scholarly journals Forma do romance e forma da história: a representação do “Terceiro Mundo” em Zero, de Ignácio de Loyola Brandão

Eutomia ◽  
2018 ◽  
Vol 1 (20) ◽  
pp. 205
Author(s):  
Pedro Dolabela Chagas
Keyword(s):  
Literary Tradition ◽  
Literary Form ◽  
The Novel ◽  
Contemporary History

A representação da história contemporânea em Zero, de Ignácio de Loyola Brandão. A insuficiência das formas e conceitos legados pela tradição literária diante das contradições da modernização brasileira: a forma do romance como resposta ao desafio da interpretação de um país em transformação. Considerações gerais sobre a forma literária e a representação da história.Palavras-chave: Zero, de Ignácio de Loyola Brandão; Romance brasileiro pós-64; Interpretação nacional; Romance e representação da história.Abstract: The representation of contemporary history in Ignácio de Loyola Brandão’s Zero. The insufficiency of forms and concepts inherited from the literary tradition before the contradictions of Brazilian modernization: the form of the novel as a response to the challenges of interpreting a changing country. General considerations about literary form and the representation of history.

Uneven Temporalities of Modernity: The Portrayal of Modernisation in E. M. Forster’s Howards End and Füruzan’s 47'liler

2016 ◽  
Vol 7 (1) ◽  
pp. 35-48
Author(s):  
Burcu Alkan
Keyword(s):  
Literary Tradition ◽  
Literary Form ◽  
The Novel ◽  
Societal Transformation ◽  
Literary Traditions ◽  
Literary Responses ◽  
Howards End ◽  
Modern Novel ◽  
Similarities And Differences

Arguably a cultural consequence of the extensive societal transformation that is modernisation, the novel is a literary form that bears witness to, embodies and reveals its extent. Each literary tradition has its own version of the modern novel that seeks to make sense of the complexities of such an immense force. This paper compares two novels, E. M. Forster’s Howards End (1910) and Füruzan’s 47’liler (1974, Generation of ’47), in order to explore some of the similarities and differences between the English and Turkish literary responses to modernisation. The incentive for such an uncommon comparison comes from the uneven temporalities of the modernisation process in varying geographies that accentuate unique probabilities alongside general patterns. By choosing two temporally disparate novels from cultures that have differing experiences with modernity, it aims to challenge conventional approaches and encourage alternative perspectives in both literary traditions.

The Quiet Contemporary American Novel

2018 ◽  
Author(s):  
Rachel Sykes
Keyword(s):  
Literary Tradition ◽  
Literary Form ◽  
The Novel ◽  
Western Tradition ◽  
Marilynne Robinson ◽  
American Novel ◽  
Reduced Volume ◽  
History Of ◽  
Hester Prynne ◽  
Selection Of

What does it mean to describe a novel as ‘quiet’? The quiet contemporary American novel defines the term as an aesthetic of narrative that is driven by reflective principles. While, at first appearance, ‘quiet’ seems a contradictory description of any literary form, because it risks suggesting that the novelist has nothing to say, this book argues that the quiet of the novel is better conceived as a mode of conversation that occurs at a reduced volume than as the failure to speak. The quiet contemporary American novel then makes two critical interventions. First, it maps the neglected history of quiet fictions and argues that from Hester Prynne to Clarissa Dalloway, from Bartleby to William Stoner, quiet characters fill the novel in the Western tradition. As a phrase, ‘the quiet novel’ also has a long and untraced history, dating back 150 years. Throughout its long history, many critics have used ‘the quiet novel’ as a phrase that dismisses and derides the work of writers whose novels seem disengaged from the ‘noise’ of their wider society. The quiet contemporary American novel finally takes up the long referred to idea of quiet fiction to ask what it means for a novel to be quiet and, through discussion of a diverse selection of contemporary writers including Marilynne Robinson, Teju Cole, and Lynne Tillman, asks how we might read for quiet in an American literary tradition that critics so often describe as noisy.

The Pornographer and McGahern's Allusive Practice

2017 ◽  
Vol 47 (2) ◽  
pp. 281-297
Author(s):  
Tom Walker
Keyword(s):  
Social Practice ◽  
Literary Tradition ◽  
The Novel ◽  
Present Value ◽  
The Past

Allusions to other texts abound in John McGahern's fiction. His works repeatedly, though diffidently, refer to literary tradition. Yet the nature of such allusiveness is still unclear. This article focuses on how allusion in The Pornographer (1979) is depicted as an intellectual and social practice, embodying particular attitudes towards the function of texts and the knowledge they represent. Moreover, the critique of the practice of allusion that the novel undertakes is shown to have broader significance in terms of McGahern's whole oeuvre and its evolving attempts to salvage something of present value from the literature of the past.

Restoration Theatre and the Novel

2018 ◽  
Author(s):  
Jenny Davidson
Keyword(s):  
Eighteenth Century ◽  
Literary Form ◽  
The Novel ◽  
Cultural Transition ◽  
Strong Affinity ◽  
History Of ◽  
Restoration Theatre ◽  
Restoration Comedy ◽  
London Stage

This chapter explores the broad cultural transition from drama to novel during the Restoration period, which triggered one of the most productive periods in the history of the London stage. However, when it comes to the eighteenth century proper, the novel is more likely to be identified as the century's most significant and appealing popular genre. The chapter considers why the novel has largely superseded drama as the literary form to which ambitious and imaginative literary types without a strong affinity for verse writing would by default have turned their attention and energies by the middle of the eighteenth century. Something important may have been lost in the broad cultural transition from drama to novel. This chapter, however, contends that many things were preserved: that the novel was able to absorb many of the functions and techniques not just of Restoration comedy but of the theatre more generally.

scholarly journals BIG AND SMALL WORLDS OF CHILDREN CHARACTERS IN ‘A LITTLE PRINCESS’ BY F. H. BURNETT

2020 ◽  
Vol 12 (3) ◽  
pp. 70-78
Author(s):  
Varvara A. Byachkova ◽  
Keyword(s):  
Charles Dickens ◽  
Fairy Tale ◽  
Literary Tradition ◽  
Small World ◽  
Protective Mechanism ◽  
The Novel ◽  
Main Character ◽  
Small Worlds ◽  
The World ◽  
Space Organization

The article raises the topic of space organization in writings by Frances Hodgson Burnett. The object of analysis is the novel A Little Princess. The novel, addressed primarily to children and teenagers, has many similarities with David Copperfield and the works of Charles Dickens in general. The writer largely follows the literary tradition created by Dickens. The space of the main character is divided into three levels: the Big world (states and borders), the Small world (home, school, city) and the World of imagination. The first two worlds give the reader a realistic picture of Edwardian England, the colonial Empire, through the eyes of a child reveal the themes of unprotected childhood, which the writer develops following the literary tradition of the 19th century. The Big and Small worlds also perform an educational function, being a source of experience and impressions for the main character. In the novel, the aesthetic of realism is combined with folklore and fairy-tale elements: the heroine does not completely transform the surrounding space, but she manages to change it partially and also to preserve her own personality and dignity while experiencing the Dickensian drama of child disenfranchisement, despair and loneliness. The World of imagination allows the reader to understand in full the character of Sarah Crewe, demonstrates the dynamics of her growing up, while for herself it is a powerful protective mechanism that enables her to pass all the tests of life and again become a happy child who can continue to grow up and develop.

scholarly journals “The Mandarins”: Simone de Beauvoir’s Artistic Method

2018 ◽  
pp. 96-109
Author(s):  
Yu. V. Korelskaya
Keyword(s):  
Albert Camus ◽  
Literary Form ◽  
The Novel ◽  
Simone De Beauvoir ◽  
Inner Life ◽  
Postwar Literature ◽  
Outer Line ◽  
Jean Paul ◽  
Literary Methods ◽  
Intimate Life

Simone de Beauvoir is a representative of one of the leading philosophical schools in the middle of the 20th century. The article presents Beauvoir’s artistic method, applied in her novel The Mandarins, and examines the theoretical and biographical sources of the novel. The author demonstrates the place that the novel has in the Beauvoir’s literary and philosophical heritage and reveals the genre features of the work, introducing some special terms such as engaged, modern or philosophical novel and testimonial autobiographical project. The article also analyzes the novel’s literary form and the binary structure of the narrative. The study of the main characters, who are Henri Perron, Anne Dubreuilh and her husband Robert, allows to give a couple of narrative lines. First of them is the inner line that opens the reflective, contemplative and intimate life of one of the main characters – Anne. The second one is the outer line that means that the reader receives the information about characters from the Henry’s actions. Basing on this structure, we draw a conclusion about the modifications in the genre of existential novel in the postwar years. The new themes can be found in the literature. Authors introduce to readers the certain social reality through the inner life of some characters – intellectuals, novelists or philosophers. The thesis about the inner transformation of the genre is proved on Beauvoir’ and Jean-Paul Sartre’s works and on the prewar works of Sartre and Albert Camus. Beauvoir’s new literary methods and plots, which are the logical development of her work, made her novel one of the pioneers in the postwar literature.

scholarly journals Maïssa Bey : romancière de l’agentivité de femmes Entre réécriture de l’Histoire et invention de soi

Il Tolomeo ◽  
2020 ◽  
Author(s):  
Lila Lamrous
Keyword(s):  
Literary Tradition ◽  
Point Of View ◽  
The Novel ◽  
Female Characters ◽  
Patriarchal Society ◽  
The Feminine ◽  
The Right

The study of Maïssa Bey’s novel Surtout ne te retourne pas allows to examine how the Francophone novel represents an earthquake as a poetic, metaphorical and political shockwave. The novel is part of a literary tradition but also shows the singularity of the writing and the engagement of the Algerian novelist Maïssa Bey. It allows to examine the feminine agentivity in the context of the disaster camps in Algeria: from the ravaged space/country emerge the voices of women who enter into resistance to improvise, invent their lives and their identities. The earthquake allows them to free themselves, to take a subversive point of view at society and their status as women in an oppressive patriarchal society. The staged female characters arrogate to themselves the right to reread history and take their destiny back.

scholarly journals City image as a personification of female nature in “The Dead [City of] Bruges” by Georges Raymond Constantin Rodenbach

2021 ◽  
Vol 27 (1) ◽  
pp. 106-109
Author(s):  
Marina A. Kozlova
Keyword(s):  
Literary Tradition ◽  
The Novel ◽  
City Image ◽  
Image System ◽  
The Creation ◽  
The Dead ◽  
The City

The paper is devoted to the peculiarities of the creation of the personified image of the city in the novel “The Dead [City of] Bruges” by Georges Raymond Constantin Rodenbach, which, according to the author himself, represents not only the protagonist, but also its organising force. The Belgian author draws on an earlier literary tradition, according to which the city appears to the poet's mind in the form of a woman. The image of the city is built on the combination and interaction of different elements, among which those that are considered in the article: the theme of duality, the motif of reflection, which becomes the main constructional principle of the image system of the novel, as well as references to mythological and literary archetypes. The theme of duplicity is directly connected with the category of correspondence or analogy, which is central to Rodenbach's oeuvre and forms a peculiar poetics of reflection and determines the choice of expressive means. Dualism is associated with a hostile, dark and demonic force, contrasted with the "holy" and infallible feminine ideal, embodied in the image of the perished beloved, who is also a prototype of the city. The poeticised image of the city is related to archetypical figures that are typical of European symbolism – first of all, Ophelia, but also Orpheus and Narcissus, all this through an appeal to the symbolism of water and the otherworld, then through the main character's attempt to overcome the border between worlds and create a new myth about love that defeats death.

THE HERO OF THE NOVEL BY I. MALYSHEV “NOMAKH” AND THE YEGOR LETOV’S POETICS

2021 ◽  
pp. 92-101
Author(s):  
Denis L. Karpov ◽  
Keyword(s):  
Civil War ◽  
Consumer Culture ◽  
Contemporary Literature ◽  
Literary Tradition ◽  
Cultural Discourse ◽  
The Novel ◽  
The West ◽  
Difficult Situation ◽  
Literary Life ◽  
Civil War Era

Contemporary literature is being formed in a difficult situation of polyphony of the modern consumer culture. Mainstream discourses are mixed with subcultural ones, the authors are influenced not only by the literary tradition itself, but also, for example, by rock culture. Thus, the countercultural, subcultural experience, which until recently was considered as peripheral, is actively being introduced into the socio-cultural discourse of modern Russia through the assimilation by authors claiming a place in the center of the country’s literary life. The novel by I. Malyshev “Nomakh” may be considered as an example of such influence. It became a finalist of the literary prize contest “Big Book” in 2017. The novel is clearly influenced by countercultural ideology, in particular by E. Letov, one of the most popular and reputable representatives of the West Siberian counterculture. At the same time, there are no direct references or quotations from the poetry of the Omsk musician in the novel. Rather, one can see some stylistic likenesses, similar figurative complexes. The reception of a historical character from the civil war era is based on the learned principles of poetics and Letov’s worldview. In addition, adopting the intellectual experience of the counterculture, I. Malyshev’s novel not only relays a certain ideology, but also, with the help of artistic means, recreates or completes the images of its hero, historical character, and cultural heroes, which he focuses on.

Soviet Freedom in South Africa

2020 ◽  
pp. 71-103
Author(s):  
David Johnson
Keyword(s):  
South Africa ◽  
South African ◽  
Literary Form ◽  
The Political ◽  
The Novel ◽  
William Morris ◽  
Olive Schreiner ◽  
Political Journalism ◽  
Political Freedoms ◽  
The Many

The reception in South Africa of the utopian tradition initiated by Marx, Engels and Lenin is analysed, focusing on the period from 1910 to 1930. The chapter examines the early South African dreams of freedom derived from or influenced by classical Marxism: the political journalism of Olive Schreiner from the 1880s to 1920; the novel 1960 (A Retrospect) by James and Margaret Scott Marshall; the Christian-influenced dreams of David Ivon Jones and Josiah Gumede; the 1928 Native Republic Thesis prescribed for South Africa by the Soviet Union’s Comintern; the literary visions of freedom of Edward Roux (inspired by Swinburne) and J. T. Bain (inspired by William Morris), as well as the many dreams expressed in literary form in the pages of The International and successor CPSA newspapers The South African Worker and Umsebenzi; J. M. Gibson’s ideal of an economic freedom that supersedes the political freedoms of liberalism; and the Stalinist telos driven by ‘the deepening economic crisis’ and culminating in the dictatorship of the proletariat. Roux’s political cartoons envisioning freedom and published in Umsebenzi are analysed.

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