publication of Leipoldt's Valley Trilogy, three novels written in English in the 1930's now reveals Leipoldt in a very different light. Today, in a time of national transformation, Leipoldt's liberal ideas deserve to be given the broader scope he had intended for them.
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Saggers, Emma Louise. "Carnivalesque inversion : the subversive fiction of Kurt Vonnegut". Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19697/.
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This thesis considers the novels of Kurt Vonnegut, focusing on Cat’s Cradle (1963), Player Piano (1952), and Slaughterhouse-Five (1969), through the literary theories of Mikhail Bakhtin. It concentrates on Bakhtin’s carnivalesque inversion from Rabelais and his World (1965), his theoretical perspectives on the text as a site of struggle from The Dialogic Imagination (1975), and the practical application of his theories with the novel as polyphonic from Problems of Dostoevsky’s Poetics (1963). The thesis concentrates on three main themes: religion, technology, and war. Chapter One will examine the theme of religion in Cat’s Cradle. It will consider how religion is presented in society and how fundamental opinion can become embedded in our social and cultural structures. It will further consider the cultural shift in belief from religion to science, juxtaposing the two ideals and highlighting the destructive forces of absolute belief and fundamental opinion. Chapter Two will concentrate on Player Piano, and how technology could have a detrimental effect on the progress of human civilisation. It considers how valuable technology is to the human experience, and what happens to civilisation if humans are forced to surrender everything that gives their lives meaning. Chapter Three will analyse Slaughterhouse-Five, looking closely at the representation of war, and its effects on the mental state of those that are forced to encounter it. It will engage with the ‘ideals’ of war presented in society juxtaposed with the experience of actually taking part in war. Vonnegut critiqued the American social, political and religious structures prevalent throughout his life. To Vonnegut, America had the possibility to become a blueprint for the rest of the world, a role model for the liberation and equality of all human beings, but it needed work.
Książki na temat "Literature fiction history criticism general"
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L, Middleton David, red. Toni Morrison's fiction: Contemporary criticism. New York: Garland Pub., 1997.
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Farner, Geir. Literary Fiction: The Ways We Read Narrative Literature. New York: Bloomsbury Academic, 2014.
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Pulp: Reading popular fiction. Manchester: Manchester University Press, 1998.
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McCracken, Scott. Pulp: Reading popular fiction. Manchester [England]: Manchester University Press, 1998.
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Iatromanolakes, Giorgos. History of a vendetta. Langford Lodge: Dedalus/Hippocrene, 1991.
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Gandolfo, Anita. Faith and fiction: Christian literature in America today. Westport, Conn: Praeger Publishers, 2007.
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Gandolfo, Anita. Faith and fiction: Christian literature in America today. Westport, CT: Praeger Publishers, 2008.
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Gupta, Suman. Contemporary literature: the basics. London: Routledge, 2012.
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M, Hassler Donald, i Wilcox Clyde 1953-, red. Political science fiction. Columbia, S.C: University of South Carolina Press, 1997.
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Geraldine, Brennan, i McCarron Kevin, red. Frightening fiction. London: Continuum, 2001.
Znajdź pełny tekst źródłaCzęści książek na temat "Literature fiction history criticism general"
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Beenstock, Zoe. "Empiricism’s Secret History: Fleetwood and Rousseau". W The Politics of Romanticism. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401036.003.0006.
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Criticism often organizes Godwin’s career by genre, suggesting that Godwin progressed from political theory to sentimental fiction. Instead this chapter argues that Godwin follows Rousseau in writing literature to ‘judge’ his own philosophy. In Enquiry Concerning Political Justice Godwin posits society as prior to the individual. He regards the general good as mandatory rather than voluntary. Godwin’s novels examine the struggles of individuals in conforming to his model of compulsory sociability. In Fleetwood and Mandeville Godwin explores the shortcomings of Rousseau’s theory of individualist education. He fictionalizes Rousseau, Hume, Wollstonecraft, and the First Earl of Shaftesbury, exploring the shortcomings of their theories. In Fleetwood Godwin uses elements of the genre of the secret history to explore political theory’s failure to validate women within the public sphere. Deloraine extends Godwin’s criticism of the social contract tradition for being inherently patriarchal. In Godwin’s writings Rousseau eclipses Aristotle as the founding theorist of sociability.
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Haltrin-Khalturina, Elena V. "From the English Renaissance Literary History: Sherry, Puttenham, Spenser, and Shakespeare on Fictions". W “The History of Literature”: Non-scientific sources of a scientific genre, 132–58. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-132-158.
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A survey of academic histories of literature published in the 19th and 20th centuries in different countries reveals that, while thoroughly covering the English Renaissance poetics, the scholarship allows for a variety of views on Tudor literary theory and on what constitutes literary canon. Considering this variety of views, we also have to be aware of two different perspectives on the large body of literary art of the 16th-century: the present-day and the Elizabethan. Drawing on a substantial number of sources, we offer a general account of influential theoretical (poetological and rhetorical) works known in the 16th-century Great Britain, including those written in English. Also of note are educational treatises, “mirror” literature, and metaliterary comments withing literary works. Authors of those treatises used to interpret fiction as something feigned, counterfeit — an attitude informing ludic passages in Spenser and Shakespeare. Whereas the techniques of fashioning fictions by way of employing figures of feigned/counterfeit representation were addressed in detail by such critics as R. Sherry and G. Puttenham, the poets — Spenser and Shakespeare — seemed to be testing these techniques in practice. Our study pays particular attention to methods used by Spenser and Shakespeare when creating simulated, fictional reality.
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Goodman, Sam. "Introduction: Retrospective Diagnosis: Medicine and Post-Imperial Literature". W The Retrospective Raj, 1–32. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474448741.003.0001.
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The general introduction to the book outlines the critical, cultural and literary contexts of post-imperial fiction, the origins and growth in popularity of the Raj Revival, and the continued, ongoing British fascination with the vanished world of Empire. It considers the recent return to debates over Empire in the public sphere, situating its analysis as informed by nostalgia, historical fiction and the politics of cultural representation. The introduction also outlines the critical medical humanities framework of the book in detail, exploring how medicine is a common thematic link between the real and imagined history of Empire in print cultures past and present. Moreover, the introduction places the book’s major authors (J. G. Farrell, Paul Scott, Ruth Prawer Jhabvala and Salman Rushdie) analysed throughout the chapters within their historical and critical contexts, exploring how literary critics and biographers have appraised their work to date, how India was a defining leitmotif of their work in this period, and how their shared emphasis on the theme of medicine and health unites their work in a way that has not been considered from a scholarly perspective before.
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Hobson, Fred. "Of Canons and Cultural Wars Southern Literature and Literary Scholarship after Midcentury". W The Future of Southern Letters, 72–86. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097818.003.0007.
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Abstract Acouple of decades ago, the boundaries of southern literature-and southern literary scholarship-appeared to be rather fixed and unchallenged. Simply stated, the major southern writers of this century were William Faulkner, Thomas Wolfe, Robert Penn Warren, Allen Tate, Eudora Welty, and perhaps Flannery O’Connor. The contemporary novelists to be reckoned with-besides Welty-were William Styron, Walker Percy, and perhaps John Barth. (One observed as well a number of southerners trying to write like Faulkner; they were said to be “in his shadow:’) The reigning interpreters and critics of southern literature-it is little exaggeration to say the founders of southern literature as a modern academic discipline-were such figures as Louis D. Rubin Jr., Lewis P. Simpson, C. Hugh Holman, and Thomas Daniel Young, with certain other scholars, such as Walter Sullivan, making occasional brilliant forays into the field. The genres worth pursuing academically were the novel, the short story, poetry, and perhaps-in the case of Tennessee Williams-drama. Those who did the pursuing were professors of English, and although Professors Rubin, Simpson, Holman, and certain others operated from a literary method that was also keenly aware of history, in general the scholarly approach to southern literature-or literature in general-was a sort of literary formalism inherited largely from the New Critics. The centers of publishing for southern literary scholarship were Chapel Hill and Baton Rouge; but the only places southern writers of fiction and poetry could be published were in New York or, occasionally, Boston. All creative writers from the hinterlands, south or west, were published in New York and Boston.
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Yaszek, Lisa. "The women history doesn’t see: Recovering midcentury women’s sf as a literature of social critique". W Science Fiction Criticism. Bloomsbury Academic, 2017. http://dx.doi.org/10.5040/9781474248655.0030.
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Hutchinson, G. O. "Conceptions Of Genre: Criticism in Prose Poetry". W Latin Literature from Seneca to Juvenal, 4–39. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198146902.003.0002.
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Abstract Genre is an evident fact of this literature. If we contemplate the literature as from the air, we must immediately be struck by stark and primary divisions and chasms, between poetry and prose, philosophy and history, epic and epigram. What these divisions of genre entail is a more complicated question; the book as a whole will only try to illuminate some of the differences and likenesses between some of the genres. In the first two chapters we will seek some preliminary orientation in this landscape, and in doing so will introduce the book’s principal themes of greatness (sublimity, grandeur) and reality (truth). (Cf. pp. r f) Our attention will be devoted almost exclusively to the Latin literature of this period, in the generic scene that it displays and in the comments on genre that it offers. This path has been chosen as one of special and immediate interest for this book, not as the only valid route. It will not be possible to consider either ancient literary criticism in general or the history of the individual genres; these topics, fundamental but enormous, would not lead us to very different conclusions.
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Davis, Charles T., i Henry Louis Gates. "The Slave Narratives as Literature". W The Slave’s Narrative, 155–297. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195066562.003.0003.
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Abstract One of the most quickly expanding fields of contemporary literary history is narrative theory. Those principles upon which we define “auto biography” and “fiction,” long thought to be self-evident and matters of common sense, have recently been recognized to be problematical. More over, the status of the black slave’s texts have, only in the past two de cades, received as much close analysis and practical criticism as have other sorts of written discourse. It was to collect these recent examples of literary criticism that the editors originally agreed to prepare this col lection. The essays collected here analyze the narratives as literary works. Some explicate the shared tropes and themes of the genre; others discuss their textual inter-relationships as literary history; still others are close readings of discrete texts. Jean Fagan Yellin’s essay marshals evidence to prove that the richest female slave narrative, the veracity of which until recently disputed by historians as scrupulous as John Blassingame, is indeed the narrative written by the slave, Harriet Jacobs, “by herself.”
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Minnis, A. J., A. B. Scott i David Wallace. "General Introduction: The Significance of the Medieval Commentary-Tradition". W Medieval Literary Theory and Criticism C. 1100-C. 1375, 1–11. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198112747.003.0001.
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Abstract There are many branches of medieval literary theory and criticism, only one of which has received the attention it deserves, namely the ‘arts’ of composition (artes poeticae, artes praedicandi, artes dictaminis ). This anthology concentrates on another branch, the most fundamental and important of them all within the medieval educational system, and one which has a lot to say about a far wider range of literary matters than those which fall within the terms of reference of the pragmatic and prescriptive ‘arts’. For the texts translated below comprise sophisticated discussions of such topics as fiction and fable (in classical works and in the Bible); the ethical effects and purpose of literature; authorship and authority; the function of biography in interpreting a writer’s work; stylistic and didactic modes; literary form and structure; allegory and ‘literal’ or historical sense; symbolism; imagination and imagery; the semiotics of words and things; the moralization of classical texts; the status of poetry within the hierarchy of the human arts and sciences. Quite obviously, this rich array of literary discussion and analysis falls within the sphere of ‘literary theory and criticism’ as normally understood.
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France, Peter, i Kenneth Haynes. "Philosophy, History, and Travel Writing". W The Oxford History Of Literary Translation In English, 473–504. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199246236.003.0011.
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Abstract The translation of non-fiction (a category invented in the nineteenth century and developed for the use of libraries) is represented in this chapter by philosophy, history, biography, political and social criticism, and the literature of travel and exploration, the last being a capacious genre, combining science with historical and philosophical reflections. Such works accounted for more than a third of the published translations in the years examined in Chapter 4, above, and they include several popular and critical successes, such as the several histories by Guizot or Humboldt’s Cosmos. The discussion of classical philosophy in this first section, emphasizing the influence of ideas, is meant to complement the discussion in Chapter 5, which treats classical works as literature; Lucretius is discussed in both places.
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"Edmund Spenser, Allegory and the chivalric epic (I 590)". W English Renaissance Literary Criticism, redaktor Brian Vickers, 297–301. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198186793.003.0012.
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Abstract Sir, knowing how doubtfully all allegories may be construed, and this book of mine, which I have entitled The Faerie Queene, being a continued allegory, or dark conceit, I have thought good as well for avoiding of jealous* opinions and misconstructions, as also for your better light in reading thereof (being so by you commanded), to discover* unto you the general intention and meaning which in the whole course thereof I have fashioned, without expressing of any particular purposes or by-accidents* therein occasioned. The general end therefore of all the book is to fashion a gentleman or noble person in virtuous and gentle discipline. Which, for that I conceived should be most plausible* and pleasing, being coloured with an historical fiction, the which the most part of men delight to read, rather for variety of matter than for profit of the example: I chose the history of King Arthur as most fit for the excellency of his person, being made famous by many men's former works, and also furthest from the danger of envy and suspicion of present time.
Streszczenia konferencji na temat "Literature fiction history criticism general"
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Golubchikov, YUriy. "Methodological potential of the teleological principle of purpose". W International Conference "Computing for Physics and Technology - CPT2020". Bryansk State Technical University, 2020. http://dx.doi.org/10.30987/conferencearticle_5fce27705d8750.02429694.
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The cognitive capabilities of the teleological paradigm of purpose are discussed. An inquiring mind everywhere sees that inanimate matter serves for living, and that, in turn, serves for a man. However, such a concept as “purpose” turned out from the contemporary science, although for a long time it went along the path of becoming the doctrine of purpose determination, or nomogenesis. The history of the substitution of the main paradigm of science from purpose to chance is traced. The overcoming of the catastrophic representations of Cuvier by the provisions of actualism and evolutionism is considered. From the middle of the 19th century, public opinion began to strengthen that every new scientific achievement casts doubt on religious beliefs. Criticism of biblical history began with the events of the Great Flood, as the key one in the Bible. The negative attitude to catastrophism in the Soviet scientific literature and the importance of ideology in the methodology of science are considered. The anthropic principle predetermines a radical restructuring of the general scientific methodology. It finally comes closer to religious knowledge. The anthropic principle is teleological and contains that goal (“eidos-entelechia”) in the structure of matter that impels it. In this light, the power of science is again seen not in confrontation with religion, but in harmonization with it.