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1
Alina, Aluaș. "Le potentiel théâtral chez David Foenkinos. Analyse du roman, du scénario et du film La Délicatesse." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 297–319. http://dx.doi.org/10.24193/subbdrama.2020.2.15.
Повний текст джерелаАнотація:
"The Theatrical Potential in David Foenkinos’ Work. Analysis of the Novel, the Scenario and the Film “La Délicatesse”. Our interest, especially when it comes to the subject of literature, is to show the manner in which the text processing done by the author (script writer/director) brings to light the guidelines of the novelistic text’s semantics, which under careful analysis reveals a kind of personal myth of the novelist. The skewed, syncopated, interrupted writing which disrupts the chronotope serves the needs of the script as well as the director’s selective vision. Unconsciously, the novel seems to follow the structure of the theatrical model. These traits can also be found in the cinematographic structure of the film. Keywords: love, eroticism, delicacy, theatricality, scenario, film. "
2
Stone, Jonathan. "Polyphony and the Atomic Age: Bakhtin's Assimilation of an Einsteinian Universe." PMLA/Publications of the Modern Language Association of America 123, no. 2 (March 2008): 405–21. http://dx.doi.org/10.1632/pmla.2008.123.2.405.
Повний текст джерелаАнотація:
Mikhail Bakhtin described a novelistic world bound to the reader's point of view and perception of reality. Albert Einstein's theory of relativity justified Bakhtin's elevation of the reader to a central position in his theory of the novel. This essay examines Bakhtin's engagement with Einsteinian relativity in the context of two of his most influential contributions to critical discourse—polyphony and the chronotope. Originating in the 1920s, Bakhtin's notion of polyphony was initially an expression of his Kantian mind-set. When Bakhtin reworked his formulation of polyphony in 1963 (having already broached the topic of literary spaciotemporality with the chronotope), Einstein had replaced Kant as Bakhtin's guiding intellectual paradigm. In advocating a relativistic model to explicate the literary world, Bakhtin aligned centuries of novelistic tradition with a distinctly modern worldview. His use of the epistemological possibilities inaugurated by twentieth-century physics allowed him to interpret centuries-old texts with an insightfulness available only to a post-Einsteinian reader.
3
Smoley, Christine. "Mrs Dalloway’s Dialogic Discourse and the Function of the Written Fragment." Transcultural Studies 11, no. 2 (April 10, 2015): 199–215. http://dx.doi.org/10.1163/23751606-01102004.
Повний текст джерелаАнотація:
The text of Virginia Woolf’s novel Mrs Dalloway is constructed from multiple character ‘voices’ or discourses in such a way that gives the novel a dialogic form. After discussing Mrs Dalloway’s dialogic model of sane and insane discourse and subjectivity—a model which is transposed into the text through the discourses of Clarissa Dalloway and Septimus Smith—by drawing upon Mikhail Bakhtin’s theory of novelistic discourse, this paper demonstrates how the novel makes use of its dialogic form and structure, positing a model of modern subjectivity by demonstrating the paradoxical inhabitation of ‘insanity’ within sanity, and the fundamental role which ‘unreason’ plays as a constituent of reason.
4
Baghiu, Ștefan, and Emanuel Modoc. "Compensation and Kin Selection in the Long Nineteenth Century Translationscapes." Metacritic Journal for Comparative Studies and Theory 8, no. 1 (July 13, 2022): 216–29. http://dx.doi.org/10.24193/mjcst.2022.13.13.
Повний текст джерелаАнотація:
Using network models and quantitative methods, the present article provides a bird’s-eye-view of the Romanian novelistic translationscape published in volumes during the “long 19th century”. The study approaches the cultural production of translated novels in the selected period from a relational perspective, aiming to investigate the connections between different publishers, with their respective editorial practices, and the translated authors selected from both major and minor source cultures. With this in mind, our paper will attempt not only to analyze the actor-network aspect of the translational networks established in the country, but also to provide an interpretive model for the selection of specific translated authors over others and their role in the cultural and nation-building process of early-modern Romanian culture.
5
Rizq, Rosemary. "“Familiar Artifice”: Ways of Telling in the Short Story, Psychoanalysis, and Alice Munro’s “The Moons of Jupiter”." Journal of the American Psychoanalytic Association 70, no. 1 (February 2022): 77–102. http://dx.doi.org/10.1177/00030651221077312.
Повний текст джерелаАнотація:
Theoretical ideas about “narrative coherence” and “autobiographical competence” remain prevalent in contemporary therapeutic culture, and are frequently deployed in the service of the patient’s producing a narrative “I” that can tell its own story. A preference for novelistic accounts of the self is countered here by proposing the short story form as an alternative model for the telling of a self within psychoanalysis. Alice Munro’s “The Moons of Jupiter,” the roots of the short story form in fable, and a rereading of Freud’s Totem and Taboo are used to illuminate how the short story may be seen as an exemplary tale paralleling the origin of the self in its identification with the other.
6
Radaeva, E. A. "A MODEL OF EXPRESSIONIST STRATEGY DEVELOPMENT IN THE WORK OF THE WRITER (ON THE EXAMPLE OF THE WORKS OF LEO PERUTS)." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 78 (2021): 59–63. http://dx.doi.org/10.37313/2413-9645-2021-23-78-59-63.
Повний текст джерелаАнотація:
The purpose of this study is to present a model for the development of the expressionist method in the genre of the novel using the example of the evolution of the novelistic work of the Austrian writer of the early twentieth century L. Perutz. The results obtained: the creative method of the Austrian writer is moving from scientific knowledge to mysticism; in the center of all novels created with a large interval, there is always a confused hero, broken by what is happening (in other words, the absurdity of the world), whose state is often conveyed through gestures; the author finally moves away from linear narration to dividing the plot into almost autonomous stories, thematically gravitating more and more to the distant historical past. Scientific novelty: the novels of L. Perutz are for the first time examined in relative detail through the prism of the aesthetics of expressionism.
7
Jackson, Jeanne-Marie. "Stanlake Samkange’s Insufferable Zimbabwe: Distanciating Trauma from the Novel to Philosophy." Cambridge Journal of Postcolonial Literary Inquiry 8, no. 2 (April 2021): 158–76. http://dx.doi.org/10.1017/pli.2020.37.
Повний текст джерелаАнотація:
This article theorizes the Zimbabwean writer Stanlake Samkange’s turn from the novel to philosophy as an effort to circumvent the representational pressure exerted by African cultural traumatization. In breaking with the novel form to coauthor a philosophical treatise called Hunhuism or Ubuntuism in the same year as Zimbabwe achieves independence (1980), Samkange advances a comportment-based, deontological alternative to the psychic or subjective model of personhood that anchors trauma theory. Revisiting the progression from his most achieved novel, The Mourned One, to Hunhuism or Ubuntuism thus offers fresh insight into the range of options available to independence-era writers for representing the relationship between African individuality and collectivity. At the same time, it suggests a complementary and overlooked relationship between novelistic and philosophical forms in an African context.
8
Alhamid, Lolav M. Hassan. "The representation of post-conflict gender violence in Iraqi Kurdish novelistic discourse in Bahdinan." Kurdish Studies 6, no. 1 (May 27, 2018): 31–57. http://dx.doi.org/10.33182/ks.v6i1.433.
Повний текст джерелаАнотація:
This article explores the processes of finding a voice, learning to speak, and breaking silence around gender violence for a Kurdish woman endeavouring to resist oppression and destroy forced negative images and identities. It examines the ways in which she struggles to break imposed silences through resisting gender discrimination and telling stories of violence and exploitation, as represented in the Kurdish novelistic discourse in Bahdinan. Studying Sabri Silevani’s Mariama: Kiçe-Jinek ji Zemanek Di (Mariama: A Woman from Another Time, 2007), the article examines the various forms and layers of violence imposed on Kurdish women by the tribal and patriarchal norms and the social and political structures within the post-conflict Kurdish society in Iraqi Kurdistan. The three-fold typological model of violence developed by the political scientist Johan Galtung is adopted in the article to explore the ways in which the personal characteristics of individuals and the political, economic, and cultural structures of society are viewed as factors affecting the generation of gendered aggression. Most importantly, for the purpose of this article, is the significant utilisation of the association of Galtung’s typology with feminist studies of violence in the exploration of Kurdish women’s attempt to resist marginalisation and their struggle for recognition. Moreover, Rita Felski’s description and study of modern writing by women as a medium through which female political identities and collective consciousness are constructed and represented are adopted to discuss the structural and thematic properties of the text.ABSTRACT IN KURMANJITemsîla şideta cinsî ya piştî şerî di gotara edebî ya kurdên Iraqê de li herêma BehdînanEv meqale berê xwe dide merheleyên peydakirina dengî, fêrbûna axiftinê û daşikandina bêdengiya li dor şideta cinsî li cem jineke kurd a hewl dide li hember zextan ber xwe bide û wêne û huwiyetên menfî yên dasepandî ji nav bibe. Meqale lê hûr dibe ka çawa jin têdikoşe ku bi rêya berxwedana li hember cudakariya cinsî û bi gotina hikayêtên şidet û bikaranînê, wek ku di gotara romana kurdî ya li Behdînan tê temsîlkirin, bêdengiyên dasepandî bişikîne. Ev meqale li ser romana Sebrî Silêvanî ya bi navê Meryema: Kiçe Jinek Ji Zemanek Dî (2007) hûr dibe û dikeve dû destnîşankirina wan awa û tebeqeyên cihêreng ên şideta li ser jina kurd yên bi destê dab û nerîtên eşîrî û babsalarî û herwiha bi destê dezgehên civakî û siyasî yên di nav civaka kurd a li Kurdistana Iraqê ya piştî şerî têne dasepandin. Di meqelayê de modêla tîpolojîk û sê-tebeqeyî ya şidetê, ku Johan Galtungê zanyarê siyasetê dahînaye, hatiye bikaranîn ji bo veçirandina awayên ku taybetiyên şexsî yên ferdan û binyadên civakê yên siyasî, aborî û çandî wek fakterên kartêker ên peydabûna êrîşkariya cinsî têne dîtin. Ji bo armancên vê gotarê, ev tîpolojiya Galtung ligel xebatên fêmînîst ên li ser şidetê têne bikaranîn da ku hewla jinên kurd a berxwedana li hember perawêzxistinê û venasînê berçavtir bibe. Herwiha, pênase û lêkolîna Rita Felski ya li ser nivîsînên hevçerx ên jinan wek amrazek ji bo avakirin û temsîlkirina huwiyetên siyasî û şiûra cemawerî hatine bikaranîn ji bo vedîtina xasyetên metnê yên binyadî û têmayî.ABSTRACT IN SORANIWênekirdinî tundûtîjîy cenderî le gutarî novêlîstîkî kurdîy 'Êraq le BadînanEm meqaleye degerrêt be dway ew prosaney dozînewey deng, fêrbûnî peyivîn û şkandinî ew bêdengîye ke ballî be ser tundûtîjî cenderî da kêşawe, le xebatî ew jine kurde da ke deyewêt rûberrûwî stemkarî bibêtewe û wêne û şunase nerênîye be zor dasepênrawekan têk bişkênêt. Ew rêgayane be taqî dekatewe ke ew jine le xebatî da be kariyan dehênêt bo şkandinî bêdengiye be zor beserî da sepêndrawe le rêgay rûberrûbûnewey ciyakarî cenderî û gêrranewey dastangelî tundûtîjî û pawankirdin, herweku le gutarî novêlîstîkî da be kar hênrawin le nawçey Badînan. Le rêgay xwêndinewey "Meryeme Kiçejinek Ji Zemanek Dî" nûsraw le layen Sebrî Slêvanîyewe, em meqaleye ew şêwaz û rehendaney tundûtîjî be taqî dekatewe ke le rêga bawe hozgerayî û bawsalarîyekan û bunyade siyasiyekanî komellgay kurdî dway şerr le Kurdistanî 'Êraq da xirawnete ser jinanî kurdewe. Lem meqaleye da modêlî sê çînî taypolojîy tundûtîjî bekarhênrawe ke le layen zanay siyasî Johan Galtungewe dirust kirawe, be mebestî dozînewey ew rêgayaney ke pêyan karakterîstîke kesiyekanî takekan û bunyade siyasî û abûrî kelepurîyekanî komellga weku fakterî karîger nîşan drawin be ser qehrî cenderîyewe. Giringtirîn layenî mebestî em meqaleye nîşandanî ew sudbexşîye giringeye ke peywendîdarkrdinî taypolojî Galtung legell lêkollînewey fêmînîstî le gerran da be dway hewllî jinanî kurd bo rûberrûbenewe le hember perawêzxistin û xebatyan bo ewey ke danyan pêda binirêt. Herweha wesf û lêkollînewey Rîta Felski le nusînî hawçerxî jinan weku geyenerêk ke le rêgayiyewe şunasgelî siyasî û agayîy giştîy mê bunyad denirêt û nîşan dedirêt, be mebestî giftûgokirdin le ser layene bunyadî û tewerîyekanî deq, be kar hênrawe.
9
Rajan, Supritha. "The Epistemology of Trust and Realist Effect in Charles Dickens’s Bleak House." Nineteenth-Century Literature 72, no. 1 (June 1, 2017): 64–106. http://dx.doi.org/10.1525/ncl.2017.72.1.64.
Повний текст джерелаАнотація:
Supritha Rajan, “The Epistemology of Trust and Realist Effect in Charles Dickens’s Bleak House” (pp. 64–106) This essay argues that the narrative structure of Charles Dickens’s Bleak House (1852–1853), which repeatedly shifts from the omniscient narrator’s skeptical stance to Esther’s trusting disposition, demonstrates how skepticism is ultimately grounded in an epistemology of trust. Trust constitutes a non-skepticist, affective attitude whose certitude in the phenomenal world is not subject to demonstrative proof. The latter model of trust is not only fundamental to epistemology, but also to ethical relations and practical life. The important role that trust plays in everyday life also poses relevance to our understanding of realist representation. Using Bleak House as its novelistic example, this essay considers realism as a mode that achieves its effect by inviting readers to adopt an attitude of trust. Such an account runs counter to traditional epistemologies of realism, which have typically aligned it with post-Cartesian skepticism.
10
Newark, Cormac. ""Vous qui faites l'endormie": The Phantom and the Buried Voices of the Paris Opééra." 19th-Century Music 33, no. 1 (2009): 62–78. http://dx.doi.org/10.1525/ncm.2009.33.1.062.
Повний текст джерелаАнотація:
Abstract Gaston Leroux's Le Fantôôme de l'Opééra (1909––10), as well as providing the model for some famous adaptations in other media, represents an important late stage in the development of a venerable French novelistic tradition: the soiréée àà l'Opééra. Notwithstanding his obvious lack of musical expertise (or perhaps because of it), Leroux's keen exploration of operatic reception deserves its place alongside more eminent contributors to that tradition such as Balzac, Dumas, and Flaubert. The richness of his portrayal of the institution's mythology and place in contemporary popular consciousness derives partly from his direct use of a large number of sources, which goes far beyond the conventions of the Gothic novel. These range from real and fictional operas to reportage concerning the famous fatal accident at the Opééra in 1896 and the rivalry between Christine Nilsson and Marie Miolan-Carvalho. The most significant of them, though, is the set of gramophone records buried underneath the Opééra in 1907, which was Leroux's inspiration and which emerges as the metaphorical key to interpreting the novel——if not the tradition as a whole.
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Fokin, S. L. "Discourse on the Method: a philosopher’s Bildungsroman." Voprosy literatury, no. 4 (August 19, 2021): 168–93. http://dx.doi.org/10.31425/0042-8795-2021-4-168-193.
Повний текст джерелаАнотація:
The problem raised by the article is defined by a paradox: according to Descartes, education is associated with the darkness of preconceptions, truisms, and instilled prejudices that rely exclusively on the authority of tradition as opposed to light, which is the medium of natural intelligence, free of dogmatism and skepticism alike. The article sets out to solve a dual task: on the one hand, to describe the philosopher’s years of learning and the fruits of his enlightenment, and, on the other, to read Discourse on the Method as a prototypical Bildungsroman that challenges the program of humanistic education adopted during the Renaissance and exposes the novelistic imagination of the author’s contemporaries. Following the method of intellectual history, we discover that the autobiographical setting of Discourse on the Method, combined with the figure of the new conceptual character and the self-reflexive element that reproduces the negative genre-specific model of narration, transform one of the most renowned works of world philosophy into a mature Bildungsroman with a main theme best expressed by the question ‘How to become a philosopher?’
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Cymbrykiewicz, Joanna. "How new is the new biography? Some remarks on the misleading term’s past and present." Studia Europaea Gnesnensia, no. 18 (July 9, 2020): 129–49. http://dx.doi.org/10.14746/seg.2018.18.8.
Повний текст джерелаАнотація:
The article discusses the issue of the so-called “new biography” by underscoring ambiguity of the term and presenting the different variants of “new biography” it encompasses. In order to do that, an introduction is made where the tenets of the classical biography are outlined. The inquiry focuses chiefly on England and the USA, although remarks are also made with respect to biographical writing in other countries. It appears that the term is contemporarily mainly associated with Lytton Strachey’s model of biography which, having been formulated in 1918, proved a breakthrough in life writing, since it operated with ironic detachment from the protagonist. Strachey perceived biography as an art and was determined to speak openly about all spheres of the biographee’s life. The article proves that although other attempts at creating a “new biography” were made after Strachey (by Leon Edel and Jo Burr Margadant), their newness is either derivative and supplementary to Strachey’s achievement, or advances a wholly new notion of biography, with the concept of multiplicity of the protagonist’s self. As the Stracheyan biographical model is almost a century old, one can assume that what is understood as “new biography” is not so new after all. In the meantime, though, biographical practice has taken a turn and a novelistic mode of writing, i.e. biofiction, has become the current paradigm. The author therefore suggests that the present-day understanding of “new biography” be reconsidered by recognizing biofiction as one of the figures of biographical “newness”.
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Castaldo, Achille. "The novel and the myth of the epic: Balestrini, Lukács, and the cathartic experience." Forum Italicum: A Journal of Italian Studies 54, no. 3 (May 22, 2020): 785–805. http://dx.doi.org/10.1177/0014585820925476.
Повний текст джерелаАнотація:
In this article, I address the critical reception of Nanni Balestrini's narrative work, focusing in particular on the novel Vogliamo tutto (1971). I compare the interpretative model, which sees this text as overcoming the novelistic form and moving toward the epic, with a similar model in György Lukács' foundational text The Theory of the Novel (1916), which sets up an opposition between the novel, understood as an expression of the irrelevance of private existence in our society, and the idea of a “rebirth” of the epic as a redemptive collective dimension. In order to investigate the textual mechanisms that generate a reading experience that has been defined resorting to the cliché of the epic, I draw on Lukács' later Aesthetics (1962). In this work, he offers a response to the impasses of his earlier thought by using the concept of catharsis, which explains the effects of a work of art on the reader/viewer through the pathetic energy generated by the dissolution of the subjective perspective. Through a close reading of key passages from Vogliamo tutto, I show how the rhetorical structure of the text is grounded in a repeated dissolution of the narrative point of view (the narrator's voice) in the collective voice of the workers. I argue that the “pathetic intensity” produced by this loss of subjectivity inscribes the communal existence of the political struggles of the time in the immediacy of the reading experience.
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Laursen, Jonas Kjærgård. "Tilsynekomstens politik. Om virkelighedsmodellering i Joseph Conrads Nostromo." K&K - Kultur og Klasse 39, no. 111 (June 25, 2011): 7–26. http://dx.doi.org/10.7146/kok.v39i111.15767.
Повний текст джерелаАнотація:
POLITICS OF APPEARANCE. ON REALITY MODELLING IN JOSEPH CONRAD’S NOSTROMOArtistically Nostromo is arguably the most ambitious of Joseph Conrad’s novels. It is also without a doubt the most explicitly political in that it openly engages with the question of how capitalism, imperialism, and revolution affect the human consciousness. There is however no agreement as to how this political problem is to be understood or, more precisely, what kind of understanding of the interrelationship between politics and literature is necessary when engaging this artwork. As a necessary supplement to both a 60’s Marxist reading and readings from the 70’s and 80’s dealing with ideological criticism, this article suggests a reading focusing on how the text creates a model of society by reconfiguring certain real life elements. By developing a specific artistic idiom Nostromo attempts to show the very limited view of the whole of society caused by, in the wording of the novel, the material interests of imperial capitalism. Under the inspiration of both Jurij Lotman and Jacques Rancière the analysis presented here is able to address some key political insights that appear as a consequence of the novelistic form when understood as a relatively autonomous model of society. And that is what is meant by the expression politics of appearance: the politics of literature is to be analysed as something generated by the specific gestalt of the text, as something that comes into sight with – and only with – the text.
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Scott, Jeremy. "Midlands cadences: Narrative voices in the work of Alan Sillitoe." Language and Literature: International Journal of Stylistics 25, no. 4 (November 2016): 312–27. http://dx.doi.org/10.1177/0963947016645001.
Повний текст джерелаАнотація:
This paper will examine excerpts from a range of Alan Sillitoe’s prose fiction, Saturday Night and Sunday Morning (1958) and short stories from the collection The Loneliness of the Long-Distance Runner (1958), via a comparative exploration of the texts’ representations of Midlands English demotic. The narrative discourse traces a link between the experience of the Midlands English working classes represented and the demotic language they speak; the narrators have voices redolent of registers rooted in 1950s English working-class life. The texts also contain different methods of representing their protagonists’ consciousness through the demotic idiolects that they speak. Sillitoe’s is a novelistic discourse which refuses to normalise itself to accord with the conventions of classic realism, and as such prefigures the ambitions of many contemporary writers who incline their narrative voices towards the oral – asserting the right of a character’s dialect/idiolect to be the principal register of the narrative. The paper will demonstrate this thesis through the ideas of Bakhtin, and through an analytical taxonomy derived from literary stylistics. It aims to propose a model which can be used to analyse and explore any fiction which has been labelled as ‘working-class’, and asserts that such an approach leads to a more principled characterisation of working-class fiction (based on its use of language) than current literary-critical discussions based simply on cultural/social context and biography.
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S.S., Zhurba. "NOVELISTICS OF HALYNA ZHURBA: DIFFUSION OF THE GENRE." South archive (philological sciences), no. 83 (November 4, 2020): 6–10. http://dx.doi.org/10.32999/ksu2663-2691/2020-83-1.
Повний текст джерелаАнотація:
Мета. Мала проза кінця ХІХ – початку ХХ століття вражає експериментальністю письма, жанровою еклектикою, моди-фікацією жанру, інтертекстуальністю. Мета статті – на прикладі творів «Казка про Змарагд», «В ясний день», «Ассірійська легенда» Галини Журби простежити художньо-образну організацію текстів, авторське поєднання різножанрових елементів у структурі новели. Питання дифузії жанрів майже не висвітлювалося в публікаціях про письменницю, тож потребує належ-ного осмислення й аналізу.Методи. Методологічні засади дослідження полягають у комплексному застосуванні історико-літературного, герменев-тичного методів та рецептивної естетики, що дало змогу розкрити проблему дифузії жанру у літературі, вказати значення Галини Журби у модифікації жанру новели через аналіз її творів. Метод інтертекстуального аналізу було використано у дослі-дженні міжтекстових зв’язків прози письменниці та фольклору, міфології. Використано методику аналізу, синтезу, добору та систематизації матеріалу.Результати. У процесі дослідження продемонстровано руйнування канонів жанру новели у літературі початку ХХ століт-тя, вказано на динамізм і художні трансформації модерних творів, синтез різножанрових форм. У ранній прозі Галини Журби простежуємо експериментальні пошуки авторки у формозмістовій організації новели. Результати дослідження показали, що процес жанрового синтезу дав змогу авторці увиразнити ідейно-тематичний зміст творів, розширити горизонт читацького сприйняття. Філософське осмислення буття людини і світу, трансформація міфологічних образів «Казки про Змарагд», «В ясний день», «Ассірійської легенди» Галини Журби засвідчують індивідуально-стильову ознаку письма та творчі пошуки в жанрі новели. Виявлено особливості прози письменниці, до яких належить контамінація жанрів новели і казки, новели і легенди, трансформація фантастичних образів, мотивів у новелістичну структуру, інтертекстуальність.Висновки. Отже, взаємопроникнення одного тексту в інший у малій прозі Галини Журби сприяє увиразненню сюжетно-композиційних можливостей текстів, збагаченню формозмістових елементів, міжтекстовій взаємодії. Авторська інтерпрета-ція відомих міфологічних образів, фантастичні вкраплення, оновлення семантики текстів, композиційна організація текстів визначили нову жанрову модель творів «Казка про Змарагд», «В ясний день» як модерну казку, «Ассірійську легенду» – модерну легенду. Через модерні способи мислення письменниці відбувається становлення індивідуально-художнього стилю у співвідношенні з літературними здобутками прози доби. Purpose. The short prose of the end of the XIX – beginning of the XX century impresses with the experimentality of writing, genre eclecticism, modification of the genre, intertextuality. The purpose of the article is to trace the artistic and figurative organization of texts, the author’s combination of various genre elements in the structure of the short story on the example of the works “The Tale of the Emerald”, “On a Clear Day”, “Assyrian Legend” by Halyna Zhurba. The issue of diffusion of genres was hardly covered in publications about the writer, so it needs proper understanding and analysis.Methods. The methodological principles of the research are the complex application of historical-literary, hermeneutic methods and receptive aesthetics, which revealed the problem of genre diffusion in literature, to indicate the importance of Halyna Zhurba in modifying the genre of short stories through analysis of her works. The method of intertextual analysis was used in the study of intertextual connections between the writer’s prose and folklore, mythology. The method of analysis, synthesis, selection and systematization of material is used.Results. The study demonstrates the destruction of the canons of the genre of short stories in the literature of the early twentieth century, points to the dynamism and artistic transformations of modern works, the synthesis of various genre forms. In Halyna Zhurba’s early prose we trace the author’s experimental searches in the formcontent organization of the short story. The results of the research showed that the process of genre synthesis allowed the author to express the ideological and thematic content of the works, to expand the horizon of the reader’s perception. Philosophical comprehension of human existence and the world, transformation of mythological images “Tales of the Emerald”, “On a Clear Day”, “Assyrian Legend” by Halyna Zhurba testify to the individual stylistic feature of writing and creative research in the genre of short stories. Short stories and fairy tales, short stories and legends, transformation of fantastic images, motives into a novelistic structure, intertextuality.Conclusions. Thus, the interpenetration of one text into another in the short prose of Halyna Zhurba contributes to the expression of plot-compositional possibilities of texts, enrichment of formcontent elements, intertextual interaction. The author’s interpretation of well-known mythological images, fantastic inclusions, updating the semantics of texts, compositional organization of texts defined a new genre model of works “The Tale of the Emerald”, “On a Clear Day” as a modern tale, “Assyrian Legend” – a modern legend. Through the modern ways of thinking of the writer is the formation of individual artistic style in relation to the literary achievements of prose of the day.
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Cohen, Eli. "Variaciones novelísticas: la recepción del «Quijote» en la «Introducción» de las «Cartas marruecas» de Cadalso." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 137. http://dx.doi.org/10.17811/cesxviii.26.2016.137-154.
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RESUMENLas Cartas marruecas de José de Cadalso se inician con una referencia explícita a Cervantes y su «inmortal novela en que criticó con tanto acierto algunas viciosas costumbres de nuestros abuelos». Con esta alusión directa, Cadalso se erige como lector privilegiado del Quijote a la vez que se sitúa como heredero genealógico de una tradición de práctica narrativa con fines explícitamente críticos. Más que un libro gracioso, Cadalso identifica el Quijote como una compleja constelación de técnicas literarias como la parodia, la poliglosia o la representación de imágenes discursivas, y afirma que su proyecto literario es un ejercicio principalmente negativo. Este trabajo se propone examinar la introducción de las Cartas para identificar en ella las características novelísticas que Cadalso habría encontrado en la obra de Cervantes con el objetivo de recuperar en sus Cartas el modelo de la ficción crítica establecido siglo y medio antes, examinando en particular los aspectos formales que se reproducen o se adaptan al contexto y a las intenciones de Cadalso a finales del siglo XVIII.PALABRAS CLAVECadalso, Cervantes, Cartas marruecas, Quijote, novela, novela epistolar, Bajtín, polifonía. TITLENovelistic variations: the reception of the «Quijote» in the «Introduction» to the Cadalso’s «Cartas marruecas»ABSTRACTJosé de Cadalso’s Cartas marruecas begin with an explicit reference to Cervantes and his «inmortal novela en que criticó con tanto acierto algunas viciosas costumbres de nuestros abuelos». With this direct allusion, Cadalso presents himself as a privileged reader of the Quijote while also situating himself as genealogical heir of the tradition of narrative practice with specifically critical ends. More than a merely comical book, Cadalso identifies the Quijote as a complex constellation of literary techniques including parody, polyglossia and the representation of images of discourse, and affirms that his own literary project is a principally negative one. This study proposes to examine the introduction to the Cartas in order to identify in them the novelistic characteristics Cadalso found in Cervantes’ work with the objective of recuperating in his Cartas the model of critical fiction established a century and a half earlier, examining in particular the formal aspects that Cadalso reproduces to his own context and intentions in the late eighteenth century.KEY WORDSCadalso, Cervantes, Cartas marruecas, Quijote, novel, epistolary novel, Bakhtin, polyphony.
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Emerson, Caryl. "The Tolstoy Connection in Bakhtin." PMLA/Publications of the Modern Language Association of America 100, no. 1 (January 1985): 68–80. http://dx.doi.org/10.2307/462201.
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Mikhail Bakhtin's work on Dostoevsky is well known. Less familiar, perhaps, is Bakhtin's attitude toward the other great Russian nineteenth-century novelist, Leo Tolstoy. This essay explores that “Tolstoy connection,” both as a means for interrogating Bakhtin's analytic categories and as a focus for evaluating the larger tradition of “Tolstoy versus Dostoevsky.” Bakhtin is not a particularly good reader of Tolstoy. But he does make provocative use of the familiar binary model to pursue his most insistent concerns: monologism versus dialogism, the relationship of authors to their characters, the role of death in literature and life, and the concept of the self. Bakhtin's comments on these two novelists serve as a good starting point for assessing the strengths and weaknesses of the Bakhtinian model in general and suggest ways one might recast the dialogue between Tolstoy and Dostoevsky on somewhat different, more productive ground.
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Kazakova, S. K. "Three Werthers over the precipice. Goethe allusions in Goncharov’s novel." Voprosy literatury, no. 3 (September 12, 2022): 16–44. http://dx.doi.org/10.31425/0042-8795-2022-3-16-44.
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The article discovers an allusion to Goethe’s Werther in Goncharov’s The Precipice [Obryv] and explains its role in the novel. The author notices how the book’s leading male characters — Boris Raysky, Mark Volokhov, and Tit Nikonych Vatutin — exhibit the intertextual markers. The triple allusion to Goethe’s protagonist is examined as a key to understanding the novelist’s aesthetic testimony of the diversity of the forms of life, which calls for adequate, i. e., flexible, artistic representation. The author proposes and goes on to justify a hypothesis that The Precipice should be treated as a juxtaposition of two novelistic models. The article uncovers the supposed discrepancy between Goncharov’s own artistic method and the one perceived through his character Boris Raysky’s literary experiments. While Goncharov abandons the linear and monolithic nature of artistic structures, Raysky (if only subconsciously at times) prefers his characters and plots to be well-rounded and complete. The scholar finds that, through an ingenious use of the complex structure of a novel-within-a-novel, Goncharov on behalf of his hero invokes the classical paradigm of the 1800s — 1850s novel, only to deconstruct it in his own work.
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Laachir, Karima. "The Literary World of the North African Taghrība." Journal of World Literature 4, no. 2 (June 10, 2019): 188–214. http://dx.doi.org/10.1163/24056480-00402004.
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Abstract The novels by North African novelists Waciny Laredj, Majid Toubia and Abdelrahim Lahbibi that refashioned the traditional Arabic genre of the taghrība inspired by the medieval epic of Taghrība of Banū Hilāl, still a living oral tradition in the region, offer an interesting case study of location in world literature. They circulate both within national (Algerian, Egyptian and Moroccan) literary systems and the pan-Arab literary field while maintaining a distinct aesthetic and political locality. In these novels, the literary life of the North African taghrība takes forms and meanings that are geographically and historically located, and that are shaped by the positionality of the authors. This paper intervenes in the discussion on location in world literature from the perspective of Arabic novelistic traditions by showing that the pan-Arabic literary field itself is far from homogenous but is marked by a diversity of narrative styles and techniques that can be both local/localised and transregional at the same time. Therefore, we need to shift our understanding of world literature beyond macro-models of “world-system” that assume a universally-shared set of literary values and tastes.
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Sanjinés C., Javier. "Felipe Delgado, otro de los Robinsones." Bolivian Studies Journal 26 (December 10, 2021): 41–59. http://dx.doi.org/10.5195/bsj.2021.256.
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Robinson Crusoe, the extraordinary ship-wrecked protagonist of Defoe’s novel, is actually a modern transfiguration of the old myth of the “savage man,” a myth that this article revisits. Robinson is brought by Defoe into a savage existence because the author intends to demonstrate that it is possible to defeat savagery in one’s own land, turning Robinson into the virtuous and modern homo economicus. But there are other Robinsons that challenge the original: that of Jean-Jacques Rousseau, and the urban Robinson, conceived in novelistic form by Antonio Muñoz Molina. Both serve as models for my reading of Felipe Delgado as a novel that exemplifies the marginal Robinson. As happens to some of the characters in Antonio Muñoz Molina’s novels, the Bolivian poet and novelist Jaime Saenz creates an urban, marginalized and eccentric Robinson that, unlike the previous mentioned, without a rational goal motivating him, secretly celebrates his incurable shipwrecks. Felipe is the Robinson born out of the lucid necessity of alcohol. Clairvoyant and repentant of his future, he is born for the night, a space and time that permits him to delve into the heart of the memory of his city.
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Buckler, Julie A. "Novelistic Figuration, Narrative Metaphor: Western and Russian Models of the Prima Donna." Comparative Literature 50, no. 2 (1998): 155. http://dx.doi.org/10.2307/1771253.
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Wallhead, Celia. "Metaphors for the Self in A.S. Byatt’s the Biographer’s Tale." Language and Literature: International Journal of Stylistics 12, no. 4 (November 2003): 291–308. http://dx.doi.org/10.1177/09639470030124001.
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When novelists create their characters and biographers re-create their subjects, both types of writer are either explicitly or implicitly applying a theory of personality through which they investigate the selfhood of the person. However, while many examples of novels and biographies in recent decades have emphasized the similarities between the two genres, especially in the area of character or person as subject, there appears to be no consensus on such a theory. A.S. Byatt is a novelist and biographer who is particularly concerned with the issue of creation or re-creation of the self. In this article, I have turned to a recent metaphorical model of analysis of the self from cognitive linguistics to see if this sheds more light on how personalities can be examined and discussed both by the subjects themselves and by their biographer or creator. Lakoff and Johnson’s elaboration of a body-based linguistic model of metaphor for the self is discussed here and applied to one of Byatt’s most recent novels, one which consciously discusses biography, language and creativity: The Biographer’s Tale(2000). The results show that Byatt is well aware of the underlying patterns for self analysis in everyday language, and tries to match these inherent metaphors with arresting, self-conscious, artistic metaphors that are, nonetheless, connected logically in different ways with the former. Byatt is thus able to articulate in interesting new ways ideas on abstractions concerning selfhood, language, biography and creativity.
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Parham, John. "Hungry Unlike the Wolf: Ecology, Posthumanism, Narratology in Fred Vargas’s Seeking Whom He May Devour." Ecozon@: European Journal of Literature, Culture and Environment 3, no. 2 (October 6, 2012): 145–60. http://dx.doi.org/10.37536/ecozona.2012.3.2.478.
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This paper examines posthumanism as a philosophical position equipped to inform ecocriticism and the potential of popular fiction to articulate ecological complexity. Posthumanism will be reappraised as a dialectical model that decentres the human in relation to ‘evolutionary, ecological, or technological coordinates’ (Wolfe 2010: xvi) while nevertheless retaining a sense of the integrity of, and boundaries between, human and nonhuman species or phenomena. It will be argued that a novelistic emphasis on human being, agency, and action, coupled with devices of genre, plot, and narrative – are consistent with the process of human self-examination engendered by posthumanism. The essay will, thereafter, illustrate and examine this approach through the French crime writer Fred Vargas’s1999 novel Seeking Whom He May Devour. Identifying two human protagonists – the Canadian conservationist Johnstone and his girlfriend Camille – an initial decentring of the human subject will be examined in relation to two equivalent, nonhuman protagonists, the French Alps and the wolf. Utilising newspaper interviews that highlight Vargas’s own posthumanist perspective (grounded in her profession as an archaeologist), I will examine a) how the novel explores appropriate relationships between human and nonhuman animals; b) how Vargas utilises both the generic features of the crime novel – e.g. the resolution of a ‘crime’ – and the subtle narrative manipulations of character focalisation to construct (via the preferred ‘point of view’ offered by Camille) a posthumanist position on human/animal relations which Vargas explicitly opposes to the inhumanism represented by Johnstone. Resumen Este artículo examina el posthumanismo como una posición filosófica dotada para contribuir con la ecocrítica y el potencial de la ficción popular para articular la complejidad ecológica. El posthumanismo será revaluado como un modelo dialéctico que descentra al ser humano en relación con “las coordinadas evolutivas, ecológicas o tecnológicas” (Wolfe, Posthumanism xvi), mientras que aún así retiene un sentido de la integridad de, y de las fronteras entre, las especies o fenómenos humanos y no-humanos. Se argumentará que un énfasis novelístico en el ser humano, la agencia y la acción, junto con los recursos del género, argumento y narración, son consistentes con el proceso del auto-examen engendrado por el posthumanismo. Después, este ensayo ilustratá y examinará este enfoque a través de la novela Seeking Whom He May Devour (1999), del escritor francés de novela policíaca Fred Vargas. Identificando a los dos protagonistas humanos, el conservacionista canadiense Johnstone y su novia Camille, el de-centramiento inicial del sujeto humano será examinado en relación a los dos protagonistas no-humanos equivalentes: los Alpes franceses y el lobo. Usando entrevistas en periódicos que destacan las perspectiva posthumanista de Vargas (basada en su profesión como arqueólogo), examinaré: a) cómo la novela explora las relaciones apropiadas entre animales humanos y no-humanos; b) cómo Vargas utiliza tanto las características genéricas de la novela policíaca (e.g. la resolución de un crimen) y las sutiles manipulaciones narrativas en la focalización de los personajes para construir (a través del favorecido “punto de vista” que ofrece Camille) una posición posthumanista en las relaciones humanas/animales que Vargas explícitamente opone al inhumanismo que Johnstone representa.
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Voyles, Katherine. "TROLLOPE THROUGH THE WINDOW-PANE." Victorian Literature and Culture 41, no. 2 (January 18, 2013): 283–96. http://dx.doi.org/10.1017/s1060150312000393.
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By now, arguments about thefamiliarity of realism in general, and the novels of Anthony Trollope in particular, are themselves familiar. D. A. Miller's suggestion that the “easy chair” is “still the most likely place to read Trollope” because such a location is congenial to novels that allow one to fall “into the usual appreciation of his appreciation of the usual” is the touchstone of such arguments (107). In Trollope's own day, reviewers and commentators did not use the term “the usual” to describe the domain of his novels, but they convey the same notion as Miller by maintaining that the transparency of his novels creates verisimilitude. What follows here suggests that an “easy chair” is not “the most likely place” to read Trollope. I reveal the surprising extent to which Trollope himself investigates and thinks at length about “the usual,” instead of merely allowing his reader to “appreciate” the transparency of his novels, by attending to his ideas about classical perspective in relationship to the novel form. I focus on Trollope's complicated relationship to issues of classical perspective because the transparency of his novels described by his contemporaries continues into today's critical descriptions of his novels as the domain of the ordinary, the everyday, and the familiar. Such descriptions, however, do not fully illuminate Trollope's own complicated relationship to issues of perspective. I throw Trollope's own ideas on perspective into full relief in an effort to disrupt accounts of his work that emphasize its natural qualities. On the one hand, Trollope's work is described by contemporaries as perspectival, and his own comments in hisAutobiographyand his handling of issues of intimacy in his novels demonstrate what he sees as the virtues of perspectivalism. Foremost among those virtues is the ability of perspectivalism to abstract its observer, which is confirmed as Trollope accomplishes a universal, generalized intimacy with characters that is felt by the author, the narrator, and the reader. By attempting to align readerly, authorial, and narratorial perception, Trollope works to recreate the “objective ground of visual truth” that a classical model of vision supplied (Crary,Techniques14). Nevertheless, he worries about issues of point of view. Perspectivalism relies on its viewer's attitude in a particular position. That is, in its ideal form, pictorial perspectivalism allows any viewer who inhabits a particular position to see the same objects and to see them in the same way as any other viewer. In this sense, perspectivalism depersonalizes and abstracts the observer because it does not rely on the individuality of any particular observer. Trollope, however, fears that this impersonal model of the observer creates a vacuum that the personality of a particular observer fills. The narrator is the name Trollope gives to the personality that fills the vacuum, which Trollope fears indicates that his novels are subjective and represent only one way of understanding the world. In such a case, the point of view that characterizes his novels is not familiar – as we are accustomed to believe – because it represents the everyday world. Trollope believes that because novels are oriented from the narrator's point of view, the catholicity implied by pictorial perspectivalism is not available to the novel. The presence of a narrator, to Trollope's mind, veers the novel away from the objectivity to which perspectivalism seems a means. As Trollope notes fundamental differences between novelistic and pictorial point of view, we see that he himself did not consider his novels as natural or naturalizing.
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Barr, Rebecca Anne. "Richardsonian Fiction, Women’s Raillery, and Heteropessimist Humour." Eighteenth-Century Fiction 33, no. 4 (June 1, 2021): 531–56. http://dx.doi.org/10.3138/ecf.33.4.531.
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The fiction of Samuel Richardson is not fundamentally humourless. This article analyzes the rich vein of humour found in Pamela in her Exalted Condition (1745) and The History of Sir Charles Grandison (1753–54) to show that Richardson was acutely aware of the interpersonal power of laughter and that he harnessed it for aesthetic and moral ends. Novelistic scenes of spontaneous conversation dramatize the various and often embodied effects of humorous performances. Using theories of gender and humour, I argue that Richardson critiques and modifies Restoration wit by using women’s raillery as the primary vehicle for novelistic humour. Richardsonian fiction thus feminizes the domineering tendencies of masculine wit and the adversarial harms of ridicule, replacing them with chaste female models of “satirical merriment.” Such pleasure does not equate to liberation or even subversion. Through Pamela and Charlotte Grandison, the novels generate a heteropessimist humour in which women’s dynamic wit ultimately promotes their marital subordination to flawed, disappointing men.
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Swindell, Anthony. "Latecomers: Four Novelists Rewrite the Bible." Biblical Interpretation 15, no. 4-5 (2007): 395–404. http://dx.doi.org/10.1163/156851507x194288.
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AbstractThis essay examines the use of biblical stories as sourcetexts in four novels: David Maine's Fallen, Howard Jacobson's The Very Model of a Man, Muriel Spark's The Only Problem, and Gloria Naylor's Bailey's Café. While each goes about its business of rewriting the biblical story in relation to a particular contemporary agenda or concern (American consumerism, the crisis of theism, the viability of happy endings in fiction, the revolt against patriarchy), they have in common a sense of lateness which they ironically project onto the biblical urtext. A sense of lateness is typical of modern and postmodern rewritings of ancient narratives and indeed is a characteristic of late-twentieth and early-twenty-first century literary consciousness. By turning the biblical story into a latecomer, the four novelists simultaneously free themselves from deference to a story deemed sacred in Western culture and pay homage to its indispensability as a platform. Rewritings of this kind are of value both as a reality-test for pro-theological readings of the Bible and, by their very existence, as a barometer of interest in the Bible among the general reading (or cinema-going) public.
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Ossa-Richardson, Anthony. "Proust, Typical Novelist: Literary Context as Type." Modern Language Quarterly 83, no. 1 (March 1, 2022): 27–55. http://dx.doi.org/10.1215/00267929-9475017.
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Abstract A decade ago Rita Felski argued that reliance on context shuts down a text’s meaning by enclosing it in a restrictive historical “box” and alienating its individuality. This essay offers a rebuttal to Felski’s critique, first by delineating the genealogy of her concerns in literary, philosophical, and architectural thought of the late nineteenth century, and second by exploring an alternative model of context as type, as revealed by a close reading of Marcel Proust’s À la recherche du temps perdu. Proust’s novel repeatedly makes use of a notion of the type (a person, an artwork, a battle) that prioritizes the act of typifying, an act that does not sacrifice but discloses, or even constitutes, the individual. Like the Proustian type, context is best understood not as an alienation from, but as a route to, the particularity of the literary object.
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ABD, Shamim Radhi. "HISTORICAL SYMBOL BETWEEN THE CONTROVERSY OF HISTORY AND REALITY :THE NOVEL OF LOVE, WHO CROSSES THE BORDER, AS A MODEL." RIMAK International Journal of Humanities and Social Sciences 03, no. 05 (June 1, 2021): 244–53. http://dx.doi.org/10.47832/2717-8293.5-3.24.
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This approach is based on observing images, events, and symbolic characters, then encompassing them in all their aspects, then showing the symbolic method that the novelist adopted to draw and present them in the narration of the novel. (A Lover Who Crosses the Borders) We find the mythical and symbolic tendency in building the narrative, as the novelist exploits the mythical environment that opens up to the past to record the conditions of the main character, and the nature of adaptation to the external environment, in addition to how to face life and its circumstances in different ways, most of the symbolic characters symbolized the pain of reality and the fragmentation of life, so the narrator built (his long story) or (his short novel) in a way that mixes the imagined and the reality. Most of the events and characters are realistic that embodied an imaginary narrative that confronted the Iraqi reality for psychological, social and political purposes. When the stage expanded with multiple crises, success was an ally of those who archive of Iraqi pain, and who embodied the interaction and communication between its past and present, as the novelist wrote in a modernist way that drew its visions from the imagination of Iraqi pain, and the stage recognized the creative exceptions that promote the literary face, and the task of expression is an occasional product of culture.
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Gârdan, Daiana. "Hybrid Geographies of Global Genres: The Global Space in the Romanian Modern Novel." Caietele Echinox 38 (June 30, 2020): 159–68. http://dx.doi.org/10.24193/cechinox.2020.38.13.
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My paper aims to investigate an early phase of the globalization phenomenon as it has manifested in a specific peripheral space, attempting to map, by means of both close and distant reading, how the internalization processes have been mirrored in the modern Romanian novel. The scope of my research revolves around the responses that Romanian literature – a peripheral, minor literature – has had towards transnational or global models, and how the novelistic production of the aforementioned timeframe has metabolised and illustrated the foreign input in our culture. The theoretical framework of the present
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MOHAMMAD, Majed Haj. "REFERENCES TO VALUES IN THE CONTEMPORARY ARAB NOVELIST DISCOURSE THE ISLAMIC REFERENCE MODEL." Journal of International Social Research 12, no. 62 (February 28, 2019): 1809–15. http://dx.doi.org/10.17719/jisr.2019.3188.
Повний текст джерела
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Rodgers, Susan. "Narrating ‘the modern’: Colonial-era southern Batak journalism and novelistic fiction as overlapping literary forms." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 163, no. 4 (2008): 476–506. http://dx.doi.org/10.1163/22134379-90003692.
Повний текст джерелаАнотація:
As Lennard J. Davis (1997) points out in Factual fictions; The origins of the English novel, newspaper prose and novel writing had remarkably blurred boundaries throughout the late 1700s, the time when the early English novel was first gaining public currency on the popular print scene. Davis presents a complex argument. He first criticizes Ian Watt’s approach (1957) as set out in the latter’s classic The rise of the novel. Davis asserts that Watt relies on simplistic ‘evolutionary’ models about the ‘rise’ of genres. Davis goes on to observe that there was a generalized convergence of discursive forms in the English popular press and in storytelling in commercial print in the late eighteenth century.
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Adeney, Miriam. "Esther across Cultures: Indigenous Leadership Roles for Women." Missiology: An International Review 15, no. 3 (July 1987): 323–37. http://dx.doi.org/10.1177/009182968701500304.
Повний текст джерелаАнотація:
Women have unique qualities that allow them to work effectively in Christian ministry among their own people and cross-culturally. Catherine Booth and Mary Slessor are historical models. Today women throughout the world continue to model resourceful ministry roles. Evelyn Quema, an evangelist and church planter in the Philippines, is an example, as are So Yan Pui who, before her recent death, was involved in writing and parachurch work in Hong Kong, and Ayako Miura, a Japanese novelist. For these women, who are often better educated than their peers, opportunities for ministry are plentiful, but there are also outreach opportunities for oppressed women, and they too are serving as models in ministry.
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Qbilat, Nizar, and Awni El-Faouri. "The Other’s Image in Arabic Feminist Narrative." Journal of Arts and Social Sciences [JASS] 7, no. 2 (June 1, 2016): 337. http://dx.doi.org/10.24200/jass.vol7iss2pp337-345.
Повний текст джерелаАнотація:
This study aims at shedding some light on the images of women in some feminist novels known as Feminist Literature. The research depicts a number of Arabic feminist writers concentrating on the structure of Feminist Literature generally, and Arabic women writers specifically. The study examines the characters, the narrative angle and the narrative sequence and its objective sensitivity at three levels: the woman as an author, a narrator, and the artistic character dealing with issues of justice, liberty and equality with man, considering the various humanitarian models: the striver, the lover and the educated within the borders of the forbidden, the fear, and the limitations. The popularity of Feminist Literature is one of the issues of modernity in the Arab world. The role of Jordanian women writers is apparent in literature. Their creative works compete with those of dominant men in terms of imagery and artistic presence. The inner persona of the woman writer is dominant even though her work represents a realistic view. The problematic issue of writing for women writers seems to be plunged in paradox and sharp in its novelistic representation. The novelistic modules studied indicate the success the Arab woman writer achieved in terms of the use of artistic tools, and the ability to confront and reveal the untold. Although the feminists’ novels seem to dwell in an anxious environment, they represent an arena of conflict representing the artistic and living realities.
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Watson, David. "Failing States, Human (In)Security, and the American World Novel." New Global Studies 13, no. 1 (April 24, 2019): 80–101. http://dx.doi.org/10.1515/ngs-2019-0005.
Повний текст джерелаАнотація:
AbstractAs a growing number of contemporary American novelists take the world and its socio-cultural and geopolitical complexity as their subject matter, the contemporary novel’s form and sense of worldliness are shifting. Twenty-first century US fiction challenges normative models of the world proposed by theories of cosmopolitan relationality by projecting fragile worlds of strife and trauma, in which violence accompanies geopolitical turbulence. In these novels, discourses around human security—the everyday security needs of vulnerable populations—are increasingly prominent. Accordingly, contemporary US fiction often incorporates within its geopolitical imaginary such issues as human rights, humanitarian interventions, development, and how life is disabled by prejudice, civil war, scarcity, and health or other crises. In this essay, I range across a number of works by contemporary American novelists such as Dave Eggers, Jennifer Egan, Denis Johnson, Dana Spiotta, and Bob Shacochis in which state failures as well as human and geopolitical security concerns impact on the form given to the world by these novelists. In their novels, narratives concerning human security as well as threats to geopolitical stability produce transnational geographies in which global interconnections and circulation intensify feelings of insecurity.
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Sarajkić, Mirza. "Slika religije u savremenom arapskom romanu / The Image of Religion in the Contemporary Arabic Novel." Context: Journal of Interdisciplinary Studies 8, no. 1 (March 22, 2022): 33–64. http://dx.doi.org/10.55425/23036966.2021.8.1.33.
Повний текст джерелаАнотація:
This paper analyses the narrative representations of religious agents in the contemporary Arabic novel. Contextualizing the domain of the religious in its fragile ideological age, or within the dominant secular matrix, the paper locates the established religious topoi in the contemporary novel as an effective cultural narrative. Within the framework of literary criticism and theoretical models, the paper offers the interpretation of the genesis of fixation, otherness and stereotypes in the images of religious characters. Central analysis is devoted to the novels of Taha Hussein and Naguib Mahfouz, which are considered the best representatives of literary narratives in the period between the 1930s and 1990s. The paper discusses the monolithic representation of the religious, deconstructs secular stereotypes, and analyses the phenomenon of parallax and its social and cultural consequences within the aforementioned novelistic narratives.
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Antunes, Maria Alice Gonçalves. "Self-Translation and Exile: A Study of the Cases of Ngugi Wa Thiong’o and Ariel Dorfman." Cadernos de Tradução 38, no. 1 (January 6, 2018): 127–45. http://dx.doi.org/10.5007/2175-7968.2018v38n1p127.
Повний текст джерелаАнотація:
In this article, we focus on the trajectories of exiled writers who act as self-translators and as “individuals who act purposefully in a social context” (Palumo 2009, 9). We discuss the extent to which exile has paved the way for self-translation and also transformed those exiled writers into individuals who act as self-translators, “ambassadors, agents” (Grutman and Van Bolderen 2014, 325) in the USA, “constantly fighting […] to restore [their] significance” (Brodsky 1994, 5). For the purposes of this study, we focus on the cases of the Kenyan novelist, Ngugi wa Thiong’o and of the Argentine-Chilean-American novelist and playwright, Ariel Dorfman. Both Ngugi and Dorfman have, in different ways, been forced out of their home countries, they have sought exile in the USA, and they have written and translated into (and out of) English throughout their lives. Our analysis of these two cases will use an adapted version of John Glad’s multidimensional model of the process of literary creation of exiled writers. By analyzing both these cases through an adapted version of Glad’s model, we hope to contribute to the discussion on self-translation and on exile as a fact that affects this activity directly and in different ways.
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Lucey, Michael. "Introduction: Proust's Modernist Sociology." Paragraph 45, no. 1 (March 2022): 1–21. http://dx.doi.org/10.3366/para.2022.0382.
Повний текст джерелаАнотація:
The introduction to this special issue sketches out some urgent forms of intelligibility that Proust's Recherche might hold for readers in 2022 given the many crises of the present moment. Whereas Proust's novel is often read as an investigation and valorization of various forms of subjective experience, contributions to this special issue consider how aspects of the Recherche's composition might provoke us to step back and objectify subjective experience in the service of some other kind of knowledge. The introduction juxtaposes Proust's novelistic practice with Pierre Bourdieu's sociological construction of points of view. We see the social world in limited ways because we see it from a single point of view, but we can work critically to rise above those limits and envision a social field of different points of view. The introduction demonstrates how Proust's novel, like Bourdieu's sociological practice, models this form of understanding for us.
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Mariș, Ioan. "Ion D. Sîrbu, a classic of the Romanian literature." Sæculum 48, no. 2 (December 1, 2019): 10–16. http://dx.doi.org/10.2478/saec-2019-0024.
Повний текст джерелаАнотація:
AbstractThe essay dedicated to I. D. Sîrbu comes in the context of celebrating 100 years since the birth of the great novelist, playwriter and essayist. I insisted at the beginning of the essay on his relationship with Lucian Blaga, professor of philosophy during the time of the refuge of the University “Regele Ferdinand I” from Cluj to Sibiu (1940-1944), focusing on the catalytic influence of the professor in the formation process of the young writers. Lucian Blaga was in favour of a bright “paideic model” like Socrate’s maieutics.
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Garibaldi, Korey, and Emily Wang. "When Pushkin's Blackness Was in Vogue: Rediscovering the Racialization of Russia's Preeminent Poet and His Descendants." Slavic Review 80, no. 2 (2021): 245–57. http://dx.doi.org/10.1017/slr.2021.82.
Повний текст джерелаАнотація:
This essay investigates interconnections between the novelist, Henry James, Ivan Turgenev, and Aleksandr Pushkin and identifies the racial subtext of these associations. Several scholars have connected Pushkin and James. But none of this scholarship has speculated on whether it was the poet's African heritage that was at the root of hidden connections between these authors. Moreover, though most scholarship on Pushkin's reception in the United States focuses on twentieth-century African American literature, his African heritage was publicized much earlier. In fact, nineteenth-century commentators on both sides of the Atlantic frequently discussed Pushkin's racial heritage as a canonical European writer of African descent. This essay recovers how Henry James used Pushkin's daughter, the morganatic Countess Merenberg, as a model for the racially ambiguous “morganatic” Baroness Münster in The Europeans (1878). A decade later, James seems to have invoked the Countess Merenberg once more in his rewriting of Pushkin's “The Queen of Spades” (1833) in The Aspern Papers (1888). While James publicly attributed Byron and Shelley as inspirations, the discourse surrounding the African heritage of Pushkin and his heirs helps explain why the novelist minimized and erased the racial lineage at the center of The Europeans and The Aspern Papers.
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Sánchez, Pablo. "Watchmen y los paradigmas novelísticos del escritor español." Káñina 40, no. 2 (August 24, 2016): 113. http://dx.doi.org/10.15517/rk.v40i2.26040.
Повний текст джерелаАнотація:
En este artículo se propone un análisis de algunas de las características literarias fundamentales de Watchmen, la novela gráfica de Alan Moore, y se plantea la función que esas características podrían cumplir como modelo para los novelistas contemporáneos, particularmente en la literatura española, que hasta la fecha no ha asimilado esa influencia. El punto de partida del estudio es que Watchmen contiene una serie de valores narrativos que son comparables con algunos de los modelos de la novela de la modernidad y que por tanto puede ocupar una posición similar en el conjunto de las posibilidades literarias de hoy.
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Antón Pacheco, José Antonio. "Literatura y espiritualidad. El swedenborgismo literario como ejemplo." Isidorianum 28, no. 55 (June 1, 2019): 63–72. http://dx.doi.org/10.46543/isid.1928.1005.
Повний текст джерелаАнотація:
Tradicionalmente el discurso narrativo, poético o mítico ha servido de vehículo para trasmitir contenidos de orden teológico y metafísico. Es decir, el concepto necesita de la representación para un mejor y más profundo desarrollo temático. Un caso ejemplar de este fenómeno lo encontramos en el llamado swedenborgismo literario, esto es, en la utilización de la figura de Emanuel Swedenborg como motivo y argumento en poetas y novelistas. La pregunta es si el swerdenborgismo literario es tan solo un pretexto estilístico o bien obedece a razones de mayor calado filosófico o religioso. J. L. Borges se nos presenta como modelo de este planteamiento.
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Roșcan, Nina. "Childhood Trauma in Maya Angelou’s Autobiographical Fiction – Abuse and Displacement." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 1 (November 19, 2020): 33–41. http://dx.doi.org/10.31178/ubr.9.1.4.
Повний текст джерелаАнотація:
The article discusses how trauma is represented in Maya Angelou’s autobiographical fiction, one of the most important themes in all her seven autobiographical novels and an African American feminist marginalized experience that speaks about the intensity and effects of women’s oppression. It explores how the novelist locates traumatic affects in the protagonist, and suggests that Frantz Fanon’s model of racial trauma in Black Skin, White Masks and The Wretched of the Earth remains essential for the interpretation of postcolonial texts. My purpose is to explore the different juxtapositions that the story offers between individual and collective experiences of
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Swanson, Elizabeth. "Rape, Representation, and the Endurance of Hegemonic Masculinity." Violence Against Women 25, no. 13 (September 10, 2019): 1613–30. http://dx.doi.org/10.1177/1077801219869551.
Повний текст джерелаАнотація:
This article mines the history of rape jurisprudence to illuminate how the legal treatment of wartime rape informs long-standing gendered tropes that dominate its understanding on the ground as well as its representation in literary and cultural texts. The essay concludes by reading Congolese novelist Emmanuel Dongala’s Johnny Mad Dog as a model for a dialogic literary imagination capable of revealing the fatal consequences of toxic masculinity as it informs not only the perpetration of rape in wartime, but also the possibility for either perpetrator or victim to achieve subjectivity free from the burdens of brutally constraining gender norms.
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Eyvazi, Mojgan, Mohsen Momen, and Homa Poorkaramali. "A Study of Selected Works of Iranian Female Novelists Based on Elaine Showalter’s Gynocriticism." International Journal of Applied Linguistics and English Literature 6, no. 4 (May 2, 2017): 211. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.4p.211.
Повний текст джерелаАнотація:
Iranian literature, like other literary works throughout the world, follows the social issues in society and attempt to depict them. One of such issues is portraying women position in the society. The present study focuses on three different novels by Iranian female writers to show three stages of female writing development in them based on Elain Showalter’s theory of gynocriticism: Feminine stage which is represented through concepts like home, immovability, consumption, reading, house chores, dependence and past, feminist stage dealing with concepts like mobility, production, independence and future, and female stage that presents a new awareness of women consciousness. The chosen works are: Hangover Dawn (1995) by Fataneh Haj Sejed Javadi that portrays the tragic life of a woman who insisted on marrying a person who is not a suitable match for her. The author has shown the pains that this woman has to suffer because of her wrong choice in patriarchal society. The next novel is titled Don’t Worry (2008) by Mahsa Moheb Ali which deals with the life of an addicted girl named Shadi. She is the main character whose life is corrupted by family issues. Shadi wanders throughout the streets to find drug and ironically herself. My Bird (2002) by Fariba Vafi shows the life of an anonymous married woman who is stuck in her matrimonial life. The woman is neglected and cheated by her own husband. However, gradually she can come to a realization of her own self as a woman and redefines her own role. Having analyzed these three stories, it can be said that these three chosen novels match Showalter’s model of female writing development. It can be concluded that Hangover Dawn follows the first stage – feminine stage - Don’t Worry follows the second stage – feminist stage – and My Bird follows the third stage – female stage – that Showalter has proposed.
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Barbaniuk, O. O. "Representation Model of Hyperreal Fantasy World: Phraseological Dimension." Scientific Journal of National Pedagogical Dragomanov University. Series 9. Current Trends in Language Development, no. 18 (March 18, 2019): 5–21. http://dx.doi.org/10.31392/npu-nc.series9.2018.18.01.
Повний текст джерелаАнотація:
The article focuses on the most traditional model of knowledge representation – frame, which is the key to discover the mechanisms for conceptualizing the phenomena of surrounding or text reality. Possible worlds, as text reality, are mental structures that need appropriate interpretation, in particular fictional worlds of the fantasy genre. Such worlds are posited as hyperreal, as they demonstrate the simulation of reality, replacing real by means of the signs of the objective reality – simulacra. The hyperreal world in the fantasy novels of the Earthsea cycle by an outstanding American novelist Ursula Le Guin is objectivized at lexical and phraseological levels, thus, by lexical units-simulacra and phraseological units-simulacra. Such expressive units are to be classified according to their semantics, denoting a person, a place, time and a separate notion. The prevailing number of magic component testified the founding and leading role of this phenomenon for the hyperreal world under investigation. It has been ascertained that phraseological units-simulacra, explicating the slots of the Thing, Action and Comparison Frames, enable to decode the information about the hyperreal world in general, enriching it with attributive and activity characteristics of characters in opposition – a person and a dragon. The proposed representation model of hyperreal fictional world ascertained the results and allowed to reveal the plane of the contents of the author's construct. Thus, phraseological units-simulacra are decoded in the slots of: 1) the Thing Frame (SB/STH is SUCH, SB/STH is (exists) SO, SB/STH is THERE), disclosing information about features and locations of characters; 2) the Action Frame (SB/STH acts UPON, SB/STH acts FOR, SB/STH acts BY MEANS OF), exposing their activity peculiarities; 3) the Comparison Frame (SB/STH is AS (LIKE)), enriching the hyperreal world under investigation with expressive-emotional characteristics.
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Martynenko, Ekaterina А. "ALASDAIR GRAY’S LANARK (1981): WORKING WITH PRECEDENT TEXTS OF THE SCIENCE FICTION CANON." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 1 (March 1, 2022): 150–61. http://dx.doi.org/10.18522/2415-8852-2022-1-150-161.
Повний текст джерелаАнотація:
The article is devoted to the analysis of Alasdair Gray’s debut novel Lanark (1981) in the context of the world science fiction genre canon. The novel is marked by complex intertextual links, which go beyond quotations and imagery as the writer creatively employs established genre models. Lanark’s fantastic books aim at criticizing consumerism and capitalist totalitarianism. For this reason, they present a number of references to both Aldous Huxley’s Brave New World and George Orwell’s 1984. The novel also contains utopian elements. However, socialist ideals still remain an unattainable dream referable to the alternative past or hypothetical future. In addition, Lanark shows features intrinsic to the science fiction menippea of the Gulliver’s Travels type. These features demonstrate extraordinary liberty of plot, combination of profound symbolism and slum naturalism, protagonist’s eccentric behavior with his subsequent overthrowing, widespread use of inserted genres, three-planned construction (Earth, Olympus, nether-world) coupled with plot testing of the idea of union between power and science. In addition, Gray’s novel puts together science fiction, historical facts and memoirs, just as Vonnegut’s novelistic experiments do. This allows us to speak about Lanark as a genre hybrid of science fiction and autobiography.
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Gadpaille, Michelle. "Psyche’s Daughter of Today: Sara Jeannette Duncan and the New Woman." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (June 16, 2007): 59–68. http://dx.doi.org/10.4312/elope.4.1-2.59-68.
Повний текст джерелаАнотація:
The Canadian novelist Sara Jeannette Duncan (1861-1922) constructed a New Woman heroine in the fin-de- siecle novel; A Daughter of Today (1894). Written in the popular mode of the transatlantic novel; the work engages in debate on the appropriate construction of femininity in art and public life. The heroine; Elfrida Bell; descends from artist; to muse; to model; to painted image—a descent framed by a rival male artist and a hostile London art scene. Represented as Psyche; the heroine undergoes a quest and failure similar to the mythical one. Adaptation of the Psyche myth clarifies the position of Duncan in the spectrum of gender ideologies of the fin-de- siecle.
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Welman, Crystal, Paul J. P. Fouché, Pravani Naidoo, and Roelf van Niekerk. "The spiritual wellness of an intellectual, novelist, journalist and politician: The meaningful life of Sol Plaatje." Europe’s Journal of Psychology 17, no. 3 (August 31, 2021): 221–32. http://dx.doi.org/10.5964/ejop.5417.
Повний текст джерелаАнотація:
The study investigates Sol Plaatje’s (1876–1932) spiritual wellness across his lifespan. He was purposively sampled due to his impact upon South African society. As an intellectual, novelist, journalist, and politician, Plaatje was also a founder member of the South African Native National Congress, which later became the African National Congress. His life history reflected a significant degree of spiritual wellness, which was uncovered through the systematic analysis of publicly available life-history materials, including primary and secondary sources. The Wheel of Wellness (WoW) model by Sweeney and Witmer was applied to interpret the biographical evidence of spirituality and meaning in his life. Spirituality, as the central life task of the WoW, and regarded as the most influential domain of a healthy individual, incorporates religious beliefs and other individualised aspects of meaning-making. Findings indicate that spirituality characterised Plaatje’s childhood years and continued to play a role throughout his adult years. His sense of meaning and purpose was personified in the promotion and preservation of human rights and dignity, which embraced inter-racial respect, compassion, and service to others.
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Rodden, John. "“The Rope That Connects Me Directly with You”: John Wain and the Movement Writers' Orwell." Albion 20, no. 1 (1988): 59–76. http://dx.doi.org/10.2307/4049798.
Повний текст джерелаАнотація:
No British writer has had a greater impact on the Anglo-American generation which came of age in the decade following World War II than George Orwell. His influence has been, and continues to be, deeply felt by intellectuals of all political stripes, including the Marxist Left (Raymond Williams, E. P. Thompson), the anarchist Left (George Woodcock, Nicolas Walter), the American liberal-Left (Irving Howe), American neoconservatives (Norman Podhoretz), and the Anglo-American Catholic Right (Christopher Hollis, Russell Kirk).Perhaps Orwell's broadest imprint, however, was stamped upon the only literary group which has ever regarded him as a model: the Movement writers of the 1950s. Unlike the above-mentioned groups, which have consisted almost entirely of political intellectuals rather than writers—and whose members have responded to him as a political critic first and a writer second—some of the Movement writers saw Orwell not just as a political intellectual but also as the man of letters and/or literary stylist whom they aspired to be.The Movement writers were primarily an alliance of poet-critics. The “official” members numbered nine poets and novelists; a few other writers and critics loomed on the periphery. Their acknowledged genius, if not leading publicist, was Philip Larkin, who later became Britain's poet laureate. Orwell's plain voice influenced the tone and attitude of Larkin's poetry and that of several other Movement poets, especially Robert Conquest and D. J. Enright. But Orwell shone as an even brighter presence among the poet-novelists, particularly John Wain and Kingsley Amis, whose early fictional anti-heroes were direct descendants of Gordon Comstock in Keep the Aspidistra Flying (1936) and George Bowling in Coming Up for Air (1939).