Relevant bibliographies by topics / Contemporary British novels

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Contemporary British novels'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Contemporary British novels"

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Drozdovskyi, Dmytro. "HISTORICAL MEASURES AND PHILOSOPHICAL FEATURES OF BRITISH POST-POSTOMODERNISM: OUTLINING THE CONCEPT OF «CONNECTEDNESS»." English and American Studies 1, no. 17 (December 22, 2020): 97–103. http://dx.doi.org/10.15421/382017.

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In the paper, the author states that in the UK the emergence of theoretical compendia that represent and simultaneously revise the literary landscape of this country (as well as the United States), determines the necessity to outline the boundaries of the period, which in these works is defined as post-postmodernism. The latter concept has no clear theoretical explication and is discussed in the form of literary directions (altermodernism, digimodernism, metamodernism) that define new aesthetic and philosophical grounds that differ from postmodernism. In the paper, the author substantiates the historical boundaries of post-postmodernism, in particular emphasizing the factors that led to the formation of a new literary paradigm after 2000s. The ideas of British theorists on «realisms» in contemporary British literature have been developed with the emphasis on the presentation of new worldview models and identities in the contemporary British novels. A review of «The Routledge Companion to Twenty-First Century Literary Fiction» (edited by D. O’Gorman and R. Eaglestone) is represented, which gives a condensed view of the aesthetic and philosophical pursuits of the contemporary British novel. The transformation of the archetype of Home in the paradigm of the contemporary (postpostmodern) novel has been spotlighted. Attention is drawn to explaining the representation of «one’s own» and «another’s» («alien») concepts, which reconstructs the traditional idea of Home as a space of protection and security. The transcultural processes inherent in the British novel have been discussed. The new character of the worldview (based on the materials of the novels by D. Mitchell and M. Haddon) has been outlined, which gives reason to speak abouta special postpostmodern way of observing the reality and provide its interpretations. The outline of the corpus of epistemological problems in the contemporary British novel actualizes the experience of philosophy of I. Kant, which is emphasized primarily by British theorists, referring in their own interpretative models to this tradition of German classical philosophy, which becomes important for the post-postmodern novels since 2000s.
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Chmielewska, Anita. "The Absent Parent Figure as a Representation of Post-trauma in Contemporary British-Jewish Novels." Explorations: A Journal of Language and Literature 8 (December 8, 2020): 21–32. http://dx.doi.org/10.25167/exp13.20.8.3.

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A missing parent is an element that is often found in contemporary British-Jewish novels. These are mainly texts written by granddaughters of those who lived through World War II. The novels analyzed herein tend to be very similar in their depiction of parent figures, who appear to represent the remaining presence of post-trauma from the World War II era. The concept of survival during the Shoah may include various experiences but is mostly associated with those who directly experienced the Holocaust. Yet, British Jews are often those who fled the Jewish extermination before it happened and, as a result, are frequently excluded from the discussion of World War II survivorship
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Drozdovskyi, Dmytro. "Traditions of Skepticism and Discourse of Post-Truth in British Post-Postmodern Novels." Pitannâ lìteraturoznavstva, no. 100 (December 27, 2019): 72–88. http://dx.doi.org/10.31861/pytlit2019.100.072.

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In the paper, the forms of critical perception of reality inherent to the protagonists of contemporary British novels (“The Curious Incident of the Dog in the Night-Time”, “Carry Me Down”, “Little Stranger”, etc.) have been discussed. The author has analyzed strategies for reactivation of skepticism in British post-postmodern novel “Cloud Atlas” by D. Mitchell. The specificity of the representation of skepticism in literary post-postmodernism is investigated; in particular, theoretical considerations of L. Miroshnychenko, O. Boynitska and other experts in English/British literature have been developed. The peculiarities of dystopia as a part of the metageneric phenomenon of post-postmodernistic novel “Cloud Atlas” have been revealed. The features of representation of propositional and existential truths in contemporary British novel are outlined. The mechanisms of counteraction to the forms of post-truth and the simulacrum “truths” represented in “Cloud Atlas” as part of capitalist ideological discourse, which leads to a distorted perception of reality and civilization catastrophe, have been outlined. It is revealed that in “Cloud Atlas” there is a critique of hypertrophied consumerism and the loss by contemporary literature the ability to be the source of existential meanings. The specific features in human representation as a dual phenomenon in post-postmodern British novel (Nietzsche's conception of the revaluation of values and the will to power in “Cloud Atlas” is depicted ambivalently) has been explored in the paper. I state that post-postmodernism is a cultural paradigm that unites aesthetic and philosophy of modernism and postmodernism. Besides, the post-postmodern novel has a specific feature resulted in a special narrative mode that combines scientific discoveries that influence the narrative with a special philosophical realm. In the paper, David Mitchell’s novel “Cloud Atlas” has been discussed as an example of post-postmodern writing that reveals emotional sincerity and skepticism, utopic way of thinking and anticolonial discourse. The novel exploits epic beginning to involve the reader in a special atmosphere created by the omnipotent narrator. The end of the story is a metaphorical return to the beginning; however, the starting point was changed. The novel exploits six separate stories that are interlinked according to the idea of eternal returning presented by Nietzsche and realized in the novel in the image of “Cloud Atlas” (symphony). The reality in the novel is exploited as a multifaceted phenomenon and time is depicted according to super-string astrophysical theory. The research gives a clue to understanding the philosophical boarders of post-postmodernism and demonstrates the combination of different discourses (humanitarian and scientific) in contemporary British novel. The paper provides new findings in explaining philosophical parameters of post-postmodern novels.
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Weiss, Michaela. "[Anténe, Petr. Howard Jacobson's novels in the context of contemporary British Jewish literature]." Brno studies in English, no. 2 (2020): 302–5. http://dx.doi.org/10.5817/bse2020-2-18.

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Rychter, Ewa. "When the Novel Meets the Bible. The Flood in Four Contemporary British Novels." Caliban, no. 33 (April 1, 2013): 183–95. http://dx.doi.org/10.4000/caliban.161.

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Kazunari Miyahara. "Why Now, Why Then?: Present-Tense Narration in Contemporary British and Commonwealth Novels." Journal of Narrative Theory 39, no. 2 (2009): 241–68. http://dx.doi.org/10.1353/jnt.0.0030.

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Mohammed, Marwa Ghazi. "Woman’s Identity vs. Beauty Ideals: A Comparative Study of Selected Contemporary Novels." Journal of University of Human Development 5, no. 3 (July 21, 2019): 87. http://dx.doi.org/10.21928/juhd.v5n3y2019.pp87-90.

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Cultural notions about woman’s identity play a role in woman self-acceptance and self- worth. Generally speaking, these ideas affected women since they have shaped their feelings of worth and beauty. Nowadays pursuit of beauty ideal has become one of the problematic issues to meet particular standards. Moreover, the development of selfhood is influenced by the mirror of the society. Ethnicity, body shape, skin colour, age, and wrinkles are various forms of society standards of beauty which some women shape their identities by modifying accordingly. Thus, beauty ideals become a form of restriction and enslavement because women are forced to follow and sometimes suffer to have the sense of belonging. Three novels are selected in this paper to study the problematic issue of what is meant by beauty ideal. Lucy Grealy’s Autobiography of the Face (1994) depicts the suffering of a woman who has a struggle with jaw cancer since early childhood. Surviving the cancer means removing part of her jaw which causes the tragedy of her life. Zadie Smith’s The White Teeth (2000) is a work about the postcolonial society of London where Irie considers herself British despite her dark skin due to her Jamaican roots. White skin is one of the ideals of beauty according to the British standard. Ellen Hopkins’ Perfect (2011) is a novel in which the writer asks the question who defines the word ‘perfect’, the question is asked through Kendra whose dream is to be a model and a star.
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Ackermann, Zeno. "Struggling with the Rhetoric of Exemption: Figurations of the Holocaust in Contemporary British Novels." Holocaust Studies 14, no. 3 (December 2008): 85–118. http://dx.doi.org/10.1080/17504902.2008.11087224.

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Drozdovskyi, Dmytro. "Representation of the Problem-Thematic Unit “Finance” in the Contemporary British Novel." Pitannâ lìteraturoznavstva, no. 102 (December 28, 2020): 148–63. http://dx.doi.org/10.31861/pytlit2020.102.148.

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The problem-thematic unit “Finance” is outlined in the theoretical work “The Routledge Companion to Twenty-First Century Literary Fiction” (2018). The importance of this unit is due to the presence of texts in which to understand the worldview of the characters it is important to take into account the socio-economic environment in which the characters live and which affects their behavior. In the novels “NW” (2012) by Zadie Smith, “Other People’s Money” (2011) by Justin Cartwright and “The Terrible Privacy of Maxwell Sim” (2010) by Jonathan Coe, the writers offer a new representation of the image of money, which distances money from the material world and becomes a transcendental value. Monetary processes are perceived as imaginary phenomena that the characters perceive speculatively. This leads to cataclysms and painful experiences arising from the loss of the characters of their work and the total banking crisis. The representation of money in the novels exploits the tendency that contemporary British authors discover trends related to German philosophy and the ideas of Kantianism. Money is not a form of achieving material goods, but a tool that shows that the characters are able to create another virtual world, which can exist as a speculative phenomenon. The presented range of novels confirms the ideas of B. Shalahinov that the sources of philosophical thought of German Romanticism were nourishing both for the Modern period and the Post-postmodern one, in particular exploited in the British post-postmodern novels.
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Sidorova, O. "KAZUO ISHIGURO. THE WRITER IN THE ‘FLOATING WORLD’." Voprosy literatury, no. 4 (October 2, 2018): 301–18. http://dx.doi.org/10.31425/0042-8795-2018-4-301-318.

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Novels by the Nobel Prize winner in literature 2017 K. Ishiguro are analyzed chronologically, from the first novel A Pale View of Hills (1982) to the latest one The Buried Giant (2015). As the article shows, the author, who represents two cultural traditions, the Japanese and the British ones, reflects this quality in his works. The writer himself states that his works were mainly formed by the European literary tradition and, consequently, his novel The Remains of the Day has become a concentrated study of Englishness, one of the most vivid in contemporary British literature. Experimenting with traditional literary forms, Ishiguro uses the stream-of-conscience technique, elements of science fiction, fantasy, detective genres, but each of his novels is unique and is characterized by deep overtones. Some constant elements of the writer’s works are discussed: unreliable narrators, the opposition of memory and history, the special role of children and of old people in his novels, the significant role of periods before and after historic events that are omitted in his novels, and recognizable language and style – compact, reserved and precise.
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Dissertations / Theses on the topic "Contemporary British novels"

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Lente, Sandra van. "Cultural exchange in selected contemporary British novels." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2015. http://dx.doi.org/10.18452/17133.

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In dieser Dissertation werden die Repräsentationen von Kulturtransfer in zeitgenössischen britischen Romanen untersucht (Monica Ali: Brick Lane (2003), Nadeem Aslam: Maps For Lost Lovers (2004), Gautam Malkani: Londonstani (2007) und Maggie Gee: The White Family (2002)). Für die Analyse der Begegnungen und Kulturtransferprozesse werden narratologische Analysekategorien mit denen der Kulturtransferanalyse verknüpft. Neben den textimmanenten Aspekten werden außerdem die Produktions- und Rezeptionskontexte der Romane mitberücksichtigt. Dazu gehören u.a. auch das Buchmarketing und Buchumschlagdesign sowie Rezensionen und öffentliche Reaktionen auf die Romane. Mit diesem Instrumentarium werden z.B. folgende Fragen untersucht: Wie werden Begegnungen und Austauschprozesse repräsentiert und bewertet? Welche Gründe für Aneignung oder Abschottung werden formuliert? In diesem Kontext konzentriert sich die Arbeit auf die Repräsentation von Mediatorinnen und Mediatoren, Kontaktzonen und -situationen, Machtstrukturen sowie Selektions- und Ablehnungsprozesse. Außerdem wird untersucht, mit welchen ästhetischen Mitteln die Austauschprozesse gestaltet werden, beispielsweise durch die Untersuchung der Plotmuster und der Charakterisierungen auf Stereotype hin. und welche Effekte dies bewirkt. Die Analysen haben ergeben, dass Kulturtransfer als erstrebenswert bewertet wird. Gleichzeitig findet aber oft nur Assimilierung statt und kein reziproker Austausch auf Augenhöhe. Die ausgewählten Romane setzen sich vorwiegend mit Hindernissen des interkulturellen Austauschs auseinander. Besonders häufig werden in diesem Kontext Gründe wie mangelnde Bereitschaft, mangelnde Bildung und extremistische (religiöse) Ansichten der Einwandererfamilien angeführt. Die Romane verstetigen Stereotype, die dem Lesepublikum bereits aus vielen Massenmedien vertraut sind, u.a. durch entwicklungsresistente Charaktere, typisiert als ungebildete und unverbesserliche Migranten, die Parallelgesellschaften entwerfen.
This thesis analyses representations of cultural exchange in contemporary British novels in the context of migration and the British literary field. It offers a multilayered approach: the combination of cultural exchange theory and its categories with narratological tools do justice to the aesthetic side of the novels as well as their socio-political and historical contexts that are particularly relevant for novels dealing with migration. Cultural exchange theory analyses appropriation and transformation processes, i.e. how the concepts, cultural practices as well as representations change when they are transferred into a different cultural context. Furthermore, this thesis takes into consideration that all novels exist as material objects within a literary field that is affected by editors, marketing people, reviewers, and other agents. The results support the following theses: Contact and exchange are implicitly and explicitly depicted as something positive, with two of the novels emphasising the virtues of selective appropriation. However, the exchange processes mainly work in one direction only and contact between (British) Asian and (white) British characters is limited. The blame for this is often put on the immigrants and their families. The selected texts focus on obstacles and conflicts in exchange processes without offering solutions to the conflicts. In this context, religion or religious fervour along with a lack of education are most often depicted as the main obstacle for reciprocal cultural exchange. The aesthetic means employed are analysed as well as their effects, e.g. whether form and content reinforce each other or produce contradictions. Finally, the thesis shows which novels deconstruct and contradict existing stereotypes and which ones are complicit in reproducing them. Primary texts: Monica Ali’s Brick Lane (2003), Nadeem Aslam’s Maps for Lost Lovers (2004), Gautam Malkani’s Londonstani (2006) and Maggie Gee’s The White Family (2002).
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Fang, Chih-hui. "Lesbian identity in British and Taiwanese contemporary novels." Thesis, University of Exeter, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410809.

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Snider, Caleb. "Almost an Englishman: Black and British Identities in Three Contemporary British Novels." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28830.

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This project describes the work of three contemporary British novelists as they explore the possibility of self-identifying as black and British in contemporary Britain, despite the prevalence of racist attitudes that hold that these two identities are mutually exclusive. The three novels examined -- The Buddha of Suburbia by Hanif Kureishi, White Teeth by Zadie Smith, and Brick Lane by Monica Ali -- present black protagonists who self-identify as British. While other characters in the novels either conform to assimilationist or diasporic models of identity, where the subject seeks to expunge all "black" characteristics in favour of conforming to stereotypical "white" cultural norms, or retreat from "white" characteristics into an essentialized version of the values of their "home" countries, Karim, Irie, and Nazneen establish spaces for themselves within British society that allow them to try on different identities. By acknowledging the variability of identity, all three protagonists are able to self-identify as being both black and British.
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Majed, Hasan. "Islam and Muslim identities in four contemporary British novels." Thesis, University of Sunderland, 2012. http://sure.sunderland.ac.uk/3739/.

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The aim of the dissertation is to explore how Islam is depicted and Muslim identities are constructed in four representative works of contemporary British fiction: Hanif Kureishi’s The Black Album, Monica Ali’s Brick Lane, Fadia Faqir’s My Name is Salma, and Leila Aboulela’s Minaret. Salman Rushdie’s The Satanic Verses is also discussed in terms of its crucial role in fostering what some Muslims might consider polemical and stereotypical positions in writing about Islam. The term ‘Islamic postcolonialism’ provides the theoretical underpinning to the thesis. Islamic postcolonialism is a theoretical perspective that combines two components which have up until now existed in a state of tension. As a secular theory, postcolonialism has notably failed to account for Muslim priorities; it has, for instance, had severe problems critiquing the anti-Islam polemics of The Satanic Verses, as is evidenced by Edward Said’s support for Rushdie, in spite of his criticism of the stereotypical representation of Islam and Muslims in the West. Islamic postcolonialism applies the anti-colonial resistant methodology of postcolonialism from a Muslim perspective, exploring the continuance of colonial discourse in part of the contemporary western writing about Islam and Muslims. Applying Islamic postcolonialism to the novels in question, the thesis tests the following questions: 1. How are Islam and Muslims depicted in the novels discussed? 2. Is the depiction of Islam similar to, and if so in what ways, its depiction in the literature of the colonial period? 3. Is there a connection between the writer’s personal 2 religious commitment and the image of Islam and Muslims he/she inscribes in the novel? The four novels are then classified according to three categories: Hanif Kureishi’s The Black Album and Monica Ali’s Brick Lane depict Islam and Muslims stereotypically, from a partially colonial perspective. Secondly, Fadia Faqir’s My Name is Salma adopts a mixed colonial and postcolonial depiction of Islam and Muslims. While it depicts the centrality of Islam in a Muslim society (Hima, Jordan) stereotypically, the novel appears more sympathetic in imaging Islam in England under the conditions of the personal and the marginal. Thirdly, Leila Aboulela’s novel Minaret is the one text that complies with an Islamic postcolonial perspective. The failure of secularism and re-emergence of Islam in the Arab world is, Waïl Hassan contends, the background to the achievement of Aboulela’s fiction. Her image of Islam and Muslims is unique in British fiction as it provides a new depiction of these categories from the standpoint of a more authentic Muslim voice. Minaret, it is argued, is an Islamic postcolonial novel both because it celebrates Islam, and because Najwa adopts Islam as her first identity in metropolitan London, which once represented the colonial centre from which her native Sudan was colonised.
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Henesy, Megan Louise. "Novels of precarity : neoliberal counternarratives in contemporary British women's fiction." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/413764/.

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This thesis argues that there isa growing canon of contemporary women’s literature that is interested in exploring and reimagingthe ‘capitalist fraying’1 of conventional good-­life fantasies in contemporary Britain. By primarily using the theories of Lauren Berlant and Sara Ahmed as a framework for understanding how precarity can be considered from an affective standpoint, this thesis will study how the chosen authors present British neoliberal society as an inherently precarious environment. The thesis begins by discussing the evolution of the neologism ‘precarity’ from a term used to describe the shifting socioeconomic environment at the turn of the millennium, to one utilised across a range of disciplines to broadly describe the affective experience of living and working under neoliberal capitalism. In the first chapter, the thesis will explore how Ali Smith’s novel Hotel World presents contemporary Britain as an exclusionary environment epitomised by the non-­‐place at the centre of its interweaving narratives: the Global Hotel. The second chapter discusses Kate Atkinson’s Started Early, Took My Dog, a novel which utilises the genre of detective fiction to explore two time frames that bookend the age of neoliberal ideology, the 1970s and the present day. The third chapter will study how Hilary Mantel’s Beyond Black utilises gothic tropes to display a fractured contemporary Britain, which teeters on the edge of social and environmental ruin. The thesis aims to demonstrate that these writers, in challenging the traditional narratives of the good life fantasy, are creating works that present a counternarrative to neoliberalism.
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Petty, Sue. "Working-class women and contemporary British literature." Thesis, Loughborough University, 2009. https://dspace.lboro.ac.uk/2134/5441.

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This thesis involves a class-based literary criticism of working-class women s writing. I particularly focus on a selection of novels by three working-class women writers - Livi Michael, Caeia March and Joan Riley. Their work emerged in the 1980s, the era of Thatcherism, which is a definitive period in British history that spawned a renaissance of working-class literature. In my readings of the novels I look at three specific aspects of identity: gender, sexuality and race with the intersection of social class, to examine how issues of economic positioning impinge further on the experience of respectively being a woman, a lesbian and a black woman in contemporary British society. I also appropriate various feminist theories to argue for the continued relevance of social class in structuring women s lives in late capitalism. Working-class writing in general, and working-class women s writing in particular, has historically been under-represented in academic study, so that by highlighting the work of these three lesser known writers, and by indicating that they are worthy of study, this thesis is also complicit in an act of feminist historiography.
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Cao, L. "Within the archive : cultural memory and historical representation in four contemporary British novels." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597278.

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This study examines two categories of contemporary British historical fiction. One category is historical fiction that aims at recuperating or revitalizing the English literary heritage through ventriloquism and pastiche. The other is the closely related category of postcolonial rewriting of the histories of the marginalized or the silenced, which poses a challenge to the canon. Four novels have been chosen as examples: A. S. Byatt’s Possession: A Romance (1990), Peter Ackroyd’s Chatterton (1987); Jean Rhys’s Wide Sargasso Sea (1966) and Marina Warner’s Indigo or, Mapping the Waters (1992). Although these two categories at first sight seem opposed as far as their ideological and cultural agendas are concerned, they share thematic similarities, they question and re-vision received versions of history, and they make similar use of intertextuality (and sometimes of pastiche) to work with or against “the archive” in their confrontation with an interpretation of the past. They combine to suggest that accepted forms of historical construction are unreliable, and that both the possibility and the need exist for literature to intervene when it comes to the representation of historical knowledge and cultural memory. Chapter 1 examines the conditions for contemporary interest in both history and the historical novel, contextualizing current debates about the uses of the past in contemporary historical fiction and defining the concept of “the archive”. Chapter 2 discusses Possession, a novel which both evokes and appropriates a specific literary archive and modes of representation - that of Victorian poetry and fiction - while interrogating textual reliability. Chapter 3 analyses Ackroyd’s Chatterton, a novel that in many ways parallels Possession’s concern with the aesthetics of the past. Such issues as the iterability of history, the role of pastiche and forgery in the reinvention of the past (and therefore in the formation of the literary canon) will be the foci of discussion. Chapter 4 shifts the study to the category of postcolonial rewriting. It examines Wide Sargasso Sea as a counter-text to Jane Eyre, focusing on the voice of the silenced and the subaltern and on the in-between subjectivity of the Creole woman. Chapter 5 discusses Warner’s retrieval of the other side of colonial memory in Indigo - an attempt to rewrite Shakespeare’s The Tempest. The afterword reflects on the range and variety of recent fictional rewritings of cultural memory and historical representation in relation to the role that historical novel plays in contributing to the ways in which a culture conceives of itself through fiction.
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Bowen, Deborah. "Mimesis, magic, manipulation: A study of the photograph in contemporary British and Canadian novels." Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/6007.

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The photograph is of interest to the writer because it is uniquely a product both of the realm of objective, physical reality and of the realm of artifice. Its ambiguous status as the physical emanation of a past referent endows it with an uneasy authority. It appears to offer assurances of identity and clarity; at the same time, it undermines the attempt to control experience by demonstrating that to freeze time and space is to render them obsolete. Thus the photograph can be seen as a metaphor for the life-giving and death-dealing enterprise of writing fictions. Moreover, because the photograph is a reflection of the past, private or public, a comparison of the use made of photographic images in the fictions of two different cultures, one older, one newer, may reveal differences in aesthetic between those two cultures. A theoretical dialectic for exploring the use made of the photograph in contemporary British and Canadian fiction can be constructed by comparing the thesis of Susan Sontag's On Photography (1977) with that of Roland Barthes' Camera Lucida (1980). Sontag is concerned with the camera as an instrument of power which victimizes its subjects; she sees the text as necessary to contextualize the image according to its function in time. Barthes understands the photograph's fragmentariness as potentially revelatory, and text as parasitic upon image. Where the Sontagian model emphasizes narrative contextualization and the photographer/writer as wielder of power, the Barthean model emphasizes a vertical hermeneutic of epiphanies and the spectator/reader as creator of meaning. A look at several contemporary British novelists who use photographic imagery (Julian Barnes, Graham Swift, Martin Amis, Fay Weldon, Penelope Lively, Anita Brookner, Timothy Mo, Salman Rushdie) suggests that these writers tend towards an ironical distancing of the photography, which is seen as parodic of traditional mimesis. Such novelists thus ascribe to and yet undermine Sontag's concern with narrative control. A number of contemporary Canadian writers (for instance, Margaret Atwood, Alice Munro, Margaret Laurence, Timothy Findley, Norman Levine, Diane Schoemperlen, Janette Turner Hospital, Michael Ondaatje) find within the photograph a representational magic that transcends boundaries of spatial and temporal logic. They share Barthes' belief in the intransigent value of appearances. An examination of these different writers' use of the photographic image thus provides a commentary upon their various understandings of the real, the fictive, and the relationship between the two.
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van, Lente Sandra Verfasser], Gesa [Akademischer Betreuer] Stedman, and Jana [Akademischer Betreuer] [Gohrisch. "Cultural exchange in selected contemporary British novels / Sandra van Lente. Gutachter: Gesa Stedman ; Jana Gohrisch." Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät II, 2015. http://d-nb.info/1067484868/34.

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Lente, Sandra van [Verfasser], Gesa Akademischer Betreuer] Stedman, and Jana [Akademischer Betreuer] [Gohrisch. "Cultural exchange in selected contemporary British novels / Sandra van Lente. Gutachter: Gesa Stedman ; Jana Gohrisch." Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät II, 2015. http://d-nb.info/1067484868/34.

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Books on the topic "Contemporary British novels"

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Chambers, Claire. Making Sense of Contemporary British Muslim Novels. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-52089-0.

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Negotiating identities in women's lives: English postcolonial and contemporary British novels. Westport, Conn: Greenwood Press, 2002.

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Dickens, Charles. Four novels. San Diego: Baker & Taylor Pub. Group, 2009.

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1970-, Hilbert Ernest, ed. Four Novels. San Diego, USA: Canterbury Classics, 2011.

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Dickens, Charles. Four novels. New York: Gramercy Books, 1993.

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The contemporary British novel. London: Continuum, 2004.

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Boccardi, Mariadele. The Contemporary British Historical Novel. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230240803.

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The novel now: Contemporary British fiction. Malden, MA: Blackwell Pub., 2007.

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Allen, Nicola. Marginality in the contemporary British novel. London: Continuum, 2008.

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Marginality in the contemporary British novel. London: Continuum, 2008.

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Book chapters on the topic "Contemporary British novels"

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Sudrann, Jean. "‘Magic or Miracles’: The Fallen World of Penelope Fitzgerald’s Novels." In Contemporary British Women Writers, 105–27. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22565-1_6.

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Higdon, David Leon. "Colonising the Past: The Novels of Peter Ackroyd." In The Contemporary British Novel Since 1980, 217–28. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-349-73717-8_19.

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Averitt, Brett T. "The Strange Clarity of Distance: History, Myth, and Imagination in the Novels of Isabel Colegate." In Contemporary British Women Writers, 85–104. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22565-1_5.

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Norquay, Glenda. "‘Partial to Intensity’: The Novels of A. L. Kennedy." In The Contemporary British Novel Since 1980, 142–53. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-349-73717-8_13.

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Meyer, Therese-M. "Exoticising Colonial History: British Authors’ Australian Convict Novels." In Exoticizing the Past in Contemporary Neo-Historical Fiction, 37–54. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137375209_3.

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Chambers, Claire. "‘Touch Me, Baby’: Ahdaf Soueif’s In the Eye of the Sun." In Making Sense of Contemporary British Muslim Novels, 3–39. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-52089-0_1.

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Chambers, Claire. "‘I Wanted a Human Touch’: Hanif Kureishi’s The Black Album." In Making Sense of Contemporary British Muslim Novels, 41–68. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-52089-0_2.

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Chambers, Claire. "Fiction of Olfaction: Nadeem Aslam’s Maps for Lost Lovers and Monica Ali’s Brick Lane." In Making Sense of Contemporary British Muslim Novels, 71–120. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-52089-0_3.

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Chambers, Claire. "Taste the Difference: Leila Aboulela, Yasmin Crowther, and Robin Yassin-Kassab." In Making Sense of Contemporary British Muslim Novels, 121–66. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-52089-0_4.

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Chambers, Claire. "Sound and Fury: Tabish Khair’s Just Another Jihadi Jane and Kamila Shamsie’s Home Fire." In Making Sense of Contemporary British Muslim Novels, 169–211. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-52089-0_5.

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Conference papers on the topic "Contemporary British novels"

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Ercan, Harun, and Mert Mentes. "Should Budapest stock exchange market investors be afraid of Brexit: a wavelet coherence analysis." In Contemporary Issues in Business, Management and Economics Engineering. Vilnius Gediminas Technical University, 2019. http://dx.doi.org/10.3846/cibmee.2019.038.

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Abstract:
Purpose − this study investigates the stock market co-movements among three countries to observe the contagion which can be increased during Brexit. Research methodology – Wavelet method used in this study to illustrate exciting dynamics of the coherence between the UK, German and Hungarian stock markets since 2012. Findings – the results show that the connection of the Budapest Stock Exchange and London Stock Exchange Market Indices is increasing recently. The coherence between DAX and FTSE appears to be very high lately. This supports the idea that may affect Hungarian markets. Research limitations – because of the nonstationary of the time series such as stock exchange market data, it is essential to have a measure of correlation or coherence such as wavelet. The days on which both markets were open could be used to see the co-movements better. Practical implications – this paper aims to show if there is a particular sign for a co-movement between markets and therefore warns the investors about a dramatic change which might appear after Brexit. After the decision of Brexit, investors in many markets do not know what their future position should be. Although it is still unknown how FTSE will react when Britain leaves the EU, as a major country of the Union it may create some sanctions. These sanctions may harm many stock markets as it may create new fluctuations. Originality/Value – this study used a technique called wavelet to search the possible effects of Brexit in an Eastern economy. The novelty of this paper is coming from the application of the wavelet method by using financial market data, that enables us to understand the relations among stock markets during no crisis time. Because many studies focus on big markets in Europe such as British, German and French stock markets, the main contribution of this study fills the gap in the literature on the effects of Brexit in an Eastern Europe Economy
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