“Dialogic” as Diversity: Considering Bakhtin’s Theory of the Novel as Template for a Multi-cultural Curriculum in a Literature or Language Arts Classroom

2009 ◽  
Vol 9 (1) ◽  
pp. 101-108
Author(s):  
Kenneth DiMaggio
Keyword(s):  
Language Arts ◽  
The Novel ◽  
Cultural Curriculum ◽  
Theory Of The Novel

Saints and Miracles: The End of the Affair

2018 ◽  
Author(s):  
Allan Hepburn
Keyword(s):  
The Novel ◽  
Graham Greene ◽  
Georg Lukacs ◽  
Dorothy Sayers ◽  
Theory Of The Novel ◽  
The Mind ◽  
Georg Lukács

Miracles rarely appear in novels, yet Graham Greene includes several of them in The End of the Affair. Sarah Miles heals a boy suffering from appendicitis and a man with a disfigured cheek. Like a saint, she seems to heal or revive through her compassionate touch, as when she raises her lover, who may or may not have died in a bomb blast, by touching his hand. This chapter locates Sarah’s interventions amidst debates about miracles, beginning with David Hume’s sceptical rejection of inexplicable phenomena, through such mid-century books as C. S. Lewis’s Miracles and Dorothy Sayers’ The Mind of the Maker. The inherent godlessness of novels, as Georg Lukacs puts the matter in Theory of the Novel, would seem to ban mystical content altogether from novelistic discourse. Yet this chapter argues for the revaluation of mystical content—the ordeals of the whisky priest in The Power and the Glory, for example—within the generic precincts of the novel.

Lukacs' Theory of the Novel

1973 ◽  
Vol 6 (2) ◽  
pp. 175 ◽  
Author(s):  
Graham Good ◽  
Gyorgy Lukacs ◽  
Anna Bostock
Keyword(s):  
The Novel ◽  
Theory Of The Novel

scholarly journals Hegel and Lukács on the Novel

2010 ◽  
Vol 31 (02) ◽  
pp. 23-34 ◽  
Author(s):  
Allen Speight
Keyword(s):  
Significant Influence ◽  
The Novel ◽  
Georg Lukacs ◽  
Philosophy Of Literature ◽  
The World ◽  
Theory Of The Novel ◽  
Prose Literature ◽  
Georg Lukács

That Hegel was a significant influence on the young Georg Lukács'Theory of the Novelis a point few would dispute. Lukács himself insisted that the first part of TN represented his own transition from Kantian to Hegelian theory, and most critics have subsequently affirmed the importance of Hegel to Lukács' pre- (or, depending on one's view, proto-) Marxist argument inTN. Yet the two are in some ways strange to take together in the context of novelistic theory. Despite the profusion of novelistic literature in his own time and his own significant appropriation of it for the limning of essential moments of the development of the world-historical spirit, Hegel's officialAestheticshardly presents what one could claim to be an especially worked-outtheoryof the novel. TheAestheticstakes up literature in general primarily under the rubric of providing a theory of the genres ofpoetry— epic, lyric and dramatic — and what relatively few words Hegel actually devotes to the novel and prose literature in the lectures are tucked in corners: at the end of the discussion of the development of the epic, in the discussion of the historical form of the romantic, and in scattered comments elsewhere. As forTN, despite the strong connections some have drawn between Hegel and Lukács — Peter Demetz said that Lukács was ‘in a certain sense … the last Hegelian in the grand style’ (Demetz 1967: 215) — others have questioned whether Lukács' work should be regarded primarily as making a contribution to the philosophy of literature in the tradition from which Hegel writes.

The Theory of the Novel: New Essays

Books Abroad ◽  
1975 ◽  
Vol 49 (2) ◽  
pp. 395
Author(s):  
William Riggan ◽  
John Halperin
Keyword(s):  
The Novel ◽  
Theory Of The Novel

scholarly journals Nomadic Narrative in Charlotte Brontë’s Villette

Humanities ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 65
Author(s):  
Jungah Kim
Keyword(s):  
Sense Of Agency ◽  
The Novel ◽  
Theory Of The Novel

Various critics have examined Charlotte Brontë’s Villette’s missing ending as a proof of Lucy Snowe’s unreliability in leaving the narrative purposefully ambiguous to escape her possible negative ending. I, however, interpret the ending as one of the ways in which she actively and positively refuses the concept of closure, and rather, creates, what I would call, a nomadic narrative. Nomadic narrative is term I coined based on the idea of Rosi Braidotti’s nomadic theory and Georg Lukács’s The Theory of the Novel to re-imagine Lucy’s narration and narrative, not as a concealment, but as an embracement of her nomadic subjectivity and acknowledgement that she has no true end. I further argue that nomadic narrative is a narrative that fractures and recreates itself through its gaps and rewritten portions, gaining its own sense of agency. Unlike narratives that only fixate on protagonists, nomadic narrative becomes an open and posthuman space that allows the incorporation of nonhuman subjects.

A Country for Old Men: The South of Clyde Edgerton’s Early Novels

2016 ◽  
Author(s):  
Robert Donahoo
Keyword(s):  
Language Arts ◽  
English Language ◽  
The Novel ◽  
The South ◽  
Young Readers ◽  
Contemporary Life ◽  
Excessive Alcohol ◽  
Old Men ◽  
Larry Brown ◽  
Clyde Edgerton

This chapter discusses Clyde Edgerton's early novels, whose characters define themselves and the essential nature of contemporary life in the South. If we accept Erik Bledsoe's description of the Rough South as “a world of excess—excessive alcohol, excessive sex, excessive violence,” the works of Edgerton hardly seem to qualify. Indeed, Yvonne Mason, in Reading, Learning, Teaching Clyde Edgerton, declares his work “infinitely suitable” for “young readers in the English Language Arts classroom”—an appraisal difficult to imagine for the fiction of Harry Crews or Larry Brown. Edgerton's first three novels—Raney (1985), Walking Across Egypt (1987), and The Floatplane Notebooks (1988)—offer a way to understand his South, a world that increasingly belongs to and is defined by aging and death. This chapter considers Edgerton's other works, including the novel The Night Train (2011), the memoir Solo: My Adventure in the Air (2005), and the nonfiction Papadaddy's Book for New Fathers: Advice to Dads of All Ages (2013).

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