Academic literature on the topic 'Epic fiction'
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Journal articles on the topic "Epic fiction"
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Kleut, Marija, and Ljiljana Pešikan-Ljuštanović. "Uskoks of Senj: Reality and oral poetic fiction." Kultura, no. 174-175 (2022): 93–112. http://dx.doi.org/10.5937/kultura2275093k.
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The paper examines Uskok poems, especially those dedicated to the Uskoks of Senj, primarily from the point of view of the relationship between epic poems and history. The people of Senj worked from 1537 to 1617, fighting as paid soldiers or volunteers on the side of the Austrian Monarchy, but also going on campaigns on their own, fighting almost to the same extent with the Turkish invaders and the Christians from the wider region. In contrast to the relatively short period of eight decades of their historical presence, the people of Senj have survived in the oral epics in a very wide Balkan area over a long period of time covering a wide anachronistic field. The paper presents an assumption that the Uskoks of Senj were a warrior-patriarchal world, one that has created and spread oral epics. There were many events in their real lives that were themed in the oral epics. In addition, those who jumped from the mainland to the Austrian territory and settled in Senj probably carried some songs/ poems in their spiritual baggage, primarily those about Hajduks. And they were ready to create new ones. Thus, the first known records are proof that the early poetic narrative was suitable for depicting the Uskoks of Senj, and then that it survived in time and space. In certain interpretations, to which the second part of the work is dedicated, it is shown on the basis of anthological examples of poems, how the mythical, ritual and the historical intersect in the poetics of oral epic poetry; how the anachronistic field of a particular poem is formed, whether it is about gathering "power and dominance" in wedding processions, about concentrating heroes around certain events, personalities or spaces important for national history, or about opposing worthy opponents, and how it affects the aesthetic values and meanings that are shaped in the poems; how different genre features intertwine in such poems (epic and epic-lyric poetry, for example); and form complex and witty, full of twists novelistic plots. All this contributes to the meaning of the epic story: it seems that the past of one's own community is brought into a meaningful, paradigmatic order, which can serve as a basis for future actions.
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Šemsović, Sead. "Alija Bojičić – Between Historical Ancestors and Epic Biography." Društvene i humanističke studije (Online) 7, no. 3(20) (October 30, 2022): 13–26. http://dx.doi.org/10.51558/2490-3647.2022.7.3.13.
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The correlation between a person and a character has always attracted the attention of researchers in both oral and written literature. The main difference is that researchers of oral epics always undertook detailed searches for the historical figure based on which the epic hero was created, while the latter more often recognized the writer himself and his private life within his artistic fiction. Alija Bojičić represents one of the most important heroes of Bosniak oral epics, whose action will be in the border area of Bosnia and Dalmatia, and the poems in which he appears are often classified in the uskok/hajduk epic cycles. History has offered at least three historical figures who could have served the epic singer to create this character. It can certainly be said that the oldest historical ancestor had the greatest influence on the features and characteristics of this epic hero. So far, research into the relationship between personality and character in Bosniak oral epics has focused on Alija Đerzelez and Mujo Hrnjica, while Alija Bojičić remained on the sidelines.
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FELTEN, Agnès. "Le « je » lyrique à l’épreuve de l’épopée chez Laurent Gaudé et Pascal Quignard." ALTRALANG Journal 5, no. 3 (December 31, 2023): 47–61. http://dx.doi.org/10.52919/altralang.v5i3.343.
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ABSTRACT: This article examines the relationship between the epic and the use of the first person, which is reserved for fictional narratives of an autobiographical nature. How to say "I", how to say oneself in an epic supposed to tell the story of another character? How can the vision of oneself be staged? How can one show oneself as other, while remaining oneself? Mythological heroes borrowed from the common epic culture are the foundation of Pascal Quignard's and Laurent Gaudé's stories. Narcissus, Pluto or Orpheus are the symbolic bases of fiction, or even of autofiction, and feed the contemporary narrative with an epic dimension that goes beyond the simple fact of telling. This is why we are interested in the ability of Laurent Gaudé and Pascal Quignard to give an epic impression to their writing, which is deeply marked by the presence of a constantly renewed first person
RÉSUMÉ : Cet article se propose d’étudier les rapports entre l’épopée et l’utilisation de la première personne réservée plutôt aux récits de fiction à portée autobiographique. Comment dire « je », comment se dire soi dans une épopée censée raconter l’histoire d’un personnage autre ? En quoi la vision de soi peut-elle être mise en scène ? Comment se montrer autre, tout en restant soi-même ? Les héros mythologiques empruntés à la culture épique commune sont le fondement des récits de Pascal Quignard et de Laurent Gaudé. Narcisse, Pluton ou encore Orphée sont les bases symboliques de la fiction, voire de l’autofiction et nourrissent le récit contemporain d’une dimension épique dépassant le simple fait de raconter. C’est pourquoi nous nous intéresserons à la capacité possédée notamment par Laurent Gaudé et Pascal Quignard de donner une impression épique à leur écriture profondément marquée par la présence d’une première personne constamment renouvelée.
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Hammer, K. Allison. "Epic Stone Butch." TSQ: Transgender Studies Quarterly 7, no. 1 (February 1, 2020): 77–98. http://dx.doi.org/10.1215/23289252-7914528.
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Abstract Through application of the contemporary term transmasculinity and the more historical stone butch, the author questions the critical tendency to perceive American writer Willa Cather only as lesbian while ignoring or undertheorizing a transgender longing at play in her fiction, short stories, and letters. While biographical evidence must not be approached as simply coterminous with literary production, as literature often exceeds or resists such alignments, Cather's letters in particular suggest a strong identification with her male fictional alliances. Analysis of her letters alongside two of her most treasured, and disparaged, novels, One of Ours (1922) and The Professor's House (1925), conveys Cather's wish for an idealized masculinity, both for herself and for Western culture, that would survive two coeval historical processes and events: the closing of the American frontier and the First World War. Through what the author calls a stone butch “armature,” she and her characters retained masculine dignity despite historical foreclosure of Cather's manly ideal, Winston Churchill's Great Man, who was for her the artistic and intellectual casualty of the period. Cather expressed the peculiar nostalgic longing present in stone butch, and in the explosion of new forms of transmasculinity in the present. This suggests that historical transgender styles don't disappear entirely, even as new categories emerge.
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Ergashev, Abduolim. "Research Of The Epic “Amir Temur And Boyazid”." American Journal of Social Science and Education Innovations 2, no. 09 (September 14, 2020): 137–40. http://dx.doi.org/10.37547/tajssei/volume02issue09-19.
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The article is devoted to the creation of typical characters and conditions of historical realities and personalities in the epic, genre features and themes of the historical epic, the depiction of historical folk fiction in the epic in the shell of epic poetics, the artistic generalization of the historical period and image, the creation of a historical epic in the Kashkadarya-Surkhandarya epic features, including the role of the school of epic poetry and pedagogical traditions, the interpretation of images in the epic “Amir Temur and Boyazid”, his role in the all-Uzbek epic and ideological and artistic features.
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Ng, Kenny K. K. "Theory and Practice of the Long Novel." Prism 17, no. 2 (October 1, 2020): 326–52. http://dx.doi.org/10.1215/25783491-8690412.
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AbstractThis article examines the promises and predicaments of May Fourth writers in their experimental writing of the “long novel” (changpian xiaoshuo 長篇小說) as a Chinese brand of the modern epic. May Fourth intellectuals showed a conscious effort to institute a new brand of fictional genre to enlighten the reading public. Yet their “education of the novel” was far from complete, as New Literature writers found fictional expressions primarily in the form of the short story, with strong undertones of individualism, subjective lyricism, and elitism. By focusing on Mao Dun's 茅盾 (1896–1981) Ziye 子夜 (Midnight; 1933), the article examines his call for the establishment of the long novel and his strenuous efforts to “take over” the modern novel as an ideological form to narrate a teleological progression of history. How do Mao Dun's fictional narratives illuminate the representational problems between fiction, locality, and modernity? For Mao Dun and his May Fourth contemporaries, modernity at large was expressed in a teleological mode of time and progress, both in the rhetoric of modernity and in fiction writing. The article reflects on Mao Dun's creative and ideological impasse by teasing out the narrative loopholes of traditional voices and popular fictional registers in the modern epic.
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Werle, Dirk. "Knowledge in Motion between Fiction and Non-Fiction." Daphnis 45, no. 3-4 (July 18, 2017): 563–77. http://dx.doi.org/10.1163/18796583-04503011.
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In epic poems of the seventeenth century written in German about the Thirty Years’ War, knowledge is set in motion, especially in the context of genre change and shifts in the generic tradition as well as in the conflictive area between fiction and non-fiction. The generic adjustments are partially caused by the transfer of a Greek and Latin genre model into German. This is illustrated by two examples, Martin Opitz’s Trost-Getichte in Widerwärtigkeit des Krieges, first published in 1633, and Georg Greflingerʼs Der Deutschen Dreißig-Jähriger Krieg, published in 1657.
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Manuwald, Gesine. "‘FACT’ AND ‘FICTION’ IN ROMAN HISTORICAL EPIC." Greece and Rome 61, no. 2 (September 12, 2014): 204–21. http://dx.doi.org/10.1017/s0017383514000047.
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In the second half of the third centurybceRoman historical epic (notably that written by Naevius and Ennius) and Roman historiography (notably that of Fabius Pictor) came into being at roughly the same time. Whether and in what ways these two literary forms may have mutually influenced each other in their early development is a matter of debate, but it is obvious that there are both similarities and a generic difference, demonstrated by the use of prose or verse respectively and the accompanying style. Such characteristics enable a distinction between different types of narrative, even if the same events in Roman history are covered.
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Khomushku, M. R. "The female image of Dangyna in the linguistic picture of the Tuvan world." Vestnik of North-Eastern Federal University History Political Science Law 21, no. 2 (July 1, 2024): 211–27. http://dx.doi.org/10.25587/2222-5404-2024-21-2-211-227.
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The article is devoted to the linguocognitive analysis of the image of Dangyna in the linguistic picture of the Tuvan world. The aim of the article is to analyse the image of Dangyna in the linguistic worldview of the Tuvan people, which has undergone transformations from ancient folkloric representations to fiction and modern reality. Dangyna is the daughter of the Khan, the bride of the main hero in epic works. In the popular perception of the Tuvinians, Dangyna appears as the ideal young woman, a companion of the hero, combining beauty, kindness and, despite her young age, intelligence, inner strength and flexibility of character. Thus, the image of Dangyna reflects not only a fragment of the aesthetic vision of the Tuvan world, but also the social role of a woman, an assistant, an adviser to the hero, whose extraordinary wisdom allows her to inspire a man to military exploits, while remaining in the background of epic events. The image of the Dangyna in the traditional ethical and moral representations of the Tuvinians has feminine virtues, which are most widely revealed in epic and fairy-tale folklore, transformed into myths. In modern works of fiction, the image of Dangyna manifests itself in two ways: as a national standard of comparison for literary heroines; as a special character in fiction. The results of an associative experiment and observation of contemporary events related to the spiritual and cultural values of Tuvan society show that modern ideas among speakers of the Tuvan linguistic culture mainly preserve ancient ideas about femininity in the image of Dangyna. The result of the analysis showed that the evaluative component of the image helps to reveal the peculiarity of this image. Dangyna's appearance and inner qualities complement each other, creating an ideal image of femininity in the popular imagination. The study is based on a linguocognitive analysis of Tuvan epics, fairy tales, non-fabulous prose, Tuvan fiction, the results of an associative experiment, and observations of modern social phenomena.
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Plastina, Sandra. "Mythological Epic and Chivalric Fiction in Moderata Fonte's and Lucrezia Marinella's Poems." Análisis. Revista de investigación filosófica 4, no. 2 (January 5, 2018): 277–95. http://dx.doi.org/10.26754/ojs_arif/a.rif.201722476.
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This article focuses on Lucrezia Marinella’s L’Enrico, ovvero Bisanzio acquistato (1635) and Moderata Fonte’s Tredici canti del Floridoro (1581). Marinella’s epic, or ‘heroic,’ poem belongs to a genre not well represented in women’s writings, while Fonte’s work is the first original chivalric poem written by a woman, an Italian woman who grappled with epic and chivalric romance. These genres were so elite and laborious that they discouraged all but the most enterprising writers of either sex. The female warriors of epic, the women’s aptitude for martial arts, and the increasing openness to female involvement in battle correspond to a shifting emphasis in warfare from physical force to mental agility and astuteness. No attempt will be made here at a comprehensive treatment; rather the focus of the article will be on the question of how women in this period responded to what might be broadly termed the gender politics of chivalric works.Keywords: Moderata Fonte, Lucrezia Marinella, Gender roles, Gender attitudes, Fiction, Epic, force (physical and mental)
Dissertations / Theses on the topic "Epic fiction"
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Freeman, Pamela. "Blood ties: and 'Kings. what a good idea' : monarchy in epic fantasy fiction." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2006. http://hdl.handle.net/2100/403.
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The thesis Blood Ties is a novel in the epic fantasy tradition. It is intended to be the first of The Castings Trilogy. A synopsis of the second and third books of the trilogy is also included. The exegesis, “‘Kings. What a good idea.’: Monarchy in epic fantasy fiction”, examines some of the reasons writers from democratic countries may choose to use monarchical political structures in epic fantasy novels. It considers evidence from folktale research, primate behavioural studies, literary traditions, both ancient and modern, and the effect of religious doctrine and history on the symbolic role of the monarch. Folktales are found to have had very little effect on the role of kings in epic fantasy, which has been influenced by a combination of literary traditions, including the Arthurian saga and the historical romances of Sir Walter Scott. More profoundly, the meaning of the king’s role has been influenced by the Christian mythos in two ways: the king is a Christ surrogate who sacrifices his own safety for the good of the body politic and, in being successful against evil, restores a version of Paradise/Eden for his people.
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Crawford, Karie. "Turbulent times : epic fantasy in adolescent literature /." Diss., CLICK HERE for online access, 2002. http://contentdm.lib.byu.edu/ETD/image/etd41.pdf.
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Huggins, Paul Alexander. "Great Conversations: Systems, Complexity, and Epic Encyclopedic Narratives in Contemporary American Fiction 1960-2007." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/dissertations/726.
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Encyclopedic narratives, as conceptualized by Edward Mendelson, "attempt to render the full range of knowledge and beliefs of a national culture, while identifying the ideological perspectives from which that culture shapes and interprets its knowledge." The development of system paradigms in the sciences and humanities have shown that the complexity of the modern world-system preclude any such move towards totality. From this ideological shift in contemporary American culture, it follows that recent encyclopedic narratives incorporate these new dynamic perspectives. By applying systems paradigms to works by John Barth, Richard Powers, Annie Proulx, and Junot Díaz, the emergence of the epic encyclopedic narrative as a distinct form signifies the necessity of diversity, ambiguity, and noise in the operation of systems and the production of knowledge. Rather than presenting totalized representations of a culture, epic encyclopedic narratives represent the dynamic modern world-system by emphasizing the presence of the emergent phenomena, recursive symmetry, and noise that are central to complex systems theories. The work Ludwig von Bertalanffy, Immanuel Wallerstein, and Ilya Prigogine, amongst others, posits that complexity spurs the development of increased order and organization in socio-cultural systems; epic encyclopedic novels incorporate this philosophy by subverting hegemonic ideologies (i.e., mythopoetic narratives) by introducing alternative and marginalized discourses that disrupt the status quo. The goal of an epic encyclopedic narrative is to revise or complicate the readers' perception of reality through discursive instruction. As such, these novels purposively introduce noise, such as data-dense passages of unfamiliar discourses, within the narrative to force the reader into discovering contexts needed to derive understanding. Ultimately, epic encyclopedic narratives argue that systems will become corrupted and stagnant if marginalized elements are not synthesized into a heterogeneous whole that recognizes individuality.
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Morley, Catherine. "The quest for epic in contemporary American fiction : John Updike, Philip Roth, and Don DeLillo." Thesis, Oxford Brookes University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427126.
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Boubaker, Donia. "Ecriture fictionnelle et traitement de l'histoire dans l'oeuvre de Laurent Gaudé." Thesis, Cergy-Pontoise, 2017. http://www.theses.fr/2017CERG0888.
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Auteur de l'extrême contemporain, Laurent Gaudé est à l'origine d'une œuvre littéraire riche et hétérogène qui plonge dans l'Histoire des hommes de l'Antiquité à nos jours : personnages historiques illustres (Alexandre le Grand, Frédéric II), conflits et catastrophes humaines (Grande Guerre, guerre d'Algérie, etc.), catastrophes naturelles (séismes, ouragan Katrina) composent ainsi une mosaïque d'(H/h)istoires qui affirment l'importance de l'être et chantent sa résistance à des univers de violence aliénants. Entre tragique et épique, l'œuvre de Laurent Gaudé est, de ce fait, une mise en récit de la crise humaine. Interrogeant l'Autre, l'Ailleurs et l'Autrefois, soulignant également la "fraternité de destins" des personnages gaudéens, le traitement fictionnel de l'Histoire s'inscrit dans une création littéraire humaniste qui redonne toute sa force à la fonction empathique de la littérature. Notre travail de recherche consiste à interroger cette odyssée temporelle, ce voyage à travers le temps et l’espace, pour comprendre les procédés de la mise en fiction de l’Histoire et sa dimension humaniste dans l’œuvre de Laurent GaudéLaurent Gaudé is an author from the Contemporary Extreme period. He creates a rich and diverse literary work which delves into the history of humanity from the Antiquity to these days. It summons famous historical figures like Alexander the Great, human conflicts and disasters (The Great War, Algerian War of Independence, etc.) and natural disasters (earthquakes in Italy and Haïti, hurricane Katrina). All these events draw a mosaic of (hi-)stories that affirms the importance of human beings and sings the resistance to alienating universes of violence. Therefore, the work of the novelist is a storytelling of human crisis which allies epic with tragic. By highlighting the "broterhood of destinies" of gaudeans characters, and questioning in the same time the Other, the Elsewhere and the Old times, fictional treatment of history by Laurent Gaudé is a part of a humanist literary creation which gives to the literature's empathetic function all its power. Our research involves questioning this temporal odyssey, this journey through time and space, to understand the processes of the fictionalization of history and its humanistic dimension in the work of Laurent Gaudé
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Diallo, Amadou Oury. "Histoire et fiction, contextes, enjeux et perspectives : récits épiques du Foûta Djalon (Guinée)." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2011.
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La présente étude questionne les rapports complexes de la fiction et de l’histoire, les retentissements du contexte, le poids des enjeux historiques, idéologiques, axiologiques dans l’épopée orale. Dans l’Épopée du Foûta-Djalon, la fiction narrative relie les faits réels et les faits fictifs dans un élan de construction d’une histoire mémorable où la vérité épique élève au premier plan la figure héroïque (Abdoul Rahmâne) au détriment de la figure historique (Almâmy Oumar) et où certains faits, réaménagés et réactualisés font émerger les mythes fondateurs investis de nouveaux sens. Le conflit qui opposa en 1867 Peuls et Mandingues rejaillit dans le récit sous forme d’une opposition de valeurs, que la vision épique, ambivalente, accentue au moyen d’une dualité contrastée : Peuls vs Mandingues, Musulmans vs Animistes. Du fait de sa vocation d’exaltation des valeurs fondatrices, l’épopée se distingue de l’Histoire dont elle se nourrit mais qu’elle infléchit dans le sens d’un drame qui flatte et réveille la conscience collective sans cesse invitée à relever les défis du présent. Outre le ton idyllique ou encomiastique, l’épopée prend aussi des allures satiriques en faisant une critique sans complaisance des vicissitudes et des drames de l’Afrique contemporaine (L’enfant prodige). L’analyse de la composition, de la structure et de la performance narrative révèle une esthétique fondée sur le « style formulaire », la narration épisodique et une forte « épicisation » rhétorique, couronnée par les effets de l’accompagnement musical qui agrémente l’écoute et traduit en sons les thèmes essentiels: This work questions the complex relationships between fiction and history, the effects of contextual background, the weight of historical, ideological, and axiological issues in oral epic. In Épopée du Foûta-Djalon, the narrative fiction links real and fictional facts in a dynamic momentum to construct a memorable story, one in which epic truth enhances the heroic figure – Abdul Rahmane – at the expense of the historical figure – Almâmy Oumar -, and one in which some facts have been rearranged and updated, and thus bring forth the founding myths which are endowed with whole new meanings in the process. The conflict which opposed Fulah and the Mandinka people in 1867 is represented in the story in the form of adversary values which the bivalent, epic vision reinforces in a set of contrasting dualities: Fulah versus the Mandinka people, Muslims versus Animists. Because it aims to exalt founding values, the epic story differs from, though is inspired by, History, the essence of which is shifted to fit a drama meant to flatter and awaken the collective conscience endlessly urged to meet today’s challenges. Apart from its idyllic and eulogistical tone, the epic also takes on satirical airs through a thorough criticism of the vicissitudes and dramas of contemporary Africa (L’enfant prodige). The analysis of the narrative composition, structure and performance reveals an aesthetics based on what is called “the formulaic style”, the episodic narrative structure and a strong rhetorics of “epicisation”. This aesthetics culminates in the effects of the musical accompaniment which embellishes the listening of this oral epic and translates the main themes into sounds
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Ntanou, Eleni. "Ovid and Virgil's pastoral poetry." Thesis, University of Manchester, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.748040.
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This thesis explores the generic interaction between Virgilian pastoral and Ovidian epic. My primary goal is to bring pastoral, substantially enriched by important critical work thereupon in recent decades, more energetically into the scholarly discussion of the Metamorphoses, whose multifaceted generic interplay is often limited to the study of its interaction with elegy. Secondarily, I hope to show how the Metamorphoses plays a pivotal role in the re-reading of the Eclogues. The fact that both epic and pastoral are written in hexameters facilitates the interaction between the two and enables the Metamorphosesâ repeated short-term transformations into pastoral poetry, which often end abruptly. I will try to show that although the engagement with pastoral occasionally appears to threaten the epic code of the poem, pastoral is ultimately integrated in the Metamorphosesâ generic self-definition as epic and partakes in Ovidâs dynamic recreation of the genre. My primary method is that of intertextuality, resting on the premise that all readings of textual relationships, as the one suggested here, are acts of interpretation. I also explore pastoral in the Metamorphoses intratextually by joining together various pastoral episodes of the Metamorphoses and arguing how similar thematics are replayed and rewritten throughout the poem. The main perspectives from which I examine pastoral in the Ovidian epic are those of fiction and the development of the thematics of the Golden Age. In the first part, I explore instances of song performances in the Metamorphoses, i) musical contests, ii) solo performances and iii) laments, in which I argue that pastoral is extensively at work. I suggest that the Metamorphoses employs pastoralâs overriding generic self-obsession and its tendency to create its own fiction internally, significantly through the means of singing performance and repetition. I argue that the mythopoetic means of pastoral are applied and reworked in the Metamorphoses for the creation of its epic world and heroes. In the second part, I explore the repeated occurrences of the Golden Age theme in the Metamorphoses and suggest that the remarkable engagement with pastoral is employed both to invite a political reading of the Golden Age, as set by Eclogue 4 and its post-Eclogues occurrences, and to recap the introversion of the pastoral enclosure and its seclusion from politics.
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Freeland, Debra Jeanette. "ODYSSEUS RE-IMAGINED: EXPERIMENTAL FICTION RESPONDS TO THE CALL OF THE ANCIENTS- TECHNOLOGY AND SCIENCE FULFILL CLASSIC EPIC DEVICES IN CLOUD ATLAS AND THE SILENT HISTORY." CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/929.
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The timeless, lyrical poem of Ancient Greece, revered for its grand battles, supernatural forces and legendary heroes is a fading memory of a forgotten past. Many critics, scholars, and authors like Theodore Steinberg concur, “. . . “[the] twentieth-century epic” is oxymoronic, the epic died with Milton” (10). Yet, the echoes of the past resound in the present as the characteristics and literary conventions of the Homeric epic are easily found in contemporary genres, including fantasy, sci-fi, and dystopian fiction. What has emerged is not a repeat of the past, but something different, something new. The influence of science and technology is apparent even to the most relaxed reader. Contemporary writers have adapted forms of technology, communication, and modern science to perform as the traditional literary devices of the epic genre.
In his book, Epic in American Culture, Christopher N. Phillips remarks that ,”Epic did not die with Milton . . . it developed new power and shape. . .” as writers dismissed the traditional formats to allow for artistic growth advancing the use and understanding of epic, “. . . the new insights, literary and cultural history that emerge once synchronic, monolithic definition of form are abandoned-the surprises in the archive of American literary engagements with the epic form are myriad” (4,10). This release of boundaries allowed space to create, one that intersects with specific moments in time and sociocultural influence, allowing the inclusion of modern understanding and experiences. I found a kernel in Catherine Morley’s book, The Quest for Epic, where she examines the influence of the epic on the American novel, and the means with which writers continue to approach and engage epic , “. . . compulsively and consciously appropriated and reinvented aspects of the antique and the modern European epic traditions to advance their own aesthetic designs” (13). Furthering the writer’s vision is only part of the epic’s adaptation, and the formulation of other genres, including sci-fi and fantasy, provide many reference points in its long evolutionary cycle. Why the need for new genres? What did writers have to address to warrant these spaces? Technology was one answer. Technological advancements placed a demand upon writers, stirring the authors to push against canonical boundaries. The cultural importance of the mythology surrounding the epic is infused, and the result is an expanded, (dare I say new?), technology rich, contemporary epic. Same genus, different species.
So, what does this new cutting-edge insertion look like? How does it function? What role does technology play in contemporary figuration's of the epic? How does modern science perform in ancient conventions? Can they maintain the ethos of the traditional Homeric epic? This thesis will investigate through literary scholarship and theory, Homer’s classics, Iliad and The Odyssey, and two contemporary novels, David Mitchell’s Cloud Atlas and The Silent History by Eli Horowitz, Matthew Derby, and Kevin Moffett.
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Luis, Raphaël. "La carte et la fable. Stevenson, modèle de la fiction latino-américaine (Bioy Casares, Borges, Cortázar)." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE3040/document.
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La reconnaissance internationale de la littérature latino-américaine au XXe siècle a souvent été interprétée par la critique comme le résultat de l’influence du Modernisme, notamment du fait de la lecture, par les auteurs latino-américains, de James Joyce et William Faulkner. Certains auteurs du continent, pourtant, suivent des stratégies différentes : Borges, Bioy Casares et Cortázar utilisent les fondements de la littérature de genre (fantastique, policier, horreur, roman d’aventures) pour opérer une reconfiguration des équilibres entre le champ littéraire et les injonctions politiques, nationales et culturelles. Dans cette optique, le travail de Robert Louis Stevenson sur les publics populaires et le croisement des genres peut être vu comme une référence idéale, du fait de sa complexité et de son souci constant d’expérimentation. Cette étude a donc pour objectif de proposer une comparaison de ces stratégies, en utilisant les outils conceptuels et théoriques de la littérature mondiale. Stevenson, de cette manière, pourra apparaître comme un modèle herméneutique pour penser et résoudre certains dilemmes géographiques et littérairesThe international recognition of Latin American literature during the twentieth century has been interpreted by critics as a result of a Modernist influence, mainly through the reading of James Joyce and William Faulkner. Some Latin American writers, though, pursued other strategies : Bioy Casares, Borges and Cortázar used the foundations of popular literature (fantastic, detective or horror literature, adventure novel) to reconfigure the relations between the literary field and the political, national and cultural injonctions. For that purpose, Robert Louis Stevenson’s work on popular audience and generic hybridity at the end of the Victorian era can be seen as an ideal point of reference, thanks to its complexity and constant experimentation. The aim of the present study is to analyse this process using world literature’s conceptual and theorical tools. Stevenson can thus be seen as a model to think and resolve some geographical and literary dilemmas
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Whittle, Maria Karen. "Subverting Socialist Realism: Vasily Grossman's Marginal Heroes." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/pomona_theses/70.
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Soviet writer Vasilii Grossman has been renowned in the West as a dissident author of Life and Fate, which multiple sources, including The New York Times have called "arguably the greatest Russian novel of the 20th century." Grossman, however, was not a dissident, but an official state writer attempting to publish for a Soviet audience. Grossman's work was criticized by Soviets as being "too Jewish", while Jewish scholars have called it "not Jewish enough." And, despite his modern critical acclaim, little scholarship on Grossman exists. In my thesis, I explore these paradoxes. I argue that Grossman attempts to reinterpret traditional state ideas of Sovietness into a more inclusive, democratic version by creating heroes from traditionally marginalized groups. To do this, he reinterprets and inverts traditional tropes of the Socialist Realist genre. Genric limitations on his worldview, however, prevent this vision from being completely realized in the course of his work. I trace Grossman's work from his early short fiction to his Khruschev era novels and show how this trope develops during his career as a Soviet writer and citizen.
Books on the topic "Epic fiction"
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Matson, Morgan. Amy & Roger's epic detour. New York: Simon and Schuster Books for Young Readers, 2010.
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Adams, John Joseph. Federations: Vast, epic, interstellar. Rockville, Md: Prime, 2009.
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Laxness, Halldór. Independent people: An epic. New York: Vintage International, 1997.
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ill, Gilpin Stephen, ed. The classroom: The epic documentary of a not-yet-epic kid. New York: Disney Hyperion, 2012.
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Mellom, Robin. The classroom: The epic documentary of a not-yet-epic kid. New York, NY: Scholastic, 2012.
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Adams, John Joseph. Epic: Legends of Fantasy. Edited by John Joseph Adams. San Francisco: Tachyon, 2012.
Find full textBook chapters on the topic "Epic fiction"
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Mookerjee, Robin. "Enemies of the State: The Atavistic Mock Epic." In Transgressive Fiction, 15–44. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137341082_2.
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King, Jeannette. "The Female Epic: Antonine Maillet, Pélagie: The Return to Acadie." In Adventurous Women in Contemporary American Historical Fiction, 91–106. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94126-0_7.
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Suvin, Darko. "The SF Novel as Epic Narration: For a Fusion of ‘Formal’ and ‘Sociological’ Analysis." In Positions and Presuppositions in Science Fiction, 74–85. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-08179-0_6.
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Perrin, Tom. "The Second-Greatest Stories Ever Told: Middlebrow Epics of 1959 and the Aesthetics of Disavowal." In The Aesthetics of Middlebrow Fiction, 91–108. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137523952_5.
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Payen-Variéras, Evelyne. "The Theory of Monopoly and the Crafting of the Modern Epic: Frank Norris’s The Octopus as Populist Drama?" In The Fictions of American Capitalism, 195–208. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36564-6_10.
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Verma, Harsh. "Leadership and Dharma: The Indian Epics Ramayana and Mahabharata and Their Significance for Leadership Today." In Fictional Leaders, 182–201. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137272751_13.
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"SCIENCE FICTION AS EPIC." In Science Fiction, 108–25. Routledge, 2013. http://dx.doi.org/10.4324/9781315015965-13.
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Parrinder, Patrick. "Science Fiction as Epic." In Science Fiction: Its Criticism and Teaching, 88–105. Routledge, 2021. http://dx.doi.org/10.4324/9781003160373-6.
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Bakhtin, M. M. "Epic and Novel." In Essentials of the Theory of Fiction, 43–60. Duke University Press, 2005. http://dx.doi.org/10.1215/9780822386599-005.
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BAKHTIN, M. M. "Epic and Novel." In Essentials of the Theory of Fiction, 43–60. Duke University Press, 2005. http://dx.doi.org/10.2307/j.ctv11cw0mg.8.
Full textConference papers on the topic "Epic fiction"
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Li, Guode. "The Fiction of the Epic of “Janger”." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.274.
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Sayitqulov, Ilhom. "THE EPIC INTERPRETATION OF THE IMAGE OF AMIR TEMUR IN "TEMURNOMA"." In THE PLACE OF THE ANCESTORS IN THE DEVELOPMENT OF WORLD MILITARY WORK AND MILITARY ART: AS AN EXAMPLE OF LITERARY AND HISTORICAL SOURCES. Alisher Navo'i Tashkent state university of Uzbek language and literature, 2024. http://dx.doi.org/10.52773/tsuull.conf.2024.4.5/jicv7333.
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The article shows the evolution of the character of Amir Temur from a historical figure to an epic hero in the "Temurnoma" war novel. In this process, Amir Temur's life path, military potential and activities, military skills, physical strength and battle motifs were created on the basis of folklore traditions. Also, the characteristics of the system of entrepreneurial ideas in the work are compared with the "alpine system" that forms the basis of heroic epics in folklore. Based on the analysis, the features of the character "Sahibqiran" in fiction are highlighted.
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Ершова, Н. А. "“TEMPLE OF THE RUSSIA’S HEROES FAME”. HEROES IN HISTORIOGRAPHY AND ARTISTIC CULTURE OF THE EARLY 19TH CENTURY." In Образ героя. От прошлого к настоящему. Crossref, 2023. http://dx.doi.org/10.54874/9785605054252.2023.1.10.
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Представление о героическом в российской истории в начале XIX в. происходило благодаря совместным устремлениям историков, писателей, художников. Эпически-возвышенные характеристики исторических персонажей соответствовали определенным каноническим представлениям о герое истории, не предполагавшем противоречивости. Пример сочинения П. Ю. Львова раскрывает особенности беллетризации деятельности героев российской истории, создания словесных монументов, готовых для воплощения скульптором или художником. Творчество Н. М. Карамзина, всецело разделявшего такой подход, свидетельствовало о продвижении по пути объективности и критики в истории. Idea of a heroic personage in Russian history of the early 19th century had been forming in common aspiration of the historians, writers, artists. Epic and sublime images of the historic figures appeared in accordance with certain canonic rules of the heroes’ representation. P. Lvov’s book is an example of historic popular fiction with the heroes presented like verbal monuments ready to be depicted by a sculptor or painter. Great Russian historian N. Karamzin who contributed to this way of commemoration, in his historical writings moved forward in direction of the historical objectivity and critics.