VII. Contributions to Psychohistory: Emotional Tone of Fiction and Psychology

1983 ◽  
Vol 53 (1) ◽  
pp. 147-150
Author(s):  
K. T. Strongman
Keyword(s):  
Short Stories ◽  
New Zealand ◽  
Positive Emotion ◽  
National Character ◽  
Literary Magazines ◽  
Emotional Tone

285 short stories from New Zealand and Australian literary magazines were content analyzed with respect to the main emotion or emotions portrayed. Analysis showed that there was far more concern with negative than with positive emotion, although this differed within the two countries surveyed. Also, certain emotions stand out as being of major concern. Results are discussed in terms of the reflection of emotion in the writers of psychology and of fiction and also with respect to possible differences in national character.

scholarly journals Spirit Which Refuses to Die

1978 ◽  
Vol 7 (1) ◽  
pp. 3-5
Author(s):  
Sipho Sepamla
Keyword(s):  
South Africa ◽  
Short Stories ◽  
South African ◽  
Cape Town ◽  
Black Writers ◽  
Black Consciousness ◽  
Literary Magazines

One of the most interesting of South African poets, Sipho Sepamla recently published his third collection of verse, The Soweto I Love (Rex Collings, London and David Philip, Cape Town). A teacher by training, he now works for an East Rand company; apart from poetry he also writes short stories and edits two literary magazines. In an interview with the novelist Stephen Gray, broadcast last June by the African Service of the BBC, Sepamla discussed the problems of presentday Black writers in South Africa, showing why poets have now become the chief spokesmen for Black consciousness, represented in earlier years by writers of fiction.

scholarly journals Between two worlds: a study of migrant writers in New Zealand

2021 ◽  
Author(s):  
◽  
Schwass Margot
Keyword(s):  
Short Stories ◽  
New Zealand ◽  
Short Story ◽  
Full Account ◽  
Migrant Literature ◽  
Secondary Material ◽  
Unpublished Work ◽  
Migrant Writing

<p>This thesis begins with a consideration of what constitutes migrant writing, and points to the difficulties in arriving at an absolute definition. Some justification is given for the fact that the ensuing discussion concerns short stories alone, and some of the particular qualities of the short story which make it an appropriate form for migrant literature are examined. The first chapter also makes a brief survey of the context for migrant writing within New Zealand literature, and compares the work of several short story writers, migrant and non-migrant. The work of two New Zealand migrant short story writers is discussed closely in the chapters that follow: Amelia Batistich's stories are examined in Chapter Two, and Yvonne du Fresne's in Chapter Three. In each discussion, formal qualities are given equal attention as matters of content and theme. The final chapter attempts to draw connections between the work of these two writers and the problems of definition raised in the first chapter. Consideration is also given to the attitudes and expectations of readers of migrant fiction. The appendices to the thesis contain biographies of Amelia Batistich and Yvonne du Fresne, and transcripts of conversations with them. The conversations were recorded in 1984, and have been lightly edited. A bibliography is included which provides a selective guide to the two authors published and unpublished work, and a full account of all secondary material consulted.</p>

New Zealand Short Stories: Third Series

Books Abroad ◽  
1976 ◽  
Vol 50 (3) ◽  
pp. 720
Author(s):  
James Burns ◽  
Vincent O'Sullivan
Keyword(s):  
Short Stories ◽  
New Zealand

“The Way New Zealanders Would like to See Themselves”: Reading White Masculinity Via Media Coverage of the Death of Sir Peter Blake

2005 ◽  
Vol 22 (3) ◽  
pp. 336-355 ◽  
Author(s):  
Amanda Cosgrove ◽  
Toni Bruce
Keyword(s):  
New Zealand ◽  
Media Coverage ◽  
National Character ◽  
Unexpected Death ◽  
White Masculinity ◽  
Media Control ◽  
The Face ◽  
The Media ◽  
America’S Cup ◽  
Economic Landscape

In the face of growing scholarly concern about whiteness, and following Denzin’s (1996) argument that “those who control the media control a society’s discourses about itself” (p. 319), it becomes vital to interrogate and map what is at stake in specific representations of whiteness that gain purchase and mobilize the nation in shared ways. In death, America’s Cup sailor and adventurer Sir Peter Blake was held up as a New Zealand hero representative of a “true” national character. We argue that in the context of marked changes in the racial, political, and economic landscape of New Zealand, Blake’s unexpected death represented an important moment in the symbolic (re)production of historically dominant but increasingly contested notions of national character that are synonymous with white masculinity. We conclude that, as long as the centrality of whiteness is under threat, we are likely to see the ongoing rearticulation of nostalgic visions of nationalism.

scholarly journals The Collected Works of Charlotte Evans  1841-1882  Introduction and Biography

2021 ◽  
Author(s):  
◽  
Anne Doreen Brown
Keyword(s):  
Short Stories ◽  
New Zealand ◽  
Research Evidence ◽  
Victorian Studies ◽  
The North ◽  
The Social ◽  
Literary Heritage ◽  
Literary Output ◽  
Archive Material

<p>This thesis provides an introductory view of the life and works of early New Zealand romantic novelist Charlotte Evans 1841-1882. The work is comprised of three separate sections, including two introductions, a biographical essay and footnoting and markup for digitisation. Evans wrote short stories in addition to novels and poetry. I have attempted to create here a useful and informative overview of her two published novels Over the Hills and Far Away: A Story of New Zealand and A Strange Friendship: A Story of New Zealand - each of which were published in 1874. In the biographical essay I include a discussion of Evans’ general works, in particular the collection of poetry published by her husband Eyre Evans in 1917 entitled Poetic Gems of Sacred Thought. An important feature of the thesis has been to establish how Evans’ range of literary output may be cited and contextualised within New Zealand’s literary heritage in more detail than has previously been available. A significant aspect of the research has, in addition, involved examining the social and historical influences surrounding the author, both prior to and at the time of writing. In that respect the discussion has drawn upon available materials, such as book reviews and items published in newspapers. An appendix has been compiled of selected published poetry and articles from the North Otago Times of relevance to the foregoing text discussion. Contemporary photographs of Evans and map material of the ‘Teaneraki’ district are also included. It is hoped that situating the research evidence to specifically New Zealand contexts may provide a basis for positing Evans’ works more fully as New Zealand texts in their overall relation to pioneer period fiction. An important feature of the project has therefore meant developing a foundation of historical work concerning the author, much of which has been sourced from the National Alexander Turnbull Library and recently published family history that draws upon archive material related to the Evans and Lees families. Due reference to a range of recent critical texts has also, it is further hoped, enabled a more in-depth and detailed response to Evans’ contribution to the developing field of New Zealand literature and more specifically, Victorian Studies.</p>

scholarly journals Listy do Łucka

2013 ◽  
Vol 2 ◽  
pp. 37-60
Author(s):  
Anna Sulimowicz
Keyword(s):  
Short Stories ◽  
Publishing House ◽  
Major Focus ◽  
The South ◽  
Literary Magazines ◽  
Major Work ◽  
Cultural Life ◽  
Religious Songs

One of the addressees of the letters of Prof. Ananiasz Zajączkowski was Aleksander Mardkowicz (1875–1944), a notary from Lutsk, who was one of the most affluent Karaim activists of the inter-war period. As a young man he moved to Yekaterinoslav, where he worked in a notary’s practice. There he made his debut publishing a few poems in Russian in some literary magazines. After Poland gained its independence, in 1921 Mardkowicz returned to Lutsk, where he started to play an important role in the life of the local Karaim community as a member and, for a time, a president of the Board of the community. But the major focus of his work were literary and editorial activities. As there was a need for literature which would encourage Karaim readers to develop an interest in their own language, tradition and past, towards the end of the 1920s Mardkowicz struck upon the idea of creating a Karaim publishing house. In ten years between 1930 and 1939 he published 15 brochures (most of them written by himself): four short stories, four poems, a collection of religious songs, a calendar, a Karaim-Polish-German dictionary, a grammar of the south-western dialect (written by A. Zajączkowski) and three brochures in Polish on the history and traditions of the Karaims. “Karaj Awazy”, a magazine entirely in Karaim, whose twelve issues appeared between 1931 and 1939, can be regarded as his major work. It had an enormous impact on the cultural life of Karaim communities not only in Lutsk, but in Halicz and in Lithuania as well. The letters written by Zajączkowski to Mardkowicz between the summer of 1933 and the spring of 1939 show us some unknown aspects of the relations between the editors of two Karaim magazines appearing in the same time: “Myśl Karaimska” in Vilnius and “Karaj Awazy” in Luck.

scholarly journals J.C.Sturm: Before the Silence: An Exploration of Her Early Writing

2021 ◽  
Author(s):  
◽  
Margaret Michael
Keyword(s):  
Short Stories ◽  
New Zealand ◽  
Literary History ◽  
Second World War ◽  
Woman Writer ◽  
Literary Canon ◽  
Literary Context ◽  
Main Tendency ◽  
Second World

<p>This thesis considers the early works of J. C. Sturm, her own thesis, her short stories, articles and book reviews written in the 1950s before her writing and publishing silence. It examines where this writing places her in context of the post-Second World War period and where it could have placed her in the New Zealand literary canon had it not been for her ensuing literary silence.  The first chapter briefly discusses the nature of literary silences and then introduces Sturm with some biographical information. It details the approach that I take writing the thesis using three readings of her works: as social informer; as woman writer; and as Maori writer. These readings inform my commentary on her work and attempt to place her in the literary canon of the fifties. I discuss my reservations, as a Pakeha, in approaching Sturm as a Maori writer.  I use Sturm’s own comments “that many literary works can be taken as social documents and many authors can be taken as social informers” as a licence to use Sturm herself as “social informer”. It can be demonstrated how the ideas she promulgates in her thesis, New Zealand Character as Exemplified in Three New Zealand Novelists are developed in her short stories, articles and book reviews and in how Sturm holds her mirror up to New Zealand society.  Reading Sturm as a "woman” writer demonstrates how, through her short stories, she destroyed the “idyll of suburban domesticity”. Terry Sturm wrote of women’s writing of the 1970s that “its main tendency is to challenge male accounts of New Zealand society and culture”. Twenty years before this date I show that J. C. Sturm was writing that woman’s account and challenging the male expectations of a woman’s place in the home and society.  Using Sturm’s description that being a Maori writer is “a way of feeling”, her short stories and articles published in Te Ao Hou enable a discussion of Maori writing in the fifties, exploring both the writing context and the critical environment in which this writing was received. The hindsight provided by this exploration some fifty to sixty years on demonstrates the forgetting and misremembering that can happen in a literary context and the effect that forgetting can have on a Maori literary history.  In the final section I reconstruct the somewhat artificially deconstructed strands that have made up the previous chapters, bringing Sturm’s works together as a whole to enable a discussion on Sturm’s rightful place in the New Zealand’s literary canon of the fifties, as well as exploring further the natures of Sturm’s silence in order to bring some remembering into the long forgetting of Sturm’s early work.</p>

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