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Dr Jyoti Patil. "Emergence of New Novel and Contribution of Salman Rushdie to Indian English Fiction". Creative Launcher 4, n.º 2 (30 de junho de 2019): 10–17. http://dx.doi.org/10.53032/tcl.2019.4.2.02.
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After the publication of Salman Rushdie’s second novel Midnight’s Children (1980), there is an emergence of New Fiction marking the beginning of New Era in the history of Indian Writing in English. A large number of novelists living in India and abroad write fiction in great number and thereby breaking the stigma of the marginalization of Indian English Fiction. They introduce various components of modern theories regarding the composition of the fiction. They also prove their superiority over their western counterparts by achieving remarkable recognition on international platforms and by winning various coveted awards like Booker Prize, Pulitzer Prize and even Nobel Prize by V S Naipaul. These Indian English writers include Amitav Ghosh, Vikram Seth, Arundhati Roy, Jhumpa Lahiri, Anita Desai, Kiran Desai, Pankaj Mishra, Chetan Bhagat, Rohintan Mistry, Arvind Adiga, Shashi Tharoor and many more. The New novelists of the 21st century handle the themes of globalization, Political reality and cross-culturalism more effectively and brilliantly. In the present paper the focus will be on the assessment of emergence of New Fiction with its various traitsand contribution of Salman Rushdie in Indian English Fiction in the development of New Novel.
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Ibhawaegbele, Faith O., e J. N. Edokpayi. "Situational Variables in Chimamanda Adichie's and Chinua Achebe's". Matatu 40, n.º 1 (1 de dezembro de 2012): 191–208. http://dx.doi.org/10.1163/18757421-040001012.
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The use of the English language for literary creation has been the bane of Nigerian literature. Nigeria has a very complex linguistic system; as a result, its citizens communicate either in their indigenous languages or in English, depending on the situation in which they find themselves. The use of English in Nigerian literature in general and prose fiction in particular is influenced by both linguistic and extralinguistic factors. In their attempt to offer solutions to the problems of language in literary expression, Nigerian novelists adapt English to varying linguistic and socio-cultural contexts. This has resulted in experimentation and the employment of various creative-stylistic strategies and devices in prose fiction. Our focus in this essay is on the conditioning influences of situational variables on the language and styles of Nigerian novelists, with Chimamanda Adichie and Chinua Achebe as a case study. We shall examine and explicate how situational variables influence and impose constraints on the language and styles of novelists, and how they adapt English, which is in contact with the various indigenous languages, to the varying local Nigerian situations and experiences.
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Sankar, G., e L. Kamaraj. "SOCIAL REALISM AND PSYCHOLOGICAL TRANSFORMATION OF WOMEN PROTAGONIST IN NAYANTARA SAHGAL’S STORM IN CHANDIGARH AND A SITUATION IN NEW DELHI-A STUDY". Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 5, n.º 2 (28 de fevereiro de 2018): 17. http://dx.doi.org/10.19085/journal.sijmas050201.
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The Research paper aims to focus on Nayantara Sahgal’s position in it as a novelist. It also discusses in detail a critical study of the social realism and Psychological Transformation with survival strategies of the woman protagonist in Nayantara Sahgal’s Storm in Chandigarh and A Situation in New Delhi. How Nayanara Sahgal’s writing was different from other Indian writers. During almost six decades of post-colonial history of Indian English fiction, a wide variety of novelists have emerged focusing attention on a multitude of social, economic, political, religious and spiritual issues faced by three conceding periods of human experience. With the turn of the century the Indian English novelists have surpassed their male counterparts outnumbering hem quantitatively as well as maintaining a high standard of literary writing, equally applauded in India and abroad, experimenting boldly with not only technique but also incorporating tabooed subject matters in their novels and short stories.
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G S, Dayananda Sagar. "Indo - English Novels Amalgamation of Indian Tradition and World Tradition". Shanlax International Journal of Arts, Science and Humanities 8, S1-Feb (6 de fevereiro de 2021): 212–17. http://dx.doi.org/10.34293/sijash.v8is1-feb.3954.
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In India the novel is the readiest and most acceptable way of embodying experiences and ideas in the context of our time.The duality of Indo-English fiction has been attracting worldwide attention. One wonders whether the Indo-English novel is a part of the Indian tradition or the European tradition or of the abstract world tradition.The Indo-English fiction in Post-independent India assumed over the preceding thirty years all kinds of colorful traditions. It is now free from the social yard political overtones of a rabidly nationalistic variety.As regards the theme of the novel, in the late Twentieth Century alienation has significantly affected the Indo-English novel. It has served as a recurrent motif in quite a few works produced by Indian novelists in English. It is also the dominant trait of several characters created by the novelists.
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Asst. Prof. Ali Mohammed Segar. "Characteristics of Tragi-Comedy in Charles Dickens's Novel Oliver Twist". journal of the college of basic education 26, n.º 106 (1 de março de 2020): 1–19. http://dx.doi.org/10.35950/cbej.v26i106.4879.
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The English novelist Charles John Hoffman Dickens (1812-1870) is well known for scholars and students of English literature. His name is always accompanied to some( classics) in the history of the English novel such as: ( Oliver Twist( 1839), David Copperfield (1850), Hard Times ( 1854 ), The Tale of Two Cities ( 1859 )Great Expectations (1860) and other novels. He is one of the most professional novelists of the Victorian age; rather, he is regarded by many critics as the father of the realistic trend and the greatest novelist of his age.
In his fiction, Dickens created some of the world's best-known fictional characters that became prototypes not only in English but in world literature as well. Oliver Twist presents a unique depiction of evil and good characters in English society through a highly serious and powerful conflict full of dramatic events like a traditional tragedy, but the line of action turns to satisfaction and happy end just like a work of comedy. This paper claims that the novelist employs the dramatic genre: Tragi-comedy into a novel by mixing elements of both tragedy and comedy. Although the action in the novel is highly tragic and full of miseries and evil plots, the novel ends happily.
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Madavi, Dr Manoj Shankarrao. "Literary Representation of Natives in Indian Regional Literature-A Vast Panorama of Indigenous Culture, Imperialism and Resistance". International Journal of English Language, Education and Literature Studies (IJEEL) 2, n.º 5 (2023): 01–04. http://dx.doi.org/10.22161/ijeel.2.5.1.
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Indian English fiction writing shows the development of Indian literature which takes a dive deep into the colonial past of India along with the detail observation of the history of deviation of social strata and its psychological effects on common masses of India. Social realism was checked through the early independence period of English writing. In Indian English fiction writing, partition trauma was glorified, celebrated as the main theme and Gandhian age is also described by most of the prominent novelist like Raja Rao, Chaman Nahal, and Khushwant Singh. The women novelists took the initiative after the independent period and Kamala Markandeya, Ruth P. Jabhawala, Shashi Deshpande, Geeta Hariharan, Anita Nair and Namita Gokhale have shown the rebellious feminism though their postcolonial sensibilities. If we want to write historical, social and cultural literature of India, we do not have escapism from the history of adivasi victimization and several adivasi harassments of centuries in India.
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Obiechina, Emmanuel. "Parables of Power and Powerlessness: Exploration in Anglophone African Fiction Today". Issue: A Journal of Opinion 20, n.º 2 (1992): 17–25. http://dx.doi.org/10.1017/s0047160700501504.
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African writers in English have done much to enlarge the image of Africa in the world. The novelists among them have contributed most to the understanding of the African points of view and perspectives on life, politics, culture and history. In their roles as chroniclers, custodians of the collective heritage, social critics, teachers and visionaries of their people, the novelists have illuminated the African situation and the forces that have kept the continent in an endemic state of crisis.
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Ngom, Dr Mamadou Abdou Babou. "The Shadow of the Past Hangs Over Post-Apartheid South African Fiction in English". Scholars Journal of Arts, Humanities and Social Sciences 10, n.º 3 (14 de março de 2022): 78–82. http://dx.doi.org/10.36347/sjahss.2022.v10i03.001.
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This paper sets out to rake stock of how the demons of apartheid-era South Africa impact the new dispensation over twenty-five years after the first democratic elections ever held in South Africa. Also, through a methodological approach predicated upon an fictional opus made up of different novelists, and upon perspectives drawn the social sciences, not least philosophy, history, sociology, the paper seeks to highlight the invaluable contribution of South African writers-black and white alike- to the demise of was later known as institutionalized racism. The article argues that protest literature’s unyielding resolve to grittily spotlight the materiality of the black condition in South Africa from 1948-when the National Party came to power with a racist agenda-to 1990 was crucial to raising international awareness about the horrors of apartheid, and, accordingly, the overarching need to call time on it. For all that, the paper explains, the racial chickens are coming home to roost since the downtrodden of yesteryear are perceived by their former oppressors as being driven by a vengeful agenda. With the end of institutionalized racism, the paper contends, Postapartheid South African novelists tend to move away from racial determinism that hallmarked apartheid-era writing to embrace novelistic themes appertaining to the concerns and challenges that plague modern-day South Africa.
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Wakota, John. "Tanzanian Anglophone Fiction: A Survey". Utafiti 12, n.º 1-2 (18 de março de 2017): 51–70. http://dx.doi.org/10.1163/26836408-0120102004.
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Tanzanian Anglophone fiction is extant and bustling. The invisibility of Tanzanian fiction in English is not due to the country’s inability to produce good- quality Anglophone novels but is related to the challenge in accessing the texts both within and outside Tanzania. Studies about East African fiction tend to ignore the contribution of Tanzanian Anglophone writers in the region. In Tanzania people know more about other canonical African novelists than their very own Anglophone writers. This article explores the emergence and development of Tanzanian Anglophone fiction, paying particular attention to the emergence of Tanzanian Anglophone literary canons and how these canons have inspired and continue to inspire the production of Tanzanian fiction. Starting with the novels produced by the inaugural Tanzanian Anglophone writers in the sixties, and continuing with the most recent works, the paper examines the interface between Swahili and English, translation and self-translation, diasporic writers, universities’ and researchers’ contributions to the definition of the canon and to the visibility of the fiction in general.
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Kadam, Dipali M. "Diasporic consciousness in contemporary Indian women’s fiction in English: at a glance". RUDN Journal of Studies in Literature and Journalism 27, n.º 3 (12 de outubro de 2022): 532–40. http://dx.doi.org/10.22363/2312-9220-2022-27-3-532-540.
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Diasporic literature is a pivotal term in literature that includes the literary works of the authors who are the outsiders for their native country but their work is deeply rooted in homeland by reflecting native culture, background, displacement and so on. Indian women’s literary work is at the forefront of diasporic literature. The advent of Indian women novelists on the literary horizon is an important development in the Indian English literature. These women writers have also contributed to other genres, such as drama, poetry and short stories, not only in English but also in regional languages like Hindi, Marathi, Bengali, Punjabi, Tamil, Kannada and so on. Some modern women writers flourish their writing in the form of fables as a literary genre in an impressive way to focus on the specific themes. In last two decades, Indian women’s writing in English is blossomed, both published in India and abroad. The present paper is the review of diasporic consciousness in select works of contemporary Indian women novelists. It focuses on the attempt to highlight the quest for identity of those women who played a crucial role in defining themselves through their literary work in diasporic background.
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Verma, Shekar. "Depiction of Women and their condition in Amulya Malladi’s Novels". Revista Review Index Journal of Multidisciplinary 2, n.º 4 (31 de dezembro de 2022): 22–25. http://dx.doi.org/10.31305/rrijm2022.v02.n04.005.
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Today, Indian English Fiction is a significant part of the global literary canon, and female Indian novelists have earned international recognition on par with their male contemporaries. They added a fresh perspective to Indian writing. Ruth Prawar Jhabwala, Kamala Markandaya, Santa Rama Rau, Anita Desai, Shashi Deshpande, Shobha De, Bharati Mukherjee, Arundhati Roy, Gita Hariharan, Namita Gokhale, Anita Nair, Manju Kapoor, and many more are only few of the prominent Indian women authors. The items in this list are not all there are. Amulya Malladi is a brand-new, formidable figure in modern Indian English fiction. Borders, migration, 'illegal' immigration, repatriation, exile, refugees, assimilation, multiculturalism, and hybridity are only some of the topics and discourses that her works explore.
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Butros, Albert. "The English Language and Non-Native Writers of Fiction". International Journal of Arabic-English Studies 5, n.º 1 (1 de janeiro de 2004): 59–92. http://dx.doi.org/10.33806/ijaes2000.5.1.5.
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Although fiction in English by non-native authors is one of long standing, there has been in the last two decades a surge in novels and short stories written by individuals whose native language is not English or by bilingual authors whose native command of a language other than English has been used to advantage in furthering the stylistic effect of their works. This paper explores the actual (and potential) contribution of four such writers (two Arab: Ahdaf Soueifand Ibrahim Fawal, and two Indian: Rohinton Mistry and Arundhati Roy) to the English language in terms of words, phrases, idioms and fixed expressions as well as broader elements of tone and emphasis. Extensive reference is also made to other Arab as well as African and Chinese novelists. The paper finds that longer strings are more readily recognizable as additions to English than single words, notwithstanding the legitimacy of many word-additions. It also looks into some practical considerations like the need or otherwise of textual glossing, glossaries as appendices and italicization..
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Wang, Aiqing. "Taoist Philosophy in Chinese Science Fiction: A Comparison between Zhuangzi and Broken Stars". Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya 11, n.º 2 (30 de dezembro de 2021): 237. http://dx.doi.org/10.26714/lensa.11.2.2021.237-251.
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Chinese science fiction has been attaining global visibility since Liu Cixin’s trilogy entitled Remembrance of Earth’s Past. The trilogy’s English translator Liu Yukun has edited and rendered a science-fiction anthology that comprises sixteen novellas composed by fourteen Chinese novelists. Apart from a fecundity of imagination and richness of imagery-evoking depictions, narratives compiled in the anthology also epitomise Taoist philosophy conveyed in Zhuangzi, a Warring States (475-221 BC) treatise ascribed to an illustrious philosopher Zhuangzi. Philosophical constructs in the anthology can be exemplified by quintessential construals such as ‘non-action’, ‘resting in destiny’ and ‘self-so’, as well as mindset appertaining to temporal and aesthetic issues.
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Chambers, Claire. "Banglaphone Fiction:". Crossings: A Journal of English Studies 6 (1 de dezembro de 2015): 20–29. http://dx.doi.org/10.59817/cjes.v6i.182.
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Around the time the Raj was disintegrating, Bengalis, many of them from Sylhet, were coming to Britain in large numbers. Settling in areas such as London’s Spitalfields, these Sylhetis pioneered Britain’s emerging curry restaurant trade, labored for long hours and with few rights in the garment industry, and worked as mechanics. Sylhetis’ inestimable contribution to the fabric of British life is recognized, for example, in their association with Brick Lane, a popular road of curry houses in East London. However, too often their contribution to literature is reduced to one novel, Brick Lane, Monica Ali’s novel about the famous street and its denizens. This paper seeks to broaden the debate about English-language literature from Londoni writers across the Bengaliyat. In 1793, Sake Dean Mahomed published his The Travels of Dean Mahomet. What is unique about this text is that it was originally written in English to give European readers a glimpse of India. Its creation was probably part of the author’s attempt to integrate in Ireland, where he was living. Two centuries later, we are witnessing an efflorescence of Anglophone writing from the two Bengals about Britain. I discuss Amitav Ghosh’s portrayals of Brick Lane in his 1988 novel The Shadow Lines as an early precursor to fellow Indian novelists Neel Mukherjee’s A Life Apart (2010) and Amit Chaudhuri’s Odysseus Abroad (2014), which also demonstrate a fascination with Sylhetis in London and their material culture. From Bangladesh and its diaspora, Manzu Islam’s Burrow (2004) and Zia Haider Rahman’s novel In the Light of What We Know (2013) come under the spotlight. What we might call “Banglaphone fiction” is, I argue, currently experiencing a boom, and portrayals of Sylhetis in London, their cuisine, and other aspects of popular culture form an enduring fascination among the male writers of this fiction, at least.
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Nida Ansari. "Predicament of a Woman in Manju Kapur’s Home". Creative Launcher 4, n.º 6 (29 de fevereiro de 2020): 12–17. http://dx.doi.org/10.53032/tcl.2020.4.6.02.
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Manju Kapur is an Indian novelist. She was born on 25th October 1948. She is an archetypal representative of the postcolonial women novelists. She was a professor of English Literature at her alma mater at Miranda House College, Delhi. But she is retired from there. She joined the growing number of Indian women novelists, who have contributed to the progression of Indian fiction i.e. Shashi Deshpande, Arundhati Roy, Kamla Das, Geetha Hariharan, Anita Nair, Shobha De. Her novels reflect the position of women in the patriarchal society and the problems of women for their longing struggle in establishing their identity as an autonomous being. Her works not only gives voice to the society’s effort to improve its women population but it is for every woman’s self–consciousness in order to improve the society. She has written five novels, Difficult Daughters (1998), A Married Woman (2002), Home (2006), The Immigrant (2008), and Custody (2011). Kapur’s most memorable female characters are Virmati, Astha, Nisha, Nina, Shagun and so many others. All of them strive to assert themselves. These characters give us a rare glimpse of modernized Indian women who are in their aggression may enter into a scandalous relationship with her married neighbor, the professor or develop lesbian relationship as Virmati does in Difficult Daughters and Astha in A Married Woman. But Nisha in Home is different from her predecessors.
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Gupta, Anjana. "Concept of ‘New Woman’ and Indian Women Fiction Writers". International Journal of Scientific & Engineering Research 12, n.º 05 (25 de maio de 2021): 743–53. http://dx.doi.org/10.14299/ijser.2021.05.09.
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Literature is one of human creativity that has universal meaning as one of the way to communicate each other about the emotional , spiritual and intellectual experiences that needed to build up intellectual and moral knowledge of mankind . A creative writer has the perception and the analytical mind of a sociologist who provides an exact record of human life, society, and social system. Fiction , being the most powerful form of literary expression today, has acquired a prestigious position in Indian literature. Indian women novelists in English and in other vernaculars try their best to deal with , apart from many other things , the pathetic plight of forsaken women who are fated to suffer from birth to death.
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Afshan Nahid. "Mulk Raj Anand and Premchand: Novelists with Same Vision and Ignited Minds". Creative Launcher 5, n.º 2 (30 de junho de 2020): 141–48. http://dx.doi.org/10.53032/tcl.2020.5.2.17.
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The article endeavors to work out a comparison between the two stalwarts – Mulk Raj Anand and Premchand in English and Hindi Literature respectively. Both are two towering personalities, symbolizing a whole generation of fighters for freedom and social justice. They, the propagators of Gandhism, are socially committed writers and humanists par excellence. Their writings poignantly project an outraged social conscience and realism. Premchand uses literature for the purpose of arousing public awareness about national and social issues and often writes about topics related to corruption, child widowhood, prostitution, feudal system, poverty, colonialism and the Indian movement. On the other hand, M. R. Anand’s novels are deliberately designed to display the suffering and exploit-tation of the peasants and weaker section. Since the domain of their novels is extremely vast, Premchand’s famous novels are Sevasadan, Kayakalpa, Gabon and whereas Coolie, Two Leaves and A Bud and Untouchable are notable works of M. R. Anand. They are the great writers of fiction and the strength of this fiction lies in its vast range, its wealth of live characters, its ruthless realism. Its deeply felt indignation of social wrongs and its strong humanitarian passion.
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Campbell Ross, Ian. "‘Damn these printers … By heaven, I'll cut Hoey's throat’: The History of Mr. Charles Fitzgerald and Miss Sarah Stapleton (1770), a Catholic Novel in Eighteenth-Century Ireland". Irish University Review 48, n.º 2 (novembro de 2018): 250–64. http://dx.doi.org/10.3366/iur.2018.0353.
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The History of Mr Charles Fitzgerald and Miss Sarah Stapleton (Dublin, 1770) is a satirical marriage-plot novel, published by the Roman Catholic bookseller James Hoey Junior. The essay argues that the anonymous author was himself a Roman Catholic, whose work mischievously interrogates the place of English-language prose fiction in Ireland during the third-quarter of the eighteenth century. By so doing, the fiction illuminates the issue, so far neglected by Irish book historians, of how the growing middle-class Roman Catholic readership might have read the increasingly popular ‘new species of writing’, as produced by novelists in Great Britain and Ireland. The essay concludes by reviewing the question of the authorship of The History and offering a new attribution to the Catholic physician and poet, Dr Dominick Kelly, of Ballyglass, Co. Roscommon.
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Dr. Gajendra Dutt Sharma. "Delineation of Male Characters and Sensibilities in the Novels of Manju Kapur: A Critical Analysis". Creative Launcher 7, n.º 1 (28 de fevereiro de 2022): 51–62. http://dx.doi.org/10.53032/tcl.2022.7.1.09.
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The research article aims to analyse the delineation of male characters in the novels of Manju Kapur. It tries to highlight the image of male characters from the perspective of a woman writer, who happens to be a feminist. In contemporary Indian English fiction dominated by women writers the primary focus is on the representation of women characters and addressing their sensibilities, their plight and place in patriarchal setting. As such, the male characters have been presented either with less vigour or as typical chauvinistic individual, responsible for the ordeals of women in society. In very few novels by women novelists in modern scenario do we find the sympathetic treatment given to the male characters. Considering this aspect of modern Indo-Anglian fiction, the article endeavours to examine the portrayal of male characters in women centric novels, by a woman writer. The qualitative method has been used to deduce how much and how sympathetic treatment has been given to the male characters by the novelist. In order to analyse the representation of men, Manju Kapoor's Difficult Daughters (1998), A Married Woman (2003), Home (2006), and The Immigrant (2008) have been brought under study. A comparison between the representation of men in the novels by men writers and that in the novels by women writers has been taken into consideration in order to draw an objective and unbiased conclusion.
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Surekha, Dr. "Human Rights and Portrayal of Women in Indian English Fiction". International Journal of English Literature and Social Sciences 8, n.º 1 (2023): 083–87. http://dx.doi.org/10.22161/ijels.81.10.
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Human Rights” are those rights which belong to an individual as a consequence of being a human being. It is birth right inherent in all the individuals irrespective of their caste, creed, religion, sex and nationality. Human Rights, essential for all round development of the personality of the individual in society and therefore, ought to be protected and be made available to all individuals. Literature has substantially contributed to the protection of human rights. Literature can inspire us to change our world and give us the comfort, hope, passion and strength that we need in order to fight to create a better future for us. The literary creation such novels, short-stories etc. are the mirror of society. The novelists of Indian writing in English are keenly aware of the fundamental incongruities which life and world are confronting us in day to day life. The heroes of R.K. Narayan present the ironies of life and the heroines expose the deprivation of common housewives who are denied equal rights in their day to day life. Mulk Raj Anand is a great humanist and his prime concern is human predicament. Manohar Malgoankar presents the pathetic life of the labourers of tea-plantation of Assam. Kamla Markandeya highlights pitiable conditions of peasants of India. Anita Desai shows the denial of social justice to women. Khuswant Singh and Salman Rushdie draw attention towards sexual abuse of children. Thus, literature carries the human experience which reaches the heart of those who have been treated improperly by denial of basic human rights.
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Aladylah, Majed. "Polyphonic Narrative Spaces in Hala Alyan's Salt Houses". Critical Survey 31, n.º 3 (1 de setembro de 2019): 44–52. http://dx.doi.org/10.3167/cs.2019.310305.
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It is important to stress that Arab women writers have produced a new kaleidoscope of narrative fiction in English. They focus on a variety of representations with respect to identity, dislocation, cultural hybridity and belonging. Moreover they have tried to construct a stable subjectivity and a space of belonging. These narratives are now dispersed and relocated by Arab women diasporic novelists such as Hala Alyan. This article will examine Hala Alyan’s 2017 novel, Salt Houses. This debut novel has amalgamated different narrative experimentations and techniques, and how polyphonic spaces have dislocated the conventional act of narration and relocated it in tandem with the non-homogeneity of the Arab world itself.
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Leclerc, Catherine. "Between French and English, Between Ethnography and Assimilation: Strategies for Translating Moncton’s Acadian Vernacular*". TTR : traduction, terminologie, rédaction 18, n.º 2 (17 de maio de 2007): 161–92. http://dx.doi.org/10.7202/015769ar.
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Chiac, the hybrid vernacular spoken by Acadians in the Moncton region, is increasingly used in works of fiction. By placing it on a par with French, Acadian novelists attempt to legitimize it as the language of a modern and urban Acadie. Their task is a difficult one, to which they respond with ambivalence: Chiac inscribes a difference which marginalizes them, whereas its absence amounts to a disappearance into the French norm. As a consequence, writers using Chiac face the challenge of making room for hybridity without dissociating themselves from their francophone identity. In their encounter with Chiac, translators of Acadian literature into English face a challenge of their own. Both multilingualism and vernacular languages have been deemed untranslatable, and Chiac happens to be at once multilingual and a vernacular. The dilemma faced by these translators is hence not too far from the dilemma of writers of Chiac: how much difference should they erase, how much should they insist on it at the risk of confirming stereotypes? How can they assist and pursue attempts at legitimization? How can they avoid assimilation into English on the one hand, and ethnography on the other? This article investigates the strategies brought into play by two translators who have tackled Chiac and its ambivalent use by Acadian novelists: Robert Majzels, translator of France Daigle, and Jo-Anne Elder, translator of Gérald Leblanc. Keywords: Chiac, Acadian literature, Acadian literature in translation, literary multilingualism, sociolects and vernaculars.
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Anisimova, Olga Vladimirovna, e Inna Makarova. "Mythopoetics of Literature: a Symbolic Language of British and American Fantasy and Science Fiction". Litera, n.º 1 (janeiro de 2023): 45–56. http://dx.doi.org/10.25136/2409-8698.2023.1.39451.
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The paper deals with the study of peculiarities of mythopoetics inclusion in British and American literatures. In particular, it highlights the specificity of the way English-speaking writers refer to such mythopoetic images as tree, raven and dragon. The study is done on the works by famous fantasy and sci-fi writers: John Ronald Reuell Tolkien, Roger Zelazny, Jack Vance and George Martin. A wide range of writings in various genres of literature brings certain difficulties connected with the selection of the study material. The criteria applied to fictional texts selected for the undertaken research are as follows: the degree of influence of a particular writer, the significance of mythologemes under consideration in terms of a particular text, and their level of reinterpretation in the writings of selected novelists. The novelty of a given research is connected with considering selected mythopoetic images in the context of particular examples of British and American fantasy and science fiction never regarded together before. The research findings highlight two leading directions of English-language literatures references to the world mythopoetic heritage of ancient times. Firstly, we see the way such mythologemes as tree, raven and dragon are interwoven in the fictional discourse to create a medieval atmosphere; secondly, writers incorporate archetypical images into their texts as elements of their own myth. The second direction seems to be more promising for it results in new interpretations of classical images rather than their exploitation in new texts, thus encouraging the expansion of their symbolic content.
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Kumar, Suresh. "Kaleidoscopic Portrayal of Early Twentieth-Century British India: A Study of Mulk Raj Anand’s Untouchable". SMART MOVES JOURNAL IJELLH 9, n.º 7 (29 de julho de 2021): 21–29. http://dx.doi.org/10.24113/ijellh.v9i7.11115.
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Mulk Raj Anand (1905-2004) is considered one of the pioneering Indian writers in English of Anglo-Indian fiction who gained international acclaim. Along with R.K. Narayana, and Raja Rao, he is popularly known as the trio of Indian English novelists. He marked his revolutionary appearance by giving voice to the oppressed section of the society with his novel, Untouchable in 1935. In this novel, he takes a day from the life of Bakha, a young sweeper who is an untouchable because of his work of cleaning latrines in the early 20th century British India. Discrimination based on caste and poverty are the two focal points of this novel. This paper aims at portraying a kaleidoscope of socio-cultural, economic and political spheres of life. It aims at painting the unexplored, and less talked vistas of life. Hence while revisiting untouchability and poverty, this paper offers an analysis to a variety of colours or a collage of varied aspects of human life.
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Kumar, Suresh. "Kaleidoscopic Portrayal of Early Twentieth-Century British India: A Study of Mulk Raj Anand’s Untouchable". SMART MOVES JOURNAL IJELLH 9, n.º 6 (3 de julho de 2021): 45–53. http://dx.doi.org/10.24113/ijellh.v9i6.11100.
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Mulk Raj Anand (1905-2004) is considered one of the pioneering Indian writers in English of Anglo-Indian fiction who gained international acclaim. Along with R.K. Narayana, and Raja Rao, he is popularly known as the trio of Indian English novelists. He marked his revolutionary appearance by giving voice to the oppressed section of the society with his novel, Untouchable in 1935. In this novel, he takes a day from the life of Bakha, a young sweeper who is an untouchable because of his work of cleaning latrines in the early 20th century British India. Discrimination based on caste and poverty are the two focal points of this novel. This paper aims at portraying a kaleidoscope of socio-cultural, economic and political spheres of life. It aims at painting the unexplored, and less talked vistas of life. Hence while revisiting untouchability and poverty, this paper offers an analysis to a variety of colours or a collage of varied aspects of human life.
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Alhashmi, Rawad. "Diglossia between Edge and Bridge in Arabic Science Fiction: Reinventing Narrative after the Arab Spring". Interdisciplinary Literary Studies 25, n.º 1 (fevereiro de 2023): 54–78. http://dx.doi.org/10.5325/intelitestud.25.1.0054.
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ABSTRACT This article examines the transcription of diglossia in Basma Abdel Aziz’s The Queue (al-Tábúr 2013; translated into English by Elisabeth Jaquette in 2016) and Ahmed Saadawi’s Frankenstein in Baghdad (Frānkishtāyn fī Baghdad 2013; translated into English by Jonathan Wright in 2018), and how it is rendered in translation. The article argues that Abdel Aziz and Saadawi encapsulate diglossia in their novels to crystallize the immediacy of sociopolitical upheavals through the momentum of the Arab Spring and the colonial background of Iraq. The juxtaposition of high variety (Standard Arabic) and low variety (colloquial Arabic) is engineered toward the democratization of everyday language Arabic Science Fiction (ASF) to engage with ongoing events, thereby capturing the immediacy of the present in one genre. In doing so, Abdel Aziz and Saadawi constitute an archetype project of diglossia in the realm of ASF, opening a new linguistic chapter to convey a local spectrum of literary narrative beyond the convention of literary language, which uses standard Arabic as a serious literary medium. Thus, both novelists bridge the gap between high and low varieties, providing a new political immediacy to their societies.
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Zekri, Souhir. "A Demythologized Auto/Biography: Beginnings and Evolution of Metabiography in Feminine Postmodern Fiction". European Journal of Life Writing 5 (20 de fevereiro de 2016): 13–35. http://dx.doi.org/10.5463/ejlw.5.160.
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The postmodern features of English fiction like fragmentation and metafictionality seem to find an equivalent in life writing and metabiography. Such instances of metabiography either expose the protagonist in the process of writing a biography or memoir, and/or include extracts of life writings which are textually incorporated in their original format. The aim of this paper is first to explore the structural characteristics of metabiography and its evolution from a theme to a structure/form, through Henry James’s The Aspern Papers (1888), A.S. Byatt’s The Biographer’s Tale (2000) and Marina Warner’s fiction. As Richard Holmes explains, “the boundaries between fact and fiction have become controversial and perilous” (16), boundaries which are crossed by Warner and Byatt, both postmodern female novelists who rely on the plurality of voices and textual collage instead of the conventional omniscient narrator and the linear narrative represented by James. Second, the focus will be on the strategies combining the aesthetic with the ethical, or “the political desire to write the histories of the marginalised, the forgotten, the unrecorded” (Byatt On Histories 10-11) through metabiographical autobiographies and diaries in Warner’s Indigo and The Lost Father. The life writing themes treated in these novels are also studied in relation to the modernist and postmodernist views of reality, history and representation which they reflect. This article was submitted to the European Journal of Life Writing on April 27th 2016, and published on February 21st 2016.
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Chaudhary, Ankita. "DIASPORA AND IDENTITY IN NAIPAUL’S WORKS : A SELECT STUDY". SCHOLARLY RESEARCH JOURNAL FOR INTERDISCIPLINARY STUDIES 9, n.º 66 (1 de setembro de 2021): 15461–66. http://dx.doi.org/10.21922/srjis.v9i66.6841.
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“Write what you know” - this is the age-old advice said by someone to all the novelists. Surajprasad Naipaul, generally known as V. S. Naipaul, took it more seriously than others. Naipaul’s grandparents migrated from Uttar Pradesh India to Trinidad. His grandfather started working as an indentured laborer in the sugarcane estates there. They faced many problems regarding settlement and adjustment in this new cultural environment. That’s why Naipaul’s works are replete with the themes of diaspora. He applied his uniquely careful prose style to the point where the observer has called him the greatest living writer of English prose. Often known as the world’s writer, Naipaul is both one of the most highly regarded and one of the most controversial of contemporary writers. Much of his work deals with individuals who feel estranged from the societies. The present paper is an effort to analyze his select works based on diaspora and identity. Different characters in his fiction and non-fiction works seem to be in search of their identity in this world. Cultural-clash and hybridity, these twin themes, are also dominant in his works and I have tried to highlight all these diaspora-related issues in this paper.
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Lázaro, Alberto. "The Popularity of Wilkie Collins’s Sensation Fiction in Spain: The Case of The Woman in White". Complutense Journal of English Studies 30 (16 de dezembro de 2022): 81–90. http://dx.doi.org/10.5209/cjes.81787.
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Wilkie Collins, one of the most popular Victorian novelists, has been widely acclaimed as the early master of the sensation novel and a pioneer of English detective fiction. Novels such as The Woman in White (1860) and The Moonstone (1868) became best sellers and captivated Victorian readers with their convoluted plots full of mystery, crime and sexuality, usually within the respectable middle-class home. His popularity crossed national and linguistic borders, and his novels, novellas and short stories were soon translated into different languages. In Spain, we find over a dozen of different editions of Collins’s stories already in the nineteenth century, which often appeared serialised in popular journals or magazines, like their original counterparts. One of these early Spanish translations was The Woman in White which, in different forms and with different titles, attracted the attention of many publishers and readers during the twentieth century, despite the obstacles posed by censorship and the hardships of the post-war period. This paper aims to discuss the Spanish publication history and reception of Collins’s sensation novel The Woman in White and analyse the scale of its popularity.
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M, Athira. "Torn between Cultures: Reading Shashi Tharoor’s Riot". SMART MOVES JOURNAL IJELLH 9, n.º 1 (29 de janeiro de 2021): 60–66. http://dx.doi.org/10.24113/ijellh.v9i1.10878.
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Shashi Tharoor is a distinctivevoice in the Postcolonial Indian literature in English with his remarkable contribution of more than 16 works of fiction and non-fiction. Postcolonialism refers to a set of theoretical concepts, approaches and interventions which deals with the diverse effects of the interaction between the colonizer and the colonized. History, politics and culture have always been a dominant preoccupation of the Indian English novelists. The compulsive obsession was perhaps inevitable since the genre originated and developed concurrently with the climatic phase of colonial rule. As a diplomat and writer, Shashi Tharoor has explored the diversity of culture in his native country. He has made his point in many of his interviews that the novel is full of collisions of various sorts- personal, political, cultural, emotional and violent. Riot is a novel about the ownership of history, about love, hate, cultural collision, religious fanaticism and the impossibility of knowing the truth. The novel chronicles the mystery of an American 24-year old lady, Priscilla Hart. The intention of this paper is to explore the cultural conflict between the East and the West and an attempt is made to examine Shashi Tharoor’s Riot as a conveyor of the various distinguishable features to the divergent cultures. The characters of Riot are facing problems and striving to achieve their identities as Indians and as individuals in Indian society. Lakshman, though an educated Indian, cannot share his intellectual ideas with any fellow Indians, but feels quite comfortable with Priscilla, an American lady. Yet, he cannot completely forego his Indian identity and is aware of their irreconcilable gap between their culture, values and outlook towards life.
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She, Xiaoling, e Jian Wen. "Modern Chinese Fiction (1919–1949) in Russia: Early Translation, Publication and Research". Vestnik of Saint Petersburg University. Asian and African Studies 13, n.º 1 (2021): 4–18. http://dx.doi.org/10.21638/spbu13.2021.101.
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The article provides an overview of early Russian translations and publication of modern Chinese fiction (1919-1949). The approaches to the early study of the works of prominent representatives of modern Chinese literature are examined and the reasons why Soviet society is interested in their heritage are identified. Since the 1920s, well-known works of renowned Chinese writers have been frequently translated into Russian mainly by young sinologists. Most of them had been to China and had developed a direct understanding of the development of modern Chinese literature, translating primarily from Chinese and using English translations for various reasons occasionally. The Chinese and Soviet cultural activists also played an important role in the spread of modern Chinese prose in the USSR. At the same time, a serious study of modern Chinese prose began, and until the end of the 1940s was actually at the initial stage, being mainly of a socio-political nature as the study was determined by the state of the ideological atmosphere in Soviet society. Early researchers paid the most attention to the works of Lu Xun, referring to his ideological outlook and artistic merits. Overall, the early translation and study of modern Chinese fiction revealed to the Soviet reader the ideological and social aspects of the works of modern novelists belonging to the left flank of Chinese literature, and laid the foundation for more extensive and in-depth research of modern Chinese literature during the next phase.
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Liu, Jingyu. "A Comparison of the English Subtitles of The Wandering Earth Series from the Perspective of Sociological Translation Studies". Communications in Humanities Research 6, n.º 1 (14 de setembro de 2023): 248–54. http://dx.doi.org/10.54254/2753-7064/6/20230262.
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As a social practice activity affected by many social and cultural factors, the subjective initiative of social roles, accumulated capital and habits will affect the dissemination of translation products. In 1972, Holmes proposed to promote function-oriented descriptive translation research, and explore the phenomenon of translation within the framework of sociology. Sociological translation studies construct a system based on the core three elements of Bourdieu's sociological theorycapital, field, and habit, and explore the different roles played by actors in social practice. The popularity of the 2019 and 2023 Spring Festival movie series The Wandering Earth had aroused peoples attention to Chinese science fiction movies. This movie series is based on the short novel of the same name published in 2000 by Liu Cixin, a new generation of Chinese science fiction novelists. The films were translated into English and released in overseas theaters. This article will take the subtitle translation of the series as the starting point from the perspective of sociological translation studies, take culture and market as the two general directions, and explore the changes and reasons for the subtitle translation of The Wandering Earth I and II. This study finds that the subtitle quality of the Wandering Earth series of movies has improved significantly. The change is mainly related to China's cultural self-confidence, cultural export policy support and market attraction in recent years. The sociological perspective of this study compensates for the theoretical singularity of most subtitle translation studies, and improves the objectivity of the research mechanism, which can promote the diversification of other translation studies. At the same time, it also helps more films improve their own translation quality, achieve a win-win situation of going abroad and achieving commercial value and cultural output.
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Nandhini, S., e Dr A. Kayalvizhi. "Subjugation to Celebration in the select novels of Shoba De and Shashi Deshpande". Research Journal of English 07, n.º 04 (2022): 15–22. http://dx.doi.org/10.36993/rjoe.2022.7402.
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Indian fiction in English has been enhanced by a few proficient women writers, including Kamala Markandaya, Anita Desai, Nayanatara Sahyagal, Attain Hosain, Santharamarau, Shashi Deshpande, and Shobha De. They encompass a women's point of view on society. They have illustrated Indian women, their battle, their misery, and their awkward position, keeping in view their picture and job, which the general public has made. Their central devotion comprises investigating the ethical quality of women characters and their battle with difficulties in making their personalities. Since the start of civilization, that has been a great effort to emancipate women from male oppression. In the past, the work of women authors has consistently been underestimated because of some patriarchal assumptions. Feminism is an expression of unjust treatment meted out to any woman. This research paper has thrown light on the realistic characters of the novelists Jaya and Karuna from That Long Silence and Socialite Evenings, respectively. It has shown the broad light on how they self-articulated themselves after a decade of silence.
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Balaji, K., e M. Narmadhaa. "Recrimination of Shikandi in Devdutt Pattanaik’s Shikhandi and Other Tales They Don't Tell You". Shanlax International Journal of English 11, n.º 3 (1 de junho de 2023): 22–25. http://dx.doi.org/10.34293/english.v11i3.6211.
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Indian Writing has turned out to be a new form of Indian culture and voice in which idea converses regularly. Indian writers-poets, novelists, essayists, and dramatists have been making momentous and considerable contribution to world Literature since pre-Independence era, the past few years have witnessed a gigantic prospecting and thinking of Indian English writing in the global market. Sri Aurobindo stands like a huge oak spreading its branches over these two centuries. He is the first poet in Indian writing English who was given the re-interpretation of Myths. Tagore is the most eminent writer he translated many of his poems and plays into English who wrote probably the largest number of lyrics even attempted by any poet. The word “myth” is divided from the Greek word mythos, which simply means “story”. Mythology can refer either to the study of myths or to a body or a collection of myths. A myth by definition is “true” in that it. The same myth appears in various versions, varies with diverse traditions, modified by various Hindu traditions, regional beliefs and philosophical schools, over time. Devdutt Pattanaik is an Indian Mythologist who distinguishes between mythological fiction is very popular as it is fantasy rooted in familiar tradition tales. His books include Myth =Mithya: A Handbook of Hindu Mythology, Jaya: An illustrated Retelling of Mahabharata; Business Sutra: An Indian Approach to Management; Shikandi: And other Tales they Don’t Tell you; and so on.
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Frykman, Erik, Catherine Sandbach-Dahlström, Sybil Oldfield, Nicholas Shakespeare, Marianne Levander, Rolf Lundén, Lars-Olof Nyhlén et al. "Reviews and notices". Moderna Språk 85, n.º 2 (1 de dezembro de 1991): 196–223. http://dx.doi.org/10.58221/mosp.v85i2.10339.
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Includes the following reviews:
pp. 196-197. Erik Frykman. Eccles, C., The Rose Theatre.
pp. 197-198. Catherine Sandbach-Dahlström. Blain, V., Clements, P. & Grundy, I. (eds.), The Feminist Companion to Literature in English.
pp. 198-199. Sybil Oldfield. Pritchard, R.E., Poetry by English Women, Elizabethan to Victorian. + Zahava, I., My Father's Daughter - Stories by a Woman.
pp. 199-200. Sybil Oldfield. Åhmansson, G., A Life and Its Mirrors: A Feminist Reading of L.M. Montgomery's Fiction. Vol. 1.
pp. 200-201. Nicholas Shakespeare. Schirmer, G.A., William Trevor: A Study of His Fiction.
pp. 201-202. Marianne Levander. Imhof, R. (ed.), Contemporary Irish Novelists.
pp. 202-203. Rolf Lundén. Franklin V, B. (ed.), Geer, G. & Haig, J., Dictionary of American Literary Characters.
pp. 204-205. Lars-Olof Nyhlén. Homberger, D., Sachwörterbuch zur deutschen Sprache und Grammatik.
pp. 206-208. Magnus Nordén & Klaus Rossenbeck. Schottmann, H. & Petersson, R., Wörterbuch der schwedischen Phraseologie in Sachgruppen.
pp. 209-211. Gustav Korlén. Lehnert, M., Anglo-Americanisches im Sprachgebrauch der DDR. + Dieter Schlosser, H., Die deutsche Sprache in der DDR zwischen Stalinismus und Demokratie. Historische, politische und kommunikative Bedingungen.
pp. 212-213. Uta Schuch. Palm, C., "Wir graben den Schacht von Babel" oder Kafkas "Urteil". Versuch einer semasiologisch-textlinguistischen Analyse.
pp. 214-215. Johann Holzner. Sternberg, C., Ein treuer Ketzer. Studien zu Manès Sperbers Romantrilogie "Wir eine Träne im Ozean".
pp. 216-218. Göran Bornäs. Actes du colloque franco-danois de lexicographie.
pp. 218-220. Göran Fäldt. Cabanis, J., Mauriac, le roman et Dieu.
pp. 220-222. Mats Forsgren. Eriksson, O. & Tegelberg, E., Svensk-franska strukturövningar med facit.
p. 223. A Message from the Editors.
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Im, Seo Hee. "The Ghost in the Account Book: Conrad, Faulkner, and Gothic Incalculability". Novel 52, n.º 2 (1 de agosto de 2019): 219–39. http://dx.doi.org/10.1215/00295132-7546745.
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Abstract “The Ghost in the Account Book” claims that the imperial fiction of Joseph Conrad and William Faulkner rejects accounting as a totalizing logic and, by extension, questions the English novel's complicity in propagating faith in that false logic. Accounting, which had remained unobtrusively immanent to realist novels of empire such as Mansfield Park and Great Expectations, surfaces to the diegetic level and becomes available for critical scrutiny in high modernist novels such as Heart of Darkness or Absalom, Absalom! Drawing from writings by Max Weber (on guarantees of calculability) and Mary Poovey (on the accuracy effect), this essay attends to the dandy accountant of Heart of Darkness, the accretive narrative structure of Nostromo, and Shreve's recasting of Sutpen's life as a debtor's farce in Absalom, Absalom! If Conrad bluntly equates accounting with lying, Faulkner reveals secrets elided in rows of debit and credit one by one as sensational truths; to those ends, both writers invoke Gothic conventions. By dispatching the totalizing technique that had been invented by early modern merchants and finessed by realist novelists to generate faith in a stable fiduciary community, Conrad and Faulkner impel the invention of newer forms and figures with which to express the new imperial (and later, postcolonial) world order.
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Brioua, Nadira. "Postcolonialism, Islamophobia and Inserting Islam Facts in African-American Fiction: Umm Zakiyyah’s If I Should Speak". Al Hikmah International Journal of Islamic Studies and Human Sciences 4, Special Issue (28 de junho de 2021): 1–33. http://dx.doi.org/10.46722/hkmh.4.si.21a.
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Islam has been growing quickly in the world, yet it is a predominately misunderstood religion. Othering Islam through media propaganda and western writings, and mis associating it with some assumptions are still rampant. Thus, the researcher attempts at showing these assumptions stereotypical prejudgments of Islam and Muslims that are commonly associated with Western assumptions resulted in Islamophobia and exploring the role of counter-discourses in contemporary Black-American Fiction by analyzing Umm Zakiyyah’s If I Should Speak and showing to what extents the novel has an important role in correcting assumptions and narrating the Islamic facts. Thus, this article highlights Umm Zakiyyah’s narrative of Islam’s truth within its historical sources the Qur’an and the Sunnah. The paper analyses Umm Zakiyyah’s reconsideration of Islam’s truth, by focusing on the meaning of Islam and being a Muslim. To do so, this qualitative and non-empirical research is conducted in a descriptive-theoretical analysis, using the selected novel as a primary source and library and online critical materials, such as books and journal articles, as secondary references. Based on the analysis, it is found that Umm Zakiyyah narrates Islam and Muslims to counter the West’s negative view on Islam. Furthermore, based on the story, the power of Muslim self-identification within the historical transparent knowledge based on the Quran’s perspectives leads to the conversion of Tamika Douglass, proving that Islam can be perceived positively by non-Muslims; in this case, it is represented within its subjectivity. It is found that the novel can be a tool of Islamic da’wah [call for the faith]. Hence, the Muslim writers and novelists should write to solve the challenges facing Muslims and the Ummah by Islamizing English fiction.
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Tomas Reed, Conor. "The Early Developments of Black Women’s Studies in the Lives of Toni Cade Bambara, June Jordan, and Audre Lorde". Anuario de la Escuela de Historia, n.º 30 (10 de novembro de 2018): 45. http://dx.doi.org/10.35305/aeh.v0i30.249.
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<p>This article explores the pedagogical foundations of three U.S. Black women writers—Toni Cade Bambara, June Jordan, and Audre Lorde—widely recognized as among the most influential and prolific writers of 20th century cultures of emancipation. Their distinct yet entwined legacies—as socialist feminists, people’s poets and novelists, community organizers, and innovative educators—altered the landscapes of multiple liberation movements from the late 1960s to the present, and offer a striking example of the possibilities of radical women’s intellectual friendships. The internationalist reverberations of Bambara, Jordan, and Lorde are alive and ubiquitous, even if to some readers today in the Caribbean and Latin America, their names may be unfamiliar.<a title="" href="file:///C:/Users/natal/Documents/MEGA/1-REVISTAS/Anuario/Anuario%2030-2018/Dossier/02%20Articulo%20Conor.docx#_ftn1"><sup><sup>[</sup></sup></a></p><p>Bambara’s fiction centered Black and Third World women and children absorbing vibrant life lessons within societies structured to harm them. Her 1980 novel, The Salt Eaters, posed the question - “are you sure, sweetheart, that you want to be well?” -to conjoin healing and resistance for a new embattled generation under President Reagan’s neoliberal shock doctrines that were felt worldwide. June Jordan’s salvos of essays, fiction, and poetry -including Things That I Do in the Dark, On Call, and Affirmative Acts - intervened in struggles around Black English, community control, police violence, sexual assault, and youth empowerment. Audre Lorde’s words are suffused across U.S. movements (and, increasingly, in the Caribbean and Latin America)- on signs, shirts, and memes, at #BlackLivesMatter and International Women’s Strike marches. Your silence will not protect you. The master’s tools will never dismantle the master’s house. Revolution is not a one-time event. However, her voluminous legacy may risk becoming a series of slogans, “the Audre Lorde that reads like a bumper sticker.”</p><div><br clear="all" /><hr align="left" size="1" width="33%" /><div><p> </p></div></div>
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Zabotin, Daniil V. "In Search of Lost Realities: Alan Bennett’s “The Uncommon Reader’’ through Russian Reader’s Eyes". Literary Fact, n.º 4 (30) (2023): 279–302. http://dx.doi.org/10.22455/2541-8297-2023-30-279-302.
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The article is dedicated to the critical reflection of the original and translated version of Alan Bennett’s “The Uncommon Reader,” whose main character is unnamed, but easily recognizable Queen Elizabeth II. Consequently, the entire different cultural context of this pseudo-biographical narrative creates certain difficulties for the translator, because she has to understand and reproduce with maximum accuracy what English speakers read without any hindrance. So, the main approach of the translation of “The Uncommon Reader” into Russian is considered to be a domesticating strategy, which means the need to adapt the story by simplifying or replacing (renaming) historical and everyday realities, when they are transplanted from one worldview to another: for example, “Alsatian — German Shepherd” or “Dame Commander — Court Lady.” It should be emphasized that the nomination problem plays an important role in Bennett’s work: while his characters dive into the depths of fiction, they seem to start to get know to themselves anew with the help of found “second names” that are foreign words of Greek (“opsimath”) and Latin (“amanuensis”) origin. The study of the author’s reading philosophy leads us to the conclusion about the uniqueness of the original title of the story, reflecting the idea of the ambivalent nature of the image of Her Royal Majesty. After a long journey from a novice reader to a writing reader, she still decided to enter the circle of the independent Republic of Letters, which blossoms with tens of names of novelists, poets, and dramatists of the present and the past on the pages of “The Uncommon Reader.” Such a literary union demanded from the translator to create a separate and well-thought commentary, which can be interpreted as a secondary attempt at “reverse translation” (A.V. Mikhailov).
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Cormier, Matthew. "The Destruction of Nationalism in Twenty-First Century Canadian Apocalyptic Fiction". American, British and Canadian Studies 35, n.º 1 (1 de dezembro de 2020): 5–22. http://dx.doi.org/10.2478/abcsj-2020-0014.
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Abstract This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures.
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Brioua, Nadira. "Postcolonialism, Islamophobia and Inserting Islam Facts in African-American Fiction: Umm Zakiyyah’s If I Should Speak". AL-HIKMAH: INTERNATIONAL JOURNAL OF ISLAMIC STUDIES AND HUMAN SCIENCES 4 (28 de junho de 2021): 1–33. http://dx.doi.org/10.46722/hikmah.v4i.124.
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Islam has been growing quickly in the world, yet it is a predominately misunderstood religion. Othering Islam through media propaganda and western writings, and mis associating it with some assumptions are still rampant. Thus, the researcher attempts at showing these assumptions stereotypical prejudgments of Islam and Muslims that are commonly associated with Western assumptions resulted in Islamophobia and exploring the role of counter-discourses in contemporary Black-American Fiction by analyzing Umm Zakiyyah’s If I Should Speak and showing to what extents the novel has an important role in correcting assumptions and narrating the Islamic facts. Thus, this article highlights Umm Zakiyyah’s narrative of Islam’s truth within its historical sources the Qur’an and the Sunnah. The paper analyses Umm Zakiyyah’s reconsideration of Islam’s truth, by focusing on the meaning of Islam and being a Muslim. To do so, this qualitative and non-empirical research is conducted in a descriptive-theoretical analysis, using the selected novel as a primary source and library and online critical materials, such as books and journal articles, as secondary references. Based on the analysis, it is found that Umm Zakiyyah narrates Islam and Muslims to counter the West’s negative view on Islam. Furthermore, based on the story, the power of Muslim self-identification within the historical transparent knowledge based on the Quran’s perspectives leads to the conversion of Tamika Douglass, proving that Islam can be perceived positively by non-Muslims; in this case, it is represented within its subjectivity. It is found that the novel can be a tool of Islamic da’wah [call for the faith]. Hence, the Muslim writers and novelists should write to solve the challenges facing Muslims and the Ummah by Islamizing English fiction.
Keywords: Islamophobia, Islamic Postcolonialism, Umm Zakiyyah, fiction, facts.
الملخص:
يُواجه الإسلام و المسلمين و خاصة الأقليات المقيمة في الغرب عددًا من التحديات، مثل الادعاءات الغربية التي تُمارس ضد الإسلام والمسلمين وتنعكس سلبيًّا لتُنتج مختلف الصور النمطية والتحيزات العنصرية ضدهم سواء باستعمال الميديا أو المنشورات الغربية. وعليه؛ يهتم هذ البحث بتسليط الضوء على هذه التحديات و خاصة الاسلاموفوبيا، و دراسات ما بعد الاستعمار و دور الرواية في تصحيح الشبهات و سرد الحقائق حول الإسلام و المسلمين من خلال اتخاذ رواية "لو يجب أن أتكلم" (2000) للكاتبة أم زكية من الولايات المتحدة الأمريكية. وقد وظَّفت الباحثة المنهج الكيفي غير التجريبي معتمدة على طريقة التحليل الوصفي النظري باستخدام الرواية المختارة كمصدر أوليّ، مع مصادر ثانوية نقدية متوفرة في المكتبة وعلى الشابكة، من مثل الكتب والمقالات الأكاديمية، وبعد التحليل والمناقشة؛ ظهرت أدلة كافية على صراعات عدة تواجه الهوية الإسلامية في الغرب، ممّا يؤدي إلى ضياع هوية المسلم بين الأنا والآخر، فمن جهة ترغب الأنا المسلمة في الحفاظ على جوهرية هوية الأصل، ومن جهة أخرى تتعرض الهوية للضياع والتهجين والازدواجية بسبب السياسات العنصرية والثقافة الغربية والشعور بالتغريب، ومن أهمية هذا البحث. كما أثبتت الدراسة أنّ للرواية دور مهم في تصحيح الشبهات و سرد الحقائق، و لذلك نوصي بأسلمة الرواية و الكتاب بتسليط رواياتهم و أقلامهم على سرد الهوية و الثقافة الإسلامية بدل التقليد و التبعية للأدب الغربي دون مراعاة الهوية و مقوماتها.
الكلمات المفتاحية: الاسلاموفوبيا، دراسات ما بعد الكولونيالية و الإسلام، أم زكية، السرد.
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Sönmez, Margaret J.-M. "AUTHENTICITY AND NON-STANDARD SPEECH IN GREAT EXPECTATIONS". Victorian Literature and Culture 42, n.º 4 (19 de setembro de 2014): 637–69. http://dx.doi.org/10.1017/s1060150314000230.
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Susan L. Ferguson shows how Victorian novelists used the reported speech of their characters to create a “ficto-linguistics” wherein “the systems of language that appear in novels . . . indicate identifiable alternative patterns congruent to other aspects of the fictional world” (1). These novels present self-contained systems, she says, in which “speech relates in style as well as content to the speech of other characters, [and] all quoted language in a novel is contained within and potentially interacts with the language of the narrator” (1). Ferguson's interpretation of novelistic speech enables more convincing analyses of reported dialect speech than earlier efforts, which compared them directly to real-life dialects – a tendency that itself reflects the “grand narrative” of “authenticism” (Sanchez-Arce) – and which assumed that discrepancies and inconsistencies were stylistic weaknesses due, for instance, to over-sentimentality or “lowness” (Quirk 5), or to the writer being reluctant to depict virtuous characters as speaking non-standard English, regardless of the likelihood or possibility that characters from badly educated backgrounds would speak anything else.
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Hilliard, Christopher. "Authors and Artemus Jones: Libel Reform in England, 1910–52". Literature & History 30, n.º 1 (maio de 2021): 62–76. http://dx.doi.org/10.1177/03061973211007357.
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This article argues that the novel was collateral damage in English law’s reaction to mass-market newspapers. A 1910 court decision made the writer’s intention irrelevant in libel cases. As a result, publishers became vulnerable to defamation suits from people unknown to a novelist but who happened to share a name with a fictional character. Drawing on the Society of Authors archive and the records of the Porter Committee on the Law of Defamation, the article reconstructs the campaign to exempt fiction from liability in cases of unintentional defamation.
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Singh, HP. "EXISTENTIALISM IN INDIAN ENGLISH NOVEL". International Journal of Research -GRANTHAALAYAH 3, n.º 7 (31 de julho de 2015): 40–42. http://dx.doi.org/10.29121/granthaalayah.v3.i7.2015.2984.
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Existentialism in Indian English Novel has its roots in western philosophy. Since our civilization has been heading towards westernization, and the life of man has been tending towards modernization. It has become inevitable for man to ask himself who he is and what his relation is to the physical and social world. The modern Indian is surrounded by the forces which are commanded and controlled by existentialist dilemmas. Modern fictional hero is a split-personality or a tortured individual through whose mind the novelist points out the social or national or human conditions. Modern heroes are not only emotionally wronged but also shaken at the existential level. The problems of existence are too wide to be managed by the modern man. The modern novel portrays outsiders, foreigners, who are empty in feelings, or incapable of communication, or unable to relate themselves meaningfully to the surroundings. Thus modern’s fiction in English reflects modern human predicament; life surrounded by forces of anxiety.
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Hussein, Ameer. "A Study of Intertextuality in Peter Ackroyd `s Selected Novels". Kufa Journal of Arts 1, n.º 55 (1 de março de 2023): 816–33. http://dx.doi.org/10.36317/kaj/2023/v1.i55.10738.
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The concept of intertextuality is a central notion in postmodern theory and an important model to describe the relation between literary texts. The central purpose of this paper is to scrutinize the idea of intertextuality in postmodern theory and how it is manifested by the British prolific novelist Peter Ackroyd `s selected novels. The English critic and novelist of more than a dozen of novels as well as the Booker Prize for Fiction. Ackroyd is a great example of English novelist who rewrites in his novels English literary history through using the notion of intertextuality. As a result, Ackroyd`s novels are significant of shoot of postmodern novel since they document the literary texts of earlier authors to become the subject of their plots which reflect the postmodern idea in which literary works are viewed to mirror other works . Therefore, Ackroyd`s novels can be regarded as unique versions of this trend of postmodern fiction as well as literary criticism. The concept of intertextuality becomes subject to adaptation and revision in postmodern literary theory.
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Fadda-Conrey, Carol. "Arab Diasporic Writing". American Journal of Islam and Society 21, n.º 2 (1 de abril de 2004): 147–49. http://dx.doi.org/10.35632/ajis.v21i2.1810.
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The panel entitled “Arab Diasporic Writing: Figurations of Space andIdentity” was held on Friday, February 27, at the 2004 Twentieth CenturyLiterature conference at the University of Louisville, Kentucky. Organized by Carol Fadda-Conrey, the panel featured presentations by Professor SyrineHout and Lisa A. Weiss on two Arab diasporic writers, Rabih Alameddineand Leïla Sebbar, respectively.Syrine Hout, an associate professor of English at the AmericanUniversity of Beirut, presented a paper entitled “Lebanon ‘Revisited’:Memory, Self, and Other in Rabih Alameddine’s The Perv.” Singling outAlameddine as an example of Anglophone novelists of the Lebanese diaspora,Hout’s presentation handled complex themes of memory, nostalgia,the homeland, and relationships that generate binding ties in her analysis ofthe short stories featured in The Perv. Published in July 1999, this isAlameddine’s second work of fiction. Comprising eight short stories, ThePerv presents in-depth portrayals of characters in various states of exile anddisplacement, both mental and physical, cultural and psychological.In her analysis, Hout presented the cogent case that Alamaddine shows,by way of his characters, all of whom have been affected by the Lebanesecivil war, how homesickness is more of a “sickness of home,” manifested bywhat Hout defines as “critical memory of the immediate past of the civilwar.” The presentation’s overriding argument, systematically upheld byHout, shows how the notion of “being at home,” as represented in this work,“is not about belonging to a piece of land but about having a peace of mindwhich can be enjoyed anywhere.” In her reading of the first story, “ThePerv,” and the subsequent stories, Hout arrived at an interesting conclusion:Sammy, the title story’s main character, is actually the creator of the othercharacters in the collection to such an extent that he and Alameddine becomeone and the same person. Hout’s analysis of “being at home” in The Perv asbeing engendered “by an emotional reality [more] than a spatial one” bringsto the forefront significant concerns in the study of diasporic literature.Such thematic concerns were also addressed and probed by Lisa Weissin her presentation entitled “‘Arab’ Paris: Reinterpreting the City-Centerthrough the Writings of Leïla Sebbar.” Weiss, a Ph.D. candidate in Frenchand Francophone literature at the University of California, Santa Cruz,lived in Paris during 2003, teaching at the UC Paris Study Center andresearching “Beur” cultural production. She identifies “Beur” as a “colloquialidentification-term from the 1980s used for second- and third-generationFrench citizens born in France to North African immigrant parents.” ...
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Shumaila Fatma. "Treatment of History in Select Contemporary Indian English Novels". Creative Launcher 5, n.º 4 (30 de outubro de 2020): 60–64. http://dx.doi.org/10.53032/tcl.2020.5.4.11.
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History and fiction share one trait in common and that is recording of events past, incidence, personalities, movements, etc. the difference between history and fiction is that history takes an objective view of the events whereas fiction takes a creative sweep. Both chronicle formation, development and evolution of nations in their own way. History fiction interface therefore becomes a virgin track to till for the Indian English novelist. Shashi Tharoor in The Great Indian Novel (1989), Geeta Mahta in Raj (1988) and Kiran Nagarkar in Cuckold (1997) explore this interface in their unique ways. Tharoor tries to atone himself with his present retrospectively with the help of history. Geeta Mehta tries to coalate east –west encounter along with cultural issues, historical facts and fantasy, realism and socio-political features at the time of independence. Kiran Nagarkar tries to achieve a transformation in the history or the lack of it.
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Markova, M. V. "Georgette Heyer, history, and historical fiction". Voprosy literatury, n.º 1 (5 de fevereiro de 2024): 198–203. http://dx.doi.org/10.31425/0042-8795-2024-1-198-203.
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The review discusses a volume of scholarly articles edited by Samantha Rayner and Kim Wilkins that sets out to present a comprehensive body of research into the oeuvre of the English novelist Georgette Heyer. The book comprises several sections: gender, genre, sources, and circulation and reception. Heyer is the renowned founder of Regency romance, whose work is noted for exceptional attention to historical facts and reconstruction of the aristocratic slang of the period. Her novels, however, remained largely ignored by scholars. The volume’s editors succeed in producing an invaluable compilation enriching the studies of 1920s English genre literature by considering Heyer’s work in the context of post-war culture, with its heightened interest in the Napoleonic era, as well as in relation to literary tradition, especially Jane Austen’s works, but also referencing adventure novels of Heyer’s older contemporaries Baroness Orczy and Rafael Sabatini.
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BABAEI, ABDOLRAZAGH, e AMIN TAADOLKHAH. "Portrayal of the American Culture through Metafiction". Journal of Education Culture and Society 4, n.º 2 (7 de janeiro de 2020): 9–15. http://dx.doi.org/10.15503/jecs20132.9.15.
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Kurt Vonnegut’s position that artists should be treasured as alarm systems and as biological agents of change comes most pertinent in his two great novels. The selected English novels of the past century – Cat’s Cradle (1963), Slaughterhouse Five (1969), and Breakfast of Champions (1973) – connect the world of fiction to the harsh realities of the world via creative metafictional strategies, making literature an alarm coated with the comforting lies ofstorytelling. It is metafi ction that enables Vonnegut to create different understandings of historical events by writing a kind of literature that combines facts and fiction. Defi ned as a kind of narrative that “self-consciously and systematically draws attention to its status as artefact” metafiction stands against the duplicitous “suspension of disbelief” that is simply an imitation and interpretation of presumed realities. As a postmodern mode of writing it opts for an undisguised narration that undermines not only the author’s univocal control over fiction but also challenges the established understanding of the ideas. Multidimensional display of events and thoughts by Vonnegut works in direction of metafiction to give readers a self-conscious awareness of what they read. Hiroshima bombing in 1946 and the destruction of Dresden in Germany by allied forces in World War II are the subjects of the selected novels respectively. In them Vonnegut presents a creative account in the form of playful fictions. The study aims to investigate how the novelist portrayed human mentality of the American culture by telling self-referentialstories that focus on two historical events and some prevailing cultural problems.
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Wojciechowska, Sylwia Janina. "Politics and the Inadequacy of Words in Joseph Conrad’s Non-Fiction". Multidisciplinary Journal of School Education 10, n.º 1 (19) (8 de junho de 2021): 47–64. http://dx.doi.org/10.35765/mjse.2021.1019.03.
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The Polish-born English novelist, Joseph Conrad, once challenged the general public with a statement which stigmatized the printed word in wartime coverage as being cold, silent, and colorless. The aim of this article is to investigate the manner in which the writer himself applied words in his wartime non-fictional works in order to bestow a lasting effect on his texts. It is argued that irony renders his non-fiction memorable. Thus, the focus is first placed on the manner in which irony features in Conrad’s political essays, collected in Notes on Life and Letters, from 1921. It is argued that irony applied in his non-fiction represents what Wayne C. Booth termed stable irony. Further, it is claimed that, as a spokesman for a non-existent country, Conrad succeeded in transposing the Polish perspective into a discourse familiar to the British public. This seems possible due to the application of the concept of the body politic and the deployment of Gothic imagery. Finally, the paper examines the manner in which words are effectively used to voice the stance of a moralist on truth and the lie of the printed word in the turbulent times around the end of the 19th century.