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Journal articles on the topic 'British in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

O’Donnell, Patrick. "New British Fiction." MFS Modern Fiction Studies 58, no. 3 (2012): 429–35. http://dx.doi.org/10.1353/mfs.2012.0057.

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2

Morrison, Jago, and Alan Burton. "Secrets, leaks and the novel. Writers, British intelligence and the public sphere after World War Two." Arbeiten aus Anglistik und Amerikanistik 48, no. 1 (2023): 71–95. http://dx.doi.org/10.24053/aaa-2023-0004.

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This article makes a pioneering effort to explore the relationship between spy fiction, intelligence and the public sphere in Britain after World War Two. The secret British achievements of code-breaking, atomic science and deception in the World War of 1939–45 were outstanding. Similarly, the British contribution to spy fiction in the twentieth century has been seen as exceptional. However, the complex interconnections between the history and fictions of intelligence in the post-war decades have never been closely examined. This is a period during which the British state aggressively sought t

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3

Basdeo, Stephen, and Rebecca Nesvet. "Reappraising Penny Fiction." Victorian Popular Fictions Journal 4, no. 2 (2023): 1–17. http://dx.doi.org/10.46911/dhbv6145.

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This Introduction to the Special Volume of Victorian Popular Fictions Journal titled “Reappraising Penny Fiction” defines penny fiction, surveys its prehistory, and reconstructs its emergence in the nineteenth-century British media and globally. The article then engages with the ongoing scholarly debate about “penny dreadfuls” and theorises how misconceptions about the genre developed and were circulated by critics and scholars. Finally, the article introduces the central questions and themes of the special issue, as well as the individual articles. Victorian penny fiction has long been consid

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4

Segal, E. "Eventfulness in British Fiction." Poetics Today 34, no. 1-2 (2013): 255–58. http://dx.doi.org/10.1215/03335372-2017294.

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5

Mullaney, Julie, and Zachary Leader. "On Modern British Fiction." Modern Language Review 99, no. 3 (2004): 764. http://dx.doi.org/10.2307/3739025.

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6

Muñoz-Valdivieso, Sofia. "Slavery fiction in Britain." Journal of European Studies 50, no. 2 (2020): 193–209. http://dx.doi.org/10.1177/0047244120918481.

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This article analyses significant examples of slavery fiction published in Britain by writers who have family links to Africa and the Caribbean. As children of immigrants who had come to Britain after World War II, Caryl Phillips, David Dabydeen, Fred D’Aguiar, Andrea Levy and Bernardine Evaristo shared the uncertainties of coming of age in a society that offered no space for their identities as individuals with roots in other continents. This article reviews some of their fictions and considers them as a group in their re-creation of British involvement in the slave trade and slavery. They re

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7

Shainer, Iryna, Ivan Bekhta, Marta Karp, Olesya Tatarovska, and Tetiana Kovalevska. "Lexical combinations of contemporary British military fiction: lexical-semantic and stylistic features." Revista Amazonia Investiga 11, no. 55 (2022): 29–39. http://dx.doi.org/10.34069/ai/2022.55.07.3.

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This article focuses on the lexical-semantic features of the language means of contemporary British military fiction. Despite the sustained philological attention to fictional texts of different genres, the relative disregard of the lexical patterning in fiction on military themes stands in need of scrutiny. In order to account for all the lingual and extralingual factors influencing the process of fictional text composition, this article takes a philological approach and conducts an integrated analysis – combining linguistic and literary-theoretical perspectives – of the lexical patterning of

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8

Young-Phil Yoon. "Recent Studies on Contemporary British Fiction: The Historical Novel and Black British Fiction." New Korean Journal of English Lnaguage & Literature 54, no. 3 (2012): 1–26. http://dx.doi.org/10.25151/nkje.2012.54.3.001.

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9

Mahlberg, Michaela, Viola Wiegand, Peter Stockwell, and Anthony Hennessey. "Speech-bundles in the 19th-century English novel." Language and Literature: International Journal of Stylistics 28, no. 4 (2019): 326–53. http://dx.doi.org/10.1177/0963947019886754.

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We propose a lexico-grammatical approach to speech in fiction based on the centrality of ‘fictional speech-bundles’ as the key element of fictional talk. To identify fictional speech-bundles, we use three corpora of 19th-century fiction that are available through the corpus stylistic web application CLiC (Corpus Linguistics in Context). We focus on the ‘quotes’ subsets of the corpora, i.e. text within quotation marks, which is mostly equivalent to direct speech. These quotes subsets are compared across the fiction corpora and with the spoken component of the British National Corpus 1994. The c

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10

Heuer, Imke. "British Historical Fiction before Scott." Women's Writing 19, no. 3 (2012): 376–79. http://dx.doi.org/10.1080/09699082.2012.666421.

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11

GODEANU-KENWORTHY, OANA. "Fictions of Race: American Indian Policies in Nineteenth-Century British North American Fiction." Journal of American Studies 52, no. 1 (2016): 91–113. http://dx.doi.org/10.1017/s0021875816001948.

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This article explores the hemispheric and transatlantic uses of race and empire as tropes of settler-colonial otherness in the novelThe Canadian Brothers(1840) by Canadian author John Richardson. In this pre-Confederation historical novel, Richardson contrasts the imperial British discourse of racial tolerance, and the British military alliances with the Natives in the War of 1812, with the brutality of American Indian policies south of the border, in an effort to craft a narrative of Canadian difference from, and incompatibility with, American culture. At the same time, the author's critical

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12

Gifford, Terry. "Contemporary British Georgic Writing." Ecozon@: European Journal of Literature, Culture and Environment 12, no. 2 (2021): 134–49. http://dx.doi.org/10.37536/ecozona.2021.12.2.3828.

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Do we need the modish term “eco-georgics” to help us discover the unsentimental, holistic, healing qualities in the best georgic writing of the Anthropocene? When were georgics not “eco”? Is there a “post-georgic” in some forms of contemporary literature that seem to reject husbandry altogether, such as rewilding texts? Do such categories serve any purpose to readers and critics in the Anthropocene? This essay argues that such careful distinctions do, indeed, matter more than ever now as we reconsider our sustainable options in husbandry, land-management and what sustainability might look like

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13

Elber-Aviram, Hadas. "Rewriting Universes: Post-Brexit Futures in Dave Hutchinson’s Fractured Europe Quartet." Humanities 10, no. 3 (2021): 100. http://dx.doi.org/10.3390/h10030100.

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Recent years have witnessed the emergence of a new strand of British fiction that grapples with the causes and consequences of the United Kingdom’s vote to leave the European Union. Building on Kristian Shaw’s pioneering work in this new literary field, this article shifts the focus from literary fiction to science fiction. It analyzes Dave Hutchinson’s Fractured Europe quartet—comprised of Europe in Autumn (pub. 2014), Europe at Midnight (pub. 2015), Europe in Winter (pub. 2016) and Europe at Dawn (pub. 2018)—as a case study in British science fiction’s response to the recent nationalistic tu

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14

Smith, Michelle J. "Imagining Colonial Environments: Fire in Australian Children's Literature, 1841–1910." International Research in Children's Literature 13, no. 1 (2020): 1–14. http://dx.doi.org/10.3366/ircl.2020.0324.

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This article examines children's novels and short stories published in the late nineteenth and early twentieth centuries that feature bushfires and the ceremonial fires associated with Indigenous Australians. It suggests that British children's novels emphasise the horror of bushfires and the human struggle involved in conquering them. In contrast, Australian-authored children's fictions represent less anthropocentric understandings of the environment. New attitudes toward the environment are made manifest in Australian women's fiction including J. M. Whitfield's ‘The Spirit of the Bushfire’ (

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15

Stewart, G. "The Foreign Offices of British Fiction." Modern Language Quarterly 61, no. 1 (2000): 181–206. http://dx.doi.org/10.1215/00267929-61-1-181.

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16

Tew, Philip, and Mark Addis. "Survey on Teaching Contemporary British Fiction." Changing English 14, no. 3 (2007): 313–24. http://dx.doi.org/10.1080/13586840701712089.

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17

Hannabuss, Stuart. "Historical dictionary of British spy fiction." Reference Reviews 30, no. 8 (2016): 19–20. http://dx.doi.org/10.1108/rr-06-2016-0152.

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18

Dickason, Renée. "Capturing the ‘Real’ in British Television Fiction: Experiments in/of Realism— An Abiding and Evolving Notion." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 3 (May 1, 2011): 82. http://dx.doi.org/10.12681/syn.16922.

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The realistic mode of depiction has been an abiding feature of British television fictions intended for British audiences ever since the rebirth of the medium after the Second World War. After briefly evoking the origins of realism in British audio-visual media and some of the reasons for its continued popularity with both viewers and broadcasters, this article examines how the constant challenge of “putting ‘reality’ together” (Schlesinger) has been met by innovation and experiment in differing social, political, and economic climates since the mid-1950s and how the perception of television r

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19

Scobie, Ruth. "Breakfast with “Her inky Demons”: Celebrity, Slavery, and the Heroine in Late Eighteenth-Century British Fiction." Eighteenth-Century Fiction 34, no. 4 (2022): 415–40. http://dx.doi.org/10.3138/ecf.34.4.415.

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Late eighteenth-century British newspapers were vehicles of celebrity and scandal; they were also venues for the advertising of slaves. The juxtaposition made newspapers a potentially explosive and productive object in British fiction. This essay identifies a formulaic scene, originating in William Hayley’s popular poem The Triumphs of Temper (1781) and recurring in various forms in fictions by Maria Edgeworth, Frances Burney, and Elizabeth Inchbald, as well as many less well-known novels of fashionable life, in which a young white woman experiences sudden unwanted celebrity by reading about h

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20

Sherryl Vint. "Visualizing the British Boom: British Science Fiction Film and Television." CR: The New Centennial Review 13, no. 2 (2013): 155. http://dx.doi.org/10.14321/crnewcentrevi.13.2.0155.

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21

Vint, Sherryl. "Visualizing the British Boom: British Science Fiction Film and Television." CR: The New Centennial Review 13, no. 2 (2013): 155–78. http://dx.doi.org/10.1353/ncr.2013.0023.

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22

Huck, Christian. "Travelling Detectives." Transfers 2, no. 3 (2012): 120–43. http://dx.doi.org/10.3167/trans.2012.020308.

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This article is concerned with travelling detectives in two different but related senses. On the one hand, it considers the relevance of trains and other vehicles of mobility for detective fiction, both as a topic of fiction and a place of consumption. On the other hand, it registers that detective fiction has to “travel“ in a more abstract sense before the reading traveler can enjoy it. German publishers appropriated the genre, originally a nineteenth-century American and British invention, at the beginning of the twentieth century. Based on contemporary observations by German cultural critic

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23

Alonso Alonso, María. "A Posthuman Approach to BrexLit and Bordering Practices through an Analysis of John Lanchester’s The Wall." Humanities 13, no. 1 (2024): 34. http://dx.doi.org/10.3390/h13010034.

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Kristen Sandrock (2020) connects John Lanchester’s 2019 Brexit novel The Wall with what she refers to as ‘British border epistemologies’; that is, a radical process of re-bordering due to global warming and its impact on human mobility. The literary phenomenon that is now referred to as ‘BrexLit’ bears witness to the way in which borders and the fear to the other seem to impinge on contemporary British fiction. BrexLit is framed by an increasing global interest in exploring interdisciplinary bordering practices. Primarily, BrexLit manifests through realist and/or speculative long fiction, alth

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24

Norrick, Neal R. "Swearing in literary prose fiction and conversational narrative." Narrative Inquiry 22, no. 1 (2012): 24–49. http://dx.doi.org/10.1075/ni.22.1.03nor.

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This article compares swearing in novels with swearing in everyday talk based on a representative sample of British and American prose fiction and a several large corpora of natural conversation. Swearing allegedly makes fictional dialogue more realistic, but up till now no one has attempted a systematic comparison of fictional and natural conversational swearing. Fiction writers incorporate swearing into their dialogue to delineate characters and to signal emotions, sometimes setting it off from non-swearing talk and commenting on it in various ways. Traditionally, the author’s own voice cont

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25

Goodman, Sam. "Civil Service Rules: (Post)Colonial Memoir and the Raj Revival, 1970–1985." Literature & History 33, no. 1 (2024): 16–36. http://dx.doi.org/10.1177/03061973241247502.

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In the 1970s, the India Office Archive within the British Library began inviting the last generation of the Indian Civil Service and Indian Political Service to commit their experiences to written record. Running until the mid-1980s and eventually producing 135 manuscript memoirs, this archive offers a unique insight into the end of the British Empire, as seen a generation hence. This article argues that these memoirs, generated in a time of crisis and fracture within British national identity, are not only vital historical sources but are a significant body of creative work within the context

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26

Hubbard, Tom. "Review: Scottish Fiction and the British Empire." Scottish Affairs 64 (First Serie, no. 1 (2008): 149–52. http://dx.doi.org/10.3366/scot.2008.0040.

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27

Ames, Christopher. "Shakespeare's Grave: The British Fiction of Hollywood." Twentieth Century Literature 47, no. 3 (2001): 407. http://dx.doi.org/10.2307/3176025.

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28

Korolyova, E. I. "Expressive English Phrases in Modern British Fiction." Izvestia of the Ural federal university. Series 2. Humanities and Arts 18, no. 2(151) (2016): 137–45. http://dx.doi.org/10.15826/izv2.2016.18.2.033.

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29

Kunka, Andrew. "Dynamic Psychology in Modernist British Fiction (review)." MFS Modern Fiction Studies 53, no. 4 (2007): 905–9. http://dx.doi.org/10.1353/mfs.2008.0015.

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30

Paris, Michael. "Red Menace! Russia and British Juvenile Fiction." Contemporary British History 19, no. 2 (2005): 117–32. http://dx.doi.org/10.1080/13619460500080181.

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31

Katz, Wendy W. "Novel relations: Victorian fiction and British psychoanalysis." International Journal of Psychoanalysis 101, no. 5 (2020): 1055–59. http://dx.doi.org/10.1080/00207578.2020.1742071.

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32

Tournay Theodotou, Petra. "British Asian Fiction: Twenty-First Century Voices." English Studies 95, no. 2 (2014): 231–33. http://dx.doi.org/10.1080/0013838x.2013.838407.

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33

King, Bruce, and Andrzej Gasiorek. "Post-War British Fiction: Realism and After." World Literature Today 69, no. 4 (1995): 803. http://dx.doi.org/10.2307/40151693.

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34

King, Bruce, and A. Robert Lee. "Other Britain, Other British: Contemporary Multicultural Fiction." World Literature Today 71, no. 1 (1997): 161. http://dx.doi.org/10.2307/40152674.

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35

Shail, Robert. "Terence Fisher and British science fiction cinema." Science Fiction Film & Television 2, no. 1 (2009): 77–90. http://dx.doi.org/10.3828/sfftv.2.1.5.

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36

Betensky, Carolyn. "Sympathetic Realism in Nineteenth-Century British Fiction." Nineteenth-Century Contexts 36, no. 1 (2014): 73–75. http://dx.doi.org/10.1080/08905495.2013.867128.

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37

Ames, Christopher. "Shakespeare’s Grave: The British Fiction of Hollywood." Twentieth-Century Literature 47, no. 3 (2001): 407–30. http://dx.doi.org/10.1215/0041462x-2001-4006.

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38

Loh, Lucienne. "Space and Style in Contemporary British Fiction." Contemporary Literature 51, no. 4 (2010): 883–91. http://dx.doi.org/10.1353/cli.2011.0007.

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39

GHEORGHIU, Oana Celia. "ENCODING REALITY INTO FICTION/ DECODING FICTION AS REALITY: POSTMODERN HISTORIOGRAPHY AS CRITICAL THEORY." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 5, no. 1 (2021): 99–105. http://dx.doi.org/10.26520/mcdsare.2021.5.99-105.

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This paper is intended as a brief critical review of three interrelated, fairly similar critical theories, born out the necessity of looking into cultural forms and products with a view to finding the politics at work therein. While American New Historicism is more historically oriented, British Cultural Materialism, with its more obvious influence from Marxism, Postcolonialism and other theories which place the margin at their centre, seems to be more in tune with contemporaneity, and so is the area of Cultural Studies, with its emphasis on cultural representations. It is advocated here that

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40

Das, Jyotirmoy. "The British Lion’s Triumph over the Bengal Tiger: The Royal Combat and the Allegory of Imperial Dominance." Praxis International Journal of Social Science and Literature 6, no. 9 (2023): 1–12. http://dx.doi.org/10.51879/pijssl/060901.

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This article shows how the allegory of British-tiger rivalry became a distinct feature in 19th-century British imperial visual culture to imagined imperial attitudes over India. After the second Anglo-Mysore war (1799) between the East Indian Company and the Tipu Sultan, in 1808, a visual description of lion-tiger bloodshed was issued as a medal by the East India Company to reward its troops. Such a description shows a lion, representing the British nation’s suppression over a Bengal tiger, the royal emblem of Tipu Sultan. After this, the same imagery served to be imagined and visualised the B

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41

CORDLE, DANIEL. "Protect/Protest: British nuclear fiction of the 1980s." British Journal for the History of Science 45, no. 4 (2012): 653–69. http://dx.doi.org/10.1017/s0007087412001112.

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AbstractAnalyses of nuclear fiction have tended to focus on the literature of the United States, particularly that of the 1950s. This article not only switches attention to British literature, but makes the case for the 1980s as a nuclear decade, arguing that the late Cold War context, especially renewed fears of global conflict, produced a distinctive nuclear literature and culture. Taking its cue from E.P. Thompson's rewriting of the British government's civil-defence slogan, ‘Protect and Survive’, as ‘Protest and Survive’, it identifies a series of issues – gender and the family, the enviro

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42

Bartolotta, Simona. "On the Hybridity of the Classic Occult Detective Story." ELH 91, no. 2 (2024): 467–99. http://dx.doi.org/10.1353/elh.2024.a929156.

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Abstract: This paper reads fin-de-siècle and Edwardian British occult detective fiction as a form of proto-science fiction, suggesting that the epistemological focus on the occult typical of these texts can be usefully envisioned as formally and functionally equivalent to the focus of modern science fiction on orthodox science. Drawing from Stephen Halliwell's studies on mimesis and recent developments in the field of unnatural narratology, the paper thus shows how the subgenre of occult detective fiction anticipates and participates in the systematic rationalization of the impossible that dis

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43

Haley, Madigan. "On Gathering: Or, The Birth of Global Fiction from the Spirit of Tragedy." Novel 53, no. 1 (2020): 76–95. http://dx.doi.org/10.1215/00295132-8139339.

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Abstract This article examines how certain works of global fiction have conceived of their ethical and political agency through the form and act of gathering. Discussions of the global novel's relationship to collective life have often adapted the ideas of Benedict Anderson in order to suggest that contemporary fiction extends “imagined community” from the nation to the globe. Yet political theorists such as Wendy Brown have shown how global economic integration under neoliberalism comes at the price of national social disintegration. In search of a collective imaginary outside the terms of gl

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44

Sharma, Ms Shikha. "Doris Lessing’s Science Fiction." SMART MOVES JOURNAL IJELLH 8, no. 7 (2020): 167–76. http://dx.doi.org/10.24113/ijellh.v8i7.10673.

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Doris Lessing, the Nobel Laureate (1919-2007), a British novelist, poet, a writer of epic scope, playwright, librettist, biographer and short story writer. She was the “most fearless woman novelist in the world, unabashed ex-communist and uncompromising feminist”. Doris has earned the great reputation as a distinguished and outstanding writer. She raised local and private problems of England in post-war period with emphasis on man-woman relationship, feminist movement, welfare state, socio-economic and political ethos, population explosion, terrorism and social conflicts in her novels.

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45

Sen, Sucharita. "Memsahibs and ayahs during the Mutiny: In English memoirs and fiction." Studies in People's History 7, no. 2 (2020): 159–70. http://dx.doi.org/10.1177/2348448920951520.

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Drawing upon the personal accounts of British women who lived through the Mutiny (1857–58), this article argues that these accounts, being characterised by diversity, both supported and contradicted the official discourse of the British Raj. While the domestic spaces in the household were shaken by the storm of the Mutiny, interpersonal relations sometimes transcended the animosity which the Mutiny had garnered. By bringing the contemporary British fiction into the spectrum of analysis, this article argues that the Mutiny fiction and personal accounts have a common chord in their portrayal of

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46

Aba shaar, Mohammed Yassin. "Self-reconstruction through the Sense of Guilt: A Study of Select Masterpieces in the American Fiction." British (Jurnal Bahasa dan Sastra Inggris) 9, no. 2 (2020): 48. http://dx.doi.org/10.31314/british.9.2.48-62.2020.

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Abstract:Reconstruction is considered as a comprehensive transformation of one’s attitude with respect to one’s ego; one’s action; the object of guilt and the temporal-existential experience. The process of reconstruction stems from the need for improvement of the self. Any human being gets exposed to the feelings of sadness, despair, envy, shame, embarrassment and many other emotions that could leave him psychologically disabled. Anyway, guilt is a part of self-conscious emotions that the individual involves for the sake of self-evaluation. It is developed when the person feels that he doesn’

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47

Dorst, Aletta G. "More or different metaphors in fiction? A quantitative cross-register comparison." Language and Literature: International Journal of Stylistics 24, no. 1 (2015): 3–22. http://dx.doi.org/10.1177/0963947014560486.

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This article presents a quantitative cross-register comparison of the forms and frequency of linguistic metaphor in fiction based on a 45,000-word annotated corpus containing excerpts from 12 contemporary British-English novels sampled from the British National Corpus. The results for fiction are compared to those for three other registers, namely news texts, academic discourse and conversations. The linguistic manifestations of metaphor in the corpus were identified using the MIPVU procedure (Steen et al., 2010), a revised and extended version of the original Metaphor Identification Procedure

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48

Levay, Matthew, Francesca Bratton, Caroline Krzakowski, et al. "XIV Modern Literature." Year's Work in English Studies 98, no. 1 (2019): 858–1020. http://dx.doi.org/10.1093/ywes/maz011.

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Abstract This chapter has eight sections 1. General. 2 British Fiction Pre-1945; 3. British Fiction 1945 to the Present; 4. Pre-1950 Drama; 5. Post-1950 Drama; 6. British Poetry 1900–1950; 7. British Poetry Post-1950; 8. Irish Poetry. Section 1 is by Matthew Levay; section 2(a) is by Francesca Bratton; section 2(b) is by Caroline Krzakowski; section 2(c) is by Sophie Corser; section 2(d) is by Andrew Keese; section 2(e) is by Catriona Livingstone; section 3(a) is by Mark West; section 3(b) is by Samuel Cooper; section 4(a) is by Rebecca D’Monte; section 4(b) is by Gustavo A. Rodríguez Martín;

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49

MELBY, CHRISTIAN K. "EMPIRE AND NATION IN BRITISH FUTURE-WAR AND INVASION-SCARE FICTION, 1871–1914." Historical Journal 63, no. 2 (2019): 389–410. http://dx.doi.org/10.1017/s0018246x19000232.

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AbstractThe British wrote and read a large quantity of fictional depictions of future wars and invasions in the period between 1871 and 1914, imagining the various ways in which a great war might look before the real conflict broke out. This article outlines the ways in which this form of literature described a British world united across time and space. The stories have traditionally been read as indicative of a societal fear of invasion, of imperial decline, or of the dangers of revolutionary upheaval. The article argues that the stories’ popularity can instead be traced to the way they incl

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50

Hatavara, Mari, and Jarkko Toikkanen. "Sameness and difference in narrative modes and narrative sense making: The case of Ramsey Campbell’s “The Scar”." Frontiers of Narrative Studies 5, no. 1 (2019): 130–46. http://dx.doi.org/10.1515/fns-2019-0009.

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AbstractThe article discusses basic questions of narrative studies and definitions of narrative from a historical and conceptual perspective in order to map the terrain between different narratologies. The focus is placed on the question of how fiction interacts with other realms of our lives or, more specifically, how reading fiction both involves and affects our everyday meaning making operations. British horror writer Ramsey Campbell’s (b. 1946) short story “The Scar” (1967) will be used as a test case to show how both narrative modes of representation and the reader’s narrative sense makin

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