Uneven Temporalities of Modernity: The Portrayal of Modernisation in E. M. Forster’s Howards End and Füruzan’s 47'liler

2016 ◽  
Vol 7 (1) ◽  
pp. 35-48
Author(s):  
Burcu Alkan
Keyword(s):  
Literary Tradition ◽  
Literary Form ◽  
The Novel ◽  
Societal Transformation ◽  
Literary Traditions ◽  
Literary Responses ◽  
Howards End ◽  
Modern Novel ◽  
Similarities And Differences

Arguably a cultural consequence of the extensive societal transformation that is modernisation, the novel is a literary form that bears witness to, embodies and reveals its extent. Each literary tradition has its own version of the modern novel that seeks to make sense of the complexities of such an immense force. This paper compares two novels, E. M. Forster’s Howards End (1910) and Füruzan’s 47’liler (1974, Generation of ’47), in order to explore some of the similarities and differences between the English and Turkish literary responses to modernisation. The incentive for such an uncommon comparison comes from the uneven temporalities of the modernisation process in varying geographies that accentuate unique probabilities alongside general patterns. By choosing two temporally disparate novels from cultures that have differing experiences with modernity, it aims to challenge conventional approaches and encourage alternative perspectives in both literary traditions.

Introduction

2017 ◽  
Author(s):  
Jonathan Foltz
Keyword(s):  
Literary Tradition ◽  
Public Culture ◽  
The Novel ◽  
Moral Purpose ◽  
Modern Novel ◽  
Constituent Feature ◽  
Ongoing Development

This book seeks to understand how the need to respond to film has become a constituent feature in the ongoing development of the novel. It suggests that such fascination with film played out against the backdrop of a growing discourse about the novel's respectability. As the modern novel was increasingly venerated as a genre of aesthetic refinement and moral purpose, authors frequently turned their attention to film: a medium enviable not for the successes it achieved but for the lapses of taste it made obtrusive, and for the contradictions of address that it had the power to make attractive. In this impacted logic (and panic) of media transition, novelists came to credit narrative practices as yet undefined and unassimilated within literary tradition. In this, their texts respond to the felt devaluation of art in a transforming public culture which could seem at moments to be leaving the novel behind.

The Quiet Contemporary American Novel

2018 ◽  
Author(s):  
Rachel Sykes
Keyword(s):  
Literary Tradition ◽  
Literary Form ◽  
The Novel ◽  
Western Tradition ◽  
Marilynne Robinson ◽  
American Novel ◽  
Reduced Volume ◽  
History Of ◽  
Hester Prynne ◽  
Selection Of

What does it mean to describe a novel as ‘quiet’? The quiet contemporary American novel defines the term as an aesthetic of narrative that is driven by reflective principles. While, at first appearance, ‘quiet’ seems a contradictory description of any literary form, because it risks suggesting that the novelist has nothing to say, this book argues that the quiet of the novel is better conceived as a mode of conversation that occurs at a reduced volume than as the failure to speak. The quiet contemporary American novel then makes two critical interventions. First, it maps the neglected history of quiet fictions and argues that from Hester Prynne to Clarissa Dalloway, from Bartleby to William Stoner, quiet characters fill the novel in the Western tradition. As a phrase, ‘the quiet novel’ also has a long and untraced history, dating back 150 years. Throughout its long history, many critics have used ‘the quiet novel’ as a phrase that dismisses and derides the work of writers whose novels seem disengaged from the ‘noise’ of their wider society. The quiet contemporary American novel finally takes up the long referred to idea of quiet fiction to ask what it means for a novel to be quiet and, through discussion of a diverse selection of contemporary writers including Marilynne Robinson, Teju Cole, and Lynne Tillman, asks how we might read for quiet in an American literary tradition that critics so often describe as noisy.

scholarly journals Forma do romance e forma da história: a representação do “Terceiro Mundo” em Zero, de Ignácio de Loyola Brandão

Eutomia ◽  
2018 ◽  
Vol 1 (20) ◽  
pp. 205
Author(s):  
Pedro Dolabela Chagas
Keyword(s):  
Literary Tradition ◽  
Literary Form ◽  
The Novel ◽  
Contemporary History

A representação da história contemporânea em Zero, de Ignácio de Loyola Brandão. A insuficiência das formas e conceitos legados pela tradição literária diante das contradições da modernização brasileira: a forma do romance como resposta ao desafio da interpretação de um país em transformação. Considerações gerais sobre a forma literária e a representação da história.Palavras-chave: Zero, de Ignácio de Loyola Brandão; Romance brasileiro pós-64; Interpretação nacional; Romance e representação da história.Abstract: The representation of contemporary history in Ignácio de Loyola Brandão’s Zero. The insufficiency of forms and concepts inherited from the literary tradition before the contradictions of Brazilian modernization: the form of the novel as a response to the challenges of interpreting a changing country. General considerations about literary form and the representation of history.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

The Pornographer and McGahern's Allusive Practice

2017 ◽  
Vol 47 (2) ◽  
pp. 281-297
Author(s):  
Tom Walker
Keyword(s):  
Social Practice ◽  
Literary Tradition ◽  
The Novel ◽  
Present Value ◽  
The Past

Allusions to other texts abound in John McGahern's fiction. His works repeatedly, though diffidently, refer to literary tradition. Yet the nature of such allusiveness is still unclear. This article focuses on how allusion in The Pornographer (1979) is depicted as an intellectual and social practice, embodying particular attitudes towards the function of texts and the knowledge they represent. Moreover, the critique of the practice of allusion that the novel undertakes is shown to have broader significance in terms of McGahern's whole oeuvre and its evolving attempts to salvage something of present value from the literature of the past.

PENGAKUAN CALABAI: SEBUAH ANALISIS INTERTEKSTUAL NOVEL PASUNG JIWA KARYA OKKY MADASARI DAN NOVEL CALABAI KARYA PEPI AL-BAYQUNIE

Jurnal KATA ◽  
2018 ◽  
Vol 2 (1) ◽  
pp. 50
Author(s):  
Krisna Aji Kusuma ◽  
Herman J Waluyo ◽  
Nugraheni Eko Wardani
Keyword(s):  
Content Analysis ◽  
Analysis Data ◽  
Qualitative Approach ◽  
The Novel ◽  
Research Results ◽  
Self Actualization ◽  
Similarities And Differences ◽  
The Difference ◽  
Descriptive Qualitative

<p><em>This study aims to describe the intertextuality relationship between the novel Pasung Jiwa by Okky Madasari and Calabai by Pepi Al-Bayqunie. The type of research is descriptive qualitative approach using content analysis. Data are collected by inventorying events that are similarities and differences, specifications on the characters, settings, plots, and themes of both text. The research results indicate that there are similar themes on the two novels, the theme of self actualization in addition with the theme of family and friendship. The same characterization are also used by both author, masculine figures with feminine soul characters. The difference between the two novels lies on the plot and setting. Pasung Jiwa uses progressive plot and Calabai uses a flash-back plot.. Okky Madasari takes Java Island as the background in the novel Pasung Jiwa, while the novel Calabai, Pepi Al-Bayqunie using the setting of Sulawesi Island. The basis of the similarity of theme and characterization supported by the similirity of events in the story shows the existence of intertextual relationship between the two novels. As a previously published work, the novel Pasung Jiwa by Okky Madasari is a hipogram and novel Calabai by Pepi A-Bayqunie as a transformational text. On the theme and characterization, the transformation of Calabai forward the hypogram, while in the plot and setting deviates his hypogram, Pasung Jiwa.</em></p><p>Penelitian ini bertujuan untuk mendeskripsikan hubungan intertekstualitas antara novel Pasung Jiwa karya Okky Madasari dan novel Calabai karya Pepi Al-Bayqunie. Jenis penelitian ini adalah deskriptif kualitatif dengan pendekatan konten analisis. Data dikumpulkan dengan menginventariskan peristiwa yang merupakan persamaan dan perbedaan, spesifikasi pada tokoh, latar, alur, dan tema dari kedua teks. Hasil penelitian ini menunjukkan bahwa terdapat kesamaan tema pada kedua novel, yaitu tema aktualisasi diri, ditambah dengan tema keluarga dan persahabatan. Penokohan yang sama juga digunakan oleh kedua penulis, yaitu tokoh maskulin dengan karakter jiwa feminin. Perbedaan kedua novel terletak pada alur dan latar. Pasung Jiwa menggunakan alur maju dan Calabai menggunakan alur campuran. Latar dalam novel Pasung Jiwa, Okky Madasari mengambil latar Pulau Jawa, sedangkan novel Calabai, Pepi Al-Bayqunie menggunakan latar Pulau Sulawesi. Dasar kesamaan tema dan penokohan didukung kesamaan peristiwa-peristiwa dalam cerita menunjukkan adanya hubungan intertekstual antara kedua novel. Sebagai karya yang terbit terlebih dahulu menjadikan novel Pasung Jiwa karya Okky Madasari adalah hipogram dan novel Calabai karya Pepi Al-Bayqunie sebagai teks transformasi. Pada tema dan penokohan, transformasi Calabai meneruskan hipogram, sedangkan pada alur dan latar menyimpangi hipogramnya, Pasung Jiwa.</p>

Restoration Theatre and the Novel

2018 ◽  
Author(s):  
Jenny Davidson
Keyword(s):  
Eighteenth Century ◽  
Literary Form ◽  
The Novel ◽  
Cultural Transition ◽  
Strong Affinity ◽  
History Of ◽  
Restoration Theatre ◽  
Restoration Comedy ◽  
London Stage

This chapter explores the broad cultural transition from drama to novel during the Restoration period, which triggered one of the most productive periods in the history of the London stage. However, when it comes to the eighteenth century proper, the novel is more likely to be identified as the century's most significant and appealing popular genre. The chapter considers why the novel has largely superseded drama as the literary form to which ambitious and imaginative literary types without a strong affinity for verse writing would by default have turned their attention and energies by the middle of the eighteenth century. Something important may have been lost in the broad cultural transition from drama to novel. This chapter, however, contends that many things were preserved: that the novel was able to absorb many of the functions and techniques not just of Restoration comedy but of the theatre more generally.

Oil, Water, World, Wax, Mind: Jean Rolin’s Ormuz

2021 ◽  
Vol 73 (2) ◽  
pp. 225-236
Author(s):  
Thangam Ravindranathan
Keyword(s):  
Arabian Peninsula ◽  
World Order ◽  
The Novel ◽  
History Of The Novel ◽  
Amitav Ghosh ◽  
Modern Novel ◽  
History Of ◽  
Oil Water ◽  
Night And Day ◽  
Oil Tankers

Abstract This essay considers the unworldly setting of Jean Rolin’s novel Ormuz (2013), composed around the attempt by a shadowy character named Wax to swim across the Strait of Hormuz. This twenty-one-nautical-mile-wide stretch of sea separating Iran from the Arabian Peninsula, through which is shipped 35 percent of the world’s petroleum, is a waterway of the utmost geopolitical importance, its harbors built not for dreamy swimmers but for giant oil tankers and the elaborate maritime-military infrastructure assuring their passage. Such a setting would seem to stand as a bleak other to the novel as genre. Yet if one thinks of the history of the novel as inseparable from that of carbon capitalism (as Amitav Ghosh has argued), such a claim is reversed—this site where powerful strategic interests drive the flow of oil, capital, and power is the place of the continual making and unmaking, by night and day, of the world order, and thereby of the modern novel. The essay reflects on what Wax’s weird wager—as an emblem for a remarkable narrative wager—may owe to such intertexts as Google, Descartes’s Meditations, and Jules Verne’s Tour du monde, and argues for reading Ormuz as an ecological novel for our times.

Marivaux's Place in the Development of Character Portrayal

PMLA ◽  
1912 ◽  
Vol 27 (2) ◽  
pp. 168-187
Author(s):  
Edward Chauncey Baldwin
Keyword(s):  
The Novel ◽  
Modern Novel ◽  
New Form ◽  
Continuous Narrative

When in 1710-11 the Sir Roger de Coverley papers appeared in the Spectator, the art of the novel seemed to have been discovered. The wonder is that people did not sooner awaken to a realization that a new form of art had been created. The faithful description of life and manners was there, the interest of character and incident was also present. The essays needed but to have been thrown into the form of a continuous narrative to have given us at least the germ of the modern novel. As a matter of fact, however, the actual appearance of the novel was delayed for nearly three decades.

Comparative Examination of Motifs and the Representation of Identies in Selected Works of Kamau Brathwaite and Helene Johnson

2021 ◽  
Vol 1 (1) ◽  
pp. 33-42
Author(s):  
Adetunji Adelokun
Keyword(s):  
African American ◽  
Literary Tradition ◽  
Literary Traditions ◽  
Kamau Brathwaite ◽  
Identity Renegotiation ◽  
Comparative Examination

This paper is an attempt to consider the deployment of literary motifs to discuss the representation of identities in the selected works of Kamau Brathwaite and Helene Johnson. The analysis was informed by the need to identify the adherence to the preponderant theme of the quest for identity and the representation of identities in American Literary tradition. This study critically appraised and analyzed the development of the African-American and Caribbean literary traditions within the conscious space of displacement and identity renegotiation. The study revealed that the selected and critically pieces of the writers amplify the similarity or uniformity in the sociohistorical experiences of displacement from the root, search for identity and reinstatement of lost values in the enabling milieus of the writers.

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