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Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'English fiction History and criticism Theory.'
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Journal articles on the topic "English fiction History and criticism Theory":
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Huisman, Rosemary. "The discipline of English Literature from the perspective of SFL register." Language, Context and Text 1, no. 1 (February 4, 2019): 102–20. http://dx.doi.org/10.1075/langct.00005.hui.
AbstractThe paper first traces the history and elaboration of the tertiary discipline English Literature through the 19th and 20th centuries to the present day, with special focus on the axiology, the values, given to the discipline and with a brief account of literary criticism and literary theory. It then refers to the work on registerial cartography in systemic functional linguistics (SFL) and explores the register of the contemporary discipline in first-order field of activity and second-order field of experience, with examples from the language of webpages and exam papers of Australian universities. It continues with a brief overview of the author’s own work using SFL in the study ofthe poeticandthe narrativein English poetry and prose fiction of different historical periods and concludes with a caveat on the central disciplinary process, that of interpretation.
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ROLLS, ALISTAIR. "Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages." Australian Journal of French Studies 58, no. 1 (April 1, 2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.
Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.
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Forsdick, C. "Postcolonial Criticism: History, Theory, and the Work of Fiction." Comparative Literature 58, no. 3 (January 1, 2006): 263–65. http://dx.doi.org/10.1215/-58-3-263.
Syrotinski, Michael. "Postcolonial Criticism: History, Theory and the Work of Fiction." French Studies 60, no. 3 (July 1, 2006): 418–19. http://dx.doi.org/10.1093/fs/knl067.
Zimra, Clarisse. "Postcolonial Criticism: History, Theory and the Work of Fiction (review)." MFS Modern Fiction Studies 50, no. 3 (2004): 798–99. http://dx.doi.org/10.1353/mfs.2004.0093.
Roberts, R. "American Science Fiction and Contemporary Criticism." American Literary History 22, no. 1 (November 20, 2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.
Halmi, Nicholas. "The Nostalgic Imagination: History in English Criticism." Common Knowledge 27, no. 2 (May 1, 2021): 318–20. http://dx.doi.org/10.1215/0961754x-8906285.
Fargnoli, Joseph R., and Rene Wellek. "A History of Modern Criticism: 1750-1950. Vol. 5: English Criticism, 1900-1950." Journal of the Midwest Modern Language Association 20, no. 1 (1987): 118. http://dx.doi.org/10.2307/1315004.
Heale, Elizabeth, and James L. Harner. "English Renaissance Prose Fiction, 1550-1600: An Annotated Bibliography of Criticism (1976-1983)." Modern Language Review 83, no. 3 (July 1988): 664. http://dx.doi.org/10.2307/3731304.
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.
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.
Dissertations / Theses on the topic "English fiction History and criticism Theory":
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Trainin, Sarah Jean. "The rise of mass culture theory and its effect on golden age detective fiction." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2255.
Sojka, Eugenia. "Search procedures, carnivalization in language- and theory-focused texts of four Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25775.pdf.
Mogoboya, Mphoto Johannes. "African indentity in Es'kia Mphahlele's autobiographical and fictional novels : a literary investigation." Thesis, University of Limpopo, Turfloop Campus, 2011. http://hdl.handle.net/10386/972.
Thesis (Ph.D. (English studies)) -- University of Limpopo, 2011 This thesis explores the theme of identity in Es’kia Mpha-hele’s fictional and autobiographical novels, with special attention given to the quest for the lost identity of Afri-can cultural and philosophical integrity. In other words, the revival of the core African experience and the efforts to preserve and promote things African. Mphahlele wrote most of his novels during the time when Africa was under colonial influence. His native land was under the abhorred apartheid system which sought to relegate the African expe-rience to the background. In this sense, he was the voice of the people, reminding them of their past and giving them direction for the future.
Chapter One of the thesis outlines the background to the study, defines concepts and gives a survey of African lit-erary identity. It also probes salient aspects which have influenced Mphahlele’s perspective on African identity dur-ing his early years as a writer and socio-cultural activ-ist. Approaches and methodology employed to examine Mphahlele’s writings are also outlined.
Chapter Two synthesises the theoretical underpinnings of the study. The thesis adopts Afrocentricity as the basis of analysis, looking at aspects such as the African worldview, humanism (ubuntu) and collectivism. Views by different Af-rican literary critics on what African literature should entail in its distinctive definition are also discussed. Two main literary traditions, orality and the contemporary tradition, which give African literature its unique charac-ter as well as its phases are identified and brought to the fore.Identity in African literature is discussed in detail in Chapters three and four where Mphahlele’s literary works are closely examined. Chapter Five concludes the study and recommends that in order for Africa to forge ahead in her attempt to reclaim and promote her cultural identity, a new perspective must be cultivated and Mphahlele proposes hy-bridity, which is a harmonious co-existence of two or more cultural beliefs without one oppressing the other. The University of Limpopo
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Mackinnon, Jeremy E. "Speaking the unspeakable : war trauma in six contemporary novels." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm15821.pdf.
Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.
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Weiss, Katherine. "The Plays of Samuel Beckett." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.
Beckett remains one of the most important writers of the twentieth century whose radical experimentations in form and content won him the Nobel Prize for Literature in 1969. This Critical Companion encompasses his plays for the stage, radio and television, and will be indispensable to students of his work.
Challenging and at times perplexing, Beckett's work is represented on almost every literature, theatre and Irish studies curriculum in universities in North America, Europe and Australia. Katherine Weiss' admirably clear study of his work provides the perfect companion, illuminating each play and Beckett's vision, and investigating his experiments with the body, voice and technology. It includes in-depth studies of the major works Waiting for Godot, Endgame and Krapp's Last Tape, and as with other volumes in Methuen Drama's Critical Companions series it features too a series of essays by other scholars and practitioners offering different critical perspectives on Beckett in performance that will inform students' own critical thinking. Together with a series of resources including a chronology and a list of further reading, this is ideal for all students and readers of Beckett's work. https://dc.etsu.edu/etsu_books/1072/thumbnail.jpg
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Mathews, Peter David 1975. "Strategies of realism : realist fiction and postmodern theory." Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8656.
Oppelt, Riaan. "The valley trilogy: a reading of C. Loius Leipoldt's English-language fiction circa 1925-1935." Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_7246_1257247882.
C. Louis Leipoldt is known as a canonical figure in the history of Afrikaans poetry, He is customarily included in the pantheon of writers such as C.J. Langenhoven who not only established Afrikaans as a standardized national language in the early twentieth century, but also contributed to the idea of the Afrikaner Volk as a distinct nation within South Africa. The recent publication of Leipoldt's Valley Trilogy, three novels written in English in the 1930's now reveals Leipoldt in a very different light. Today, in a time of national transformation, Leipoldt's liberal ideas deserve to be given the broader scope he had intended for them.
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Blatchford, Mathew. "The old New Wave : a study of the 'New Wave' in British science fiction during the 1960s and early 1970s, with special reference to the works of Brian W. Aldiss, J.G. Ballard, Harry Harrison and Michael Moorcock." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22150.
Bibliography: pages 174-184. This thesis examines the 'New Wave' in British science fiction in the 1960s and early 1970s. The use of the terms 'science fiction' and 'New Wave' in the thesis are defined through a use of elements of the ideological theories of Louis Althusser. The New Wave is seen as a change in the ideological framework of the science fiction establishment. For oonvenience, the progress of the New Wave is divided into three stages, each covered by a chapter. Works by the four most prominent writers in the movement are discussed.
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Chan, Wing-chun Julia, and 陳永晉. "Towards an aesthetics of cliché: cultural recycling and contemporary fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42182311.
Masters, Benjamin Scott. "The ethics of excess : style and morality in British fiction since the 1960s." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648740.
Book chapters on the topic "English fiction History and criticism Theory":
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Santoro, Emilio. "The Rule of Law and the “Liberties of the English”: The Interpretation of Albert Venn Dicey." In The Rule of Law History, Theory and Criticism, 153–99. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5745-8_3.
Haltrin-Khalturina, Elena V. "From the English Renaissance Literary History: Sherry, Puttenham, Spenser, and Shakespeare on Fictions." In “The History of Literature”: Non-scientific sources of a scientific genre, 132–58. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-132-158.
A survey of academic histories of literature published in the 19th and 20th centuries in different countries reveals that, while thoroughly covering the English Renaissance poetics, the scholarship allows for a variety of views on Tudor literary theory and on what constitutes literary canon. Considering this variety of views, we also have to be aware of two different perspectives on the large body of literary art of the 16th-century: the present-day and the Elizabethan. Drawing on a substantial number of sources, we offer a general account of influential theoretical (poetological and rhetorical) works known in the 16th-century Great Britain, including those written in English. Also of note are educational treatises, “mirror” literature, and metaliterary comments withing literary works. Authors of those treatises used to interpret fiction as something feigned, counterfeit — an attitude informing ludic passages in Spenser and Shakespeare. Whereas the techniques of fashioning fictions by way of employing figures of feigned/counterfeit representation were addressed in detail by such critics as R. Sherry and G. Puttenham, the poets — Spenser and Shakespeare — seemed to be testing these techniques in practice. Our study pays particular attention to methods used by Spenser and Shakespeare when creating simulated, fictional reality.
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Rieder, John. "On defining sf, or not: Genre theory, sf, and history." In Science Fiction Criticism. Bloomsbury Academic, 2017. http://dx.doi.org/10.5040/9781474248655.0013.
Eve, Martin Paul. "6. Labour and Theory." In Literature Against Criticism: University English and Contemporary Fiction in Conflict, 135–56. Open Book Publishers, 2016. http://dx.doi.org/10.11647/obp.0102.06.
Atkinson, Juliette. "Cultural competition." In French Novels and the Victorians. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266090.003.0006.
Nineteenth-century Anglo-French relations were profoundly competitive, as the recurrent Great Exhibitions vividly illustrated. For much of the period, the French clung to their widely perceived cultural (and in particular literary) supremacy. This affected the reception of French novels in a number of ways. The flood of works by popular novelists such as Dumas and Sue in the 1840s led critics to scrutinize the bibliographical statistics of the two nations. Reactions against the perceived greater vigour of the French fiction-writing took many forms, including riots, and reflections on the impact which copyright legislation might have on curbing the dissemination of foreign works. In the 1860s, Taine’s pioneering history of English literature led to very different reflections on French superiority. In contrast with earlier attacks on French immorality, critics responded to Taine by thoughtfully considering the causes of the different paths taken by French and English novelists, and the benefits of each.
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Cheney, Patrick. "Poetics." In The Oxford History of Poetry in English, 83–100. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198830696.003.0005.
The sixteenth century prints the first treatises in English on ‘poetics’, a branch of literary criticism outlining a theory of poetry. Traditionally, modern scholars understand English poetics to be rhetorical: poetry is a rational form of persuasion. However, sixteenth-century theorists also introduce a counter-theory known as the sublime, first outlined by Longinus, who sees poetry as an irrational art aiming at ‘amazement and wonder’. For Longinus, the goal of sublime poetry is not to civilise the human but to secure freedom from the human: sublime poetry catapults the reader to the godhead. Sidney’s Defence taps into a poetics of sublime freedom, as do other treatises, such as Scott’s Model of Poetry. Consequently, the sixteenth century is the first era to theorise sublime poetic freedom of the literary imagination itself. Poets and playwrights like Marlowe in Doctor Faustus cohere with the theorists by scripting a liberating poetics of sublime authorship.
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Beenstock, Zoe. "Empiricism’s Secret History: Fleetwood and Rousseau." In The Politics of Romanticism. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401036.003.0006.
Criticism often organizes Godwin’s career by genre, suggesting that Godwin progressed from political theory to sentimental fiction. Instead this chapter argues that Godwin follows Rousseau in writing literature to ‘judge’ his own philosophy. In Enquiry Concerning Political Justice Godwin posits society as prior to the individual. He regards the general good as mandatory rather than voluntary. Godwin’s novels examine the struggles of individuals in conforming to his model of compulsory sociability. In Fleetwood and Mandeville Godwin explores the shortcomings of Rousseau’s theory of individualist education. He fictionalizes Rousseau, Hume, Wollstonecraft, and the First Earl of Shaftesbury, exploring the shortcomings of their theories. In Fleetwood Godwin uses elements of the genre of the secret history to explore political theory’s failure to validate women within the public sphere. Deloraine extends Godwin’s criticism of the social contract tradition for being inherently patriarchal. In Godwin’s writings Rousseau eclipses Aristotle as the founding theorist of sociability.
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O'Donnell, Angela Alaimo. "“Whiteness Visible”: Critical Whiteness Studies and O’Connor’s Fiction." In Radical Ambivalence, 13–35. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823288243.003.0002.
Chapter 1, “‘Whiteness Visible’: Critical Whiteness Studies and O’Connor’s Fiction,” summarizes the treatment of race in O’Connor criticism from the 1970s to the present, outlines some key concepts of racial formation theory and whiteness studies, and considers their potential relevance and application to O’Connor’s work. The chapter includes a brief history of the idea of race, an examination of the so-called “color line” and the racial code observed by whites and blacks in the South, and an exploration of O’Connor’s attitudes toward that code as evident in some of her letters and in her representations of black characters in her stories. The chapter includes analysis of her first and last stories, “The Geranium” and “Judgement Day.”
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McCormack, Bruce L. "Scottish Kenotic Theology." In The History of Scottish Theology, Volume III, 19–34. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198759355.003.0002.
This chapter treats Scottish kenoticism as an empirically driven appropriation of mid-nineteenth-century German Lutheran kenoticists. In his seminal work, The Humiliation of Christ (1876), A. B. Bruce is shown to be the mediator of the new German theology. Later Scottish kenoticism is represented here by David Forrest, P. T. Forsyth, and H. R. Mackintosh, all of whom sought to maintain a commitment to the incarnation through the employment of kenotic categories. The development and criticism of kenoticism are considered as it migrated from Germany to the English-speaking world. Questions are raised in conclusion as to the ongoing usefulness of the theory of a divine ‘self-reduction’ or depotentiation.
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Steinlight, Emily. "The Sensation Novel and the Redundant Woman Question." In Populating the Novel, 138–65. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501710704.003.0005.
This chapter follows the narrative logic of biopolitics into the English countryside, where similar pressures turn out to be covertly at work. It traces how the sensation novels of the 1860s became notorious for enclosing the infectious qualities of the crowd within a female body and allowing that body to infiltrate the apparently protected sphere of domestic fiction. To explain the outrage provoked by such bestsellers as Lady Audley's Secret and East Lynne, the chapter attributes their distinctive plot twists to the Victorian demographic theory of “redundant women”: a female population exceeding the national demand for wives and mothers. It investigates how the novels of Mary Braddon and Ellen Wood made their antiheroines all but synonymous with mass population, mass culture, and systems of industrial mass production. Ultimately, the chapter demonstrates why a particular narrative version of redundancy became paradoxically central to fiction as well as to the sexual and cultural politics of criticism.
