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

2021 ◽  
Author(s):  
◽  
Schwass Margot

<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 A bibliography is included which provides a selective guide to the two authors published and unpublished work, and a full account of all secondary material consulted.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>

2021 ◽  
Author(s):  
◽  
Schwass Margot

<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>


2021 ◽  
Author(s):  
◽  
Lydia Joyce Wevers

<p>The thesis will be an investigation of the history of the short story in New Zealand, attempting to shift the focus away from a (implicitly hierarchical) sequence of writers who specialised in short stories to a consideration of the ascendancy of type in short fiction at certain times (for example the domination of nineteenth century short fiction by oral narratives and romance); the preoccupations of groups of writers who share a collective identity (especially Maori and women); and the recurrence of some kinds of narratives (for example Pakeha writers writing about the Maori). I propose to explore both the construction of 'reality' and 'New Zealand' in the short story, demonstrating how race, gender, and sometimes class/wealth figure in that construction, and generally suggest that the short story's dominance in New zealand's fiction makes it both a significant medium for cultural identity, and a context for a postcolonial discourse characterized by recurring questions about origin and subjectivity.</p>


Author(s):  
Kristin Bluemel

If you type the name Greville Texidor into a Wikipedia search bar, you may be asked if you mean instead ‘grevillea teodor’. Alternatively, you’ll be redirected to biographical websites for Maurice Duggan, one of postwar New Zealand’s most famous short story writers, or Kendrick Smithyman, editor of Greville Texidor’s volume of selected fiction, In Fifteen Minutes You Can Say a Lot. To learn anything about Greville Texidor herself, you need to read All the Juicy Pastures: Greville Texidor and New Zealand, by Wellington-based writer Margot Schwass. Beautifully written, deeply researched, richly illustrated, this critical biography addresses the question of why we should care about the career of a woman writer born in England in 1902, who died by her own hand in Australia in 1964, and who in her lifetime published only seven short stories, a post- Spanish Civil War novella called These Dark Glasses, a few translations of Lorca poems, and a smattering of other non-fiction pieces. Schwass also tackles the question of why we should care about Greville Texidor as a New Zealand writer.


2021 ◽  
Author(s):  
◽  
Lydia Joyce Wevers

<p>The thesis will be an investigation of the history of the short story in New Zealand, attempting to shift the focus away from a (implicitly hierarchical) sequence of writers who specialised in short stories to a consideration of the ascendancy of type in short fiction at certain times (for example the domination of nineteenth century short fiction by oral narratives and romance); the preoccupations of groups of writers who share a collective identity (especially Maori and women); and the recurrence of some kinds of narratives (for example Pakeha writers writing about the Maori). I propose to explore both the construction of 'reality' and 'New Zealand' in the short story, demonstrating how race, gender, and sometimes class/wealth figure in that construction, and generally suggest that the short story's dominance in New zealand's fiction makes it both a significant medium for cultural identity, and a context for a postcolonial discourse characterized by recurring questions about origin and subjectivity.</p>


Author(s):  
Novi Diah Haryanti

Abstract: This study aims to look at narrative patterns in the collection of short stories "Karaban Snow Dance" (TSK). From the fifteen short stories, the researchers took five main stories, namely the Karaban Snow Dance (Tarian Salju Karaban), The Fall of a Leaf (Gugurnya Sehelai Daun),  Canting Kinanti Song (Tembang Canting Kinanti), Jagoan Men Arrived (Lelaki Jagoan Tiba), and Origami Pigeon (Merpati Origami). Of the five short stories, environmental themes and honesty appear most often. The place setting depicted shows the environment that is close to the author or according to the author's origin. The main characters in the four short stories are children, only one short story Male Hero Tiban (Lelaki Jagoan Tiban/LJK) who uses adult takoh as the main character. The child leaders in LJK only appear in the past stories of the main characters. The five short stories do not show a picture of whole parents (father and mother). The warm relationship between mother and child appears clearly, in contrast to the father-child relationship that is almost negligent. The five short stories also represent how children become heroes for their family, friends, and environment.Abstrak: Penelitian ini bertujuan untuk melihat pola narasi pada kumpulan cerpen Tarian Salju Karaban (TSK). Dari limabelas cerpen yang ada, peneliti mengambil lima cerpen utama yakni “Tarian Salju Karaban”, “Gugurnya Sehelai Daun”, “Tembang Canting Kinanti”, “Lelaki Jagoan Tiba”, dan “Merpati Origami”. Kelima cerpen menampilkan tema lingkungan dan kejujuran. Latar tempat yang digambarkan memperlihatkan lingkuangan yang dekat dengan penulis atau sesuai dengan asal usul penulis. Tokoh utama dalam keempat cerpen tersebut ialah anak-anak, hanya satu cerpen “Lelaki Jagoan Tiban” (LJK) yang menggunakan takoh dewasa sebagai tokoh utama. Tokoh anak dalam LJK hanya muncul dalam cerita masa lalu tokoh utama. Kelima cerpen tersebut tidak memperlihatkan gambaran orangtua utuh (ayah dan ibu). Relasi yang hangat antara ibu dan anak muncul dengan jelas, berbeda dengan relasi bapak-anak yang nyaris alpa. Kelima  cerpen tersebut juga merepresentasikan bagaimana anak-anak menjadi pahlawan bagi keluarga, sahabat, dan lingkungannya.  


Imbizo ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 92-98
Author(s):  
Faith Mkwesha

This interview was conducted on 16 May 2009 at Le Quartier Francais in Franschhoek, Cape Town, South Africa. Petina Gappah is the third generation of Zimbabwean writers writing from the diaspora. She was born in 1971 in Zambia, and grew up in Zimbabwe during the transitional moment from colonial Rhodesia to independence. She has law degrees from the University of Zimbabwe, the University of Cambridge, and the University of Graz. She writes in English and also draws on Shona, her first language. She has published a short story collection An Elegy for Easterly (2009), first novel The Book of Memory (2015), and another collection of short stories, Rotten Row (2016).  Gappah’s collection of short stories An Elegy for Easterly (2009) was awarded The Guardian First Book Award in 2009, and was shortlisted for the Frank O’Connor International Short Story Award, the richest prize for the short story form. Gappah was working on her novel The Book of Memory at the time of this interview.


Author(s):  
Oksana Galchuk

The theme of illegitimacy Guy de Maupassant evolved in his works this article perceives as one of the factors of the author’s concept of a person and the plane of intersection of the most typical motifs of his short stories. The study of the author’s concept of a person through the prism of polivariability of the motif of a bastard is relevant in today’s revision of traditional values, transformation of the usual social institutions and search for identities, etc. The purpose of the study is to give a definition to the existence specifics of the bastard motif in the Maupassant’s short stories by using historical and literary, comparative, structural methods of analysis as dominant. To do this, I analyze the content, variability and the role of this motive in the formation of the Maupassant’s concept of a person, the author’s innovations in its interpretation from the point of view of literary diachrony. Maupassant interprets the bastard motif in the social, psychological and metaphorical-symbolic sense. For the short stories with the presentation of this motif, I suggest the typology based on the role of it in the structure of the work and the ideological and thematic content: the short stories with a motif-fragment, the ones with the bastard’s leitmotif and the group where the bastard motif becomes a central theme. The Maupassant’s interpretation of the bastard motif combines the general tendencies of its existence in the world’s literary tradition and individual reading. The latter is the result of the author’s understanding of the relevant for the era issues: the transformation of the family model, the interest in the theory of heredity, the strengthening of atheistic sentiments, the growth of frustration in the system of traditional social and moral values etc. This study sets the ground for a prospective analysis of the evolution the bastard motif in the short-story collections of different years or a comparative study of the motif in short stories and novels by Maupassant.


Jurnal KATA ◽  
2018 ◽  
Vol 2 (1) ◽  
pp. 89
Author(s):  
Nanny Sri Lestari

<p>Sebuah peristiwa, dalam kehidupan manusia, dapat menjadi inspirasi bagi penulisan sebuah cerita. Pengarang, sebagai bagian dari masyarakatnya, mengangkat relung-relung kehidupan manusia, ke dalam sebuah cerita. Namun harus dipahami, bahwa pengalaman pengarang dalam kehidupannya sehari-hari, juga mempengaruhi subjek yang ditulisnya. Saat ini tidak dapat dipungkiri lagi, bahwa teknologi komunikasi yang sangat canggih, telah mempengaruhi perkembangan karya sastra. Media penulisan karya sastra, tidak lagi melalui media cetak seperti kertas tetapi sudah melalui peralatan modern yang sesuai jamannya. Namun demikian ragam karya sastra prosa, seperti cerita pendek, justru mampu mengisi ruang media kommunikasi tersebut. Dua orang pengarang, yang menulis cerita pendek di media masa, berusaha mengangkat isu tentang lingkungan. Isu yang diangkat, lebih menekankan kepada masalah lingkungan alam dengan mengangkat isu tentang pohon sebagai bagian dari kehidupan manusia. Tujuan penelitian ini, untuk menelusuri struktur cerita pendek yang mengangkat isu lingkungan dalam jalinan ceritanya. Untuk memenuhi tujuan penelitian, langkah awal dari penelitian ini, adalah melakukan pendekatan struktur cerita, yang kemudian dikaitkan dengan pencarian makna cerita tersebut. Sering sekali di balik sebuah cerita ada pesan yang ingin disampaikan kepada masyarakat pembacanya. Bentuk pesan tersebut tersirat, dalam jalinan struktur cerita pendek tersebut. Pesan yang disampaikan, dalam kedua cerita pendek tersebut,  adalah pesan tentang lingkungan alam, yang  saat ini tidak pernah diperhatikan oleh masyarakat. Dengan alasan, kebutuhan ekonomi yang sangat dominan.</p><p><em>An event, in human life, can be an inspiration for writing a story. The author, as a part of his society, lifts the niches of human life, into a story. But it must be understood, that the author's experience in everyday life, also affects the subject he wrote.</em><em> </em><em>Today it is undeniable, that highly sophisticated communication technology, has influenced the development of literary works. Media writing literature, no longer through print media such as paper but have been through modern equipment that fit his era.</em><em> </em><em>However, the variety of prose literary works, such as short stories, is able to fill the media space communications. Two authors, who write short stories in the mass media, try to raise issues about the environment. Issues raised, more emphasis on the issue of the natural environment by raising the issue, about the tree as part of human life. The purpose of this research, is to trace the structure of short stories, which raised environmental issues in the composition of the story. To fulfill the purpose of research, the first step of this research, is to approach the structure of the story, which is then linked with the search for the meaning of the story. Very often, behind a story, there is a message to be conveyed to the readers. The form of the message is implied, in the composition of the short story structure. The message conveyed, in both short stories, is a message about the natural environment, which today is never noticed by society. The message conveyed, in both short stories, is a message about the natural environment, which today is never noticed by society.</em></p>


Author(s):  
Oscar Wilde

‘Wilde did not converse - he told tales.’ Oscar Wilde was already famous as a brilliant wit and raconteur when he first began to publish his short stories in the late 1880s. They have never lacked readers and admirers, George Orwell and W. B. Yeats among them. The stories give free rein to Wilde's originality, literary skill, and sophistication. They include poignant fairy-tales such as ‘The Happy Prince’ and ‘The Selfish Giant’, and the extravagant comedy and social observation of ‘Lord Arthur Savile's Crime’ and ‘The Canterville Ghost’. They also encompass the daring narrative experiments of ‘The Portrait of Mr. W. H.’, Wilde's fictional investigation into the identity of the dedicatee of Shakespeare's sonnets, and the ‘Poems in Prose’, based on the Gospel stories. This edition demonstrates the centrality of Wilde's shorter fiction in his literary career, and his continuing development and experimentation with the short story format. Combining myth, romance, and irony, Wilde's stories enthral and challenge the reader. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.


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