An Anti-Imperial Mythology

2021 ◽  
Vol 33 (2) ◽  
pp. 106-121
Author(s):  
Charles Campbell
Keyword(s):  
The Novel ◽  
Middle Classes ◽  
Howards End ◽  
The Poor ◽  
As If

Critics have read Howards End as if Forster ‘specifically barred’ the poor from the novel (Trilling), so that only the middle classes are considered and not in a ‘truly radical’ way (Crews). Yet Forster does, after all, concern himself with the very poor in his depiction of Leonard Bast, Jacky and other characters, and extensively in the thoughts of Margaret. Furthermore, he creates the myth he says England lacks, and, considered in relationship to the main narrative events and to the novel’s imagery, this takes the form of an anti-imperialist mythology. Mythic elements include epic journeys and battles, a symbolic sword and tree, a sacrificial death and a redemptive child. In the novel’s poetic passages and in its account of Margaret’s education on the ‘hard road of Henry’s soul’, the nature of England’s imperialism is revealed and defeated by an alternative radical and feminist vision of society.

Dmenisions of Human Behavior in The Novel “The Foreigner” By Arun Joshi

IJOHMN ◽  
2016 ◽  
Vol 2 (2) ◽  
pp. 4
Author(s):  
Abhishek Verma
Keyword(s):  
Human Behavior ◽  
Upper Class ◽  
Poor People ◽  
The Novel ◽  
Modern Age ◽  
As If ◽  
Available Resources

In the modern age of globalization and modernization, people have become selfish and self-centered.  Feeling of sympathy and kindness towards poor people have almost bolted from the hearts of those who have richly available resources.  They leave needy people running behind their luxurious chauffer-driven cars.  Poor and marginalized people keep shouting for help for their dear ones but upper class people trying to show as if they did not hear any long distant sound crept into their eardrums.  This trauma, agony, pain and sufferings is explored in the novel, The Foreigner.

Mary Barton

2008 ◽  
Author(s):  
Elizabeth Gaskell
Keyword(s):  
Working Class ◽  
Elizabeth Gaskell ◽  
Class Conflict ◽  
The Novel ◽  
The Poor ◽  
Deep Sympathy ◽  
The Relationship ◽  
Class Community

‘It's the masters as has wrought this woe; it's the masters as should pay for it.’ Set in Manchester in the 1840s - a period of industrial unrest and extreme deprivation - Mary Barton depicts the effects of economic and physical hardship upon the city's working-class community. Paralleling the novel's treatment of the relationship between masters and men, the suffering of the poor, and the workmen's angry response, is the story of Mary herself: a factory-worker's daughter who attracts the attentions of the mill-owner's son, she becomes caught up in the violence of class conflict when a brutal murder forces her to confront her true feelings and allegiances. Mary Barton was praised by contemporary critics for its vivid realism, its convincing characters and its deep sympathy with the poor, and it still has the power to engage and move readers today. This edition reproduces the last edition of the novel supervised by Elizabeth Gaskell and includes her husband's two lectures on the Lancashire dialect.

A DEFENSE OF THE CAROLINGIAN “DEFENSE OF MEDICINE”: INTRODUCTION, TRANSLATION, AND NOTES

Traditio ◽  
2020 ◽  
Vol 75 ◽  
pp. 87-125
Author(s):  
JOEL L. GAMBLE
Keyword(s):  
Content Analysis ◽  
English Translation ◽  
Natural Sciences ◽  
History Of Ideas ◽  
Christian Faith ◽  
Medical Texts ◽  
The Poor ◽  
Imitation Of Christ ◽  
History Of ◽  
As If

The “Defense of Medicine” prefaces the Codex Bambergensis Medicinalis 1, a Carolingian collection of medical texts. Some scholars have dismissed the Defense as an incoherent patchwork of quotations. Yet, missing from the literature is an adequate assessment of the Defense's arguments. This present study includes the first English translation accompanied by a complete source commentary, a prerequisite for valid content analysis. When read systematically and with attention to the author's use of sources, the Defense is limpid and cogent. Its first purpose is to defend the compatibility of Christian faith and secular medicine. Key propositions include the following: God made nature good, so the natural sciences are reconcilable with divine learning; scripture respects medicine; God expects the sick to avail of physicians and deserves honor for healings done through physicians. Counter-arguments used by the Defense's opponents, who rejected medicine on principle, can also be reconstructed from the text. Two further purposes of the Defense have hitherto been explored insufficiently. After justifying medicine, the Defense addresses sick patients. It encourages them that illness can be spiritually healthful, an instrument for curing their souls. The Defense then addresses caregivers. It tells them why they should succor the sick, even the poor: not for gain or fame, but in imitation of Christ and as if treating Christ himself, whose image the sick bear. The Defense thus contributes to the history of ideas on medicine, health, sickness, and the ethics of altruistic care.

scholarly journals Dwelling, Dispossession, and “Slow Violence” in the Time of Climate Change The Representation of Refugees in Amitav Ghosh’s The Hungry Tide

Il Tolomeo ◽  
2020 ◽  
Author(s):  
Nicola Pilia
Keyword(s):  
Climate Change ◽  
South Asia ◽  
Historical Background ◽  
The Novel ◽  
Human History ◽  
Amitav Ghosh ◽  
Deep Time ◽  
The Poor ◽  
Slow Violence ◽  
The Sundarbans

In this essay, I will analyse the crucial issues of dwelling and dispossession concerning refugees in the novel The Hungry Tide by Amitav Ghosh. Political and environmental displacement is addressed within the framework of ‘slow violence’ as proposed by the landmark work of Rob Nixon, Slow Violence and the Environmentalism of the Poor (2011). With the intention to define the Morichjhãpi refugees as a foreshadowing of the climate migrations involving the lives of the subalterns in South Asia, as argued by Brandon Jones (2018), the essay provides a historical background of the Morichjhãpi Massacre and studies the forced eviction narrated in the novel through the pages of Nirmal’s diary. Together with Kusum, the Marxist professor experiences the tragedy of the subalterns in the ever-changing ecosystem of the Sundarbans, bridging the gap between environmental and postcolonial categories while providing fruitful insights within the notions of human history and ecological deep time.

scholarly journals Displaced sentential complements to nouns in German

2021 ◽  
Vol 66 (4) ◽  
pp. 519-547
Author(s):  
Andreas Blümel
Keyword(s):  
The Novel ◽  
Complement Clause ◽  
Internal Gap ◽  
As If ◽  
Lexical Factors

AbstractThis article makes the novel observation that in German, CPs functioning as complements to nouns can appear to the left of their associated DP-internal gap position. It surveys the phenomenon and, based on a number of diagnostics, argues that the noun complement clause exhibits properties as if its surface position is movement-derived. Based on parallel observations in PP-extraction from DP, I show that the same constraints on movement apply modulo construction-specific properties of DPs with a noun complement clause. The findings buttress previous approaches to extraction from DPs that highlight differentiating and controlling lexical factors. Given the delicacy of the judgments involved in this phenomenon, the article is mostly devoted to laying out its descriptive properties. Tentative suggestions as to an analysis are offered in the end.

Class, Crime, and Cannibalism in The String of Pearls; or, The Demon Barber as Bourgeois Bogeyman

2020 ◽  
Vol 5 (1) ◽  
pp. 118-131
Author(s):  
Leah Richards
Keyword(s):  
Middle Class ◽  
Urban Poor ◽  
Lower Class ◽  
Class Conflict ◽  
Middle Classes ◽  
Working Classes ◽  
The Poor ◽  
The Rich ◽  
Cultural Resonance ◽  
String Of Pearls

Although the tale of Sweeney Todd is one with significant cultural resonance, little has been written about the text itself, The String of Pearls. This article argues that the text engages with anxieties about class conflict through a narrative that enacts exaggerated versions of various interactions. In the nineteenth century, critics objected to the cheap fiction pejoratively known as penny dreadfuls, asserting that the genre’s exciting tales of bloodshed, villainy, and mayhem would seduce readers to lives of debauchery and crime, but I argue that this concern about cheap fiction was not for the preservation of the souls of the poor and working classes but rather for the preservation of the middle classes' own corporeal bodies and the system that privileged and protected them. While there is no question that the narrative enacts extreme manifestations of problems facing the urban poor—among them, contaminated or even poisonous foodstuffs and the perils of urban anonymity—it also features an intractable and rapacious lower class and a subversion of the master-servant dynamic on which the comforts of the middle class were constructed, and so, in addition to adventure, detection, and young love, The String of Pearls offers a dark revenge fantasy of class-based violence that the middle-class critics of the penny dreadful were perhaps justified in fearing. tl;dr: Eat the Rich!

“Houses are alive. No?”The image of a “revived” house in English literaturein the late XIX — early XX century

2020 ◽  
pp. 298-312
Author(s):  
Georgy A. Veligorsky ◽  
Keyword(s):  
Children's Literature ◽  
Children’S Literature ◽  
Gothic Literature ◽  
The Novel ◽  
The Past ◽  
Howards End ◽  
Edwardian Literature ◽  
Horror Literature

In this article we will talk about the unusual topos that occurs in Victorian and Edwardian literature — the “revived” estate. Indirectly going back to Gothic literature and the “horror literature” that inherited it (where the house can come to life literally, become harmful, frightening and even mortally dangerous for the inhabitant), however, it develops in a completely different way. The ghosts that inhabit the rooms of such a mansion are the guardians of a good and bright memory, “hidden joy”; embodied by the past, who lives in a shaky, invisible world. These ghosts have many hypostases: sometimes they turn out to be just a figment of the tenant’s imagination, and sometimes they are a real poltergeist, but not frightening, but protecting and preserving (W. Woolf, “A Haunted House”). Another manifestation of this topos can be called a house that comes to life, when the hero distinguishes between the beating of his heart (as happens in the novel by E.M. Forster “Howards End”) or hears a whisper of voices in the curtains shaken by the wind. The combination of these two motives (poltergeist and living house) is also found in the works of modernists (W. Woolf, “Orlando: A Biography”). Of particular interest is the image of a revived estate house in children’s literature; in this vein, we will consider the novel by Ph. Pierce, “Tom’s Midnight Garden”.

any real doubt about the ending. Heliodoros redirected curiosity from outcome to explanation. The second problem is lack of direc­ tion and unity: romance was prone to fall apart into a series of exciting but only loosely connected adventures, at the end of which the protagonists recovered their lost happiness and simply lived out the rest of their lives as if nothing had happened. By leaving central questions unanswered Heliodoros is able to hold large spans of text together, and the most important answers, when they do arrive, involve decisive change for the protagonists. Both these strategies imply an interpretatively active reader. The opening of the novel is deservedly famous.11 A gang of bandits come across a beached ship, surrounded by twitching corpses and the wreckage of a banquet. Through their eyes, and with their ignorance of what has taken place, the reader is made to assimilate the scene in obsessive but unexplained visual detail. In the midst of the carnage sits a fabulously beautiful young woman, nursing a fabulously handsome young man. It does not take long to identify them as the hero and heroine of the novel, and learn that their names are Theagenes and Charikleia, but Heliodoros tantalizes us over further details. Thus at the very beginning of the novel two riddles are established: what has hap­ pened on the beach? and who exactly are the hero and heroine? Heliodoros prolongs the reader’s ignorance by his characteristic use of partial viewpoint. Sometimes, as with the bandits, there is a fictional audience whose specific perceptions act as a channel of partial information to the reader, but elsewhere Heliodoros as narrator simply relates what an uninformed witness of the events would have seen or heard. For example, we are only allowed to find out about the hero and heroine as they speak to others r are spoken about: Heliodoros as author knows all about them but keeps quiet in favour of his recording but not explaining narrative voice. The opening scene is eventually disambiguated by Kalasiris, an Egyptian priest. He regales Knemon, a surrogate reader within the text who shares the real reader’s curiosity about the protagonists, with a long story, beginning in Book 2, of how he met Charikleia at Delphi, witnessed the birth of her love for Theagenes and helped the lovers to elope. He chronicles their subsequent experiences, until at the end of Book 5, half-way through the novel, the story circles back to its own beginning and at last resolves the mystery of the scene on the beach.

2014 ◽  
pp. 327-327
Keyword(s):  
Young Woman ◽  
Partial Information ◽  
The Novel ◽  
Narrative Voice ◽  
The Real ◽  
Opening Scene ◽  
Visual Detail ◽  
As If

Dickens’s National Novel

2021 ◽  
pp. 219-245
Author(s):  
Josephine McDonagh
Keyword(s):  
Social Conditions ◽  
The Other ◽  
The Novel ◽  
Poor Law ◽  
Freedom Of Movement ◽  
Bleak House ◽  
The Poor ◽  
The Law ◽  
Political Decisions ◽  
National Borders

Bleak House is a novel saturated with figures of unsettlement, in which characters uprooted by their social conditions operate within a plot animated by unsettlement, in an affective world dominated by feelings of pity and sympathy for those who have been displaced. Thresholds recur in the novel as privileged sites of heightened emotion. The novel’s preoccupation with unsettlement is best understood in the context of mid-century bourgeois aspirations to reimagine the nation as a place in which all citizens might enjoy freedom of movement. In framing this vision, Dickens draws on two contemporary discourses, one drawn from emigration, especially Caroline Chisholm’s popular ‘family emigration’ schemes; the other from public discussions about the law of settlement in the context of the New Poor Law. The latter were attempts to regulate where the poor could live, in the context of the bureaucratic reorganization of national geography that occurred at this time. Throughout, however, the novel displays profound ambivalence about Britain’s engagement with the wider world, expressed most clearly through its antagonism to overseas philanthropy, which it sees as a misdirection of national feeling. The novel’s vision of the nation, underpinned by its commitment to mobility and an ideology of freedom of movement within, but not beyond, the nation, produces its particular formal features and thematic emphases on mobility and movement, and its preoccupation with thresholds—doorsteps, entrances, and finally national borders—as places at which political decisions about inclusion and exclusion are made.

Preparing the Novel: Spiralling Back

Paragraph ◽  
2008 ◽  
Vol 31 (1) ◽  
pp. 109-120
Author(s):  
JONATHAN CULLER
Keyword(s):  
The Novel ◽  
Collège De France ◽  
Change Of Life ◽  
As If

La Préparation du roman, Barthes's course at the Collège de France which was interrupted by his death in 1980, announces a change of life: not giving up analysing literature and culture to write a novel but `preparing the novel', working as if he were going to write a novel. Barthes's approach to the novel is quite singular. With no interest in narrative, nor in extracting the meaning from experience, he treats the novel as a sort of notation, and perversely takes Haiku as a model. This new project constitutes in many respects a regression to literary and cultural ideas Barthes had previously rejected. Most seriously, it involves a turn away from reflection on language, which had been crucial to Barthes's work. But there are other ways in which the change in approach brings new insights to a thinking of the novel and of literature.

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