scholarly journals A Literary and Cultural Stare of the Red Thread Eka Kurniawan

2019 ◽  
Vol 8 (2) ◽  
pp. 18-30
Author(s):  
Herdi Sahrasad ◽  
Muhammad Ridwan
Keyword(s):  
Short Story ◽  
Literary Tradition ◽  
Socialist Realism ◽  
International Literature ◽  
The Novel ◽  
Young Writer ◽  
First Time

This study is a literary and cultural stare of the red thread Eka Kurniawan. As a young writer, Eka Kurniawan successfully spawned three novels that brought her name increasingly known in international literature. His works are also considered capable of inheriting a 'moving' literary tradition, in which the literary notions of socialist realism are echoed. As a results The language of Eka in Beauty, an elegant wound, and the wealth of his imagination provided excitement, like joy when he saw the snow falling for the first time. Ben Anderson even mentioned Eka as Pramoedya's replacement. He also mentioned Eka as the novel writer and the most original short story in Indonesia. Eka claimed to imitate Pram's discipline in making story details. Eka's comment? "I'm still far from Pram," Eka said in response to her comparison with Pramoedya. But it was precisely there that was the challenge for Eka to continue working as Ben Anderson and Pramudya had hoped for him.

scholarly journals PLOT ELEMENTS AND MOTIVES OF THE NOVEL “CHEVENGUR” IN PLATONOV’S SHORT STORY “POTUDAN RIVER”

2021 ◽  
Vol 26 (1) ◽  
pp. 44-55
Author(s):  
N. Mikhaylovna Malygina ◽  
Keyword(s):  
Short Story ◽  
The Novel ◽  
Love Story ◽  
Planetary Scale ◽  
The Family ◽  
Analytical Review ◽  
Eugene Onegin ◽  
Intertextual Connections ◽  
First Time

The relevance of the article is determined by the researcher of the semantic poetics of Platonov’s story “Potudan River”. We carry out an analytical review of the lifetime criticism and articles of modern researchers about the story, on the basis of which we formulate the purpose of the study, due to the need for a new approach to the interpretation of the work and the identification of the principles of its poetics. The novelty of the article is determined by the identification of the multilayered symbolism of the title of the story, which allows to establish the insufficiency of the conclusions that the content of the “Potudan River” is limited to the family theme. At the level of micropoetics we reveal symbolic details that connect the content of the story with the motive of love for the distant, medical and construction subjects and revealing the planetary scale of the author’s thinking. For the first time, it was established that Platonov’s story “Potudan River” was written based on part of the plot of the novel “Chevengur” – the love story of Alexander Dvanov and Sonya Mandrova. We show that the heroes of the story “Potudan River” Nikita Firsov, Lyuba Kuznetsova and Nikita’s father are doubles of the characters in the novel “Chevengur” by Sasha Dvanov, Sonya Mandrova, and Zakhar Pavlovich. The connection of the image of Lyuba with the archetype of the bride is considered. The paper reveals for the first time the intertextual connections of the story “Potudan River” with the poem “The Bronze Horseman” and the novel in verse “Eugene Onegin” by A. Pushkin, in the texts of which the writer found material for modeling the ordinary fate of the hero. Multi-level connections of the content of the story “Potudan River” with Platonov’s artistic world, which is a complete metatext, are found, which opens up new opportunities for determining the role of the editing technique and the principles of returning to the plots and motives of the works of the 1920s, as well as their transformation in the writer’s work of the 1930s.

scholarly journals O conto português no século XXI: apontamentos sobre Teatro Vertical de Manuel Alberto Vieira / The Portuguese short-story in the 21st century: notes on Manuel Alberto Vieira’s Teatro Vertical

2021 ◽  
Vol 41 (65) ◽  
pp. 31
Author(s):  
Ana Rita Sousa
Keyword(s):  
Short Story ◽  
21St Century ◽  
Literary Tradition ◽  
Narrative Structure ◽  
Global Market ◽  
The Novel ◽  
Ricardo Piglia ◽  
The Family ◽  
Publishing Houses ◽  
The Universe

Resumo: A ficção portuguesa no século XXI parece inclinar-se maioritariamente para as distintas formas que autoriza o romance na pós-modernidade. Por razões de vária ordem, que vão desde a nossa tradição literária à criação de um mercado editorial que fomenta este género, os escritores surgidos após a passagem do milénio e publicados nas grandes casas editoriais portuguesas têm recorrido pouco ao conto. Em contrapartida, o trabalho realizado por editoras independentes tem trazido a lume outros possíveis caminhos para a ficção portuguesa que não desaguam no universo de tendências dominantes do mercado cada vez mais global (carácter mais universal da intriga, inclinação para mobilidade constante das personagens e dos espaços, alusões de natureza livresca, recusa a referências locais ou regionais, etc.). Neste sentido, este trabalho tem como objetivo analisar o contributo de Teatro Vertical, livro de contos de Manuel Alberto Vieira, que em sentido quase oposto às tendências dominantes, permite repensar a potencialidade do conto como género na atualidade, ao mesmo tempo que reconfigura um dos elementos mais problematizados da nossa sociedade: a família. Após uma breve contextualização da subalternização do género na nossa tradição literária, procura analisar-se a estrutura narrativa destes contos – partindo das reflexões de Ricardo Piglia sobre as formas breves –, assim como estudar o modo em que um dos temas dominantes, a família, é evidenciado nas suas complexas mutações através das estruturas mais simples, próprias do conto.Palavras-chave: Manuel Alberto Vieira; conto; narrativa; família; crueldade. Abstract: Portuguese fiction in the 21st century seems to lean mostly towards the different forms that authorize the novel in postmodernity. For various reasons, ranging from our literary tradition to the creation of an editorial market that fosters this genre, writers who emerged after the passing of the millennium and published in the major Portuguese publishing houses have made little use of the short-story.  On the other hand, the work carried out by independent publishers has brought to light other paths for Portuguese fiction that do not lead to the universe of dominant trends in the increasingly global market (a more universal character of intrigue, inclination towards constant mobility of characters and spaces, allusions of a bookish nature, refusal of local or regional references, etc.). In this sense, this work intends to analyze the contribution of Teatro Vertical, a short story book by Manuel Alberto Vieira, which, in an almost opposite sense to the dominant trends, allows us to rethink the potential of the literary short-story as a genre today, while reconfiguring one of the elements most problematized in our society: the family. To this end, this work, after a brief contextualization of the subordination of gender in our literary tradition, seeks to analyze the narrative structure of these short-stories - based on Ricardo Piglia’s reflections on short forms - as well as studying the way in which one of the dominant themes, the family, is evidenced in its complex mutations through the simplest structures, typical of the short-story.Keywords: Manuel Alberto Vieira; short story; narrative; family; cruelty.

Fiction and the Native Author

2018 ◽  
Author(s):  
Jane Stafford
Keyword(s):  
Nineteenth Century ◽  
British Empire ◽  
Short Story ◽  
English Language ◽  
Literary Tradition ◽  
The Novel ◽  
Indigenous Identity ◽  
Do So

This chapter discusses native authors of fiction. Indigenous, colonized, or native authors of fiction in English are rare in the British Empire before 1950. There are exceptions, however, in India, there is a body of English-language fiction from the second half of the nineteenth-century onwards. Nevertheless, a sustained presence and the development of a local literary tradition in English were difficult. The short story, published in newspapers and magazines, was a more common though at the same time more ephemeral form than the novel. Native writers authored prose collections of Indigenous myths and legends in English, overtly signalling their authority to do so in terms of their Indigenous identity and the access it entailed.

scholarly journals Shōjo Manga Elements Imported to Contemporary Japanese Literature - A Case Study of Miura Shion

2021 ◽  
Vol 11 ◽  
pp. 55-63
Author(s):  
Hiroko Inose
Keyword(s):  
Short Story ◽  
Contemporary Literature ◽  
Japanese Literature ◽  
The Novel ◽  
Paper Briefly ◽  
First Time ◽  
Shojo Manga ◽  
Yoshimoto Banana

The present paper discusses how various elements in shōjo manga (Japanese comics for girls) have been incorporated in works of Japanese contemporary literature. The connection between shōjo manga and literature was pointed out for the first time when the novel Kitchen by Yoshimoto Banana was published in 1987. This paper argues that this connection has developed further since then, focusing on one of the most active writers in contemporary Japanese literature, Miura Shion[1]. The paper briefly introduces the genre shōjo manga and describes its connection with the novel Kitchen before analysing a short story and an essay by Miura Shion, focusing both on their motifs and styles, to identify elements influenced by shōjo manga.

scholarly journals A Slap in the Face of Socialist Taste: The Novel "Nikolai Nikolaevich" by Yuz Aleshkovsky As a Contestation of the Rules of Socialist Realism

2021 ◽  
Vol 31 ◽  
pp. 1-22
Author(s):  
Elżbieta Tyszkowska-Kasprzak
Keyword(s):  
Socialist Realism ◽  
Literary Texts ◽  
The Novel ◽  
Main Character ◽  
Sperm Donor ◽  
The Arts ◽  
Socialist Realist ◽  
Long Time ◽  
The Face ◽  
First Time

Yuz Aleshkovsky wrote the novel „Nikolai Nikolaevich” in the 1970s. For a long time, the work was disseminated in samizdat and it appeared in print for the first time only in 1980. Composed under the censorship conditions of socialist realism dominant in the arts, this work violates strict taboos imposed on subjects related to sexuality and stylistic solutions which exclude sub-normative vocabulary. In many aspects, the composition of the novel resembles the pattern of the production novel. At the same time, the writer negate the values propagated in the art of socialist realism: the main character is a former pickpocket, who built a comfortable life for himself as a sperm donor in a laboratory and talks about his professional achievements in a language saturated with profanity and elements of criminal jargon. The plot of the work is based on an amalgamation of components characteristic of ideologized literary texts with elements that were unacceptable in such texts. The introduction into the novel of the theme of corporality, and human sexuality, which was a taboo topic in socialist realist literature, introduces a major dissonance and induces produces a comic effect.

scholarly journals Vladimir Korolenko as Dickens Reader: Fiction and Metafiction

2019 ◽  
Vol 14 (2) ◽  
pp. 33-40
Author(s):  
Yana V. Lakhina ◽  
Alexey E. Kozlov
Keyword(s):  
Short Story ◽  
Specific Activity ◽  
Daily Routine ◽  
Young Reader ◽  
The Novel ◽  
Main Character ◽  
Reading Experience ◽  
Detective Novels ◽  
First Time ◽  
The Ideal

The article is devoted to interpretation a figure of explicit reader in Vladimir Korolenko’s “Story of my Contemporary” (chapter “My first Acquaintance with Dickens”). Short story moderated the trajectory of reading at distinguishing between narrative and perception modes. Representing the world of the Zhytomyr province, the writer shows reading as a specific activity that is part of the daily routine for inhabitants. The story of reading a little hero – from the “colorful” and “spicy” reading adventurous and detective novels to meaningful reading of Dickens’ book – demonstrates specific changes in the psychology of the little hero (from Oliver Twist to David Copperfield). A specific feature of this text is the reflection of the young reader on everything what is happening in the book in particular and on the nature of one’s own reading in general. At the beginning of the story, the main feature of the reading of the hero is noted, his abruptness, episodic, covering only the surface of the plot. Central motive of the struggle of two brothers, having as a biographical and mythopoetic sense. That is closely connected with a qualitative transformation Reader becoming a Writer. In addition, the older brother was an authority for the youngest, including in reading, therefore, in addition to the “episodicity” of reading, it was also secondary and in his perception of certain works the young the reader relied on the experience of his older brother, who does not mark the image of the ideal the reader, dividing everything into so-called κῶμος and τράγεος. Despite the fact that the main character is experiencing the text of Dickens as Revelation, experience reading his novel practically did not differ from previous reading experience. So the novel was without a name, also remained an unread hero and was not even understood by him until the end. And it is the figure of the elder brother-authority that changes the main trajectory “Anonymity” of children's reading, the first time calling the last name of the writer Dickens. In conclusion hypothesis about the specific metatext character of the fragment under consideration is presented. That allows to consider it as an auto-commentary on other works of the author, in particular, his story “In a Bad Society”.

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.

Buried Narratives: Exhuming the Mother's Story in Oliver Twist

2018 ◽  
Vol 8 (3) ◽  
pp. 247-266
Author(s):  
Michelle L. Wilson
Keyword(s):  
Social Change ◽  
Maternal Inheritance ◽  
The Novel ◽  
Poor Law ◽  
The Family ◽  
The Law ◽  
First Time ◽  
Critical Consideration

Initially, Oliver Twist (1839) might seem representative of the archetypal male social plot, following an orphan and finding him a place by discovering the father and settling the boy within his inheritance. But Agnes Fleming haunts this narrative, undoing its neat, linear transmission. This reconsideration of maternal inheritance and plot in the novel occurs against the backdrop of legal and social change. I extend the critical consideration of the novel's relationship to the New Poor Law by thinking about its reflection on the bastardy clauses. And here, of course, is where the mother enters. Under the bastardy clauses, the responsibility for economic maintenance of bastard children was, for the first time, legally assigned to the mother, relieving the father of any and all obligation. Oliver Twist manages to critique the bastardy clauses for their release of the father, while simultaneously embracing the placement of the mother at the head of the family line. Both Oliver and the novel thus suggest that it is the mother's story that matters, her name through which we find our own. And by containing both plots – that of the father and the mother – Oliver Twist reveals the violence implicit in traditional modes of inheritance in the novel and under the law.

Application of Novel Low Current OBIRCH Amplifier and Nanoprobing to Identify Subtle Leakages in Advanced Node Technologies

2018 ◽  
Author(s):  
Satish Kodali ◽  
Liangshan Chen ◽  
Yuting Wei ◽  
Tanya Schaeffer ◽  
Chong Khiam Oh
Keyword(s):  
Signal To Noise Ratio ◽  
Semiconductor Industry ◽  
Fault Isolation ◽  
Ring Oscillator ◽  
High Signal ◽  
The Novel ◽  
Resistance Change ◽  
Three Samples ◽  
Relative Threshold ◽  
First Time

Abstract Optical beam induced resistance change (OBIRCH) is a very well-adapted technique for static fault isolation in the semiconductor industry. Novel low current OBIRCH amplifier is used to facilitate safe test condition requirements for advanced nodes. This paper shows the differences between the earlier and novel generation OBIRCH amplifiers. Ring oscillator high standby leakage samples are analyzed using the novel generation amplifier. High signal to noise ratio at applied low bias and current levels on device under test are shown on various samples. Further, a metric to demonstrate the SNR to device performance is also discussed. OBIRCH analysis is performed on all the three samples for nanoprobing of, and physical characterization on, the leakage. The resulting spots were calibrated and classified. It is noted that the calibration metric can be successfully used for the first time to estimate the relative threshold voltage of individual transistors in advanced process nodes.

Crumbling into Dust

2017 ◽  
Author(s):  
John Levi Barnard
Keyword(s):  
Short Story ◽  
Literary History ◽  
Richard Wright ◽  
The Novel ◽  
Unfinished Business ◽  
Black Newspapers ◽  
American Literary History ◽  
Antebellum Period ◽  
David Walker ◽  
Historical Times

This chapter situates Chesnutt’s writing within a tradition of black classicism as political engagement and historical critique extending from the antebellum period to the twentieth century and beyond. Reading Chesnutt as a figure at the crossroads of multiple historical times and cultural forms, the chapter examines his manipulation of multiple mythic traditions into a cohesive and unsettling vision of history as unfinished business. In the novel The Marrow of Tradition and the late short story “The Marked Tree,” Chesnutt echoes a nineteenth-century tradition that included David Walker, Henry Highland Garnet, and writers and editors for antebellum black newspapers, while at the same time anticipating a later anti-imperial discourse generated by writers such as Richard Wright and Toni Morrison. Chesnutt provides a fulcrum for a collective African American literary history that has emerged as a prophetic counterpoint to the prevailing historical consciousness in America.

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