scholarly journals French-language reception of Vasyl Stefanyk’s creativive work

2021 ◽  
pp. 7-15
Author(s):  
Наталія Яцків
Keyword(s):  
Short Story ◽  
French Literature ◽  
French Language ◽  
Creative Work ◽  
150Th Anniversary ◽  
Scientific Investigations ◽  
Literary Process ◽  
History Of ◽  
Critical Interpretation ◽  
Story Writer

The article deals with analysis of the history of V. Stefanyk’s appearance in the artistic dimension of the French literature, starting from the first references in French-language periodicals by virtue of translations and ending with solid scientific investigations. The aim of the research is to systematize critical reviews, trace the evolution of critical interpretation and prove the agreement of the creative method of the Ukrainian short story writer with the development of the Western European literary process. The French public’s acquaintance with Stefanyk’s creative work took its rise in 1899 and lasts up to this day, just as we approach the celebration of the 150th anniversary of his birth. The extraordinary talent of the Pokuttia word-painter, who treated the story as a canvas, painting it with words, fascinates us with its scanty emotionalism, intense expressiveness and impressionistic picturesqueness of the works.

Andreev, Leonid Nikolaevich (1871–1919)

2018 ◽  
Author(s):  
Jessica Hinds-Bond
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Early Career ◽  
Creative Work ◽  
Dramatic Works ◽  
Russian Author ◽  
Provincial Capital ◽  
Close Friendship ◽  
Story Writer ◽  
Maxim Gorky

Leonid Nikolaevich Andreev was a prolific Russian author, widely popular in the first decade of the 20th century, whose fictional and dramatic works spanned the divide between realism and symbolism. Andreev was born in Orel, a provincial capital south of Moscow, and died in Finland. He studied law in St Petersburg and Moscow. After a brief and unsuccessful legal career, he worked as a journalist, prose writer and dramatist, quickly making a name for himself as a successful short-story writer once his stories began to appear in newspapers. His first published volume of stories (1901) was an immediate success, with its first two printings selling out in two weeks. He turned to playwriting five years later, although he continued to write short stories until late in life. Andreev’s creative work sparked much debate from both realist and symbolist writers. He developed a close friendship with realist writer Maxim Gorky, although the two grew to disagree on questions of literary style and politics, as Andreev’s work strayed from its early realist tendencies and revolutionary ideals. Gorky mentored Andreev in his early career and spearheaded a collection of literary reminiscences by famous writers upon the latter’s death. Andreev’s popularity waned, along with his health, during the final decade of his life.

Julian Barnes

2020 ◽  
Author(s):  
Vanessa Guignery
Keyword(s):  
Short Story ◽  
Narrative Strategies ◽  
Graham Swift ◽  
Kazuo Ishiguro ◽  
Julian Barnes ◽  
Theoretical Approaches ◽  
Martin Amis ◽  
History Of ◽  
Ian Mcewan ◽  
Story Writer

Julian Barnes (b. 1946) is an English novelist, short story writer, and essayist who received considerable praise in 1984 with the publication of Flaubert’s Parrot, a book that, together with A History of the World in 10 ½ Chapters (1989), defies categorization. Barnes belongs to a generation of British writers (including Martin Amis, Pat Barker, Kazuo Ishiguro, Ian McEwan, Salman Rushdie, and Graham Swift) who came to prominence in the 1980s at a time when suspicion toward the main tenets of realism, foundational grand narratives‚ and the figure of the stable and reliable narrator led many authors to disrupt and subvert conventional modes, favor historiographical metafiction and postmodernist skepticism‚ and experiment with narrative strategies. Thus, a number of scholars have examined Barnes’s work through the prism of postmodernism on the grounds of the metafictional dimension of some of his books, his transgression of realist strategies and reliance on various forms of intertextuality, and his mistrust of truth claims and fondness for fragmentation, polyphony‚ and generic hybridity. Several of his books (fictional and nonfictional) have been analyzed for the way in which they challenge the borders that separate existing genres, texts, arts‚ and languages and, thereby, oscillate among novel, essay, biography‚ and meditation. However‚ the restrictive label of postmodernism can apply to only part of Barnes’s production‚ as other novels published throughout his career are inscribed within a more conventional and realistic framework—in particular, such early books as Metroland (1980), Before She Met Me (1981), and Staring at the Sun (1986)—and his most recent production is marked by a less ironic and subversive mood and a more personal, subdued‚ and melancholy tone, for example in The Sense of an Ending (2011), which won the Man Booker Prize; The Noise of Time (2016); and The Only Story (2018). Barnes has also been praised for his art as an essayist and a short-story writer. Drawing from a variety of critical and theoretical approaches, scholars have examined such recurrent themes and concerns in Barnes’s work as memory, art, love, longing, death, or Englishness. They have also probed his self-reflexive questioning relating to the evasiveness of truth, the irretrievability of the past, the construction of national identity‚ and the relationship between fact and fiction.

scholarly journals Entre a Literatura e o Jornalismo: Itinerários do Escritor Baiano Anísio Melhor (1885-1955)

2021 ◽  
pp. 153-172
Author(s):  
Ionã Carqueijo Scarante
Keyword(s):  
Short Story ◽  
Small Town ◽  
Literary Critic ◽  
Literary Genres ◽  
Social Nature ◽  
History Of ◽  
Story Writer ◽  
The City ◽  
Source Of Information ◽  
Day By Day

Anísio Melhor was born in the city of Nazaré, located in the Recôncavo da Bahia, on May 7, 1885. From reading his work, the most important source of information found about the writer, it is clear that journalism is one with his life. Self-taught, it was in the newspapers that he directed and collaborated that he became a poet, novelist, short-story writer, literary critic, folklorist and chronicler. Among the literary genres he published in periodicals, chronicles are the texts that most show his modus scribendi, as well as pointing out clues to his intellectual path and his evolution as a writer. In some of his texts, he discusses the journalist's solitary work, combining his experiences as a reader of the most varied newspapers and, especially, as a journalist in his small town. According to the writer, the provincial newspaper values every reader in its small town, knows its audience very closely, writes down the events day by day: now it is the chronicle of social nature, now it is the commentary on the deaths, now it is telluric poetry, now it is the birth of another child, now it is the chapter of another novel or novella. Thus, in the newspaper he founded and directed for a few decades, O Conservador (1912-1945), Melhor every day (re)constructed the history of his people, recording their traditions, stories and memories. The researches carried out in literary archives for the composition of this article contributed to revive the memory of this writer and to divulge his literary production and his work as a journalist.

Cope, (Robert Knox) Jack (1913–1991)

2018 ◽  
Author(s):  
Molly Hall
Keyword(s):  
South Africa ◽  
World War Ii ◽  
South African ◽  
Short Story ◽  
Early Career ◽  
Racial History ◽  
History Of ◽  
The Government ◽  
Story Writer ◽  
The Guardian

‘Jack’ Cope was a South African novelist, poet, editor, and short story writer. Born June 3, 1913 in Mooi River, Natal, South Africa, he spent his early career as a local journalist in Durban before moving to London, England as a foreign political correspondent. As a pacifist, he met with hostility there during the years of World War II and returned demoralized to South Africa to work as a cultural critic and editor for an anti-apartheid newspaper, The Guardian, in Cape Town until 1955. After leaving the newspaper, he separated from his wife of sixteen years and began his infamous affair with South African poet Ingrid Jonker in the early 1960s. During this time he also became the editor of Contrast, a bilingual literary magazine in English and Afrikaans, continuing as editor there for twenty years until 1980. During that time, he was also the editor of several volumes of South African poetry, and his book The Dawn Comes Twice (1969) was banned by the government. Best known for his novels and short stories, he wrote about the racial history of South Africa, focusing on events such as the Bambata Rebellion in 1906 in The Fair House (1955).

Robbe-Grillet in America: The Nouveau Roman Meets the Language Textbook

PMLA ◽  
2020 ◽  
Vol 135 (3) ◽  
pp. 492-510
Author(s):  
Sara Kippur
Keyword(s):  
French Literature ◽  
Literary History ◽  
The United States ◽  
French Language ◽  
Avant Garde ◽  
Language Pedagogy ◽  
Textbook Author ◽  
American Students ◽  
History Of ◽  
Global Publishing

How could American students of intermediate French be the catalysts for a work of avant-garde French literature? This article centers on Le rendez-vous, an intermediate French-language textbook that combined a novel written by the French New Novelist Alain Robbe-Grillet with grammatical exercises written by Yvone Lenard, a prominent textbook author and instructor of French in the United States. Focusing on previously unexamined archives of this publication, from its release in America to the publication of Robbe-Grillet's novel in France under the title Djinn, the essay reveals an unknown literary history of transnational collaboration and exchange and places new emphasis on Robbe-Grillet's formative involvement with American higher education during his literary career. Through close reading of manuscript drafts and publishers' papers, the essay demonstrates how the dynamics of global publishing and shifting trends in language pedagogy aligned to condition the production of what would become Robbe-Grillet's most commercially successful novel.

Pudd'nhead Wilson: Mark Twain and the Limits of Detection

1987 ◽  
Vol 21 (1) ◽  
pp. 55-70
Author(s):  
John S. Whitley
Keyword(s):  
Short Story ◽  
Detective Fiction ◽  
Normal Function ◽  
Detective Novel ◽  
Detective Story ◽  
Starting Point ◽  
Auguste Dupin ◽  
Literary Process ◽  
History Of ◽  
Brothers Karamazov

My starting point is two related critical judgments. In a recent essay on the detective fiction of Ross Macdonald, Eric Mottram suggests that an important point in the history of such fiction is reached in Mark Twain's play The Amateur Detective (1877) and his short story “A Double-Barrelled Detective Story” (1902), parodies of the literary process of detection where “Twain demolishes the man-hunt plot and the Sherlock Holmes plot of aristocratic ratiocinative powers derived from Poe's Chevalier Auguste Dupin”. A quarter of a century before this, Leslie A. Fiedler came to the conclusion that Twain's most extensive treatment of detective work, Pudd'nhead Wilson, was “an anti-detective story, more like The Brothers Karamazov than The Innocence of Father Brown, its function to expose communal guilt.” The purpose of this essay will be to show how the process of detection was cited in Twain's writings throughout his career, usually but by no means inevitably in a parodic manner, and that Pudd'nhead Wilson needs to be understood as a serious, indeed, tragic parody of the detective story, one which turned most of Twain's models on their heads in order to demonstrate that a supposedly successful detective dénouement (what Fiedler elsewhere describes as “Pudd'nhead's book – a success story”) is deliberately allowed to work against its normal function in a detective novel.

scholarly journals Man’s Helplessness Against Destiny in Ernest Hemingway’s The Oldman and The Sea

2020 ◽  
Vol 8 (6) ◽  
pp. 1
Author(s):  
Dr Mayurkumar Mukund Bhai Solanki
Keyword(s):  
Short Story ◽  
Ernest Hemingway ◽  
English Literature ◽  
Human Beings ◽  
History Of ◽  
The Sun Also Rises ◽  
Story Writer ◽  
Good And Evil ◽  
Farewell To Arms

Ernest Hemingway, an American writer, produced considerable novels in the history of English literature. Hemingway’s The Oldman and the Sea is a story of an old man's struggle and his helplessness against destiny. Like Greek tragedians, Hemingway accepts the harshness of destiny in man’s life. It is very well said “Man proposes and God disposes" that denotes the role of destiny in man's life. The story of The Oldman and the Sea is universal because it reveals how human beings struggle to get something in life but sometimes crushed under the wheels of destiny. The old man has an indomitable spirit and sea experience yet he is unable to catch the fish for a few days. One day, he caught the big fish called the Marlin but it was too big for him to drag to the shore. The Old man tried to drag the Marlin to the shore but in a midway, its blood attracted the Sharks and he brought only its skeleton on the shore. So Hemingway talks about the helplessness of man against destiny through the character of an old man. This paper is a sincere effort to display man's helplessness against destiny through the character of an old man.  Ernest Miller Hemingway is known as Ernest Hemingway in English literature, was an American journalist, novelist, short story writer and sportsman. Hemingway wrote seven novels during his lifetime and among them, the popular novels are The Sun Also Rises, Farewell to Arms, and The Old man and the Sea. The Old man and the Sea brought him a good name and fame in literature. Hemingway’s works mainly deal with the themes of love, war, wilderness, and loss. Farewell to Arms deals with the theme of the futility of war. In A Farewell to Arms, Hemingway says, "The world breaks everyone and afterwards many are strong in broken places. But those that will not break it kills. It kills very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.” (en.m.wikipedia.org/wiki/Ernest _ Hemingway) It seems that there is always conflict between good and evil in this world but some people remain strong in broken places. The greater power called destiny crushes everyone under its wheels impartially. In this connection, Omar Khayyam writes:

scholarly journals THE DEVELOPMENT OF THE GENRE OF THE SHORT STORY IN THE WORKS OF AMERICAN AND BRITISH WRITERS.

2020 ◽  
pp. 484-489
Author(s):  
A. Kazmagambetova ◽  
Keyword(s):  
Short Story ◽  
British Literature ◽  
Extensive Search ◽  
Shift Analysis ◽  
Literary Process ◽  
History Of ◽  
Narrative Prose ◽  
Western Scholar ◽  
Definition Of ◽  
Common Understanding

This article pays attention to the issue development of the genre of the short story in the American and British literature. The authors of the short stories overcame difficulties with the extensive search for ways to update the figurative and expressive means powered to their common basic paradigm shift. Analysis of the researching devoted to the theory and history of the genre of the short story inevitably was powered by common understanding blur definition of its genre associated with general laws taken place in the literary process of the XIXth century. The high artistic level achieved the small prose in the England and its traits was fruitfully investigated by Russian and Western scholar and enlightened the experience manner of writers, therefore this genre should be considered as creative activity improved the unique technique, carried out in practice the experiments with a plot and themes finally successfully developed in their narrative prose.

scholarly journals THE PROBLEM OF THE CORRELATION BETWEEN SPIRIT AND REALITY IN T. MANN’S NOVEL “TRISTAN”

2021 ◽  
pp. 25-30
Author(s):  
T. KONIEVA
Keyword(s):  
Short Stories ◽  
Short Story ◽  
The Novel ◽  
Personal Attitude ◽  
Scientific Investigations ◽  
Review Analysis ◽  
Literary Process ◽  
The Relationship ◽  
Cutting Problem

Short stories are an integral part of T. Mann’s creative heritage, which are distinguished by ideological, thematic and artistic richness, they give an idea of the evolution of the creative method and style of the writer. And although nowadays there is already a number of scientific investigations devoted to the review analysis of T. Mann’s creative path, there is a need to study the problem of culture “end of time” (in T. Mann’s terminology) in the novelistic work of the writer who went to political and social activities through art. The purpose of the article is to reveal the nuances of the relationship between spirit and reality in T. Mann’s short story “Tristan”.The article proves that within the cross-cutting problem of the relationship between art and life, which never ceased to bother the German writer, also the novel “Tristan” clearly distinguishes the related ones: art and beauty, art and morality, aesthetics and life, beauty and death, decadence and a disease of the spirit, the artist and reality, which allowed to clarify both the ideological concepts of creative individuality and the essence of its art. At the same time, the divergence between the views of the hero of the novel and T. Mann’s personal attitude to reality and art is shown. Enough attention is paid to identifying the role of the comic and the means of its formation in the novel. “Tristan” is interpreted in the context of the development of T. Mann’s work and the European literary process at the turn of the XIX - early XX centuries.The article identifies the place of the short story “Tristan” in the work of the German master of the word and outlines the ways of its further analysis.

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