scholarly journals An overview about the development of theory of the novel in Vietnam

2021 ◽  
pp. 32-40
Keyword(s):  
Twentieth Century ◽  
Creative Writing ◽  
Development Trend ◽  
Human Existence ◽  
First Century ◽  
Theoretical Development ◽  
The Novel ◽  
Structural Framework ◽  
Vietnamese Literature ◽  
Opening Up

The novel is a constantly changing and evolving genre when it shows the width and depth in the reflection of reality, opening up endless dialogues about the value of human existence in its flexible structural framework. The article exploits, points out and evaluates theoretical achievements of the twentieth century novels. From this evaluation, the text identify the theoretical development trend of this genre in the twenty-first century, placed in the movement correlation, movement of contemporary Vietnamese literature seen from creative writing and receptive innovation.

NEO-VICTORIAN STUDIES

2012 ◽  
Vol 40 (1) ◽  
pp. 339-346 ◽  
Author(s):  
Margaret D. Stetz
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Victorian Novel ◽  
Vantage Point ◽  
Point Of View ◽  
First Century ◽  
The Novel ◽  
Literary Genres ◽  
Victorian Studies ◽  
Remarkable Effect

Long ago, Margery Williams'sThe Velveteen Rabbit(1922) taught us that toys become real when they are loved. Literary genres, however, become real when they are parodied. The neo-Victorian novel, therefore, must now be real, for its features have become so familiar and readily distinguishable that John Crace has been able to have naughty fun at their expense inBrideshead Abbreviated: The Digested Read of the Twentieth Century(2010), where John Fowles'sThe French Lieutenant's Woman(1969) stands as representative of the type. Crace's treatment of Fowles's first-person narrator results in a remarkable effect: the ironic commentary upon the nineteenth century from a twentieth-century vantage point that runs throughout the novel gets subjected, in turn, to ironic commentary from a twenty-first-century point-of-view:

scholarly journals NOMADIC PICTURE OF THE WORLD IN THE NOVEL OF S.SANBAEV “WHITE ARUANA”

2020 ◽  
pp. 489-495
Author(s):  
S. Ananyeva ◽  
◽  
O. Арукенова ◽  
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
First Century ◽  
The Novel ◽  
Gradual Decline ◽  
The World ◽  
Man And Nature ◽  
Ancient Times ◽  
Great Culture ◽  
The Individual

Myths, tales and legends have been referencing readers of S. Sanjeev's prose to the ancient times of the Great Steppe, despite the fact that the action of fiction take place in the twentieth century. The story of Satimzhan Sanbaev «White Aruana», which has become the hallmark of the Kazakh writer's prose, is devoted to the urgent topic «man and nature». The motives of freedom, longing for the lost great past, the indestructible call of the Motherland are central to the story. Formation of the national identity of the Kazakh people is mainly based on works imprinted in oral folklore. The problem of “man and nature” is solved by the author in terms of the increased responsibility of the inhabitants of the planet Earth for the world. The narrator reinforces mythology, psychological overtones, and tragedy against the background of an ordinary household plot. The life of the inhabitant of steppe has depicted in the fate of one family. This skill has become a peculiarity of the style of the Kazakh prose writer. The failures of the protagonist Myrzagali are perceived as a consequence of the gradual decline of the ancient and great culture of nomadism, the cosmos of Tenriism. The loneliness of the individual in nomadic culture is determined by nature, living conditions, infinity and boundless vastness of the steppe, in which the problem of «man and space» is relevant in the twenty-first century.

scholarly journals Lost Hope in Hemingway`s A Farewell to Arms: Existentialism Study

2020 ◽  
Vol 2 (2) ◽  
pp. 616-621
Author(s):  
Mahnaz Soqandi ◽  
Shiva Zaheri Birgani
Keyword(s):  
Twentieth Century ◽  
Human Existence ◽  
The Novel ◽  
Traditional Values ◽  
Freedom Of Choice ◽  
Existential Approach ◽  
Fighting Spirit ◽  
The World ◽  
Existentialist Philosophy ◽  
Farewell To Arms

This research paper attempts to explore the novel, A Farewell to Arms through the lens of Existential approach and it explores the role played by Existentialism in the novel. Hemingway is one of the greatest American writers in the twentieth century. A Farewell to Arms, his most famous anti-war novel. An American volunteer joining Italian army falls in love with a British nurse but their love is destroyed mercilessly by the war. Hemingway expresses his outlooks on the world, on life and on individual in this novel. The world under Hemingway’s pen is a chaotic and irrational world. People living in this world discard traditional values and faith, living a nihilistic and miserable life. Although the world is absurd and life is nihilistic, the protagonist has fighting spirit. He actively participates in life and pursues the meaning of life. He fights courageously against the danger and death in adversity to realize his existential values. These views are in accordance with existentialist philosophy rising in the twentieth century. Existentialism mainly explores human existence, the absurdity of the world and the meaninglessness and purposelessness of life. Meanwhile it greatly emphasizes man’s freedom of choice and action. Living in a chaotic and absurd world, man can never get rid of the sense of nihility. Man has to face it bravely. There is existentialist tendency in A Farewell to Arms, and Hemingway is indeed a writer with existentialist thought.

A short history of written Wu, Part II: Written Shanghainese

2018 ◽  
Vol 4 (2) ◽  
pp. 217-246 ◽  
Author(s):  
Don Snow ◽  
Shen Senyao ◽  
Zhou Xiayun
Keyword(s):  
Twentieth Century ◽  
Hong Kong ◽  
Print Culture ◽  
First Century ◽  
Recent Book ◽  
The Novel ◽  
Public Attention ◽  
History Of ◽  
To Receive

AbstractThe recent publication of the novelMagnificent Flowers(Fan Hua繁花) has attracted attention not only because of critical acclaim and market success, but also because of its use of Shanghainese. WhileMagnificent Flowersis the most notable recent book to make substantial use of Shanghainese, it is not alone, and the recent increase in the number of books that are written partially or even entirely in Shanghainese raises the question of whether written Shanghainese may develop a role in Chinese print culture, especially that of Shanghai and the surrounding region, similar to that attained by written Cantonese in and around Hong Kong.This study examines the history of written Shanghainese in print culture. Growing out of the older written Suzhounese tradition, during the early decades of the twentieth century a distinctly Shanghainese form of written Wu emerged in the print culture of Shanghai, and Shanghainese continued to play a role in Shanghai’s print culture through the twentieth century, albeit quite a modest one. In the first decade of the twenty-first century Shanghainese began to receive increased public attention and to play a greater role in Shanghai media, and since 2009 there has been an increase in the number of books and other kinds of texts that use Shanghainese and also the degree to which they use it.This study argues that in important ways this phenomenon does parallel the growing role played by written Cantonese in Hong Kong, but that it also differs in several critical regards. The most important difference is that, to date, written Shanghainese appears almost exclusively in texts that look back to “old Shanghai” and/or to traditional alley life in Shanghai, and that a role of the type written Cantonese has in Hong Kong is not likely to be attained unless or until Shanghainese texts that are associated with modern urban Shanghai life, especially youth culture, begin to appear.

Reframing the Politics of Aesthetic Appropriation in the late-Nahḍah Novel: The Case of “Plagiarism” in Ibrāhīm al-Māzinī’s Ibrāhīm al-kātib

2019 ◽  
Vol 50 (1) ◽  
pp. 56-80
Author(s):  
Maria Elena Paniconi
Keyword(s):  
Twentieth Century ◽  
Creative Writing ◽  
The Novel ◽  
Cultural Authenticity ◽  
Mechanical Process ◽  
Parallel Processes ◽  
Russian Novel

AbstractIn his novel Ibrāhīm al-kātib (Ibrāhīm the Writer, 1931) the Egyptian poet, narrator, and humorist Ibrāhīm al-Māzinī borrowed several passages from his own translation—via English—of the Russian novel Sanin, by Mikhail Petrovich Artsybashev, which he had published in 1922 under the title Sanīn aw Ibn al-ṭabī‘ah (Sanīn, or The Son of Nature). In this article, I analyze several personal authorial accounts, including the introduction to the first edition of the novel Ibrāhīm al-kātib (1931), in which the author develops the idea of creative writing and translation as a mechanical process of filling in the gaps of a “lost original.” Alongside literary allegations raised by critics against al-Māzinī soon after the publication of Ibrāhīm al-kātib, I recontextualize this issue of self-borrowing in the light of two parallel processes: the changing politics of intertextual practices that took place in Egypt during the first quarter of the twentieth century; and the rise of concepts as “Egyptianness” and “aṣālah” (cultural authenticity), key ideas to a national canon. Both Sanīn aw Ibn al-ṭabī‘ah and the (partially) re-written Ibrāhīm al-kātib, are the outcome of a process of adaptation, in which translation, intertextuality, literary borrowing and manipulation of the text constitute a common working practice and are not isolated incidents in the author/translator’s career.

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.

Coda: The Rosetta Stone

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Digital Media ◽  
The Novel ◽  
Digital Code ◽  
Media Technologies ◽  
Rosetta Stone ◽  
The World ◽  
Western Imagination ◽  
Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

Gertrude Stein's Transmasculinity

2018 ◽  
Author(s):  
Chris Coffman
Keyword(s):  
Twentieth Century ◽  
Ernest Hemingway ◽  
Pablo Picasso ◽  
False Consciousness ◽  
Mass Consumption ◽  
Museum Exhibits ◽  
Carl Van Vechten ◽  
The Media ◽  
Future Work ◽  
Opening Up

By reading written and visual artefacts of Gertrude Stein’s life, Gertrude Stein’s Transmasculinity reframes earlier scholarship to argue that her gender was transmasculine and that her masculinity was positive rather than a self-hating form of false consciousness. This book considers ways Stein’s masculinity was formed through her relationship with her feminine partner, Alice B. Toklas, and her masculine homosocial bonds with other modernists in her network. This broadens out Eve Kosofsky Sedgwick’s account of “male homosocial bonding” to include all masculine persons, opening up the possibility of examining Stein’s relationship to Toklas; masculine women such as Jane Heap; and men such as Pablo Picasso, Ernest Hemingway, and Carl Van Vechten. The Introduction and first four chapters focus on surfacings of Stein’s masculinity within the visual and the textual: in others’ paintings and photographs of her person; her hermetic writings from the first three decades of the twentieth century; and her self-packaging for mass consumption in The Autobiography of Alice B. Toklas (1933). Whereas the chapter on The Autobiography underscores Toklas’s role in the formation of Stein’s masculinity and success as a modernist, the final three register the vicissitudes of the homosocial bonds at play in her friendships with Picasso, Hemingway, and Van Vechten. The Coda, which cross-reads Stein’s Everybody’s Autobiography (1937) with the media attention two museum exhibits about her attracted between 2011 and 2012, points to possibilities for future work on the implications of her masculine homosocial bonds with Vichy collaborator Bernard Fäy.

Minorities in the Contemporary Egyptian Novel

2018 ◽  
Author(s):  
Mary Youssef
Keyword(s):  
Literary History ◽  
First Century ◽  
Nation State ◽  
Colonial Rule ◽  
The Novel ◽  
Robust Analysis ◽  
Specific Approach ◽  
And Gender ◽  
Context Specific ◽  
Historical Moment

This book examines questions of identity, nationalism, and marginalization in the contemporary Egyptian novel from a postcolonial lens. Under colonial rule, the Egyptian novel invoked a sovereign nation-state by basking in its perceived unity. After independence, the novel professed disenchantment with state practices and unequal class and gender relations, without disrupting the nation’s imagined racial and ethno-religious homogeneity. This book identifies a trend in the twenty-first-century Egyptian novel that shatters this singular view, with the rise of a new consciousness that presents Egypt as fundamentally heterogeneous. Through a robust analysis of “new-consciousness” novels by authors like Idris ᶜAli, Bahaᵓ Tahir, Miral al-Tahawi, and Yusuf Zaydan, the author argues that this new consciousness does not only respond to predominant discourses of difference and practices of differentiation along the axes of race, ethno-religion, class, and gender by bringing the experiences of Nubian, Amazigh, Bedouin, Coptic, Jewish, and women minorities to the fore of Egypt’s literary imaginary, but also heralds the cacophony of voices that collectively cried for social justice from Tahrir Square in Egypt’s 2011-uprising. This study responds to the changing iconographic, semiotic, and formal features of the Egyptian novel. It fulfills the critical task of identifying an emergent novelistic genre and develops historically reflexive methodologies that interpret new-consciousness novels and their mediatory role in formalizing and articulating their historical moment. By adopting this context-specific approach to studying novelistic evolution, this book locates some of the strands that have been missing from the complex whole of Egypt’s culture and literary history.

Elementy poetyki ludowej w powieści Rzeczy uprzyjemniające. Utopia T. Bołdak-Janowskiej

2020 ◽  
pp. 182-197
Author(s):  
Agnieszka Goral
Keyword(s):  
Fairy Tales ◽  
Text Analysis ◽  
Literary Text ◽  
Source Material ◽  
Human Existence ◽  
The Other ◽  
The Novel ◽  
Literary Works ◽  
The One ◽  
Cultural Features

The aim of the article is to analyse the elements of folk poetics in the novel Pleasant things. Utopia by T. Bołdak-Janowska. The category of folklore is understood in a rather narrow way, and at the same time it is most often used in critical and literary works as meaning a set of cultural features (customs and rituals, beliefs and rituals, symbols, beliefs and stereotypes) whose carrier is the rural folk. The analysis covers such elements of the work as place, plot, heroes, folk system of values, folk rituals, customs, and symbols. The description is conducted based on the analysis of source material as well as selected works in the field of literary text analysis and ethnolinguistics. The analysis shows that folk poetics was creatively associated with the elements of fairy tales and fantasy in the studied work, and its role consists of – on the one hand – presenting the folk world represented and – on the other – presenting a message about the meaning of human existence.

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