Journal articles: 'Contemporary American fiction'

1

Madsen, Deborah L., and Nick Hornby. "Contemporary American Fiction." Modern Language Review 89, no. 4 (October 1994): 991. http://dx.doi.org/10.2307/3733929.

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TREVOR. "CONTEMPORARY AMERICAN SHORT FICTION." Princeton University Library Chronicle 52, no. 1 (1990): 149. http://dx.doi.org/10.2307/26403791.

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Brauner, David, and Kenneth Millard. "Contemporary American Fiction: An Introduction to American Fiction since 1970." Modern Language Review 98, no. 2 (April 2003): 450. http://dx.doi.org/10.2307/3737846.

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Wood, Adam H., and Kenneth Millard. "Contemporary American Fiction: An Introduction to American Fiction Since 1970." South Atlantic Review 67, no. 3 (2002): 149. http://dx.doi.org/10.2307/3201919.

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McGill, Meredith L., Patrick O'Donnell, and Robert Con Davis. "Intertextuality and Contemporary American Fiction." MLN 104, no. 5 (December 1989): 1197. http://dx.doi.org/10.2307/2905380.

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6

Tabbi, Joseph, and Tom LeClair. "Contemporary American Fiction: Critical Reformulations." Contemporary Literature 31, no. 4 (1990): 553. http://dx.doi.org/10.2307/1208329.

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Kumar, Fayaz Ahmad, and Colette Morrow. "Theorizing Black Power Movement in African American Literature: An Analysis of Morrison's Fiction." Global Language Review V, no. IV (December 30, 2020): 45–53. http://dx.doi.org/10.31703/glr.2020(v-iv).06.

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This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.

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Matravers, Derek. "Non-Fictions and Narrative Truths." Croatian journal of philosophy 22, no. 65 (September 15, 2022): 145–60. http://dx.doi.org/10.52685/cjp.22.65.1.

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This paper starts from the fact that the study of narrative in contemporary Anglo-American philosophy is almost exclusively the study of fictional narrative. It returns to an earlier debate in which Hayden White argued that “historiography is a form of fiction-making.” Although White’s claims are hyperbolical, the paper argues that he was correct to stress the importance of the claim that fiction and non-fiction use “the same techniques and strategies.” A distinction is drawn between properties of narratives that are simply properties of narratives and properties of narratives that play a role in forming readers’ beliefs about the world. Using this distinction, it is shown that it is an important feature of non-fictions that they are narratives; it is salutary to recognise non-fictions as being more like fictions than they are like the events they represent.

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Murray, Laura J., and James Ruppert. "Mediation in Contemporary Native American Fiction." American Literature 68, no. 3 (September 1996): 658. http://dx.doi.org/10.2307/2928264.

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Maxey, Ruth. "Vigilante Women in Contemporary American Fiction." Contemporary Women's Writing 10, no. 2 (January 4, 2016): 303–4. http://dx.doi.org/10.1093/cww/vpv040.

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11

Hume, Kathryn. "Diffused Satire in Contemporary American Fiction." Modern Philology 105, no. 2 (November 2007): 300–325. http://dx.doi.org/10.1086/588102.

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12

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

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13

Bond, Lucy, Ben De Bruyn, and Jessica Rapson. "Planetary memory in contemporary American fiction." Textual Practice 31, no. 5 (June 14, 2017): 853–66. http://dx.doi.org/10.1080/0950236x.2017.1323458.

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Moran, Alexander. "The genrefication of contemporary American fiction." Textual Practice 33, no. 2 (September 12, 2018): 229–44. http://dx.doi.org/10.1080/0950236x.2018.1509272.

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15

Brauner, David. "Contemporary American Fiction: An Introduction to American Fiction since 1970 by Kenneth Millard." Modern Language Review 98, no. 2 (2003): 450–51. http://dx.doi.org/10.1353/mlr.2003.0255.

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16

Stulov, Yuri V. "Contemporary African American Historical Novel." Literature of the Americas, no. 14 (2023): 75–99. http://dx.doi.org/10.22455/2541-7894-2023-14-75-99.

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The paper discusses the works of African American writers of the end of the 1960s — the end of the 2010s that address the historical past of African Americans and explores the traumatic experience of slavery and its consequences. The tragedy of people subjected to slavery as well as their masters who challenged the moral and ethical norms has remained the topical issue of contemporary African American historical novel. Pivotal for the development of the genre of African American historical novel were Jubilee by the outstanding writer and poet Margaret Walker and the non-fiction novel Roots by Alex Haley. African American authors reconsider the past from today’s perspective making use of both the newly discovered documents and the peculiarities of contemporary literary techniques and showing a versatility of genre experiments, paying attention to the ambiguity of American consciousness in relation to the past. Toni Morrison combines the sacred and the profane, reality and magic while Ishmael Reed conjugates thematic topicality and a bright literary experiment connecting history with the problems of contemporary consumer society; Charles Johnson problematizes history in a philosophic tragicomedy. Edward P. Jones reconsiders the history of slavery in a broad context as his novel’s setting is across the whole country on a broad span of time. The younger generation of African American writers represented by C. Baker, A. Randall, C. Whitehead, J. Ward and other authors touches on the issues of African American history in order to understand whether the tragic past has finally been done with. Contemporary African American historical novel relies on documents, new facts, elements of fictional biography, traditions of slave narratives and in its range makes use of peculiarities of family saga, bildungsroman, political novel, popular novel enriching it with various elements of magic realism, parodying existing canons and sharp satire.

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17

Macleod, Christine, and Robert Butler. "Contemporary African American Fiction: The Open Journey." Modern Language Review 95, no. 3 (July 2000): 821. http://dx.doi.org/10.2307/3735528.

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18

Butler, Robert, and Phillip Page. "Reclaiming Community in Contemporary African American Fiction." African American Review 34, no. 3 (2000): 533. http://dx.doi.org/10.2307/2901398.

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Reilly, John M., and Robert Butler. "Contemporary African American Fiction: The Open Journey." African American Review 34, no. 4 (2000): 722. http://dx.doi.org/10.2307/2901443.

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20

LaHood, Marvin J., and Alan Wilde. "Middle Grounds: Studies in Contemporary American Fiction." World Literature Today 62, no. 4 (1988): 663. http://dx.doi.org/10.2307/40144625.

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21

Anderson, Kent, and Arthur M. Saltzman. "Designs of Darkness in Contemporary American Fiction." Rocky Mountain Review of Language and Literature 45, no. 4 (1991): 272. http://dx.doi.org/10.2307/1347849.

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Kiernan, Robert F., and Arthur M. Saltzman. "Designs of Darkness in Contemporary American Fiction." American Literature 63, no. 2 (June 1991): 359. http://dx.doi.org/10.2307/2927193.

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23

Woodbridge, Hensley C., and Keith H. Brower. "Contemporary Latin American Fiction: An Annotated Bibliography." Hispania 74, no. 4 (December 1991): 898. http://dx.doi.org/10.2307/343741.

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24

Rubin, Derek. "Postethnic Experience in Contemporary Jewish American Fiction." Social Identities 8, no. 4 (December 2002): 507–20. http://dx.doi.org/10.1080/1350463022000068352.

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25

House, E. B. "Reclaiming Community in Contemporary African American Fiction." American Literature 72, no. 2 (June 1, 2000): 441. http://dx.doi.org/10.1215/00029831-72-2-441.

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26

Lock, Helen, and Philip Page. "Reclaiming Community in Contemporary African American Fiction." South Atlantic Review 65, no. 2 (2000): 190. http://dx.doi.org/10.2307/3201826.

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27

Siraganian, Lisa. "Theorizing Corporate Intentionality in Contemporary American Fiction." Law & Literature 27, no. 1 (January 2, 2015): 99–123. http://dx.doi.org/10.1080/1535685x.2014.989705.

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28

Hornung, Alfred. "The Autobiographical Mode in Contemporary American Fiction." Prose Studies 8, no. 3 (December 1985): 69–83. http://dx.doi.org/10.1080/01440358508586255.

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29

Pournara, Lizzy. "Self-Reflexive Materialities in Contemporary American Fiction." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 4, no. 2 (July 1, 2016): 292–95. http://dx.doi.org/10.14195/2182-8830_4-2_17.

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30

Bezrodnykh, Iryna, and Oksana Bohun. "METAPHORS AND SIMILES IN CONTEMPORARY AMERICAN PROSE." English and American Studies, no. 20 (June 23, 2023): 126–33. http://dx.doi.org/10.15421/382316.

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The article presents a survey of the metaphor- and simile-related researches in modern linguistics and considers stylistic functions of metaphors and similes in contemporary fiction. It is based on the novel The Goldfinch (2013) written by the American writer D. Tartt, the winner of the Pulitzer Prize for Fiction (2014). It proves that the tropes in question used in the book are unique and striking. They perform figurative and descriptive functions, contribute to the expressiveness and emotiveness of the text, help to convey the characters’ psychological frame of mind and produce a dramatic effect.

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31

GRAHAM, SARAH. "Unfair Ground: Girlhood and Theme Parks in Contemporary Fiction." Journal of American Studies 47, no. 3 (February 21, 2013): 589–604. http://dx.doi.org/10.1017/s0021875812002083.

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This essay explores the representation of adolescence in three contemporary American novels set in theme parks. It argues that, as a microcosm of American society, the theme park reproduces the norms of gender and sexuality even as it reveals them to be constructed. In contrast to the way that theme parks foster coming of age for boys, Lorrie Moore's Who Will Run the Frog Hospital? (1995), Miriam Toews's A Complicated Kindness (2004), and Karen Russell's Swamplandia! (2011) demonstrate the limitations imposed on girls. Although female protagonists challenge gender norms, heteronormativity proves impossible to resist, despite being disempowering or disappointing. Thus, by demonstrating that coming of age in America takes place on unfair ground, the novels point to the continuing importance of feminism in the face of post-feminist myths of equality.

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32

Yousef., NisreenTawfiq. "REPRESENTATIONS OF AMERICAN FOREIGN POLICY IN CONTEMPORARY HISTORICAL AMERICAN FICTION." International Journal of Advanced Research 6, no. 2 (February 28, 2018): 544–47. http://dx.doi.org/10.21474/ijar01/6469.

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33

Raljević, Selma. "AMERICAN LITERATURE(S) IN MOTION: MIGRATION, IMAGINATION, AND IDENTITY IN CONTEMPORARY U.S. FICTION." Folia linguistica et litteraria XI, no. 33 (2020): 7–38. http://dx.doi.org/10.31902/fll.33.2020.1.

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This article analyzes the remaking of American literature and its identity, focusing transnational American literature in general and, in particular, the contemporary American novel. It discusses a sense of postnational and anational motion of/in U.S. fiction, with an emphasis on the 21st - century American novel, created by both American and non-American authors and observed from a perspective of both American and non-American Americanists. Aimed at exploring literature in motion across “imagined” borders, the article also discusses the synergies between literature and other arts and disciplines in contemporary American literatures in order to provide new insights into literature in general and American literatures in particular. In the dialogue of literature with other disciplines, it examines the synergies between the local, regional, national, and global in contemporary U.S. fiction, as well as the synergies between different discourses of contemporaneity. Moving beyond established models in the way that even the term “transnational” transcends its own definition, the aim is to newly theorize a transnational/post-national/anational as well as transtextual motion of/in American fiction toward new directions of both American and non-American creation of American literatures.

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34

Raljević, Selma. "AMERICAN LITERATURE(S) IN MOTION: MIGRATION, IMAGINATION, AND IDENTITY IN CONTEMPORARY U.S. FICTION." Folia linguistica et litteraria XI, no. 33 (2020): 7–38. http://dx.doi.org/10.31902/fll.33.2020.1.

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This article analyzes the remaking of American literature and its identity, focusing transnational American literature in general and, in particular, the contemporary American novel. It discusses a sense of postnational and anational motion of/in U.S. fiction, with an emphasis on the 21st - century American novel, created by both American and non-American authors and observed from a perspective of both American and non-American Americanists. Aimed at exploring literature in motion across “imagined” borders, the article also discusses the synergies between literature and other arts and disciplines in contemporary American literatures in order to provide new insights into literature in general and American literatures in particular. In the dialogue of literature with other disciplines, it examines the synergies between the local, regional, national, and global in contemporary U.S. fiction, as well as the synergies between different discourses of contemporaneity. Moving beyond established models in the way that even the term “transnational” transcends its own definition, the aim is to newly theorize a transnational/post-national/anational as well as transtextual motion of/in American fiction toward new directions of both American and non-American creation of American literatures.

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35

Samodra, Maria Caroline, and Barli Bram. "Modal Verb “Shall” in Contemporary American English: A Corpus-Based Study." Respectus Philologicus, no. 41 (46) (April 15, 2022): 67–82. http://dx.doi.org/10.15388/respectus.2022.41.46.109.

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This paper explored the modal verb shall in formal and informal writings in academic and fiction registers. It focused on the frequencies of shall across academic and fiction domains in contemporary American English and the differences in the usage of shall between academic and fiction registers of contemporary American English. The researchers used a corpus linguistic method. Data were collected from the Corpus of Contemporary American English (COCA) and analysed using Hanks’ (2004) Corpus Pattern Analysis technique. All occurrences of shall in academic and fiction writing styles of COCA were retrieved, and 400 concordance lines consisting of 200 texts from each domain were collected. The texts were analysed and described in accordance with their syntactic, stylistic, and semantic characteristics. Results showed that shall was rare in COCA’s academic and fiction registers as the overall frequencies were 59.77 and 68.34 words per million, respectively. From all the 400 tokens being analysed, the researchers found that shall in the observed data could be classified as rules and regulations, direction, prediction, volition, and etc. The uses of shall in both domains in COCA varied syntactically, semantically, and stylistically.

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36

Newman, Judie, and Stacey Olster. "Reminiscence and Re-Creation in Contemporary American Fiction." Modern Language Review 86, no. 4 (October 1991): 1003. http://dx.doi.org/10.2307/3732585.

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37

Curdy, Carol A. Mac, and Stacey Olster. "Reminiscence and Re-Creation in Contemporary American Fiction." American Literature 62, no. 4 (December 1990): 737. http://dx.doi.org/10.2307/2927106.

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38

Chenetier, Marc. "Charting Contemporary American Fiction: A View from Abroad." New Literary History 16, no. 3 (1985): 653. http://dx.doi.org/10.2307/468847.

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39

Trussler, Michael, and Stacey Olster. "Reminiscence and Re-Creation in Contemporary American Fiction." Journal of American History 77, no. 2 (September 1990): 742. http://dx.doi.org/10.2307/2079333.

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40

Abdel-Monem, Tarik. "Images of Interracialism in Contemporary American Crime Fiction." American Studies 51, no. 3-4 (2010): 131–57. http://dx.doi.org/10.1353/ams.2010.0131.

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41

Sweet, Timothy. "Book Review: Mediation in Contemporary Native American Fiction." MFS Modern Fiction Studies 42, no. 4 (1996): 856–58. http://dx.doi.org/10.1353/mfs.1995.0168.

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42

Caputi, Jane. "American Psychos: The Serial Killer in Contemporary Fiction." Journal of American Culture 16, no. 4 (December 1993): 101–12. http://dx.doi.org/10.1111/j.1542-734x.1993.t01-1-00101.x.

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43

Varsava, Jerry A. "Intertextuality and Contemporary American Fiction, and: The Art of Excess: Mastery in Contemporary American Fiction (review)." MFS Modern Fiction Studies 36, no. 2 (1990): 255–57. http://dx.doi.org/10.1353/mfs.0.0927.

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44

Matoušková, Radka. "Intertextuality in contemporary fantastic fiction." Radomskie Studia Filologiczne. Radom Philological Studies 1, no. 11 (December 31, 2022): 101–11. http://dx.doi.org/10.24136/rsf.2022.007.

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The article focuses on the elements of intertextuality in contemporary English literature at the theoretical level and then through literary analysis, and it also clarifies the notion of intertextuality in terms of the process of “Changes and Transformations” at two different levels. At the beginning, there is a description of the characteristics of the concept of intertextuality according to selected sources (F. de Saussure, J. Kristeva, M. Bakhtin, G. Genette, W. Benjamin, F. Jameson, G. Allen). Then the focus is on the examination of one particular intertextual work of a contemporary fantastic literature author, Theodora Goss, who based her work on the tradition of English Gothic and Victorian novels. Such novels exploit works of English classics in literary allusions (M. Shelley, A. C. Doyle, B. Stoker, H. G. Wells, R. L. Stevenson, O. Wilde) and motifs from works of American literature (N. Hawthorne). Eventually, there is an evaluation of the analysed novel, mentioning also the significance of classical literary works in the context of contemporary English prose.

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45

Blashkiv, Oksana. "Vagaries of (Academic) Identity in Contemporary Fiction." Journal of Education Culture and Society 9, no. 1 (June 27, 2018): 151–60. http://dx.doi.org/10.15503/jecs20181.151.160.

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Aim. The article attempts to look at question of academic identities through the prism the academic novel. This literary genre emerged in English and American literature in early 1950s and centers on the image of the professor. In Slavic literatures the genre of the academic novel appears roughly in early 1990s, which is directly connected with the change of the political order following the fall of the Berlin Wall and disbanding of the Soviet Union. Contemporary Ukrainian literature with its post-Soviet heritage presents a unique source for the study of academic discourse. Methods. An interdisciplinary approach which combines sociological investigation of academic identity (Henkel 2005) and hermeneutic literary analysis is used for this study. In this respect three novels from the contemporary Ukrainian literature – “University” (2007) and “Kaleidoscope” (2009) by Igor Yosypiv, and “Drosophila over a Volume of Kant” (2010) by Anatoliy Dnistrovyj – are chosen for analysis. Results. Analysis of the novels shows that the literary representation of academics’ lives goes in line with the sociological findings, which, in defining a successful academic, put a strong accent on a discipline and academic institution. The interpretation of Yosypiv’s novels about a Ukrainian nephrologist at the American Medical School suggests that protagonist’s academic success is rooted in the field of applied science as well as an American institution of higher education, while Dnistrovyj’s novel sees a failure of a philosophy professor in the crisis of the Humanities as survived in post-Soviet Ukraine. Conclusion. The given novels of Igor Yosypiv and Anatoliy Dnistrovyj show that in case of academic identity theme, the academic novels support sociological studies, i.e. the discipline (Applied Sciences and Humanities) as well as the university rank (American vs. post-Soviet) play a decisive role in scholars’ academic life. This in its turn proves that the academic novel, like in the time of its emergence in the 1950s, continues to be a literary chronicler of higher education.

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46

Ohmann, Richard. "Teaching a Large Course On Contemporary Fiction." Radical Teacher 123 (July 13, 2022): 7–11. http://dx.doi.org/10.5195/rt.2022.1033.

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My intention was, not to survey political novels, or the ones I like best, or novels that meet some ahistorical standard of excellence, but to consider those that are in one way or another central to American bourgeois culture, and to help students understand that culture through their reading of the novels. . . . I adopted an approach that might be unsympathetically described as building the novels up in order to knock them down. But I think the strategy is warranted. Looking closely at what's good in one of these novels almost invariably means following some insight into the difficulty of living a good life on the terms offered by our society. (Many of the novelists would probably let it go at "living a good life," but since they take America as a given, the mimesis of capitalism is always there.) This is, to put it crudely, the problem posed by each novel, often revealingly. Most go on to hint at solutions, and here's where I think they fall apart. They displace politics and offer personal or anarchist or pre-industrial remedies for human sorrows that are rooted in advanced capitalist, industrial society.

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47

Stulov, Yuri. "The Cityscape in the Contemporary African-American Urban Novel." Respectus Philologicus 24, no. 29 (October 25, 2013): 65–71. http://dx.doi.org/10.15388/respectus.2013.24.29.5.

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This paper discusses the cityscape as an essential element of African American fiction. Since the time of Romanticism, the city has been regarded as the embodiment of evil forces which are alien to human nature and radiate fear and death. For decades, African-Americans have been isolated in the black ghettos of major American cities which were in many ways responsible for their personal growth or their failure. Often this failure is determined by their inability to find their bearings in a strange and alien world, which the city symbolizes. The world beyond the black ghetto is shown as brutal and terrifying, while the world inside is devoid of hope. Crime, vandalism, poverty, overcrowding, and social conflicts turn out to be the landmarks of big cities, because the people who migrate to them and make up most of their population are also the poorest and least adapted to urban life: they have lost their roots, and feel displaced in the anonymous urban society. A number of African-American novels depict protagonists who are unable to adapt to life in a big city, and end in degradation and misery. James Baldwin’s novels are among the most representative. His disordered and dislocated characters are products of the external world of the city of the machine age, and as such they are characteristic of all African-American fiction. This paper analyzes some of the recent black novels that reverberate with Baldwin’s ideas.

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48

Fan, Christopher T. "Semiperipherality and the Taiwanese American Novel." College Literature 50, no. 2-3 (March 2023): 212–36. http://dx.doi.org/10.1353/lit.2023.a902217.

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Abstract: While Asian American authors have certainly produced narratives of return to their or their predecessors' countries of origin, these narratives have, until recently, predominantly appeared in memoir and autobiography. Since the turn of the millennium there's been a significant uptick in the fictional portrayal of return. In stark contrast to the spiritual and filial returns in memoir, these fictional portrayals tend not to sentimentalize return. The protagonists who return more often follow economic or professional trajectories. In novels like Tao Lin's Taipei (2013), Ling Ma's Severance (2018), Han Ong's The Disinherited (2004), Ruth Ozeki's A Tale for the Time Being (2013), Brian Ascalon Roley's American Son (2001), and Lucy Tan's What We Were Promised (2018), return to Asia intensifies rather than vitiates material structures of alienation. What we find is that they tend to undermine an emerging Twenty-first century racial form that welds the Asian to neoliberal flexibility, even if they often forego critique. This article will describe contemporary Asian/American return fictions in contrast to earlier manifestations of the genre and explore their problematic relationship to categories like Asian American and Anglophone Asian fiction.

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49

Huck, Christian. "Travelling Detectives." Transfers 2, no. 3 (December 1, 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 critics Walter Benjamin and Siegfried Kracauer, the essay examines German crime-fiction dime novels from the interwar period, compares them to their American predecessors, and analyzes their relationship to mobility and cultural transfer. The text argues that the spatial mobility of the fictional detective is only possible in a specific cultural environment to which the moving but corporeally immobile reader has to be transferred imaginatively.

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50

Horowitz, Sara R. "Mediating Judaism: Mind, Body, Spirit, and Contemporary North American Jewish Fiction." AJS Review 30, no. 2 (October 27, 2006): 231–53. http://dx.doi.org/10.1017/s0364009406000110.

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That Jewish literature in North America is an altogether secular venue has long been regarded as a truism among many influential literary scholars. Indeed, for much of the twentieth century, the fiction of Jewish immigrants and their progeny wrote its way into American and Canadian culture through narratives that captured the process of acculturation by distancing itself from Jewish traditional practices, construed mockingly or nostalgically as relics of a European life left behind, a wellspring of historical or textual memories that oppress or elevate. The few departures from this trend—fiction that represents Judaic ritual and experience sympathetically, with complexity and depth—are exceptions that prove the rule: Chaim Potok’s novels, for example, beginning in the late 1960s and continuing through the close of the twentieth century, and a handful of women novelists negotiating Jewish feminism in stories and novels of the 1980s and 1990s.

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Journal articles on the topic 'Contemporary American fiction'

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