Relevant bibliographies by topics / Amharic fiction – History and criticism

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Academic literature on the topic 'Amharic fiction – History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Amharic fiction – History and criticism"

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Roberts, R. "American Science Fiction and Contemporary Criticism." American Literary History 22, no. 1 (November 20, 2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.

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Forsdick, C. "Postcolonial Criticism: History, Theory, and the Work of Fiction." Comparative Literature 58, no. 3 (January 1, 2006): 263–65. http://dx.doi.org/10.1215/-58-3-263.

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Syrotinski, Michael. "Postcolonial Criticism: History, Theory and the Work of Fiction." French Studies 60, no. 3 (July 1, 2006): 418–19. http://dx.doi.org/10.1093/fs/knl067.

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Zimra, Clarisse. "Postcolonial Criticism: History, Theory and the Work of Fiction (review)." MFS Modern Fiction Studies 50, no. 3 (2004): 798–99. http://dx.doi.org/10.1353/mfs.2004.0093.

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Van Dongen, Richard. "Non-fiction, History, and Literary Criticism in the Fifth Grade." Children's Literature Association Quarterly 12, no. 4 (1987): 189–90. http://dx.doi.org/10.1353/chq.0.0343.

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MacKenzie, Robin. "Approaches to Teaching Proust's Fiction and Criticism." French Studies 59, no. 4 (October 1, 2005): 567–68. http://dx.doi.org/10.1093/fs/kni242.

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Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (April 2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.

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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.
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O’Malley, Maria. "Taking the Domestic View in Hawthorne’s Fiction." New England Quarterly 88, no. 4 (December 2015): 657–80. http://dx.doi.org/10.1162/tneq_a_00494.

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Shifting the emphasis within feminist criticism from the act of speech to the act of hearing, this article argues that, in The Scarlet Letter, The House of the Seven Gables, and Blithedale Romance, Nathaniel Hawthorne reveals how the public sphere depends on the voices of dispossessed women even as it attempts to silence them.
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Ge, Liangyan. "The Mythic Stone inHonglou mengand an Intertext of Ming-Qing Fiction Criticism." Journal of Asian Studies 61, no. 1 (February 2002): 57–82. http://dx.doi.org/10.2307/2700189.

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Until very recently, much of the literary scholarship on the eighteenth-century Chinese novelHonglou meng(The Story of the StoneorDream of the Red Chamber) was centered on what was seen as the autobiographical nature of the work. Critics of the novel, especially those in China, tended to focus their attention on the life of the author, Cao Xueqin (d. 1763), believing the interpretation of the novel to be—to a large extent—hinged on a successful reconstruction of Cao Xueqin's familial relationships, especially with those members of the Cao clan such as Red Inkstone (Zhiyanzhai) who were the original audience of his manuscript. Yet, any literary work—even a truly autobiographical one—arises from its tradition. Its meaning will be better understood and its aesthetic values better appreciated when we consider it in relation to other works in that tradition. For our interpretation ofHonglou meng, what is more pertinent is therefore not the author's personal ties tohisrelatives but the ties of the novel toits“relatives,” works that formed the literary context for its creation.
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Zhang, Zhehui. "A Post-Colonial Approach to The Man Who Ended History: A Documentary." English Language and Literature Studies 10, no. 2 (April 16, 2020): 53. http://dx.doi.org/10.5539/ells.v10n2p53.

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The Man Who Ended History: A Documentary is a science fiction by Chinese American science fiction writer Ken Liu (1976-). Based on the theory of Post-Colonial Criticism, this paper makes a concrete analysis of the text from the perspectives of three eminent contemporary theorists, aiming at the readers’ better understanding of the work, and eliminating ethnocentrism, racism, unilateralism and hegemony; keeping history in mind and justifying the names of innocent humans who have been persecuted; safeguarding world peace, and building a community with a shared future for mankind.
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Dissertations / Theses on the topic "Amharic fiction – History and criticism"

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King, Edward Carlos Richard. "Mapping the control society : science fiction tropes and digital technologies in contemporary Argentine and Brazilian narrative." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610135.

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Shishkin, Timur. "Marginalized Characters in Contemporary American Short Fiction." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/297.

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The focus of the present research work is the contemporary American short stories that bring up issues of compulsory norm and the conflict between marginalized characters and their environment. This research was based on those short stories that seemed to represent the idea of being "different" in the most complex and multilayered way, and its goal was to unfold new aspects of the conflict between "normal" and "abnormal"/"different". Variations of norm as well as diversity within the marginalized raise a number of questions about the reasons for their inability to coexist peacefully. The close reading and the analysis of the selected stories show that all the conflicts in them, in one way or another, repeat similar patterns and lead to the same root of the problem of misunderstanding, which is fear. To be more precise, all the cases of hate towards "different" characters can be explained by the hater's explicit or implicit fear of death in its various forms: inability to procreate one's own kind, cultural or personal self-identity loss, actual life threat in the form of a reminder of possible physical harm and death. Most often it would be the case where shame and fear of death overlap in a very complex way. In general, the cases of characters' otherness fall into three major groups. The nature of the alienation for each of these groups is described and analyzed in three separate chapters. Prejudice and stereotypes are playing a great role in formation of fears and insecurities which need to be dismantled in order to make peaceful coexistence possible. This work concludes with pointing out the crucial role of taking an approach of representation of various perspectives and diversification of voices in creative writing, academia and media in the context of multicultural society.
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Chan, Wai-ying, and 陳惠英. "Chinese lyrical fiction in the period 1919-1989." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212864.

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Su, Ping, and 苏娉. "Word into image : cinematic elements in Caryl Phillips's fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197091.

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Caryl Phillips, best known as a novelist, is a versatile writer who has also written for theater, radio, television and film. His experience in writing screenplays has made a considerable impact on the texture, style, technique and structure of his novels, which display either explicitly or implicitly many visual and formal features that resemble the narrative strategies of cinema. This study explores the many ways in which the cinematic art has influenced Phillips’s writing, focusing specifically on his four major novels: The Final Passage, The Nature of Blood, Dancing in the Dark, and In the Falling Snow. The chapters of this dissertation demonstrate that Phillips’s sustained interest and work in the area of cinema have profoundly shaped his novelistic craft, which is visibly manifested in the form, style and even themes of his fiction. He has used techniques analogous to film substantially in his novels for the purpose of formal experimentation, demonstrating a filmic sensibility that contributes considerably to his uniqueness in theme, characterization and form, enriches the meaning of his texts, and enhances his writing in a great many ways. Thus a reading of his novels in relation to the language and grammar of cinema will lead to a deeper understanding of his fictional art. This thesis uses cinema as an analytical framework to demonstrate the filmic quality of Phillips’s fiction. Chapter One discusses the dynamic exchanges, interactions, and cross-influences between the novel and film, thus establishing a theoretical context for a cinematic reading of Phillips’s major novels. Chapter Two investigates Phillips’s visual imagination by analyzing how literary equivalents of various camera shots such as long shots, medium shots, close-ups, pan shots, dolly shots, tilt shots, and freeze frames are produced by his use of language. It shows that Phillips visualizes his scenes as if through a camera lens, with medium shots, as a mode of characterization, predominating in his novels and sequences of shots displaying a recurring rhythm created by a continuous switching between the long, medium and short camera-to-object distances. Chapter Three, focusing on the editing processes, examines Phillips’s adaptive use of the different types of montages: quick sequences of brief shots, metaphorical montages, repetitive montages, jump cuts, parallel montages and flashback montages. This chapter demonstrates that the construction of literary montages in Phillip’s works has contributed to the author’s visual, rhythmic and concise language style and the predominance of different montage types in the four novels results in their distinct structural features. Chapter Four studies Phillips’s use of the cinematic devices of lighting, color and sound to illustrate that the three elements are a significant and expressive part of the author’s themes and narrative techniques. The reading of Phillips’s novels in the light of cinematic aesthetics will uncover some of the unexplored aspects of his fictional style, draw attention to those formal patterns that are associated with his literary translation of filmic devices, place him in the tradition of literary modernism, and ensure a fuller appreciation of his artistic achievement.
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Ryan, Matthew. "Self, nation and novel in contemporary Irish writing." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5421.

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Zheng, Baoxuan, and 鄭寶璇. "The theme of alienation in modern Chinese and Anglo-American fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31206803.

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DeAngelis, Angelica Maria. "History and fiction as narrative in the novels of Salman Rushdie." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22394.

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This work examines the fiction of Salman Rushdie--Grimus, Midnight's Children, Shame and The Satanic Verses, and its complex narrative structure. Fictional narrative is discussed in terms of structuralist theory using studies by Mieke Bal, Seymour Chatman and Gerald Prince. Historical narrative is analyzed through the writings of the philosophers of history, Hayden White, Louis O. Mink and Paul Ricoeur. These theories are applied to the fiction of Salman Rushdie in order to investigate his use of narrative. It is concluded that he uses a combination of historical and fictional narrative in order to explode existing 'truths' and mythologies, and to suggest alternative realities in their place.
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Ko, Trudy Hoi Yun. "The involution of print and prose fiction in early modern England." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609098.

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Beaulé, Sophie. "L'institution de la science-fiction française, 1977-1983." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65469.

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McMillan, Neil Livingstone. "Tracing masculinities in twentieth-century Scottish men's fiction." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/5190/.

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Tracing Masculinities in Twentieth-Century Scottish Men's Fiction takes account of the representation of masculinities in a selected group of novels by twentieth-century Scottish male authors. Rather than attempt a chronological survey of fictions during this period, the argument proceeds by analysing groups of texts which are axiomatic in specific ways: the Glasgow realist novels of the 1930s and post-1970s, from the works of James Barke and George Blake to those of William McIlvanney and James Kelman, which offer particular perspectives on relationships between men of different class identifications; fictions reliant upon existentialism, which intersect with the masculinist values of the Glasgow tradition in the figure of Kelman, but are also produced by Alexander Trocchi and Irvine Welsh; and novels which employ the technique of 'cross-writing', or literary transvestism, from the Renaissance fictions of Lewis Grassic Gibbon to the postmodern works of Alan Warner and Christopher Whyte. In a critical field which has always been concerned with a tradition of largely male-produced texts privileging the actions of male characters, but has neglected fully to consider the production and reception of those texts in terms of their specific articulations of gender positions, this thesis employs theories of masculinities developed in the study of American and English literatures since the 1980s in order to provide new perspectives on Scottish novels. It also draws upon the materialist theory of Louis Althusser for a model of ideological identification, as well as utilising several psychoanalytic and deconstructive approaches to gender formation in Western culture, epitomised by the work of Judith Butler and Kaja Silverman. The various perspectives on masculine gender and sexual identities thus assembled are primarily directed towards considering the novels under discussion as 'men's texts' - texts not only by or about men, but often directed towards men as readers too.
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Books on the topic "Amharic fiction – History and criticism"

1

Molvaer, Reidulf Knut. Black lions: The creative lives of modern Ethiopia's literary giants and pioneers. Lawrenceville, NJ: Red Sea Press, 1997.

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Tasamā, ʼAsafā Gabramāryām. YaʼItyop̣yā mesāléyāwi negegeroč (proverbs) ṭaqlālā yezatenā qerṣe. [Addis Ababa?: s.n., 1986.

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Gabayahu, Berehānu. Yaʼamāreñā śenageṭem. ʼAdis ʼAbabā, ʼItyop̣yā: [s.n.], 2010.

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Amharic oral poems of the peasantry in East Gojjam: Text, classification, translation, and commentary. Münster: Lit Verlag, 2001.

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ʼAzaza, Faqāda. Unheard voices: Drought, famine, and God in Ethiopian oral poetry. Addis Ababa, Ethiopia: Addis Ababa University Press, 1998.

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Die Kunst der Ambiguität: Indirekte Kommunikation im historischen Äthiopien und den Gäbrä-Hanna-Anekdoten. Wiesbaden: Harrassowitz, 2006.

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Negash, Ghirmai. A history of Tigrinya literature in Eritrea: The oral and the written, 1890-1991. Leiden: Research School of Asian, African and Amerindian Studies (CNWS), Universiteit Leiden, 1999.

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Negash, Ghirmai. A history of Tigrinya literature in Eritrea: The oral and the written 1890-1991. Trenton, NJ: Red Sea Press, 2009.

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Gebre, Woube Kassaye. Analysis of culture for planning curriculum: The case of songs produced in the three main languages of Ethiopia (Amharic, Oromigna and Tigrigna). Joensuu: University of Joensuu, Faculty of Education, 2002.

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Gebre, Woube Kassaye. Analysis of culture for planning curriculum: The case of songs produced in the three main languages of Ethiopia (Amharic, Oromigna and Tigrigna). Joensuu: University of Joensuu, Faculty of Education, 2002.

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Book chapters on the topic "Amharic fiction – History and criticism"

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Iser, Wolfgang. "Fiction—The Filter of History: A Study of Sir Walter Scott's Waverley." In New Perspectives in German Literary Criticism: A Collection of Essays, 86–104. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400866984-005.

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Levenson, Michael. "Criticism of Fiction." In The Cambridge History of Literary Criticism, 468–98. Cambridge University Press, 2000. http://dx.doi.org/10.1017/chol9780521300124.022.

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Rieder, John. "On defining sf, or not: Genre theory, sf, and history." In Science Fiction Criticism. Bloomsbury Academic, 2017. http://dx.doi.org/10.5040/9781474248655.0013.

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Yaszek, Lisa. "The women history doesn’t see: Recovering midcentury women’s sf as a literature of social critique." In Science Fiction Criticism. Bloomsbury Academic, 2017. http://dx.doi.org/10.5040/9781474248655.0030.

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Showalter, English. "Prose fiction: France." In The Cambridge History of Literary Criticism, 210–37. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.008.

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McKeon, Michael. "Prose fiction: Great Britain." In The Cambridge History of Literary Criticism, 238–63. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.009.

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Wimsatt, William K., and Cleanth Brooks. "Fiction and Drama: The Gross Structure." In Literary Criticism: A Short History, 681–98. Routledge, 2021. http://dx.doi.org/10.4324/9781003141013-7.

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Schoneveld, C. W. "Prose fiction: Germany and the Netherlands." In The Cambridge History of Literary Criticism, 264–81. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.010.

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Salzman, Paul. "Theories of prose fiction in England: 1558–1700." In The Cambridge History of Literary Criticism, 293–304. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.031.

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Norton, Glyn P. "Theories of prose fiction in sixteenth-century France." In The Cambridge History of Literary Criticism, 305–13. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.032.

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