CONTEMPORARY CREATIVE FICTION WRITING SOCIAL AND HOMELAND ISSUES

The narrative story has evolved from its precursor, when the old myths are shattered, in which the new novel has become a text with numerous cultural formats within its contents. Fragmentation and separation have been two of the most significant aspects of modern creative writing. In order to grasp the evolving reality, novelists must assume new creative forms in which the reader joins the realms of secrecy and marginalization. Those looking for the positions of the novelist critics will notice that contemporary writing has occupied a distinguished position due to the issues it raises regarding humanity and the homeland and pushing its readers to become conscious and understand what is lacking. The issues of the homeland have become thorny issues due to the imagination of the novelist and his intellectuality. It became more and more evident. The novel, with its transformation and development in content and structure, has become an autonomous literary genre that hides complex topics beyond the words. Its reader must search for distinct critical mechanisms to read it and decode its words. Hence, contemporary novelists did not write fictional texts arbitrarily. But, behind every text there was a significance and a human issue affecting the community whose conditions deteriorated socially and politically. From the above, we will try, in this research paper, to dig into the depth of the issue and reveal the features of the contemporary fictional text and its marginalization. Perhaps the most important question is: Did contemporary creative writing really contribute to educating societies? And revealed the issues that are absent and marginalized? Will the continuation of this type of writing change and solve the nation's crises? In order to answer these questions, we have to research contemporary creative writing and dive into the most important cultural, social, political and even ideological systems.

Dragon of Skyros : a study on the cultures of the ninth century through creative fiction

To investigate the reception of Classical motifs within the early medieval world, as well as show the multicultural connectivity between peoples, this work of creative fiction explores the tradition of Neoptolemus in the Ninth Century CE. Rather than telling the story from a single perspective, a plethora of cultural perspectives are employed throughout the novel. From the war-ravaged boon companion of the heir to the Abbasid Caliphate, to a far-travelling Scandinavian intersex völva accompanying multicultural Rus merchants into Austrvegr, to a Khazar shaman plagued by her dreams of destruction and her brother's illness, all of the characters in the novel intertwine through imagery and myth, as a Bulgar monk searching out the missing fragments of Neoptolemus' story meets and brings together the patchwork of stories.

Culture in Translation: A Comparative study of the role played by Culture in Literary Translation

Human Language is one of the most prominent achievements of man in the course of evolution. These languages are intrinsic, multifaceted as well as extremely capricious. Yet, it is also crucial to identify that comprehension of the language of a certain community is the right way, if not the only way towards understanding the culture of the respective community. Culture encompasses a gamut of attributes varying from the assortment of dishes catering to our rich palate to styles of communication and translation which is the process of reproducing the receptor language the nearest natural equivalent of the source language, aids in transcending the language barriers existing amidst communities and universalising cultures. This study examines the role played by culture in the process of translation with special reference to Martin Wickramasinghe’s Madol Doova and its’ English Translation by Ashley Halpe. By means of secondary sources and a highly qualitative approach, which predominantly comprised content analysis of the afore mentioned literature, the study explores the cultural concepts inherent to Sri Lanka and the methods employed by the translator to transfer the notions behind them without any distortion to the source text as well as their purpose, efficacy and success. The findings suggest that there is an undeniable, rather an influential role portrayed by culture in creative fiction, and that it could be successfully transcended upon the depth of understanding the translator has on both source and target cultures, the techniques he or she employs as well as the creative use of language.

THE CHARACTER OF JAMSHID IN “KHAMSA

This article deals with the traditional image of Jamshid in the epic "Khamsa" by the great poet Alisher Navoi. Navoi (1441-1501) in his works effectively used the traditional symbols of oriental literature. For example, the weight of literary images such as Farhod, Shirin, Layli, Majnun, Bahrom, Iskandar; Legendary characters such as Hizr, Socrates, and historicallegendary characters such as Jamshid and Faridun have become a traditional character in his creative fiction and play an important role in Navoi’s work. That is why the poetics of traditional characters in the creation of the poet deserves special study. One such image is Jamshid. The name of Shah Jamshid is often found in Navoi's "Khamsa" epics.

Conceptualising place in historical fact and creative fiction: rural communities and regional landscapes in Bernard Samuel Gilbert’s ‘Old England’ (c. 1910–1920)

The theme of place guides much exploration in rural history and local history. Attempts have been made to create definitions and typologies of place, but these have had to contend with the diverse, complex and dynamic realities of historical pattern and process, local and regional. Nonetheless, historians and those in other disciplines have evolved different approaches to the concept. This study considers how these can inform the investigation of places existing in historical fact in particular periods in the past, and can do similarly for those places located contemporaneously in fictional constructions. Reference is made to various academic writings on place, including by the local historian, David Dymond. The analysis takes the work of the author of fiction, Bernard Samuel Gilbert. Gilbert, although relatively obscure now, incorporated a feature of special note into his later literary output, and one meriting greater attention. This was his personalised, reflective and explicitly articulated approach to forming and expressing place. Moreover, Gilbert’s ‘Old England’, with its imaginary district of 'Bly', can be recognised as corresponding to landscapes and communities existing more broadly in the years up to and through the First World War, and with creations by other authors of regional fiction.

Writing digital culture into the young adult novel

This article investigates how creative fiction writing has responded to the problem of representing the multimodal landscape of digital culture in young adult literature (YAL). Twenty years ago, Dresang’s theory of Radical Change presented a new breed of digitally engaged YAL that addressed changes in thinking about digital technologies and how young people interacted with them. Nikolajeva predicted the phenomenon three years earlier arguing for YAL coming of age as a literary form. In this article, I argue for the necessity of this work to continue, from the perspective of author-practitioner, and for the importance for authors to develop an expanded writing practice that foregrounds formal experiment that both reflects and critiques the thematic concerns and practices of digital culture. I begin by presenting some context for the work, in the form of a brief discussion of formal experimentation within selected YAL, and then go on to discuss my methods and approaches. This creative writing practice research has been undertaken during the course of Ph.D. study that has explored combining dramatic and multimodal writing techniques into a traditional prose fiction text, in this case a novel, aimed for YAL readers.

The Uncanny Power of Comic Books: Achieving Interdisciplinary Learning through Superhero Comic Books

This chapter sets out to examine how superhero comic books can be used to teach students science literacies and concepts such as genetics, along with ELA content such as creative fiction writing in an after-school comic book club. In reviewing existing literature on the subject of interdisciplinary teaching and Vygotsky’s Theory of Mediated Action, this chapter utilizes a qualitative approach to studying STEM-focused comics production. By exploring how students made, analyzed, and integrated science literacies, this chapter offers key insights for teachers.

More than an Artist in the Making: Samuel Beckett’s “Assumption” Revisited

Samuel Beckett’s first published short story, “Assumption” (1929), is usually described as an apprentice work, “a piece of marginally interesting juvenilia” (Pattie 2000: 52), a beginner’s attempt toward a modernist short story in which the influence of James Joyce is clear. Indeed, it has been claimed that Joyce’s A Portrait of the Artist as a Young Man is the model underlying Beckett’s early foray into creative fiction. The current paper seeks to reassess the established critical appreciation of “Assumption”, that of being a parody of Joyce’s novel by a playful disciple; instead, I will argue that Beckett was in fact questioning the very principles of his master’s art. If Portrait is the epitome of the Künstlerroman, Beckett in his short piece debunked the myth of the young artist by consciously downgrading the aesthetic concerns of his protagonist and by disrupting the revered categories of modernist fiction.This essay is part of the research project FF I 2016-76477-P, funded by the Spanish Ministerio de Ciencia, Innovación y Universidades and by AEI / FEDER. The author would also like to thank CEI Patrimonio (Universidad de Almería) for their support..

ALLUSION BACKGROUND IN THE A. TEPPEEV’S NOVELS (FUNCTIONALITY OF THE PRECEDENT TEXTS)

Теоретическое осмысление интертекстуальности в свете вопросов условного отражения действительности и специфики символических обобщений на материале национальной прозы видятся перспективным направлением современной литературоведческой науки. Цель статьи комплексное рассмотрение форм внутритекстовых связей в структуре эпического повествования. Одной из основополагающих дефиниций, анализируемых в работе, является аллюзия, ее функционал в художественном пространстве национального романа и характер употребления в творчестве ведущего балкарского прозаика Алима Теппеева. В качестве широко употребительных вариантов интертекста представлены цитация и реминисценция. Согласно принятой классификации, в работе отмечаются соответствующие образцы фольклорной, мифологической, литературной, религиозной и исторической разновидностей аллюзивных вкраплений, подчеркивается степень освоенности и узнаваемости прецедентных цитат. Все они, так или иначе, находят плодотворное применение в эпических произведениях указанного автора. Основное направление данного исследования дополняется определением метатекстового потенциала аллюзии, указанием содержательных приоритетов анализируемых произведений. При обосновании использования автором разнородных фольклорномифологических включений отмечается их способность к генерированию новых смыслов (Р. Барт). Исследование материала современной национальной прозы с точки зрения применимости аллюзивного фона подводит нас к выводу о том, что цитируемые фрагменты в произведениях крупной жанровой формы приобретают системный характер, переходя в разряд прецедентных текстов. Представленные примеры демонстрируют эффективность стилистического приема аллюзии в расширении возможностей художественной условности. Специально структурируемое пространство романовмифов А. Теппеева является результатом синтеза творческого вымысла и реалистического повествования, обусловленного стремлением автора к более глубокому осмыслению историческойпроблематики. Theoretical understanding of intertextuality in the light of the questions of conditional reflection of reality and specificity of symbolic generalizations on the material of national prose is seen as a promising direction of modern literary science. The purpose of the article is integrated consideration of the forms of intratext cohesion in the structure of the epic narrative. One of the fundamental definitions analyzed in the work is allusion, its functionality in the artistic space of the national novel and the nature of use in the work of the prominentBalkar prose writer A. Teppeev. Citation and reminiscence are presented as widely used variants of intertext. According to the accepted classification, the paper notes the corresponding samples of the folkloric, the mythological, literary, religious and historical varieties of allusion, inclusions, stresses the level of development and recognition of precedent citations. All of them, anyway, find fruitful application in epic works of the specified author. The main direction of this study is supplemented by the definition of metatext potential of allusion, indicating the substantive priorities of the analyzed works. Substantiating the use of heterogeneous folklore and mythological inclusions by the author, their ability to generate new meanings (R. Barth) is noted. The study of the material of modern national prose from the point of view of the applicability of the allusive background leads us to the conclusion that the cited fragments in the works of a major genre form acquire a systemic character, moving into the category of precedent texts. The presented examples demonstrate the effectiveness of the stylistic technique of allusion in expanding the possibilities of artistic Convention. The specially structured space of Teppeyevs myth novels is the result of the synthesis of creative fiction and realistic narration, conditioned by the authors desire for deeper understanding of historical problems.

Guilt and Redemption : A Critical Study of the Kite Runner by Khalid Housseini

The literature of Afghanistan speaks the voice of every violated soul either it is male or female. Specially, it speaks the voice of violence, taking place towards every male, female and child. Violence is not only a harsh threat to our life but it blocks our happiness. Violence totally kills our ambition, and simultaneously our every future positivity by which we can face the bold incidents coming in front of us. Actually violence has no clear cut definition and explanation. A process of creative fiction has always been a segment of the creative evolution of the society itself. Afghan fiction has also the same segment and immersed in the social and political milieu. In the tumultuous era of past three or more decades and especially after 1979, there is change of patterns and subjectivity of Afghan writers. These writers have almost created a body of a literature that is homeless in every respect and the almost literature is produced largely by the diasporas creative souls of Afghanistan. These writers due to the miserable condition left the country and now living in foreign lands. The phases of different type of war and violence have affected Afghanistan and inflicted so much harm on the country. This harm was to such extent that the social life of common people along with their customs and traditions are completely in disorder and a state of disarray. So Afghan writers worked for the improvements and every Afghan artist became so much conscious and keen to preserve and worked for the recreation of Afghanistan’s post. It is quite natural Afghan writers blend their fiction in their memory of time they lived in the country to and their highly emotional and experiences in Afghanistan. Afghan writers, haunted strongly by memories, and they prefer talking about only Afghanistan. They rarely talks about their plight as exiled and refuge in the host country like U.S.A and France. The diverse area of study finds its face in the faithful exploration of day to day life exclusively from the perspective of the common victimized Afghan. This study presents a sequence and execution of violence as well as guilt and redemption in the novel the Kite Runner by Khalid Housseini.