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1
Potter, Dennis. Blackeyes. New York: Vintage Books, 1988.
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2
Potter, Dennis. Blackeyes. London: Faber and Faber, 1987.
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3
Half crazy: A novel. Beverly Hills, Calif: New Millennium Press, 2000.
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4
McDonell, J. M., and J. M. McDonell. Half Crazy. Boston: Little, Brown and Co., 1995.
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5
Hooper, Kay. Mask of passion. Waterville, Me: Thorndike Press, 2003.
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6
Jean-Paul Sartres "L'idiot de la famille", ein methodisches Modell der Dichterbiographie: Ein Vergleich zwischen Wilhelm Diltheys verstehender und Jean-Paul Sartres dialektischer Konzeption der Biographie. Frankfurt am Main, Germany: P. Lang, 1991.
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7
Murder, she wrote: Martinis & mayhem. Thorndike, Me: G.K. Hall, 1999.
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8
Donald, Bain. Murder, she wrote: Murder in a minor key. Bath, England: Chivers, 2003.
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9
Bain, Donald. Murder, she wrote: A little Yuletide murder. Bath, England: Chivers Press, 2000.
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10
Murder, she wrote: A palette for murder. Bath, England: Chivers Press, 2001.
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11
Murder, she wrote: Murder at the Powderhorn Ranch. Bath, England: Chivers Press, 2000.
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12
Murder, she wrote: Manhattans & murder. Bath, England: Chivers Press, 1998.
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13
Dyer, Gary. Parody and Satire in the Novel, 1770–1832. Edited by Alan Downie. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.030.
Повний текст джерелаАнотація:
The satirical fiction of the period 1770–1832 continues earlier trends, though the development of other modes of fiction and the fiction-marketing apparatus meant that satirical narratives were less central than they had been earlier in the eighteenth century. Satirical novels ran contrary to the tendency towards more plausible, more ‘novelistic’ fiction. Many novels used parody as a technique, often to attack literary trends, often to attack contemporary doctrines. Much satire was inspired, directly or indirectly, by the debates in Britain that followed the French Revolution. The most significant author of satirical novels, Thomas Love Peacock, used methods that were unlike those used by almost any other novelist. His fiction displays both memorable wit and a range of complex narrative techniques.
14
Harte, Liam, ed. The Oxford Handbook of Modern Irish Fiction. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780198754893.001.0001.
Повний текст джерелаАнотація:
The Oxford Handbook of Modern Irish Fiction presents authoritative essays by thirty-five distinguished scholars of Irish fiction. Collectively, they provide accessible and incisive assessments of the breadth and achievement of Ireland’s modern novelists and short story writers, whose contribution to the evolution and modification of these unique art forms has been far out of proportion to the country’s small size. The volume brings an impressive variety of critical perspectives to bear on the development of modern Irish fiction, situating authors, texts, and genres in their social, intellectual, and literary-historical contexts. The Handbook’s coverage encompasses an expansive range of topics, including the nature and function of the Irish Gothic mode; nineteenth-century Irish women’s fiction and its influence on emergent modernism and cultural nationalism; the diverse modes of irony, fabulism, and social realism that characterize the fiction of the Irish Literary Revival; the fearless aesthetic radicalism of James Joyce; the jolting narratological experiments of Samuel Beckett, Flann O’Brien, and Máirtín Ó Cadhain; the fate of the realist and modernist traditions in the work of Elizabeth Bowen, Frank O’Connor, Seán O’Faoláin, and Mary Lavin, and in that of their ambivalent heirs, Edna O’Brien, John McGahern, and John Banville; the subversive treatment of sexuality and gender in Northern Irish women’s fiction written during and after the Troubles; the often neglected genres of Irish crime fiction, science fiction, and fiction for children; the many-hued novelistic responses to the experiences of famine, revolution, and emigration; and the variety and vibrancy of post-millennial fiction from both parts of Ireland. Readably written and employing a wealth of original research, The Oxford Handbook of Modern Irish Fiction illuminates a distinguished literary tradition that has altered the shape of world literature.
15
Whitmarsh, Tim. The Romance of Zarinaea and Stryangaeus. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199742653.003.0006.
Повний текст джерелаАнотація:
Another ‘romance’ that was clearly influential on later Greek novels was the story of Zarinaea and Stryangaeus, first recounted (in Greek) in Ctesias’s Persica (early fourth century BCE). A fragment of a heavily novelistic version by Nicolaus of Damascus survives from the time of Augustus. This shows that erotic romance existed, and pre-existed, in forms different from the Hellenocentric mode adopted by Chariton and his immediate successors.
16
Narayan, Shyamala A. The Indian Novel in English to 1950. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199609932.003.0005.
Повний текст джерелаАнотація:
This chapter examines the Indian novel in English. It is an historical fact that the novel in India developed under the stimulus received from the West; but the potentialities for the novel already existed in Indian modes of storytelling. As early as the seventh century, India had a sophisticated prose literature in Sanskrit. Nevertheless, early novelists in India followed English models like Henry Fielding and Charles Dickens. It is only much later that they developed the confidence to experiment with form. However, the beginnings of Indian English writing are not fully documented. Many books published in the nineteenth and early twentieth centuries have not been preserved because of the lack of public libraries, the hot and humid Indian climate, and the poor quality of the paper used.
17
Potter, Dennis. Black-eyes. Faber and Faber, 1988.
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18
Potter, Dennis. Black-eyes. Faber and Faber, 1987.
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19
Howells, Coral Ann, Paul Sharrad, and Gerry Turcotte, eds. The Oxford History of the Novel in English. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.001.0001.
Повний текст джерелаАнотація:
This book explores the history of English-language prose fiction in Australia, Canada, New Zealand, and the South Pacific since 1950, focusing not only on the ‘literary’ novel, but also on the processes of production, distribution and reception, and on popular fiction and the fictional sub-genres, as well as the work of major novelists, movements, and tendencies. After World War II, the rise of cultural nationalism in Australia, Canada, and New Zealand and movements towards independence in the Pacific islands, together with the turn toward multiculturalism and transnationalism in the postcolonial world, called into question the standard national frames for literary history. This resulted in an increasing recognition of formerly marginalised peoples and a repositioning of these national literatures in a world literary context. The book explores the implications of such radical change through its focus on the English-language novel and the short story, which model the crises in evolving narratives of nationhood and the reinvention of postcolonial identities. Shifting socio-political and cultural contexts and their effects on novels and novelists, together with shifts in fictional modes (realism, modernism, the Gothic, postmodernism) are traced across these different regions. Attention is given not only to major authors but also to Indigenous and multicultural fiction, children's and young adult novels, and popular fiction. Chapters on book publishing, critical reception, and literary histories for all four areas are included in this innovative presentation of a Trans-Pacific postcolonial history of the novel.
20
Brazil, Kevin. Art, History, and Postwar Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824459.001.0001.
Повний текст джерелаАнотація:
Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.
21
Rutter, Emily Ruth. Invisible Ball of Dreams. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817129.001.0001.
Повний текст джерелаАнотація:
Although many Americans think of Jackie Robinson when they consider the story of race and racism in baseball, a long history of tragedies and triumphs precede Robinson’s momentous debut with the Brooklyn Dodgers on April 15, 1947. From the pioneering Cuban Giants (1885-1915) to the Negro Leagues (1920-1960), black baseball was a long-standing, if underdocumented, staple of African American communities. This book examines creative portraits of this history by William Brashler, Jerome Charyn, August Wilson, Gloria Naylor, Harmony Holiday, Kadir Nelson, and Denzel Washington, among others. Divided into three literary waves, the book is especially attentive to the archival contributions (and at times drawbacks) of imaginative representations of black baseball. Specifically, the book argues that African American and Euro-American novelists, playwrights, poets, and filmmakers fill in gaps and silences in recorded baseball history; democratize access to archives by sharing their research with readers; and advance countermythologies to whitewashed baseball lore. Reading representations across the literary color line also opens up a propitious space for exploring black cultural pride and residual frustrations with racial hypocrisies on the one hand and the benefits and limitations of white empathy on the other. Thus, while this book’s particular focus is black baseball, the comparative, archival mode of analysis utilized herein provides a model for analyzing literary interventions in other marginalized cultural histories as well.
22
Duncan, Ian. Walter Scott and the Historical Novel. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0017.
Повний текст джерелаАнотація:
This chapter explores Walter Scott and the historical novel. Scott made the novel a modern epic form by making it national, and he made it national by making it historical. In doing so, he endowed the novel with the aura of philosophical dignity attached to history, the most prestigious of the Enlightenment human sciences, especially in Scotland. The historical novel became the ‘classical’ form of the novel as such throughout the nineteenth century, retaining popularity and prestige well after the major Victorian novelists had absorbed Scott's techniques for a historicism trained on modern conditions. The combination of history and Bildungsroman inaugurated in Waverley; or, ‘Tis Sixty Years Since (1814) would provide a model for aspiring national literatures across Continental Europe, its imperial frontiers, and its colonial satellites, well into the next century.
23
Houen, Alex. Reckoning Sacrifice in ‘War on Terror’ Literature. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198806516.003.0016.
Повний текст джерелаАнотація:
This chapter examines how novelists and poets explore the sacrificial reckonings of the ‘war on terror’ in terms of relations between faith (social and religious), sympathy, and bearing witness. It discusses Ian McEwan’s novel Saturday (2005) and two books of poetry: Claudia Rankine’s Don’t Let Me Be Lonely (2004) and Juliana Spahr’s this connection of everyone with lungs (2005). Both poems balance matters of aesthetics and ethics by comparing modes of bearing witness: watching spectacles of war through television, and testifying to responsibility for others’ lives. The chapter relates those to the contrasting kinds of sacrifice attributed to armed services personnel and jihadi ‘martyrs’. It then discusses how these modes of sacrifice and witnessing are examined in recent novels: Nadeem Aslam’s The Wasted Vigil (2008) and The Blind Man’s Garden (2013); Lorraine Adams’s The Room and the Chair (2010); and James Meek’s We Are Now Beginning Our Descent (2008).
24
Succeeding at Sex and Scotland, or the Case of Louis Morel: A Tale of Two or More Mysteries, Not Excluding the Novelist's Labyrinth. Black Ace Books, 1997.
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25
Yousef, Nancy. The Aesthetic Commonplace. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192856524.001.0001.
Повний текст джерелаАнотація:
The Aesthetic Commonplace is a study of the everyday as a region of overlooked value in the work of William Wordsworth, George Eliot, and Ludwig Wittgenstein. The Romantic poet, the realist novelist, and the modern philosopher are each separately associated with a commitment to the common, the ordinary, and the everyday as a vital resource for reflection on language, on feeling, on ethical insight, and social attunement. The Aesthetic Commonplace is the first study to draw substantive lines of connection between Wittgenstein and the cultural and literary history of nineteenth-century England. Tracing conceptual and formal affinities between the poet, the novelist, and the philosopher, the book brings to light significant links between the intellectual history of the nineteenth century and the early decades of the twentieth, making the case for a continuous cultural commitment to the aesthetic as a distinctive mode of investigating thought, feeling, and the everyday language upon which we depend for their articulation. Addressed to both literary studies and to philosophy, The Aesthetic Commonplace makes a compelling case for the interdependence of form, concept, and emotion in the history and interpretive practices of both disciplines.
26
Lawrence, Jeffrey. Voracious Readers. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690205.003.0006.
Повний текст джерелаАнотація:
This chapter considers how Latin American writer-readers of the turn of the millenium, especially Ricardo Piglia, Roberto Bolaño, and Cristina Rivera, have made visible the implicit cultural and geopolitical codes of the US literature of experience while simultaneously constructing an alternative paradigm for literary production based on what Bolaño refers to as “voracious reading.” I examine both the dissemination of US literature in the Spanish-speaking world and the way it was received and rewritten by Latin American writers. After showing how Piglia developed a politically engaged model for the reader in the 1970s and 1980s, I demonstrate that Bolaño’s work of the 1990s and 2000s merges the positions of the reader and experiencer through a decades-long engagement with the US literature of experience. The chapter ends by showing how the contemporary Mexican novelist Cristina Rivera Garza has challenged the masculine codes of the Latin American voracious reader.
27
Zola, Émile. The Masterpiece. Edited by Roger Pearson. Translated by Thomas Walton. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199536917.001.0001.
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The Masterpiece is the tragic story of Claude Lantier, an ambitious and talented young artist from the provinces who has come to conquer Paris and is conquered by the flaws in his own genius. While his boyhood friend Pierre Sandoz becomes a successful novelist, Claude's originality is mocked at the Salon and turns gradually into a doomed obsession with one great canvas. Life - in the form of his model and wife Christine and their deformed child Jacques - is sacrificed on the altar of Art. The Masterpiece is the most autobiographical of the twenty novels in Zola's Rougon-Macquart series. Set in the 1860s and 1870s, it provides a unique insight into his career as a writer and his relationship with Cézanne, a friend since their schooldays in Aix-en-Provence. It also presents a well-documented account of the turbulent Bohemia world in which the Impressionists came to prominence despit the conservatism of the Academy and the ridicule of the general public.
28
Rosenberg, Joseph Elkanah. Wastepaper Modernism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198852445.001.0001.
Повний текст джерелаАнотація:
At the same time that writers were becoming infatuated with new technologies like the cinema and the radio, they were also being haunted by their own pages. From Henry James’s fascination with burnt manuscripts to destroyed books in the fiction of the Blitz, from junk mail in the work of Elizabeth Bowen to bureaucratic paperwork in Vladimir Nabokov, modern fiction is littered with images of tattered and useless paper that reveal an increasingly uneasy relationship between literature and its own materials over the course of the twentieth century. Wastepaper Modernism argues that these images are vital to our understanding of modernism, disclosing an anxiety about textual matter that lurks behind the desire for radically different modes of communication. Having its roots in the late nineteenth century, but finding its fullest constellation in the wake of the high modernist experimentation with novelistic form, “wastepaper modernism” arises when fiction imagines its own processes of transmission and representation breaking down. When the descriptive capabilities of the novel exhaust themselves, the wastepaper modernists picture instead the physical decay of the book’s own primary matter. Bringing together book history and media theory with detailed close reading, Wastepaper Modernism reveals modernist literature’s dark sense of itself as a ruin in the making.
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Spencer, Jane. Amatory and Scandal Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0030.
Повний текст джерелаАнотація:
This chapter takes a look at amatory and scandal fiction. In the first forty years of the eighteenth century, there appeared a wide variety of novels that have since been loosely grouped under the overlapping labels ‘amatory’ and ‘scandal’ fiction. ‘Amatory’ serves to name love stories neither so explicit as pornography nor so high-minded as romance; ‘scandal’ to designate the exposure of corrupt behaviour whether in political figures or merely people of the author's acquaintance. Drawing on various models including the long French romance, the short French and Italian novellas of the previous two centuries, and the Ovidian tradition of epistolary love-complaint revitalized in the popular Lettres portugaises (1669), they presented no real generic unity. However, they formed a handy group on whose plots, preoccupations, and techniques mid-century novelists drew, and against whose vices they liked to define their virtues.
30
Moffat, Kirstine. Aotearoa/New Zealand. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0010.
Повний текст джерелаАнотація:
The post-1950 novel in New Zealand can be described in terms of transition and innovation, as writers were energized by a sense of ferment, excitement, and shifting identities. This reflects the profound social, political, and cultural changes of the period. In the 1950s and 1960s, literary novelists were driven by two desires: to create a genuine local literature that was not derivative of British models and to awaken society from its socially conservative and ethnically homogeneous complacency. The chapter considers how the New Zealand novel has been shaped by postcolonial and feminist sensibilities since the 1970s together with a wider sense of its Pacific and Asian identity. It also discusses the authors' exploration of shifting identities, which can be divided into four broadly chronological, overlapping phases: social realism and social protest; the Maōri Renaissance; cultural change and stylistic experimentation; and boundary-crossing.
31
Harris, Donal. On Company Time. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231177726.001.0001.
Повний текст джерелаАнотація:
American novelists and poets who came of age in the early twentieth century were taught to avoid journalism. It dulled creativity, rewarded sensationalist content, and stole time from “serious” writing. Yet Willa Cather, W. E. B. Du Bois, and Ernest Hemingway, among others all worked in the for popular magazines and helped to invent the house styles that defined McClure’s, The Crisis, Esquire, and others. On Company Time tells the story of American modernism from inside the offices and on the pages of the most successful and stylish magazines of the twentieth century. Working across the borders of media history, and literary studies, Donal Harris draws out the profound institutional, economic, and aesthetic affiliations between modernism and American magazine culture. Starting in the 1890s, a growing number of writers found steady paychecks and regular publishing opportunities as editors and reporters at big magazines. Often privileging innovative style over late-breaking content, these magazines prized novelists and poets for their innovation and attention to literary craft. In recounting this history, On Company Time challenges the narrative of decline that often accompanies modernism’s incorporation into midcentury middlebrow culture. Its integrated account of literary and journalistic form shows American modernism evolving within as opposed to against mass print culture. Harris’s work also provides an understanding of modernism that extends beyond narratives centered on little magazines and other “institutions of modernism” that served narrow audiences. And for the writers, the “double life” of working for these magazines shaped modernism’s literary form and created new models of authorship.
32
Stephens, Bradley. The Novel and the (Il)legibility of History. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.5.
Повний текст джерелаАнотація:
The primacy of history as an educational in France and Germany kindled a taste for literary modes that could accommodate ever-changing social experience by reflecting the spirit of both the time and place in which events unfold, recalling Germaine de Staël’s ideas fromDe la littérature(1799). Crucially, the abyss which Hugo thought the Revolution opened up between present and past raised specific problems for the ambitions of the historical novel in France. How were writers to capture the vast interplay of different ideologies and discourses that had been energized by 1789, and how was meaning to be negotiated amidst the complex matrix of rival desires and reciprocal demands which it had generated in society? This chapter examines three major novelists’ attempts to narrate both the general contemporary desire for human experience to mean something, and the writer’s self-consciousness of the difficulties of finding a style answerable to this ambition.
33
McDonell, J. M. Half Crazy. Audio Literature, 1995.
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34
Ahmed, Mohamed. Arabic in Modern Hebrew Texts. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444439.001.0001.
Повний текст джерелаАнотація:
In the late 1950s, Iraqi Jews were either forced or chose to leave Iraq for Israel. Finding it impossible to continue writing in Arabic in Israel, many Iraqi Jewish novelists faced the literary challenge of switching to Hebrew. Focusing on the literary works of the writers Shimon Ballas, Sami Michael and Eli Amir, this book examines their use of their native Iraqi Arabic in their Hebrew works. It examines the influence of Arabic language and culture and explores questions of language, place and belonging from the perspective of sociolinguistics and multilingualism. In addition, the book applies stylistics as a framework to investigate the range of linguistic phenomena that can be found in these exophonic texts, such as code-switching, borrowing, language and translation strategies. This new stylistic framework for analysing exophonic texts offers a future model for the study of other languages. The social and political implications of this dilemma, as it finds expression in creative writing, are also manifold. In an age of mass migration and population displacement, the conflicted loyalties explored in this book through the prism of Arabic and Hebrew are relevant in a range of linguistic contexts.
35
Robertson, Ritchie. German Literature and Thought From 1810 to 1890. Edited by Helmut Walser Smith. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199237395.013.0012.
Повний текст джерелаАнотація:
The present article discusses German literature and thought during the nineteenth century. Approaching nineteenth-century German culture, one needs to free oneself from several misconceptions that have proved surprisingly durable. One is that Germans were devoted to cloudy, theoretical idealism that stayed remote from concrete reality. It is commonly asserted that German authors favored the Novelle, rather than the novel; that they practiced a special literary mode called ‘poetic realism’; and that in contrast to the realism of Balzac or Dickens, German novelists specialized in an unworldly, introverted form of fiction, focusing on the inner development of the hero, which was termed the Bildungsroman. Two well-known episodes can serve as emblems of this commitment. One concerns Hegel (1770–1831) whereas the second emblem of German engagement with reality is the programmatic statement by Leopold von Ranke (1795–1886). An in-depth analysis of the influence of realism on German literature completes the discussion.
36
Lawrence, Jeffrey. Epilogue: After Bolaño. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690205.003.0007.
Повний текст джерелаАнотація:
Since the posthumous publication of 2666 in Spanish in 2004 and of the English translations of Distant Star (2004), The Savage Detectives (2007), and 2666 (2008), the novels of Roberto Bolaño—and their central figure, the reader-experiencer—have provided one of the most important models for writers in both the English- and Spanish-speaking worlds. As US authors are reading more Latin American literature than ever, Latin American authors are increasingly writing about their “experience” of the United States. After analyzing contemporary works by Latina/o writers composing in English in the United States, including Francisco Goldman, Ana Menéndez, and Junot Díaz; by non-Latina/o US writers such as Ben Lerner and Kenneth Goldsmith; and by Spanish-language writers such as Mexican-born novelist Valeria Luiselli and Puerto Rican poet Mara Pastor, the book ends by considering how recent works in the literatures of the Americas might point toward new literary possibilities in the future.
37
Clarkson, Carrol. ‘Wisselbare Woorde’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805281.003.0012.
Повний текст джерелаАнотація:
Carrol Clarkson’s chapter wrestles with the contentious question of Coetzee’s relation to the Black Consciousness Movement in South Africa of the 1970s and early 1980s, which took its philosophical bearings from Frantz Fanon and found expression in the writings of Steve Biko. Clarkson focuses on the ways in which Coetzee departed from the ideas about writing and resistance that were circulating in his contemporary South Africa, particularly as articulated by novelist Nadine Gordimer. Clarkson discusses two related literary-critical problems: an ethics and politics of representation, and an ethics and politics of address, showing how Coetzee explores a tension between freedom of expression and responsibility to the other. In the slippage from saying to addressing we are led to further thought about modes and sites of consciousness—and hence accountabilities—in the interlocutory contact zones of the post-colony. The chapter invites a sharper appreciation of what a postcolonial philosophy might be.
38
Mendelman, Lisa. Modern Sentimentalism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198849872.001.0001.
Повний текст джерелаАнотація:
Modern Sentimentalism examines how American female novelists reinvented sentimentalism in the modernist period. Just as the birth of the modern woman has long been imagined as the death of sentimental feeling, modernist literary innovation has been understood to reject sentimental aesthetics. Modern Sentimentalism reframes these perceptions of cultural evolution. Taking up icons such as the New Woman, the flapper, the free lover, the New Negro woman, and the divorcée, this book argues that these figures embody aspects of a traditional sentimentality while also recognizing sentiment as incompatible with ideals of modern selfhood. These double binds equally beleaguer the protagonists and shape the styles of writers like Willa Cather, Edith Wharton, Anita Loos, and Jessie Fauset. ‘Modern sentimentalism’ thus translates nineteenth-century conventions of sincerity and emotional fulfillment into the skeptical, self-conscious modes of interwar cultural production. Reading canonical and underexamined novels in concert with legal briefs, scientific treatises, and other transatlantic period discourse, and combining traditional and quantitative methods of archival research, Modern Sentimentalism demonstrates that feminine feeling, far from being peripheral to twentieth-century modernism, animates its central principles and preoccupations.
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Branham, R. Bracht. Inventing the Novel. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841265.001.0001.
Повний текст джерелаАнотація:
Bakhtin as a philosopher and a student of the novel is intent upon the novel’s role in the history of consciousness. His project fails if he is wrong about the dialogic nature of consciousness or the cultural centrality of the novel as the only discourse that can model human consciousness and its intersubjective character. Inventing the Novel is an argument in four stages: the Introduction surveys Bakhtin’s life and his theoretical work in the 1920s, which grounded his work on the novel, as investigated in following chapters. Chapter 1 sketches Bakhtin’s view of literary history as an agonistic dialogue of genres, concluding with his claim that the novel originates as a new way of evaluating time. Chapter 2 explores Bakhtin’s theory of chronotopes: how do forms of time and space in ancient fiction delimit the possible representation of the human? Chapter 3 assesses Bakhtin’s poetics of genre in his account of Menippean satire as crucial in the history of the novel. Chapter 4 uses Petronius to address the prosaics of the novel, exploring Bakhtin’s account of how novelists of “the second stylistic line” orchestrate the babble of voices expressive of an era into “a microcosm of heteroglossia,” focusing it through the consciousness of characters “on the boundary” between I and thou. Insofar as this analysis succeeds, it evinces the truth of Bakhtin’s claim that the role of Petronius’s Satyrica in the history of the novel is “immense.”
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Miller, Elizabeth Carolyn. Extraction Ecologies and the Literature of the Long Exhaustion. Princeton University Press, 2021. http://dx.doi.org/10.23943/princeton/9780691205533.001.0001.
Повний текст джерелаАнотація:
The 1830s to the 1930s saw the rise of large-scale industrial mining in the British imperial world. This book examines how literature of this era reckoned with a new vision of civilization where humans are dependent on finite, nonrenewable stores of earthly resources, and traces how the threatening horizon of resource exhaustion worked its way into narrative form. Britain was the first nation to transition to industry based on fossil fuels, which put its novelists and other writers in the remarkable position of mediating the emergence of extraction-based life. The book looks at works like Hard Times, The Mill on the Floss, and Sons and Lovers, showing how the provincial realist novel's longstanding reliance on marriage and inheritance plots transforms against the backdrop of exhaustion to withhold the promise of reproductive futurity. It explores how adventure stories like Treasure Island and Heart of Darkness reorient fictional space toward the resource frontier. And it shows how utopian and fantasy works like “Sultana's Dream,” The Time Machine, and The Hobbit offer imaginative ways of envisioning energy beyond extractivism. The book reveals how an era marked by violent mineral resource rushes gave rise to literary forms and genres that extend extractivism as a mode of environmental understanding.
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Reynolds, Guy J. Sensing Willa Cather. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474438254.001.0001.
Повний текст джерелаАнотація:
Deploying the concepts and techniques of Body Studies, this book remaps Willa Cather’s writing from the 1890s through to 1940. This study of embodiment and narrative focuses on the senses and reads Cather as a writer at the transition from late Victorian to Modernist models of representation. The book presents suggestive new ways of understanding her depictions of disability , male bodies and Native American culture, not to mention her narratives of whiteness and of the black body. The book explores Cather’s ‘sensorium’ – her imaginative exploration of sounds, sights, tastes, smells and the tactile. Sensing Willa Cather draws on recent work in queer, disability, ageing and food studies to re-contextualize her fiction. The first three chapters explore Cather’s writing in relationship to sense studies, and also such movements as Aestheticism and Modernism. The next five, roughly tracing the evolution of her career from an apprenticeship as a reviewer and journalist through to the established novelist, focus on the five senses. Sight, sound, touch, taste, and smell: each sense is successively linked to Cather’s work, and used to explore her profound interest in corporealism. The final chapter. ‘The Body of the Author’, then examines Cather’s last novel, Sapphira and the Slave Girl, and Cather’s representation both of her own bodily presence and that of other writers.
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Mack, Peter. Reading Old Books. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691194004.001.0001.
Повний текст джерелаАнотація:
In literary and cultural studies, “tradition” is a word everyone uses but few address critically. In this book, the author offers a wide-ranging exploration of the creative power of literary tradition, from the middle ages to the twenty-first century, revealing in new ways how it helps writers and readers make new works and meanings. The book argues that the best way to understand tradition is by examining the moments when a writer takes up an old text and writes something new out of a dialogue with that text and the promptings of the present situation. The book examines Petrarch as a user, instigator, and victim of tradition. It shows how Chaucer became the first great English writer by translating and adapting a minor poem by Boccaccio. It investigates how Ariosto, Tasso, and Spenser made new epic meanings by playing with assumptions, episodes, and phrases translated from their predecessors. It then analyzes how the Victorian novelist Elizabeth Gaskell drew on tradition to address the new problem of urban deprivation in Mary Barton. And, finally, it looks at how the Kenyan writer Ngũgĩ wa Thiong'o, in his 2004 novel Wizard of the Crow, reflects on biblical, English literary, and African traditions. Drawing on key theorists, critics, historians, and sociologists, and stressing the international character of literary tradition, the book illuminates the not entirely free choices readers and writers make to create meaning in collaboration and competition with their models.
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Canuel, Mark. The Fate of Progress in British Romanticism. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192895301.001.0001.
Повний текст джерелаАнотація:
What did Romantic writers mean when they wrote about “progress” and “perfection”? This book shows how Romantic writers inventively responded to familiar ideas about political progress which they inherited from the eighteenth century. Whereas earlier writers such as Voltaire and John Millar likened improvements in political institutions to the progress of the sciences or refinement of manners, the novelists, poets, and political theorists examined in this book reimagined politically progressive political associations in multiple genres. While embracing a commitment to optimistic improvement—increasing freedom, equality, and protection from injury—they also cultivated increasingly visible and volatile energies of religious and political dissent. Earlier narratives of progress tended not only to edit and fictionalize history but also to agglomerate different modes of knowledge and practice in their quest to describe and prescribe uniform cultural improvement. But Romantic writers seize on internal division and take it less as an occasion for anxiety, exclusion, or erasure, and more as an impetus to rethink the groundwork of progress itself. Political entities, from Percy Shelley’s plans for political reform to Charlotte Smith’s motley associations of strangers in The Banished Man, are progressive because they advance some version of collective utility or common good. But they simultaneously stake a claim to progress only insofar as they paradoxically solicit contending vantage points on the criteria for the very public benefit which they passionately pursue. The “majestic edifices” of Wordsworth’s imagined university in The Prelude embrace members who are “republican or pious,” not to mention the recalcitrant “enthusiast” who is the poet himself.
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Bain, Donald. Murder, She Wrote: Martinis & Mayhem (G K Hall Nightingale Collection). G. K. Hall & Company, 2000.
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