scholarly journals DOMESTIC WOMEN’S LITERATURE AT THE BEGINNING OF THE 21st CENTURY. AUTOFICTION – THEORETICAL PROVISIONS

2020 ◽  
Vol 1 (10(78)) ◽  
pp. 34-37
Author(s):  
Oksana Ozdemir
Keyword(s):  
Literary Criticism ◽  
21St Century ◽  
Women's Literature ◽  
Literary Form ◽  
Point Of View ◽  
Literary Analysis ◽  
Early 21St Century ◽  
Non Fiction ◽  
To Come ◽  
Gerard Genette

The article focuses on the fact that one of the most productive forms of self-identification and representation in domestic women’s prose of the late 20th – early 21st centuries is the literary form of autofiction, which attests the continuation of the traditions of autobiography in the domestic gyneprose to the new level. However, modern autogyneprose mostly positions its openness to the reader, starting from the level of the “external pact” with the recipient, who emerges from the book pages through the conclusion of external pacts with the reader at the level of preface, inner interviews, own photo of writers, etc., which are called to witness openness of the author, clearly outline her image, and to some extent to announce her intentions. That is, the active position of dialogue with the recipient can be traced. This position is also indicated by the creation by the writers of the image of the implicit reader by introducing an internal addressee, that is, an internal pact in the form of a dialogue with the reader throughout the story. The active interaction of the narrator with the reader in women’s prose of the early 21st century also enables the latter to come closer to understanding of their own image, since the heroine of autofiction becomes for the recipient those Others, in the background of whom their own self-identification takes place. However, when it comes to the literary comprehension of these constructs, it should be noted that there is no conception of their analysis in the literary criticism of gynecritical orientation. This is the reason for the practice of using for this purpose of the “masculine” theory of literary analysis of narrative, in particular, the theory of autobiographical pact by Philippe Lejeune and the theory of narrative by Gérard Genette. And yet another complexity of narratological analysis of a text from the point of view of its narrative organization is not only an innovative method of autogyneprose research, but also some innovation in the field of the study of the narrative organization of non-fiction texts in comparison with fiction texts (this applies to both domestic and foreign literary studies). In this regard, the study of the forms of ego-narrative objectification in the autofiction texts by O. Drachkovska, I. Karpa, Ye. Kononenko, S. Povalyaeva and I. Rozdobudko is very relevant.

The Posthuman Subject in/of Asian American Literature

2019 ◽  
Author(s):  
Michelle N. Huang
Keyword(s):  
Critical Race Theory ◽  
American Literature ◽  
Asian Americans ◽  
21St Century ◽  
Asian American ◽  
The United States ◽  
Literary Analysis ◽  
Literary Studies ◽  
Asian American Literature ◽  
Early 21St Century

Is the posthuman postracial? Posthumanism, an interpretive paradigm that unseats the human individual as the de facto unit of literary analysis, can be a powerful tool for Asian American literary studies when deployed with attention to critical race theory and literary form. Throughout American literature, Asian Americans have frequently been figured as inhuman—alien, inscrutable, and inassimilable. Representations of Asian Americans as either sub- or superhuman populate many genres, including adventure literature, domestic realism, comics, and science fiction. This trope, which combines yellow peril and model minority stereotypes, forms a through line that runs from depictions of Asian Americans as nerveless 19th-century coolies to 21st-century robotic office workers. Manifesting both threat and promise for America, posthuman representations of Asian Americans refract national and racial anxieties about the fading of the United States’ global influence as Asian nations, especially China, become political and economic superpowers. Rather than directly refuting these characterizations, Asian American writers have creatively engaged these same thematics to contemplate how developments in science and technology produce different ways of understanding the human and, concomitantly, engender changes in racial formation. Novelists, dramatists, poets, and artists have all deployed posthumanism in order to conduct imaginative experiments that challenge expectations regarding the typical purview of Asian American literature. Several nodes of inquiry that demonstrate the importance of posthumanist critique for Asian American literary studies include race as an index of humanity, the mutability of race through biotechnology, the amplification of racial inequality through infrastructure, and the reproduction of race through algorithmic culture. In the wake of early 21st-century ecological disaster and biotechnological fragmentation, examining the evolving relationship between Asian American racialization and posthumanism continues to provide important insights into how race is structured by the changing boundaries of the human and, in turn, demonstrates that the posthuman subject is never “beyond” race. In addition to offering an overview, this article provides a case study regarding the stereotyping of Asian Americans as robotic.

scholarly journals “HOW DO WE WRITE”, OR THE PROBLEM OF LITERARY SELF-CONSCIOUSNESS

2021 ◽  
Vol 14 (2) ◽  
pp. 67-79
Author(s):  
M.A. Chernyak ◽  
◽  
M.A. Sargsyan ◽  
Keyword(s):  
Literary Criticism ◽  
21St Century ◽  
Textual Criticism ◽  
Literary Work ◽  
Turn Of The Century ◽  
Self Reflection ◽  
Aesthetic Taste ◽  
Non Fiction ◽  
Literary Process

Statement of the problem. The interest of modern literary criticism to the problem of literature reflection is carried out mainly on the material of various metatexts, especially vividly represented in the turn of the century. The purpose of the article is to reveal author’s identity and artistic self-reflection in non-fiction texts. In this regard, the collection of articles entitled “How Do We Write”, compiled in 2018 by St. Petersburg writers Pavel Krusanov and Aleksander Etoev, is of particular interest. This book was written in reply to the book “How Do We Write” in 1930. The literary process of the 1920s, like, in many respects, literature of the new 21st century, was a period of renewal of various types and genres of artistic creativity, a period of the birth of new forms. Research results. Comparison of the two books, in which writers from different literary eras reflect on the nature of creativity, on the technology of literary work, on relationships with a reader, gives grounds to talk about the contours of a new textual criticism of the 21st century. Deformation of the canon, destruction of the boundaries of literature and aesthetic taste, and new forms of communication influenced the content and form of texts. Conclusions. With emergence of Internet reality, new sources of textual criticism appeared. The new literary reality dictates its own laws and creates new conditions for the development of publish- ing, writing, and reading relationships. Modern literature, like the literature of past years, reacts to cultural and historical events and to the development of the literary process, reflecting on the creation of the text and on the role of a writer here and now.

scholarly journals Coming back home: the reconstruction of the identities of the homecomers

2019 ◽  
Vol 11 (28) ◽  
pp. 553-573
Author(s):  
Glaucia De Oliveira Assis ◽  
Emerson César de Campos
Keyword(s):  
21St Century ◽  
Gender Relations ◽  
Transnational Identity ◽  
Men And Women ◽  
Early 21St Century ◽  
To Come ◽  
And Gender ◽  
The Early 21St Century

AbstractThis article discusses the comings and goings of Brazilian migrants in the early 21st century. Returning is a constituent stage of the migration project. Many men and women, when setting out to America, claimed their intent to come back when completing their migration project, which is usually translated as acquiring enough resources to purchase a house, a vehicle, and to start a business. This article discusses how men and women go through the experience of returning to the homeland to analyze how they reconstruct the path home and which effects of travel appear in the identity configurations, as well as in familial and gender relations. “It’s easier to leave than to come back,” migrants say. Thus we intend to demonstrate that returning is more complex, and that, in several cases, migrants live between two places, forming a transnational identity. Keywords: Transnationalism. Return. Memory

scholarly journals Evolution of Spanish society socio-cultural values and norms at the turn of the XX-XXI centuries

2017 ◽  
pp. 41-46
Author(s):  
Alexandr Kozhanovsky
Keyword(s):  
Cultural Values ◽  
21St Century ◽  
Political Correctness ◽  
Point Of View ◽  
European Countries ◽  
Spanish Society ◽  
Early 21St Century ◽  
Ideological Transformation

Spain is one of the European countries where global cultural and ideological transformation - distinctive for the late 20th-early 21st century - has been particularly profound and radical. This led in Spain to the coexistence and confrontation of two different systems of values: the “old”, associated with the usual ideological tenets and the “new” one, liberal and focused on “political correctness”, “tolerance”, “feminism”, etc. The author considers a number of traditional folk festivals in modern Spain from the point of view of different specific situations of the value-ideological confrontation, with its course, results and possible prospects.

scholarly journals The irony as a sense of reality (on the example of the short stories of O. Konyskyi)

2020 ◽  
Vol 26 (4) ◽  
pp. 124-130
Author(s):  
Nadiia Boiko
Keyword(s):  
Short Stories ◽  
Literary Criticism ◽  
Point Of View ◽  
Literary Analysis ◽  
Dominant Feature ◽  
Sense Of Reality ◽  
Empirical Research Methods ◽  
The One ◽  
The Individual

The article deals with the analysis of the short stories by O. Konyskyi from the point of view of irony functioning in them. S. Kierkegaard compared irony to divine madness, which, like Tamerlane, did not leave a stone unturned, because “in the irony, negativity takes precedence over positivity, freedom over necessity”. In the modern literary criticism, irony is seen, on the one hand, as an aesthetic category, the characteristic feature of which is the lack of care to make the reader laugh; it is primarily a matter of marking of the author’s perception of reality (“Ironic meaning” by S. Pokhodnia). On the other hand — irony is viewed as a stylistic figure, which is based on allegory and which testifies to the potential of the individual authorial style. However, in both cases, to understand the true meaning of an ironic statement, it is necessary to have a context, which is its main semantic background. In a number of works by O. Konyskyi, irony serves as a means to express certain traits of character and behaviour of the character and is exemplified through epithets and comparisons. Less often, it becomes a means to construct the text and a plot-forming factor, as is in the story “And we are people!” The subject of the study is irony as a complex (two-tier) message, the purpose to understand the hidden content of which requires context. The object of the literary analysis is comprised of the short stories by O. Konyskyi, that have not yet been considered from this point of view. The latter fact informs the novelty of the study. The purpose of the article is to clarify the place and the role of irony in the bulk of short stories by this writer. The outlined goal determines reaching the following objectives: to trace the dynamics of the apperiance of different types of irony in the short stories by O. Konyskyi; to identity the dependence of the frequency and the form the ironic expression; to find out the influence of the author’s ironic approach on the form the work. As a result of the analysis by means of the approaches of biographical, historical-literary and empirical research methods, it was possible to find out: despite the fact that irony is not a dominant feature of O. Konyskyi’s worldview, in his short stories works with textual irony stand out.

scholarly journals THE CONCEPTS OF ‘METATEXTUALITY’ AND ‘METAFICTION’ IN LITERARY CRITICISM

2021 ◽  
pp. 100-109
Author(s):  
Elvira Vatazhko
Keyword(s):  
Literary Criticism ◽  
20Th Century ◽  
Theoretical Perspective ◽  
Research Work ◽  
Special Kind ◽  
Genre Studies ◽  
Postmodern Literature ◽  
Late 20Th Century ◽  
Early 21St Century ◽  
Gerard Genette

Undoubtedly, the second half of the 20th century and the early 21st century are notable for the extensive artistic experiment, including metatextual and metafictional phenomena. Such scholars as Gérard Genette, Anna Wierzbicka, Patricia Waugh, Linda Hutcheon, Robert Sholes, and many others focused on the mentioned issues in their research work. Therefore, this paper considers metatextuality and metafiction in the theoretical perspective tracing the origins of metatextuality and its connections with postmodern literature. The terms ‘metatext’ and ‘metafiction’ appeared as rather close in time. Notably, both of them are based on the discursive practices of the late 20th century. However, the term ‘metatext’ originated in the scholarly practice of structuralism. It is obvious that ‘metatext’ was constructed by analogy with the concept of ‘metalanguage’. Either of them does not exist without the initial text (or language). Metatextual elements are important for analyzing styles, genres, types of expression, discursive functions, and more. On the other hand, the term ‘metafiction’ has an obvious connection with genre studies. Metafiction qualifies as a special kind of literary text that became characteristic of the postmodern era. Such features as self-referentiality of artistic expression, introspection, and self-consciousness became essential for postmodern aesthetics. Metatextuality relates to the narrative theory and metacritiсism, while metafictionality is applicable within the intertextual analysis. Thus, the paper highlights an advance of metadiscourse in the cultural consciousness of the late 20th century.

scholarly journals On the Influence of Shevchenko's Autobiography on Kulish's

2019 ◽  
pp. 37-57
Author(s):  
Stanislav Rosovetskii
Keyword(s):  
Literary Criticism ◽  
Narrative Structure ◽  
Historical Background ◽  
Literary Influence ◽  
Non Fiction ◽  
200Th Anniversary ◽  
Third Person ◽  
Multi Level ◽  
To Come ◽  
The 19Th Century

In honor of the 200th anniversary of P. Kulish's birth, the article offers a multi-level comparison of autobiographies of two prominent Ukrainian writers of the 19th century. In the categories and concepts of modern literary criticism, the hypothesis of literary influence of T. Shevchenko on P. Kulish's perception of artistic autobiography genre is checked and confirmed. For this purpose, three texts are compared: an autograph of "Autobiography" by T. Shevchenko, deeply edited by P. Kulish for printing in "People's Reading" journal, a version of T. Shevchenko's "Autobiography" and an autobiography "My Life" by P. Kulish. The comparison is carried out at narratological, compositional, genre and intertextual levels. The historical background of the creation of each of the texts is analyzed. It is proved that the autograph of T. Shevchenko's "Autobiography" and P. Kulish's "My Life" both belong to the genre of artistic autobiography and have a compressed narrative structure. It is confirmed that T. Shevchenko didn't have extra-literary reasons for creating a third-person autobiography, unlike P. Kulish, who, moreover, was very likely to come under the literary influence of the text of T. Shevchenko and developed T. Shevchenko's narrative structure in his artistic autobiography. At the same time, it is assumed that literary influence might not be the main argument in choosing a third-person narration, since there were extra-literary reasons for keeping P. Kulish's incognito. It is noted that the text "My Life" of P. Kulish is more functional in the aspects of orientation to objectivity, emotional pressure and moderation of the author's image in literary life. Its narrative structure is compressed precisely for the sake of objectivity, addressees and consignees are implicit and difficult to isolate on each of the layers of the narrative structure precisely to mimic the non-fiction. The text of a letter to the author integrated into "My Life" is the only exception. It is concluded that hypothesis about literary influence of T. Shevchenko on P. Kulish within the genre of artistic autobiography is reliable and well-reasoned. To the author's mind, further studies should focus on finding evidence of unconscious literary influence of T. Shevchenko on P. Kulish in other genres, chances of discovering which in future are rather high.

scholarly journals Vaccine safety issues at the turn of the 21st century

2021 ◽  
Vol 6 (Suppl 2) ◽  
pp. e004898
Author(s):  
Laura Conklin ◽  
Anders Hviid ◽  
Walter A Orenstein ◽  
Andrew J Pollard ◽  
Melinda Wharton ◽  
...  
Keyword(s):  
21St Century ◽  
Scientific Evidence ◽  
Scientific Information ◽  
Vaccine Safety ◽  
Live Vaccines ◽  
Early 21St Century ◽  
Safety Issues ◽  
Specific Effects ◽  
To Come ◽  
The Early 21St Century

Global gains in vaccination coverage during the early 21st century have been threatened by the emergence of antivaccination groups that have questioned the effectiveness of vaccines to generate public distrust of vaccines and immunisation programmes. This manuscript summarises six key topics that have been at the centre of global discussions on vaccine safety during the early 21st century: thiomersal in multi-dose non-live vaccines, aluminium adjuvants used with several non-live vaccines, autism and auto-immune conditions as possible consequences of vaccination, a risk of immune overload with increasing numbers of vaccinations, and detrimental non-specific effects (NSEs) of vaccination. For each topic, we describe the hypothesis behind the public concern, the evidence reviewed by the WHO’s Global Advisory Committee for Vaccine Safety (GACVS) during 1999–2019, and any significant new data that has emerged since GACVS conclusions were made. Although the scientific evidence on these issues overwhelmingly supports the safety of vaccines, communication messages to caregivers and providers need to condense and convey scientific information in an appropriate way to address concerns contributing to vaccine distrust. In addition, there is need for further studies specifically designed to address both positive and negative NSE of vaccination. The role of GACVS will be increasingly important in evaluating the evidence and engaging the global community in promoting and assuring the safety of vaccines in the decades to come as we move into an era in which we use new vaccination platforms, antigens and formulations.

scholarly journals ARTISTIC REPORTAGES BY O. KRYSHTOPA’S UKRAINE: THE SCOPE 1:1

2020 ◽  
Vol 12 (1) ◽  
pp. 73-81
Author(s):  
Maria Lenok
Keyword(s):  
21St Century ◽  
Visual Images ◽  
Literary Discourse ◽  
Language Politics ◽  
Dual Nature ◽  
Early 21St Century ◽  
Large Cities ◽  
Non Fiction ◽  
The Subject ◽  
The Early 21St Century

The article is devoted to artistic reportages by O. Khrystopa a Ukrainian author of non fiction literature. The artistic reportage of the early 21st century underwent significant changes, evolving from the literary coverage of the 1920s. Contemporary authors refine their texts with different artistic techniques, genre-style techniques, which leads to the emergence of common genres. Such texts tend to be meta-genre in documentary and artistic discourse. The artistic reportages have a dual nature because they synthesize genre features of literature and journalism. There is a tendency to saturate artistic reportage with artistic techniques, expanding the possibilities of literature today. The aim of the article is to find out the place of artistic reportage in the contemporary Ukrainian literary discourse and to analyze some texts, in particular the book by O. Khrystopa’s Ukraine: the Scорe 1:1. The author represented a map of his travels and assignments to different corners of the country, covering a number of small and large cities. It is noteworthy that he reproduced urgent topics: unemployment, employment, language, politics, ecology, coal fever, Chornobyl. The artist skillfully uses linguistic and imaginative means that focus on poetic micro-images in the texts of artistic reportages in the book Ukraine: the Scорe 1:1. The sound and visual images give the texts the proof. The artist imposes the text with the metaphorical, metonymic or amplifying character, uses simple comparisons, synecdoche, often parses a narrative that helps to focus on the background of the image; expresses the artistic background with literary allusions, preserving the tradition of considering one text within another. The study of the genre specificity of the artistic reportage will be the subject of the further research.

Speculation

2020 ◽  
Author(s):  
Graham Harman
Keyword(s):  
Literary Criticism ◽  
21St Century ◽  
Literary Texts ◽  
Early 21St Century ◽  
Speculative Realism ◽  
Quentin Meillassoux

Speculation does not refer to anything like a unified school of literary criticism; nor is it one of the terms commonly employed by critics. Nonetheless, there have already been at least two important appeals to speculation in early 21st-century philosophical approaches to literature. One of them is speculative realism, including the variant of this school propounded by Quentin Meillassoux and known as speculative materialism. Another is Tom Eyers’s speculative formalism, as developed in his book of the same title. Whereas Meillassoux is concerned with the mathematizability of literary texts, Eyers is focused on moments of self-reflexive paradox.

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