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Journal articles on the topic 'Author commentary on fiction'
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1
Leavy, Patricia. "Commentary: Fiction as a Transformative Tool." LEARNing Landscapes 9, no. 2 (2016): 29–33. http://dx.doi.org/10.36510/learnland.v9i2.761.
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This piece explores the potential of ction as a powerful pedagogical tool within and beyond the academy. Drawing on professors’ examples, literary neuroscience, and my experience as an author of sociological ction and editor of the Social Fictions book series, I suggest how ction can be used to foster critical thinking, consciousness- raising, forge micro-macro connections, engage learners in deep re ection, teach substantive content, and promote understanding and empathy across di erences.
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Dymet, Marcin. "Letters from the Future." Digital Culture & Society 4, no. 2 (2018): 203–18. http://dx.doi.org/10.14361/dcs-2018-0211.
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Abstract Sociologists have long used the biographical approach as a research method. Diaries, memorials and personal correspondence are treated as existing source material, which can help enrich social knowledge about the life of social groups. This can embrace different genres, for instance autobiographical novels. These, although fictional, are still grounded in the reality of an author and can be utilized as material for social analysis. The same rules apply to science fiction literature. Worlds presented in it are versions of the future or alternative realities, anchored frequently in the present time. Throughout history, authors have been using science fiction as a social and political commentary for their contemporary world. These thought experiments represent valuable material to help analyse the policies of the present and predict future forms of society in the rapidly changing world supersaturated with new technologies. In the present article, the idea of using biographical method to analyse Arctic science fiction is presented. The article explores the mutual interrelation of climate change, the development of Information and Communication Technologies (ICTs), and digital citizenship in the Arctic region. Science fiction is considered from the perspective of thought experiment in which potential futures of the Arctic in relation to the three above-mentioned areas are imagined and constructed.
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Davis, Caitlin. "“Realistic Villains”." Digital Literature Review 10, no. 1 (2023): 96–106. http://dx.doi.org/10.33043/dlr.10.1.96-106.
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Crime films–one of the most beloved forms of crime fiction—have a close relationship with society due to their themes and subject matter. Because of this relationship, crime films are able to use their genre-specific elements to include social commentary within their storylines. Using their victims, suspects, and resolutions of the crimes, modern crime fiction pieces such as Rian Johnson’s 2019 film Knives Out and Halina Reijn’s 2022 film Bodies Bodies Bodies both implement larger conversations within their stories. In Knives Out, the audience follows the mystery behind the sudden death of the renowned author, Harlan Thrombey—the suspects being his family and staff. Within the film’s mystery, Johnson uses elements of the story to recognize and critique those in power who benefit from privilege. Bodies Bodies Bodies focuses on couple Bee and Sophie as they join Sophie’s upper-class influencer friends for a weekend of partying, but mystery ensues when one of the friends is found dead, leaving only those within the house as suspects. Throughout the film, Reijn exemplifies the harmful way younger generations are utilizing technology while also critiquing problematic behaviors within influencer culture. This essay will use these pieces of modern crime fiction to explore how fictional crime narratives can use their stories to include social commentary.
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Timlin, Carrie. "“The Workers Must Strive if the Butterflies Must Live”: Ethel Mannin’s Love’s Winnowing , the Socialist Romance Novel, and British Working-Class Women." Tulsa Studies in Women's Literature 43, no. 2 (2024): 197–217. https://doi.org/10.1353/tsw.2024.a952300.
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ABSTRACT: With rare exceptions, studies on author and activist Ethel Mannin have focused on her political non-fiction despite a broad consensus that many of her novels and short stories were vehicles for Socialist ideology. Her novelette “Love’s Winnowing” is a seminal example of how Socialist authors, and Mannin in particular, subverted the romance to political ends. Blurring the line between cultural commentary and popular fiction, Mannin’s nuanced integration of the experiences of working-class women in the story provides a window into the lives and concerns of its target audience, the connection between literature and its socio-political context, and the dialectic between aesthetics and class politics in interwar Britain. If Mannin’s fiction is detached from her politics, scholarship on it will remain incomplete. The same can be said for work that focuses on her politics, neglecting her fiction. Drawing on the popularity of the romance and the political affordances of a genre that occupied a controversial place in working-class communities, Mannin spoke to an intimately gendered politics located firmly within working-class women’s experience, not by overtly stating her aims, but by inviting a group of socially situated readers to draw on their familiarity with cultural codes to interpret her narrative creatively.
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Gaponova, Zh K. "The synthesis of documentary and fictional codes in the story “Superpowers by inheritance: My Soviet Grandfathers” by O. Kolpakova." Philology and Culture, no. 3 (October 4, 2023): 99–105. http://dx.doi.org/10.26907/2782-4756-2023-73-3-99-105.
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The article studies the mechanisms of interaction between documentary and fictional codes in O. Kolpakova’s work “Superpowers by Inheritance: My Soviet Grandfathers”, considered here as a translator of intergenerational ties. The author focuses on establishing the place of the family in the history of the country in different eras, which correlates with the purpose of our study – to determine the nature of the connection between non-fiction and fiction, past and present, which are presented in the story both in a dialogic unity and in opposition. The article concludes that the complex narrative organization of the work reflects the authorial concept of family history, allowing her not only to introduce the reader to the cultural and historical realities of a particular era, which is facilitated by the popular science commentary inserts by Ivan Privalov, but also to transmit the cultural codes that form the identity of the Russians (family, historical memory, respect for elders, love for one’s country and our homeland). The analysis shows that the dialectical relation between non-fiction and fiction is realized through the motif of “stories”, the conversation with the elder relatives is organized in accordance with the narrative models of Soviet literature, which makes an organic synthesis of non-fiction and fiction possible and does not presuppose a linear unfolding of the narrative. The article analyzes the ways of representation of the documentary in the story. The superpower motif, in the author’s opinion, enables her to reach the level of mythopoetic modelling of the national cultural code, which represents traditional values in the formulas that are topical for modern teenagers.
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Ivić, Nenad. "Is Pierre Michon’s The Eleven a political novel?" Open Research Europe 5 (May 28, 2025): 144. https://doi.org/10.12688/openreseurope.19922.1.
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Pierre Michon’s The Eleven (Les Onze, 2009) is narrated by a cicerone who entertains visitors to the Musée du Louvre and describes the painting of eleven members of the Comité de salut public during the French Revolution, which revisits the history of politics at the decisive moment of la Terreur. The novel purports to be a commentary on the painting, the people it depicts, the circumstances of its creation and its author. However, the painting is imaginary, as is the quotation from Jules Michelet’s Histoire de la Révolution française that legitimises it. The complex interplay of literary traditions and techniques used in the novel defies the banality of a running commentary on political figures and circumstances told in a realist mode to evoke instead the spectacle of telling/making the history/story of politics as a surge of terror, thus revealing the abyss implicit in the performative situation of the protagonist and his audience doubling/mimicking the text and the reader: originary fiction of politics as imaginative re-enactment of the politics of fiction that redeems the Revolution.
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Akulova, Arina A. "The influence of commentary on literary text." Verhnevolzhski Philological Bulletin 3, no. 26 (2021): 69–75. http://dx.doi.org/10.20323/2499-9679-2021-3-26-69-75.
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This article analyzes the impact of the commentary on the commented literary text. Despite the fact that society is losing interest in the traditional genre of commentary – book or academic – due to the availability of any clarifying information on the Internet on request, the need for its functioning and, as a consequence, for its improvement, remains. New commentary technologies are emerging, and commentary is attracting increasing attention as a cultural phenomenon in its own right. This is probably due to the development of the anthropocentric paradigm in philology, interest in literary and cultural reflections, and the expansion of information opportunities, which determines the relevance of the study. The study of the commentary and its creation were carried out at different times by the most famous philologists, and the author of the article relies on the works of theorists and practitioners of the commentary, their opinions on this issue, which were generalized and systematized, as well as on examples of commenting on fiction in various publications. The commentary is considered in a totality of features, its definitions are analyzed from the linguistic viewpoint, the main function is described as providing and optimizing the understanding of the text, as well as aspects of its influence on the text. The goal is to analyze the impact of commentary on the text being commented on. The author identified eight aspects of the influence of commentary on the text; these aspects were presented, nominated and described, which indicates the range of tasks solved. The main and related aspects of the influence of commentary, including a destructive one, are highlighted. The novelty and theoretical significance of the study is demonstrated by the description of the change in text perception with the development of the commentary as a general cultural phenomenon. This paper uses a methodologically important new perspective for analyzing the interaction of text and commentary to it. As a result, the study shows how the text and its perception by the addressee change , if it is commented on.
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Green, Andrew, and Roger Dalrymple. "Playing at Murder: The Collaborative Works of the Detection Club." Crime Fiction Studies 2, no. 1 (2021): 63–78. http://dx.doi.org/10.3366/cfs.2021.0034.
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This paper explores the inter-war collaborative works of the Detection Club as a source of commentary and insight on the ludic and dialogic nature of Golden Age detective fiction. Less well known than the single-authored works of Detection Club members, the multi-authored Behind the Screen, The Scoop, The Floating Admiral, Ask a Policeman and Six Against the Yard capitalise upon the genre's capacity for intertextual play and self-conscious engagements with literary formula and convention. By adopting a range of collaborative approaches and working in different combinations, the joint authors (including Berkeley, Christie, Crofts, and Sayers) construct playful textual ‘spaces’ that foreground gameplay and dialogism as key dynamics in the writing and reception of detection fiction. The discussion deals with the texts and their games in two groupings, showing the appositeness of Barthes' notion of the ‘writerly text’ and Bruner's concept of subjunctivity to the first grouping, and of Bakhtinian dialogism and ‘carnival’ to the second. Attention is thus drawn to the richness of these texts as a source of commentary and illustration of the signature playful dynamic of Golden Age detective fiction.
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Danilova, S. N., V. V. Maksimova, and N. V. Archakhova. "Sociocultural Commentary in The Land of the Udagans Novel by Ariadna Borisova." Issues of National Literature, no. 4 (December 24, 2024): 100–107. https://doi.org/10.25587/2782-6635-2024-4-100-107.
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The authors of the article examine the role of sociocultural commentary in the first two novels of the Land of the Udagans cycle by Russian writer Ariadna Borisova: “People with Solar Reins” and “The Stars Have Cold Fingers.” Ariadna Borisova is a writer, translator, and journalist from Yakutia, known for her works of various genres for both children and adults. The Land of the Udagans cycle is written in the genre of ethnic fantasy and narrates the distant past of the Sakha people. It is rich in material related to mythology, folklore, and religious motifs. The author herself defines her work as a "novel-olonkho." Sociocultural commentary is essential for revealing the cultural context, helping readers understand the unique aspects of the national culture, mentality, and worldview reflected in Borisova's works, which may be unfamiliar or unclear not only to those from other cultural backgrounds but also may be incomprehensible to the modern reader who is not sufficiently familiar with the history of their people. Analyzing the sociocultural aspects of the novels allows for a deeper appreciation of the text's multilayered nature and its cultural and linguistic worldview. Incorporating sociocultural commentary into the texts enables readers to perceive the work not only as a piece of fiction but also as a cultural phenomenon, broadening its interpretation. This commentary also facilitates a more profound understanding of the text, not only for readers from different cultures but also for contemporary audiences. It serves as a tool that not only explains the text but also makes it accessible and relevant to a wider audience, enhancing its educational and cultural value.
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Carlson, Matthew Paul. "‘All the Laws in the Book’: The Transgressive Impulse of Hammett's The Maltese Falcon." Crime Fiction Studies 2, no. 1 (2021): 96–112. http://dx.doi.org/10.3366/cfs.2021.0036.
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Scholars of detective fiction have long acknowledged Dashiell Hammett's crucial role in the formation of the American hard-boiled style. However, a closer look at his third novel, The Maltese Falcon (1930), reveals the extent to which Hammett self-consciously engaged with the generic conventions of the Golden Age mysteries that had dominated the previous decade. By partially following the rules, Hammett continually toys with the reader's expectations, charting a new course for detective fiction while simultaneously offering a self-reflexive commentary on the genre's history. In addition to providing a fresh reading of The Maltese Falcon, this essay contextualises Hammett's efforts by showing how he responds to contemporary crime novelists, especially the American Willard Huntington Wright (better known by his pseudonym S. S. Van Dine). In 1928, Wright published his famous ‘Twenty Rules for Writing Detective Stories’ in an attempt to define the genre's specific appeal, creating a pact between author and audience. The Maltese Falcon explores the nature of that pact and ultimately violates it through a series of reversed expectations. By showing just how deeply embedded this transgressive impulse is in The Maltese Falcon, this essay sheds new light on a pivotal moment in both Hammett's career and in the evolution of detective fiction.
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Deikun, Ilia Dmitrievich. "The birth of the "authorial commentary". The history of the concept from the word form to critical reception (1921-1935)." Филология: научные исследования, no. 1 (January 2025): 70–79. https://doi.org/10.7256/2454-0749.2025.1.73081.
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The subject of this study is the history of the concept of "authorial commentary" in Russian literary criticism of the 1920s and 30s. The moment of the appearance of its actual word form, as well as its equivalent, "auto-commentary", is recorded. The key research method is historical semantics, which provides a methodological framework for combining the semantic, pragmatic analysis of the concept of "author's commentary", as well as the epistemological analysis of the associated representation system. Auxiliary methods are the epistemology of the humanities, which makes it possible to establish the essence of the literary concept. In the course of this study, a sketch of the periodization of the history of the concept of "authorial commentary" was given. The thesis was put forward that the period from 1921 to 1935 is central to its existence in literary discourse, during which the tradition of its dual use was established. This tradition is relevant to this day. An epistemological characteristic of this period was given. It shows the predominance of the psychological understanding of commentary over its understanding as the form of literary study. It was found out that in the context of the formation of textology, this concept denoted the connection of an artistic work with the non-fiction texts of the author accompanying its appearance. The equivalence of the word forms "authorial commentary" and "auto-commentary" was demonstrated, and the thesis was put forward that author's commentary was defined by literary critics of the 20s and 30s as a type of auto-criticism, and the very doctrine of auto-criticism was part of the psychology of creativity. The last was predominant and influential concept of the time due to complex relations between psychoanalysis and psychological criticism, and young soviet literature studies.
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Molnár, Gábor Tamás. "Art of Annotation." Central European Cultures 2, no. 2 (2023): 52–73. http://dx.doi.org/10.47075/cec.2022-2.04.
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This paper aims to interpret the process of self-documentation in Péter Esterházy’s A Novel of Production (1979), an important Hungarian novel which utilizes extensive endnotes to link a parodic narrative to a body of fictionalized autobiographical commentary. Drawing on theories of play and self-reflexivity as well as critical studies on the history of annotation in nonfiction and fiction, the article presents the structure of Esterházy’s novel and elucidates some textual connections between seemingly disconnected parts. The interpretation focuses on a storyline involving the attempted signing of the fictionalized author, also a lower-league football player, by a club bigger than his current one. The article argues that this narrative demonstrates the intersection of several thematic levels and discourses within the narrative, including football, finance, politics and literature—and illustrates the way in which a complex reality is modeled by the intersections and mutual displacement of competing discourses or fields of play. In conclusion, the article considers the role of self-documentation and self-commentary in the process of semiotic modeling, and links Esterházy’s creative method to Greimas’s semiotic square.
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Chambers, Matthew. "“Freedom – Is It a Crime?”: Herbert Read’s The Green Child and Human Rights in Post-war Britain." Anglica. An International Journal of English Studies, no. 31/1 (October 2022): 55–68. http://dx.doi.org/10.7311/0860-5734.31.1.03.
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Modernist author Herbert Read was best known as an art critic, anarchist, and poet, but one of the few works of his which remains in print is his little understood only attempt at fiction: his novel, The Green Child (1935). The novel updates a medieval tale about mysterious green-hued children who suddenly appear in a village, and in Read’s work, the so-called Green Children set off a narrative where, I argue, that individual liberties like freedom of movement and political debates around human rights and refugees are staged and thought through. In reapproaching this semi-fantastical tale, I analyse how Read imagines a form of social utopia and also offers commentary on the mid-20th century refugee crisis.
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Schneider-Vielsäcker, Frederike. "Spatiotemporal Explorations." Prism 19, no. 1 (2022): 46–66. http://dx.doi.org/10.1215/25783491-9645902.
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Abstract This article examines sociopolitical commentary in contemporary Chinese science fiction literature written by authors of the post-1980s generation. With a close reading of Hao Jingfang's 郝景芳 “Beijing zhedie” 北京折疊 (Folding Beijing, 2014) and Chen Qiufan's 陳楸帆 “Lijiang de yu'ermen” 麗江的魚兒們 (The Fish of Lijiang, 2006), the analysis focuses on how these works reflect the lived experience of ordinary urbanities in postmodern China and pays particular attention to the stories' engagement with the chronotope. This article argues that through the chronotope contemporary Chinese science fiction stories express unease about rapid transformation and visualize a divided Chinese society characterized by spatial disparity.
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Shum, Olga Yu. "Expressive Features of Author Subjectivity in the Literary Ego-Text (Roman Senchin’s What Do You Want?)." Tekst. Kniga. Knigoizdanie, no. 26 (2021): 23–39. http://dx.doi.org/10.17223/23062061/26/2.
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The modern literary process indicates the presence of a large number of fiction with documentary subcurrent: facts from the author’s biography are a very slight hyperbolization. An example of such work would be the novel What Do You Want? (2013) by a contemporary Russian writer Roman Senchin, which became the subject of consideration in this article. The synthesis of auto-documentary and literary principles in the story organizes self-narration with unsteady boundaries between the real (“factual”) and the fictional (“fictitious”). The specificity of the correlation of the factual and the fictitious is examined in this work using the method of literary criticism and contextual analysis. The immediate aim of the article is to identify the specificity of expressing the implicit method of author subjectivity in non-fiction. In the author’s opinion, the implicit way of expressing the reflective type of author subjectivity fits more harmoniously into the literary fabric of the work, enriching it with subtexts and hidden meanings. In the course of the study it has been determined that although the center of the story revolves around the everyday life of an ordinary Moscow family, Senchin’s work is not a slice-of-life novel, but a political commentary. The theme of What Do You Want?” is sociopolitical, the problematics are sociocultural. The narration of the novel undergoes an intense analyzing and coming to terms with the sociopolitical events that are highlighted in almost all of the scenes. The text implies that the writer comprehends his own political position and interprets its cause-effect relationships. In order to distance himself as much as possible from his own identity, Senchin uses the technique of “externalizing” and “assigns” the role of the narrator to a teenage girl Dasha, the prototype of which he himself cannot be. Dasha, being a narrator-observer, asks questions, including the one from the title, to herself and other characters, including the father “Roman Senchin”. The time frame for the narration is precisely established: 18 December 2011 – 26 February 2012; each part of the text is a certain day, there are six in total. However, it is not clear who marked the specific days – the real author of the story or, as he conceived, the narrator Dasha. The autofiction method of “externalizing” in combination with the factual plot allows considering What Do You Want? as an ego-text, which in its genre form is something between an excerpt from a family chronicle and a diary. Autofiction in the form of an ego-text allows the writer to implicate his reflection, organizing a space for discussion of the unquestioning “Roman Senchin” (his alter ego) and the doubting Dasha within a kind of a “mental diary” – a space of consciousness in which the author-subject and the narrator are united. “Bringing to light” this “mental” diary, the writer redirects it to a wide range of readers and thus shifts the story from the field of “literature without fiction” to the sphere of art
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Savelyeva, Maria Sergeevna, and Alexander Vladislavovich Savelyev. "In these (end) times: Sh. Idiatullin's Volgaic fantasy fiction." Ethnic Culture 5, no. 4 (2023): 49–53. http://dx.doi.org/10.31483/r-107141.
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The paper discusses the development of ethnic fiction in the modern Russian literature, focusing on Shamil Idiatullin's 2020 novel “Poslednee vremja”. We show that the tendency towards switching from ethnic to regionalist agenda can be observed in the works by both Russian authors, such as Denis Osokin and Alexei Ivanov, and authors having a non-Russian ethnic identity, such as the Tatar novelists Guzel Yakhina and Shamil Idiatullin. We adopt an interdisciplinary approach, bringing together techniques from literary studies (analysis of the genre and the literary situation as well as the historical and cultural context) and linguistics (an etymological analysis of proper names, in the first place). Our commentary on various linguistic, historical and cultural aspects puts Idiatullin»s novel into the discourse of the contemporary ethnic fiction as a text that expresses the positions of both the Conquerors and the Conquered. The analysis of personal names and other words of non-Russian origin that are used in the Russian text allows to identify the fictional ethnic groups with the actual peoples of the Volga-Kama region and places the novel within a present-day context. One of the key themes of “Poslednee vremja” is language loss, and some scenes, such as the self-immolation of the pagan priest Arβuj-Kuγə̑za, make a clear reference to the contemporary history of the region. The novel»s title can be translated as both “End times” and “These times”; thus, it includes simultaneously an apocalyptic allusion and a hint to the events of the recent past.
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Melnyk, George. "African science fiction cinema: Wanuri Kahiu’s 21-minute film Pumzi (2009)." Short Film Studies 11, no. 2 (2021): 221–31. http://dx.doi.org/10.1386/sfs_00057_1.
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This article examines Kenya’s first science fiction film, Pumzi (2009), a 21-minute short. The film has attracted extensive academic commentary. This study discusses the academic response and its ideological focus. Using six related categories that help place films in their historical context ‐ Anthropos, Topos, Chronos, Logos, Techne and Genos ‐ it seeks to widen the appreciation of the film’s contribution to the genre and to highlight the visual achievement of its auteur, Wanuri Kahiu.
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Nejad, Soheila Farhani. "Metafiction and representation of gendered identity in Gillian Flynn's 'Gone Girl'." English Studies at NBU 11, no. 1 (2025): 83–94. https://doi.org/10.33919/esnbu.25.1.4.
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This study examines the interplay of gender stereotypes in crime narratives through the lens of Gillian Flynn's Gone Girl. Flynn's novel challenges traditional portrayals of women in crime fiction, positioning them not merely as victims but as complex anti-heroines capable of orchestrating elaborate criminal plots fueled by vengeance and psychological manipulation. The paper highlights the metafictional elements in Gone Girl, where the author employs self-conscious storytelling to critique societal expectations surrounding gender roles. By intertwining themes of media representation, domesticity, and the neoliberal notion of choice, the paper underscores how Flynn's narrative structure critiques the commodification of female identity and the performative aspects of gender roles and identity. Ultimately, the study posits that Flynn's work serves as a thought-provoking commentary on the power dynamics inherent in the representation of gender in contemporary media culture, revealing the complexities of identity as shaped by societal constructs.
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Deikun, Ilia Dmitrievich. "The author's meta-reflection in the novel by Matvey Komarov "Vanka Cain"." Филология: научные исследования, no. 2 (February 2025): 133–46. https://doi.org/10.7256/2454-0749.2025.2.71723.
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The subject of the study is the author's metafictional discourse, expressed in a complex of discursive elements, having a different genre and functional nature. In Matvey Komarov's novel Vanka Cain, metraleflexion is a complex that includes metalepsis, digressions, generalizations, glosses, but also elements of paratext, for example, "Forewarning" and metatext, for example, footnotes. All these elements are in a unique configuration, form a single system of the author's discourse, and reflect the general meta-ethics of the work. Therefore, analyzing them as a system, we do not separate individual elements, but two of their complexes reflecting the key opposition of the metapoetics of the work: metafictional commentary and metanarrative commentary. The first one thematizes the work of fiction and fantasy. The second focuses on the reflection of literary and rhetorical forms. In Komarov's novel, they have their own specifics, peculiar to the rhetorical consciousness, modified by the folk tradition of popular literature. In the study, we use the teleological approach developed in Russian philology by A. Skaftym, in which the emphasis is placed on the total importance of all elements of the work. Also, following Yu. Chumakov, we include the author's notes in the text of the work. Based on postclassical German narratology, we separate the metafictional and metanarrative author's comments. The novelty of the research lies in the consideration of the author's metapoetics in the early work of Matvey Komarov. In the analytical allocation of its explicit, verbalized form by the author, in the commentary, which had not previously been the subject of research. This required a methodologically innovative combination of the perspectives of the immanent analysis of a literary work and the narratological analysis of an author's work, during which it became possible to distinguish two, metanarrative and metafictional, systems of author's judgments in the text. At the same time, due to the specifics of the subject, the identification of the features of Matvey Komarov's literary consciousness became particularly valuable research results. His conceptualization of literature as a quality of form, the rhetorical perception of fiction as a technique. And, on the contrary, relying on evidence and experience in the design of history, understanding its nature as a reflection of reality, an emblematic vision of it as a fragment having didactic value.
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Likhodkina, Irina. "Features of the transfer of quasi-realies of F. Herbert's science fiction novel “Dune” into Russian and French." Филология: научные исследования, no. 9 (September 2022): 1–11. http://dx.doi.org/10.7256/2454-0749.2022.9.37268.
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An integral feature of science fiction literature is the realities of the fictional world by the author or the so-called quasi-realities. The transfer of realities from one language to another is still an urgent problem of linguistics and causes difficulties for both beginners and professional translators. The purpose of this study is to identify and analyze ways to convey the realities of F. Herbert's novel “Dune” in translations into Russian and French. The choice of the actual research material – F. Herbert's novel “Dune” – was not made by chance. It is explained by the significant influence exerted by this work on the entire industry of world science fiction, the presence in it of all the classical elements inherent in this literary genre, as well as the undying interest in the Dune universe. In the course of the work, the following methods were used as the main ones: comparative analysis, the method of continuous sampling, methods of classification, interpretation and linguistic commentary. The article classifies the author's terminology of the novel and identifies the main groups of quasi-realities. These lexical units became the object of comparative analysis of the original text and its translations, which allowed to identify translation difficulties and ways to overcome them. Of particular interest for the study was not only in comparing the original with each translation separately, but also in comparing these translations with each other. As a result, it was found that when transferring the author's anthroponyms, most toponyms and ethnonyms in Russian translation, lexical transformations of transcription and transliteration were used, whereas in French their original forms were preserved. When transferring quasi-grammatical names in both languages compared, semantic translation, morphemic translation, calcification, creation of similar neologisms and, in rare cases, transcription/transliteration (in the Russian version) and preservation of the original form (in French) were used.
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Sweeney, David. "‘With a spaceship at the end’: Genre hybridity in Copenhagen Cowboy by Nicolas Winding Refn." Journal of European Popular Culture 15, no. 2 (2024): 137–51. https://doi.org/10.1386/jepc_00072_1.
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While genre hybridity in television and cinema is nothing new, Copenhagen Cowboy (2023), the six-episode Netflix series co-created – with screenwriter Sara Isabella Jønsson Vedde – and directed by Danish auteur filmmaker Nicolas Winding Refn, is remarkable for the way its mixture of genres is both a continuation of the hybrid approach already established in Refn’s cinema work (and in his first streaming series, for Amazon Studios, Too Old to Die Young [2019]) and a kind of meta-commentary on it. Copenhagen Cowboy was pitched to Netflix as a continuation of Refn’s Pusher trilogy, a series of grittily realistic gangster films set in Copenhagen’s criminal underworld. However, with the series Refn also wished to introduce elements of other genres, including science fiction: as he told Netflix, the series would climax with ‘a spaceship at the end’. Although Refn has described his psychedelic Viking adventure Valhalla Rising (2009) as a ‘science fiction film’, this comment seems to reflect more the creative process involved in making it than the narrative presented on-screen; Copenhagen Cowboy represents his first explicit foray into the realm of science fiction. However, it is science fiction of a particular kind: superhero science fiction and I discuss the series here as, ultimately, a superhero narrative; ‘ultimately’ because its nature as a superhero text is only truly revealed in the final episode.
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KATYAYANI, M., and K. USHA RANI. "The Turmoil Of India In The Twilight Years Of British Empire – In Nayantara Sahgal’s Novel “Mistaken Identity”." Think India 22, no. 2 (2019): 204–8. http://dx.doi.org/10.26643/think-india.v22i2.8720.
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Nayantara Sahgal is the author of nine Novels, ten works of non-fiction and wide-ranging literary and political commentary. She has received the Sahitya Akademi Award, the Sinclair Prize and the Commonwealth Writer’s Prize.
 The Novel “Mistaken Identity” is an elegant, adroitly constructed, mordantly written story of the playboy Bhushan singh, son of the Raja of Vijaygarh. He is arrested and thrown into jail and charged with treason.
 The Novelist successfully depicts the British officers’ partial Judgements, tortures of Indian National Activists and the prison rules.
 As news of violent world events penetrates the prison walls – civil war in Turkey, the rise of Mussolini, Gandhi’s Dandi March, mass arrests, the death of hunger-strikers in Lahore – Bhushan discovers that fate has played a cruel trick on him.
 The present paper is an attempt to bring out the story of a love and obsession that brilliantly summons up the turmoil of India in the twilight years of empire.
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Balakshina, Julia V. "“Author’s Confessionˮ by N.V. Gogol: Problems of Commenting". Studia Litterarum 7, № 3 (2022): 364–85. http://dx.doi.org/10.22455/2500-4247-2022-7-3-364-385.
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The article addresses the issues of commenting on N.V. Gogol’s prose of the 1840s. The focus is on “Author’s Confession.ˮ Unfinished and unpublished during the writer’s lifetime, the text was later entitled by S.P. Shevyryov. A number of common problems in how today’s readership comprehends the Russian classics are pointed out, more specifically, the changes in the cultural horizon and the renunciation of universalizing interpretations. The article highlights specific features of Gogol’s late prose, defined by a turning-point in his religious belief and creative work, namely aiming at a direct dialogue with the reader, strengthening the elements of preaching and confession, self-commenting on one’s own texts, emphasizing the symbolic and mysterious nature of the word. The author suggests assumptions on how these features can be conveyed using the commentary apparatus and offers a detailed analysis of two commentary problems, based on “Author’s Confession.ˮ Firstly, the article discusses how fiction elements are introduced into the autodocumentary text; secondly, it shows how the text correlates with the writer’s epistolary heritage. Conclusions demonstrate the specific genre nature of “Author’s Confession.ˮ The article outlines the approaches and techniques of transforming an epistolary text into a public one. These observations and conclusions can be used in preparing “Author’s Confessionˮ for publication as part of the complete works of N.V. Gogol.
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Temirova, Bibixonim, and Saodat Mannonova. "The use of names of animals in English with the examples of fiction in English." Journal of Science-Innovative Research in Uzbekistan 3, no. 4 (2025): 376–80. https://doi.org/10.5281/zenodo.15288011.
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This article examines the linguistic and stylistic roles of animal names in English fiction, emphasizing their contributions to characterization, symbolism, and thematic development. Beyond their literal meanings, animal names often serve metaphorical, allegorical, and cultural purposes. Through analysis of works such as George Orwell’s <em>Animal Farm</em>, Rudyard Kipling’s <em>The Jungle Book</em>, and Aesop’s <em>Fables</em>, the study explores how authors employ animal references to reflect human traits, critique social norms, and enrich narrative voice. The findings highlight animal names as literary devices and tools for cultural commentary.
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Gadowski, Robert. "The Evantropian Project: Revitalising Critical Approaches to Young Adult Literature." Dzieciństwo. Literatura i Kultura 2, no. 2 (2020): 182–93. http://dx.doi.org/10.32798/dlk.622.
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Anna Bugajska’s recent book Engineering Youth: The Evantropian Project in Young Adult Dystopias (2019) is an important and thought-provoking inquiry into the field of young adult literary criticism. While for the average reader, young adult narratives may be associated with juvenile tales created with an intent to provide escapist entertainment, a true connoisseur of youth literature is well aware of an immense didactic potential of this genre. Bugajska certainly belongs to the latter category as she diligently engages with young adult dystopias to highlight the immense critical power of these texts. In the following review article, the author of the paper is going to offer a brief commentary on the critical perspective that Bugajska employs to explore the notion of evantropia. The first section of this review discusses Bugajska’s volume as a part of utopian intellectual tradition, the second section postulates that ideas presented in Engineering Youth enrich literary criticism in the field of speculative fiction and children’s and young adult literature, the third section briefly discusses the layout of the volume and the content of each chapter, the fourth section presents an overview of selected core ideas that Bugajska presents in her work and in the last section the author of the paper offers his final thoughts on Engineering Youth.
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Lakhina, Yana V., and Alexey E. Kozlov. "Vladimir Korolenko as Dickens Reader: Fiction and Metafiction." Studies in Theory of Literary Plot and Narratology 14, no. 2 (2019): 33–40. http://dx.doi.org/10.25205/2410-7883-2019-2-33-40.
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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”.
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Phuyal, Komal Prasasd. "Appropriation of Myth In Mahasweta Devi’s “Draupadi” and Nayan Raj Pandey’s Ular." Tribhuvan University Journal 39, no. 1 (2024): 160–74. http://dx.doi.org/10.3126/tuj.v39i1.66754.
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Myths evolve and transform into new narratives in contemporary times through cultural appropriation as societies treat myths as vantage points to examine and interpret contemporary reality. Creative authors appropriate myths into emerging contexts to pass commentary on the prevailing reality, to derive meaning out of incoherent conditions of the time, and to make emergent situations more intelligible to the world. Popular Bengali writer, Mahasweta Devi (1926-2016) has employed Draupadi from the Mahabharata as the voice of the revolting Santhals from Bengal in the 1970s. Her short fiction “Draupadi” (1978) tells the story of a Naxalite insurgent, who sets out to participate in the armed conflict against the state in order to end economic exploitation and caste-based discrimination in her society. Similarly, Nepali novelist Nayan Raj Pandey (1966-) appropriates the myth of Draupadi by turning her into a Badi woman, sexually serving at the precinct of her society in Nepalgunj in his novella Ular [Imbalance] (1996). Devi recontextualizes the mythical Draupadi as an agent who chooses to transform the core of her society, while Pandey’s Draupadi dreams of settling in society as a family woman with her lover, Prem Lalwa. By analyzing two works of fiction, this paper explores the political goal of appropriation of certain myths in modern South Asian literature by contextually reading the text in order to explore the political goal of recontextualizing the classical narrative in the modern world. Devi's Draupadi stands at the crossroads of Bengal's socio-cultural transition in the 1970s. The author treats Draupadi as a window to look into her society and critically remark on its course of action at present. Similarly, Pandey shows the impact of the restoration of democracy in 1990 in Nepal. Draupadi loses her purity and agency in the 1990s in Nepal by letting herself be pushed to the further margins of her society.
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LIDZIANKOVA, V. "THE CONCEPT OF A HISTORICAL SPIRAL IN CONTEMPORARY FICTION OF BRITISH AND BELARUSIAN AUTHORS." Herald of Polotsk State University. Series A. Humanity sciences, no. 4 (September 5, 2024): 53–56. http://dx.doi.org/10.52928/2070-1608-2024-72-4-53-56.
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The article is devoted to the comparative study of the changing tendencies in the ways the key moments of national history are depicted in the works of contemporary British and Belarusian authors. The study is based on the works by H. Mantel, P. Akroyd, L. Daineko, L. Rublevskaya, Z. Kaminskaya. The article identifies the patterns of evolution of character types among writers of different generations. The idea of the cyclical development of history is on the one hand, a way of social commentary on contemporary social trends, for which history provides a much broader context and creative freedom. This is the reason, why the style of historical fiction of the recent decades is often defined as “allegorical realism”. On the other hand, the idea of history as a spiral, the way this idea is reflected in the texts reveals the most acute traumatic episodes of the national past in the collective consciousness.
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Kozlov, Alexei E. "“Failed life” by Dmitry Grigorovich: towards the pragmatics of the fictional text." Sibirskiy filologicheskiy zhurnal, no. 1 (2022): 48–62. http://dx.doi.org/10.17223/18137083/78/4.
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In the early 1850s, political processes made the fiction of the journal “Otechestvennye Zapiski” change towards a compromise and numerous agreements between the author, the publisher, and the censor. One example is the story “Failures” (later “Failed life”) by Dmitry Grigorovich, which combines the techniques and ideas of the stories of Nikolai Gogol (“Portrait”) and Fyodor Dostoevsky (“Poor people,” “Weak heart,” “White nights”). In Russian literary criticism, this story is regarded as secondary and imitative, studied mainly in the context of other stories about artists projected onto the everyday life of the drawing classes of the Academy of Arts. This paper shows that while being the key view, such an interpretation cannot be the only one. When discovering a new talent, his ascent and death, one can see the scenario realized by many contemporaries of Grigorovich, notably by Fyodor Dostoevsky. Later, Grigorovich revised the story by changing idioms and narration style to give it a new title: “Failed life.” The revision pragmatics is obvious: “Failures” are more local, marking an episode or a chain of a person’s life (or a set of situations in the fiction plot). “Failed Life” echoes a global catastrophe, with its traces clearly seen in the text of “Literary memoirs” and the writer’s later epistolary. This paper has been prepared for the 200th anniversary of Grigorovich, whose literary heritage still requires commentary and research reflection. The appendix provides a letter from Dmitry Grigorovich addressed to Andrew Kraevsky, the publisher of “Otechestvennye zapiski”.
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Ruzhentseva, Natal’ya Borisovna, Eduard Vladimirovich Budaev, and Elena Anatolyevna Nakhimova. "INTENSIFIERS AS A MEANS OF ENHANCING EXPRESSION IN FICTION AND JOURNALISM." Culture and Text, no. 61 (2025): 176–92. https://doi.org/10.37386/2305-4077-2025-2-176-192.
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The article is devoted to the ways of intensification of expressivity, the most important textual category in literature and journalism of the XX–XX1 centuries. The purpose of the article is to compare the repertoire of means that enhance the expressivity of the text in the discourse of fiction and journalistic discourse, and to determine the potential of this category. The authors conclude that intensifiers in fiction are mainly attributions (definitional constructions) that perform the visual and expressive function of enhancing a feature, action, state and serve to characterize characters, create artistic images, portrait, landscape and other types of descriptions. Intensifiers in a literary text are primarily linguistic, speech, and textual in nature. They can be not only words with the meaning of the highest degree of a feature, but also units of syntactic, compositional, and stylistic levels of text organization. In turn, intensifiers in journalism perform the influencing function of additional substantiation of opinion. The intensification of expression serves to broadcast the author’s opinion along with arguments in defense or refutation of the thesis. In addition to speech means of enhancing the influencing effect, the intensification of the latter has an intertextual and polysemiotic nature. A modern journalistic text is inserted into the “vertical context of culture,” and the impact is determined by both the verbal and visual range of the message. In general, the dynamics of the development of the category of expressivity is determined primarily by the processes taking place in journalism. This is an increase in the discreteness of the journalistic text (an increase in the role of the title complex and the visual series, which have additional expressive possibilities). In addition, the dynamics of the development of this category is determined by the increased stylistic freedom of the journalist, the mixing of stylistic systems, the leveling of speech types and genre amalgam, as well as the influence of the postmodern style of writing. The potential for the development of the category of expressivity is associated, according to the author of the article, with trash trends and the style of “grunge” in modern journalism, as well as with Internet discourse, in particular, with the genres of blog, commentary and social networks. Journalistic trends and the specifics of Internet discourse will undoubtedly find their continuation in literary creativity, which is constantly striving to update the means of expression of thought.
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Majewski, Kamil. "COMMENTARY OF THE JUDGMENT OF THE WOJEWÓDZKI SĄD ADMINISTRACYJNY IN ŁÓDŹ OF 9 MAY 2019, REF. ACT: III SA/ŁD 1089/18 (ELECTRONIC DELIVERY – ART. 391 OF THE CODE OF ADMINISTRATIVE PROCEDURE)." Roczniki Administracji i Prawa 3, no. XX (2020): 333–47. http://dx.doi.org/10.5604/01.3001.0014.4289.
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This gloss concerns primarily the issue of delivery of letters by electronic means of communication. The author indicates the requirements resulting from the currently applicable provisions of law necessary to apply this form, the effects of its application and the mutual relationship of this procedural institution and the traditional form. The study also takes into account the broadly understood context of these regulations, ranging from the institution of appeal in general, through the importance of service and determination of the legal consequences it entails, to the obligations of a public administration authority in this respect and the impact on the situation of a party to proceedings. The author shares the view of the WSA in Łódź, according to which «an attempt to deliver a decision in a traditional way, i.e. by post, when the addressee requests electronic delivery, results in the fact that the authority cannot rely on the fiction of delivery due to failure to collect the parcel (twice advised parcel) resulting from art. 44 § 4 of the Code of Administrative Procedure.» and presents arguments in support of this thesis.
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Dubova, Marina Anatol'evna, and Nadezhda Al'bertovna Larina. "Philological analysis of the text: reception of I. A. Bunin's short fiction “The Epitaph”." Филология: научные исследования, no. 12 (December 2021): 71–81. http://dx.doi.org/10.7256/2454-0749.2021.12.35179.
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The object of this research is Ivan Bunin&rsquo;s prose of the early period &ndash; &ldquo;The Epitaph&rdquo;. I. A. Bunin is a Neorealist writer of the turn of the XIX &ndash; XX centuries, publicist, a unique representative of the white &eacute;migr&eacute;. The subject of this research is the reception of &ldquo;The Epitaph&rdquo; by modern audience based on the command of philological text analysis. Having analyzed the traditional semantic components of the literary text (that are part of the concept of &ldquo;philological text analysis&rdquo;), the authors offer modern approaches towards representation of the established semantic categories of the text, demonstrate their functionality on the linguistic level, analyze the methods of their lexical representation and verbalization, which determines the novelty of this article. The goal lies in philological analysis of I. A. Bunin's short fiction &ldquo;The Epitaph&rdquo;, taking into account the historical-cultural context of its creation, the role of extralinguistic factors in the text, and their reflection on the linguistic level, semantics of the title and keywords in the ideological-thematic content of the work and expression of the authorial position. Alongside the traditional methods of academic philology, such as historical-cultural, biographical, commentary reading, linguistic-stylistic analysis, the research employs the techniques of cognitive linguistics. This article is first to describe the experience of a commentary reading of I. A. Bunin's short fiction &ldquo;The Epitaph&rdquo;, which is based on cognition of the semantic components of the work through the prism of a linguostylistic approach within the framework of philological analysis. The authors reveal techniques of reading the text, placing emphasis on the lexical means of representation of the key semantic categories, which on the one hand reflect the writer&rsquo;s worldview , while on the other &ndash; form his individual writing style. Such articulation of the problem determines the prospects for the study of other proses of I. A. Bunin.
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Ling, Xiaoqiao. "Crafting a Book: The Sequel to The Plum in the Golden Vase." East Asian Publishing and Society 3, no. 2 (2013): 115–52. http://dx.doi.org/10.1163/22106286-12341247.
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Abstract This paper examines the book form of the original woodblock edition (ca. 1660) of Xu jin ping mei 續金瓶梅 (The sequel to Jin ping mei), a sequel to the acclaimed yet controversial sixteenth-century vernacular novel Jin ping mei 金瓶梅 (Plum in a golden vase). Critics tend to hold Xu jin ping mei in low regard because the sequel’s extensive citations from religious texts and morality books disrupt the flow of the narrative. As this paper shows, such ‘weakness’ is part of the sequel writer’s conscious exploration of the productive gap between the text and the book as an object—cover page, the front matter, illustration and fiction commentary all contribute to the totality of the bound text as an object of connoisseurship. Another indicator of the author-editor’s effort at creating the sequel’s own social reception is a list of cited books that captures the full spectrum of textual production in the seventeenth century, thereby inscribing Xu jin ping mei in a cultural matrix that accommodates multiple modes of reading with a sense of hierarchy. To situate Xu jin ping mei in the context of the burgeoning print industry will help us go beyond the textual level to assess the sequel as an important cultural phenomenon. It is exactly the desire to cash in on the popularity of the original masterworks that pushes author, editor, and publisher to craft the book as a referential field in which the implied author engages anticipated readers of different dispositions to comment on, extend, and improve the original work.
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Martynyuk, Alla, and Elvira Akhmedova. "Cognitive translation analysis of fiction simile." Cognition, Communication, Discourse, no. 23 (December 31, 2021): 72–86. http://dx.doi.org/10.26565/2218-2926-2021-23-05.
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This paper introduces a method of cognitive translation analysis of English-Ukrainian translation of fiction simile. Our analysis of Ukrainian and foreign research on fiction simile translation has revealed that such papers are mostly based on traditional structural-semantic translation analysis. Cognitive translation analysis of fiction simile, which allows identifying cognitive models that underpin simile functioning in speech and affect its translation, has been done in very few papers and therefore it requires developing. This paper aims at establishing correlations between linguacultural specificity or, conversely, similarity of cognitive models of English fiction similes and a choice of a translation strategy to render English similes into Ukrainian. The research sample consists of 1200 English similes, collected from D. Tartt’s novels, The Goldfinch and The Secret History, and M. Atwood’s novel, The Blind Assassin, and their Ukrainian translations, performed, respectively, by V. Shovkun, B. Stasiuk and O. Oksenych. Achieving this goal involves fulfilling the following tasks: 1) identifying and comparing cognitive models of English similes and their Ukrainian translations; 2) revealing translation procedures used to render fiction similes – retention, replacement, reduction, omission or addition; 3) establishing correlations between translation procedures and translation strategies – the foreignization strategy and the domestication strategy. A fiction simile is addressed as an explicit conceptual metaphor structured by a propositional model (A is like B), where A is the target concept / domain representing the entity that is compared, B is source the concept / domain representing the entity to which the target is compared (its language / speech instantiation is called a vehicle). Simile can also explicate the characteristic, which is the basis for comparison (A (target) is like B (source / conductor) by characteristic B). Conducting the translation analysis, we take into account the type of fiction simile. We distinguish between conventional simile, grounding on universal knowledge, and original simile, reflecting individual knowledge and creative imagination of an author. Among conventional similes, we differentiate between allusive similes that are mostly based on subcultural knowledge, and idiomatic similes that can be based on both universal and culturally specific knowledge embodied in idioms. Our cognitive translation analysis led to the following conclusions. Retention of similes realizes different translation strategies depending on the type of the simile and the presence / absence of its linguacultural specificity. Retention of conventional and original similes correlates with neutral translation strategy, as neither the former nor the latter has linguacultural specificity that would indicate the inconsistency of their cognitive models and thus constrain the translator's choice, causing a translation problem. Retention of allusive similes can also correlate with neutral strategy if the allusion is part of universal knowledge although more often retention of allusive simile realizes foreignization strategy as such similes are based on subculturally specific knowledge and thus rest on cognitive models that are unestablished in the minds of most representatives of both cultures. If a translator adds a commentary, foreignization is neutralized by domestication. Replacement, reduction, omission or addition of similes correlate with domestication, which can be compulsory if English and Ukrainian similes are based on different cultural cognitive models, or optional if they are based on similar cognitive models. Moreover, domestication can be complete if the simile cognitive model is replaced or partial if the concepts of the model are specified or explained, but the model remains unchanged. These results call for further research, specifically, conducting a quantitative analysis to establish quantitative correlations between the procedures and strategies of English-Ukrainian translation of fiction similes.
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Kozlov, A. E. "Cannibals, criminals, grotesque and mass-fiction: How the parody is made (Victor Burenin and Dmitry Minaev cases)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 65–81. http://dx.doi.org/10.17223/18137083/74/5.
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Parodies and travesty texts of Russian journalism of the early 1870s (published in “Iskra” and “Sankt-Peterburgskie Vedomosti”) are considered in the aspect of genre functions, conventions, and elements of the “contract” between the author and the reader. The paper attempts to contextualize the parodies “Cannibals, or people of the sixties” (1871) by D. D. Minaev and “She is a criminal, or not?” (1872) by V. P. Burenin following the changing field of literature and journalism, in particular, a crisis of the polemic novel, growing popularity of actionpacked fiction and mass literature, competition of “thick magazines”, weeklies, and newspapers. Special attention is paid to the editions of two parodies. Minaev’s parody “Cannibals, or people of the sixties” is an anti-nihilistic novel in the carnival space of grotesque and satire. By revealing the unsightly sides of the originals and prototypes, excessive eroticism (against V. Avenarius and V. Krestovsky) and sensational deviance (forcing one to recall A. Pisemsky, N. Leskov and F. Dostoyevsky), indicate the exhaustion of the source material. Burenin’s parody also demonstrates the exhaustion of topical themes and motives. Claiming to be a “follower” of A. Dumas-fils, E. Zola, P. A. Ponson du Terrail, Burenin skillfully parodies both a foreign crime novel (first of all, Wilkie Collins) and domestic examples of the “same” genre (Turgenev, Dostoevsky, Akhsharumov). The parodies under study combine the baroque with the postmodernist aesthetics, making these texts available for further interpretation and commentary.
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Drąg, Wojciech. "“I’m a I’m a Scholar at the Moment”: The Voice of the Literary Critic in the Works of American Scholar-Metafictionists." American, British and Canadian Studies Journal 26, no. 1 (2016): 36–51. http://dx.doi.org/10.1515/abcsj-2016-0003.
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Abstract In her seminal book on metafiction, Patricia Waugh describes this practice as an obliteration of the distinction between “creation” and “criticism.” This article examines the interplay of the “creative” and the “critical” in five American metafictions from the late 1960s, whose authors were both fictional writers and scholars: Donald Barthelme’s Snow White, John Barth’s Lost in the Funhouse, William H. Gass’s Willie Masters’ Lonesome Wife, Robert Coover’s Pricksongs and Descants and Ronald Sukenick’s The Death of the Novel and Other Stories. The article considers the ways in which the voice of the literary critic is incorporated into each work in the form of a self-reflexive commentary. Although the ostensible principle of metafiction is to merge fiction and criticism, most of the self-conscious texts under discussion are shown to adopt a predominantly negative attitude towards the critical voices they embody – by making them sound pompous, pretentious or banal. The article concludes with a claim that the five works do not advocate a rejection of academic criticism but rather insist on its reform. Their dissatisfaction with the prescriptivism of most contemporary literary criticism is compared to Susan Sontag’s arguments in her essay “Against Interpretation.”
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Elias, Martille, Rebecca Rogers, Karen E. Wohlwend, E. Wendy Saul, Lawrence R.Sipe, and Jennifer L.Wilson. "Professional Book Reviews - Children’s Reading Today and in the Future: Igniting their Passions and Engaging their Interests." Language Arts 87, no. 3 (2010): 220–24. http://dx.doi.org/10.58680/la201029430.
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Often, the reading practices that children encounter in school represent only a small range of the countless ways in which students engage meaningfully with texts. Recent reports indicate that children are reading less literature than they have in the past. Are children reading less overall, or is it simply that the texts they are reading are changing? The reviews in this column reflect the complexity of these questions. The review of Play, Creativity, and Digital Cultures edited by Rebekah Willett, Muriel Robinson, and Jackie Marsh examines how children’s interactions with digital media influences their multi modal literacy development. It addresses ways for teachers to connect children’s love of new media to classroom practice. In keeping with the theme of new literacies, the second entry in this column does not review a book, but rather a website, INK: “Interesting Non-fiction for Kids,”that seeks to encourage children’s reading of non-fiction. This site includes commentary by non-fiction authors and provides opportunities for sparking young readers’ interest in non-fiction texts. This is a particularly salient issue as the concern that children are reading less is perhaps exceeded only by the concern that readers have abandoned non-fiction altogether. The next title, Embracing, Evaluating, and Examining African American Children’s & Young Adult Literature edited by Wanda Brooks and Jonda McNair highlights the importance of including rich, culturally diverse literature in the classroom. If we are to engage all readers, then children of all cultures, ethnicities and races should be able to see themselves in the literature of our classrooms. The final title reviewed in this column is Readicide: How Schools are Killing Reading and What You Can Do About It by Kelly Gallagher. This book challenges educators and administrators to consider how policy and curriculum is extinguishing children’s passion for books. Gallagher asserts that the only way to create readers is to give them books that matter, and teach them to read deeply.
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Buszewicz, Elwira. "Dwie Penelopy. Heroidy Owidiusza a elegie epistolarne Andrzeja Krzyckiego i Baltazara Castiglionego." Terminus 25, no. 1 (66) (2023): 63–96. http://dx.doi.org/10.4467/20843844te.23.005.17501.
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The article presents a bilingual (Latin with a Polish translation) edition of two Neo-Latin imitations of Ovid’s Heroides, preceded by an introduction and provided with a philological and historical commentary. Both poems were written in the first twenty years of the 16th century. The author of the first one is Andrzej Krzycki (Cricius, 1482–1537), who at the time of composing the poem was the secretary of the first wife of Sigismund the Old, Barbara Zapolya. As the queen’s secretary, Krzycki was responsible for the stylistic aspect of her letters, which made it all the easier for him to create a fictional epistolary elegy on her behalf. The elegy commemorates the victorious battle for the Polish-Lithuanian army with the Grand Duchy of Moscow at Orsha (1514). For the poet it was also an opportunity to praise the invincible king and his army. The author of the second elegy is Baldassare Castiglione (1478–1529), known as the author of Il libro del Cortegiano. He wrote a poetic letter on behalf of his wife, Ippolita Torelli, who was waiting for her husband’s return from Rome. Both authors not only refer to the situation of Penelope in Ovid’s first heroide, but also use Ovid’s other letters of heroines and their neo-Latin imitations. Castiglione also evokes one of Propertius’ elegies (IV 3), which seems to be a “proto-heroide”. Krzycki’s “Penelope” seems to be psychologically less complex, while its Italian counterpart consciously employs allusions, rhetorical games and omissions. Both display a wide range of feelings from despair and sadness to hope, and express deep affection for their husbands. The introduction places the poems in their historical and literary contexts, underlining especially Ovid’s Heroides influence on European Renaissance literature. The commentary indicates some similia and explains many details related to the circumstances of creating these works.
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Christensen, Ashley E. "“Catastrophically Romantic”: Radical Inversions of Gilbert and Gubar’s Monstrous Angel in Gillian Flynn’s Gone Girl." American, British and Canadian Studies 35, no. 1 (2020): 86–110. http://dx.doi.org/10.2478/abcsj-2020-0018.
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Abstract In their landmark text The Madwoman in the Attic: The Woman Writer and the Nineteen Century Literary Imagination (1970), Sandra Gilbert and Susan Gubar pose a series of hypotheses concerning women-authored fiction in the nineteenth century, identifying two archetypical female figures in patriarchal literary contexts – the Angel in the House, and the Monstrous (Mad)Woman. Gilbert and Gubar echo a Woolf-ian call to action that women writers must destroy both the angel and the monster in their fiction, and many contemporary women authors have answered that call – examining and complicating Gilbert and Gubar’s original dichotomy to reflect contemporary concerns with female violence and feminism. Gillian Flynn’s Gone Girl (2012), and in particular the character of Amy Elliott Dunne, explores modern iterations of the Angel v. Monster dynamic in the guise of the “Cool Girl,” thus revising these stereotypes to fit them in a postmodern socio-historical context. The controversy that surrounds the text, as well as its incredible popularity, indicates that the narrative has struck a chord with readers and critics alike. Both Amy and Nick Dunne represent the Angel and the Monster in their marriage, embodying Flynn’s critical feminist commentary on white, upper-middle class, heterosexual psychopathy.
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Gregus, Adam. "Shadows Under a Rising Sun: Utopia and Its Dark Side in Kirino Natsuo’s Poritikon." Vienna Journal of East Asian Studies 8, no. 1 (2017): 1–31. http://dx.doi.org/10.2478/vjeas-2016-0001.
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Abstract Kirino Natsuo, arguably one of the most popular contemporary Japanese authors in Western markets (a number of her novels having been translated into English, German, French, Italian, Dutch or Spanish, among other languages) who is often being recognised as a mystery writer, only enjoys limited acknowledgment for the thematic breadth and genre diversity of her work. Such description is not only inaccurate (Kirino published her last true mystery novel in 2002), but also manifests itself in the limited and underdeveloped treatment of her work in Western academic writing. This paper deals with Kirino Natsuo’s 2011 novel Poritikon (Politikon) and its analysis within the greater context of Kirino’s work. A focus is put upon introducing the novel as utopian fiction with the aim to illustrate ways in which Kirino Natsuo utilises utopian genre patterns as well as how her utopia works to provide a commentary on contemporary Japan. The utopian theme present in Poritikon makes the novel a rather untypical entry in Kirino’s oeuvre (although not a unique one, since her novels Tōkyō-jima [Tokyo Island, 2008 1 ] and Yasashii otona [Gentle Adults, 2010] also work with elements of utopian/dystopian fiction) as well as within the Japanese literary scene in general, and provides an interesting argument for Kirino Natsuo as more than ‘just’ a mystery writer.
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Peruccio, Kara A. ""Not a Girl, Not Yet a Woman": Suat Derviş, Nezihe Muhiddin, and Age in Turkey, 1923–35." Journal of the Ottoman and Turkish Studies Association 10, no. 1 (2023): 15–36. http://dx.doi.org/10.2979/jottturstuass.10.1.04.
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ABSTRACT: In the 1920s and early 1930s, Turkish women did not experience Kemalist politics in a monolithic fashion. Novels by Suat Derviş (1904/5–72) and Nezihe Muhiddin (1889–1958) served as critical commentary on women's experiences across different age cohorts. While the regime called for "new," "modern" women, those of a marriageable age found themselves in a paradoxical position: embrace the regime's reforms yet face familial and societal censure for this behavior. Derviş and Muhiddin were politically engaged, astute thinkers whose fiction documented transformations and continuities in the early republican era. In Behire'nin Talipleri (1923) and Fatma'nın Günahı (1924) by Derviş and Güzellik Kraliçesi (1935) by Muhiddin, the authors critically demonstrated that age produced distinct emotional and social outcomes for young Turkish women. I argue that both Muhiddin and Derviş highlighted and critiqued these persistent challenges and how often-contradictory demands for their subjecthood intensified in the early republican era.
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Pakhomova, Aleksandra. "Discipline and Comment: Reception and Pragmatics of M. Kuzmin′s Diary." Slovene 13, no. 1 (2024): 172–99. https://doi.org/10.31168/2305-6754.2024.1.06.
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The article analyses ways of perception, study and commentary of Mikhail Kuzmin′s diary (1905–1934). Extension of the text and its reception by both contemporaries and researchers shows that there was a strong reputation of this diary as a documentary text. For many years, the diary was perceived as a source of information clarifying the details of everyday life in 1910–1930s. At the same time, a commented edition of this text has become an insoluble problem that has lasted for decades. The analysis of the diary, especially its unpublished part, shows the breadth of the author′s idea. Obviously, Kuzmin created a literary bun non-fictional text that experienced the same transformations as the author′s prose. Therefore, it is possible to consider and publish the diary text not as a documentary, but as an artwork.
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Maeots, Olga. "“WHAT BOOKS ABOUT RUSSIA COULD BE RECOMMENDED TO CHILDREN IN THE USA?” AN EXAMPLE OF ANNOTATED BIBLIOGRAPHY, 1949." Children's Readings: Studies in Children's Literature 22, no. 2 (2022): 233–51. http://dx.doi.org/10.31860/2304-5817-2022-2-22-233-251.
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The article is devoted to the analysis of the annotated bibliography published in the USA in 1949 by the American librarian Ellie Beth Martin. The bibliography includes 60 books about Russia and presents a wide range of books of various genres — from folk tales to non-fiction — created by authors who adhered to various political views and had various life experience and different study approach to the topic — both the current situation in the Soviet Union and the history and culture of Russia. The bibliography includes books by American authors and translations of Russian and Soviet children’s literature. Martin provides a commentary for each book, evaluating its informativeness, reliability, ideological non-engagement, and also the ability to arouse interest and bring enjoyment to child readers. The purpose of Martin’s publication was to provide teachers and librarians with a list of books for schoolchildren, the reading of which could give American children basic information about Russia, impartial and diverse, to help them to form their own understanding of the relationship between their homeland and the USSR.
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Voloshina, Tatiana G., Yulia S. Blazhevich, Natalia V. Nerubenko, and Anastasia S. Gerasina. "REFLECTION OF THE LINGUISTIC AND CULTURAL PICTURE OF THE WORLD IN TERMS OF FOLKLORE STUDIES (BASED ON THE PROVERBS AND SAYINGS OF GERMANY AND GREAT BRITAIN)." Sovremennye issledovaniya sotsialnykh problem 14, no. 3 (2022): 159–71. http://dx.doi.org/10.12731/2077-1770-2022-14-3-159-171.
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This article deals with the peculiarities of proverbs and sayings on the example of German and British cultures, formed in the process of extralinguistic factors influence.
 Purpose. The aim of the article is to identify the universals and uniqueness of German and British linguistic cultures illustrated with the proverbs and sayings functioning in modern German and English.
 Methods. Methodologically, the article is of interdisciplinary character. The authors use methodological tools based on the application of general scientific methods (modeling, interpretation) and specific methods (linguistic reconstruction of culture, language and culture commentary).
 Results. Having analyzed the features of proverbs and sayings of the German and English cultures, formed in the course of historical, cultural and linguistic interaction, the authors singled out the peculiarities of the worldview, character and beliefs of the Germans and Englishmen. The reasons for the productivity of proverbs and sayings use in modern German and English languages were identified: the most frequently used both for German and English language and cultures are bibleisms, set expressions, extracts from works of fiction.
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Kozlov, Alexey E. "Dmitry Grigorovich’s Literary Memoirs: Axiology and Plot." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 4 (2022): 267–80. http://dx.doi.org/10.15826/izv2.2022.24.4.077.
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Referring to the memoirs of Dmitry Grigorovich, this article considers the general principles of axiology and plot of the memoir text. A contemporary of Leo Tolstoy and Fyodor Dostoevsky, Grigorovich became the “last chronicler” of the era of the 1840s. In this article, the author attempts to read Literary Memoirs as a work of fiction (novel), establishing typological connections between everyday sketches and essay-like sketches and plot situations that have a literary genesis. First, the author examines the phenomenon of Dmitry Grigorovich’s creative work in the axiology aspects. It is demonstrated that the symbolic capital of the writer’s name, despite the authority and significance of some of his works, was lost by the end of the nineteenth century. In this regard, the main intention of “literary recollections” is understood as an attempt to correct the past (represented by the narratives of Ivan Panaev, Avdotya Panaeva, and Pavel Annenkov), having experienced it in the present, i.e., through writing and auto-description. The main part of the article is devoted to the interpretation of plot models of memoirs and the principles of selection of historical figures. Often this selection itself (the choice of a publicist or a memoirist, what to write about and what to keep silent about) contains significant resources for auto-commentary. For example, in the description of childhood experience, referring the reader to the novels of Charles Dickens, Gustave Flaubert, and John Greenwood, one can trace “heraldic” features that frame the writer’s experience. Particular attention is paid to the figures central to the memoirs — Fyodor Dostoevsky and Alexander Dumas, embodying the specific features of the national writer and genius, with an individual portrait of Grigorovich himself built between them.
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Bock, Carol A. "AUTHORSHIP, THE BRONTËS, AND FRASER’S MAGAZINE: “COMING FORWARD” AS AN AUTHOR IN EARLY VICTORIAN ENGLAND." Victorian Literature and Culture 29, no. 2 (2001): 241–66. http://dx.doi.org/10.1017/s1060150301002017.
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UNDER THE DIRECTION OF ITS FIRST EDITOR, William Maginn, Fraser’s Magazine purveyed popular images of literary life in the 1830s through its Gallery of Illustrious Literary Characters — Daniel Maclise’s engravings of contemporary literary figures accompanied by Maginn’s irreverent textual commentary — and through humorous depictions of the supposed staff meetings of “The Fraserians” themselves (figure 1), whom Miriam Thrall described as “care-free scholars, who laughed so heartily, and drank so deeply, and wrote so vehemently around their famous editorial table” (16). Composed by Maginn in imitation of Blackwood’s wildly successful Noctes Ambrosianae, which he had helped to write prior to the founding of Fraser’s in 1830, these imaginary meetings of London literati present a comic conception of authorship as a clubby activity, rebelliously bohemian and exclusively male. Patrick Leary’s 1994 essay on the actual management of Fraser’s as a literary business demonstrates just how inaccurate these highly fictitious accounts were and thereby contributes significantly to our understanding of the history of authorship in the 1830s. But if we are examining the influence Fraser’s had on its contemporary readers, then the facts of literary life which Leary discovers “beyond the imagery” of the magazine may be less important than the fictions which such representations of authorship communicated (107).
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Ли, Ц., and Н. С. Милянчук. "Lexical representation of the language and culture field "Opium smoking" in the Russian-language fiction text (based on the material of B. Yulsky's stories)." Cherepovets State University Bulletin, no. 1(112) (February 15, 2023): 133–47. http://dx.doi.org/10.23859/1994-0637-2023-1-112-10.
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В статье рассматривается комплекс лексических средств, репрезентирующих китайскую культуру в рассказах русского писателя харбинской эмиграции Бориса Юльского. Объектом исследования послужили единицы, относящиеся к тематической сфере, представляющей особый исторический и культурологический интерес, – к лингвокультурному полю «Курение опиума». Установлено, что в рамках репрезентации китайской культуры регулярностью употребления и функциональной продуктивностью характеризуются три группы языковых средств: 1) лексемы-китаизмы; 2) кальки; 3) русскоязычные номинации китайских реалий. Лексемы китайского происхождения и результаты китайско-русского калькирования проанализированы с точки зрения семантики, этимологии и стилистических функций в тексте. Русскоязычные лексемы рассмотрены в аспекте функционирования механизма номинации, выявлена их специфика, обусловленная художественными задачами автора произведения. Представление всех лексических единиц сопровождается лингвокультурологическим комментарием. The article considers a set of lexical means representing Chinese culture in the stories of Boris Yulsky, a Russian writer of the Harbin emigration. The object of the study was the units related to the thematic area of special historical and cultural interest – the linguistic and cultural field "Opium smoking". It is established that within the framework of the representation of Chinese culture, three groups of linguistic means are characterized by regularity of use and functional productivity: 1) Chinese words; 2) calques; 3) Russian-language nominations of Chinese realities. Chinese word origin and the results of Chinese-Russian tracing are analyzed from the point of view of semantics, etymology and stylistic functions in the text. Russian-language words are considered in the aspect of the functioning of the nomination mechanism, their specificity is revealed, due to the artistic tasks of the author of the work. The presentation of all lexical units is accompanied by a linguistic and cultural commentary.
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Salakhova, A. "Vocative forms in G. Yakhina’s short story “A Moth”: Linguistic and cultural issues." Philology and Culture, no. 1 (March 20, 2023): 71–75. http://dx.doi.org/10.26907/2782-4756-2023-71-1-71-75.
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This article deals with the features of vocative forms used in a literary text. Guzel Yakhina’s short story “A Moth” was chosen as one of the most meaningful in terms of presenting culturally significant information (due to the combination of fictional and documentary narrative). The aim of the article is to identify and comment on linguistic universals and peculiar Russian (including Soviet) linguistic culture, which are realized in special forms of Russian anthroponymic appellatives in specific speech acts of address in the story. Methodologically, the article is of interdisciplinary character, because the author uses methodological tools based on the application of general scientific methods (modeling, interpretation) and specific methods (linguistic reconstruction of culture, language and culture commentary). Having analyzed the corpus of appellative words that forms a specific space of interpersonal communication in a literary text, the author highlights the features of the worldview and communicative stereotypes of the era, reconstructed in the literary text. We identify the reasons for the unproductive use of appellatives in the analyzed text by G. Yakhina, as well as the most frequently used anthroponymic units.
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Petrov, Vladimir V. "Author and narrator in fanfiction community texts (a study of fanfics based on literary classics)." Tyumen State University Herald. Humanities Research. Humanitates 10, no. 1 (2024): 100–115. http://dx.doi.org/10.21684/2411-197x-2024-10-1-100-115.
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Recent research on Russian-language fanfiction has focused on analyzing the fanfic text itself, exploring its structural, stylistic, and artistic aspects. While the role of the author in the fanfiction community has always been crucial, the current research emphasizes a more comprehensive investigation of the sociological dimension of authorship rather than its literary aspects. The unique communication style prevalent in the fanfiction community challenges the traditional model of author-reader relations, leading to a shift in the dynamics of interaction between ficwriters and ficreaders. This change creates a noticeable gap in the academic understanding of the different forms of authorship in fanfiction. To maintain a meaningful author–reader–original text dialogue, ficwriters introduce a specific narrator persona. Our study, which examines narrators in fanfics based on Russian classical literature through comparative analysis with metatextual information and insights from in-depth interviews, concludes that the narrator possesses both obligatory and optional features. These features enable the narrator to act as an intratextual mediator in the ongoing dialogue between the author and the reader. The narrator seamlessly integrates into the fictional world as a character while conveying the author’s perspective outside the text. This role significantly differs from the conventional concept of a “raisonneur.” The analysis of the narrative structure reveals that the narrator in fanfiction serves as an artistic projection of the fanfic author, blurring the lines between biographical and artistic authorship for both readers and the author. The narrator actively contributes to the storytelling process, providing synchronous commentary on their own work and exercising control over the characters. This aligns with the authorial intention in fanfiction, where the author initiates a dialogue between readers and the classic source text, both “from inside” and “outside” the text through creative interpretation.
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Meyer, Samuel, Sarah Bidgood, and William C. Potter. "Death Dust: The Little-Known Story of U.S. and Soviet Pursuit of Radiological Weapons." International Security 45, no. 2 (2020): 51–94. http://dx.doi.org/10.1162/isec_a_00391.
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Since September 11, 2001, most expert commentary on radiological weapons has focused on nonstate actors, to the neglect of state-level programs. In fact, numerous countries in the past have expressed interest in radiological weapons; a number have actively pursued them; and three tested them on multiple occasions before ultimately deciding not to deploy the weapons. Why is so little known about these false starts, especially outside the United States? Are such weapons more difficult to manufacture than depicted by science-fiction authors and military pundits? Are radiological weapons a thing of the past, or do they remain an attractive option for some countries? A comparative analysis of the previously underexplored cases of radiological weapons programs in the United States and the Soviet Union illuminates the drivers and limitations of weapons innovation in one specific nuclear sector. An examination of the rise and demise of radiological weapons programs in both countries also points to circumstances in the future that might prompt renewed interest on the part of some states in radiological weapons and proposes steps that might be undertaken to reduce the possibility of their production, deployment, and use.