Marivaux's Place in the Development of Character Portrayal

PMLA ◽  
1912 ◽  
Vol 27 (2) ◽  
pp. 168-187
Author(s):  
Edward Chauncey Baldwin

When in 1710-11 the Sir Roger de Coverley papers appeared in the Spectator, the art of the novel seemed to have been discovered. The wonder is that people did not sooner awaken to a realization that a new form of art had been created. The faithful description of life and manners was there, the interest of character and incident was also present. The essays needed but to have been thrown into the form of a continuous narrative to have given us at least the germ of the modern novel. As a matter of fact, however, the actual appearance of the novel was delayed for nearly three decades.


2021 ◽  
Vol 73 (2) ◽  
pp. 225-236
Author(s):  
Thangam Ravindranathan

Abstract This essay considers the unworldly setting of Jean Rolin’s novel Ormuz (2013), composed around the attempt by a shadowy character named Wax to swim across the Strait of Hormuz. This twenty-one-nautical-mile-wide stretch of sea separating Iran from the Arabian Peninsula, through which is shipped 35 percent of the world’s petroleum, is a waterway of the utmost geopolitical importance, its harbors built not for dreamy swimmers but for giant oil tankers and the elaborate maritime-military infrastructure assuring their passage. Such a setting would seem to stand as a bleak other to the novel as genre. Yet if one thinks of the history of the novel as inseparable from that of carbon capitalism (as Amitav Ghosh has argued), such a claim is reversed—this site where powerful strategic interests drive the flow of oil, capital, and power is the place of the continual making and unmaking, by night and day, of the world order, and thereby of the modern novel. The essay reflects on what Wax’s weird wager—as an emblem for a remarkable narrative wager—may owe to such intertexts as Google, Descartes’s Meditations, and Jules Verne’s Tour du monde, and argues for reading Ormuz as an ecological novel for our times.



2021 ◽  
pp. 260-269
Author(s):  
Debes Ray ◽  
Sipra Mukherjee
Keyword(s):  


2020 ◽  
Vol 34 (04) ◽  
pp. 5331-5338
Author(s):  
Urvashi Oswal ◽  
Aniruddha Bhargava ◽  
Robert Nowak

This paper explores a new form of the linear bandit problem in which the algorithm receives the usual stochastic rewards as well as stochastic feedback about which features are relevant to the rewards, the latter feedback being the novel aspect. The focus of this paper is the development of new theory and algorithms for linear bandits with feature feedback which can achieve regret over time horizon T that scales like k√T, without prior knowledge of which features are relevant nor the number k of relevant features. In comparison, the regret of traditional linear bandits is d√T, where d is the total number of (relevant and irrelevant) features, so the improvement can be dramatic if k ≪ d. The computational complexity of the algorithm is proportional to k rather than d, making it much more suitable for real-world applications compared to traditional linear bandits. We demonstrate the performance of the algorithm with synthetic and real human-labeled data.



PMLA ◽  
1956 ◽  
Vol 71 (3) ◽  
pp. 414-432 ◽  
Author(s):  
Jefferson Rea Spell

The Promulgation, in 1812, of the Constitution of Cadiz provoked throughout Spain and her domains a bitter controversy between the opponents and the partisans of that liberal and innovative body of legislation. Among the supporters in Mexico City was José Joaquín Fernández de Lizardi (1776–1827), who, as soon as the Constitution went into effect there, established a sheet, El Pensador Mexicano (1812–14), with the avowed purpose of defending the new form of government and of praising its liberal provisions, particularly those granting freedom of the press and abolishing the Inquisition. His first article began with an exlamation: “¡Gracias a Dios y la nueva Constitutión que ya nos vamos desimpresionando de algunos errores que nos tenían enterrados nuestros antepasados!” But, in spite of the freedom of the press, the Viceroy ordered his arrest, and some months in jail dampened his enthusiasm; he continued, however, his periodical as well as its successor, the Alacena de Frioleras (1815), with articles of a less controversial nature, until the end of that year. Continually in difficulty with the censors after 1814, when the Constitution was abrogated by Ferdinand VII, he finally limited himself to the writing of fiction until the reestablishment of the Constitution in 1820. During this period he produced four novels, one of which, El Periquillo Sarniento (1816), is his masterpiece. While the characters and setting of this novel are definitely Mexican, with certain autobiographical elements, the mold in which it is cast is that of the Spanish picaresque. Like its prototype in general, the Periquillo is concerned with matters of a purely ethical nature; but this aspect of the novel is less impressive—in contrast, for example, with Alemán's Guzmán de Alfarache or the novels of Francisco Santos—than the wealth of ideas in regard to definite reforms that the author believes would contribute to the general welfare. These ideas, interwoven with incidents in the life of a picaro, did not originate with the author but reflect wide reading in many fields. To point out the sources of these ideas, and thereby fathom the intellectual background of Lizardi, is the object of this article.



2010 ◽  
Vol 88 (12) ◽  
pp. 1256-1261 ◽  
Author(s):  
Guifang Sun ◽  
Faming Gao ◽  
Li Hou

Boron carbonitride (BCN) nanotubes have been successfully prepared using NH4Cl, KBH4, and ZnBr2 as the reactants at 480 °C for 12 h by a new benzene-thermal approach in a N2 atmosphere. As its by-product, a new form of carbon regular hexagonal nanocages are observed. The samples are characterized by X-ray diffraction (XRD), Fourier transform infrared (FTIR) spectroscopy, transmission electron microscopy (TEM), transmission electron diffraction (TED), electron energy loss spectroscopy (EELS), and high-resolution transmission electron microscopy (HRTEM). The prepared nanotubes have uniform outer diameters in the range of 150 to 500 nm and a length of up to several micrometerss. The novel carbon hexagonal nanocages have a typical size ranging from 100 nm to 1.5 µm, which could be the giant fullerene cages of [Formula: see text] (N = 17∼148). So, high fullerenes are observed for the first time. The influences of reaction temperature and ZnBr2 on products and the formation mechanism of BCN nanotubes are discussed.



2018 ◽  
Vol 24 (1) ◽  
pp. 1-14
Author(s):  
Adrian van den Hoven

*Full article is in FrenchEnglish abstract:The five lectures of La Lyre havraise (November 1932– March 1933) constitute an attempt to elucidate the techniques of the modern novel. For this, Jean-Paul Sarture considers the dis - tinction between the novel and the récit introduced by Alain and Fernandez. The lectures consider Les Faux-Monnayeurs (The Counterfeiters) by André Gide; Point Counter Point by Aldous Huxley; Ulysses by James Joyce; The Waves, Mrs. Dalloway and Orlando by Virginia Woolf; Men of Good Will by Jules Romains; and The 42nd Parallel by John Dos Passos. The analysis prefigures the techniques employed by Sartre in the novels published later in his literary career.French abstract:Les cinq conférences de La Lyre havraise (novembre 1932–mars 1933) constituent une tentative d’élucidation des techniques du roman moderne. Pour cela, Sartre se base sur les distinctions entre le roman et le récit introduites par Alain et Fernandez. Ces conférences traitent des Faux-Monnayeurs d’André Gide, de Contrepoint d’Aldous Huxley, du monologue intérieur d’Ulysse de James Joyce, des Vagues, de Mrs. Dalloway et d’Orlando de Virginia Woolf, des Hommes de bonne volonté de Jules Romains et du 42ième Parallèle de John Dos Passos. Ces analyses préfigurent les techniques employées par Jean-Paul Sartre dans ses oeuvres romanesques qu’il publiera plus tard dans sa carrière littéraire.



PMLA ◽  
1968 ◽  
Vol 83 (2) ◽  
pp. 357-367
Author(s):  
Anthony W. Riley

New documentary evidence throws light on the genesis of Das unauslöschliche Siegel and on Langgässer's narrative techniques. Her hitherto unpublished notes on Donoso prove that the extensive quotations from his works in the “Turm-Kapitel” derive from one source: L. Fischer's introduction to his translation of the Ensayo sobre el calolicismo. Further evidence supplied by her widower shows that she wrote the chapter before 1944, and that its mise-en-scène was prefigured in her visit to Senlis, France, in 1937. Thus, the hypothesis is untenable that—as an attempt at self-justification in the face of charges of manichaeism—she inserted the chapter only after she had completed the rest of the novel. It seems probable that Langgässer considered Donoso's life exemplary from a Christian viewpoint, and that her montage of his writings stemmed from her desire to create a “new form” for the Christian novel. Donoso's religious beliefs and his hostility to the Enlightenment not only provide appropriate material for the chapter (the “counterpointing” of religious, cultural, and political events in Europe over a period of several centuries), but also reflect Langgasser's own religious attitudes, which any critical appreciation of the novel as a whole must take into account.



Author(s):  
С.Л. Лобзова

The article attempts to highlight the main romantic motifs that the modern German writer Patrick Süskind used in his novel Perfume: The Story of a Murderer. Symbolic for the contemporary cultural context figurative semantic constants (genius, loneliness, rejection, godlessness, etc.) are assigned to such motifs. The ways and means of rethinking romantic motifs in a modern novel are determined, the specifics of their transformation in a postmodern text is analyzed. The similarities between the work of Süskind and popular upbringing novels in the Enlightenment are noted: the main character of the modern German writer goes through the thorny path of formation, he improves his gift, thanks to which he hopes to change the world, subjugate other people to himself. The parody evangelical allusions that contribute to the deconstruction of the romantic figure of an unrecognized genius are analyzed. The postmodernist writer debunks and ridicules the hero, turning the imaginary king into a jester. Unlike the romantic hero, whose main function was to broadcast the divine will, Jean-Baptiste Grenouille refutes the truth of the Absolute by his existence and the ingenious gift inherent in him by nature. The article concludes that Süskind refers to a stable romantic model, implemented many times in literature and art, setting his own accents in his own way, bringing the romantic structure to its limit. This model goes through the second stage in its development, according to the Hegel’s triad, namely, the negation of negation, when any phenomenon turns into its opposite. Refuting the well-known Pushkin’s claim that “genius and villainy are two incompatible things”, the writer at the same time comes to the conclusion that evil, even without meeting a worthy opponent, is destructive to himself. We see further research prospects in the study of the novel in the context of the work of Süskind and modern German-language literature from the point of view of transforming the romantic tradition in the post-modern text.



Prism ◽  
2020 ◽  
Vol 17 (2) ◽  
pp. 326-352
Author(s):  
Kenny K. K. Ng

Abstract This article examines the promises and predicaments of May Fourth writers in their experimental writing of the “long novel” (changpian xiaoshuo 長篇小說) as a Chinese brand of the modern epic. May Fourth intellectuals showed a conscious effort to institute a new brand of fictional genre to enlighten the reading public. Yet their “education of the novel” was far from complete, as New Literature writers found fictional expressions primarily in the form of the short story, with strong undertones of individualism, subjective lyricism, and elitism. By focusing on Mao Dun's 茅盾 (1896–1981) Ziye 子夜 (Midnight; 1933), the article examines his call for the establishment of the long novel and his strenuous efforts to “take over” the modern novel as an ideological form to narrate a teleological progression of history. How do Mao Dun's fictional narratives illuminate the representational problems between fiction, locality, and modernity? For Mao Dun and his May Fourth contemporaries, modernity at large was expressed in a teleological mode of time and progress, both in the rhetoric of modernity and in fiction writing. The article reflects on Mao Dun's creative and ideological impasse by teasing out the narrative loopholes of traditional voices and popular fictional registers in the modern epic.



Author(s):  
Yuliia Honcharova ◽  
Victoriia Lipina

The idea advanced in the paper is to theorize the mechanisms of autobiographicality in Stephen Dixon’s novels that are viewed as a radical renewal of autobiographical narrative, where the modality of disappearance/return of the subject produces a new mode of life-writing. We propose the term “autobiographical transgression” to capture the essence of this renewal started by three representative figures – John Barth, Stephen Dixon, and Joseph Heller that can be reduced neither to autobiography as a genre, nor to “transgressive autobiography” as its generic variant. Dixon finds a new form for representing autos. He creates the character with the name-deixis I. that personifies a fiduciary subject, thus, suggesting a provocative restatement of postmodernist generic problems. In the novels I. and End of I. the autobiographical hero I. exists simultaneously as a metaphor of the author’s presence in the text, as the subjective author’s I and as a character in the novel − an objectified, semi-functional, distancing I. The transplanting of life experience manifests itself in a special kind of repersonalization and double coding of the traditional autobiographical subject.



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