Relevant bibliographies by topics / English literature Self in literature. Subjectivity in literature

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Academic literature on the topic 'English literature Self in literature. Subjectivity in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "English literature Self in literature. Subjectivity in literature"

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Kaviraj, Sudipta. "Laughter and Subjectivity: The Self-Ironical Tradition in Bengali Literature." Modern Asian Studies 34, no. 2 (April 2000): 379–406. http://dx.doi.org/10.1017/s0026749x00003334.

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By the grace of the Almighty an extraordinary species of sentient life has been found on earth in the nineteenth century: they are known as modern Bengalis. After careful analysis zoological experts have found that this species displays the external bodily features of homo sapiens. They have five fingers on their hands and feet; they have no tails; and their bones and cranial structures are indeed similar to the human species. However as yet there is no comparable unanimity about their inner nature. Some believe that in their inner nature too they are similar to humans; others think that they are only externally human; in their inner nature they are in fact beasts.Which side do we support in this controversy? We believe in the theory which asserts the bestiality of Bengalis. We learnt this theory from English newspapers. According to some redbearded savants, just as the creator had taken atoms of beauty from all beautiful things to make Tilottama, in exactly the same way, by taking atoms of bestiality from all animals he has created the extraordinary character of the modern Bengali. Slyness from the fox, sycophancy and supplication from the dog, cowardliness from sheep, imitativeness from the ape and volubility from the ass—by a combination of these qualities He has made the modern Bengali rise in the firmament of history: a presence which illuminates the horizon, the centre of all of India's hopes and future prospects, and the great favourite of the savant Max Mueller.
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Sponsler, Claire, and Richard Hillman. "Self-Speaking in Medieval and Early Modern English Drama: Subjectivity, Discourse and the Stage." Shakespeare Quarterly 50, no. 4 (1999): 536. http://dx.doi.org/10.2307/2902290.

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Sparks, Tabitha. "WORKING-CLASS SUBJECTIVITY IN MARGARET HARKNESS'SA CITY GIRL." Victorian Literature and Culture 45, no. 3 (August 25, 2017): 615–27. http://dx.doi.org/10.1017/s1060150317000092.

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One of the obvious strengthsof Margaret Harkness's 1887 novelA City Girlis its comprehensive visual record of London's East End. Harkness depicts Whitechapel's geography and public and residential spaces with an authority derived, as we know, from her voluntary residence in the Katharine Buildings, thinly disguised in the novel as the Charlotte Buildings. The Katherine Buildings were a block of apartments for working class tenants built by the East End Dwelling Company; Harkness lived in them for a few months in 1887 and was one of a wave of middle-class women who ventured into such residences, sometimes as employees (“lady rent collectors”) and sometimes, as with Harkness and her cousin Beatrice Potter (later Webb) as writers determined to document in fictional or non-fictional form the conditions in which the poor lived. Harkness's first-hand experience and descriptive acuity has inspired some rich and productive scholarship onA City Girl, which in the form of two scholarly editions (one recent and one forthcoming) is the subject of a modest renaissance. From a literary perspective, most scholars have grappled with the novel's generic affiliation, describing it variously as a New Woman novel, a socialist novel, a sentimental novel, and an example of English naturalism. Some of these critics – principally John Goode and Rob Breton – combine a study of the novel's generic signs with historical attention to Socialism, one of Harkness's many ambivalent and abbreviated political and institutional affiliations in the 1880s and 90s; they use the literary lens of genre study to better understand the author's political consciousness in the context of late-Victorian reform politics. Pursuing another horizon of inquiry, I turn away from the novel's documentary evidence and generic and political loyalties to its elusive but revealing study of artistic representation. It is not the sociological or political milieu of Harkness's East End heroine, Nelly Ambrose, that interests me, but the link that Harkness establishes between Nelly's impoverished mind and her impoverished world, which I read principally through her unfamiliarity with narrative representation. Harkness sustains two discrete perspectives inA City Girl: Nelly experiences the world in episodic moments, and her inability to shape these moments into a purposeful or predictive sequence makes her effectively powerless to control the events that shape her life. Her distance from a narrative consciousness alerts us to the second perspective in the novel which might otherwise escape special notice: the narrative realism thatA City Girlparticipates in, that the experience of reading the novel activates, and that is self-consciously followed by Arthur Grant, Nelly's seducer. Arthur's class-based narrative advantage over Nelly enables him to write the story of their affair and control its outcome much in the way that the readers ofA City Girlhave worked to make sense of Nelly's detached and inexpressive character, and have often made their own determinations about the novel's ending. The medium of the novel's hostility to Nelly's particular kind of consciousness is a metaliterary reflection, then, of the subjugation by narrative disadvantage that we see play out in the story.
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Mallier, Clara. "Tenses in translation: Benveniste’s ‘discourse’ and ‘historical narration’ in the first-person novel." Language and Literature: International Journal of Stylistics 23, no. 3 (July 31, 2014): 244–54. http://dx.doi.org/10.1177/0963947014536507.

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This article deals with Emile Benveniste’s theory of enunciation (see ‘Subjectivity in Language’ and ‘The Correlations of Tense in the French Verb’ in Problems in General Linguistics, 1971 [1966] and ‘L’appareil formel de l’énonciation’ in Problèmes de linguistique générale, tome 2, 1970), in particular his distinction between historical narration and discourse, and the way it applies to the translation of first-person fiction. In French narratives, the main tense of discourse is the passé composé, which is related to the time of enunciation, while the tense of historical narration is traditionally the passé simple, which is related to the moment of the events reported. The passé composé thus draws attention to the narrating I’s retrospective gaze, while the passé simple reflects the experiencing I’s perspective within the story. This raises complex issues of translation because the narrative use of the passé composé has no equivalent in English, so that the distinction between the perspectives of the retrospective narrator and of his former self are expressed differently in the two languages. This article explores the impact of this phenomenon on four different French translations of Fitzgerald’s The Great Gatsby (Llona, 1926; Tournier, 1996; Wolkenstein, 2011 and Jaworski, 2012).
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Neumann, Birgit. "“Our mother tongue, then, is no mother at all – but an orphan”: The Mother Tongue and Translation in Ocean Vuong’s On Earth We’re Briefly Gorgeous." Anglia 138, no. 2 (June 4, 2020): 277–98. http://dx.doi.org/10.1515/ang-2020-0023.

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AbstractThe essay offers a close reading of On Earth We’re Briefly Georgeous, the remarkable novel by Vietnamese American writer Ocean Vuong, showing how the text’s critical engagement with the notion of the mother tongue is used to negotiate subjectivity and community in diasporic contexts. It assesses the importance of the tongue within the broader context of contemporary migrant and transcultural fiction and reveals how the tongue functions as a trope to explore possibilities of self-articulation after the loss of the mother tongue. Further, the essay draws on the concept of translation, exposing both its violent dimensions and its liberating potential within uneven intercultural relationships. Struggling with the unavailability of his mother tongue, Vuong’s central writer-protagonist performs multiple acts of translation between the unequal languages of Vietnamese and English and reconfigures both in terms of their foreignness. These acts of translation materialize in a multilingual poetics that thoroughly unsettles the priority of closed entities and that confronts the organic genealogy inscribed in the “family romance” (Yildiz 2012: 20) of the mother tongue with open, non-identitarian modes of sociality.I would like to thank the anonymous reviewers for Anglia as well as Christina Slopek, Martin A. Kayman and Susan Winnett for generously sharing their thoughts on earlier versions of my article with me.
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Godley, Min Young. "The Feminization of Translation." Meridians 20, no. 1 (April 1, 2021): 193–217. http://dx.doi.org/10.1215/15366936-8913188.

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Abstract The awarding of the 2016 Man Booker International Prize to Deborah Smith’s English translation of The Vegetarian brought global recognition to emergent Korean literature, but domestically it has sparked outrage among numerous Korean scholars who believe the literal inaccuracies in Smith’s translation have brought about a “national disgrace.” Situating this overheated reaction in the larger context of the colonial history of Korean nationalism, this article points out the irony that the “noble cause” of anti-imperialist resistance has historically led to the silencing of women’s voices in the context of preserving and transmitting an idea of quintessential Korean culture to an international audience. Such nationalist tendencies demand the “feminization” of the translator—requesting her to be barely visible while performing a self-effacing humility in deference to the putatively “original” culture. In contrast to this tendency, reading Han’s original and Smith’s translation together makes visible the damages that both colonization and nationalism have inflicted on the representation of female experiences. In the end, what truly scandalizes nationalist critics is not the failure of the translator to accurately convey Korean experiences, but the success of the translation in conveying an area of Korean experience they tend to neglect: that of female subjectivity.
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Qiao, Min. "Rethinking “Subjectivity” in Literature." Prism 17, no. 1 (March 1, 2020): 172–82. http://dx.doi.org/10.1215/25783491-8163849.

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Abstract This article delves into Liu Zaifu's theoretical construction of subjectivity and his reflections on the dominant paradigm of revolution and enlightenment in twentieth-century China. Realizing the incompleteness and insufficiency of his contemplation on individual subjectivity, Liu shifted his scholarly interests to the composition of and dialogues between multiple subjectivities and examined the complex relationship between subjects and objects, self and others, as well as the individual's psychological relationship with the self. By reframing Liu's theories on subjectivity, this article argues that he seeks to further detach literature from politics by calling for various transcendental dimensions of Chinese literary works beyond the realistic one and by paying intense attention to the literary descriptions of people's sin of complicity and their inner struggle. Liu's evocation of heart and mind formulates a new concept of interiority via connecting the Chinese traditional concept of xin with the Western concept of inner subjectivity. In this way, Liu weaves a unique discourse of interiority into Chinese literary criticism, as a complement to and critique of the enclosed narrative vision of revolution and enlightenment in modern China.
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Krevel, Mojca. "Concept of Self in Avant-Pop Literature." ELOPE: English Language Overseas Perspectives and Enquiries 1, no. 1-2 (December 31, 2004): 115–24. http://dx.doi.org/10.4312/elope.1.1-2.115-124.

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The treatise is an investigation into the construction of character and understanding of subjectivity in general as it appears in the literature of writers associated with the Avant-Pop movement. As a movement, the Avant-Pop emerges at the beginning of the 1990’s – the time of substantial social, cultural and economic changes conditioning deeper changes of basic Geistesgeschichte paradigms marking the rise of a new, postmodern era. This article on the one hand examines the paradigm of subjectivity by discussing examples from Avant-Pop literary production in the light of prevailing theoretical opinions and speculations on postmodernity, and – on the other hand – connects the findings to broader social, cultural and technological aspects of contemporary living.
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Thisted, Kirsten. "Imperiets genfærd – Profeterne i Evighedsfjorden og den dansk-grønlandske historieskrivning." Nordlit, no. 35 (April 22, 2015): 105. http://dx.doi.org/10.7557/13.3428.

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<p align="LEFT">While the official Denmark has declined taking part in a reconciliation process with Greenland, its former colony, a large literary audience has embraced the novelist Kim Leine, who puts colonial history and Danish-Greenlandic power relations on the <span style="font-family: TimesNewRomanPSMT;">agenda. Originally published in 2012, his novel </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">Profeterne i Evighedsfjorden </span></em><span style="font-family: TimesNewRomanPSMT;">(English title: </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">The Prophets of Eternal Fjord</span></em><span style="font-family: TimesNewRomanPSMT;">) has received huge attention and several </span>prestigious literary awards, but it has also been the target of criticism for painting a distorted picture of Denmark’s conduct in Greenland. The article examines how the novel relates to the established narratives about Danish colonialism and how it contributes to the ongoing negotiations. The novel’s use of narrative modes is analysed in light of the assumption that certain modes are associated with certain plots, where a particular framing of the past defines a space of possibility for the way we shape the future. It is argued that the novel draws on the anticolonial dream of ‘total revolution’ and supports the struggle of the colonised to break free from the colonial power and establish their own nation state. Its key narrative mode, however, is not the preferred mode in anticolonialist literature, heroic romance; instead it is tragedy. The novel portrays the profound transformation of society and subjectivity that is brought about by modernity with Christianity and colonialism as its vehicle. As a consequence of this transformation, resistance cannot be posited from a point outside modernity but arises from within modernity itself. Thus the protagonists of the novel are not only portrayed as equals but as actors in the same universe, regardless of the highly asymmetrical power relations between Danes and Greenlanders. In this sense, the book participates in efforts to reframe the Danish-Greenlandic relationship based on the new language of equality and partnership found in the Act on Greenland Self-Government.</p>
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Salmenniemi, Suvi, and Mariya Vorona. "Reading self-help literature in Russia: governmentality, psychology and subjectivity." British Journal of Sociology 65, no. 1 (January 16, 2014): 43–62. http://dx.doi.org/10.1111/1468-4446.12039.

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Dissertations / Theses on the topic "English literature Self in literature. Subjectivity in literature"

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Ettari, Gary. ""That within which passeth show" : the dialectics of early modern subjectivity /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/9383.

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Little, Philippa Susan. "Images of self : a study of feminine and feminist subjectivity in the poetry of Sylvia Plath, Anne Sexton, Margaret Atwood and Adrienne Rich, 1950-1980." Thesis, Queen Mary, University of London, 1990. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1501.

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The thesis explores the poetry (and some prose) of Plath, Sexton, Atwood and Rich in terms of the changing constructions of self-image predicated upon the female role between approx. 1950-1980.1 am particularly concerned with the question of how the discourses of femininity and feminism contribute to the scope of the images of the self which are presented. The period was chosen because it involved significant upheaval and change in terms of women's role and gender identity. The four poets' work spans this period of change and appears to some extent generally characteristic of its social, political and cultural contexts in America, Britain and Canada. (Other poets' work, for example Rukeyser, Lorde, Levertov, is included too. ) The poets were not chosen to illustrate a pre-feminist vs. feminist opposition since a major concern is to explore what I see to be the symbiotic relation between femininity and feminism (as also between orthodoxy and heresy). However the thesis is organised chronologically because periodisation is important for a consideration of the poetry's social setting. In wanting to connect the poetry with cultural and political circumstances as much as possible I have taken Edward Said's assertion of a text's position of 'being in the world', its potential as a cultural product to help reshape reality, and its value as a 'powerful weapon of both materialism and consciousness'. This is the starting point for the study which is circular and cumulative in shape, fundamentally thematic, though each chapter is a chronological exploration of the work of one specific poet, beginning with Plath and completing with Rich. A conclusion attempts to pull the strands of each together and consider the implications raised. The thesis has four general concerns which run through its particular focus on each poet. The first involves the relations between cultural practice and ideology; the second involves the ideology of gender (through exploration of femininity and feminism); the third involves authorial ideology (through the construction of self-image in relation to femininity and feminism) while the fourth involves these concerns in terms of the overall arena of women's struggle for meaning and selfdetermination in cultural practice. More specific elements of the study include collating and comparing self-images and attempting to make connections or chart changes where images such as witch, queen, handmaid, shamaness, goddess, earth mother, whore, madwoman, etc., re-occur. Usage of myth (particularly Persephone). the Gothic, 'and articulation of lesbian desire are also explored. The emergence of a female 'hero' self-image, in opposition to 'victim', seems to be a corollary of the impact , of feminism in Rich's poetry particularly, but this tendency can be traced back through Plath. I explore the celebration of nature and the power of essentialism in the construction of heroic female images, particularly in the figure of the mother flowing with milk at the centre of 'ecriture feminine'. The concluding chapter suggests that femininity did not constitute such a repressive constraint on self-image and writing practice for women as perhaps might be supposed; and that feminism, while opening up many empowering changes for women, has raised further disturbing and unresolved questions about identity, and even helped, in some of its aspects, to create a new 'orthodoxy' in which various aspects of experience cannot easily be articulated. My example is Rich's later work where it seems to admit itself limited by its own initially liberating strategies and looks further on towards new 'heresies.'
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Condon, James Joseph. "Playing with lives theatricality, self-staging, and the problem of agency in Renaissance English revenge tragedy /." Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://proquest.umi.com/pqdweb?index=0&did=1957417671&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1269383638&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2009.
Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed March 23, 2010). Includes bibliographical references (p. 193-202). Also issued in print.
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Arvan, Andrews Elaine J. "The Physiognomy of Fashion: Faces, Dress, and the Self in the Juvenilia and Novels of Charlotte Brontë." Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1107275437.

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Brearey, Oliver James. "Peripheral subjectivity and English-language Hong Kong literature." online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1451242.

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Walby, Celestin J. "Answering looks of sympathy and love : subjectivity and the narcissus myth in Renaissance English literature /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3144464.

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Mallory-Kani, Amy. "Medico-politics and English literature, 1790-1830| Immunity, humanity, subjectivity." Thesis, State University of New York at Albany, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3620301.

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In 1796, Dr. Edward Jenner began vaccinating individuals against small pox by using matter from the pustules of the cow pox. Though extremely controversial because of its discomforting mixture of animal and human, by the end of the Romantic period, vaccination was celebrated as the safest way to immunize the British population. Through the practice of vaccination, Britain found a way to save its body politic from a destructive epidemic while affirming the strong connection between individual health and collective well-being that writers of the period like Mary Wollstonecraft, William Wordsworth, Jane Austen, and Mary Shelley recognized in their works. From the beginning then, medical immunity was inherently connected to politics; at the same time that Jenner was experimenting with vaccination, writers were debating over the most effective way to stifle the "jacobin influenza" and the "French malady," the contagious revolutionary ideas migrating to England from France.

Importantly, the use of medical terms and concepts to define the political points to the already immunological process by which modern political subjects are born, a process explored by contemporary biopolitical theorists like Roberto Esposito and which my project grounds in the historical record of early modernity. In particular, I argue that the rupture in sovereignty caused by the French Revolution, resulted in a shift in the way that political subjectivity was conceived. Individuals, rather than being constituted in relation to a transcendental sovereign whom, according to Hobbes, they created to protect themselves, instead internalize sovereign power. In a sense, the modern political subject comes into being through an essential immunization.

The discourse of what I call "medico-politics" made its way into the literature of the period. In fact, literature distinctively influenced how the modern, medicalized political subject was imagined. Capital-L literature—itself an burgeoning kind of discipline—was drafted into the immunizing project of modern politics because of the way it disciplines readers' bodies and minds. While Saree Makdisi claims that there is a "uniquely Blakean slippage between political and biological language" during the period and other critics view the relationship between literature and medicine as unilateral and metaphorical, I argue that medical practices like inoculation not only influenced literature, but became a part of literature's own self-definition as a modern discipline.

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Smuts, Merriman Eckard. "Embedded subjectivity in the work of J.M. Coetzee." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/18698.

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Thesis (MA)--University of Stellenbosch, 2007.
ENGLISH ABSTRACT: This thesis is the result of an immersion in the work of J.M. Coetzee. I have taken various of Coetzee’s novels, namely Elizabeth Costello: Eight Lessons, Disgrace, The Master of Petersburg, Foe, Life & Times of Michael K and Slow Man, and constructed readings of these novels from the inside out. The overarching concern of the dissertation is the notion of subjectivity and Coetzee’s methods of representing subjectivity. It is my contestation that the experience of authentic subjective awareness arises from the process of reading itself. It is not a state of being that is described by the text, but rather a layered constellation of substitutive exchanges that emerges from the process of textual relation. The notion of embeddedness serves as a description of the way in which the text materializes this experience of subjectivity. The structure of exploration in each chapter has taken as its paradigm a conceptual concern arising from the text itself. In the first chapter (Elizabeth Costello) the concern is with structure itself. The character of Elizabeth struggles against the limitation inherent in the process of representation; this struggle is read as an indication of authentic subjective experience in the face of reduction to a system of codes. The second chapter (Disgrace) attempts to formulate the dynamic of subjective awareness in romantic terms. I construct a reading of Lurie’s predicament in terms that arise from his conceptual environment, in order to indicate the primacy of textual materiality as the locus of subjective awareness. The notion of the classic informs the third chapter (The Master of Petersburg). I use an essay by Coetzee to delineate a conception of the classic, which is then applied as a theoretical framework for an exploration of Dostoevsky’s pursuit of his stepson. The fourth and last chapter (Foe, Life & Times of Michael K and Slow Man) focuses on Coetzee’s use of the body as a figure for embedded subjectivity. It emerges that the body as a trope of embeddedness forms an important aspect of Coetzee’s work throughout his career. As such it is a very suitable figure for describing the dynamics of embeddedness as a mode of representation that aligns itself with the textual materiality of subjective being.
AFRIKAANSE OPSOMMING: Hierdie tesis het ontstaan as die gevolg van ‘n noukeurige ondersoek na die werk van J.M. Coetzee. Ek het myself laat begelei deur die inhoud van verskeie van Coetzee se boeke, naamlik Elizabeth Costello: Eight Lessons, Disgrace, The Master of Petersburg, Foe, Life & Times of Michael K en Slow Man, om intensiewe lesings van hierdie boeke te konstrueer. Die oorkoepelende bemoeienis van die verhandeling is die konsep van subjektiwiteit en Coetzee se metodes van subjektiewe voorstelling. Ek beweer dat die ervaring van outentieke subjektiewe gewaarwording gesetel is in die leesproses. Dit is nie ‘n toestand van wese wat deur die teks beskryf word nie, maar eerder ‘n verweefde raamwerk van substituwe wisseling wat kom uit die proses van tekstuele relasie. Die konsep van inlywing (“embeddedness”) dien as 'n beskrywing van die manier waarop die teks hierdie ervaring van subjektiwiteit konkretiseer. Die struktuur van ondersoek in elke hoofstuk neem as paradigma 'n konsepsuele vraagstuk wat reeds gesetel is in die teks. In die eerste hoofstuk (Elizabeth Costello) is die bemoeienis met struktuur as sodanig. Elizabeth se karakter stry teen die inperking wat noodwending saamgaan met die proses van voorstelling; hierdie stryd word gelees as 'n aanduiding van outentieke subjektiewe ervaring teenoor die druk van vermindering tot 'n stel kodes. Die tweede hoofstuk (Disgrace) poog om die dinamiek van subjektiewe bewustheid te formuleer in terme wat afkomstig is van die romantiek. Ek konstrueer 'n lees van Lurie se toestand in terme wat kom van sy konsepsuele omgewing, om sodoende die voorrang van tekstuele materialiteit as die lokus van outentieke subjektiwiteit aan te dui. Die konsep van die klassieke belig die derde hoofstuk (The Master of Petersburg). Ek gebruik 'n essay van Coetzee om 'n begrip van die klassieke te formuleer, wat dan toegepas word as 'n teoretiese raamwerk waarbinne Dostoevsky se soeke na sy stiefseun ondersoek word. Die vierde en laaste hoofstuk (Foe, Life & Times of Michael K en Slow Man) fokus op Coetzee se gebruik van die liggaam as 'n figuur vir ingelyfde subjektiwiteit. Dit blyk dat die liggaam as 'n figuur van inlywing 'n prominente aspek van Coetzee se werk vorm deur sy loopbaan. As sodaning is dit 'n baie handige figuur om die dinamiek van inlywing te beskryf as 'n modus van voorstelling wat sigself koppel aan die materialiteit van die teks.
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Wong, Tee-vee Vivian, and 黃天慧. "Between self and subjectivity: women in threenovels by Jean Rhys." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227995.

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Fleming, Carolyn Evine Mary Elizabeth. "Ideas of the self in Medieval English literature." Thesis, University of Liverpool, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328079.

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Books on the topic "English literature Self in literature. Subjectivity in literature"

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Subjectivity. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2005.

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Marshall, Cynthia. The shattering of the self: Violence, subjectivity, and early modern texts. Baltimore: Johns Hopkins University Press, 2002.

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Worthington, Kim L. Self as narrative: Subjectivity and community in contemporary fiction. New York: Clarendon Press, 1996.

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The shattering of the self: Violence, subjectivity, and early modern texts. Baltimore: Johns Hopkins University Press, 2002.

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Affective worlds: Writing, feeling & nineteenth-century literature. Brighton: Sussex Academic Press, 2011.

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Little, Judy. The experimental self: Dialogic subjectivity in Woolf, Pym, and Brooke-Rose. Carbondale: Southern Illinois University Press, 1996.

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The dialogic self: Reconstructing subjectivity in Woolf, Lessing, and Atwood. Selinsgrove: Susquehanna University Press, 1999.

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The creation of the self in autobiographical forms of writing in seventeenth-century England: Subjectivity and self-fashioning in memoirs, diaries, and letters. Heidelberg: C. Winter, 2001.

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Katz, Daniel. Saying I no more: Subjectivity and consciousness in the prose of Samuel Beckett. Evanston, Ill: Northwestern University Press, 1999.

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Aspects of subjectivity: Society and individuality from the Middle Ages to Shakespeare and Milton. Pittsburgh, Pa: Duquesne University Press, 2003.

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Book chapters on the topic "English literature Self in literature. Subjectivity in literature"

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Çayır, Kenan. "Self-Reflexive and Self-Exposing Novels of the 1990s: A Path to Muslim Subjectivity." In Islamic Literature in Contemporary Turkey, 107–51. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230605695_4.

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Brown, Dennis. "Self-deception and Self-conflict." In The Modernist Self in Twentieth-Century English Literature, 108–40. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19913-6_5.

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Blurton, Heather. "Self-Eaters: The Cannibal Narrative of Andreas." In Cannibalism in High Medieval English Literature, 15–33. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-11579-9_2.

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Brown, Dennis. "Dissolving Self." In The Modernist Self in Twentieth-Century English Literature, 14–42. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19913-6_2.

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Brown, Dennis. "Fragmentary Self." In The Modernist Self in Twentieth-Century English Literature, 74–107. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19913-6_4.

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Brown, Dennis. "Discontinuous Self." In The Modernist Self in Twentieth-Century English Literature, 141–73. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19913-6_6.

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Brown, Dennis. "Self at War." In The Modernist Self in Twentieth-Century English Literature, 43–73. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19913-6_3.

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Mund, Subhendu. "Politics of Self-assertion: A Study in the Early Indian Fiction in English Translation." In The Making of Indian English Literature, 272–80. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003203902-18.

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Brown, Dennis. "Introduction." In The Modernist Self in Twentieth-Century English Literature, 1–13. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19913-6_1.

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Brown, Dennis. "Conclusion." In The Modernist Self in Twentieth-Century English Literature, 174–84. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19913-6_7.

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Conference papers on the topic "English literature Self in literature. Subjectivity in literature"

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Girginer, Handan. "English language learners’ self-efficacy and their achievement." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l312170.

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Hartono, Mr, Ruseno Arjanggi, and Destary Praptawati. "Self-Efficacy of Indonesian Non-English Lecturers in Writing English Academic Papers for International Publication." In Proceedings of the UNNES International Conference on English Language Teaching, Literature, and Translation (ELTLT 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/eltlt-18.2019.6.

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Suryani, Fitri, and Rismiyanto Rismiyanto. "Gender and EFL Student Teachers‘ Self-Efficacy." In Proceedings of the 3rd English Language and Literature International Conference, ELLiC, 27th April 2019, Semarang, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2285289.

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Tisngati, Urip, Martini Martini, Nely Meifiani, and Dwi Apriyani. "Experimental Study of Learning Methods toward Students Learning Outcomes Viewed from Gender, Motivation, and Self-Efficacy." In Proceedings of the 3rd English Language and Literature International Conference, ELLiC, 27th April 2019, Semarang, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2285481.

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Li, Dorothy Tao. "The Validation of a Quantitative Measure of Self-authorship among Chinese University Students." In Sixth International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/head20.2020.11171.

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This paper presents the preliminary evidence for validating the Self-authorship Section of the Career Decision Making Survey (SA-CDMS; Creamer, Baxter Magolda, &amp; Yue, 2010) among Chinese university students. Two samples of undergraduate students (Stage One, N= 263; Stage Two, N= 663) from three universities in the People’s Republic of China participated in this study. In the first stage, the SA-CDMS was translated from English to Chinese, with the psychometric properties preliminarily examined by exploratory factor analysis and internal consistency test. The original 18-item SA-CDMS model failed to identify the theoretical structures as expected, however, several modifications could be identified from the results of Stage One. In the second stage, the modified SA-CDMS showed acceptable reliability and validity based on the results of confirmatory factor analysis and Cronbach’s alpha coefficients. In addition, Pearson’s correlation analysis was employed by Stage Two to examine the correlations among the demographic factors, three phases, and three dimensions of self-authorship framework. In general, the current study provided evidence for utilizing SA-CDMS in the Chinese higher education context. This study added to the literature of the research on self-authorship and offered practical implications to educators and policymakers in promoting self-authorship development among Chinese university students.
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Meškova, Sandra. "THE SENSE OF EXILE IN CONTEMPORARY EAST CENTRAL EUROPEAN WOMEN’S LIFE WRITING: DUBRAVKA UGREŠIČ AND MARGITA GŪTMANE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/22.

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Exile is one of the central motifs of the 20th century European culture and literature; it is closely related to the historical events throughout this century and especially those related to World War II. In the culture of East Central Europe, the phenomenon of exile has been greatly determined by the context of socialism and post-socialist transformations that caused several waves of emigration from this part of Europe to the West or other parts of the world. It is interesting to compare cultures of East Central Europe, the historical situations of which both during World War II and after the collapse of socialism were different, e.g. Latvian and ex-Yugoslavian ones. In Latvia, exile is basically related to the emigration of a great part of the population in the 1940s and the issue of their possible return to the renewed Republic of Latvia in the early 1990s, whereas the countries of the former Yugoslavia experienced a new wave of emigration as a result of the Balkan War in the 1990s. Exile has been regarded by a great number of the 20th century philosophers, theorists, and scholars of diverse branches of studies. An important aspect of this complex phenomenon has been studied by psychoanalytical theorists. According to the French poststructuralist feminist theorist Julia Kristeva, the state of exile as a socio-cultural phenomenon reflects the inner schisms of subjectivity, particularly those of a feminine subject. Hence, exile/stranger/foreigner is an essential model of the contemporary subject and exile turns from a particular geographical and political phenomenon into a major symbol of modern European culture. The present article regards the sense of exile as a part of the narrator’s subjective world experience in the works by the Yugoslav writer Dubravka Ugrešič (“The Museum of Unconditional Surrender”, in Croatian and English, 1996) and Latvian émigré author Margita Gūtmane (“Letters to Mother”, in Latvian, 1998). Both authors relate the sense of exile to identity problems, personal and culture memory as well as loss. The article focuses on the issues of loss and memory as essential elements of the narrative of exile revealed by the metaphors of photograph and museum. Notwithstanding the differences of their historical situations, exile as the subjective experience reveals similar features in both authors’ works. However, different artistic means are used in both authors’ texts to depict it. Hence, Dubravka Ugrešič uses irony, whereas Margita Gūtmane provides a melancholic narrative of confession; both authors use photographs to depict various aspects of memory dynamic, but Gūtmane primarily deals with private memory, while Ugrešič regards also issues of cultural memory. The sense of exile in both authors’ works appears to mark specific aspects of feminine subjectivity.
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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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