scholarly journals The Concept of Victorianism in A. S. Byatt’s “Posession”

2019 ◽  
Keyword(s):  
Literary Criticism ◽  
Victorian Novel ◽  
The Novel ◽  
Victorian England ◽  
Victorian Era ◽  
English Novel ◽  
The Past ◽  
Russian Literary ◽  
Postmodern Novel ◽  
Current Research Interest

The late 1990s – early 2000s was a time of numerous projects dedicated to the Victorian age and the Victorian novel as a specific phenomenon that inspires the modern novel development. The English postmodern novel with its typical narrative, time transferal to Victorian England, weaving of time layers, invokes current research interest. The relevance of this study is caused by considerable interest of researchers in the Victorian era heritage and by need of a comprehensive study of Victorian linguoculture and its implementation in the modern English novel. The Victorian text influences a new genre of the novel that reflects the gravity of modern English prose to the traditional literature of Victorian era, assumed to be particularly important in this context. The analysis of A. S. Byatt’s “Possession” in the Russian literary criticism was made only by O. A. Tolstykh; in the Ukrainian science, this work was investigated by O. Boynitska in the context of searching the past, so this subject is not investigated enough, and in our opinion is new and relevant, especially from the perspective of the “Victorian era” concept embodied in the novel. The aim of the paper is to analyze the “Victorian era” concept peculiarities in the intercultural context, on the basis of A. S. Byatt’s “Possession” as a Victorian novel. The paper takes into account the reproduction of concepts of Marriage, Home, Family, Freedom, Life, as components of “Victorian era.” The Victorian family is often represented through the place of their dwelling; therefore, the great Victorians’ works are overwhelmed by interior descriptions (Dombey’s house, Miss Havisham’s home, Mr. Rochester’s Castle). However, in “Possession,” there is an obvious contrast of Victorian buildings to the same structures in the XX century: the past prime – the modern decline. All the secrets and delusions hidden behind the facades of supposedly respectable buildings result in distorting facts and, to some extent, to violating the rights of ownership to the memories of the past. This gives another meaning to the title of the novel – “possession,” that is ownership, possession of letters, memory, truth.

scholarly journals Reception of J. Austen’s creativity in Contemporary British Literature (Novel by Joe Baker “Longbourne”)

2021 ◽  
pp. 189-201
Author(s):  
A. A. Ilunina
Keyword(s):  
British Literature ◽  
Victorian Novel ◽  
The Novel ◽  
Pride And Prejudice ◽  
Victorian Era ◽  
The Past ◽  
The Social ◽  
Contemporary British Literature ◽  
Definition Of ◽  
Modern British Literature

The experience of reception of creativity of J. Austen (1775—1817) in modern British literature is analyzed. The aim of the work was to identify the main directions and ideological and artistic functions of the deconstruction of pretext — the novel by J. Austen “Pride and Prejudice” (1813) — in the novel by Joe Baker (born in 1973) “Longbourne” (2013). It was revealed that the social, anti-colonial, anti-imperialist, anti-war, feminist components are the most significant in the deconstruction of pretext. For Baker, the main modes of rethinking the novel by J. Austen “Pride and Prejudice” become relevant in the modern social and cultural situation of revising the past and assessing the present in Britain, the problems of social contradictions, imperialism, colonialism and its consequences, the rights of women and minorities. It was concluded that in his artistic quest, Baker, although using the novel of the Regency era as a pretext, is moving closer to the neo-Victorian novel. It has been substantiated that it is advisable to clarify the definition of the “neo-Victorian novel of the younger generation” (the term by Y. S. Skorokhodko), designating works written in the pre-Victorian era, in particular, in the era of the Regency, as possible plot-forming pretexts, or to single out a new genre variety of British historiographic metanovel (L. Hutchen) — a Neo-Pre-Victorian novel.

scholarly journals Depiction of Victorian Era in the Novel Great Expectations by Charles Dickens

2018 ◽  
Vol 1 (2) ◽  
pp. p17
Author(s):  
Farhana Haque
Keyword(s):  
Charles Dickens ◽  
Lower Class ◽  
The Novel ◽  
Victorian England ◽  
Great Expectation ◽  
Great Expectations ◽  
Victorian Era ◽  
Class System ◽  
Rural And Urban ◽  
Middle Class Family

Charles Dickens’ Great Expectation actually did reflect the Victorian society and therefore the morality of that era’s people inside of the novel. Since we know that Victorian era basically present some features such as virtue, strength, thrift, manners, cleanliness, honesty and chastity. These are the morals that Victorian people used to hold with high esteem. In this novel Great Expectations, Dickens has created some Victorian characters whom we have seen both in good working way or not at all. But the protagonist named Pip was dynamic and he went through some several changes and dealt with different and significant moral issues. Somehow Pip left behind all the values he was raised with. Because Miss Havisham and Estella have corrupted Pip with rich life. Greed, beauty and arrogance were his ingredient of immoral life. The other characters like Joe and Biddy were static characters throughout the entire novel and became noticeable to be the manifestation of what we call as ideal Victorians. The main heroin of this novel was Estella with whom Pip thought he had some love connection. Hence, Estella has been presented as a good in the sense of potentiality and turned morally bad. Miss Havisham, who was basically a corrupt woman and she engraved the center of the novel. Great Expectations did disclose how was the situation of Victorian society through some important features such as higher class, corrupted judicial system between rural and urban England. Here in this novel, Dickens was concern about the education system in Victorian era where the lower class people get less opportunities of getting proper education. From the beginning to the end of this novel, Dickens explored some significant issues regarding higher and lower class system of Victorian society which did fluctuate from the greatest woeful criminal named Magwitch to the needy people of the swamp country, where Joe and Biddy were the symbol of that regime. After that we can proceed to the middle class family where Pumblechook was the person to represent that regime. Last but not the least Miss Havisham symbolized and bear flag of very rich and sophisticated Victorian woman who has represented the higher class society in the novel Great Expectations. Hence we can say Great Expectations has talked and displayed the class system of Victorian England and the characters of this novel therefore also did uphold the true reflection of Victorian era.

scholarly journals I. Turgenev’s novel “Rudin” in Chinese literary studies

2019 ◽  
Vol 24 (3) ◽  
pp. 433-443
Author(s):  
Siwen Guo
Keyword(s):  
Literary Criticism ◽  
Chinese Literature ◽  
Great Influence ◽  
Russian Literature ◽  
The Novel ◽  
Ivan Sergeevich Turgenev ◽  
Future Studies ◽  
Russian Literary ◽  
Similar Images ◽  
New Generation

The work of I. Turgenev was translated into Chinese in the first half of the twentieth century and later spread widely in China, having a great influence on the new generation of Chinese writers. At the same time, more and more literary critics began to study the works of Turgenev. Extensive research and analysis, as well as the study of works from different angles, contributed to a better understanding of Turgenev and Russian literature by Chinese readers. The article discusses the publications of Chinese litterateurs and critics from the second half of the 20th to beginning of the 21st century, the work of Ivan Sergeevich Turgenev, notes the enduring interest of the Chinese audience to the work of Russian prose writer, in particular, to the novel “Rudin”. Special attention is paid to the prose writer's “path” to the novel; it is proved that the high interest of scientists to Dmitry Rudin, the protagonist of this novel, caused by Chinese specifics and the relevance of many problems associated with this image. The article explains the evolution of the attitude of the Chinese to Rudin: from agreement with Russian researchers considering him as a superfl person to disagreement with them. At the same time, Rudin is compared with typically similar images in Chinese literature. An analysis of Turgenev's works by Chinese literary critics will provide detailed information for future studies in international literary circles, and can also lay the foundation for finding differences between Chinese and Russian literary criticism.

scholarly journals COMPASS INSIDE US BY PETER JILEMNICKÝ: CREATIVE HISTORY, GENRE PECULIARITY, ETHNO-HISTORICAL MATERIAL, AND IDEOLOGICAL TRENDS

2021 ◽  
pp. 91-110
Author(s):  
В.С. ПУКИШ ◽  
И.С. ХУГАЕВ
Keyword(s):  
Literary Criticism ◽  
Soviet Period ◽  
Original Text ◽  
The Novel ◽  
The North ◽  
Russian Literary ◽  
History Of ◽  
Main Ideas ◽  
Central Characters ◽  
First Time

В статье рассматривается роман основоположника «революционно-пролетарской словацкой литературы», «словацкого Горького» Петера Йилемницкого (1901–1949) «Компас в нас» (1937). Актуальность данного рассмотрения определяется уже тем, что в романе значительное место уделено советской (русской, киргизской) и кавказ­ской (осетинской, в хронотопе, заступающем советские рамки) теме, – и при этом произведение Йилемницкого до сих пор не было переведено на русский язык и осталось, в общем, вне поля зрения отечественного литературоведения и литературной кри­тики. Отдельные, связанные с осетинской темой, главы романа в переводе на осетин­ский язык, выполненном в свое время Хасаном Малиевым и Сафаром Хаблиевым, пу­бликовались в советское время в североосетинской периодической печати, и, поскольку одним из героев Йилемницкого выступает друг Петера Йилемницкого известный осе­тинский писатель Чермен Беджызаты (1898–1937) и действие первого плана происхо­дит именно в Южной Осетии, которую, в рамках сюжета, посещает повествователь, роман «Компас в нас» несколько раз упоминался в осетинском литературоведении. Одним из авторов данной статьи (В.С. Пукишем) роман Йилемницкого в «осетин­ской» части в последнее время переведен на русский язык с языка оригинала (редакто­ром перевода, необходимого в виду этнокультурной фактуры, выступил И.С. Хугаев); соответственно, здесь, помимо необходимой биографической и библиографической справки, вводятся в литературно-критический оборот обстоятельства творческой истории романа «Компас в нас», его основные идеи и образы, а также его оценки в словацком литературном процессе; впервые на основе оригинального текста тракту­ется архитектоника, образная система, идеология, общие изобразительные приемы и идейно-эмоциональная тенденция текста Петера Йилемницкого. The article examines the novel Kompas v nás (Compass Inside Us) by Peter Jilemnický (1901–1949), the founder of “revolutionary proletarian Slovak literature,” and “the Slovak Gorki.” The topicality of this review can be proved by the fact that the novel devotes much attention to the Soviet (Russian, Kyrgyz) and the Caucasian (Ossetian – in the space-time going beyond the Soviet period) themes – however, by now it has not been translated into Russian and thus it has remained mostly out of the eye of contemporary Russian literary criticism. At the same time, the Ossetia-related chapters of the novel translated into Ossetian by Khasan Maliev and Safar Khabliev, were published in the North Ossetian press, and due to the fact that one of the central characters of the novel is Chermen Bedzhyzaty (1898–1937), a known Ossetian writer and a friend of Peter Jilemnický, and that the foreground of the story takes place in South Ossetia visited by the narrator, Compass Inside Us has more than once been mentioned by Ossetian literary critics. One of the authors of this article (V. Pukish) recently translated the ‘Ossetian’ part of the novel from Slovak into Russian (I. Khugaev edited the translated text as required by the ehtnocultural texture); this is why, the circumstances of creative history of the novel, its main ideas and images, and the assessments given to it by Slovak literary critics are hereby introduced into the scientific discourse in addition to the required biographical and bibliographical references. Based on the original text of the novel, the authors of this article are for the first time discussing the architectonics, imagery, ideology, general representational devices, and ideological and emotional trends of the text by Peter Jilemnický.

scholarly journals Creative Works of S. Beckett in the Context of “Notes from the Underground” by F. M. Dostoevsky

2020 ◽  
pp. 174-184
Author(s):  
E. A. Markova
Keyword(s):  
Comparative Analysis ◽  
Literary Criticism ◽  
The Novel ◽  
Temporal Characteristics ◽  
Waiting For Godot ◽  
Russian Literary ◽  
Spatial And Temporal Characteristics

The results of a comparative analysis of the story “Notes from the Underground” by F. M. Dostoevsky and the works of S. Beckett are presented in the article. It is shown how Beckett critically interprets the main novels of the Russian writer. The novelty of the work is seen in the fact that the problem of Beckett as the “heir” of Dostoevsky and his “Notes from the Underground” is considered in Russian literary criticism for almost the fi time. Based on the plays “Waiting for Godot”, “All that Fall”, the novel “Molloy” and the story “First Love”, the author demonstrates how Dostoevsky’s themes, motives and images are refracted in Beckett’s work. Particular attention is paid to the motive of “underground” love. A similarity was found between Dostoevsky’s story and Beckett’s works in spatial and temporal characteristics (uncertainty of the scene, nonlinearity of time, repetition of situations). It has been proven that these characteristics serve to designate a world without God, in which landmarks and goals are lost, positive and rational foundations are broken. It has been established that for Dostoevsky the Underground remains a “dark corner” behind which there is a “big world”, while for Beckett it fi the whole world.

scholarly journals Neo-Victorian felony – Crime narratives in Graeme Macrae Burnet’s His Bloody Project and Ian McGuire’s The North Water

Ars Aeterna ◽  
2021 ◽  
Vol 13 (2) ◽  
pp. 16-30
Author(s):  
Petr Chalupský
Keyword(s):  
Detective Fiction ◽  
Victorian Novel ◽  
Historical Novels ◽  
Victorian Era ◽  
Victorian Britain ◽  
Victorian Fiction ◽  
The Past ◽  
Crime Narratives ◽  
The North ◽  
North Water

Abstract The neo-Victorian novel has been one of the most significant branches of contemporary British historical fiction for the past three decades. Thanks to works like A. S. Byatt’s Possession, Sarah Waters’ trilogy Tipping the Velvet, Affinity and Fingersmith and Michel Faber’s The Crimson Petal and the White, the genre has gained not only considerable popularity among readers, but also almost a canonical literary status. Although recent neo-Victorian fiction has been trying to find some new ways in which the genre could avoid stereotypical narratives, it still retains its most determining idiosyncrasies. One of them is an interest in the undersides of Victorian society, including the themes of violence and criminality, which is why these novels often resort to the genre of crime and detective fiction. This is also the case of Graeme Macrae Burnet’s His Bloody Project (2015) and Ian McGuire’s The North Water (2016), both historical novels set in Victorian Britain which were, respectively, shortlisted and longlisted for the 2016 Man Booker Prize. This paper attempts to show the different manners in which these two novels employ various forms of crime narratives so as to achieve their goal of presenting convincing and seemingly authentic insights into the more obscure aspects of the Victorian era.

scholarly journals Semantics of festivities in “Christmas Carol” by Ch. Dickens

2020 ◽  
Vol 25 (2) ◽  
pp. 305-314
Author(s):  
Galina T. Bezkorovaynaya ◽  
Luiza N. Gishkaeva ◽  
Natalia T. Pakhsarian
Keyword(s):  
Literary Criticism ◽  
Charles Dickens ◽  
Victorian England ◽  
Victorian Era ◽  
The Subject ◽  
Linguistic Units

The article concerns the language units, forming the semantics of festivities in one of the most popular works by Charles Dickens - the great English writer of Victorian Era, namely A Christmas Carol (1843). This work has been the subject for a lot of research, the story however is not investigated within the framework of some allied sciences. An attempt to use linguistic, linguistic culture and literary criticism approaches has been made to analyze the story. The eleven theme groups were found and the linguistic units were picked up. Those units create the unique picture of Christmas festivities. The examples from the text are analyzed. Around one thousand language units describing Christmas are analyzed. The conclusion is made that the writer created the morally important, educating work. At the same time, he attracted attention to Christmas in Britain, criticizing the drawbacks of the society as well as in Victorian England. The palette of stylistic and language means is rich and wonderful.

scholarly journals AN ANALYSIS OF ROMANTIC ASPECT AS PORTRAYED IN ‘THE REVOLT IN PARADISE” BY K’TUT TANTRI

2019 ◽  
Vol 5 (2) ◽  
pp. 73
Author(s):  
Shokhikhatul Khasanah
Keyword(s):  
Qualitative Research ◽  
Literary Criticism ◽  
Primary Source ◽  
The Novel ◽  
Literary Works ◽  
Secondary Sources ◽  
The Past ◽  
And Behavior ◽  
Descriptive Qualitative

This study was aimed to analyze the aspects of Romanticism manifested in the novel “The Revolt in Paradise” and behavior of character reflects Romanticism in “The Revolt in Paradise”. This study was based on the descriptive-qualitative research since the findings were going to be presented in a descriptive form. The data to be analyzed are gathered from two sources. The primary source is the novel itself; The Revolt in Paradise and the secondary sources includes many appropriate documents in the form of literary works, previous thesis, biography, theories and literary criticism, dictionaries and etc. Related to the instrument, the researcher employed herself as the human instrument. The data were analyzed through underlying and labeling. The result of the study found that there four aspects of Romanticism manifested in the novel; The Revolt in Paradise, they were: the love of nature, the memories of the past, the horror /gothic setting and the emotion; included; love, anger and hatred. This study also found that The Revolt in Paradise gave the vivid depiction of the Nationalism as the major behavior reflects Romanticism.

scholarly journals “THE SECRET HISTORY OF THE PRESENT INTRIGUES OF THE COURT OF CARAMANIA” BY E. HAYWOOD

2021 ◽  
Vol 23 (79(1)) ◽  
pp. 60-65
Author(s):  
O.M. Buranok ◽  
◽  
N.E. Erofeeva ◽  
I.B. Kazakova ◽  
O.V. Sizova ◽  
...  
Keyword(s):  
Literary Criticism ◽  
English Literature ◽  
Modern Science ◽  
The Novel ◽  
Social Reforms ◽  
Xviii Century ◽  
Russian Literary ◽  
History Of ◽  
First Time ◽  
Secret History

The article examines the works of E. Haywood, as the author of novels, the publisher of three women's magazines that laid the groundwork for the culture of women's creativity in English literature of the XVIII century. Her name is called among the first authors of a women's novel, which is still interpreted from a gender perspective in modern science as a sociocultural phenomenon that represents the world through the eyes of women. Nevertheless, the authors of the article note the serious influence of men's literature on the work of the writer who was passionate about politics and social reforms. Special attention is paid to such genre modification of the novel as "secret histories", the predecessor of "the novel with the key". It is noted that what is new in "secret histories" is the shift in the angle of perception of the text itself, filled with facts about certain historical events and people, which were taken from various kinds of insinuations, as a rule, it had nothing to do with the real history, but attracted the reader with their variations in the relationships of the characters. Slander becomes the subject of the depiction, and its possessors represent heroes (antiheroes) through the prism of the certain moral values, including the state ones. For the first time in Russian literary criticism, the authors acquaint the reader to the "secret histories" of E. Haywood, novels “The Secret History of the Present Intrigues of the Court of Caramania”(1726), “Memories of a Certain Island Adjacent to the Kingdom of Utopia” (1725 – 26), “The Advantures of Eovaai, Princess of Ijavea; a preAdamitical History” (1736) in the context of women's prose in England in the XVIII century. The analysis of the novel “The Secret History of the Present Intrigues of the Court of Caramania” as the most vivid example of the "secret histories" by E. Haywood is offered. The material of the article will be of interest to the specialists, as well as to those who are interested in the development of the female genre of the novel in the literature of England during the Enlightenment.

scholarly journals The sense of space and Arctic nature in Cora Sandel’s Kranes konditori: interiør med figurer (Krane’s Café: An Interior with Figures)

2020 ◽  
Vol 12 (2) ◽  
pp. 89-106
Author(s):  
Raluca-Daniela Răduț
Keyword(s):  
Literary Criticism ◽  
The Arctic ◽  
The Novel ◽  
Interior Space ◽  
Literary Genres ◽  
The Past ◽  
Spatial Approach ◽  
Reading Technique ◽  
The One ◽  
Almost All

The paper combines the close reading technique of the novel Kranes konditori: Interiør med figurer (Krane’s Café: An Interior with Figures, 1946), written by the classic Norwegian writer Cora Sandel (1880-1974) with a spatial approach which aims to present the past and the present of the novel’s main character, Katinka Stordal. The action takes place in a small town situated in northern Norway, at Krane’s Café. It is worth noting how topography, the seasons of the year, the Arctic climate and nature are gradually reflected in the novel. On the one hand, the novel is placed at the crossroads of a spatial perspective and the literary criticism, which has in its centre Krane’s Café, the place where almost all the characters are brought together and which is the most suggestive and representative interior space of the novel. On the other hand, the subtitle An Interior with Figures strengthens the idea of a mixture of literary genres which includes elements from novel and drama. Moreover, it resembles the title of a work of art, for instance, a painting where all the characters are simply figures animated by the beauty of the Arctic scenery.

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