Rewriting Flaubert in the 1960s

2011 ◽  
Vol 19 (2) ◽  
pp. 329-336
Author(s):  
Steen Bille Jørgensen
Keyword(s):  
Historical Context ◽  
Literary Tradition ◽  
Human Experience ◽  
Main Theme ◽  
The Novel ◽  
Georges Perec ◽  
Louis Aragon ◽  
New Novel ◽  
Tel Quel ◽  
The 1960S

In French 1960s’ literature, the strategy of re-writing is associated with the New Novel and the ideological Tel Quel movement. However, a more ironical poetics of the novel can be found in Blanche ou l'oubli (1967) by Louis Aragon1 and Les Choses (1967) by Georges Perec.2 Both novels are rewritings of Gustave Flaubert's L'Education sentimentale, with particular attention to that novel's main theme of ‘illusion’. The interesting question then is how literary tradition becomes a part of the meta-fictional interrogation of human experience in a particular historical context. Perec uses the rhythm of Flaubert's sentences to draw attention to the story as a construction and to his characters’ lack of significance. Aragon foregrounds the novel's capacity of holding on to experience as such, with autobiography (Flaubert's as well as his own) linked to materialistic-historical conditions. Ultimately, in following the writer's reading of the historical work, the reader must seek what literature offers him or her the opportunity to apprehend his/her own conditions for experience.

scholarly journals “Everything simple and clear has been turned into incredibly complex by someone”. Correspondence between Leonid Zurov and Viktor Manuilov (1961  –1967)

Literary Fact ◽  
2020 ◽  
pp. 119-181
Author(s):  
Alexei Lyubomudrov
Keyword(s):  
Metropolitan Area ◽  
Cultural Policy ◽  
Main Theme ◽  
The Novel ◽  
Scientific Biography ◽  
The Public ◽  
Public Sentiment ◽  
Cultural Life ◽  
The 1960S ◽  
First Time

For the first time а complete correspondence between Leonid Zurov (1902  –1971), the writer of the Russian Diaspora, and Viktor Manuilov (1903  –1987), a famous literary researcher, is introduced into a scientific usage. The main theme of their letters is the problem of transferring to Russia Ivan Bunin’s manuscript and memorial heritage, of which Zurov became the owner. The publication clarifies the reasons why the long and hard negotiations ended without any success. It allows to define more exactly the details and circumstances of this case. The correspondence affects the names of many key figures of cultural life both of the Russian abroad and Metropolitan area. It characterizes those persons who actively supported the return of Bunin's legacy as well as officials who blocked the process. The material reflects the struggle of Russian writers, scientists, museum curators against the Soviet bureaucratic machine for which Bunin was always ideologically alien. It paints a picture of the public sentiment and the Soviet cultural policy of the 1960s. Some letters concern Zurov’s articles devoted to M. Lermontov as well as his work on the novel “Winter Palace”. The publication allows to clarify Zurov’s psychological portrait and to identify a number of significant episodes in the V. Manuilov’s scientific biography

FIRST-IN-HUMAN EXPERIENCE OF THE NOVEL CRYOBALLOON SWIPE 180 ABLATION SYSTEM IN PATIENTS WITH DYSPLASTIC BARRETT’S ESOPHAGUS

2020 ◽  
Author(s):  
A Overwater ◽  
SN van Munster ◽  
G Mihaela Raicu ◽  
CA Seldenrijk ◽  
JJGHM Bergman ◽  
...  
Keyword(s):  
Barrett’S Esophagus ◽  
Barrett's Esophagus ◽  
Human Experience ◽  
The Novel

The Pornographer and McGahern's Allusive Practice

2017 ◽  
Vol 47 (2) ◽  
pp. 281-297
Author(s):  
Tom Walker
Keyword(s):  
Social Practice ◽  
Literary Tradition ◽  
The Novel ◽  
Present Value ◽  
The Past

Allusions to other texts abound in John McGahern's fiction. His works repeatedly, though diffidently, refer to literary tradition. Yet the nature of such allusiveness is still unclear. This article focuses on how allusion in The Pornographer (1979) is depicted as an intellectual and social practice, embodying particular attitudes towards the function of texts and the knowledge they represent. Moreover, the critique of the practice of allusion that the novel undertakes is shown to have broader significance in terms of McGahern's whole oeuvre and its evolving attempts to salvage something of present value from the literature of the past.

In Search of Space: The Trope of Escape in German Electronic Music around 1968

2016 ◽  
Vol 26 (2) ◽  
pp. 339-352
Author(s):  
TIMOTHY SCOTT BROWN
Keyword(s):  
Federal Republic ◽  
Electronic Music ◽  
Historical Context ◽  
The Political ◽  
Central Theme ◽  
Musical Genre ◽  
History Of ◽  
The 1960S

‘In Search of Space’ explores the history of Krautrock, a futuristic musical genre that began in Germany in the late 1960s and flowered in the 1970s. Not usually explicitly political, Krautrock bore the unmistakable imprint of the revolt of 1968. Groups arose out of the same milieux and shared many of the same concerns as anti-authoritarian radicals. Their rebellion expressed, in an artistic way, key themes of the broader countercultural moment of which they were a part. A central theme, the article argues, was escape – escape from the situation of Germany in the 1960s in general, and from the specific conditions of the anti-authoritarian revolt in the Federal Republic in the wake of 1968. Mapping Krautrock's relationship to key locations and routes (both real and imaginary), the article situates Krautrock in relationship to the political and cultural upheavals of its historical context.

scholarly journals Konflik, representasie, interpretasie – die waarheid gelieg

Literator ◽  
2002 ◽  
Vol 23 (1) ◽  
pp. 19-36
Author(s):  
R. Robinson
Keyword(s):  
Historical Context ◽  
Main Theme ◽  
Political Event ◽  
Linguistic Level

Conflict, representation, interpretation – the truth lied The poetic concept “taalskadeloosstelling” (disempowerment of speech) in a poem by T.T. Cloete can be related to a poetic procédè in another of his poems, namely “Foto Boerevegters” from the volume Driepas (1989: 111). In this poem the relativity of conflict is a main theme. The telescoping of contexts and perspectives reveals more fundamental conflicts than the superficial theme of a specified historical conflict. A framed representation (a photograph) of a political event represents a retrogressive perspective that presupposes a more comprehensive context. Such a double perspective degrades and relativizes the representation to the level of reconstructed jigsaw pictures on paper. Discrepancies between appearance and intention, or surface and depth structures are unmasked at a linguistic level. In contrast with the lies of representation, the discourse of the poem exceeds its own constraints. This activates the establishment of relationships that render comment from an enlarged perspective. The framework of a local historical context is thus broken through and momentarily truth and lie are juxtaposed.

scholarly journals Language, Form and Emotion in James Joyce’s Portrait of an Artist as a Young Man: A Literary Analysis

2017 ◽  
Vol 8 (5) ◽  
pp. 158
Author(s):  
Robert S.P. Jones
Keyword(s):  
Associative Learning ◽  
Emotional Response ◽  
Emotional Responses ◽  
Human Experience ◽  
Literary Analysis ◽  
The Novel ◽  
Psychological Perspective ◽  
Literary Traditions ◽  
Language Form ◽  
The Relationship

James Joyce’s Portrait of the Artist as a Young Man has fascinated readers for more than a century and there are layers of psychological meaning to be found throughout the novel. The novel is the perfect vehicle to discuss the relationship between form language and emotion as Joyce deliberately manipulated the emotional response of the reader through innovations in form and language, departing dramatically from previous literary traditions. This paper attempts to take a fresh look at the novel from a psychological perspective and seeks to examine underlying conditioning processes at work in the narrative – particularly the concept of associative learning. Understanding emotional responses to different stimuli is the bedrock of psychological investigation and 100 years after the date of its publication, Portrait of an Artist presents remarkably fresh insights into the human experience of emotion. Despite its age, Portrait of the Artist contains many contemporary psychological insights.

scholarly journals BIG AND SMALL WORLDS OF CHILDREN CHARACTERS IN ‘A LITTLE PRINCESS’ BY F. H. BURNETT

2020 ◽  
Vol 12 (3) ◽  
pp. 70-78
Author(s):  
Varvara A. Byachkova ◽  
Keyword(s):  
Charles Dickens ◽  
Fairy Tale ◽  
Literary Tradition ◽  
Small World ◽  
Protective Mechanism ◽  
The Novel ◽  
Main Character ◽  
Small Worlds ◽  
The World ◽  
Space Organization

The article raises the topic of space organization in writings by Frances Hodgson Burnett. The object of analysis is the novel A Little Princess. The novel, addressed primarily to children and teenagers, has many similarities with David Copperfield and the works of Charles Dickens in general. The writer largely follows the literary tradition created by Dickens. The space of the main character is divided into three levels: the Big world (states and borders), the Small world (home, school, city) and the World of imagination. The first two worlds give the reader a realistic picture of Edwardian England, the colonial Empire, through the eyes of a child reveal the themes of unprotected childhood, which the writer develops following the literary tradition of the 19th century. The Big and Small worlds also perform an educational function, being a source of experience and impressions for the main character. In the novel, the aesthetic of realism is combined with folklore and fairy-tale elements: the heroine does not completely transform the surrounding space, but she manages to change it partially and also to preserve her own personality and dignity while experiencing the Dickensian drama of child disenfranchisement, despair and loneliness. The World of imagination allows the reader to understand in full the character of Sarah Crewe, demonstrates the dynamics of her growing up, while for herself it is a powerful protective mechanism that enables her to pass all the tests of life and again become a happy child who can continue to grow up and develop.

scholarly journals The Image of a Woman in Everyday Works of E. Kontratovych

2019 ◽  
pp. 243-249
Author(s):  
A. Cheipesh
Keyword(s):  
Early Period ◽  
Main Theme ◽  
Special Role ◽  
Disadvantaged Women ◽  
The Everyday ◽  
World Economic ◽  
Compositional Changes ◽  
The 1960S ◽  
World Economic Crisis ◽  
Original Female

In the works of E. Kontratovych in the early period and the period of heyday, there are the everyday works, the main character of which is a woman. In the early period (1930–1943), the image of woman plays in the main theme of begging – disadvantaged women, suffered beggars. This is connected with the showing the fate of the Verkhovyna population, which suffered because of the World Economic Crisis of the 1930s. At that time, the artist was also interested in the folklore and mysterious world of the legends and myths of the Carpathians, embodied in the original female types. The works of the early period are executed mainly in the expressionist style, which are characterized by roughness and deformation of the form, dramatic, contrasting colors. A special role was assigned to the landscape, which the artist used as a means of enhancing of the emotional color. In some of the works, the main characters are depicted against the background of ruined houses, bare trees, which increases the sense of tragedy, drama. In others, the landscape is neutral or conditional, which suggests the indifference to the fate of the depicted women. With the beginning of the period of heyday (1944–1990), the range of topics devoted to the life of the Transcarpathian peasantry is expanding considerably. In works, the woman acts in the characted of a mother ("Transcarpathian Madonna"), a reaper, a laundress, a harvester. Launched in the 1930s, a series devoted to the fate of women, became more significant in the 1960s–1970s. The works of the period of heyday are mainly executed in the style of "Carpathian" expressionism. Forms of objects are molded with a soft brush stroke, the rhythm of the composition is built on the motion of brushwork, rounded lines. The artist prefers rich, vivid color that enhances the life-affirming emotions. The landscape also takes on an uplifting mood. Regardless of color, stylistic preferences and compositional changes, E. Kontratovych's works, devoted to the image of women are designed to glorify a woman as a mother and a worker, to create her idealized image for inspiration and admiration.

scholarly journals History as a discourse in Jeanette Winterson's "The passion" : the politics of alterity

2000 ◽  
Vol 2 ◽  
pp. 7
Author(s):  
María del Mar Asensio Aróstegui
Keyword(s):  
French Revolution ◽  
Historical Context ◽  
Napoleonic Wars ◽  
Historical Novels ◽  
The Novel ◽  
Political Choice ◽  
Historiographic Metafiction ◽  
Historical Material ◽  
The Fantastic ◽  
The French Revolution

Set in the historical context of the French Revolution and the Napoleonic wars, Jeanette Winterson's The Passion is an outstanding example of the kind of fiction that Elizabeth Wesseling (1991: vii) calls postmodernist historical novels, that is, "novelistic adaptations of historical material". Besides, being profoundly self-reflexive, the novel also falls under Linda Hutcheon's (1988) category of historiographic metafiction. The present paper focuses on Winterson's political choice of two representatives of historically silenced groups, a soldier and a woman, who use two apparently opposed narrative modes, the historical and the fantastic, to tell a story that both exposes history as a discursive construct and provides an alternative fantastic discourse for the representation of feminine desire.

scholarly journals Maïssa Bey : romancière de l’agentivité de femmes Entre réécriture de l’Histoire et invention de soi

Il Tolomeo ◽  
2020 ◽  
Author(s):  
Lila Lamrous
Keyword(s):  
Literary Tradition ◽  
Point Of View ◽  
The Novel ◽  
Female Characters ◽  
Patriarchal Society ◽  
The Feminine ◽  
The Right

The study of Maïssa Bey’s novel Surtout ne te retourne pas allows to examine how the Francophone novel represents an earthquake as a poetic, metaphorical and political shockwave. The novel is part of a literary tradition but also shows the singularity of the writing and the engagement of the Algerian novelist Maïssa Bey. It allows to examine the feminine agentivity in the context of the disaster camps in Algeria: from the ravaged space/country emerge the voices of women who enter into resistance to improvise, invent their lives and their identities. The earthquake allows them to free themselves, to take a subversive point of view at society and their status as women in an oppressive patriarchal society. The staged female characters arrogate to themselves the right to reread history and take their destiny back.

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