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1
Petroșel, Daniela. "Five Stories on Love and Technology." Messages, Sages and Ages 3, no. 2 (November 1, 2016): 36–42. http://dx.doi.org/10.1515/msas-2016-0013.
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Abstract This paper analyses Florina Ilis’s novel Cinci nori colorați pe cerul de răsărit while including it in the wider context of posthumanities. Since the writer is also the author of a theoretical study on cyberpunk fiction, I thought it adequate to use posthumanities as a primary tool. Some of the prevalent themes in the text are: the primacy of information over matter, the alteration of social or personal practices and the humanisation of technology.
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Malcolm, David. "“It’s a Pagan Communion, and We Are the Priests”: Plenitude in Michèle Roberts’s Short Fiction." Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre 6, no. 2 (July 14, 2022): 20–30. http://dx.doi.org/10.18778/2353-6098.6.09.
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Roberts’s short stories have not received extensive scholarly attention, yet they make up a substantial part of her oeuvre. Her output of short stories is configured in a particular and coherent way, one that overlaps with her novels, but is consistent in itself. This configuration is summed up by the term plenitude. Abundance is noted in: genre and mood—in genre shifts and in a mixture of the comic and the dark; characters and settings—the range of female figures presented in the short fiction, and of time and place settings; character morphology—the recurrence of motifs of emotional excess, of longing, desire, and passion, in the shaping of characters (gender shifting is also relevant here); and language—the recurrence of motifs of excess on the level of language, the list, metaphoricity and self-referentiality, and the interpenetration of a variety of discourses. In her short fiction, Roberts conflates the spiritual and sensual, meals and wild gardens, the dark and the light. The plenitude of her created world and its language are entries to redemptive or consolatory experiences.
3
Klebes, Martin. "If Worlds Were Stories." Konturen 2, no. 1 (October 11, 2010): 124. http://dx.doi.org/10.5399/uo/konturen.2.1.1346.
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The metaphysics of possible worlds proposed by the analytic philosopher David K. Lewis offers an account of fictional discourse according to which possible worlds described in fiction are just as real as the actual world. In an inspired reversal of the analysis of literary fictions by such philosophical means, the French poet Jacques Roubaud makes direct reference to Lewis’ controversial ontological picture in two cycles of elegies composed between 1986 and 1990. Roubaud’s poems take up the idea of possible worlds as real entities, and at the same time they challenge the notion that philosophy could offer an account of fiction in which the puzzling collision of the possible with the impossible that fundamentally characterizes the phenomenon of fictionality would be seamlessly unravelled. For Roubaud the lyrical genre of the elegy and its thematic concern with love and death stands as a prime indicator of the quandary that results from our inability to solve paradoxes of modality such as those raised by Lewis in strictly theoretical terms.
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Mendrofa, Melania Priska. "READING FICTION FOR BETTER LIFE IN LUIS SEPULVEDA’S THE OLD MAN WHO READ LOVE STORIES." Elite English and Literature Journal 7, no. 2 (December 10, 2020): 125. http://dx.doi.org/10.24252/10.24252/elite.v7i2a2.
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Reading is therapeutic. This statement reflects reading as a technique to heal people’s mental problems and increase self-ability. Researches prove that reading is not only for entertainment, but also a tool to solve problem in people’s life. Meanwhile, the question comes up in the term of what kind of book suggested to read. In Luis Sepulveda’s The Old Man Who Read Love Stories, it is implied that reading fiction helps the old man, Antonio, to deal with his old age and loneliness. Reading a love story enlightens the old man’s mind and feelings. Life is overloaded by complex problems, such as war, poverty, gender problem, and nature destruction. People become sentimental to life; there is no happy ending story in life, only death. Meanwhile, Sepulveda sees fiction as the rescuer for a problematic life. This paper will discuss why people read fiction and the effects of reading fiction for someone’s life. The positive impacts of reading fiction for mental health and self-transformation are supposed to encourage people to start a new habit of reading for a better life.
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Abdullah, Muhammad. "Love, matrimony and sexuality: Saudi sensibilities and Muslim women's fiction." Pakistan Journal of Women's Studies: Alam-e-Niswan 26, no. 2 (December 19, 2019): 19–30. http://dx.doi.org/10.46521/pjws.026.02.0005.
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All those desires, discriminations, success stories, and confrontations that otherwise might not have seeped into mainstream discourses are subtly said through the stories that mirror Arab women‟s lives. Girls of Riyadh is a postmodern cyber-fiction that delineates subjects we usually do not get to hear much about, i.e. the quest of heterosexual love and matrimony of young Arab women from the less women-friendly geography of Saudi Arabia. Though in the last two decades the scholarship on alternative discourses produced by Muslim women have been multitudinous, there is a scarcity of critical investigations dealing with creative constructions of postfeminist, empowered Muslim woman, not battling with patriarchal power structures, but negotiating aspects that matter most in real life: human associations and familial formations. This paper engages with the categories of love, marriage, and sexuality, drawing upon the lives of four educated, successful, „velvet class‟ Saudi women. The significance of this study is linked with carefully challenging some of the stereotypes about Arab women as victims of forced marriages and their commonly perceived discomfort with love at large. The study reveals that it is men who need to “man up” against cultural conventions since women are increasingly expressive in their choices and brave enough to face the consequences audaciously.
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Abdullah, Muhammad. "Love, matrimony and sexuality: Saudi sensibilities and Muslim women's fiction." Pakistan Journal of Women's Studies: Alam-e-Niswan 26, no. 2 (December 19, 2019): 19–30. http://dx.doi.org/10.46521/pjws.026.02.005.
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All those desires, discriminations, success stories, and confrontations that otherwise might not have seeped into mainstream discourses are subtly said through the stories that mirror Arab women‟s lives. Girls of Riyadh is a postmodern cyber-fiction that delineates subjects we usually do not get to hear much about, i.e. the quest of heterosexual love and matrimony of young Arab women from the less women-friendly geography of Saudi Arabia. Though in the last two decades the scholarship on alternative discourses produced by Muslim women have been multitudinous, there is a scarcity of critical investigations dealing with creative constructions of postfeminist, empowered Muslim woman, not battling with patriarchal power structures, but negotiating aspects that matter most in real life: human associations and familial formations. This paper engages with the categories of love, marriage, and sexuality, drawing upon the lives of four educated, successful, „velvet class‟ Saudi women. The significance of this study is linked with carefully challenging some of the stereotypes about Arab women as victims of forced marriages and their commonly perceived discomfort with love at large. The study reveals that it is men who need to “man up” against cultural conventions since women are increasingly expressive in their choices and brave enough to face the consequences audaciously.
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Zakharova, Natalia V. "Love Fiction in China in the Second Decade of the 20 th Century: from Sentiments to Duck-Lovebirds and Butterflies." Studia Litterarum 6, no. 1 (2021): 88–110. http://dx.doi.org/10.22455/2500-4247-2021-6-1-88-10.
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The article analyzes the evolution of Chinese love fiction in the first years that followed the 1911 Xinhai revolution. The article focuses on literature representing “couples in love,” namely fiction about “duck-lovebirds and butterflies,” an invariant of the “love prose” genre. The authors of these works both continued the traditions of the previous literature and at the same time attempted at modernizing the genre. Chinese literary scholars have controversial opinions about this genre and its invariants. Controversies concern the literary movement to which these works should be attributed, and the place of the genre in the history of Chinese literature. The founder of modern Chinese literature, Lu Xin, gave a negative assessment of this genre. Modern critics agree that fiction about “duck-lovebirds and butterflies” has poor aesthetic merits yet they also argue that the authors “created an objective picture of reality, expressed different views and opinions.” By the 1920s, the vogue for writing novels and short stories in the style of “duck-lovebirds and butterflies” had waned. This genre however gained a new surge in popularity in the mid-1940s thanks to Zhang Eileen who modernized Chinese love fiction.
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Zakharova, Natalia V. "Love Fiction in China in the Second Decade of the 20 th Century: from Sentiments to Duck-Lovebirds and Butterflies." Studia Litterarum 6, no. 1 (2021): 88–103. http://dx.doi.org/10.22455/2500-4247-2021-6-1-88-103.
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The article analyzes the evolution of Chinese love fiction in the first years that followed the 1911 Xinhai revolution. The article focuses on literature representing “couples in love,” namely fiction about “duck-lovebirds and butterflies,” an invariant of the “love prose” genre. The authors of these works both continued the traditions of the previous literature and at the same time attempted at modernizing the genre. Chinese literary scholars have controversial opinions about this genre and its invariants. Controversies concern the literary movement to which these works should be attributed, and the place of the genre in the history of Chinese literature. The founder of modern Chinese literature, Lu Xin, gave a negative assessment of this genre. Modern critics agree that fiction about “duck-lovebirds and butterflies” has poor aesthetic merits yet they also argue that the authors “created an objective picture of reality, expressed different views and opinions.” By the 1920s, the vogue for writing novels and short stories in the style of “duck-lovebirds and butterflies” had waned. This genre however gained a new surge in popularity in the mid-1940s thanks to Zhang Eileen who modernized Chinese love fiction.
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D Singh, Dr Madhu. "The Craft of Short Story : A Critique of The Habit of Love." SMART MOVES JOURNAL IJELLH 9, no. 7 (July 28, 2021): 130–38. http://dx.doi.org/10.24113/ijellh.v9i7.11130.
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Author of several works of fiction and non fiction , Namita Gokhale is a well known name in the field of Indian Writing in English not only as a writer but also as a publisher and as a founder director of Jaipur Literature Festival . Her short stories published under the title The Habit of Love ( 2012) are remarkable for adding a new dimension to the craft of short story writing.
The Habit of Love is a collection of thirteen short stories encapsulating the myriad experiences of their female protagonists who lay bare before the readers their inner world – their desires , passions, fear , anxiety, happiness, anger , ennui and sadness – in kaleidoscopic lights. Based mainly on the themes of love, lust and death , these stories are interwoven with the motifs of time, memory , dreams travels and mountains. The writer frequently shifts from present to past or vice versa , making several technical innovations like unexpected , abrupt endings; use of startling similes/ metaphors; choice of queer , quirky titles for these short stories. The use of the technique of first person narrative in many of these stories imparts more intimacy to them as if the narrator is engaged in a tete- a- tete with her readers. Gokhale emphasizes the importance of a convincing narrative voice in making a short story effective. In response to a question as to which is the most critical part of a story: the storyline, the characters or the storytelling, she says, “Finding the right voice that convincingly tells the story, whether in first person or otherwise is the most crucial part.”( Recap: Twitter chat with Namita Gokhale,TNN,22 March 2018 )
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Jamar, Steven D., and Christen B’anca Glenn. "When the Author Owns the World." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (March 2014): 959–78. http://dx.doi.org/10.37419/lr.v1.i4.7.
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Fan fiction is amateur writing that imaginatively reinvents a work in pop culture while maintaining the identifiable aspects of the preexisting work. Fans of various books, films, and television series write their own versions of the stories and post them online in fan fiction communities. Fan fiction as practiced today is a way for fans to creatively express themselves and become integrated into the story and world they love. The stories range from highly derivative works, where relatively few plot points are changed, to entirely new plot lines using the same world and characters of the original, underlying work. Some provide backstories about existing characters, and some are more in the nature of sequels. Some are quite original works more in the nature of “inspired by” than “derived from.”
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Nosenko-Stein, Elena E. "The Weight of Stigma: Representation of a Disabled Person in Russian Contemporary Mass Fiction." Koinon 2, no. 2 (2021): 48–68. http://dx.doi.org/10.15826/koinon.2021.02.2.015.
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Another corporality has always been perceived differently in various societies in each epoch. Corporality — body and techniques of the body — of a disabled person was usually considered in archaic cultures in a negative perspective. Such a notion existed in European societies in Middle Ages. Since the Renaissance persons with impairments have appeared in art and fiction. Russian mass consciousness has retained a lot of negative stereotypes and labels concerning disabled people and their bodies. These notions and prejudices are often represented in mass fiction — detective stories, love stories, etc. On these pages, the author attempts to anthropologically analyze representations of disabled bodies and techniques of disabled bodies in contemporary Russian detective stories. The author has selected the texts of trendy women’s detective stories of the last two decades for this purpose. Analysis of these stories allows us to conclude that the medical model of disability, which is still widespread in the Russian society, results in profound stigmatization of disability and opposition “disabled person’ — ‘abled person,’ ‘worse people’ — ‘better people.’ Disabled people have worse corporality, worse futures, and worse abilities. Mass fiction is popular, and it not only represent prejudices and fears dealing with impaired persons but also promotes these stereotypes and thus impact on mass consciousness.
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Puzyreva, Olga Grigoryevna. "LOVE STORIES IN THE AUTHOR'S EDUCATIONAL FICTION TEXT OF THE TEACHER FOR A FOREIGN AUDIENCE." EurasianUnionScientists 1, no. 2(71) (2020): 45–66. http://dx.doi.org/10.31618/esu.2413-9335.2020.1.71.582.
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The article describes the interpretation of the theme of love in the author's educational fiction text of the teacher for a foreign audience at the level of Russian language proficiency B1-C1 as a key value-semantic concept of the Russian mental-language picture of the world. The author presents psychological, pedagogical, methodological and philosophical arguments for the need to include this topic in the proposed cycle of short stories. Special attention is paid to how the speech and "creative-motor " (S. V. Dmitriev) dialogue of the situation of love is interconnected with the surrounding socio-cultural space.
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Correia, Alda. "Regionalist short fiction as humble fiction." Short Fiction in Theory & Practice 10, no. 2 (October 1, 2020): 161–72. http://dx.doi.org/10.1386/fict_00025_1.
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The representation of the world cannot be separated from its spatial context. Making the effort to understand how space and landscape influence short stories and their structure, and are represented in them, can help us to make sense of the role of this formerly underestimated subgenre, its social and cultural connections and dissonances, its relation to storytelling and popular narratives, and its alleged low importance. How does the short story genre relate to regional and landscape literature? Can we see it as humble fiction and, in this case, how does the humbleness of this subgenre play a part in the growth of the modernist short story? The oral, mythic and fantastic sources of the short story, together with the travel memoir tradition that brought the love for landscape description and the interest in the narration of brief and easily publishable episodes of local life, helped to consolidate a connection between the short story form and regional literature. ‘Humbleness’ is used here in association with the absence of complexity, plainness, simplicity of approach to a complex reality, straightforwardness. From this perspective, aesthetic value was usually absent from regionalist fiction as its only aim was to render the local truth faithfully. However, this ‘aesthetic humbleness’, which should not be used as a generalization, has been increasingly questioned in regard to modernism, postmodernism and postcolonialism and also when we consider specific works.
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Taylor, Cheryl. "‘To my brother’: Gay love and sex in Thea Astley’s novels and stories." Queensland Review 26, no. 2 (December 2019): 269–84. http://dx.doi.org/10.1017/qre.2019.32.
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AbstractBeginning as early as A Descant for Gossips (1960), gay men and gay love come and go in Thea Astley’s prose oeuvre. The responses that these characters and this topic invite shift with point of view and under the impact of varied themes. Astley’s treatment refuses to be contained, either by traditional Catholic doctrines about sex or by Australia’s delay in decriminalising homosexual acts. Driven by love for her gay older brother Philip, whose death from cancer corresponded with her final allusions to gay love in The Multiple Effects of Rainshadow (1996), Astley’s only constant message on this, as on other topics, is humans’ responsibility to treat each other with kindness. This essay draws on Karen Lamb’s biography and on writings and reminiscences by Philip Astley’s family and fellow Jesuits to reveal his significance as his sister sought to resolve through her fiction the conflict between an inculcated Catholic idolisation of purity and her own hard-won understanding and acceptance of gay men.
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Puzyreva, Olga Grigoryevna. "INTERPRETATION OF THE THEME OF LOVE IN THE AUTHOR'S EDUCATIONAL AND FICTION TEXT OF THE TEACHER FOR A FOREIGN AUDIENCE AT THE LEVEL OF RUSSIAN LANGUAGE PROFICIENCY B1-C1." National Association of Scientists 2, no. 25(52) (2020): 27–47. http://dx.doi.org/10.31618/nas.2413-5291.2020.2.52.147.
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The article describes the interpretation of the theme of love in the author's educational fiction text of the teacher for a foreign audience at the level of Russian language proficiency B1-C1 as a key value-semantic concept of the Russian mental-language picture of the world. The author presents, psychological, pedagogical, methodological and philosophical arguments for the need to include this topic in the proposed cycle of short stories. Special attention is paid to how the speech and "creative-motor " (S. V. Dmitriev) dialogue of the situation of love is interconnected with the surrounding socio-cultural space.
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Dr. Anchal Tiwari. "Beyond the Bond: Love, Marriage and Romance in Anton Chekhov’s Selected Short Stories." Creative Launcher 7, no. 1 (February 28, 2022): 73–78. http://dx.doi.org/10.53032/tcl.2022.7.1.11.
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Anton Chekhov is a literary giant in nineteenth century fiction. He has contributed to the contemporary literature a deep awareness of human emotions, which foregrounds the necessity to understand the emotional values in narrative. Chekhovian realism has been a formula which writers have diligently followed ever since. In most of his fictional oeuvre he has depicted the individuals of modern society experiencing various shades of emotions which guide their psychological, interpersonal as well as social life. The stories written by Anton Chekhov are kaleidoscopes of various experiences which are an integral part of modern existence. Interpersonal relationships, especially man-woman relationships are portrayed by Chekhov in a striking manner. The present paper is an attempt to study a few of his selected short stories, keeping in mind Chekhov’s interest in a counter-presentation of such relations.
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Brenner, Rachel Feldhay. "Jerzy Andrzejewski’s Holy Week: Testing Religious Ethics in Times of Atrocity." Holocaust and Genocide Studies 33, no. 2 (2019): 225–43. http://dx.doi.org/10.1093/hgs/dcz025.
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Abstract Jerzy Andrzejewski wrote the novella Holy Week at the time of the Warsaw Ghetto Uprising. This real-time Polish fictional response immediately raised critical controversy. Whereas some critics saw it as an inadequate representation of the Holocaust, others considered the 1945 version a product of socialist realism. Here the author argues that Andrzejewski’s wartime fiction investigates the viability of his Catholic existentialist orientation during a time of terror. While his wartime essays and his correspondence with Czesław Miłosz reflected Andrzejewski’s struggle to maintain his faith in human brotherhood, his fiction traced the disintegration of Grace-given faith in the commonality and dignity of all human beings. The stories progress from a tragic ending of friendship to the failure of spiritual resistance and ultimately to the complete moral collapse of the Polish community. The unflinching depiction of the failure of Catholic Poles before their responsibility to extend neighborly love to their doomed Jewish neighbors communicates Andrzejewski’s insistence on the Catholic obligation to love one’s neighbor.
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Zaid, Ali. "The Camouflage of the Sacred in the Short Fiction of Hemingway." American, British and Canadian Studies Journal 21, no. 1 (January 1, 2014): 61–78. http://dx.doi.org/10.2478/abcsj-2013-0020.
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Abstract This essay examines the short fiction of Ernest Hemingway in the light of Mircea Eliade’s notion of the camouflage of the sacred and the larval survival of original spiritual meaning. A subterranean love pulsates beneath the terse dialogue of Hemingway’s characters whose inner life we glimpse only obliquely. In the short play (“Today Is Friday”) and four short stories (“The Killers,” “A Clean Well-Lighted Place,” “Old Man at the Bridge,” and “The Light of the World,” discussed here, light imagery, biblical allusions, and the figure of Christ, reveal a hidden imaginary universe. This sacral dimension has been largely overlooked by critics who dwell on the ostensible spiritual absence that characterizes Hemingway’s fiction.
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Miller, Nancy K. "The Entangled Self: Genre Bondage in the Age of the Memoir." PMLA/Publications of the Modern Language Association of America 122, no. 2 (March 2007): 537–48. http://dx.doi.org/10.1632/pmla.2007.122.2.537.
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So, I'm just like everybody else. I go to the bookstore. I pick out a book I love. If it says memoir, I know that—that maybe the names and dates and times have been compressed, because that' what a memoir is.—Oprah Winfrey on Larry King Live, 11 January 2006I wanted the stories in the book to ebb and flow, to have dramatic arcs, to have the tension that all great stories require. I altered events all the way through the book.—James Frey, New York Times, 2 February 2006Sometimes the facts threaten the truth.—Amos Oz, A Tale of Love and DarknessOf course it is impossible to tell the truth. For example, how does one know it? I will not belabor the difficulty by telling you how hard I have tried. And if compulsion forces me to tell the truth, it may also lead me into error, or invention.—Kate Millett, FlyingIs it autobiography if parts of it are not true? Is it fiction if parts of it are?—Lynda Barry, One Hundred Demons
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Hajdu, Péter. "The Case of Mór Jókai and the Detective Story." Hungarian Cultural Studies 10 (September 6, 2017): 133–44. http://dx.doi.org/10.5195/ahea.2017.300.
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While from the viewpoint of typology it is often stated that the genre of detective fiction originated with the work of Edgar Allan Poe, this statement can be challenged from the standpoint of literary or reception history. Several recent histories of detective fiction emphasize the importance of employing a wider generic view, yet they hardly expand their perspective beyond English literary traditions. This paper examines how the usual, theorized requirement for detective fiction concerning the work’s exclusive focus on the crime committed and its detection was not characteristic of nineteenth-century detective stories written in Central Europe. Even though the detective story pattern is recognizable in Mór Jókai’s short story, “A három királyok csillaga” [‘The Star of the Magi’], it does not dominate the entire depiction, but rather represents one strand woven into a tragic love story as well as the history of national resistance, aspects bearing equal significance in this very sophisticated work.
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RAGACHEWSKAYA, Marina. "POETICS OF DESIRE IN D.H. LAWRENCE’S SHORTER FICTION." Astraea 2, no. 1 (2021): 61–78. http://dx.doi.org/10.34142/astraea.2021.2.1.04.
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Desire is a specific subject of research in many areas, including literary studies and text analysis. The representation of desire in fiction is an inseparable part of the sub-genre of psychological prose; its interpretation by readers and scholars requires an interdisciplinary approach and relies on psychoanalytic theories and terminology for elucidation. Shorter psychological fiction – novellas and short stories – depend on the authors’ mastery of language use, while the formal textual length is limited. Therefore, the study of desire encoded in a short fictional piece is both difficult due to laconism and suggestiveness, and fruitful as a revelation of most subtle nuances of human nature through the examination of artistic discourse. D.H. Lawrence’s novellas and short stories articulate desire as the unconscious wish to obtain the object of love. It is the merit of the writer’s art to employ various artistic means that may serve as the manifest content. Interpreting imagery and symbolism, bodily consciousness and characters’ “syncopated” dialogues, opens up such aspects of a textual embodiment of desire as its elusiveness, impossibility to verbalize and often its “forbidden” nature. Instead, the Ragachewskaya Marina writer resorts to heavy suggestiveness, gaps and silences to be filled with the reader’s intuitive or professional knowledge, meaning-charged adjectives, metaphors and analytical intrusions. Examples from a selection of D.H. Lawrence’s short fictional works reveal defense mechanisms that balance the fulfilment of desire. The mastery of D.H. Lawrence’s shorter fiction rests on the skill to reveal the unnamable, to show the inner conflict working through desire fulfilment, to bring to consciousness the shame, guilt and pleasure irrespective of moral judgment.
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Nijhawan, Shobna. "Gendered lives in vernacular fiction: Redefining family in Hindi short stories of the early 1940s." Indian Economic & Social History Review 56, no. 1 (January 2019): 33–51. http://dx.doi.org/10.1177/0019464618817368.
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This article is embedded in discourses surrounding the new mobility of people as well as scientific, technological and socio-cultural changes in a late-colonial setting. It investigates how a number of prominent and less-known male authors from the centre and margins of the twentieth-century Hindi literary canon, including Rishabhcharan Jain, Shriyut ‘Arun’ and Durgadas Bhaskar, depict unconventional family constellations and human relationships that challenge normative conceptions of family, fatherhood, conjugality and blood bonds as well as gender roles and responsibilities. The short stories under investigation suggest that human relationships require constant negotiation and investigation of the meaning of kinship, caste, class and the human. In the process, we encounter adulterous husbands, strong wives and nurturing fathers’ life struggles and tribulations. These short stories centre on husband–wife, man–mistress, wife–mistress and father–son relationships. Their male protagonists are authoritative towards their wives, caring towards their mistresses and nurturing towards children. At times, their self-sacrifice goes as far as to complete self-annihilation for the sake of the offspring, and, at other times, they lead double lives. Mothers are absent in these short stories. Instead, male protagonists claim parenthood and are ready to go as far as to abduct infants in order to perform fatherhood. I argue that parenting constellations and conjugality became negotiable for a number of factors that are addressed in my selection of Hindi short stories: (a) parenthood was not contingent upon biology (as stories on adoption and abduction suggest), (b) contraception was readily available to women and men (as promoted in periodicals of the time) and in the process also changing attitudes towards sexuality and conjugality, (c) abortion emerged as a medical option to undo a pregnancy emerging from an illicit love affair and (d) the new mobility enabled people to get around easily and frequently and even lead double lives. In addressing these factors, fiction published and circulated in periodicals offered novel imaginative and innovative spaces for the negotiation of family models once projected as normative in social reformist and nationalist discourses.
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Friedrich, Michał. "Wielość masek w Masce Stanisława Lema. Źródła, konteksty, powinowactwa." Papers in Literature, `10 (July 30, 2022): 73–89. http://dx.doi.org/10.31648/pl.7856.
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The paper is devoted to The Mask (Maska) by Stanisław Lem, one of the best known short stories in the literary output of this Polish novelist. The main goal of the article is to discuss the intertextuality of this tale which evokes many contexts, ranging from mythology, through medieval and baroque poetry, to contemporary science fiction artworks. The Mask recognizes a large variety of problems, such as the definition of humanity, human gender and sexuality, as well as crucial emotions like love and the will to survive. Due to its catalogue of subjects, this short story can be interpreted on various levels and from the perspective of various methodological strategies. The texts of culture mentioned in the essay include: Jacek Dukaj’s Gothic, Ernst Theodor Amadeus Hoffmann’s The Sandman, Hans Rudolf Giger’s artworks, and Bjork’s music video All Is Full of Love.
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Nouri, Azadeh, and Fatemeh Aziz Mohammadi. "A Gynocritical Study of The Company of Wolves by Angela Carter." International Letters of Social and Humanistic Sciences 48 (February 2015): 100–106. http://dx.doi.org/10.18052/www.scipress.com/ilshs.48.100.
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In 1979, Carter published one of her mast renowned collections of short fiction, The Bloody Chamber. The majority of Angela Carter’s work revolve around a specific type of feminism, radical libertarian feminism and her critique of the patriarchal role that have been placed on women. which she promotes feminist due to her style, referred to as "Galm-Rock" feminism In this article, the main concentrate is on heroine’s internalized consciousness which echoes in their behavior. All of the female protagonists in carter’s short stories; such as The Werewolf, The Wolf_Alice,and mainly in The Company of Wolves have similar characteristics with different conditions, in which they are represented in a very negative light with less than ideal roles. In these stories, the protagonist is a young girl who has many conflicts with love and desire. Carter attempts to encourage women to do something about this degrading representation.
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Bohata, Kirsti. "MISTRESS AND MAID: HOMOEROTICISM, CROSS-CLASS DESIRE, AND DISGUISE IN NINETEENTH-CENTURY FICTION." Victorian Literature and Culture 45, no. 2 (May 5, 2017): 341–59. http://dx.doi.org/10.1017/s1060150316000644.
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The relationship between mistress and maid is curiously intimate yet bounded by class. Employers and their servants are caught in a dynamic of dominance and submission, in which they practice mutual surveillance. Yet the relationship may also evoke models of loyalty, devotion, and the possibility, in fiction at least, of female alliance. On the comparatively rare occasions that servants feature at all in Victorian fiction, these dynamics lend a homoerotic dimension to the cross-class relationship between mistress and maid. The positions of mistress and maid bring two women together under the same roof while separating them by class, thus providing a framework for a fictional exploration for yearning, desire, unrequited love, or sometimes union. Alternatively, a queer relationship may be obscured by the guise of employer and servant. Indeed, the mistress-maid stories discussed here often involve masquerade in some form, including cross-class and cross-gender disguises.
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Ranaware, Ravindra. "Feministic Analysis of Shauna Singh Baldwin’s selected stories in English Lessons and Other Stories." Feminist Research 4, no. 1 (May 11, 2020): 1–5. http://dx.doi.org/10.21523/gcj2.19010102.
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The present paper aims at exploration of Shauna Singh Baldwin’s specific technique implemented to present women predicament in selected stories from feministic point of view. The feministic point of view has developed out of a movement for equal rights and chances for women society. The present search is based on analytical and interpretative methods. Shauna Singh Baldwin is a writer of short fiction, poetry, novels and essays. Her ‘English Lessons and Other Stories’ explores the predicament of earlier neglected women of Sikh community by putting them in the context of globalization, immigration to West and consumerism at Indian modern society. “Montreal 1962” presents a Sikh wife’s attachment, love, determination, struggles and readiness to do anything for survival in Canada where her husband is threatened to remove his turban and cut his hair short to get the job. “Simran” presents the story of sacrifice of individual desire by a young Sikh girl because of her mother’s fundamentalist attitude. The title of story “English Lessons” presents injustice to an Indian woman who has married to an American, who compels her to become a prostitute and a source of his earnings in the States. The fourth selected story “Jassie” tells us about the timely need of religious tolerance in the file of an Indian immigrant old woman. Being a feminist writer, though Baldwin has never claimed directly to be, she has very skillfully presented the issues of feminism through her own technique of presentation. She has used technique of presenting absence or opposite to highlight it indirectly. Thus, true to her technique, though not explicitly declared, Baldwin is one of the feminist writers who skillfully deals with feminine concerns.
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Ming, Feng-ying. "Red Is not the Only Color: Contemporary Chinese Fiction on Love and Sex between Women, Collected Stories (review)." China Review International 10, no. 1 (2003): 262–65. http://dx.doi.org/10.1353/cri.2004.0038.
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Nouri, Azadeh, and Fatemeh Aziz Mohammadi. "A Study of Carter’s Wolf_Alice Based on Showalter’s Gynocriticism." International Letters of Social and Humanistic Sciences 48 (February 2015): 1–8. http://dx.doi.org/10.18052/www.scipress.com/ilshs.48.1.
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One of the most radical and stylish fiction authors of the 20th century, Angela Carter, expresses her views of feminism through her various novels and fairy tales. Carter began experimenting with writing fairy tales in 1970, which coincided with the period of second wave feminism in the Unites States. The majority of Angela Carter’s work revolve around a specific type of feminism, radical libertarian feminism and her critique of the patriarchal role that have been placed on women. In this article, the main concentrate is on heroine’s internalized consciousness which echoes in their behavior. All of the female protagonists in carter’s short stories; such as The Company of Wolves, and Werewolf and mainly in Wolf_Alice have similar characteristics with different conditions, in which they are represented in a very negative light with less than ideal roles. In these stories, the protagonist is a young girl who has many conflicts with love and desire. Carter attempts to encourage women to do something about this degrading representation.
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Bruns, Cristina Vischer. "Stinging or Soothing: Trigger Warnings, Fanfiction, and Reading Violent Texts." Journal of Aesthetic Education 55, no. 3 (October 1, 2021): 15–32. http://dx.doi.org/10.5406/jaesteduc.55.3.0015.
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Abstract This essay examines two contrasting cases of readers engaging with violent texts: student requests for trigger warnings to alert them to potentially troubling content in course materials, and widely popular fanfiction writing and reading in which fans create new stories within fictional worlds they love, sometimes adding depictions of physical, emotional, or sexual violence. Violent material is alternately resisted or is sought out and even created. Examining these contrasting stances reveals a conception of fiction in which violent content is central for its capacity to produce powerful, personal effects in readers. With a measure of control over their engagement with and response to texts they read, readers can use depictions of violence to enable them to externalize, manipulate, and resolve their own potentially overwhelming emotional states. This outcome is obscured by the academic privileging of reading at a critical distance, and it demonstrates a vital role for the personal in theorizing fiction reading and pedagogy.
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Latham, Monica. "Thieving Facts and Reconstructing Katherine Mansfield’s Life in Janice Kulyk Keefer’s Thieves." European Journal of Life Writing 3 (October 14, 2014): 103–20. http://dx.doi.org/10.5463/ejlw.3.83.
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The aim of this article is to examine how the biographical material that Janice Kulyk Keefer “steals” from Mansfield’s life is used to re-create a “quasi-real” life in a novel which absorbs reality, digests it, and offers an oxymoronic, semi-fictitious product: a biofiction. Keefer selected biographèmes or kernels of truth on which her fictitious details and characters could be grafted: following Mansfield’s physical, emotional and intellectual trail was an imperative part of Keefer’s research plan, as essential as close reading of the modernist author’s letters and journals. Besides seamlessly fusing reality and fiction, historical and imaginative truths, these hybrid products bring together the characteristics of literary and genre fiction. The article also focuses on the generic aspect of Thieves, which “sells” a scholarly literary background by using a commercial format that borrows features from popular genres such as love stories, thrillers, mystery and detective novels. The result is a multi-layered story endowed with great narrative virtuosity and variety, with leaps in time and space and with parallel stories that finally intersect. The article ultimately concludes with more general considerations on how such biofictions recreating the myth of iconic figures have proved to be a flourishing literary genre on the current book market. This article was submitted to the EJLW on 28 November 2013 and published on 14 October 2014.
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Ladygina, Yuliya. "Beyond the Trenches: Ol'ha Kobylians'ka’s Literary Response to the First World War." East/West: Journal of Ukrainian Studies 2, no. 2 (September 8, 2015): 111. http://dx.doi.org/10.21226/t2s888.
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<p class="EW-abstract"><strong>Abstract:</strong> Ol'ha Kobylians'ka’s short stories about the First World War constitute a rare case of a Ukrainian woman writing on one of the greatest catastrophes in modern history, a subject neglected even in Ukraine. Drawing on recent scholarship on First World War literature, this research proves that Kobylians'ka’s war stories deserve a re-evaluation, not as long-ignored curiosities from the pen of Ukraine’s most sophisticated writer of the time, but as insightful psychological studies of Western Ukrainians and as valuable cultural documents that present an original perspective on the common European experience of 1914-1918. The article pays particular attention to Kobylians'ka’s creative assessment of the Austrian and Russian treatment of Western Ukrainians during different stages of the First World War, which exposes anew fatal political weaknesses in Europe’s old imperial order and facilitates a better understanding of why Ukrainians, like many other ethnic groups in Europe without a state of their own, began to pursue their national goals more aggressively as the war progressed. Alongside popular texts, such as “Na zustrich doli” (“To Meet Their Fate,” 1917), “Iuda” (“Judas,” 1917), and “Lyst zasudzhenoho voiaka do svoiei zhinky” (“A Letter from a Convicted Soldier to His Wife,” 1917), this article examines Kobylians'ka’s three little-known stories—“Lisova maty” (“The Forest Mother,” 1915), “Shchyra liubov” (“Sincere Love,” 1916), and “Vasylka” (“Vasylka,” 1922)—thus presenting the most complete analysis of Kobylians'ka’s war fiction in any language.</p><p class="EW-Keyword">Keywords: Modernist Literature, Literature of the First World War, Women Writings of the First World War, Ol'ha Kobylians'ka’s War Fiction</p>
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Chakraborty, Arijit. "Love and Spirituality in Anita Desai’s ‘Cry, the Peacock’ and Rabindranath Tagore’s ‘Breezy April’." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 12. http://dx.doi.org/10.24113/ijellh.v8i2.10408.
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Rabindranath Tagore (1861-1941) was the first non-European and the first Indian to win the Nobel Prize for Literature in 1913. He was awarded the prize for Gitanjali. Tagore was a multi-faceted personality who not only composed poems, verses, short stories, novels etc but also sketched and painted with equal brilliance. As a flag-bearer, he presented the best of India to the West and vice-versa. In Breezy April, Tagore combines romanticism with spiritualism. On the other hand, Anita Desai (born-1937) is the youngest among the women novelists of eminence in India. The spiritual aspect of human life is at the centre of attention in her works. Women protagonists of fragile exterior and strong interior take the lead in Anita Desai’s works of fiction. Spirituality is an integral part of most of her works. In her first novel Cry, the Peacock (1963), Desai minutely depicts both love as well as deep spiritual intricacies.
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Mansouri, Yalda, and Farid Parvaneh. "Violence in Selected Fiction of Oates : A Zizekian Reading." International Journal of Applied Linguistics and English Literature 6, no. 5 (July 6, 2017): 113. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.5p.113.
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Oates works have been analyzed in the light of violent literature all around the world; however, they are not scruntizied on account of Žižek’s outstanding ideas. Carrying out extensive research, the researcher highlights the positive outcome of Žižek’s “subjective violence”, “objective violence”, and “systemic violence” (Violence 2) in Oates’ Blonde, Black Water and Rape: A love story.This article argues that the common meaning of violence which according to Cambridge Advanced Learner’s Dictionary is “actions or words are intended to hurt people” is not holistically true about the violence portrayed by Oates in her fiction. She depicts that the violence can save one’s life. The reserach presents the idea that outcome of violence can be a means of success in Oates’ stories. Oates’ optimistic view toward violence and positive effects of violence in the life oppressed characters are presented in this article. The writer of this article has made an attempt to attest positive aftermath of violence and to highlight different sorts of violence in Oates’ fiction by referring to aforementioned Žižek’s ideas on violence. Oates has unfolded “symbolic violence”, “objective violence” and “systemic violence” by illuminating violent language and terror which are held by parents, spouse or friends. Furthermore, Oates foregrounds human’s capability of adapting to new situations to create new identity to cope with difficulties.
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YEMETS, O., and A. ZAKHARCHUK. "THE IMPORTANCE OF ARTICSIC DETAIL AS A FACTOR OF PROSE POETICALNESS IN THE SGORT STORIES OF THE CONTEMPORARY AMERICAN AND CANADIAN WRITERS." Philological Studies, no. 33 (April 19, 2021): 20–24. http://dx.doi.org/10.33989/2524-2490.2020.33.228197.
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The article considers the role and functions of artistic detail in the contemporary short stories. The investigation involved the flash fiction stories by the American writers written after the year 2020 and several short stories by the outstanding Canadian writer Alice Munro. The aim of the research is determining the major devices of prose poeticalness in these texts and revealing the role of artistic detail in creating poeticalness.Prose poeticalness is defined as such property of a prose text which involves the priority of poetic function and envisages the introduction of poetical features into prose – stylistic convergence, phonetical repetitions, parallelism, rhythm. Stylistic convergence can be considered the most foregrounded device of poeticalness as it involves the accumulation of different stylistic devices which add expressiveness to each other (M.Riffaterre). Our investigation shows that convergences function in strong positions of texts- the initial or final text fragments. Artistic detail is the object or some feature of the object which acquires special importance in the literary text (V.A.Kukharenko). Artistic detail is usually associated with metonymy or synecdoche, but unlike these tropes, it embraces the whole text. In the flash fiction stories and the short stories by A.Munro the major artistic details are objects like a coin (L.Wilson), a brooch (A.Munro), a glove (D.Shea) or a feature of appearance like a bruise (S.Dybek). These details characterize people’s behavior, their dreams and aspirations. Therefore, they symbolize love, friendship, sympathy and give polysemantic character to the narration. Another result of our investigation is determining the metaphoric detail (G.Paley) in the description of the woman, the mother of the defendant. Thus, the emotional effect of the artistic detail is realized in the metaphoric similes comparing the woman to the faded flower. These artistic details in combination with stylistic convergence create the impression of the texts as modern parables. The theoretical novelty of our research lies in the analysis of artistic details from the viewpoint of poeticalnees as well as in revealing the significance of emotional effect for prose poeticalness.The prospects of further research lie in the investigation of poeticalness in other genres of modern prose.
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Jylkka, Katja. ""Mutations of nature, parodies of mankind"." Humanimalia 5, no. 2 (February 2, 2014): 48–67. http://dx.doi.org/10.52537/humanimalia.9954.
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The increasing presence of wild animals (especially carnivores) in cities has become a concern in contemporary news stories, scientific writing, urban planning, and works of fiction. This concern seems to demonstrate that the movement, and more specifically the success, of wild animals in urban space threatens our idea of the city as an inherently unnatural, man-made environment, thereby destabilizing what distinguishes human from animal. Johanna Sinisalo’s novel Troll: A Love Story explores and exploits this instability by making the “animal” in question one from folklore, surrounding it with conflicting discourses of zoology, mythology, and sociology. Although trolls were, in the world of Sinisalo’s novel, discovered as true mammals in 1907, the text never unambiguously disproves the humanity of the troll species. In examining news articles, recent work in urban ecology, and non-fiction by journalists such as Mike Davis and Jenny Price, I will discuss how humans attempt to assert their humanity in opposition to wild animals by figuring animals in the city as monstrous or by making them into tourist attractions – both ways of remaking the animals’ existence in the city unnatural again.
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Oliveira, Jusciele. ""I make films to be seen": the narrative issue of Flora Gomes." Journal of Science and Technology of the Arts 11, no. 1 (September 10, 2019): 1–10. http://dx.doi.org/10.7559/citarj.v11i1.587.
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The feature films by Flora Gomes: Mortu nega (1988), Udju azul di Yonta (1992), Po di sangui (1996), Nha fala (2002) and Republica di mininus (2012) narrate stories that speak of transits, music, woman, children, war, (neo)colonialism, cosmogony, life, death, love, birth, migration, of tradition, modernity, collectivity; using as scenario, the countryside, outdoors, with ironic, critical and metaphorical speeches. In this sense, the present abstract "I make films to be seen": an analysis of the film narrative of Flora Gomes" proposes emphasizing the elements of narrative cinematography of the fiction films of Flora Gomes present in the discourse, in themes, in the soundtrack, in orality, in time, in duration, in space, in camera movements, in the preparation of actors, in the work of illumination of the black body, in the scenery, not the visual metaphors of this director.
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Baldwin, Oliver. "Medea is a Good Boy: performing, subverting, and unmasking tragic gender." Classical Receptions Journal 12, no. 4 (September 27, 2020): 486–501. http://dx.doi.org/10.1093/crj/claa012.
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Abstract In 1981, the Spanish playwright Luis Riaza published the play Medea es un buen chico (Medea is a Good Boy). In it, two male actors perform the main roles of Medea and the Nurse, who comment, with references to other fictional love stories, on the relationship between Medea and Jason. When Jason fails to arrive, the fiction is dismantled, revealing Medea’s identity as Jason’s rejected homosexual lover. Medea es un buen chico mixes elements of performativity, meta-theatricality, and myth in order to explore the limits of gender, sexuality, and the perceived social roles and norms they entail. This article explores how Riaza theatrically reflects on the social performativity of gender through the tragic character and story of Medea, her performance and subversion of her own gendered self, and her eventual rejection and social displacement.
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Vizmuller-Zocco, Jana. "(Un)Human Relations: Transhumanism in Francesco Verso’s Nexhuman." Quaderni d'italianistica 37, no. 2 (January 27, 2018): 211–26. http://dx.doi.org/10.33137/q.i..v37i2.29236.
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Transhumanism is an international movement which espouses the idea that any human organ, function, sense, ability, can be augmented and ameliorated with the judicious use of technology. The ethical, cultural, social, biological, economic implications for this view are far-reaching and point to a number of complex questions whose solution eludes researchers so far. One of the possible sources for answers to these is found in science fiction. While transhumanism is a relatively recent phenomenon (last 25 years or so), science fiction published in English that mirrors some of its issues and ideas has been flourishing for at least as long. In Italy, science fiction is starting to enjoy popularity and critical depth in no small measure due to the untiring abilities of a number of authors. This article analyzes the intersections between human and machine as they are portrayed in Francesco Verso’s Nexhuman. Francesco Verso has published 4 award-winning science fiction novels and a number of short stories. Nexhuman offers a considerable narrative construct which paints a dystopian future where trash is formed and re-formed, sold and reworked; however, strong emotions are not absent, since love may flourish in this “kipple”-laden setting, as well as violence and obsession. Transhumanist ideas explicitly dealt with in the novel include the end of death, the question of the soul, mind uploading, limb prosthesis, the co-existence of humans with mind-uploaded beings. The amalgam between human and machine does away with the Self and the Other(s) as separate entities and constructs a completely different Weltanschauung. Nexhuman is not only a transhumanist trailblazer within the flourishing arena of Italian science fiction, but also a springboard for deeper understanding of what makes us human and the extent to which binary categories need to be overcome in order to create a more accommodating world.
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Timofeeva, Y. V. "Children reading of fiction in Siberian and Far Eastern libraries (late XX - early XXI centuries)." Bibliosphere, no. 3 (September 30, 2016): 31–36. http://dx.doi.org/10.20913/1815-3186-2016-3-31-36.
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The article first gives a general view of children reading of fiction in Siberia and the Far East. The relevance of studying children reading is determined by its great social and pedagogical potential. The study objectives are: 1) to identify popular children genres of literature; 2) to recreate the repertoire of favorite authors and their works; 3) to compare the range of reading of Siberian and Far Eastern young people with the reading of their age mates from other regions of the country; 4) to identify main factors forming readers demand of the younger generation. The study has shown that fairy tales, fantasy, detectives, adventures, historic and love stories are the most popular among children. National and foreign writers of the XIX - early XXI centuries are called among the children's favorite authors: A. Barto, M. Bulgakov, A. Volkov, A. Green, A. Dumas, A. Ishimova, A. Lindgren, S. Marshak, A. Milne, N. Nosov, A. Pushkin, M. Reed, M. Twain, L. Charskaya, E. Uspensky and many others. The comparison was made between reading literature by children from Transurals and the European part of Russia. Similarity in the repertoire of reading, favorite genres and authors is proved. Selection of literary works is determined by children personal interests and the curriculum content. Therefore, reading fiction is both leisure and business. Reading fiction on the pupils’ personal choice is usually considered as leisure. Reading literature for educational purposes is related to business. The article pays attention to the difficulty of separating leisure reading from business one when it concerns reading fiction by students. Growing readers’ interest in picturized literary works is marked. This article was written on a wide range of sources and research literature.
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Aziz Mohammadi, Fatemeh. "A Study of Carter’s The Snow Child in the Light of Showalter’s Theories." International Letters of Social and Humanistic Sciences 48 (February 2015): 133–37. http://dx.doi.org/10.18052/www.scipress.com/ilshs.48.133.
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Angela Carter was an English fiction writer and journalist. Her female protagonists often take an empowered roles where they rise up against oppression and fight for both sexual and political equality. The actions of these women are direct reflections of the feminist movement that took place in the 1970s. The concepts within this movement relating specifically to the ideologies of radical- libertarian feminist, and regarding the extent to which she promotes feminist due to her style, referred to as "Galm-Rock" feminism. Carter began experimenting with writing fairy tales in 1970, which coincided with the period of second wave feminism in the Unites States. The majority of Angela Carter’s work revolve around a specific type of feminism, radical libertarian feminism and her critique of the patriarchal role that have been placed on women. In this article, the main concentrate is on heroine’s internalized consciousness which echoes in their behavior. All of the female protagonists in carter’s short stories; such as The Courtship of Mr. Lyon, The Tiger’s Bride, The snow child and mainly in The Bloody chamber have similar characteristics with different conditions, in which they are represented in a very negative light with less than ideal roles. In these stories, the protagonist is a young girl who has many conflicts with love and desire. Carter attempts to encourage women to do something about this degrading representation.
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Timofeeva, Yu V. "Main segments of a reading circle of Siberian and Far Eastern residents in the late XX - early XXI centuries." Bibliosphere, no. 2 (June 30, 2018): 54–61. http://dx.doi.org/10.20913/1815-3186-2018-2-54-61.
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The reading study allows determining the level of development and scales of intellectual-spiritual demands and practical needs of the population. The main segments of a reading circle, common for Siberian and Far Eastern residents in the late XX - early XXI centuries, are art, educational, industrial, scientific, local history, practically useful literature and periodicals. They perform the following functions: information, educational, leisure, relaxation, educational, communicative ones, persons’ socialization, broadcast of social experience and main systems of the values developed in the society at this stage of its development. Popular genres of fiction were entertaining: detective stories, love and historical novels, adventures, fantasy. Entertaining and information publications were the most demanded in the periodicals. It was marked demands for social-political and economic literature, books on housekeeping, popular psychology, traditional medicine, truck farming, children care. The content and ratio of the main segments of reading was defined first of all by reader’ age and occupation. Motives and frequency of regional inhabitants appealing to this or that literature are the basis for separation of reading segments.
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Southward, David. "Flirtations in Early James." Nineteenth-Century Literature 52, no. 4 (March 1, 1998): 490–516. http://dx.doi.org/10.2307/2934063.
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Many of the plot structures and stylistic concerns we associate with Henry James's later fiction can be found in his first published tales of thwarted courtship in postbellum America. In courtship and its arts of verbal flirtation James discovered a model for his own elusive rhetorical manner. The speech habits of women in particular fascinated young James: alert to subtle shifts of tone, responsive to things left unsaid, and discreet in their replies, the women in such stories as "A Most Extraordinary Case," "Poor Richard," and "A Day of Days" seem to have mastered the style James seeks. The vulnerability of this style to misinterpretation by the tonally illiterate is the hard lesson learned by these women, whose creator's faith in refinement had always been troubled. James's interest in women's tonal literacy links his "master phase" with his apprenticeship years, and it suggests that American social life has been undervalued as a factor in James's literary modernism. Modernist experiments in verbal ambiguity partly reflect the unstructured course of modern love, as first pursued in the era of Reconstruction.
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Alamsyah and Siti Maziyah. "Arts and Environmental Conservation: Study of Kentrung Art in Jepara." E3S Web of Conferences 202 (2020): 07002. http://dx.doi.org/10.1051/e3sconf/202020207002.
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Kentrung art is one of arts that exist on Jepara coast. This is a speech art played by two people using beaten instruments such as terbang or tambourines. Kentrung is not only a fiction for entertainment, but also contains a pasemon (parable) or human life symbols. This art center is located in Ngasem village, Batealit, Jepara. Kentrung proponents are elderly or old people (wong lawas) who activate kentrung art in Jepara. Old people is as a representation of ancient people or the people who do not following the times. As the older person, one of their life view is to respect nature preservation. Their respect for the environment is reflected in the activities that are often asked to perform in earth alms events considered at the time of alms and the insertion of kentrung stories that are often delivered between the plays that are being performed. Even though it is not dominant, love expression of the performer and the arts towards the environment is seen in the insertion of the stage.
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Estoque, Eileen Itabag. "The Filipino Millennial and the Korean Drama Fad." Journal of Humanities and Social Sciences Studies 4, no. 2 (May 19, 2022): 110–26. http://dx.doi.org/10.32996/jhsss.2022.4.2.15.
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This quantitative-qualitative study ascertained the extent of influence of the Korean Drama Fad on the Filipino Millennials’cultural practices and beliefs. A researcher-madeSelf-Assessment Checklist was used to gather the quantitative data among 356 randomly selected respondents, while the qualitative data were drawn from an Interview among 8 participants. Results revealed that overall, the Korean drama fad was moderately influential. However, this was very influential, moderately influential, and slightly influential when respondents were categorized according to sex, college, campus, and degree of exposure, respectively. Significant differences existed in the extent of influence of the Korean drama fad when respondents were categorized according to sex, campus, and degree of exposure, but no significant differences were noted when classified according to college. Reasons for watching K-dramas include relaxation and entertainment, stress reliever, a form of escape from their problems, exciting stories, and unpredictable plot, characters are easy to relate and identify with, and the presence of fascinating actors and actresses. Further, the K-dramas was appealing because the stories are true-to-life with the varying genre--love story, modern romance, comedy, historical fiction, and action-drama. Insights and lessons cited were being prepared to face the future; being strong and more positive in facing life's challenges; loving unconditionally; learning to be more careful before totally trusting others; having knowledge and awareness of what is trending when it comes to fashion styles, beauty standards, verbal and non-verbal expressions, behavior, and lifestyle of Koreans in general.
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Gillis, John R. "“A Triumph of Hope over Experience”: Chance and Choice in the History of Marriage." International Review of Social History 44, no. 1 (April 1999): 47–54. http://dx.doi.org/10.1017/s002085909900036x.
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When Dr Johnson made his famous eighteenth-century remark about second marriages being a triumph of hope over experience, his wit could easily have been directed toward the unions that Steven King has illuminated. It is never entirely clear why people marry or choose to marry the people they do, a situation that is as frustrating to historians as to friends and family. Marriage remains one of life's great mysteries, perhaps the last great mystery left to us. It fascinates and absorbs us, providing an inexhaustible audience for daytime soap operas and evening situation comedies. Romance novels top the fiction charts; and Hollywood returns to the theme time and again.Marriage fascinates precisely because it is so unpredictable, so much beyond our control. One would think that the riskiness of the lottery of love would frighten, even repel, us, but instead we are drawn to it as a gambler is drawn to the slots or the track. Love is, like gambling, a form of “deep play”, which reveals things about ourselves that we can only discover when we move from the world of choice to the realm of chance. Today, marriage is often the central episode in the stories we tell when we try to explain ourselves to ourselves and to others. It is the most elaborately celebrated and ritualized of all the events of the adult life course, the source of our most precious images and memories. Marriage is simply enchanting.
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Shehata, Abdel kareem. "The Unemployed Main Character in the Fiction of Kunut Hamsun and Najeeb Mahfouz: A Comparative Study in the Light of Sustainable Development." International Journal of Literature Studies 1, no. 1 (November 4, 2021): 62–69. http://dx.doi.org/10.32996/ijts.2021.1.1.8.
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The Norwegian novelist Kunut Hamsun published his novel Hunger in 1921. The novel was translated into English by George Egerton. In this novel, Hamsun introduces the character of Andereas Tangen, a journalist who has a good life but starts to lose his living, and his essays begin to be refused. He becomes unemployed and suffers poverty, hunger, and homelessness for some time. By the end of the novel, he finds a job on a ship that is sailing from his town Christiania to fetch coal. During the 1930s the Egyptian novelist and short story writer Nageeb Mahfouz wrote his collection of short stories (Hams Eel- Gnoon) The Whisper of Madness. Among this collection, he published his short story (Al- Goo) The Hunger. In this short story, the main character, Ibrahim Hanafy has been working in a factory until he cuts his arm in an accident and loses his job. He becomes unemployed and he, with his family, suffers hunger and many social and psychological difficulties. He hates his life, tries to commit suicide but is saved coincidently by the son of the factory's owner. The man promises Ibrahim to find him a job. This paper aims to show that the unemployed main character in Hamsun's and Mahfouz's works is unable either to love a partner or to have a friend and if he is married, he is unable to keep his marriage relation. Another aim of the paper is to shed light on the negative relations of the unemployed character on one side with his god and with the government of his country on the other side. The third aim of the paper is to emphasize that unemployment, in Hamsun's and Mahfouz's works, leads the once good character to try to commit suicide. Thus the paper comes into three parts: the first part deals with Tangen’s failure to have a love relation or enjoy a friendship. This part also tackles Hanafy’s disability to protect his love for his wife. The second part introduces Tangen’s criticism of his god and of the government in his country. In the third part, the paper discusses the once good characters, becoming unemployed, thinking of death as a solution, and may try to commit suicide. The paper depends on the theory of needs' priority and the method of social and psychological analysis in tackling its topic.
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Warne, Vanessa, and Colette Colligan. "THE MAN WHO WROTE A NEW WOMAN NOVEL: GRANT ALLEN'STHE WOMAN WHO DIDAND THE GENDERING OF NEW WOMAN AUTHORSHIP." Victorian Literature and Culture 33, no. 1 (March 2005): 21–46. http://dx.doi.org/10.1017/s1060150305000719.
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IN1895,GRANT ALLEN PUBLISHED A NEW WOMAN NOVELentitledThe Woman Who Did. This treatise-like novel appeared as part of the Keynotes Series, a group of ideologically progressive texts published by John Lane for Bodley Head in the 1890s. As Margaret Diane Stetz writes, Lane made this series “a haven for ‘New Woman’ fiction, naturalistic short stories, and ‘decadent’ poetry and art” (72). Marketed as status and sex objects (81), many of the thirty-three novels and short-story collections that make up the series concern themselves with New Woman issues such as marriage and female sexuality. Lane had taken the name for this series from George Egerton'sKeynotes(1893), a collection of short stories told from the perspective of an emancipated woman.The Woman Who Did, published two years later, also featured a New Woman and became the most notorious book of the series. Combining a free-love, anti-marriage message with a tragic plot, Allen's novel focuses on a clergyman's daughter, Herminia Barton, who refuses to marry the father of her child, Alan Merrick, on feminist principles. Unwilling to enter an institution that she compares to “vile slavery” (43), she chooses to live unmarried with her lover and daughter until his death. She withstands the calumny of family and friends and years of grieving and penury only to discover in the end that her daughter rejects her feminism and views her illegitimacy not as the “supreme privilege” her mother believed it to be, but rather as a “curse” (132). In a way typical of New Woman novels, the story ends with the heroine's suicide.
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Feizabadi, Azin. "Chronicles from Majnun until Layla." ARTMargins 3, no. 1 (February 2014): 81–86. http://dx.doi.org/10.1162/artm_a_00072.
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Chronicles from Majnun until Layla is a film project structured in three stages: 1.) The Museum of Modern Iranian History (2011–2013), 2.) Layla and Majnun (in preparation), and 3.) The Film (in preparation). Each stage bears its own approach, format, and mode of presentation. The first two stages are conceived as preparation for the third and final stage: the merging moment, which will be in the form of a feature-length, hybrid fiction/documentary film. The film depicts a couple, lovers, visiting a virtual museum of modern Iranian history. The lovers appear both as themselves and as “Layla and Majnun,” characters adapted from a classical Middle Eastern love tale. As they walk the museum, the couple engages in dialogue about their individual and collective stories, memories, dreams, rages, and desires. The lovers' affairs and conversations interact with the representations of the major historical moments of Iran being documented in the museum. In Stage 1, through the museum's architectural design and references to an official Iranian narrative taken from a high-school textbook, the various historical periods of Iran get transformed into Kairos (the Now), contradicting Chronos and scientific and analytical historiography.
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Gondor-Wiercioch, Agnieszka. "Literary Cousins of Reservation Dogs : A Comparative Analysis of Works by Louise Erdrich and Sherman Alexie." Zeszyty Prasoznawcze 65, no. 4 (252) (December 16, 2022): 53–65. http://dx.doi.org/10.4467/22996362pz.22.038.16496.
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Literaccy kuzyni „Reservation dogs”: analiza komparatystyczna utworów Louise Erdrich i Shermana Alexie Artykuł przedstawia analizę komparatystyczną współczesnej prozy rdzennych Amerykanów (powieści Love Medicine i The Bingo Palace Louise Erdrich oraz wyboru opowiadań The Lone Ranger and Tonto Fistfight in Heaven Shermana Alexiego) oraz serialu Reservation Dogs Taiki Waititi i Sterlina Harjo. Celem artykułu jest wykazanie podobieństw na poziomie konstrukcji młodych bohaterów w tekstach literackich i dziele filmowym z uwzględnieniem takich kategorii jak dekonstrukcja stereotypów Indian, humor umożliwiający przetrwanie (survival humor – Lincoln 1993) oraz kwestii gatunkowych. Ta ostatnia kategoria obejmuje opowieści o dojrzewaniu, opowieści drogi, opowieści o powrocie do domu (homing novels – Bevis 1987) oraz realizm magiczny. Wykorzystana metodologia to studia kulturowe, postkolonializm i postmodernizm. Autorka artykułu zamierza wykazać, że wiele środków stylistycznych wykorzystanych do konstrukcji postaci w serialu Reservation Dogs pojawiło się znacznie wcześniej w kanonicznych utworach współczesnej prozy rdzennych Amerykanów i twórcy serialu wydają się podejmować inteligentny dialog z tradycją literacką, ponieważ podobnie stawiają na afirmację współczesnej kultury indiańskiej, podkreślają jej związki z popkulturą i bardzo często wprowadzają czarny humor, oddając rdzennym Amerykanom sprawczość i kontrolę nad własną opowieścią. ABSTRACT The article is a comparative analysis of contemporary Native American fiction (Louise Erdrich’s novels Love Medicine and The Bingo Palace, Sherman Alexie’s short story collection The Lone Ranger and Tonto Fistfight in Heaven), and the series Reservation Dogs by Taika Waititi and Sterlin Harjo. The aim of the article is to indicate similarities in the construction of young protagonists of the selected literary texts and the series, with an emphasis on Indian stereotype deconstruction, survival humour and the genres. This last category encompasses bildungsroman, road novel/story, homing novel/story and magical realism. The methodology used in the article includes cultural studies, postcolonialism and postmodernism. The author of the article wants to argue that many stylistic devices used in the character construction in Reservation Dogs have appeared much earlier in the canonical works of Native American fiction and Waititi and Harjo seem to enter into an intelligent dialogue with the literary tradition because similarly to it, they affirm contemporary indigenous culture, stress its connection with popular culture and very often introduce the black humour which turns Native Americans into subjects of their narratives and gives them back control over their own stories.
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Mandal, Anil Kumar, and Dr Arjun Kumar. "Socio-Cultural reality of Canadian Women in the fiction of Alice Munro." International Journal of English Literature and Social Sciences 7, no. 6 (2022): 170–72. http://dx.doi.org/10.22161/ijels.76.23.
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Throughout this paper I have systematized and studied in critical terms, a range of Alice Munro mainly women-centric short stories, with an in-depth study of their living condition under the traditional social conventions. Being concerned about women Munro in her fiction has recreated the world of Canadian women, with its true picture of the Canadian society, with culture, custom and environment. She has continuously wrote about the invaluable document of human relationship, as well as female experience under social values and expectation. In her work, Munro explores women's role in different situation of life as a young girl, a career women, a lover, wife or mother. In each of these roles Canadian women found a reflection of their selves mirrored in Munro's chronical of women's social history down the decades. She writes about past experiences of her childhood, cultural traits and social structure that she minutely observed in her different age group. Her subjects are rural landscape, lives of girls and women, their coming of age, love, hate, marriage, suffering and stuff of rural life with reference to small town locality. Lake Huron, Otawa Valley and Wowanash County. Munro's strength, as a short story writer, is the range of her portraits of a variety of female characters from childhood to old age. In this way, most of the girls and women of Munro, as the main protagonists, confront, challenges at personal, familial and social level. However, they all are not alike; some are submissive and introvert and feeble while others bold, rebellious and self-indulgent who are real girls and women of Munrovian model, search their original self, and who put aside all their pretentions, show the Canadian society, alternatively, to the world what they, in reality are. Muro is a realistic writer, her character a represent cultural reality of rural Canadianness of her age. Del and Rose are Munrovian iconic characters, with whom she reveals her own childhood, youth and maturity and they have been transfigured in her favorite books Lives of Girls and Women and Beggar Maid intentionally. Protagonists of Dance and Progress are modelled on herself.