scholarly journals ‘SO YOU DON’T GET LOST IN THE NEIGHBORHOOD’ BY PATRICK MODIANO: POETICS OF THE ‘NOVEL ABOUT A NOVEL’

2020 ◽  
Vol 12 (2) ◽  
pp. 81-89
Author(s):  
Nina S. Bochkareva ◽  
◽  
Inga V. Suslova ◽  
Alexander D. Bazhanov ◽  
◽  
...  
Keyword(s):  
Literary Criticism ◽  
18Th Century ◽  
The Novel ◽  
Nobel Lecture ◽  
Self Reflection ◽  
The Past ◽  
Patrick Modiano ◽  
French Writer ◽  
Third Person ◽  
The Difference

The article analyzes the novel by the modern French writer Patrick Modiano So You Don’t Get Lost in the Neighborhood (‘Pour que tu ne te perdes pas dans le quartier’, 2014) in terms of the genre poetics of the ‘novel about a novel’. The paper explains the use of the terms ‘novel about a novel’, ‘metanovel’, etc. in modern literary criticism. As part of research, there was studied the writer’s Nobel Lecture, read by him in the year of the novel’s publication, and the works of Modiano’s researchers from different countries. The conclusion is drawn about the game structure of the ‘novel about a novel’, which is architecturally connected with the French modernist tradition (M. Proust, A. Gide, and others). Throughout the novel, the herowriter Jean Daragane dreams of his own life, combining memories and imagination (the process of creative work, according to Modiano). Plunging into the past, Jean Daragane discovers in childhood a source of his loneliness (loneliness is a condition of the writer’s work and the theme of the ‘novel about a novel’). Recorded in a multitude of overlapping texts belonging to different genres (fake passport, business card, note book, phone book, article, letter, police report, dossier, brochure, novel, poems, etc.), the palimpsest novel creates a communicative space of dialogue, which is the only possible way out of loneliness for the writer. Inside the ‘self-begetting novel’ is the story of the creation of the hero’s first novel The Black Color of Summer (‘Le Noir de l'été’) as one of the intersecting storylines. Among the different intertextual references, Natural History by the French naturalist of the 18th century Buffon and the collection of poems by the eight-year-old girl Minou Drouet Tree, My Friend (‘Arbre, mon ami’) (1957) constitute the immediate context of the novel created in the process of reading and testify to its lyrical and philosophical character. Thus, Modiano’s work draws closer to the lyrical type of Proust’s ‘novel about a novel’, although the detective component and third-person narrative reveal the influence of A. Gide. The reference to the tradition of the modernist ‘novel about a novel’ emphasizes the author’s belonging to the ‘intermediate generation’ of writers who represent the difference between monumental novels of the past and fragmentary works of the present as self-reflection of the genre.

scholarly journals The Concept of Victorianism in A. S. Byatt’s “Posession”

2019 ◽  
Keyword(s):  
Literary Criticism ◽  
Victorian Novel ◽  
The Novel ◽  
Victorian England ◽  
Victorian Era ◽  
English Novel ◽  
The Past ◽  
Russian Literary ◽  
Postmodern Novel ◽  
Current Research Interest

The late 1990s – early 2000s was a time of numerous projects dedicated to the Victorian age and the Victorian novel as a specific phenomenon that inspires the modern novel development. The English postmodern novel with its typical narrative, time transferal to Victorian England, weaving of time layers, invokes current research interest. The relevance of this study is caused by considerable interest of researchers in the Victorian era heritage and by need of a comprehensive study of Victorian linguoculture and its implementation in the modern English novel. The Victorian text influences a new genre of the novel that reflects the gravity of modern English prose to the traditional literature of Victorian era, assumed to be particularly important in this context. The analysis of A. S. Byatt’s “Possession” in the Russian literary criticism was made only by O. A. Tolstykh; in the Ukrainian science, this work was investigated by O. Boynitska in the context of searching the past, so this subject is not investigated enough, and in our opinion is new and relevant, especially from the perspective of the “Victorian era” concept embodied in the novel. The aim of the paper is to analyze the “Victorian era” concept peculiarities in the intercultural context, on the basis of A. S. Byatt’s “Possession” as a Victorian novel. The paper takes into account the reproduction of concepts of Marriage, Home, Family, Freedom, Life, as components of “Victorian era.” The Victorian family is often represented through the place of their dwelling; therefore, the great Victorians’ works are overwhelmed by interior descriptions (Dombey’s house, Miss Havisham’s home, Mr. Rochester’s Castle). However, in “Possession,” there is an obvious contrast of Victorian buildings to the same structures in the XX century: the past prime – the modern decline. All the secrets and delusions hidden behind the facades of supposedly respectable buildings result in distorting facts and, to some extent, to violating the rights of ownership to the memories of the past. This gives another meaning to the title of the novel – “possession,” that is ownership, possession of letters, memory, truth.

Anthology

2020 ◽  
Author(s):  
Ben Grant
Keyword(s):  
Literary Criticism ◽  
18Th Century ◽  
Close Association ◽  
Literary Texts ◽  
Modern Concept ◽  
The Novel ◽  
Politics Of Identity ◽  
Literary Traditions ◽  
Important Object ◽  
Written Word

Anthologies, in the broadest sense of collections of independent texts, have always played an important role in preserving and spreading the written word, and collections of short forms, such as proverbs, wise sayings, and epigraphs, have a long history. The literary anthology, however, is of comparatively recent provenance, having come to prominence only during the long 18th century, when the modern concept of “literature” itself emerged. Since that time, it has been a fundamental part of literary culture: not only have literary texts been published in anthologies, but also the genre of the anthology has done much to shape their form and content, and to influence the ways in which they are read and taught, particularly as literary criticism has developed in tandem with the rise of the anthology. The anthology has also stimulated innovation in many periods and places by providing a model for writers of different genres of literature to emulate, and it has been argued that the form of the novel is much indebted to the anthology. This is connected to its close association with the figure of the reader. Furthermore, anthologies have helped to define what literature is, and been crucial to the canonization of texts, authors, and genres, and the consolidation of literary traditions. It is therefore not surprising that they were at the heart of the theoretical and pedagogical debates within literary studies known as the canon wars, which raged during the 1980s and 1990s. In this role, they contributed much to discussions concerning the theories and politics of identity, and to such approaches as feminism and race studies. The connection between the anthology and literary theory extends beyond this, however: theory itself has been subject to widespread anthologization, which has affected its practice and reception; the form of theoretical writing can in certain respects be understood as anthological; and the anthology is an important object of theoretical attention. For instance, given the potential which the digital age holds to transform how texts are disseminated and consumed, and the importance of finding ways to classify and navigate the digital archive, anthology studies is likely to figure largely in the Digital Humanities.

scholarly journals AN ANALYSIS OF ROMANTIC ASPECT AS PORTRAYED IN ‘THE REVOLT IN PARADISE” BY K’TUT TANTRI

2019 ◽  
Vol 5 (2) ◽  
pp. 73
Author(s):  
Shokhikhatul Khasanah
Keyword(s):  
Qualitative Research ◽  
Literary Criticism ◽  
Primary Source ◽  
The Novel ◽  
Literary Works ◽  
Secondary Sources ◽  
The Past ◽  
And Behavior ◽  
Descriptive Qualitative

This study was aimed to analyze the aspects of Romanticism manifested in the novel “The Revolt in Paradise” and behavior of character reflects Romanticism in “The Revolt in Paradise”. This study was based on the descriptive-qualitative research since the findings were going to be presented in a descriptive form. The data to be analyzed are gathered from two sources. The primary source is the novel itself; The Revolt in Paradise and the secondary sources includes many appropriate documents in the form of literary works, previous thesis, biography, theories and literary criticism, dictionaries and etc. Related to the instrument, the researcher employed herself as the human instrument. The data were analyzed through underlying and labeling. The result of the study found that there four aspects of Romanticism manifested in the novel; The Revolt in Paradise, they were: the love of nature, the memories of the past, the horror /gothic setting and the emotion; included; love, anger and hatred. This study also found that The Revolt in Paradise gave the vivid depiction of the Nationalism as the major behavior reflects Romanticism.

scholarly journals The sense of space and Arctic nature in Cora Sandel’s Kranes konditori: interiør med figurer (Krane’s Café: An Interior with Figures)

2020 ◽  
Vol 12 (2) ◽  
pp. 89-106
Author(s):  
Raluca-Daniela Răduț
Keyword(s):  
Literary Criticism ◽  
The Arctic ◽  
The Novel ◽  
Interior Space ◽  
Literary Genres ◽  
The Past ◽  
Spatial Approach ◽  
Reading Technique ◽  
The One ◽  
Almost All

The paper combines the close reading technique of the novel Kranes konditori: Interiør med figurer (Krane’s Café: An Interior with Figures, 1946), written by the classic Norwegian writer Cora Sandel (1880-1974) with a spatial approach which aims to present the past and the present of the novel’s main character, Katinka Stordal. The action takes place in a small town situated in northern Norway, at Krane’s Café. It is worth noting how topography, the seasons of the year, the Arctic climate and nature are gradually reflected in the novel. On the one hand, the novel is placed at the crossroads of a spatial perspective and the literary criticism, which has in its centre Krane’s Café, the place where almost all the characters are brought together and which is the most suggestive and representative interior space of the novel. On the other hand, the subtitle An Interior with Figures strengthens the idea of a mixture of literary genres which includes elements from novel and drama. Moreover, it resembles the title of a work of art, for instance, a painting where all the characters are simply figures animated by the beauty of the Arctic scenery.

How Shall We Let This Text, or Anything, Teach Us?

2021 ◽  
Vol 73 (1) ◽  
pp. 1-22
Author(s):  
Yi-Ping Ong
Keyword(s):  
Literary Criticism ◽  
The Novel ◽  
Basic Assumptions ◽  
Ethical Discourse ◽  
The Status ◽  
The Difference

Abstract How do we come to share an ethical outlook with others? Is it possible to teach ethics? What does it mean to live with others when we do not (always) inhabit the same world? J. M. Coetzee’s Elizabeth Costello engages these profound ethical questions in its very form. Whereas critics argue that the novel either takes up or evades the task of ethical instruction, this article shows that the text disputes the basic assumptions of ethical literary criticism. Elizabeth Costello makes a powerful case for the difference of the novel vis-à-vis other forms of ethical discourse. What is at stake in Coetzee’s choice of the novel qua fiction is an attempt to engage the status of fiction in relation to the status of ethical discourse in our time. Contemporary ethical discourse unfolds within a context in which it is considered to be no more than a necessary fiction. Coetzee’s text places this stance within the framework of fiction—not primarily to demonstrate its falsity but to stage an alternate or rival fiction, one that challenges our fundamental assumptions about fiction, ethics, and existence.

scholarly journals Feast of fools : the carnivalesque in John Kennedy Toole's A confederacy of dunces

2010 ◽  
Vol 43 (1-2) ◽  
pp. 83-92 ◽  
Author(s):  
Julija Potrč
Keyword(s):  
Mikhail Bakhtin ◽  
Social Classes ◽  
The Novel ◽  
Highly Educated ◽  
The Past ◽  
New Birth ◽  
The Difference ◽  
And Behavior ◽  
Universal Standard ◽  
Positive Concept

Despite the fact that the action in John Kennedy Toole's novel A Confederacy of Dunces has often been compared to a carnival, there is little that the maincharacter, Ignatius Reilly, has in common with those participating in a true medieval carnival as described by Mikhail Bakhtin in Rabelais and His World. Ignatius tries to assert his superiority over others both with his speech and behavior, violating the principal rule of carnivalesque equality, and is aggressively opposed to sexuality, which was a deeply positive concept in the carnival culture, symbolizing fertility, growth, and new birth. A greatsource of humor in the novel is the difference between the highly educated speech used by Ignatius and the vernacular spoken by other characters. This difference was successfully transposed into Slovene by translator Nuša Rozman, who managed to capture the differences between social classes by using various degrees of colloquialisms and slang expressions, while opting to nevertheless transcribe the characters' speech in a way that is grammatically correct; a practice that has long been present in both original and translated Slovene literature, which highlights the fact that despite an increase in the number of works written in the vernacular over the past years, a universal standard on how to transcribe spoken Slovene has yet to be established.

scholarly journals Literature and History: Study of Nigerian Indigenous Historical Novels

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Lere Adeyemi
Keyword(s):  
Party Politics ◽  
New Historicism ◽  
Historical Novels ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Human Reality ◽  
History Of ◽  
The Difference ◽  
The Relationship

The assumption that history posits itself as a fact, while literature is to be taken as an artistic form, only for entertainment (i.e., the difference between truth and falsehood, reality and illusion) has long been debated by formalists and soclologlsts of literature. In Yoruba society, literature and history are im­portant in explaining the fullness of life and the world around us. It is against this background that this paper examines the relationship between literature and history and how Yoruba novelists use their works as vehicles for the repre­sentation of history. We adopt the theory of New Historicism to analyze T.A.A. Ladele's lgbi Aye n yi and Olu Owolabi's Ote Nibo. Some of the findings reveal that: both Yoruba literature and history are closely related, they are both based on Yoruba experience and Yoruba existence either in the past or present; while Ladele Interprets the history of the dignity and royal glamour of the Yoruba oba in the precolonial era as a form of domination which is often achieved through culturally-orchestrated consent rather than force; Owolabi represents the hlstory of party politics in Yoruba society as fraudulent, deceltful, full of bitterness and violence. The paper concludes that both novelists are subjective in their representation of Yoruba history, but they successfully establfsh the fact that the novel is a repository of history; however, such history is not a mere chronlcle of facts and events, but rather a complex description of human reality and a challenge to the preconceived notions of the societies from which they emerged.

Fournier, Henri Alban (1886–1914)

2018 ◽  
Author(s):  
Maya Sidhu
Keyword(s):  
World War I ◽  
Literary Criticism ◽  
The Novel ◽  
World War ◽  
Literary Style ◽  
Untimely Death ◽  
Adventure Story ◽  
French Writer ◽  
The Wanderer

Henri Alban Fournier, writing under the pseudonym Alain-Fournier, was a French novelist most famous for writing the literary classic Le Grand Meaulnes (1913). The title often appears in the original French but has also been translated as The Lost Estate, The Wanderer, and The Lost Domain. Fournier’s promising literary career was cut short by his untimely death in 1914 while fighting for France in Meuse during World War I. Le Grand Meaulnes features a teenage male protagonist struggling with the transition from childhood to adolescence and shares many similarities with events from Fournier’s life. Le Grand Meaulnes is celebrated for its innovation in literary style and narrative. The novel demonstrates characteristics of the symbolist movement in literature as a lyrical study of the French countryside. In addition, Fournier recounts his fantastic adventure story as a medieval allegory. Fournier is also known for his poetry and his literary reviews. In 1924, French writer Jacques Rivière published a collection of these works under the title Miracles. His extensive correspondence with Rivière has become part of French literary criticism.

Association and Disassociation in Storm's Novellen: A Study on the Meaning of the Frame

PMLA ◽  
1951 ◽  
Vol 66 (4) ◽  
pp. 381-404
Author(s):  
R. M. Browning
Keyword(s):  
Oral Tradition ◽  
Systematic Investigation ◽  
Point Of View ◽  
Narrative Art ◽  
Life And Death ◽  
The Past ◽  
Actual Experience ◽  
Third Person ◽  
The Difference ◽  
Excellent Article

It has not escaped the notice of students of Storm's novelistic art that many of his Novellen employ the device known as the “frame,” nor have explanations been lacking as to its purpose. Most attention has not unnaturally been paid to the frames of the stories laid in the comparatively distant past—the so-called “Chroniknovellen” and the Schimmelreiler. The first systematic investigation of the use of the frame by Storm and his contemporaries is the study by Hans Bracher, Rahmen-erzahlung und Verwandtes bei G. Keller, C. F. Meyer und Th. Storm (Leipzig, 1909). This monograph examines the problem chiefly from the standpoint of the kind of frame encountered in these writers and the technical uses to which it is put. The question of the inner necessity of the frame is left largely unanswered, a fact of which Bracher himself is well aware. Georg Baesecke in a review of the book by H. Eichentopf, Th. St.s Erzdhlungskunst—in Zeitschrift f. deut. Philologie, XLI (1909), 520–531—has advanced the interesting theory that the frame is for Storm a means of freeing his hand and his conscience; the ego thereby shoves the responsibility for the truth of the epic material upon a third person. Baesecke arrives at this point of view by proceeding on the assumption that Storm's novelistic art grew out of his lyrical art, as the poet himself indeed asserted, though it has never been satisfactorily explained just what he meant by this dictum. Baesecke implies that in the lyrical production the ego is free to speak in its own right out of actual experience. That part of Thérèse Rockenbach's study which has been available to me, Th. St.s Chroniknovellen (Diss., Braunschweig, 1916), hardly throws new light on the “why” of the Stormian frame, though the author calls attention to interesting parallels between Storm's technique and that of others, especially Brentano, Stifter, and Raabe. Walter Brecht—“Storm und die Geschichte,” Deut. Vierteljahrss.,iii (1925), 444–462—remarks that the difference between Storm's frames and those of other writers lies not so much in the technique itself as in the “Flut von Stim-mung, die in dem meist unausgesprochenen Nebeneinander in Rahmen und Erzählung steigt.” Storm's central concern, Brecht feels, is the “relation between Then and Now.” The gap between the past and the present is nothing less than the gap between life and death, which is itself a “mysterious connection.” In the frame, which is the instrument by means of which Storm “perspectively elongates” the present into the past, this relationship becomes particularly evident. Franz Stuckert, in his excellent article, “Th. St.s novellistische Form”—Germ.-Roman. Monatss., 27. Jhg. (1939), 24–39—seeks the origins of Storm's narrative art in the oral tradition of storytelling and finds that the frame fulfills for the poet an inner need by creating a situation analogous to that of audience and story-teller.

scholarly journals Historiosophy & Eros in Russian anacreontics

2018 ◽  
Vol 55 ◽  
pp. 04016
Author(s):  
Alexej Petrov ◽  
Angelina Dubskikh ◽  
Anna Butova
Keyword(s):  
Literary Criticism ◽  
18Th Century ◽  
Political Life ◽  
Practical Significance ◽  
The Political ◽  
Political Issues ◽  
The Past ◽  
Research Material ◽  
Poetic Texts ◽  
Century Literature

“Love is the eminence grise of history”, – once one of the greats of the past said. Few doubt that history is driven by human, more or less conscious interests – economic, political, religious, etc. As for feelings, passions and instincts, their role in the historical process is not so obvious, particularly of those that are connected with policy or economy indirectly. The objective necessity to rehabilitate the position of Eros in the political life of 18th-century Russia determines the significance of the current research. The article aims to analyse how the feeling of love and/or the underpinning instincts of procreation and self-preservation affect the political life and the course of history. The most important task is to examine some of the poetic texts of the 18th – early 19th centuries, the authors of which are the part of this still non-trivial historiosophical paradigm. So, it is mainly going to be about love, but not always – about love poems. The novelty of the conducted research lies in the fact that mythological and political issues of Anacreonic poetry have already become the matter of literary criticism [1, 2], while the hidden historiosophical senses have been still neglected. Certain creative works of the 18th-century poets: M.V. Lomonosov, G.R. Derzhavin, S.S. Bobrov served as research material. The practical significance of the investigation consists in the fact that the results can be used for further studying of 18th-century literature and historiosophical problems as well as to develop special courses in historical poetry.

Sign in / Sign up

Export Citation Format

Share Document