“The Heave of the Swell” – Metaphors of the Sea in Short Stories from Atlantic Canada (1900-1930)

2021 ◽  
Vol 66 (2) ◽  
pp. 97-110
Author(s):  
Judit Nagy

"“The Heave of the Swell” – Metaphors of the Sea in Short Stories from Atlantic Canada (1900-1930). The paper examines the use of sea metaphors in Atlantic Canadian short stories written between 1900 and 1930. Lakoff and Kövecses’s cognitive concept of the metaphor will provide the theoretical framework for the identification and classification of sea metaphors surfacing in the texts to be analysed. Using the socio-cultural background information provided in the first part of the paper, the more substantial second part will constitute the actual analysis, which will concentrate on the sea metaphor use of the works of prominent Atlantic Canadian short story writers from the golden age of the sea story. Keywords: Atlantic Canada between 1900 and 1930, socio-cultural background, short story, sea-related short fiction, cognitive metaphor theory, metaphors of sea "

2016 ◽  
Vol 5 (1) ◽  
pp. 55
Author(s):  
Nur Seha

Tulisan ini membahas citra perempuan Banten dalam cerpen yang dimuat di harian Radar Banten dengan menggunakan metode deskriptif kualitatif. Budaya Banten melatarbelakangi para cerpenis dalam melukiskan perempuan Banten. Para penulis dapat memotret sebagian kehidupan para perempuan tersebut melalui tokoh-tokoh rekaan yang diciptakan. Tujuan penelitian ini adalah mengkaji citra perempuan Banten melalui deskripsi para cerpenis dalam harian Radar Banten. Sumber data utama berasal dari empat belas cerpen yang dimuat tahun 2006—2010. Setelah analisis data melalui teori feminisme, diketahui bahwa citra perempuan Banten dalam cerpen tersebut adalah perempuan sebagai sosok pemimpin pemerintahan, penulis, perempuan berkekuatan magis, pemegang norma, pekerja keras, penyabar, penyayang, perempuan yang agamis, dan perempuan metropolis.Abstract:This paper discusses the image of Banten women in short stories published in Radar Banten. It  uses a qualitative descriptive method. Banten’s  cultural background depicts women in Banten. The writers of short story can capture some of the women’s real life through fiction’s characters. The purpose of this study is to examine the image of women through the description of the short story’s writers in Radar Banten. The main data sources were taken from fourteen short stories published in 2006—2010. Having analyzed the data using feminism theory, it is found out that the image of women in short stories of Radar Banten is the figure of woman as government leader, writer, woman with magical power, obedient norm woman, hardworking woman, patient and caring woman, religious woman, and  metropolitan woman.


Author(s):  
Argha Kumar Banerjee

Abstract In Katherine Mansfield’s short story ‘Life of Ma Parker’, the old, widowed charwoman is plagued by ‘unbearable’ thoughts of her deceased grandson Lennie: ‘Why did he have to suffer so?’ Lennie’s unfortunate death in the story is not a solitary instance of tragic portrayal of working-class childhood in Mansfield’s short fiction. In several of her tales she empathetically explores the marginalized existence of such children, occasionally juxtaposing their deplorable existence with their elite counterparts’. From social exclusion, child labour, parental rejection, infant and child mortality on the one hand to physical and verbal abuse, bullying in the school and appalling living conditions on the other; Mansfield's exploration of the working-class childhood in her short fiction is not only psychologically complex but sociologically significant. Focusing on the relevant short stories in her oeuvre, this brief analysis intends to closely examine such depictions of marginalized childhood experiences, particularly in light of the oppressive societal conditions that validate their repressive alienation and sufferings. Tracing various biographical circumstances that may have fostered Mansfield’s deep empathy with the children’s’ predicament, this analysis also draws attention to her subtle oblique narrative strategies that effectively represent the plight of working-class children in a convincing and an ingeniously nuanced manner.


Author(s):  
Catherine Clay

This chapter examines the short fiction content of the feminist weekly Time and Tide alongside readers’ letters printed in the periodical’s correspondence columns. A basic unit of magazine production the short story is also ‘definitional to modernism’ (Armstrong 2005: 52), and during the interwar period its status as commodity or art became the subject of increasing scrutiny and debate. Drawing on examples from amateur writers and well-known figures such as E. M. Delafield, the chapter explores how Time and Tide negotiated readers’ expectations for short fiction amongst its core target audience of women readers. Building on Fionnuala Dillane’s application of affect theory to periodical studies (2016), the chapter uses her concept of ‘discursive disruption’ to consider moments of conflict between Time and Tide and its readers over the short stories it published as moments of opportunity for the periodical to expand its scope, readership and brow, and renegotiate its position in the literary marketplace.


2020 ◽  
pp. 229-249
Author(s):  
Ann-Marie Einhaus

Cyril Connolly’s wartime periodical venture Horizon is commonly regarded as one of the most significant British literary publications in this period alongside John Lehmann’s New Writing series. Connolly’s specialism was literary criticism and cultural commentary, but the magazine also prided itself in offering readers exciting new (and some older) works of poetry and fiction. Given the stature of the magazine, this chapter investigates whether Horizon had a noticeable impact on the wartime short story in Britain, and if so, what this impact might have been. It outlines an editorial policy that, with few exceptions, regarded short fiction as filler material and chose short stories based on a combination of practical and critical factors, determined by availability and convenience as much as by aesthetic judgement.


2019 ◽  
Vol 12 (1) ◽  
pp. 1
Author(s):  
Asri Furoidah ◽  
Alberta Natasia Adji

The Form of Text Communication in Eka Kurniawan’s Corat-coret di Toilet Short Story Collection. The purpose of this study is to find the method of text communication in the Corat-coret di Tolet short stories collection. The form of this study is a literary study with structural analysis methods as offered in the narrative theory of Gerard Gennette. The results of the study are the classification of the text communication method of short stories namely: zero and fixed internal focalization; subsequent and simultaneous narrating times; intradiegetic-heterodiegetic, extradiegetic-heterodiegetic, and intradiegetic-homodiegetic types of narrating level and person; the character and writer as a narrator. The findings of the classification of text communication methods indicate the existence of a gender bias that alienates women's position in the story.


Author(s):  
Laurie Champion

The short story is the only genre that can be considered uniquely American. The genre began as sketches, or tales, as in the classic tale “Rip Van Winkle.” The genre remained undefined until Edgar Allan Poe’s well-known 1842 review of Nathaniel Hawthorne’s Twice-Told Tales. Since Poe’s review, in which he distinguished short fiction from other genres, the American short story has evolved both in form and in content. Like other genres, the short story has evolved through various movements and traditions such as realism, modernism, and postmodernism; however, it has remained unique because of publishing opportunities that differ from longer works such as the novel. The short story genre shares elements of fiction with the novel, traditionally consisting of characteristics such as plot, character, setting, point of view, theme, and writing style. Although the short story shares elements of literature and writing devices with other literary genres, avenues for publication differ greatly. Unlike a novel, a short story is not published as a single entity. It is usually presented with works by other authors in a journal or magazine or in a collection of previously published stories by one author. The rise in popular magazines during the 1920s gave rise to the short story, as the magazines provided a publication outlet. During the second half of the 20th century the short story became less commercial and more literary, paving the way for artistic stories such as one appropriately called “The New Yorker Story.” However, as it became less commercial, the short story fell from popularity and became somewhat obscure in the manner in which poetry remains. Because short stories do not sell, publishers are hesitant to produce them. But during the 1970s, American universities began teaching creative writing classes, and the short story provided a suitable genre for teaching the art of fiction writing. Hence, the American short story experienced a renaissance, and a wave of literary journals emerged. About this time, minimalism was one of the styles most often used in the short story. Raymond Carver built on what Ernest Hemingway had started in America, and the short story took on a new form. During the latter half of the 20th century and early 21st century, women and ethnic writers were given more opportunities to publish short fiction, and the short story reflected progress in civil rights issues. Currently, the rise in technological advances has brought even more opportunities for publication, and more and more American authors are publishing short stories online, now a respected publication venue.


2020 ◽  
Vol 10 (2) ◽  
pp. 135-148 ◽  
Author(s):  
Elke D’hoker

In a context of manmade global warming, ecological destruction and species extinction, posthumanist scholars have advocated moving beyond the anthropocentrism that determines western thinking in favour of an embedded and embodied interspecies relationality. If these remain fairly abstract notions in the work of critics such as Donna Haraway and Rosi Braidotti, contemporary short fiction provides many interesting examples of these alternative forms of being and becoming. The short story seems especially suited to exploring this decentring of the human subject, given its own status as a liminal, ‘minor’ or ‘humble’ genre and its long tradition of exploring human–animal relations in animal stories. This article demonstrates how contemporary short stories by Lauren Groff, Claire-Louise Bennett, Sarah Hall, Sara Baume and Louise Ehrdrich stage a profoundly biocentric perspective by moving beyond animal stories’ traditional modes of the fabular and the figural towards a realistic depiction of our creaturely existence in experiences that may be at once empowering and terrifying.


2020 ◽  
Vol 10 (2) ◽  
pp. 161-172 ◽  
Author(s):  
Alda Correia

The representation of the world cannot be separated from its spatial context. Making the effort to understand how space and landscape influence short stories and their structure, and are represented in them, can help us to make sense of the role of this formerly underestimated subgenre, its social and cultural connections and dissonances, its relation to storytelling and popular narratives, and its alleged low importance. How does the short story genre relate to regional and landscape literature? Can we see it as humble fiction and, in this case, how does the humbleness of this subgenre play a part in the growth of the modernist short story? The oral, mythic and fantastic sources of the short story, together with the travel memoir tradition that brought the love for landscape description and the interest in the narration of brief and easily publishable episodes of local life, helped to consolidate a connection between the short story form and regional literature. ‘Humbleness’ is used here in association with the absence of complexity, plainness, simplicity of approach to a complex reality, straightforwardness. From this perspective, aesthetic value was usually absent from regionalist fiction as its only aim was to render the local truth faithfully. However, this ‘aesthetic humbleness’, which should not be used as a generalization, has been increasingly questioned in regard to modernism, postmodernism and postcolonialism and also when we consider specific works.


2021 ◽  
Vol 51 (1) ◽  
pp. 72-84
Author(s):  
Elke D'hoker

This essay looks at Elizabeth Bowen's presence in The Bell during the war years. She contributed an essay, a short story, two pieces of memoir, two obituaries, and a few other, smaller pieces to the magazine, but also featured in an interview, several reviews, and O'Faoláin's editorials and critical essays. Yet, as a Protestant, Anglo-Irish woman writer living in England, Bowen was in many ways an odd presence in The Bell, which squarely focused on Irish life and Irish writing. While O'Faoláin's mission to present an inclusive view of Ireland may explain his publication of Bowen's autobiographical essays, her prominence as a fiction writer can better be accounted for through her achievements in the modern short story, the genre O'Faoláin sought to promote as a central Irish literary form in The Bell. Indeed, although Bowen's short stories have been classified as ‘modernist’ and O'Faoláin's as ‘realist’, their aesthetics of the short story are remarkably similar. Still, The Bell’s championing of Bowen's short fiction as a model to follow was undermined by its framing of Bowen as an ‘aristocratic’ writer whose literary snapshots of Irish life had a peculiarly dated and blinkered quality.


2005 ◽  
Vol 18 (1) ◽  
pp. 96-112 ◽  
Author(s):  
Andreas Musolff

AbstractThomas Hobbes's condemnation of metaphor as one of the chief "abuses of speech" in Leviathan occupies a famous (to some critics, infamous) place in the history of thinking about metaphor. From the viewpoint of cognitive metaphor theory, George Lakoff and Mark Johnson (1980,1981) have depicted Hobbes and John Locke as the founding fathers of a tradition in which "metaphor and other figurative devices [became] objects of scorn". Similar verdicts on Hobbes and on Locke as arch-detractors of metaphor can be found in many other accounts of the history of semantics. However, these indictments stand in marked contrast to a considerable number of scholarly publications that have shown that Hobbes's assessment of rhetoric and metaphor is far from a 'straightforward' denunciation of anything non-'literal'. In this paper I shall use results of this research in an analysis of key-passages from Leviathan to re-assess Hobbes's views on metaphor. I shall demonstrate that some critics of Hobbes have overlooked crucial differentiations (in particular, of different kinds of metaphor and similitude) in his concept of metaphor as a key-issue of public communication. Furthermore, I shall argue that Hobbes's foregrounding of the 'dangers' of metaphor use in political theory and practice should be interpreted as an acknowledgement rather than as a denial of its conceptual and cognitive force.


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