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Статті в журналах з теми "English fiction History and criticism Theory"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 28 січня 2023

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1

Huisman, Rosemary. "The discipline of English Literature from the perspective of SFL register." Language, Context and Text 1, no. 1 (February 4, 2019): 102–20. http://dx.doi.org/10.1075/langct.00005.hui.

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AbstractThe paper first traces the history and elaboration of the tertiary discipline English Literature through the 19th and 20th centuries to the present day, with special focus on the axiology, the values, given to the discipline and with a brief account of literary criticism and literary theory. It then refers to the work on registerial cartography in systemic functional linguistics (SFL) and explores the register of the contemporary discipline in first-order field of activity and second-order field of experience, with examples from the language of webpages and exam papers of Australian universities. It continues with a brief overview of the author’s own work using SFL in the study ofthe poeticandthe narrativein English poetry and prose fiction of different historical periods and concludes with a caveat on the central disciplinary process, that of interpretation.

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2

ROLLS, ALISTAIR. "Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages." Australian Journal of French Studies 58, no. 1 (April 1, 2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.

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Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.

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3

Forsdick, C. "Postcolonial Criticism: History, Theory, and the Work of Fiction." Comparative Literature 58, no. 3 (January 1, 2006): 263–65. http://dx.doi.org/10.1215/-58-3-263.

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4

Syrotinski, Michael. "Postcolonial Criticism: History, Theory and the Work of Fiction." French Studies 60, no. 3 (July 1, 2006): 418–19. http://dx.doi.org/10.1093/fs/knl067.

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5

Zimra, Clarisse. "Postcolonial Criticism: History, Theory and the Work of Fiction (review)." MFS Modern Fiction Studies 50, no. 3 (2004): 798–99. http://dx.doi.org/10.1353/mfs.2004.0093.

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6

Roberts, R. "American Science Fiction and Contemporary Criticism." American Literary History 22, no. 1 (November 20, 2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.

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7

Halmi, Nicholas. "The Nostalgic Imagination: History in English Criticism." Common Knowledge 27, no. 2 (May 1, 2021): 318–20. http://dx.doi.org/10.1215/0961754x-8906285.

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8

Fargnoli, Joseph R., and Rene Wellek. "A History of Modern Criticism: 1750-1950. Vol. 5: English Criticism, 1900-1950." Journal of the Midwest Modern Language Association 20, no. 1 (1987): 118. http://dx.doi.org/10.2307/1315004.

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9

Heale, Elizabeth, and James L. Harner. "English Renaissance Prose Fiction, 1550-1600: An Annotated Bibliography of Criticism (1976-1983)." Modern Language Review 83, no. 3 (July 1988): 664. http://dx.doi.org/10.2307/3731304.

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10

O’Malley, Maria. "Taking the Domestic View in Hawthorne’s Fiction." New England Quarterly 88, no. 4 (December 2015): 657–80. http://dx.doi.org/10.1162/tneq_a_00494.

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Shifting the emphasis within feminist criticism from the act of speech to the act of hearing, this article argues that, in The Scarlet Letter, The House of the Seven Gables, and Blithedale Romance, Nathaniel Hawthorne reveals how the public sphere depends on the voices of dispossessed women even as it attempts to silence them.

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11

Parker, Christopher, Elizabeth Truax, Ivan Roots, Christopher Hill, R. C. Richardson, Joan Thirsk, W. A. Speck, Neil Curtin, Asa Briggs, and William Richardson. "Reviews: Companion to Historiography, Engendering a Nation: A Feminist Account of Shakespeare's English Histories, the Debate on the English Revolution, the Invention of the Newspaper: English Newsbooks, 1641–49, God's Englishwomen: Seventeenth-Century Radical Sectarian Writing and Feminist Criticism, Birth, Marriage and Death: Ritual, Religion and the Life-Cycle in Tudor and Stuart England, the Politics of Sensibility: Race, Gender and Commerce in the Sentimental Novel, the Oxford Book of the American South: Testimony, Memory and FictionBentleyMichael (ed.), Companion to Historiography , Routledge, 1997, pp. xvii + 997, £100.HowardJean E. and RackinPhyllis, Engendering a Nation: A Feminist Account of Shakespeare's English Histories , Routledge, 1997, pp. xviii + 215, £14.99 pb.RichardsonR. C., The Debate on the English Revolution , 3rd ed., Manchester University Press, 1998, pp.x + 262, £14.99.RaymondJoad, The Invention of the Newspaper: English Newsbooks, 1641–49 , Oxford University Press, 1996, pp. xii + 379, £45.HindsHilary, God's Englishwomen: Seventeenth-century Radical Sectarian Writing and Feminist Criticism , Manchester University Press, 1996, pp. vii + 264, £35, £14.99 pb.CressyDavid, Birth, Marriage and Death: Ritual, Religion and the Life-Cycle in Tudor and Stuart England , Oxford University Press, 1997, pp. 641, £25.00.EllisMarkman, The Politics of Sensibility: Race, Gender and Commerce in the Sentimental Novel , Cambridge University Press, 1996, pp. xii + 264, £45.AyersEdwards L., and MittendorfBradley C. (eds), The Oxford Book of the American South: Testimony, Memory and Fiction , Oxford University Press, 1997, pp. 597, £30.WinterJay and RobertJean-Louis, Capital Cities at War, 1914–1919 , Cambridge University Press, 1997, pp. xviii + 622, £60.NaimanEric, Sex in Public: The Incarnation of Early Soviet Ideology , Princeton University Press, 1997, pp. 307, $39.50, £27.50." Literature & History 8, no. 1 (May 1999): 76–90. http://dx.doi.org/10.7227/lh.8.1.6.

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12

Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (April 2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.

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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.

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13

Meyer, Neele. "Challenging Gender and Genre: Women in Contemporary Indian Crime Fiction in English." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (March 28, 2018): 105–17. http://dx.doi.org/10.1515/zaa-2018-0010.

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Abstract This paper looks at three Indian crime fiction series by women writers who employ different types of female detectives in contemporary India. The series will be discussed in the context of India’s economic growth and the emergence of a new middle class, which has an impact on India’s complex publishing market. I argue that the authors offer new identification figures while depicting a wide spectrum of female experiences within India’s contemporary urban middle class. In accordance with the characteristics of popular fiction, crime fiction offers the possibility to assume new roles within the familiar framework of a specific genre. Writers also partly modify the genre as a form of social criticism and use strategies such as the avoidance of closure. I conclude that the genre is of particular suitability for women in modern India as a testing-ground for new roles and a space that helps to depict and accommodate recent transformations that connect to processes of globalization.

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14

MacKenzie, Robin. "Approaches to Teaching Proust's Fiction and Criticism." French Studies 59, no. 4 (October 1, 2005): 567–68. http://dx.doi.org/10.1093/fs/kni242.

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15

Zhang, Zhehui. "A Post-Colonial Approach to The Man Who Ended History: A Documentary." English Language and Literature Studies 10, no. 2 (April 16, 2020): 53. http://dx.doi.org/10.5539/ells.v10n2p53.

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The Man Who Ended History: A Documentary is a science fiction by Chinese American science fiction writer Ken Liu (1976-). Based on the theory of Post-Colonial Criticism, this paper makes a concrete analysis of the text from the perspectives of three eminent contemporary theorists, aiming at the readers’ better understanding of the work, and eliminating ethnocentrism, racism, unilateralism and hegemony; keeping history in mind and justifying the names of innocent humans who have been persecuted; safeguarding world peace, and building a community with a shared future for mankind.

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16

Scheuermann, M. "Gender Studies of English Fiction." Eighteenth-Century Life 24, no. 3 (October 1, 2000): 73–102. http://dx.doi.org/10.1215/00982601-24-3-73.

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17

Collinge, James T. "‘With envious eyes’: Rabbit-poaching and class conflict in H. G. Wells’s The Time Machine and The Island of Doctor Moreau." Literature & History 26, no. 1 (May 2017): 39–55. http://dx.doi.org/10.1177/0306197317695082.

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Allusions to rabbits and poaching recur throughout H. G. Wells's work. In spite of the frequency with which they appear, these motifs remain overlooked within scholarly criticism. This article, by analysing Wells's representations of rabbit-poaching, first considers how nineteenth-century histories of industrialisation and game-crime shape his science fiction. It then explores the contradictory nature of these representations, which both demonise and sympathise with the figure of the rabbit-poacher, providing further insight into the class confusion that recent criticism perceives to characterise Wells's writing in this period.

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18

Dybiec-Gajer, Joanna. "Zemsta Trygława i Swaroga? Krytyka fanowska angielskiego tłumaczenia komiksu Kajko i Kokosz." Krytyka przekładu i okolice, no. 42 (December 29, 2021): 116–43. http://dx.doi.org/10.4467/16891864pc.21.020.14331.

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The Revenge of Triglav and Svarog? Fan-Generated Translation Criticism of the English Version of the Comic Book Kajko i Kokosz The article discusses the role of fan communities as critics of translated texts. It shows how fans’ active involvement as prosumers in the production of translational (mock) critical content can affect the promotion and distribution of the official, commercial translation. The case in point is a fan-generated and fan-mediated reception of the English rendition of an album from a classic Polish Kajko i Kokosz comic series. First published in 1975, Szkoła latania (Flying School) is part of Poland’s shared popcultural idiom, since recently also part of the primary school reading canon. Its first English translation (2018) made available in a pre-release to the comic’s fans led to a number of controversies, ranging from humorous internet-mediated discussions of an editing mistake to an open petition to the publisher to preserve in translation the comic’s cultural specificity. The article sets off by discussing the profile of the translation critic emerging from leading models of translation criticism to move on to sketch new developments and the role of fandom and fan-generated criticism. Arguing that currently translations of speculative fiction into and out of English in the Polish context can be considered vulnerable translations, prone to fans’ critical scrutiny, it focuses on Flying School and its fan reception which lead to the prolonged postponement of the publication of the official translation. The article also provides an analysis of the pre-release commercial translation to provide background for the fan criticism. It shows the clash of the translator’s consistent domesticating strategy with fans’ expectations of an exoticizing translation, preserving the Slavic character of the series which raises the question of the translation brief and publisher-translator relationship.

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19

Morey, Peter. "“Halal fiction” and the limits of postsecularism: Criticism, critique, and the Muslim in Leila Aboulela’s Minaret." Journal of Commonwealth Literature 53, no. 2 (February 13, 2017): 301–15. http://dx.doi.org/10.1177/0021989416689295.

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This article examines Leila Aboulela’s 2005 novel Minaret, considering the extent to which it can be seen as an example of a postsecular text. The work has been praised by some as one of the most cogent attempts to communicate a life of Islamic faith in the English language novel form. Others have expressed concern about what they perceive as its apparent endorsement of submissiveness and a secondary status for women, along with its silence on some of the more thorny political issues facing Islam in the modern world. I argue that both these readings are shaped by the current “market” for Muslim novels, which places on such texts the onus of being “authentically representative”. Moreover, while apparently underwriting claims to authenticity, Aboulela’s technique of unvarnished realism requires of the reader the kind of suspension of disbelief in the metaphysical that appears to run contrary to the secular trajectory of the English literary novel in the last 300 years. I take issue with binarist versions of the postsecular thesis that equate the post-Enlightenment West with relentless desacralization and the “Islamic world” with a persistent collectivist and spiritual outlook, and suggest that we pay more attention to fundamental narrative elements which recur across the supposed West/East divide. Historically simplistic understandings of the secularization of culture — followed in the last few years by a postsecular turn — misrepresent the actual evolution of the novel. The “religious” persists, albeit transmuted into symbolic schema and themes of material or emotional redemption. I end by arguing for the renewed relevance of the kind of analysis of literary “archetypes” suggested by Northrop Frye, albeit disentangled from its specifically Christian resonances and infused by more attention to cultural cross-pollination. It is this type of approach that seems more accurately to account for the peculiarities of Aboulela’s fiction.

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20

Nemoianu, Virgil, and Rene Wellek. "A History of Modern Criticism 1750-1950. Vol. 5: English Criticism, 1900-1950; Vol. 6: American Criticism, 1900-1950." MLN 101, no. 5 (December 1986): 1245. http://dx.doi.org/10.2307/2905719.

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21

Clarke, B. "CHRIS HOPKINS. English Fiction in the 1930s: Language, Genre, History." Review of English Studies 59, no. 241 (November 27, 2007): 653–54. http://dx.doi.org/10.1093/res/hgn057.

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22

Overton, Bill. "Review: Authors and Authority: English and American Criticism 1750–1990." Literature & History 2, no. 1 (March 1993): 96–97. http://dx.doi.org/10.1177/030619739300200107.

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23

Lähteenmäki, Ilkka. "Possible Worlds of History." Journal of the Philosophy of History 12, no. 1 (March 22, 2018): 164–82. http://dx.doi.org/10.1163/18722636-12341354.

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Abstract The theory of possible worlds has been minimally employed in the field of theory and philosophy of history, even though it has found a place as a tool in other areas of philosophy. Discussion has mostly focused on arguments concerning counterfactual history’s status as either useful or harmful. The theory of possible worlds can, however be used also to analyze historical writing. The concept of textual possible worlds offers an interesting framework to work with for analyzing a historical text’s characteristics and features. However, one of the challenges is that the literary theory’s notion of possible worlds is that they are metaphorical in nature. This in itself is not problematic but while discussing about history, which arguably deals with the real world, the terminology can become muddled. The latest attempt to combine the literary and philosophical notions of possible worlds and apply it to historiography came from Lubomír Doležel in his Possible Worlds of Fiction and History: The Postmodern Stage (2010). I offer some criticism to his usage of possible worlds to separate history and fiction, and argue that when historiography is under discussion a more philosophical notion of possible worlds should be prioritized over the metaphorical interpretation of possible worlds.

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24

Ciolkowski, Laura E. "Navigating the Wide Sargasso Sea: Colonial History, English Fiction, and British Empire." Twentieth Century Literature 43, no. 3 (1997): 339. http://dx.doi.org/10.2307/441916.

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25

Jenkins, E. R. "English South African children’s literature and the environment." Literator 25, no. 3 (July 31, 2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.

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Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.

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26

Hayot, Eric. "Literary History after Literary Dominance." Modern Language Quarterly 80, no. 4 (December 1, 2019): 479–94. http://dx.doi.org/10.1215/00267929-7777832.

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Abstract The various pronouncements of the nation’s dissolution seem to have been premature. Literary history is still very much within the nation, especially if one considers the realm of the middle- and lowbrow, or indeed the vast swaths of genre fiction. What has changed in literary history is the position of literature itself. The discipline of literary study (whether one thinks of it as literary history or literary criticism) institutionalized itself during a period of literary dominance. Now that that dominance is over—now that the field of narrative aesthetic culture includes television, film, and video games, and now that those genres dominate not only markets but the forms of representativity that used to belong almost exclusively to literature—what is the future for literary studies, either as a scholarly discipline or as an institutional field?

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27

Richards, Christine. "Gender, Race and the ‘Art’ of Fiction: Henry James's Criticism and Harriet Beecher Stowe." Literature & History 9, no. 1 (May 2000): 43–55. http://dx.doi.org/10.7227/lh.9.1.3.

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28

Hill, Christopher. "Review: Lines of Authority: Politics and English Literary Criticism, 1649–1689." Literature & History 5, no. 2 (September 1996): 79–80. http://dx.doi.org/10.1177/030619739600500211.

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29

Watson, Graham. "History of English Literature, Volume 5: Early and Mid-Victorian Fiction, 1832–1870." Brontë Studies 46, no. 1 (December 1, 2020): 92–93. http://dx.doi.org/10.1080/14748932.2021.1835073.

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30

Dillon, John Noël. "CONJECTURES AND CRITICISM IN BOOK 1 OF THECODEX JUSTINIANUS." Classical Quarterly 65, no. 1 (April 2, 2015): 321–43. http://dx.doi.org/10.1017/s0009838814000640.

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Since 2007, a team of American and British ancient historians has been preparing a new translation of theCodex Justinianus. The ‘Codex Project’ was launched by chief editor Bruce W. Frier; the goal of the project is to create the first reliable English translation of theCodex Justinianuson the basis of the standard edition by Paul Krüger. Since 1932, the notoriously unreliable translation by Scott has remained the only one in English. The new translation by the Codex Project should appear soon.

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31

Emma Liggins. "Victorian Sensation Fiction: A Reader's Guide to Essential Criticism (review)." Victorian Periodicals Review 43, no. 1 (2010): 83–84. http://dx.doi.org/10.1353/vpr.0.0110.

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32

Ferrebe, Alice. "Elizabeth Taylor's Uses of Romance: Feminist Feeling in 1950s English Fiction." Literature & History 19, no. 1 (May 2010): 50–64. http://dx.doi.org/10.7227/lh.19.1.5.

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33

Speck, W. A. "Review: Before Novels: The Cultural Contexts of Eighteenth-Century English Fiction." Literature & History 1, no. 1 (March 1992): 99–100. http://dx.doi.org/10.1177/030619739200100122.

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34

Pezzotti, Barbara. "“I am Just a Policeman”: The Case of Carlo Lucarelli’s and Maurizio de Giovanni’s Historical Crime Novels Set during Fascism." Quaderni d'italianistica 37, no. 1 (June 9, 2017): 89–106. http://dx.doi.org/10.33137/q.i..v37i1.28280.

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Анотація:

This article analyzes two successful Italian novels set during the Ventennio and the Second World War, namely Carlo Lucarelli’s Carta bianca (1990) and Maurizio De Giovanni’s Per mano mia (2011). It shows how Lucarelli confronts the troubling adherence to Fascism through a novel in which investigations are continually hampered by overpowering political forces. By contrast, in spite of expressing an anti-Fascist view, De Giovanni’s novel ends up providing a sanitized version of the Ventennio that allows the protagonist to fulfil his role as a policeman without outward contradictions. By mixing crime fiction and history, Lucarelli intervenes in the revisionist debate of the 1980s and 1990s by attacking the new mythology of the innocent Fascist. Twenty years later, following years of Berlusconi’s propaganda, De Giovanni waters down the hybridization of crime fiction and history with the insertion of romance and the supernatural in order to provide entertaining stories and attract a large audience. In the final analysis, from being functional to political and social criticism in Lucarelli’s series, the fruitful hybridization of crime fiction and history has turned into a mirror of the political and historical de-awareness of Italian society of the 2000s in De Giovanni’s series.

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35

Heise-von der Lippe, Anya. "Histories of Futures Past: Dystopian Fiction and the Historical Impulse." Zeitschrift für Anglistik und Amerikanistik 66, no. 4 (December 19, 2018): 411–25. http://dx.doi.org/10.1515/zaa-2018-0035.

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Анотація:

Abstract This article traces the historical impulse in two intertextually connected dystopian texts – George Orwell’s 1984 (1949) and Margaret Atwood’s The Handmaid’s Tale (1985) – by reading the two novels in the context of the construction of historical narrative after the proclaimed ‘end of history’ in the twentieth century. It considers their representation of history within the framework of literary criticism of the historical novel (György Lukács), critical dystopias (Tom Moylan), and memory as an active, mediated engagement with the past (Astrid Erll and Ann Rigney). It looks, more specifically, at how the texts contrast personal experience and the meta-narrative contemplation of memory with institutionalized versions of history on different diegetic levels by juxtaposing the narrators’/focalizers’ view of history with that presented in the framework of pseudo-historical appendices that accompany and significantly modify the interpretations of both narratives.

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36

So, Richard Jean, and Edwin Roland. "Race and Distant Reading." PMLA/Publications of the Modern Language Association of America 135, no. 1 (January 2020): 59–73. http://dx.doi.org/10.1632/pmla.2020.135.1.59.

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Анотація:

This essay brings together two methods of cultural‐literary analysis that have yet to be fully integrated: distant reading and the critique of race and racial difference. It constructs a reflexive and critical version of distant reading—one attuned to the arguments and methods of critical race studies—while still providing data‐driven insights useful to the writing of literary history and criticism, especially to the history and criticism of postwar African American fiction, in particular James Baldwin's Giovanni's Room. Because race is socially constructed, it poses unique challenges for a computational analysis of race and writing. Any version of distant reading that addresses race will require a dialectical approach. (RJS and ER)

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37

Santamarina, Xiomara. "Fugitive Slave, Fugitive Novelist: The Narrative of James Williams (1838)." American Literary History 31, no. 1 (January 1, 2019): 24–46. http://dx.doi.org/10.1093/alh/ajy051.

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AbstractThis essay argues for reading a discredited slave narrative—the Narrative of James Williams (1838)—as an early black novel. Reading this narrative as a founding black novel à la Robinson Crusoe complicates the genealogy and theoretical parameters of literary criticism about early US black fiction. Such a reading revises accounts about the emergence of the third-person fictive voice inaugurated by Frederick Douglass and William Wells Brown in the 1850s. It also offers a new understanding of the antislavery movement’s quest for authenticity. More importantly, reading NJW as novelistic fiction illustrates how a fugitive slave might narrativize muddied textual politics and effectively challenge the reparative vision with which we theorize the genres and politics of early African American literary texts.

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38

Kane, George. "Textual Criticism and Middle English Texts.Tim William Machan." Speculum 71, no. 4 (October 1996): 975–78. http://dx.doi.org/10.2307/2865755.

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39

Waters, Lindsay. "To Become What One Is." boundary 2 48, no. 1 (February 1, 2021): 251–63. http://dx.doi.org/10.1215/01903659-8821510.

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In the twentieth century, criticism flourished in the academy in the English language from the 1930s to the 1960s, but gradually a hyperprofessionalized discourse purporting to be criticism took its place. The problem was exacerbated because people misunderstand literary theory thinking it superior to criticism. Big mistake. Theory proper begins its life as criticism, criticism that has staying power. Central to criticism as Kant argued is judgment. Judgment is based on feeling provoked by the artwork in our encounters with artworks. This essay talks about the author’s encounter with Mary Gaitskill’s novel Veronica. The critical judgment puts the artwork into a milieu. This essay argues the case for the holism of critical judgments versus what the author calls Bitsiness as Usual, the fragmentation of our understanding of our encounters with artworks. The author subjects both Paul de Man and the New Historicists to severe attacks.

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40

Baker, William. "David Lodge Interviewed by Chris Walsh." PMLA/Publications of the Modern Language Association of America 130, no. 3 (May 2015): 830–40. http://dx.doi.org/10.1632/pmla.2015.130.3.830.

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The Eminent British Novelist and Literary critic David Lodge was interviewed in 1984 by Chris Walsh, then a lecturer in English at St Mary's Teachers Training College, now St Mary's University, Twickenham, London. Lodge spoke about his background—his Catholic education and its influence on him, his early reading of Graham Greene and Evelyn Waugh—and about literary criticism and fiction. The interview was published in the literary magazine Strawberry Fare, produced by the English department at St Mary's, which is situated on Strawberry Hill. During its short run, from 1981 to 1989, Strawberry Fare published fascinating interviews with leading literary figures, including, in addition to Lodge, Tom Stoppard, Seamus Heaney, Beryl Bainbridge, and others. Today copies of the journal are extremely scarce. The only complete runs appear to be in the British Library (call number ZK.9.a.41) and in the archives of St Mary's.

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41

Gilman, Todd S. "Augustan Criticism and Changing Conceptions of English Opera." Theatre Survey 36, no. 2 (November 1995): 1–35. http://dx.doi.org/10.1017/s0040557400001186.

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The love-hate nature of the relations between England and Italy in the seventeenth and eighteenth centuries is well known. Ever since Henry VIII broke with Rome after Pope Clement VII refused to allow his divorce, things Italian were a popular object of satire and general disdain. An ever-increasing British nationalism founded on political, religious, and aesthetic principles during the seventeenth century fanned the flames of anti-Italian sentiment. This nationalism, newly consolidated in the seventeenth century by the ambitions of the Stuart monarchs to destroy Parliament, was intimately connected with English Protestantism. As Samuel Kliger has argued, the triumph of the Goths—Protestant Englishmen's Germanic ancestors—over Roman tyranny in antiquity became for seventeenth-century England a symbol of democratic success. Moreover, observes Kliger, an influential theory rooted in the Reformation, the “translatio imperii ad Teutonicos,” emphasized traditional German racial qualities—youth, vigor, manliness, and moral purity—over those of Latin culture—torpor, decadence, effeminacy, and immorality—and contributed to the modern constitution of the supreme role of the Goths in history. The German translatio implied an analogy between the conquest of the Roman Empire by the Goths (under Charlemagne) and the rallying of the humanist-reformers of northern Europe (e.g., Luther) for religious freedom, understood as liberation from Roman priestcraft; that is, “the translatio crystallized the idea that humanity was twice ransomed from Roman tyranny and depravity—in antiquity by the Goths, in modern times by their descendants, the German reformers…the epithet ‘Gothic’ became not only a polar term in political discussion, a trope for the ‘free,’ but also in religious discussion a trope for all those spiritual, moral, and cultural values contained for the eighteenth century in the single word ‘enlightenment.’”

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42

Lansky, Ellen. "All Aboard." English Language Notes 60, no. 1 (April 1, 2022): 139–49. http://dx.doi.org/10.1215/00138282-9560265.

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Abstract This essay situates Ernest Hemingway’s iconic “Hills Like White Elephants” as a short story about drinking. From this perspective, Hemingway’s story enables readers to experience a personal and deeply felt emotional engagement with the characters, the scene, and the situation. Moreover, his technique enlists readers as “drinking buddies” and provides an entrée into the culture of alcohol. Despite the macho image that Hemingway himself helped construct and deploy, his work invites women into the scene and, indeed, centralizes a key figure often overlooked in the history of modern American fiction criticism: the drinking woman.

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43

Ekinci, Barış Tolga. "A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) Movie." CINEJ Cinema Journal 6, no. 1 (September 14, 2017): 4–24. http://dx.doi.org/10.5195/cinej.2017.144.

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The word documentary has been described as an advice” in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to separate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is a form of hybrid documentary has been concerned with Baudrillard’s theory. In this context, Ari Folman’s animated documentary Waltz with Bassir (2008) has been analyzed with genre criticism method.

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44

Friedman, Susan Stanford. "Alternatives to Periodization: Literary History, Modernism, and the “New” Temporalities." Modern Language Quarterly 80, no. 4 (December 1, 2019): 379–402. http://dx.doi.org/10.1215/00267929-7777780.

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Abstract Can literary history be done without the conventional reliance on linear periodization? What might a literary history of modernism look like without the usual periodization of roughly 1890–1940? This essay reviews the arguments for and against periodization and then argues that the new time studies—based in nonlinear concepts of time for the study of the contemporary—offers alternatives to the Eurocentric periodization of modernism. These new temporalities were anticipated by early twentieth-century Euro-American modernism, presented in the essay with an account of the dramatic debate between Albert Einstein and Henri Bergson in 1922 and a discussion of Virginia Woolf’s experiments with the relationality of space and time in her fiction. Multidimensional, layered, and disjunctive concepts of time are better suited for the study of planetary modernisms that incorporate the colonial and postcolonial modernities. Kabe Wilson’s multimedia installation based on a remix of A Room of One’s Own and selected criticism on modernism are used to illustrate alternatives to linear periodization.

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45

Alder, Emily. "English Fiction and the Evolution of Language, 1850–1914." Journal of Victorian Culture 21, no. 3 (July 2, 2016): 405–8. http://dx.doi.org/10.1080/13555502.2016.1204689.

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46

Huttar, Charles A. "The Screwtape Letters as Epistolary Fiction." Journal of Inklings Studies 6, no. 1 (April 2016): 87–125. http://dx.doi.org/10.3366/ink.2016.6.1.5.

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Epistolary fiction, often thought of as an eighteenth-century phenomenon, enjoys considerable vitality in our time and has attracted much welcome critical attention in recent years. The focus, however, has been on selected aspects of the epistolary tradition, to the neglect of others that are part of its rich history. At the same time, discussions of C. S. Lewis's The Screwtape Letters (1942) have generally concentrated on its theological, moral, and satirical aspects, with little consideration of the generic identification declared in the book's title. Attention to its striking affiliations with the epistolary tradition in fiction sheds light on Lewis's artistry in the work, on current critical discourse concerning epistolarity, on Lewis's social and cultural criticism, and on his contributions to critical theory. In the present study, selected aspects of the nineteenth- and early-twentieth-century epistolary tradition are briefly surveyed; then, matters of setting, plot, characterization (especially), and handling of viewpoint in The Screwtape Letters are considered, as well as its widespread debts to the literary heritage and its relationship to Lewis's own contributions as a literary scholar and critic. Attention is given to the implications of Lewis's original preface which has recently been discovered.

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47

Henrot Sostero, Geneviève. "Approaches to Teaching Proust’s Fiction and Criticism edited by Elyane Dezon-Jones and Inge Crosman Wimmers." Studi Francesi, no. 145 (XLIX | I) (July 1, 2005): 196–97. http://dx.doi.org/10.4000/studifrancesi.36627.

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48

Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.

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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.

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49

Lorden, Jennifer A. "Tale and Parable: Theorizing Fictions in the Old English Boethius." PMLA/Publications of the Modern Language Association of America 136, no. 3 (May 2021): 340–55. http://dx.doi.org/10.1632/s0030812921000249.

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AbstractScholarship has often considered the concept of fiction a modern phenomenon. But the Old English Boethius teaches us that medieval people could certainly tell that a fictional story was a lie, although it was hard for them to explain why it was all right that it was a lie—this is the problem the Old English Boethius addresses for the first time in the history of the English language. In translating Boethius's sixth-century Consolation of Philosophy, the ninth-century Old English Boethius offers explanatory comments on its source's narrative exempla drawn from classical myth. While some of these comments explain stories unfamiliar to early medieval English audiences, others consider how such “false stories” may be read and experienced by those properly prepared to encounter them. In so doing, the Old English Boethius must adopt and adapt a terminology for fiction that is unique in the extant corpus of Old English writing.

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50

Bayley, Susan. "Fictional German governesses in Edwardian popular culture: English responses to German militarism and modernity." Literature & History 28, no. 2 (September 14, 2019): 194–213. http://dx.doi.org/10.1177/0306197319870372.

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Historians have tended to focus on propaganda when assessing Edwardian attitudes towards Germans, but a shift of focus to fiction reveals a rather different picture. Whereas propaganda created the cliché of ‘the Hun’, fiction produced non- and even counter-stereotypical figures of Germans. An analysis of German governess characters in a selection of short stories, performances, novels, and cartoons indicates that the Edwardian image of Germans was not purely negative but ambivalent and multifarious. Imagined German governesses appeared as patriots and spies, pacifists and warmongers, spinsters and seducers, victims and evil-doers. A close look at characterisations by Saki [H. H. Munro], M. E. Francis [Margaret Blundell], Dorothy Richardson, D. H. Lawrence, Radclyffe Hall, Frank Hart and others reveals not only their variety but also their metaphorical use as responses to Germany’s aggressive militarism and avant-garde modernity. Each governess figure conveyed a positive, negative or ambivalent message about the potential impact of German militarism and modernity on England and Englishness. The aggregate image of German governesses, and by inference Germans, was therefore equivocal and demonstrates the mixed feelings of Edwardians toward their ‘cousin’ country.

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