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Relevant bibliographies by topics / English fiction English literature Suspense in literature. Realism in literature

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Academic literature on the topic 'English fiction English literature Suspense in literature. Realism in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "English fiction English literature Suspense in literature. Realism in literature"

1

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

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We propose a lexico-grammatical approach to speech in fiction based on the centrality of ‘fictional speech-bundles’ as the key element of fictional talk. To identify fictional speech-bundles, we use three corpora of 19th-century fiction that are available through the corpus stylistic web application CLiC (Corpus Linguistics in Context). We focus on the ‘quotes’ subsets of the corpora, i.e. text within quotation marks, which is mostly equivalent to direct speech. These quotes subsets are compared across the fiction corpora and with the spoken component of the British National Corpus 1994. The comparisons illustrate how fictional speech-bundles can be described on a continuum from lexical bundles in real spoken language to repeated sequences of words that are specific to individual fictional characters. Typical functions of fictional speech-bundles are the description of interactions and interpersonal relationships of fictional characters. While our approach crucially depends on an innovative corpus linguistic methodology, it also draws on theoretical insights into spoken grammar and characterisation in fiction in order to question traditional notions of realism and authenticity in fictional speech.

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Eichel, Roxana. "Genre Transgression in Contemporary Romanian Crime Fiction." Acta Universitatis Sapientiae, Philologica 11, no. 1 (November 1, 2019): 21–34. http://dx.doi.org/10.2478/ausp-2019-0002.

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Abstract Crime fiction is currently evolving towards a literary genre which encompasses the intertwining of several textual practices, rhetorical modes, cultural identities, and topoi. Multiculturalism and the relation to alterity are gradually conquering the realm of detective fiction, thus rendering the crime enigma or suspense only secondary in comparison to other intellectual “enjeux” of the text. Transgressing the national horizon, contemporary detective fiction in Romanian literature can be thus considered as “world literature” (Nilsson–Damrosch–D’haen 2017) not only because it does not engage representations of Romanian spaces alone but also due to its translatability, its transnational range of cultural values and practices. This article aims to discuss several categories of examples for this fresh diversity that Romanian crime fiction has encountered. Novels written recently by authors such as Petru Berteanu, Caius Dobrescu, Mihaela Apetrei, Alex Leo Şerban, or Eugen Ovidiu Chirovici employ variations such as either alternative narrators or cosmopolitan characters, or contribute to anthologies, writing directly in English in order to gain access to a more complex audience. The paper sets out to analyse the literary or rhetorical devices at work in these transgressional phenomena as well as their effects on contemporary Romanian crime narratives and their possible correlations to transnational phenomena.1

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Scott, Jeremy. "Midlands cadences: Narrative voices in the work of Alan Sillitoe." Language and Literature: International Journal of Stylistics 25, no. 4 (November 2016): 312–27. http://dx.doi.org/10.1177/0963947016645001.

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This paper will examine excerpts from a range of Alan Sillitoe’s prose fiction, Saturday Night and Sunday Morning (1958) and short stories from the collection The Loneliness of the Long-Distance Runner (1958), via a comparative exploration of the texts’ representations of Midlands English demotic. The narrative discourse traces a link between the experience of the Midlands English working classes represented and the demotic language they speak; the narrators have voices redolent of registers rooted in 1950s English working-class life. The texts also contain different methods of representing their protagonists’ consciousness through the demotic idiolects that they speak. Sillitoe’s is a novelistic discourse which refuses to normalise itself to accord with the conventions of classic realism, and as such prefigures the ambitions of many contemporary writers who incline their narrative voices towards the oral – asserting the right of a character’s dialect/idiolect to be the principal register of the narrative. The paper will demonstrate this thesis through the ideas of Bakhtin, and through an analytical taxonomy derived from literary stylistics. It aims to propose a model which can be used to analyse and explore any fiction which has been labelled as ‘working-class’, and asserts that such an approach leads to a more principled characterisation of working-class fiction (based on its use of language) than current literary-critical discussions based simply on cultural/social context and biography.

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Morey, Peter. "“Halal fiction” and the limits of postsecularism: Criticism, critique, and the Muslim in Leila Aboulela’s Minaret." Journal of Commonwealth Literature 53, no. 2 (February 13, 2017): 301–15. http://dx.doi.org/10.1177/0021989416689295.

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This article examines Leila Aboulela’s 2005 novel Minaret, considering the extent to which it can be seen as an example of a postsecular text. The work has been praised by some as one of the most cogent attempts to communicate a life of Islamic faith in the English language novel form. Others have expressed concern about what they perceive as its apparent endorsement of submissiveness and a secondary status for women, along with its silence on some of the more thorny political issues facing Islam in the modern world. I argue that both these readings are shaped by the current “market” for Muslim novels, which places on such texts the onus of being “authentically representative”. Moreover, while apparently underwriting claims to authenticity, Aboulela’s technique of unvarnished realism requires of the reader the kind of suspension of disbelief in the metaphysical that appears to run contrary to the secular trajectory of the English literary novel in the last 300 years. I take issue with binarist versions of the postsecular thesis that equate the post-Enlightenment West with relentless desacralization and the “Islamic world” with a persistent collectivist and spiritual outlook, and suggest that we pay more attention to fundamental narrative elements which recur across the supposed West/East divide. Historically simplistic understandings of the secularization of culture — followed in the last few years by a postsecular turn — misrepresent the actual evolution of the novel. The “religious” persists, albeit transmuted into symbolic schema and themes of material or emotional redemption. I end by arguing for the renewed relevance of the kind of analysis of literary “archetypes” suggested by Northrop Frye, albeit disentangled from its specifically Christian resonances and infused by more attention to cultural cross-pollination. It is this type of approach that seems more accurately to account for the peculiarities of Aboulela’s fiction.

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Pollack, Sarah. "After Bolaño: Rethinking the Politics of Latin American Literature in Translation." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 660–67. http://dx.doi.org/10.1632/pmla.2013.128.3.660.

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On 25 november 2012, when the united states novelist jonathan franzen opened mexico's feria internacional del libro de guadalajara, he spoke of his experience of reading Latin American fiction. Asked about the region's representation through literature in English translation, Franzen stated that, magic realism having now “run its course,” Roberto Bolaño had become the “new face of Latin America.” Franzen's words echo what has almost become a commonplace in the United States over the last five years: naming Bolaño “the Gabriel García Márquez of our time” (Moore), after the publication by Farrar, Straus and Giroux of the translations of Los detectives salvajes (1998; The Savage Detectives [2007]) and his posthumous 2666 (2004; 2666 [2008]). Bolaño is also considered by many writers, critics, and readers in Latin America to be “reigning as the new paradigm” (Volpi, sec. 3). If in the United States market, through the synecdoche of literary commodification, García Márquez's revolutionary Cien años de soledad (1967; One Hundred Years of Solitude [1970]) and, specifically, the magic realism of his fictional Macondo came to stand in for the diverse literary projects of Latin American authors in the 1960s, one must ask if a similar operation is taking place with Bolaño. While the number of translated Latin American literary works continues to be limited and most “go virtually unnoticed” (“Translation Database”), the significance of Bolaño's place at the center of a new canon in translation is magnified and necessitates inquiring into how his critical success in the United States market may be shifting the politics of translation of other texts. As a critic announced in 2011, “a second Latin American literature Boom is happening … [that] probably owes its existence to the explosion of the late-Chilean author Roberto Bolaño, whose popularity re-opened the door to North American publishing houses for Latin American authors” (Rosenthal).

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Mossman, Mark. "REPRESENTATIONS OF THE ABNORMAL BODY INTHE MOONSTONE." Victorian Literature and Culture 37, no. 2 (September 2009): 483–500. http://dx.doi.org/10.1017/s1060150309090305.

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Wilkie Collins'sThe Moonstoneis anovel constructed through the repeated representation of the abnormal body. ReadingThe Moonstonein critical terms has traditionally required a primary engagement with form. The work has been defined as a foundational narrative in the genre of crime and detection and at the same time read as a narrative located within the context of the immensely popular group of sensation novels that dominate the Victorian literary marketplace through the middle and the second half of the nineteenth century. T. S. Eliot is one of the first readers to define one end of this paradigm, reading the novel as an original text in the genre of detective fiction, and famously saying thatThe Moonstoneis “the first, the longest and the best of modern English detective novels” (xii). On the other end of the paradigm, the novel's formal workings are again often cited as a larger example, and even triumph, of Victorian sensation fiction – melodramatic narratives built, according to Winifred Hughes and the more recent Derridean readings by Patrick Brantlinger and others, around a discursive cross-fertilization of romanticism, gothicism, and realism.

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Bolin, J. S. "Thresholds of the Novel: Realism, the Inhuman, the Ethical in J. M. Coetzee's Foe." Novel 51, no. 3 (November 1, 2018): 438–60. http://dx.doi.org/10.1215/00295132-7086481.

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Abstract The end of a novel is the site of particular epistemic privilege. If the form is governed by a biographical master plot, the “meaning of the life,” as Benjamin has it, is “revealed only in [the] death” that is the plot's narrative limit—and beyond this limit “the novelist . . . cannot hope to take the smallest step.” Such a limit is seemingly crossed in one of the most difficult and quite possibly the strangest of passages in J. M. Coetzee's fiction: the ending of Foe. This book's self-conscious re-presentation of the origins of the English novel (and of Defoe's inauguration of the genre's biographical pattern) culminates in a surreal encounter that Coetzee's readers have claimed limns a restorative justice or a utopic futurity. But these interpretations ignore the text's insistence on a silence that overwhelms language, the specter of mass death, and a summative darkness that attend upon this place. What might it mean, in fact, for Foe's ending to cross the Novel's thresholds only to stage a total “blackout” of the realist novel's meaning-producing mechanism and the story of individual experience the genre has valorized? This article draws on Coetzee's unpublished notebooks and the Foe ur-text to argue that the novel proposes an impossible crossing, whereby key strategies we have used to value the genre—its capacity to summon countervoices or to invoke an ethical response to alterity—are shadowed by a radical question about the limits of our readerly attention.

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Zelezinskaya, N. S. "Dialogues with teenagers. Jay Asher." Voprosy literatury, no. 5 (December 19, 2018): 126–52. http://dx.doi.org/10.31425/0042-8795-2018-5-126-152.

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The article examines the prose of the US writer J. Asher, a popular author of young adult novels, who does not hesitate to bring up issues such as teenage suicides, peer relationships, social networks, etc. Considering Asher’s works in the context of contemporary young adult literature in the English language, N. Zelezinskaya singles out their defining features, such as plasticity of material, realism of descriptions and motivations, the use of multiple interwoven plotlines, experimentations with the form, elements of science fiction (e. g. characters travelling to the future), etc. Along with treatment of highly relevant and even poignant subjects, those are the reasons why Asher remains popular with teenage readers and keeps meeting their expectations with his new work.

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Kinkley, Jeffrey C. "The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]." China Quarterly 182 (June 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.

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This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.

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10

Fishman, Ethan. "The Moral of the Story: Literature and Public Ethics. Edited by Henry T. Edmondson III. Lanham, MD: Lexington Books, 2000. 272p. $75.00 cloth, $24.95 paper. Shakespeare's Political Realism: The English History Plays. By Tim Spiekerman. Albany: State University of New York Press, 2001. 208p. $16.95 paper." American Political Science Review 96, no. 1 (March 2002): 177–78. http://dx.doi.org/10.1017/s0003055402274316.

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As their scholarship indicates, Henry Edmondson and Tim Spiekerman share two basic assumptions: There exist certain enduring issues of politics, such as the nature of social justice and the legitimacy of power, and authors of fiction, drama, and poetry who write with knowledge and sensitivity about the human condition often will have something significant to say about them.

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Dissertations / Theses on the topic "English fiction English literature Suspense in literature. Realism in literature"

1

Murfin, Audrey Dean. "Stories without end a reexamination of Victorian suspense /." Diss., Online access via UMI:, 2008.

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Iwata, Yumiko. "Creating suspense and surprise in short literary fiction : a stylistic and narratological approach." Thesis, University of Birmingham, 2009. http://etheses.bham.ac.uk//id/eprint/284/.

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Suspense and surprise, as common and crucial elements of interest realised in literary fiction, are analysed closely in a sample of short stories, so as to develop a detailed explanation of how these forms of interest are created in literary texts, and to propose models for them. Creating suspense involves more conditions, necessary and optional, and more complication than surprise: the several optional conditions mainly serve to intensify the feeling of suspense the reader experiences. Surprise requires two necessary and sufficient conditions, with only a couple of optional conditions to maintain or ensure coherence in the text. The differences are considered attributable to a more fundamental difference between suspense and surprise as emotions. Suspense can be regarded as a progressive emotion, whereas surprise is a perfective emotion. As such, suspense as an interest is considered as a process-oriented interest, while surprise is an effect-oriented one. Suspense is mostly experienced while reading and has the reader involved with the story. Surprise drives the reader to reassess the story in the new light it throws on events and to look for some further message; this is often a main aim of the literary fiction which ends in surprise.

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Harvey, Alison Dean. "Irish realism women, the novel, and national politics,1870-1922 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1417800181&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Christianson, Frank Q. "Realism and the cult of altruism : philanthropic fiction in nineteeth-century America and Britain /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174588.

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5

Hill, Colin. "The modern-realist movement in English-Canadian fiction, 1919-1950." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19471.

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This dissertation offers the first comprehensive examination of realism in English-Canadian fiction of the early twentieth century. It argues for the existence of a "modern-realist" movement that is Canada's unique and unacknowledged contribution to the collection of international movements that makes up literary modernism. This argument involves a detailed analysis of the aesthetics, aims, preoccupations, and techniques of the modern realists, a reexamination of the oeuvres of the movement's most prominent writers, and a critical reevaluation of the "modernity" of Canada's three most significant realist sub-genres—prairie realism, urban realism, and social realism. This study also provides a literary-historical overview of the movement as a whole, which begins with the inauguration of the Canadian Bookman in 1919, and concludes with the emergence of a contemporary Canadian fiction in the 1950s. The conclusions arrived at in this work are based upon a reading of dozens of novels and works of short fiction, many of them unpublished and/or critically neglected and forgotten. The findings in this study are also based on original research into archival materials from seven institutions across Canada.

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6

Butt, Maggie. "What if- : english fiction and the constraints of realism : a novel, 'Living in the past', and a critical commentary." Thesis, Cardiff University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249568.

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Holgate, Ben. "Porous borders : the amorphous nature of magical realist fiction in Asia and Australasia." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:32abdfeb-baa7-40ee-b721-89b66bc74043.

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This thesis aims to broaden the scope of magical realism by examining contemporary fiction in Asia and Australasia, regions which have been largely neglected in critical discussion of the narrative mode. My research seeks to modify and expand our collective conception of magical realism through key texts that challenge not only how we read the narrative mode, but also our expectations of it. My analysis involves a dual intervention in the fields of postcolonial studies and world literature. I supplement existing scholarship of magical realism with new paradigms of critical thought, such as epistemology, mythopoeia, ecocriticism, intertextuality and discourse on human rights. Each of the key authors - Indigenous Australian Alexis Wright, New Zealand Maoris Keri Hulme and Witi Ihimaera, Indian-born cosmopolitans Amitav Ghosh and Salman Rushdie, and Chinese Nobel laureate Mo Yan - subjects the narrative mode to differing intellectual, socio-cultural and historical frameworks, and in the process reinvents magical realism to serve their own artistic purposes. The authors' key texts demonstrate the need to recalibrate theory on magical realism in contexts such as Alexis Wright's depiction of ongoing colonisation of Australia's first inhabitants in a supposedly postcolonial country, and Mo Yan's critique of post-communist China. I argue that magical realism has porous borders, not only geographically and culturally, but also in the sense that the narrative mode frequently spills over into other, different generic kinds such that the distinctions between them are often blurred. In addition, magical realism's constant state of transformation makes it particularly difficult to define. Therefore, I propose a minimalist definition of the narrative mode and a flexible approach. However, underlying cultural elements and individual artistic expression in a text may sometimes limit magical realism's utility as a tool for literary analysis. Finally, I explore the notion of a genealogy of magical realism based on polygenesis, emerging in different cultures at different times.

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Gasiorek, Andrew B. P. (Andrew Boguslaw Peter). "A crisis of metanarratives : realism and innovation in the contemporary English novel." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74280.

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Critics of the English novel, arguing that it is underpinned by liberalism, frequently claim that the crisis of realism disclosed in the work of many contemporary writers derives from a concomitant crisis of liberalism. Liberalism's dissolution is thus seen to prefigure the death of the novel. This dissertation contends that realism cannot be equated with liberalism and that the contemporary crisis of representation signals a broader crisis of metanarratives.
Focussing on selected novels of five post-war English novelists--B. S. Johnson, Doris Lessing, John Berger, Iris Murdoch, and Angus Wilson--I argue that their different responses to the crisis of representation show that it is not a crisis of liberalism alone. Johnson rejects realism for epistemological reasons; Lessing and Berger question it on political grounds; Murdoch and Wilson combine its strengths with a self-reflexive awareness of its weaknesses. I suggest that Murdoch's and Wilson's novels, which argue that fiction does not reflect reality but endows it with meaning and which are at once representational and metafictional, offer the most fruitful ways of acknowledging the crisis of representation while refusing to be paralyzed by it.

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Molloy, Carla Jane. "The art of popular fiction : gender, authorship and aesthetics in the writing of Ouida : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2008. http://hdl.handle.net/10092/1956.

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This thesis examines the popular Victorian novelist Ouida (Maria Louisa Ramé) in the context of women’s authorship in the second half of the nineteenth century. The first of its two intentions is to recuperate some of the historical and literary significance of this critically neglected writer by considering on her own terms her desire to be recognised as a serious artist. More broadly, it begins to fill in the gap that exists in scholarship on women’s authorship as it pertains to those writers who come between George Eliot, the last of the ‘great’ mid-Victorian women novelists, and the New Woman novelists of the fin de siècle. Four of Ouida’s novels have been chosen for critical analysis, each of which was written at an important moment in the history of the nineteenth century novel. Her early novel Strathmore (1865) is shaped by the rebelliousness towards gendered models of authorship characteristic of women writers who began their careers in the 1860s. In this novel, Ouida undermines the binary oppositions of gender that were in large part constructed and maintained by the domestic novel and which controlled the representation and reception of women’s authorship in the mid-nineteenth century. Tricotrin (1869) was written at the end of the sensation fiction craze, a phenomenon that resulted in the incipient splitting of the high art novel from the popular novel. In Tricotrin, Ouida responds to the gendered ideology of occupational professionalism that was being deployed to distinguish between masculinised serious and feminised popular fiction, an ideology that rendered her particularly vulnerable as a popular writer. Ouida’s autobiographical novel Friendship (1878) is also written at an critical period in the novel’s ascent to high art. Registering the way in which the morally weighted realism favoured by novelists and critics at the mid-century was being overtaken by a desire for more formally oriented, serious fiction, Ouida takes the opportunity both to defend her novels against the realist critique of her fiction and to attempt to shape the new literary aesthetic in a way that positively incorporated femininity and the feminine. Finally, Princess Napraxine (1884) is arguably the first British novel seriously to incorporate the imagery and theories of aestheticism. In this novel, Ouida resists male aesthetes’ exploitative attempts to obscure their relationship to the developing consumer culture while confidently finding a place for the woman artist within British aestheticism and signalling a new acceptance of her own involvement in the marketplace. Together, these novels track Ouida’s self-conscious response to a changing literary marketplace that consistently marginalised women writers at the same time that they enable us to begin to uncover the complexity of female authorship in the second half of the nineteenth century.

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Rosso, Ana. "Female sexuality in French naturalism and realism, and British new woman fiction, 1850-1900." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/14126.

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The Victorian need to compartmentalise and define women’s sexuality in terms of opposing binaries was paralleled by the vague idea that the period’s French and British literatures were at odds with one another. Elucidating the deep connections between, and common concerns shared by, French Naturalist and Realist and British New Woman authors, this thesis shatters the dichotomies that attempted to structure and define women’s sexuality in the mid- to late- nineteenth century. The thesis focusses on novels and short stories by French authors Émile Zola and Guy de Maupassant, and New Woman authors Sarah Grand, Ménie Muriel Dowie and Vernon Lee. In a time during which the feminist movement was gaining momentum, and female sexuality was placed at the heart of a range of discourses, and scrutinised from a number of different angles – not only in literature, but in medicine, psychology, sexology, criminology – the consideration of the female sexual self and her subjectivity brings together the work of authors whose oeuvres have been largely considered as antithetical. Previous work has indeed shown the centrality of female sexuality to both literatures, yet never compared them. This thesis rediscovers the significance of both literatures’ investment in a discourse revolving around female sexuality by contrasting the French male authors with the British female writers, and uncovering unexpected parallels in their claims about the contemporary situation of women. Simone de Beauvoir’s Le Deuxième Sexe’s feminist philosophy frames the thesis’s comparative analysis, questioning and re-examining these authors’ representations of female sexuality. The ideas of sensuality and rationality, motherhood, reproduction, marriage, and prostitution thus become recurring concerns throughout it. The thesis’s first chapter considers the female as sexual subject and/or object of the male gaze, in a range of New Woman and French literature. The second and third chapters are organised around the themes of marriage and prostitution, and the final chapter considers issues of female sexuality within the fantastic short story.

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Books on the topic "English fiction English literature Suspense in literature. Realism in literature"

1

The serious pleasures of suspense: Victorian realism and narrative doubt. Charlottesville: University of Virginia Press, 2003.

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Rothfield, Lawrence. Vital signs: Medical realism in nineteenth-century fiction. Princeton, N.J: Princeton University Press, 1992.

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Vital signs: Medical realism in nineteenth-century fiction. Princeton, N.J: Princeton University Press, 1995.

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Novak, Daniel Akiva. Realism, photography, and nineteenth-century fiction. New York: Cambridge University Press, 2008.

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Ga̧siorek, Andrzej. Post-war British fiction: Realism and after. London: E. Arnold, 1995.

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Menke, Richard. Telegraphic realism: Victorian fiction and other information systems. Stanford, Calif: Stanford University Press, 2008.

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Partisan politics, narrative realism, and the rise of the British novel. New York: Palgrave Macmillan, 2006.

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Magical Realism in West African Fiction. London: Taylor & Francis Group Plc, 2004.

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Greiner, Rae. Sympathetic realism in nineteenth-century British fiction. Baltimore: Johns Hopkins University Press, 2012.

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Fact into fiction: Documentary realism in the contemporary novel. London: Macmillan, 1991.

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Book chapters on the topic "English fiction English literature Suspense in literature. Realism in literature"

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"Realism and representation: fiction, fact, metafiction." In Studying English Literature and Language, 266–68. Routledge, 2013. http://dx.doi.org/10.4324/9780203718179-42.

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"8. Modern Realism and Canadian Literature." In Modern Realism in English-Canadian Fiction. Toronto: University of Toronto Press, 2012. http://dx.doi.org/10.3138/9781442685772-009.

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