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Journal articles on the topic 'Domestic fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Yahav-Brown, Amit. "Reasonableness and Domestic Fiction." ELH 73, no. 4 (2006): 805–30. http://dx.doi.org/10.1353/elh.2006.0035.

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2

Ruppel, Tim. "Gender Training: Male Ambitions, Domestic Duties, and Failure in the Magazine Fiction of T. S. Arthur." Prospects 24 (October 1999): 311–37. http://dx.doi.org/10.1017/s0361233300000405.

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Although T. S. Arthur'S extraordinary literary presence and popularity were acknowledged during the antebellum period, studies of both the American Renaissance and domestic fiction have failed to provide anything more than a passing reference to his fiction. Arthur's meager current reputation has been defined by a single work, the sensationalist temperance novel, Ten Nights in a Bar-room, And What I Saw There (1854). More generally, cultural historians have labeled Arthur as one of the “fictional eulogists of the self-made man” and a purveyor of the “rags to riches” myth. However, the magazine fiction that Arthur regularly produced for Godey's Lady's Book in the 1840s had nothing to do with either temperance or the myth of autonomous individualism. Instead, his tales focused on the relationship between behavior in the home and in the marketplace. Writing in the aftermath of the devastating Panic of 1837, Arthur sought to identify the causes of domestic disorder and economic failure. Significantly, his narratives of personal accountability asserted that failure and disorder were the inevitable results of deviations from emerging gender norms. The prospective urban merchant and domestic women who appeared prominently in his magazine fiction must learn that the management of troublesome bodies is the key to economic and domestic stability.
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3

Logan, Thad. "Victorian Treasure Houses: The Novel and the Parlor." Keeping Ourselves Alive 3, no. 2-3 (January 1, 1993): 283–97. http://dx.doi.org/10.1075/jnlh.3.2-3.12vic.

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Abstract The domestic interior plays a significant role in realistic fiction and in 19th-century bourgeois life. The development of conventions for describing interiors in the novel coincides with the historical appearance of elaborately decorated parlors and with the feminization of domestic space. Both middle-class interiors and realistic fiction are characterized by a proliferation of detail, and their stylistic similarity can be mapped onto the emergence of a commodity culture. The fictive rhetoric of materiality and identity reflects complex relations of gender, property, and signification in the social world. (Cultural criticism; literary criticism; gender studies)
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4

Rhee, Jooyeon. "Making Sense of Fiction: Social and Political Functions of Serialized Fiction in the Daily News (Maeil sinbo) in 1910s Korea." Journal of Korean Studies 22, no. 1 (March 1, 2017): 227–55. http://dx.doi.org/10.1215/21581665-4153385.

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Abstract Modern Korean newspapers played a decisive role in transforming the Korean fiction genre in the early twentieth century―a transformation that was carried out in two distinctively different cultural and political environments. In the 1900s, reform-minded Korean intellectuals translated and authored fictional works in newspapers primarily as a way to instigate Koreans to participate in the nation-building process during the Patriotic Enlightenment movement (Aeguk kyemong undong) period. When Japan annexed Korea in 1910, the Daily News (Maeil sinbo) continually used fiction as a vehicle to deliver the colonial government’s assimilation policy, that is, to raise Korea’s socioeconomic and cultural status, with the aim of civilizing the society. The rhetoric of civilization is a common feature in fictional works produced during the period. However, what characterized the works serialized in Maeil sinbo was their increasing focus on individual desire and domestic affairs, which manifested itself in the form of courtship and familial conflicts. The confrontation between private desire and family relationships in these fictional works represented the prospect of higher education and economic equity while invoking emotional responses to the contradictory social reality of colonial assimilation in the portrayal of domestic issues in fiction. Looking at Maeil sinbo and its serialization of fiction not as a fixed totality of the Japanese imperial force but as a discursive space where contradicting views on civilization were formed, this paper scrutinizes emotional renderings of individuality and domesticity reflected in Maeil sinbo’s serialized fiction in the early 1910s.
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5

Crenshaw, Estée. "The Domestic Chicken as Legal Fiction." Humanimalia 9, no. 1 (September 22, 2017): 1–21. http://dx.doi.org/10.52537/humanimalia.9611.

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This paper explores the legal fictions surrounding the domestic chicken and its place in animal agriculture through a comparison of law and cultural narrative. The legal fictions examined are that of chickens as already dead, chickens as things, and chickens as a collective. Through examination of these fictions, a narrative of cruelty arises that questions the current treatment of domestic chickens in animal agriculture.
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6

Irshad, Saira, and Madiha Naeem. "Feminine Consciousness in Imran Iqbal's Fiction Writing." Negotiations 1, no. 3 (December 22, 2021): 11–19. http://dx.doi.org/10.54064/negotiations.v1i3.25.

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عمران اقبال کی افسانہ نگاری میں تانیثی شعور Imran Iqbal's name is prominent in Urdu fiction. He is from Bahawalpur but he is residing in the United States for employment. Imran Iqbal tried his hand at travelogues, fiction, novels and memoirs. He has made women and her issues the subject of his fictions. Imran Iqbal has presented a true picture of a woman who at every step faces various forms of male repressive behavior, outdated customs, husband and father-in-law atrocities, domestic violence and sexual harassment. Her fiction depicts women's psychological problems, the sexual appetites of landlords, capitalists, bureaucrats and top officials. Imran Iqbal has awakened Tanila consciousness through his pen.
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7

Ablow, Rachel. "Taking Responsibility in Desire and Domestic Fiction." Modern Language Quarterly 80, no. 1 (March 1, 2019): 7–12. http://dx.doi.org/10.1215/00267929-7247217.

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8

O’Malley, Maria. "Taking the Domestic View in Hawthorne’s Fiction." New England Quarterly 88, no. 4 (December 2015): 657–80. http://dx.doi.org/10.1162/tneq_a_00494.

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Shifting the emphasis within feminist criticism from the act of speech to the act of hearing, this article argues that, in The Scarlet Letter, The House of the Seven Gables, and Blithedale Romance, Nathaniel Hawthorne reveals how the public sphere depends on the voices of dispossessed women even as it attempts to silence them.
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9

Hayati, Yenni. "DUNIA PEREMPUAN DALAM KARYA SASTRA PEREMPUAN INDONESIA (Kajian Feminisme)." Humanus 11, no. 1 (December 18, 2012): 85. http://dx.doi.org/10.24036/jh.v11i1.626.

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This article describes the world of and images of women depicted in women fiction writer, particularly in short story literature. In depicting women’s world, an Indonesian writer tends to focus on their domestic than public life. This is because domestic life is considered safer for women, and women are considered best settled in the domestic life. There are six images closely associated with women; a mother, a loyal woman, a successful woman, a second woman, an ideal woman, and a bad woman. Mother image is the most found, 14 of 15 fictions examined in this research. The description of domestic life associates with mother image, because the two are closely related with the life of Indonesian women. Key words: women’s world, women’s image, women’s literature
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10

Wagner, Tamara Silvia. "The Mother-Sister of Victorian Fiction: Domestic Compromises and Replaceable Heroines." Victorians Institute Journal 49 (November 1, 2022): 138–65. http://dx.doi.org/10.5325/victinstj.49.2022.0138.

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Abstract This article critically examines the figure of the “mother-sister” in Victorian popular fiction. Sisters whose main function in the household comprises mothering their siblings, combines several narrative possibilities in nineteenth-century fiction, while constructively complicating the representation of domestic work. Whereas canonical fiction depicts sisters taking care of motherless siblings more often than their general absence from critical discussion might suggest, for several Victorian women writers, the mother-sister’s experience offers an opportunity to detail everyday domestic labor, to validate homemaking without sentimentalizing it, and to express frustration without rejecting domestic ideals. After a general discussion of the significance of this hitherto neglected figure in Victorian culture, this article juxtaposes the mother-sister’s representation in novels by otherwise markedly different popular authors of the time: the religious writer Charlotte Yonge and Mrs. Henry Wood, one of the most successful sensation novelists of the time. Their contrasting portrayal of reluctant, resentful, and resented mother-sisters offers a different angle on expected depictions of capable homemaking as a sign of value in Victorian fiction.
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11

Sussman, Matthew. "Austen, Gaskell, and the Politics of Domestic Fiction." Modern Language Quarterly 83, no. 1 (March 1, 2022): 1–26. http://dx.doi.org/10.1215/00267929-9475004.

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Abstract This essay offers a significant reconceptualization of Jane Austen’s influence on political novelists of the mid-nineteenth century by examining Elizabeth Gaskell’s extensive use of Pride and Prejudice (1813) in her novel North and South (1855). At a moment when the political dimensions of Austen’s fictions were fading to obscurity, Gaskell drew on Austen’s portrayal of domestic relationships to underscore their relevance to “public” problems. On this view, the Austenian courtship plot does not contain political anxieties so much as animate them, with the logic of complementary coupling providing a formal and thematic model for the dialectical engagements necessary for navigating social conflict. At the same time, Gaskell uses Austenian motifs to dramatize the “marriageability” of different generic frameworks during a time of regional fragmentation while also envisioning Austen as a parental figure whose legacy called for continuing negotiation.
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12

Langston, Stacy. "The Threat of Domestic Bioterrorism: Fact or Fiction." Journal of Strategic Security 6, no. 3Suppl (September 2013): 197–206. http://dx.doi.org/10.5038/1944-0472.6.3s.20.

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13

Arac, Jonathan. "Introduction: Desire and Domestic Fiction after Thirty Years." Modern Language Quarterly 80, no. 1 (March 1, 2019): 1–5. http://dx.doi.org/10.1215/00267929-7247204.

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14

Jonathan Smith. "Domestic Hybrids: Ruskin, Victorian Fiction, and Darwin’s Botany." SEL Studies in English Literature 1500-1900 48, no. 4 (2008): 861–70. http://dx.doi.org/10.1353/sel.0.0033.

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15

Jolly, R. "Stevenson's 'sterling domestic fiction', 'The Beach of Falesa'." Review of English Studies 50, no. 200 (November 1, 1999): 463–82. http://dx.doi.org/10.1093/res/50.200.463.

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16

Wood, Robert. "Estranged Domesticity: Science Fiction and the Domestic Melodrama." Journal of American Culture 40, no. 4 (December 2017): 365–81. http://dx.doi.org/10.1111/jacc.12808.

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17

Dalziell, Tanya. "Domestic Fiction in Colonial Australia and New Zealand." Journal of Australian Studies 39, no. 2 (April 3, 2015): 274–76. http://dx.doi.org/10.1080/14443058.2015.1018093.

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18

Xinyi, Ma, and Hua Jing. "Humanity in Science Fiction Movies: A Comparative Analysis of Wandering Earth, The Martian and Interstellar." International Journal of Linguistics, Literature and Translation 4, no. 1 (January 30, 2021): 210–14. http://dx.doi.org/10.32996/ijllt.2021.4.1.20.

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Wandering Earth, released in 2019, is regarded as a phenomenal film that opens the door to Chinese science fiction movies. The Chinese story in the film has aroused the resonance of domestic audiences, but failed to get high marks on foreign film review websites. In contrast, in recent years, science fiction films in European and American countries are still loved by audiences at home and abroad, such as The Martian and Interstellar, which have both commercial and artistic values. It can be seen that the cultural communication of western science fiction movies is more successful than that of China. Taking the above three works as examples, this paper analyzes the doomsday plot, the beauty of returning home and the role shaping of scientific women in science fiction movies from the perspective of the organic combination of “hard-core elements of science fiction” and “soft value in humanity”, in an attempt to help the foreign cultural communication of domestic science fiction movies. As an attempt to facilitate the global development of Chinese science fiction, this paper concludes that certain Chinese traditional cultural spirit needs further spreading, that Chinese science fiction and humanity should be combined in a more natural way, and that in particular, female character need in depth and multi-dimensional interpretation.
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19

Satkunananthan, Anita Harris. "Transnational Hauntings, Hungry Ghosts: Malaysian Chinese Domestic Gothic Fiction." Southeast Asian Review of English 57, no. 1 (July 27, 2020): 37–54. http://dx.doi.org/10.22452/sare.vol57no1.5.

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20

Jaquet, Alison. "THE DISTURBED DOMESTIC: SUPERNATURAL SPACES IN ELLEN WOOD'S FICTION." Women's Writing 15, no. 2 (August 2008): 244–58. http://dx.doi.org/10.1080/09699080802173806.

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21

Simmons, Emily. "Novel Craft: Victorian Domestic Handicraft and Nineteenth-Century Fiction." Women's Writing 20, no. 3 (October 31, 2012): 415–17. http://dx.doi.org/10.1080/09699082.2012.738030.

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22

Zakreski, Patricia. "Novel Craft: Victorian Domestic Handicraft and Nineteenth-Century Fiction." Textual Practice 26, no. 6 (December 2012): 1121–23. http://dx.doi.org/10.1080/0950236x.2012.739302.

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23

Campbell‐Hall, Devon. "Renegotiating the Asian‐British domestic community in recent fiction." Journal of Postcolonial Writing 45, no. 2 (June 2009): 171–79. http://dx.doi.org/10.1080/17449850902819995.

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24

Rosenman, Ellen Bayuk. "Women and Domestic Experience in Victorian Political Fiction (review)." Victorian Studies 45, no. 1 (2002): 189–90. http://dx.doi.org/10.1353/vic.2003.0066.

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25

Hinds, Hilary. "Domestic Disappointments: Feminine Middlebrow Fiction of the Interwar Years." Home Cultures 6, no. 2 (July 2009): 199–211. http://dx.doi.org/10.2752/175174209x416607.

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26

Edwards, Clive. "Novel Craft: Victorian Domestic Handicraft and Nineteenth-Century Fiction." Nineteenth-Century Contexts 35, no. 2 (May 2013): 225–26. http://dx.doi.org/10.1080/08905495.2013.790147.

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27

Armstrong, Nancy. "Disavowal and Domestic Fiction: The Problem of Social Reproduction." differences 29, no. 1 (May 1, 2018): 1–32. http://dx.doi.org/10.1215/10407391-6681626.

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28

James, Kerrie. "Truth or Fiction: Men as Victims of Domestic Violence?" Australian and New Zealand Journal of Family Therapy 17, no. 3 (September 1996): 121–25. http://dx.doi.org/10.1002/j.1467-8438.1996.tb01087.x.

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29

R, Menaka. "Word fiction in Kurunthokai." International Research Journal of Tamil 4, S-13 (November 28, 2022): 306–11. http://dx.doi.org/10.34256/irjt224s1345.

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Sangam literature is a mirror of time that expresses the life of the ancient Tamil people. This is literature dealing with the love genre, which passionately describes the feelings of such a man, as well as external literature dealing with the country, city, king, and society, which relates to man's external life. Love is the reason a man and a woman seek each other out of love between domestic and public morality. The environment plays an important role in the lives of these lovers. When the poets respect the feelings of the natural environment around a man, such as trees, plants, vines, animals, and birds, and produce them in conjunction with the domestic life of the chieftains, he employs a variety of imaginative skills. In that sense, etymology is the technique of explaining the idea that comes to be expressed by governing the idea of a word, which is an effective vocabulary. Words are the beauty of poetry. It is in the way it is set that poetry becomes special. The creation of immortal literature depends on the way the poet manipulates words and the manner in which words govern poetry. Capital is words for the poet. The poet is identified by those words. The poet emerges through words. The evidence for this is scattered in many ways in the Sangam literature. When the creator takes and explains the subtle meaning of the words buried in literature, they give them a taste. The purpose of this study is to examine the aesthetic messages revealed through fiction in the personalities of those words.
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30

Mũrĩithi, Wairimũ. "Fragments Towards an Impossible (Domestic) Genre of the Human in Kenyan Crime Fiction." English in Africa 47, no. 3 (February 10, 2021): 99–119. http://dx.doi.org/10.4314/eia.v47i3.6s.

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Extrajudicial executions and other forms of police violence in Kenya have always been an issue of significant concern in local and international media and human rights organisations. Reflective of this, scholarly interest in crime fiction in Kenya has grown significantly in recent years. However, the gendered implications of criminality – from sex work to errant motherhood to alternative modes of investigation – are still largely overlooked in postcolonial literary fiction and criticism. As part of a larger study on how women writers and characters shape crime fiction in Kenya, this paper critically engages with stories that the criminalised woman knows, tells, forgets, incarnates, discards or hides about the city. It does so by examining the history of urban sex workers in Kenya, the representation of ‘urban women’ in postcolonial Kenyan novels and contemporary mainstream media, and the various (post) colonial laws that criminalise sex work. Through Justina, an elusive character in Yvonne Adhiambo Owuor’s Dust, I consider how (post)colonial legislative frameworks and social life attempt to manage “impossible domesticity” (Saidiya Hartman) inside and against the geo-history of gendered and classed criminality in urban Kenyan spaces. My purpose is to interrogate hegemonic constructions of the citizen – and by extension, of the human – in Kenyan law and public morality Keywords: crime fiction, feminism, sex work, human, homo narrans
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31

Šesnić, Jelena. "“Uncanny Domesticity” in Contemporary American Fiction: The Case of Jhumpa Lahiri." Kultura Popularna 4, no. 54 (May 7, 2018): 94–105. http://dx.doi.org/10.5604/01.3001.0011.6724.

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The argument contends that Jhumpa Lahiri’s fiction – in particular her two novels to date, The Namesake (2003) and The Lowlands (2013) – features a combination of the elements of homeliness and estrangement, domestic and foreign, ultimately, self and the other, that evokes the Freudian concept of the uncanny. Placing it in the context of the diasporic family dynamics, prevalent in Lahiri’s fiction, the uncanny effect may be seen to reside in the unspoken secrets and repressed content passed on from the first to the second generation and disturbing the neat acquisition of the trappings of middle-class domesticity. Drawing on recent models of the “geopolitical novel” (Irr), the “new immigrant fiction” (Koshy) and the “South Asian diasporic novel” (Grewal), the reading engages with the irruption of the unhomely into the domestic space, sustained by immigrant families in the face of local and global disturbances.
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32

Skliar, Iryna, Tetiana Marchenko, Sergii Komarov, Vitalii Matsko, Liudmyla Pavlishena, and Mariana Shapoval. "Psychonarative in Fiction and Documentary and Fiction Literature: the State and Prospects of Research." Postmodern Openings 13, no. 3 (August 8, 2022): 372–92. http://dx.doi.org/10.18662/po/13.3/495.

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The article offers an overview on the most notable features of the implementation of psychonarratives in fiction and documentary and fiction prose about the Anti-terrorist Operation (ATO) and the hybrid warfare in Donbas from the standpoint of the achievements of modern humanities, which gives intelligence a multidisciplinary nature. The degree of academic research on the outlined topics at both the world and the national scientific levels has been clarified. The contribution of the Western scientists to the development of theoretical and methodological principles of parameterization of psychonarratives is outlined. There is a tendency to increase the interest of domestic specialists in narratology, in particular psychonaratology, mainly in empirical terms. At the same time, an objective lack of thorough theoretical developments of the monographic or dissertation level on the outlined issues has been stated in Ukrainian studies. Terminological vagueness and imbalance in the interpretation of the key concepts of psychonarrative studies have been recorded. Methods and means of realization and manifestation of the psychonarratives in the text structures are established. There is a growing interest of domestic researchers in the direct or indirect consideration of narrative, psychonarrative and selfnarrative in fiction prose and documentary and fiction prose about the ATO and the hybrid warfare in the Donbas in the context of discursivity and intermediality. The peculiarities of psychonarrative expression on the formal structure and sence-content levels are indicated. The common and distinctive features of the realization of psychonarratives in fiction and non-fiction literature are briefly noted.
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33

Alexander, Lynn M. "Diminishing Violence: Strategising Character in Industrial Fiction." Victoriographies 7, no. 2 (July 2017): 161–77. http://dx.doi.org/10.3366/vic.2017.0269.

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In Mary Barton and Felix Holt, Gaskell and Eliot distract readers from the violence within their novels in a number of ways: the early definition of character, the use of time to distance events, and the interruption of the narrative with long passages of time concentrating on a parallel domestic story. Their strategy is to defuse the fear of violence even as they present it. Showing violence as a result of suffering undermines the notion of the working-class man as an animalistic brute, an ‘other’ who is not quite human. Shown to be vulnerable to the pain of others, he becomes capable of suffering himself and worthy of sympathy. Accordingly, the structures of the novels are designed to suggest that violence is avoidable but through domestic change rather than political upheaval, by improving the workers' lives rather than by restructuring society.
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34

Hall, Donald E., and Nancy Armstrong. "Desire and Domestic Fiction: A Political History of the Novel." South Atlantic Review 54, no. 3 (September 1989): 97. http://dx.doi.org/10.2307/3200185.

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35

Castillo, Susan, and Carolyn Vellenga Berman. "Creole Crossings: Domestic Fiction and the Reform of Colonial Slavery." Modern Language Review 102, no. 4 (October 1, 2007): 1127. http://dx.doi.org/10.2307/20467558.

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36

Turner, James Grantham, and Nancy Armstrong. "Desire and Domestic Fiction: A Political History of the Novel." Eighteenth-Century Studies 23, no. 1 (1989): 99. http://dx.doi.org/10.2307/2738630.

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37

Marte-Wood, Alden Sajor. "Domestic Shifts: Reproducing Peripheral Realism in Philippine Call-Center Fiction." ariel: A Review of International English Literature 53, no. 4 (October 2022): 1–39. http://dx.doi.org/10.1353/ari.2022.0031.

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38

Raimon, E. A. "Creole Crossings: Domestic Fiction and the Reform of Colonial Slavery." Journal of American History 93, no. 3 (December 1, 2006): 868–69. http://dx.doi.org/10.2307/4486464.

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39

Pennell, Beverley. "Post-Colonial Resignification of Domestic Spatiality in Australian Children's Fiction." Papers: Explorations into Children's Literature 7, no. 2 (July 1, 1997): 38–48. http://dx.doi.org/10.21153/pecl1997vol7no2art1388.

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40

Rabinowitz, Paula. "Domestic Labor: Film Noir, Proletarian Literature, and Black Women's Fiction." MFS Modern Fiction Studies 47, no. 1 (2001): 229–54. http://dx.doi.org/10.1353/mfs.2001.0009.

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41

Binion, R. "Fiction as Social Fantasy: Europe's Domestic Crisis of 1879-1914." Journal of Social History 27, no. 4 (June 1, 1994): 679–99. http://dx.doi.org/10.1353/jsh/27.4.679.

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42

Hughes, R. B. "Empire and Domestic Space in the Fiction of Jamaica Kincaid." Australian Geographical Studies 37, no. 1 (March 1999): 11–23. http://dx.doi.org/10.1111/1467-8470.00062.

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43

Harrison, Olivia. "Creole Crossings: Domestic Fiction and the Reform of Colonial Slavery." Romanic Review 98, no. 4 (November 1, 2007): 539–41. http://dx.doi.org/10.1215/26885220-98.4.539.

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44

Britton, C. "Creole Crossings: Domestic Fiction and The Reform of Colonial Slavery." French Studies 61, no. 3 (July 1, 2007): 379. http://dx.doi.org/10.1093/fs/knm091.

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45

Marcus, Sharon. "Review: Novel Craft: Victorian Domestic Handicraft and Nineteenth-Century Fiction." Nineteenth-Century Literature 68, no. 1 (June 1, 2013): 116–19. http://dx.doi.org/10.1525/ncl.2013.68.1.116.

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46

Scobie, Ruth. "Breakfast with “Her inky Demons”: Celebrity, Slavery, and the Heroine in Late Eighteenth-Century British Fiction." Eighteenth-Century Fiction 34, no. 4 (June 1, 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 herself in a morning newspaper. This essay introduces the term “dyspathy” for the mechanism by which these fictions present the heroine as always threatened by, but inevitably rescued from, a newspaper sphere in which older discourses of blackness, and metropolitan unease at the commodification of humans, were tightly but implicitly associated. Emerging white supremacist ideas of race are shown to be fundamental to the construction of feminine domestic subjectivity in these fictions.
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47

Wagner, Tamara S. "‘That Was the Blunder’: Moving House in Gaskell’s North and South." Victoriographies 12, no. 2 (July 2022): 134–52. http://dx.doi.org/10.3366/vic.2022.0454.

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Elizabeth Gaskell’s North and South (1854–5) contains a structurally and thematically important narrative about moving house that prompts a much-needed recalibration of how we can read representations of domestic labour in Victorian fiction. Gaskell explores how homemaking is changing and perhaps needs to change in a modern, industrial world and how this can be expressed by dramatising the practicalities of house-moving. A close look at the representation of domestic labour – and how it is brought to a crisis through relocation – reveals a hitherto neglected aspect of the novel, while drawing attention to the representation of hands-on housework in Victorian literature. In plotting the practical tasks of house-moving in unprecedented detail, Gaskell renders the general speeding up of daily life concrete and relevant for her target readership. While interpolating practical advice, she also tests out how everyday, domestic challenges could, or should, be represented in fiction. An approach that takes the focus on housework in North and South seriously also resolves the supposed problem that domestic concerns pose in an industrial novel.
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48

Timofeeva, Yulija V., and Anatoly M. Panchenko. "Reading Fiction in the Tomsk City Public Library in the Late 19th — Early 20th Centuries." Bibliotekovedenie [Russian Journal of Library Science] 71, no. 5 (December 27, 2022): 489–502. http://dx.doi.org/10.25281/0869-608x-2022-71-5-489-502.

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Abstract:
The relevance of reading is determined by its great role in the life of individual and society, due to its multifunctionality and priority position among other means of education and upbringing. Therefore, its study, including in historical retrospective, is an important area of the modern scientific research. Due to the lack of comprehensive studies of library reading in pre-revolutionary Siberia, this article for the first time examines the fiction books lending in the Tomsk City Public Library in the late 19th — early 20th centuries. The purpose of the article is to analyse the demand for fiction by users of the Tomsk City Public Library during the specified period. The tasks are to determine the share of fiction in the total amount of book lending; to make ratings of the most popular domestic and foreign authors of fiction works.The authors use methods of comparative analysis, statistical and source studies. Data were collected from ten reports of the Tomsk City Public Library, as well as from its catalogue, that allowed us to recognize the source base of the article as representative. For the first time, the relative and average number of fiction lending was calculated. The obtained results demonstrate that in the late 19th — early 20th centuries the fiction book lending compounds at least two-thirds of all books lending in the Tomsk City Public Library.The number of fiction lending exceeded the number of lending from other departments by dozens of times. The authors compiled and presented joint and separate ratings of popularity of Russian and foreign authors among users of the library, among whom there were almost only prose writers. It is proven that the works of domestic writers were more in demand among library users, and the percentage of female authors in the top 10 and top 30 was minimal. This study expanded the idea of reading fiction in pre-revolutionary Tomsk, its place in the reading circle and popular authors.
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49

Gadzhiakhmedova, M. H. "Evolution of the Concept “Style of Fiction” in Domestic Literature Study." Herald of Dagestan State University 36, no. 3 (August 20, 2021): 54–61. http://dx.doi.org/10.21779/2542-0313-2021-36-3-54-61.

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50

Saudo-Welby, Nathalie. "Talia Schaffer, Novel Craft : Victorian Domestic Handicraft and Nineteenth-Century Fiction." Cahiers victoriens et édouardiens, no. 76 Automne (October 20, 2012): 195–98. http://dx.doi.org/10.4000/cve.572.

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