scholarly journals O conto português no século XXI: apontamentos sobre Teatro Vertical de Manuel Alberto Vieira / The Portuguese short-story in the 21st century: notes on Manuel Alberto Vieira’s Teatro Vertical

2021 ◽  
Vol 41 (65) ◽  
pp. 31
Author(s):  
Ana Rita Sousa
Keyword(s):  
Short Story ◽  
21St Century ◽  
Literary Tradition ◽  
Narrative Structure ◽  
Global Market ◽  
The Novel ◽  
Ricardo Piglia ◽  
The Family ◽  
Publishing Houses ◽  
The Universe

Resumo: A ficção portuguesa no século XXI parece inclinar-se maioritariamente para as distintas formas que autoriza o romance na pós-modernidade. Por razões de vária ordem, que vão desde a nossa tradição literária à criação de um mercado editorial que fomenta este género, os escritores surgidos após a passagem do milénio e publicados nas grandes casas editoriais portuguesas têm recorrido pouco ao conto. Em contrapartida, o trabalho realizado por editoras independentes tem trazido a lume outros possíveis caminhos para a ficção portuguesa que não desaguam no universo de tendências dominantes do mercado cada vez mais global (carácter mais universal da intriga, inclinação para mobilidade constante das personagens e dos espaços, alusões de natureza livresca, recusa a referências locais ou regionais, etc.). Neste sentido, este trabalho tem como objetivo analisar o contributo de Teatro Vertical, livro de contos de Manuel Alberto Vieira, que em sentido quase oposto às tendências dominantes, permite repensar a potencialidade do conto como género na atualidade, ao mesmo tempo que reconfigura um dos elementos mais problematizados da nossa sociedade: a família. Após uma breve contextualização da subalternização do género na nossa tradição literária, procura analisar-se a estrutura narrativa destes contos – partindo das reflexões de Ricardo Piglia sobre as formas breves –, assim como estudar o modo em que um dos temas dominantes, a família, é evidenciado nas suas complexas mutações através das estruturas mais simples, próprias do conto.Palavras-chave: Manuel Alberto Vieira; conto; narrativa; família; crueldade. Abstract: Portuguese fiction in the 21st century seems to lean mostly towards the different forms that authorize the novel in postmodernity. For various reasons, ranging from our literary tradition to the creation of an editorial market that fosters this genre, writers who emerged after the passing of the millennium and published in the major Portuguese publishing houses have made little use of the short-story.  On the other hand, the work carried out by independent publishers has brought to light other paths for Portuguese fiction that do not lead to the universe of dominant trends in the increasingly global market (a more universal character of intrigue, inclination towards constant mobility of characters and spaces, allusions of a bookish nature, refusal of local or regional references, etc.). In this sense, this work intends to analyze the contribution of Teatro Vertical, a short story book by Manuel Alberto Vieira, which, in an almost opposite sense to the dominant trends, allows us to rethink the potential of the literary short-story as a genre today, while reconfiguring one of the elements most problematized in our society: the family. To this end, this work, after a brief contextualization of the subordination of gender in our literary tradition, seeks to analyze the narrative structure of these short-stories - based on Ricardo Piglia’s reflections on short forms - as well as studying the way in which one of the dominant themes, the family, is evidenced in its complex mutations through the simplest structures, typical of the short-story.Keywords: Manuel Alberto Vieira; short story; narrative; family; cruelty.

scholarly journals Tradition Versus and Modernity in Laila al-Juhani’s The Waste Paradise: An Intertextual Approach

2021 ◽  
Vol 11 (10) ◽  
pp. 1197-1202
Author(s):  
Mohammed Abdullah Abduldaim Hizabr Alhusami
Keyword(s):  
Cultural Heritage ◽  
Short Story ◽  
World Literature ◽  
Narrative Structure ◽  
The Novel ◽  
Saudi Women ◽  
The Core ◽  
The World ◽  
The Status ◽  
Story Writer

The aim of this paper is to investigate the issue of intertextuality in the novel Alfirdaws Alyabab (The Waste Paradise) by the female Saudi novelist and short story writer Laila al-Juhani. Intertextuality is a rhetoric and literary technique defined as a textual reference deliberate or subtle to some other texts with a view of drawing more significance to the core text; and hence it is employed by an author to communicate and discuss ideas in a critical style. The narrative structure of Alfirdaws Alyabab (The Waste Paradise) showcases references of religious, literary, historical, and folkloric intertextuality. In analyzing these references, the study follows the intertextual approach. In her novel The Waste Paradise, Laila al-Juhani portrays the suffering of Saudi women who are less tormented by social marginalization than by an inner conflict between openness to Western culture and conformity to cultural heritage. Intertextuality relates to words, texts, or discourses among each other. Moreover, the intertextual relations are subject to reader’s response to the text. The relation of one text with other texts or contexts never reduces the prestige of writing. Therefore, this study, does not diminish the status of the writer or the text; rather, it is in itself a kind of literary creativity. Finally, this paper aims to introduce Saudi writers in general and the female writers in particular to the world literature.

scholarly journals PLOT ELEMENTS AND MOTIVES OF THE NOVEL “CHEVENGUR” IN PLATONOV’S SHORT STORY “POTUDAN RIVER”

2021 ◽  
Vol 26 (1) ◽  
pp. 44-55
Author(s):  
N. Mikhaylovna Malygina ◽  
Keyword(s):  
Short Story ◽  
The Novel ◽  
Love Story ◽  
Planetary Scale ◽  
The Family ◽  
Analytical Review ◽  
Eugene Onegin ◽  
Intertextual Connections ◽  
First Time

The relevance of the article is determined by the researcher of the semantic poetics of Platonov’s story “Potudan River”. We carry out an analytical review of the lifetime criticism and articles of modern researchers about the story, on the basis of which we formulate the purpose of the study, due to the need for a new approach to the interpretation of the work and the identification of the principles of its poetics. The novelty of the article is determined by the identification of the multilayered symbolism of the title of the story, which allows to establish the insufficiency of the conclusions that the content of the “Potudan River” is limited to the family theme. At the level of micropoetics we reveal symbolic details that connect the content of the story with the motive of love for the distant, medical and construction subjects and revealing the planetary scale of the author’s thinking. For the first time, it was established that Platonov’s story “Potudan River” was written based on part of the plot of the novel “Chevengur” – the love story of Alexander Dvanov and Sonya Mandrova. We show that the heroes of the story “Potudan River” Nikita Firsov, Lyuba Kuznetsova and Nikita’s father are doubles of the characters in the novel “Chevengur” by Sasha Dvanov, Sonya Mandrova, and Zakhar Pavlovich. The connection of the image of Lyuba with the archetype of the bride is considered. The paper reveals for the first time the intertextual connections of the story “Potudan River” with the poem “The Bronze Horseman” and the novel in verse “Eugene Onegin” by A. Pushkin, in the texts of which the writer found material for modeling the ordinary fate of the hero. Multi-level connections of the content of the story “Potudan River” with Platonov’s artistic world, which is a complete metatext, are found, which opens up new opportunities for determining the role of the editing technique and the principles of returning to the plots and motives of the works of the 1920s, as well as their transformation in the writer’s work of the 1930s.

scholarly journals Georgian Military Road: Constant Communication (the Structure of “A Hero of Our Time” by M. Yu. Lermontov)

Literatūra ◽  
2020 ◽  
Vol 62 (2) ◽  
pp. 171-184
Author(s):  
Maria Dmitrovskaya
Keyword(s):  
Spatial Orientation ◽  
Narrative Structure ◽  
Conceptual System ◽  
The Novel ◽  
Human Consciousness ◽  
The Road ◽  
Good And Evil ◽  
The Universe

The article demonstrates the fact that the duality of human consciousness is connected by mutual projections with the topography of the Georgian Military Road and the model of the universe and also forms the system of narrators / characters and the structure of the novel as a whole, including the number of stories and the partition of the novel into two parts. The sources used by the writer in the formation of the narrative structure of the novel are reconstructed. The numerological code of the novel is considered, the language bases of the conceptual system are analyzed. The embeddedness in the conceptual system of the trinomial name of Mikhail Yuryevich Lermontov is demonstrated. The vertical and horizontal spatial orientation of the Georgian Military Road allows discovering the topographic connection of the road with the dual reality of Lermontov, in which the opposite poles of good and evil, divine and evil turn into one.

scholarly journals The vampires of A. V. Ivanov in light of the gothic tradition of Russian Literature

Litera ◽  
2021 ◽  
pp. 98-107
Author(s):  
Daria Leonidovna Kulikova
Keyword(s):  
Literary Tradition ◽  
Russian Literature ◽  
The Novel ◽  
Present Stage ◽  
Historical Experience ◽  
Horror Genre ◽  
Political Implications ◽  
The Family ◽  
Horror Literature ◽  
Literary Evolution

The object of this research is the novel “Food Block” by A. V. Ivanov and the realization of aesthetics of the horror genre therein. The goal is to establish correlation between the gothic tradition of Russian literature and modern horror literature based on the works of the indicated authors. The article examines the influence of the gothic romantic tradition upon composition and imaginary system of A. K. Tolstoy’s novella. The material of A. V. Ivanov’s novel indicates resorting to the literary tradition on the level of composition and individual images; while overall, the historical experience accumulated by the genre over the decades and significant impact of cinematography manifested on the level of cinematographic techniques. The conclusion is made that in the novel by A. V. Ivanov, the mystical attributes of vampirism, which coincide with the pioneer symbolism, have political implications, which contradicts the horror traditions in gothics. Novellas “The Vampire” and" The Family of the Vourdalak” are the result of accumulation of gothic motifs, such as family curse, mystical house, dream, and portrait that came alive. Comparison of the techniques of creating horror literature allows tracing the paths of literary evolution, and formulating conclusions on modernization of the genre at the present stage. The novelty of this research is define by insufficient research of the topic of typological and genetic links between gothic and modern horror, namely in the works of A. V. Ivanov.

Fiction and the Native Author

2018 ◽  
Author(s):  
Jane Stafford
Keyword(s):  
Nineteenth Century ◽  
British Empire ◽  
Short Story ◽  
English Language ◽  
Literary Tradition ◽  
The Novel ◽  
Indigenous Identity ◽  
Do So

This chapter discusses native authors of fiction. Indigenous, colonized, or native authors of fiction in English are rare in the British Empire before 1950. There are exceptions, however, in India, there is a body of English-language fiction from the second half of the nineteenth-century onwards. Nevertheless, a sustained presence and the development of a local literary tradition in English were difficult. The short story, published in newspapers and magazines, was a more common though at the same time more ephemeral form than the novel. Native writers authored prose collections of Indigenous myths and legends in English, overtly signalling their authority to do so in terms of their Indigenous identity and the access it entailed.

scholarly journals THE CHARACTERIZATION OF MARGIO IN NOVEL ENTITLED LELAKI HARIMAU BY EKA KURNIAWAN

JURNAL BASIS ◽  
2020 ◽  
Vol 7 (1) ◽  
pp. 159
Author(s):  
Ellif Shiffiyn Khairaa
Keyword(s):  
Qualitative Method ◽  
Narrative Structure ◽  
The Novel ◽  
Human Relations ◽  
Moral Value ◽  
Good Communication ◽  
The Family ◽  
The One ◽  
Gerard Genette

This researched aims to analyze the characterization of Margio as the main character of the novel entitled Lelaki Harimau by Eka Kurniawan. This study used narrative structure by Gerard Genette which focused on frequency concept to analyze the characterization. The descriptive qualitative method used to reveal and make a deep analysis of the characterization of Margio. The data is taken by reread the novel and written the quotations of the dialogue which focused on the characterization of Margio. The result of this study is Margio has strong characterization and he is the one who connected to the other characters in the novel. He is known as a lovable, obedient to their parents, and a strong man. The moral value of this novel is the key to a perfect family is the good communication of each member of the family. This study is important in how we learned the complexity of human relations, especially in the family.

Financing the Novel: Ben Lerner’s 10:04

2018 ◽  
Author(s):  
Arne De Boever
Keyword(s):  
New York ◽  
Short Story ◽  
Art Market ◽  
The Novel ◽  
Financial Instrument ◽  
New Yorker ◽  
The Future ◽  
Publishing Houses ◽  
The New Yorker

Chapter Six shows how Ben Lerner’s 10:04 is a realist finance novel that takes on the financialization of the novel itself. If Houellebecq in his investigation of finance was mostly focused on art—understandably so, given that the art market obviously exceeds that of literature—Lerner puts the novel at the heart of such a project and delivers a novel that revolves around the promise of the novel: a projected novel, existing on contract, auctioned off for “a strong, six-figure advance” among the New York publishing houses on the basis of a short story that its author published in The New Yorker. The chapter shows that in its focus on the future, Lerner’s novel takes on the topics of capitalism and financialization, asking the difficult questions about the value of a commodity such as the novel and of what the chapter characterizes as a financial instrument such as the novel “on spec.” As a meditation on the future, Lerner’s novel is an investigation into finance and the possibility of a future that would remain outside of the financial logic, or at least operate critically within it.

scholarly journals Strategies of Cognitive Estrangement in Kim Stanley Robinson’s New York 2140

2021 ◽  
Vol 10 (1) ◽  
pp. 109-121
Author(s):  
Michał Klata
Keyword(s):  
New York ◽  
Science Fiction ◽  
Literary Tradition ◽  
Narrative Structure ◽  
Ecological Crisis ◽  
Creative Work ◽  
The Novel ◽  
Call To Action ◽  
The Past ◽  
Unusual Position

Abstract This paper seeks to analyse the strategies of cognitive estrangement employed by the science fiction writer and literary scholar Kim Stanley Robinson in his New York 2140 (2017). I argue that the novel was written as a call to action to mitigate the effects of climate change, and rather than being merely a description of a particular vision of the future, provides a comment on the current ecological crisis, mechanisms of history, and human agency. Robinson’s unusual position at the intersection of the field of literary production and literature studies allowed him to apply the ideas developed for the analysis of the genre of science fiction in his creative work. The three main thematic areas in the novel are ecology, politics, and history. In each of these, allusions to the present, the past, and literary tradition, characterisation, and narrative structure are used as a means to convey the author’s message and sensitise the reader to issues connected with ecology and social justice, painting a realistic, yet hopeful vision where human civilisation carries on despite the consequences of global warming.

scholarly journals Robert Musil’s short stories: a dialogue of literary tradition and the author’s innovation

2020 ◽  
pp. 121-131
Author(s):  
L. V. Holomidova ◽  
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Single Case ◽  
Literary Tradition ◽  
Narrative Structure ◽  
Modern Human ◽  
German Language ◽  
Literary Traditions ◽  
Classical Epic ◽  
The Individual

The article deals with the analysis of the artistic technique of short stories by Robert Musil, an Austrian writer, through the prism of combining literary traditions of German – language short stories and the author’s innovation. In the scope of theoretical study of novel characteristics such short stories as „The Perfecting of Love”, „The Temptation of Quiet Veronica”, „Grigia”, „The Portuguese Lady”, „Tonka” from the collection of works „Unions” and „Three Women” help to point out the author’s definition in regard to the theory of modernist short story that is shown in Robert Musil’s essay „Short story as a problem”. Thus, the ways of realization of the theoretical bases of the literary tradition of the Austrian short story in combination with the consistent content formality of the author’s experimentalism are observed and highlighted. Its specific way of reproducing and combining the theoretical basis of the short story as a classical epic genre with individual authorial terms: „another state”, “possibility of suggestion, association and influence of mood”, „single case” and „commercial article” is shown. At the same time, the individual author’s synthesis of logic, psychologism and art is emphasized. A number of extensions of genre features of the poetics of R. Muzil’s short stories are outlined, and thus the exclusivity of the short story is pointed out as one of the most important forms of short prose of the end of the XIX – beginning of the XX century. It is concluded that this phenomenon is distinguished not as a complete break from traditional narrative structure of German short story, but as a specific opportunity to examine and analyse modern human consciousness.

Joyce’s Literary Tradition in Mikhail Shishkin’s Prose and Its Evocation in the Story “The Blind Musician”

2021 ◽  
pp. 40-59
Author(s):  
Ludmila V. Comuzzi ◽  
Keyword(s):  
Life Stories ◽  
Literary Tradition ◽  
Narrative Structure ◽  
The Other ◽  
The Novel ◽  
Classical Literature ◽  
20Th Century Literature ◽  
Large Excess ◽  
The One ◽  
Century Literature

In this article, Mikhail Shishkin is presented as a literary successor to James Joyce’s modernist tradition of writing. The nature of the ties connecting his creative method with that of Joyce is considered in two aspects which also qualify the narrative structure of his texts, namely the autobiographical and intertextual ones. While the autobiographical features of Joyce’s works can be estimated by his numerous biographies and archives, the facts from Shishkin’s life, the writer being our contemporary, can mostly be judged on by their creative interpretations in his own literary works. However, in its degree of truthiness, Shishkin’s autobiographical prose is in large excess over that of Joyce’s who would rather tend to aesthetic transformations of his life in the art forms. The two writers’ life stories themselves demonstrate a noticeable parallelism: both are linguistically sensitive; both did similar jobs along with their primary, literary occupation (a teacher, a journalist, a lecturer, a translator); for both, mother’s death of cancer and the child’s illness are reflected in recurrent literary motifs; both left for Switzerland to write about homeland from the meta-distance of the artist. Shishkin follows Joyce’s strategy of interlacing the intimate, painful episodes of his personal life into the literary texture of his writings. The very episodes of the lives of the two writers belonging to different national and historical cultures are quite identical, too. It is only that Shishkin goes further than Joyce in directness and candour, thus putting Joyce’s principle of mimesis on edge. This ultimate autobiographicity makes Shishkin, on the one hand, a successor to the tradition of Russian classical literature (remember his “love for Akaki Akakievitch”), as well as the tradition of truth in the 20th-century literature. On the other hand, it attaches him to the postmodern trend of transforming text into reality. Anyway, unlike postmodernists who are destroying literary discourse together with the characters articulating it, Shishkin “plays” with it in order to bring the novel back to life. Aesthetically, Shishkin reproduces and expounds Joyce’s theory of the “rhythm of beauty”, his technique of radical intertextuality and anastomosis connections of “all in all”. The story “The Blind Musician” has every trait of modernist poetics outlined above. The plays with light and darkness set by the cyclic rhythm of the day/night alternation and by regular shifts from mimetic to mythopoetic (intertextual) discourse are the structural narrative devices similar to those used by Joyce. Joyce’s characters, like Minotaurs, are wandering blindly through the labyrinth of Dublin until they arrive at the visionary moment of epiphany, when the beauty of a trivial truth lights up in their minds. Shishkin’s ideology is also modernist in character, since his “new linguoworld” is created as a mode of reconciling man with this world’s imperfections and as a mode of clarifying its sense.

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