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Seo, Seung-hui. "Young Adult Fiction and Gender: Focusing on the Korean Young Adult Literature Award Winner." Education Research Institute, Chungbuk National University 45, no. 1 (April 30, 2024): 31–71. http://dx.doi.org/10.55152/kerj.45.1.31.
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This study focuses on the ways in which Korean society's gender norms are reinterpreted by the winners of the Young Adult Literature Awards. First, I examined how the gendered family system in Korean society has been transformed and reconfigured, and how it affects the youth identity. Families in the Young Adult Fiction do not conform to conventional models of normal families and gender role norms. However, I critically examined the direction of family narratives by pointing out that the newly transformed familism limits the imagination of Young Adult Fiction. Next, I examined the representation of adolescent sexuality as a consistent practice. Male adolescents were often portrayed as the protagonists of events, which is problematic from a gender-sensitive perspective, and female adolescent sexuality had largely been addressed in the realm of pregnancy, abortion, and childbirth. However, I expect to see more narratives exploring female sexual self-determination in a new light. Finally, I highlighted issues of queer identity that are not captured by the gender binary. The winners of the Young Adult Literature Prize tend to deal with queer identity issues in friendships, and the recent winners have portrayed queer issues in new ways and formats through a combination of family, travel narratives, and romance narratives. Unlike in the past, when queer people were categorically excluded, minority issues have recently been addressed in terms of human rights education; however, it remains to be seen whether this will generate meaningful reflections in the future.
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Yang, Liuxiuzi. "A Study of Novel Education and Classicization of Ancient Chinese Novels in the Age of Fusion Media." Mobile Information Systems 2021 (November 12, 2021): 1–8. http://dx.doi.org/10.1155/2021/1776243.
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In today’s new media environment, more and more communication contents have been digitized. Also because of digitization, traditional media and new media, which were previously well-defined services, have now merged, media fusion. In the age of media fusion, communication systems are updated more rapidly and more and more novels are being adapted into TV series. Literary education in ancient China has a long history and has played an important role in the development and dissemination of the ancient Chinese literature. Literary education refers to an educational behavior in which the educator and the educated acquire knowledge, enrich emotional experience, and obtain aesthetic pleasure through the reading, explanation, and acceptance of literary texts and then cultivate language ability and cultivate spirituality. There are many factors that promote the classicization of ancient Chinese fiction works. This thesis examines the relationship between fiction education and the classicization of ancient Chinese fiction works. The experiment shows that there are still many problems with the reading of ancient Chinese novels today; the number of respondents who have an average interest in reading ancient Chinese novels accounts for 51%, and only 12% have a high interest in reading. In terms of the choice of reading content, 16% of the students focus on reading literary masterpieces, 70% are inclined to reading young adult literature and campus literature, and 14% prefer to read romance martial arts novels, popular science books, and newspaper publications, etc.
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Tarulli, Laurel. "Readers' Advisory: Bad Boy Romances: Biker Boys and Mobster Royalty." Reference & User Services Quarterly 56, no. 4 (June 21, 2017): 245. http://dx.doi.org/10.5860/rusq.56.4.245.
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There is no question that the romance genre continues to grow in popularity. In part, this is because romance writers have been quick to explore new avenues for their stories. Here, column editor Laurel Tarulli takes a look at one of the newest trends in romance fiction: bad boy romances. While there have always been some dodgy romance heroes, Tarulli notes the rapid rise of bikers and Mafiosi as romance leads. Tarulli discusses the elements of this increasingly popular subgenre of romance and offers the readers’ advisor some sound advice on working with romance readers.—Barry Trott, RUSQ editor
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Evans, Tania. "Full Moon Masculinities: Masculine Werewolves, Emotional Repression, and Violence in Young Adult Paranormal Romance Fiction." Gothic Studies 21, no. 1 (May 2019): 28–39. http://dx.doi.org/10.3366/gothic.2019.0005.
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Gothic monsters have recently experienced a period of focused scholarly analysis, although few studies have engaged with the werewolf in terms of its overt alignment with masculinity. Yet the werewolves of young adult fantasy fiction both support and subvert dominant masculine discourses through their complex negotiation with emotional repression and violence. These performative masculine practices are the focus of this article, which analyses how hegemonic masculine ideals are reinforced or rejected in a corpus of young adult fantasy texts, including Cassandra Clare's young adult series The Mortal Instruments (2007–2014) and Stephenie Meyer's Twilight Saga (2005–2010). Both texts feature masculine characters whose lycanthropic experiences implicitly comment upon gender norms, which may shape young adult audiences' understanding of their own and others' gender identities.
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Inggs, Judith. "Transgressing Boundaries? Romance, Power and Sexuality in Contemporary South African English Young Adult Fiction." International Research in Children's Literature 2, no. 1 (July 2009): 101–14. http://dx.doi.org/10.3366/e1755619809000519.
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Although sexuality is now regarded as one of the dominant ways of representing access to power in young adult fictions, adolescent sexuality, and even teenage romance, has remained relatively unexplored in South African examples of the genre. Works that do depict sexual relationships have generally worked to deliver didactic warnings of the potential dangers of engaging in any form of sexual activity. This article explores and examines whether, and how, adolescent sexuality is depicted and portrayed in contemporary South African young adult fiction written in English. The focus is on a range of works published during the years of the transition to democracy in South Africa, beginning in 1989. The article posits three broad categories of the genre, and concludes that the third of these at last gives evidence of a welcome move towards more openness and innovation.
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Ribeiro Gabriel, Maria Alice. "“El prisionero”: a romance in a story by João Guimarães Rosa." Texto Poético 20, no. 42 (May 30, 2024): 211–34. http://dx.doi.org/10.25094/rtp.2024n42a987.
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Recorded since the 16th century by oral and written traditions, the romance “El prisionero” was transmitted by different ethnic groups, from the Iberian Peninsula to Spanish and Portuguese colonies of the New World. Brazilian writer João Guimarães Rosa rephrased this vast repertoire of traditions in his prose fiction. Considering this premise and reference works on the Iberian romance, this study aims to discuss the possible influence of “El prisionero” in “Quadrinho de estória” (1967), examining themes and motives of the tale and the romance.
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Miquel Baldellou, Marta. "Passion beyond death? Tracing "Wuthering Heights" in Stephenie Meyer's "Eclipse"." Journal of English Studies 10 (May 29, 2012): 147. http://dx.doi.org/10.18172/jes.185.
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Stephenie Meyers’ Twilight tetralogy has lately become an enormously successful phenomenon in contemporary popular fiction, especially among a young adult readership. Regarded as a mixture of genres, the Twilight series can be described as a paradigm of contemporary popularculture gothic romance. Stephenie Meyer has recently acknowledged she bore one literary classic in mind when writing each of the volumes in the series. In particular, her third book, Eclipse (2007), is loosely based on Emily Brontë’s Victorian classic Wuthering Heights (1847). This paper aims at providing a comparative analysis of both Brontë’s novel and Meyer’s adaptation, taking into consideration the way the protofeminist discourse that underlines Brontë’s text is not only subverted but also acquires significantly reactionary undertones in Meyer’s popular romance despite its contemporariness.
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de Jesús, Melinda L. "‘Two's company, three's a crowd?”;: Reading interracial romance in contemporary Asian American young adult fiction." Lit: Literature Interpretation Theory 12, no. 3 (January 2001): 313–34. http://dx.doi.org/10.1080/10436920108580294.
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Adorno, Karen Neves. "Testemunho: entre a ficção e a realidade. Uma análise do romance Os Cus de Judas, de António Lobo Antunes." Scriptorium 4, no. 1 (December 28, 2018): 86. http://dx.doi.org/10.15448/2526-8848.2018.1.31517.
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O presente artigo tem como objetivo apresentar uma análise a partir do viés memorialístico procurando situar a obra publicada em 1979, Os Cus de Judas, de António Lobo Antunes, como um romance de caráter testemunhal. Na obra, o autor descreve os vinte e sete meses em que combateu na guerra das colônias portuguesas situadas na África. Através de um narrador autodiegético, ele relembra seus tempos de criança e sua longa jornada na idade adulta como médico das Forças Armadas Portuguesa. Neste romance, Lobo Antunes provoca a diluição da tênue linha que separa ficção e realidade, o que se caracteriza pelo dilema presente no gênero testemunhal. A análise se deu a partir de autores como Assmann (2011), Derrida (2004), Lobo Antunes (2008), Reis (2005), Lejeune (2008), Seligmann-Silva (2003 e 2010) e Pollak (1989 e 1992). *** Testimonial: between fiction and reality. An analysis of António Lobo Antunes’ novel, Os Cus de Judas ***The present work aims to present an analysis from the memorialist perspective seeking to frame António Lobo Antunes’ book, published in 1979, The Land at the End of the World, in 2011, as a testimonial character novel. In his work, the author describes 27 months during which he fought in the Portuguese Colonial War in Africa. Through an autodiegetic narrative, the author recollects his infant memories and his long journey at adult age as an army doctor by the Portuguese troops. In this novel, Lobo Antunes provokes the dilution of the thin line between fiction and reality, which is a characteristic of the testimonial genre’s dilemma. The analysis is based upon authors such as Assmann (2011), Derrida (2004), Lobo Antunes (2008), Reis (2005), Lejeune (2008), Seligmann-Silva (2003 and 2010) and Pollak (1989 e 1992).Keywords: The Land at the End of the World; romance; testimony; fiction; reality.
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Green-Barteet, Miranda A., and Jill Coste. "Non-normative Bodies, Queer Identities." Girlhood Studies 12, no. 1 (March 1, 2019): 82–97. http://dx.doi.org/10.3167/ghs.2019.120108.
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In this article we consider the absence of queer female protagonists in dystopian Young Adult (YA) fiction and examine how texts with queer protagonists rely on heteronormative frameworks. Often seen as progressive, dystopian YA fiction features rebellious teen girls resisting the restrictive norms of their societies, but it frequently sidelines queerness in favor of heteronormative romance for its predominantly white, able-bodied protagonists. We analyze The Scorpion Rules (2015) and Love in the Time of Global Warming (2013), both of which feature queer girl protagonists, and conclude that these texts ultimately marginalize that queerness. While they offer readers queer female protagonists, they also equate queerness with non-normative bodies and reaffirm heteronormativity. The rebellion of both protagonists effectively distances them from the queer agency they have developed throughout the narratives.
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Arnold-Forster, Agnes. "Racing Pulses: Gender, Professionalism and Health Care in Medical Romance Fiction." History Workshop Journal 91, no. 1 (April 1, 2021): 157–81. http://dx.doi.org/10.1093/hwj/dbab011.
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Abstract Following the foundation of the NHS in 1948, a new sub-genre of romantic fiction emerged: ‘Doctor–Nurse’ romances, usually involving romance between a male doctor and a female nurse, were set in NHS hospitals. Drawing on the Mills & Boon archive and the novels themselves, this article explores representations of the health service and notions of gendered healthcare professionalism in postwar Britain. I argue that rather than presenting ‘retrograde’ and ‘limited’ views of women’s lives, medical Mills & Boon novels frequently put forward nuanced versions of womanhood, professional identity, clinical labour, and the effective functioning of the welfare state.
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Miquel Baldellou, Marta. "Mary Reilly as Jekyll or Hyde : Neo-Victorian (re)creations of Feminity and Feminism." Journal of English Studies 8 (May 29, 2010): 119. http://dx.doi.org/10.18172/jes.154.
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In his article “What is Neo-Victorian Studies?” (2008), Mark Lewellyn argues that the term neo-Victorian fiction refers to works that are consciously set in the Victorian period, but introduce representations of marginalised voices, new histories of sexuality, post-colonial viewpoints and other generally ‘different’ versions of the Victorian era. Valerie Martin’s gothic-romance Mary Reilly drew on Stevenson’s novella to introduce a woman’s perspective on the puzzle of Jekyll and Hyde. Almost twenty-years after the publication of Martin’s novel, the newly established field of research in Neo-Victorian fiction has questioned the extent to which Neo-Victorian recreations of the Victorian past respond to postmodern contemporary reflections and ideas about the period. This article aims to examine the ways in which this Neo-Victorian gothic text addresses both the issues of Victorian femininity and feminist principles now in the light of later Neo-Victorian precepts, taking into consideration that Martin’s novel introduces a woman’s perspective as a feminist response to Stevenson’s text but also includes many allusions to the cult of domesticity as a legacy of the Victorian gothic romance.
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Chupasov, Vadim. "Not-for-children reading: markers of adult sci-fi in Sergei lukyanenko’s writings." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 268–80. http://dx.doi.org/10.31860/2304-5817-2021-1-19-268-280.
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New forms of science fiction had emerged in several post-Soviet countries in years 1990–2000. New science fiction inherits and transforms traditions and conventions of Soviet “science fiction” (nauchnaya fantastica). The emergence of market relations in the “field of literature” provoked an identity crisis, also initiating various attempts to redefine the boundaries between science fiction and previously closely related discourses, including children’s literature. This article, using several works by S. Lukyanenko as an example, examines how this rhetorical strategy has been implemented within science fiction texts. At the level of motifs and themes, references to sexuality and violence (especially in child-adult relations), tabooed in children’s literature, play a significant part in categorizing Lukyanenko’s novels as adult literature. In the system of typical of SF generic conventions this presents the depicted world as the harsh reality, thus creating a realistic effect. Markers of the second type point to historical dimensions of the fictional world, and this technique invokes conventions of “serious” (i.e. adult) speculative fiction. Also the references to iconic science fiction texts show that the novels are intended for adults and not for children. In conclusion the article raises the issue of children’s literature as being a specific construct and being the neglected Other within science fiction.
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Larsen, Mads. "Courtliness as Morality of Modernity in Norse Romance." Evolutionary Studies in Imaginative Culture 6, no. 2 (December 1, 2022): 43–56. http://dx.doi.org/10.26613/esic.6.2.298.
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Abstract The Tristan legend is the quintessential love story of the Middle Ages. From the formative period of its courtly branch, the only extant complete version is Tristrams saga ok Ísöndar (1226). King Hákon of Norway commissioned this and other romances to convince his aristocratic warriors to give up the kinship society ethos of heroic love that directed them to rape their enemies’ women. Courtly love sacralized female consent, yet critics have struggled to make sense of which purposes courtliness served. This evolutionary reading of Tristrams saga reveals how courtly love not only functioned as an ideological bridge between mating regimes, but also embodied proto-WEIRD psychology, the impersonal prosociality of the new mobile, educated, and transculturally inclusive European individual-as described by Henrich (2020). This ethos would evolve to become the morality of modernity. How it was disseminated exemplifies how fiction can help communities find provisional solutions to problems that cannot be solved definitely.
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Żukowska, Kamila. "Baśń i romans w ujęciu antropologii literatury. Życzeniowe myślenie o rzeczywistości jako źródło podobieństw między gatunkami." Literatura i Kultura Popularna 26 (September 15, 2021): 51–62. http://dx.doi.org/10.19195/0867-7441.26.5.
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The aim of the paper is to analyse, within the paradigm of literary anthropology, the similarities between two literary genres: romance and tale. According to the assumptions provided by Wolfgang Iser and Northrop Frye the article considers fiction — taken as a building block of literature — the linguistic reflection of the natural world, and at the same time, the conceptual framework for the archetypes appearing in the literary work. What, in Frye’s view, both genres have in common is that they present the described world in the mode of comedy, essential to which is that an individual prevails by creating the new reality around him. The comparative analysis of both tale and romance allows one to discover the internal mechanisms of archetypes, which form the intrinsic “logic” of the world given in the literary work.
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Rheingold, Hugh M. "Possibilities Lost: Transcendental Declarations of Independence in Hawthorne's The Blithedale Romance." Prospects 26 (October 2001): 61–89. http://dx.doi.org/10.1017/s0361233300000879.
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The Blithedale Romance occupies a unique position in the Haw-thorneian corpus for at least two reasons: Hawthorne's use of a first-person narrator and his decision to base, albeit loosely, the fictional Blithedale on his experiences as a resident at Brook Farm, an actual Utopian community founded by the transcendentalist minister George Ripley in 1841. If The Blithedale Romance constitutes a new point of departure for Hawthorne's fictional project, it is nevertheless a point of departure that Hawthorne, in particular in his prefaces, had contemplated all along. Hawthorne's fidelity to a new kind of fiction that more closely approximates lived experience would seem to be a betrayal of his notion of romance, which does not, like the novel, aim to be faithful to “the probable and ordinary course of man's experience,” but it is part and parcel of Hawthorne's anxieties about the transgressions of representation, transgressions peculiar to the kind of fictional project Hawthorne attempts to prosecute (Seven Gables, 1). While Hawthorne's preface to The Blithedale Romance celebrates his romances as “a theatre, a little removed from the highway of ordinary travel, where the creatures of his brain may play their phan-tasmagorical antics (38), his preface to The House of the Seven Gables warns that romance runs the risk of sinning unpardonably; that it commits, in other words, a “literary crime” (1). Our concern with Hawthorne as a writer seems all the more urgent, indeed necessary, given the connections Hawthorne seeks to establish between himself and his self-confessed minor poet and alter ego Miles Coverdale.
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Markov, A. D. "PRODIGAL SON IN THE CITY: INTERPRETATIVE POTENTIAL OF THE IMAGE." Culture and Text, no. 43 (2020): 170–77. http://dx.doi.org/10.37386/2305-4077-2020-4-170-177.
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The transformations of the image of the prodigal son in Russian culture show a transition from the naive and idyllic atmosphere of poetry at the beginning of the XXth century to the novel detailing of the late XXh century. The image of the prodigal son as presented by S. S. Averintsev, who criticized any spontaneous fiction about the Gospel, was enriched with a number of details taken from urban imaginary in the XXth-century family novel and Pasternak’s poetry. This new form of religious fiction was justified by the approach to the novel, introduced by M. M. Bakhtin, who opposed the effects of the sublime in the idyll and the effects of the beautiful in the family romance. The story of the prodigal son then explicates these effects, actualizing urban chronotope for a new type of cultural reflection on the Gospel parables.
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Bastida-Rodríguez, Patricia, and Gloria Bosch-Roig. "Literature as Travel Guide: Amenity Writing on Mallora as a Twenty-First-Century Consumer Product." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 31 (December 16, 2022): 7–30. http://dx.doi.org/10.35869/afial.v0i31.4295.
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This article discusses a literary tendency which has emerged in connection with new migratory movements, popular literature and consumer culture in the context of Mallorca. This Mediterranean island receives thousands of tourists every year and currently hosts a significant number of what Laurence A. G. Moss (1994) has called “amenity migrants”, most of them from Germany and English-speaking countries. By focusing on a number of narratives produced by amenity migrants on Mallorca, this paper addresses some of the main features shared by these texts, such as their birth as consumer products for a very specific audience and their idealised view of Mallorcan culture, and contends that a central characteristic of the new trend is its hybrid nature, as it combines fiction – usually crime fiction or romance – with the kind of information expected in a travel guide for tourists.
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Broad, Juliana. "A vaccination romance: Rider Haggard’s Dr. Therne (1898) in the vaccination debate." Medical History 66, no. 4 (October 2022): 287–303. http://dx.doi.org/10.1017/mdh.2023.1.
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AbstractHenry Rider Haggard, the famed author of adventure romances, wrote the novel Dr. Therne (1898) in response to weakening compulsory smallpox vaccination laws, thus entering one of the most heated debates of the late nineteenth century. With Dr. Therne, Haggard aimed to intervene in the lives of the many working-class anti-vaccinationists who, from the 1850s onwards, mobilised to evade what they perceived as a gross – and targeted – extension of state power at the expense of individual rights. Recovering the novel, which has not yet received scholarly attention from historians of medicine, reveals the way fiction was called upon to change minds during a crucial period of Victorian medicine, one that witnessed a climactic shift in public health intervention. This article will examine the reception of Dr. Therne in various print media – middle-class London papers, medical journals and working-class, anti-vaccinationist publications – to consider some new dynamics of the debate which the disagreement over Haggard’s polemic exposes, including the perceived power of fiction (when properly priced and distributed) to change minds, and the contested role of the evangelical press. Additionally, a discussion of the different iterations of Dr. Therne, and a look at an exceptional anti-vaccinationist response in the form of a competing novel, illustrates that pro- and anti-vaccinationists alike contributed to a moment in late Victorian society when the role of fiction was considered a worthy contender in a debate ostensibly about fact.
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Bilyk, Natalia. ""TREASURE ISLAND" BY R. L. STEVENSON: A GAME FOR CHILDREN AND ADULTS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 2(34) (2023): 10–13. http://dx.doi.org/10.17721/1728-2659.2023.34.02.
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"Treasure Island" by R. L. Stevenson is presented in the context of British Neo-Romanticism, that embodied masculine culture, characteristic of the late Victorian period, and produced a special type of "everyage" reader, as well as adventure literature addressed to him. "Treasure Island" is one of the first novels (romances), which were intentionally written both for children and for adults. Still, its reputation of the masterpiece of boyhood fiction may prevent readership from capturing "adults" implications, that primarily exist at the deepest levels of human consciousness and relate to the complicated nature of human character and behavior. The interrelation of "children" and "adults" layers unfolds in the playful discourse of the novel, discussed in the paper as a boyhood adventure, as a quest, or as an intertertextual game with its readers. Stevenson’s conception of a fictional world as the fusion of the imaginative and of the real, where the imaginative plays a leading role, is of the utmost importance for the topic of the paper. Pirate boyhood game is revealed on two levels: at the surface level, as an objective reality created in accordance with the codes of adventure literature, and at the deeper level, as an expression of a youthful desire for adventures and fulfillment of a boyish sea dream. The former is emphasized by explicit allusions to Ballantain’s "Coral Island", and the latter is prompted by not so visible allusions to Poe’s "The Narrative of Arthur Gordon Pym". The plot of the novel is designed as a quest, but "Treasure Island" is also a moral or psychological quest of some kind, so both the narrator and the reader have to look for answers in shifts in all characters of the story and not only in Long John Silver. The abundance of intertextual interconnections urges the reader to participate in unraveling intertexts and interpreting them in line with general and individual reader experience.
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Ferreira, Aline. "New Bodies, New Identities? The Negotiation of Cloning Technologies in Young Adult Fiction." NanoEthics 13, no. 3 (November 28, 2019): 245–54. http://dx.doi.org/10.1007/s11569-019-00353-4.
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Maalouf, May. "Byron’s “The Island”: Dialogism of Genre and Gender." International Journal of Arabic-English Studies 12, no. 1 (January 1, 2011): 67–90. http://dx.doi.org/10.33806/ijaes2000.12.1.5.
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Often dubbed as a romance, a Polynesian fantasy, The Island is one of Byron's finest examples of Romantic dialogism, prefiguring the indeterminate nature of modern literature. However, Byron scholars have shied away from a serious reading of this poem due to its slippery and supposedly “un”-Byronic quality. Written concurrently with Don Juan, The Island enjoys much of Byron’s poetic maturity and social concern with the liberal/radical individualism, represented by Christian Fletcher and anti-social existence of his fellow mutineers. The paper will argue that in this poem, the cultural, political, and gender/genre dialectics of binary oppositions are playfully deconstructed and that Byron, by overriding the femininity of the romance genre and transgressing the "politically correct" master narrative of the imperial discourse, anticipates in The Island Bakhtin’s chronotope through the title of the poem, the overlapping of history and fiction; and the opposition between the narrative and the genre. Hoodwinked with the romance formal trappings and entangled with Byron’s polyphonic voices critics have undervalued The Island as one of the mature poems of Byron, which actualizes Hume’s fear of the romance genre’s threat of subverting the power politics of gender/genre/race, in an attempt to project possibilities of a new social order. .
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Stover, Lois T. "What’s New in Young Adult Literature for High School Students?" English Journal 86, no. 3 (March 1, 1997): 55–62. http://dx.doi.org/10.58680/ej19973356.
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Discusses, from the perspective of the co-editor of the National Council of Teachers of English’s annotated yearly booklist for high school students, new young adult literature and trends. Presents annotations of adolescent literature on hot topics (AIDS, abuse, death), choices and transitions, poetry, nonfiction, diversity issues, and historical fiction.
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Kennon, Patricia. "‘Belonging’ in Young Adult Dystopian Fiction: New Communities Created by Children." Papers: Explorations into Children's Literature 15, no. 2 (July 1, 2005): 40–49. http://dx.doi.org/10.21153/pecl2005vol15no2art1249.
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In lieu of abstract, here is the first paragraph of the article: In this paper I will discuss the role that young adults play in the creation of new communities governed by young people in four dystopian novels set during the fragmentation of society in the near future. I will focus on novels narrated by or focalised through the perspective of young female protagonists, as these narratives offer intriguing explorations of young women's utopian capacity for leadership and for re-visioning traditional power relations and social structures. In their exploration of their own subjectivities, the young female protagonists must address the claims of individual self-actualisation while re-assessing the validity and appeal of traditional hierarchical systems of authority located in a radically changed and hostile world. Novels such as Meg Rosoff’s How I Live Now (2004), O.T. Nelson’s The Girl Who Owned a City (1995), Marcus Sedgwick’s Floodland (2000) and Gary Kilworth’s The Electric Kid (1994) explore how the impact of the abrupt absence of parental control and adult surveillance results in the young protagonists’forced creation and development of new concepts of community, family and ‘belonging’. Inherited hierarchical systems of individual identity and the larger social and political world are challenged during the characters' struggles for survival in these novels as the young protagonists display considerable courage, creativity and ‘heroic’ attributes in their efforts to survive and also to protect other younger children in their care. As such, these dystopian stories offer opportunities to explore gender role stereotypes and their reformulation by young people during situations which require both the conventional ‘masculine’ qualities such as leadership, bravery and endurance and also ‘feminine’ attributes such as nurturing, collaborative teamwork and compassion.
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Bawardi, Basiliyus. "First Steps in Writing Arabic Narrative Fiction: The Case of Hadīqat al-Akhbār." Die Welt des Islams 48, no. 2 (2008): 170–95. http://dx.doi.org/10.1163/157006008x335921.
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AbstractThis study tracks the significant literary activity of the Beirut newspaper Hadīqat al-Akhbār (1858-1911) in its first ten years. A textual examination of the newspaper reveals that Khalīl al-Khūrī (1836-1907), a central figure of the nahda and the owner of Hadīqat al-Akhbār, believed that an adoption of a new Western literary genre into the traditional Arabic literary tradition would provide the Arab culture with tools for reviving the Arabic language and create new styles of expression. The textual analysis of numerous narrative fictions that were published in the newspaper demonstrates two significant matters: first, Hadīqat al-Akhbār was the first Arabic newspaper to publish translations from Western narrative fiction, especially from the French Romance stories. Secondly, it will be shown how Khalīl al-Khūrī constructed a fetal model of Arabic narrative fiction by publishing a fictional narrative of his own, Wayy, idhan lastu bi-ifranjī (Alas, I'm not a foreigner), in 1859-1861. The literary activity in Hadīqat al-Akhbār, as the following study illustrates, played a substantial role in changing the aesthetic literary taste, and paved the way for the birth of an authentic Arabic narrative fiction.
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Smith, Michael G. "Cosmic Plots in Early Soviet Culture: Flights of Fancy to the Moon and Mars." Canadian–American Slavic Studies 47, no. 2 (2013): 170–99. http://dx.doi.org/10.1163/22102396-04702003.
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This article explores two classics of Soviet science fiction – Konstantin Tsiolkovskii’s Beyond the Earth (1918) and Aleksei Tolstoi’s Aelita (1923) – in their related historical contexts. Both had their origins in the popular nineteenth-century “cosmic romance,” owing to their staple characters, settings, and plots. These were extraordinary adventures into the heavens, modern signposts of how the fantastic was becoming real. Yet both novels also became leading texts in the genre of Stalinist Socialist Realism, stories that made “fairy tales come true.” Tsiolkovskii and Tolstoi both appealed to the Bolshevik Revolution as a radical break in time here on earth, much as they predicted that the rocket would become a radical new means to reach beyond into outer space. They centered their stories on real science and technology, articles of comprehension and anticipation. They created characters that revealed the utopian potential of human beings to create new regimes of equality and freedom. Part inheritance from abroad, part innovation at home, the cosmic romance in their hands became a successful medium to situate and justify the Soviet experience.
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Sharma, Niyati. "Finding the “Ideal”: F. Marion Crawford’s Mystical Theology and Literary Form in Mr. Isaacs." Victorian Popular Fictions Journal 5, no. 2 (December 20, 2023): 24–40. http://dx.doi.org/10.46911/plhn4580.
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While popular nineteenth-century writer F. Marion Crawford’s interest in religion is well-documented, his fiction has been categorised as not carrying overt theological overtones. In contrast to this critical view, this article argues that Crawford’s fiction can be linked to his religious thinking; however, the manner in which his works articulate this interest is non-prescriptive. The article contends that Crawford’s handling of religious dilemmas shapes the unusual generic form of his literary works, in particular Mr. Isaacs (1882). To this end, the article examines Crawford’s mystical position on the Idealism-materialism question that was much debated within theological circles in the nineteenth century. Through an analysis of his non-fiction writings and Mr. Isaacs, I demonstrate how Crawford places ideas from Buddhism and Christianity in conversation to arrive at a “mystical” position on a spiritual “Ideal,” which he defines as an aspiration towards the transcendental that can be partly grasped in reality. As I demonstrate, Crawford draws on this unusual mystical notion of the “Ideal” to develop a new literary form that merges romance with elements from realism in Mr. Isaacs.
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Yurchenko, Tatiana. "ONLY STAYING THE COURSE REALLY MATTERS." Herald of Culturology, no. 3 (2021): 60–70. http://dx.doi.org/10.31249/hoc/2021.03.04.
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This article addresses the peculiarities of genre, style and personages of V. Sorokin’s new novel «Doctor Garin» (2021) with the reference to the latest critical reviews. It is stressed that «Doctor Garin» is the first writer’s experience in the adventure fiction and that because of this fact his novel for the first time has both the happy ending and a protagonist with positive character traits. Also the genres of romance, fairy tale, menippea and even stealth are mentioned as having some features in common with Sorokin’s novel. A special attention is paid to the associative connection with Russian literature.
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Kennedy, Meegan. "TONO-BUNGAY AND BURROUGHS WELLCOME: BRANDING IMPERIAL POPULAR MEDICINE." Victorian Literature and Culture 45, no. 1 (February 13, 2017): 137–62. http://dx.doi.org/10.1017/s1060150316000474.
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H. G. Wells's 1908 novel Tono-Bungay is a remarkable concoction, binding together characters and setting out of Dickens, sparkling imitations of fin-de-siécle commodity culture and new media, bitter social satire inflected by Wells's socialism, fascination with invention and flight, and murderous imperial adventure. Readers, though often seduced by the wit and precision of Wells's depiction of patent medicines and their advertisements, have not known whether to read the narrative as anti-Bildungsroman, Condition of England novel, science fiction, or imperial romance. It is no wonder that many critics have labeled this novel a failure.
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Russo, Stephanie. "Contemporary Girlhood and Anne Boleyn in Young Adult Fiction." Girlhood Studies 13, no. 1 (March 1, 2020): 17–32. http://dx.doi.org/10.3167/ghs.2020.130103.
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Anne Boleyn has been narrativized in Young Adult (YA) historical fiction since the nineteenth century. Since the popular Showtime series The Tudors (2007–2010) aired, teenage girls have shown increased interest in the story of Anne Boleyn, Henry VIII’s second and most infamous queen. This construction of Boleyn suggests that she was both celebrated and punished for her proto-feminist agency and forthright sexuality. A new subgenre of Boleyn historical fiction has also recently emerged—YA novels in which her story is rewritten as a contemporary high school drama. In this article, I consider several YA novels about Anne Boleyn in order to explore the relevance to contemporary teenage girls of a woman who lived and died 500 years ago.
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Möldre, Aile. "Serijinės literatūros vertimai Estijos laikraščiuose XX a. pradžioje (1900–1940 m.)." Knygotyra 82 (July 16, 2024): 115–42. http://dx.doi.org/10.15388/knygotyra.2024.82.5.
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The paper explores the serialised novels and stories in the two leading Estonian daily newspapers, Päewaleht and Postimees, the majority of which were translations. The approach, combining book and translation history, is driven by the two issues debated in the media in 1900–1940: the desire to distance from the dominant German and Russian cultural influences and search for a new orientation; the categories of literature serialised in newspapers including the proportion of popular literature (genres like mystery, thrillers, romance, etc.) and the concern of intellectuals about its growth. The study uses the years 1906–1911 and 1928–1933 as a sample for content analysis of the feuilleton sections of the two newspapers in order to examine the changes in source literatures and the category of literature. The results demonstrate that German literature still dominated the serialised fiction translations at the beginning of the century, although many other literatures were used as sources. In the independent Republic of Estonia, in the 1920s and 1930s, Anglo-American literature occupied the leading position in accordance with the general cultural orientation. Still, German had not become marginal, and the range of other source literatures was quite diverse. The proportion of popular literature, mystery novels, and romance above all, started to increase in Päewaleht since 1906, becoming dominant in the 1920s and 1930s. Postimees also started to include some mystery and thriller novels in the selection, but in general, remained true to its preference for literary fiction. Thus, the agency of the Editors-in-Chief and editorial boards can be seen in the choice of works. The overall abundance of translated popular fiction in the book market and periodicals caused the protests of writers and educational circles that culminated with the suggestion to introduce a translation tax, which was, however, abandoned.
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Hanssen, Sarah K. "New Tools for the Immersive Narrative Experience." International Journal of Emerging Technologies in Learning (iJET) 14, no. 16 (August 29, 2019): 40. http://dx.doi.org/10.3991/ijet.v14i16.10591.
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As a result of Snapchat, Instagram, Twitter and Facebook, the way the audi-ence experiences the written word has completely changed. New genera-tions of readers are facing multimedia interaction as a part of the long format narrative. These technologies represent burgeoning strategies to spark and capture readers’ interests. Partnerships between tech companies and tradi-tional publishers are yielding breakthroughs in trans-media storytelling, and, as a consequence, offering new avenues for filmmakers. For example, romance novels read on smart phones now include videos and photos of the hunky love interest, voice messages amongst characters, and even short films accompanying the reading experience. As publishers and authors forge these new avenues for long form storytelling, do these multimedia elements dumb down fiction for readers with already shrinking attention spans? Will saving books undermine reading in general? Or, are the bonds readers feel with fictional characters so strong, that they will thrive in the digital realm. The future of the immersive narrative might not be just the massive specta-cle of IMAX, but, more likely, an intimate experience in the palm of your hand.
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Pezzotti, Barbara. "“I am Just a Policeman”: The Case of Carlo Lucarelli’s and Maurizio de Giovanni’s Historical Crime Novels Set during Fascism." Quaderni d'italianistica 37, no. 1 (June 9, 2017): 89–106. http://dx.doi.org/10.33137/q.i..v37i1.28280.
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This article analyzes two successful Italian novels set during the Ventennio and the Second World War, namely Carlo Lucarelli’s Carta bianca (1990) and Maurizio De Giovanni’s Per mano mia (2011). It shows how Lucarelli confronts the troubling adherence to Fascism through a novel in which investigations are continually hampered by overpowering political forces. By contrast, in spite of expressing an anti-Fascist view, De Giovanni’s novel ends up providing a sanitized version of the Ventennio that allows the protagonist to fulfil his role as a policeman without outward contradictions. By mixing crime fiction and history, Lucarelli intervenes in the revisionist debate of the 1980s and 1990s by attacking the new mythology of the innocent Fascist. Twenty years later, following years of Berlusconi’s propaganda, De Giovanni waters down the hybridization of crime fiction and history with the insertion of romance and the supernatural in order to provide entertaining stories and attract a large audience. In the final analysis, from being functional to political and social criticism in Lucarelli’s series, the fruitful hybridization of crime fiction and history has turned into a mirror of the political and historical de-awareness of Italian society of the 2000s in De Giovanni’s series.
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Adamik, Verena. "Making worlds from literature: W.E.B. Du Bois’s The Quest of the Silver Fleece and Dark Princess." Thesis Eleven 162, no. 1 (February 2021): 105–20. http://dx.doi.org/10.1177/0725513621993308.
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While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims.
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Cole, Rich. "Claude McKay’s Bad Nationalists." English Language Notes 59, no. 1 (April 1, 2021): 109–32. http://dx.doi.org/10.1215/00138282-8815016.
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Abstract This article examines Claude McKay’s 1928 journey to Africa under colonial occupation and uncovers how these true events partly inspired his late work of expatriate fiction, Romance in Marseille. By bringing together migration studies with literary history, the article challenges and expands existing research that suggests that McKay’s writings register the impulse for a nomadic wandering away from oppressive forms of identity control set up in the wake of World War I. The article contends that Claude McKay’s renegade cast of “bad nationalist” characters registers a generative tension between the imperial national forms the author encountered in North Africa and the Black nationalist vision of Marcus Garvey’s Back-to-Africa campaign. Reading the dialectics of bad nationalisms and Black internationalisms, the article explores how the utopian promise for Black liberation by returning back to Africa, central to the New Negro project of Black advancement, frequently becomes entangled in McKay’s transnational stowaway fiction with conflicting calls for reparations, liabilities, and shipping damages.
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Peirce, Carrie Marjorie. "New Approaches to Popular Romance Fiction: Critical Essays Sarah S.G.Frantz and Eric MurphySelinger, Editors. Jefferson, NC: McFarland, 2012." Journal of American Culture 37, no. 2 (June 2014): 237–38. http://dx.doi.org/10.1111/jacc.12185.
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Alam, Mohd Adeel. "Paradigm Shift in Fantasy Literature: Screen Adaptations as a Source of Infotainment." International Journal of English Literature and Social Sciences 8, no. 1 (2023): 231–35. http://dx.doi.org/10.22161/ijels.81.28.
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In the previous two decades, young adult fiction has dominated the best-selling books, owing to its popularity and the ease with which it is widely available over the internet. Young adult fiction and high fantasy have been extensively studied in the literature in connection to a variety of genres, which also include fantasy books. Numerous researchers have examined blockbuster fantasy series in this regard. Several academics have shed new light on cinema adaptation theory or its critical examination within this area of study. As such, this study will examine the intertextual utterances seen in most significant fantasy blockbusters. The study examines a variety of disciplines, including cinema adaptations, high fantasy books, and young adult writing.
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Mastandrea, Martina. "“Head and Shoulders” on the 1920s Silver Screen: A Rediscovery of The Chorus Girl's Romance." F. Scott Fitzgerald Review 14, no. 1 (November 1, 2016): 31–59. http://dx.doi.org/10.5325/fscotfitzrevi.14.1.31.
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Abstract This article deals with the rediscovery of the first and only extant silent film entirely based on a work by F. Scott Fitzgerald, which has been held in the Museum of Modern Art archives in New York City for twenty-four years. Released in August 1920 as a film adaptation of Fitzgerald's 1920 short story “Head and Shoulders,” The Chorus Girl's Romance has been listed as lost by F. Scott Fitzgerald and film scholars. While This Side of Paradise and the short stories collected in Flappers and Philosophers have been studied in relation to Fitzgerald's early success, William C. Dowlan's 1920 adaptation remains unexplored territory even though the sale of its film rights pre-dates the two books and was publicized by Scribner's to promote the young writer's debut novel. A surviving trace of 1920s celebrity culture, The Chorus Girl's Romance deserves scholarly attention if only for the fact that it is the sole existing film record of how Hollywood interpreted Fitzgerald's fiction during the silent era.
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Nishikawa, Kinohi. "Driven by the Market: African American Literature after Urban Fiction." American Literary History 33, no. 2 (May 1, 2021): 320–49. http://dx.doi.org/10.1093/alh/ajab008.
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Abstract Kenneth W. Warren’s What Was African American Literature? (2011) compelled literary historians to question deeply held assumptions about periodization and racial authorship. While critics have taken issue with Warren aligning African American literature with Jim Crow segregation, none has examined his account of what came after this conjuncture: namely, the market’s wholesale cooptation of Black writing. By following the career of African American popular novelist Omar Tyree, this essay shows how corporate publishers in the 1990s and 2000s redefined African American literature as a sales category, one that combined a steady stream of recognized authors with a mad dash for amateur talent. Tyree had been part of the first wave of self-published authors to be picked up by major New York houses. However, as soon as he was made to conform to the industry’s demands, Tyree was eclipsed by Black women writers who developed the hard-boiled romance genre known as urban fiction. As Tyree saw his literary fortunes fade, corporate publishing became increasingly reliant on Black book entrepreneurs to sustain the category of African American literature, thereby turning racial authorship into a vehicle for realizing profits.
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Stachura, Paweł. "Matter as the New Wilderness: Cognitive Obstacles, Radium, and Radioactivity in British and American Popular Fiction from the 1910s." Anglica. An International Journal of English Studies, no. 31/1 (October 2022): 29–54. http://dx.doi.org/10.7311/0860-5734.31.1.02.
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At the beginning of the 20th century, the radical paradigm shift in atomic phys- ics and chemistry attracted attention from non-scientific culture, and provided a new set of imagery in literary representation of matter, particularly in popular fiction. The article presents a number of texts whose themes and plots were rooted in a peculiar manner of writing, featuring a radical and consistent projection of emotions and desires onto literary representation of matter. The theoretical background has been derived from recent discus- sion of cultural materialism, and from Gaston Bachelard’s psychoanalysis of the scientific mind. The selection of literary texts covers popular novels and short stories published in Britain and the United States between 1880 and 1918. The conclusions present a some- what surprising link between the new developments in atomic theory, and the tradition of frontier settings in the American adventure romance.
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Krentz, Courtney, Mike Perschon, and Amy St. Amand. "Their Own Devices: Steampunk Airships as Heterotopias of Crisis and Deviance." Humanities 11, no. 1 (January 13, 2022): 14. http://dx.doi.org/10.3390/h11010014.
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Michel Foucault uses a sailing vessel as the exemplar of his theory of heterotopia because of its mobility. The lateral and vertical mobility of the steampunk airship indicates the potential for an even greater exemplar of heterotopia, particularly of Foucault’s defining principles of heterotopic crisis and deviance. These principles are explored onboard the steampunk airships of Scott Westerfeld’s Leviathan trilogy and Gail Carriger’s Finishing School series, resulting in travel towards progressive social frontiers of gender and race. The protagonists of the Leviathan trilogy move from a position of crisis to deviance, as mediated through the friendship and romance of two representatives of warring factions. In contrast, the heroine of the Finishing School series moves from deviance to crisis as she navigates the vagaries of gender and racial identity. These airship heterotopias of young adult fiction, which not only descend geographically but also socially, cross liminal crisis spaces of class, race, gender, and identity to craft literary cartographies for these social frontiers, providing readers with literary maps for their uncertain real worlds of crisis.
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Repina, Anastasija S. "Folk Adaptation of the Sentimental Romance by M. V. Zubova “I`m Going to the Desert." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 181–89. http://dx.doi.org/10.37816/2073-9567-2023-68-181-189.
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The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New Times” by D. L. Mordovtsev) which confirm possible authorship of the poetess. The study highlights stylistic features of love, spiritual and prison lyrics, as well as the work of folk theatre, which uses the text under study. Women's love songs, including choral songs, vary the motif of infidelity, transform the spiritual meaning of the image of the desert into a symbol of conjugal loneliness. In an Old Believer environment, the work was included in spiritual songs developing a motif of renunciation of the secular life in the wilderness. Researcher P. A. Bessonov discusses the devastating impact of “pseudo-folk” song on Russian spiritual culture. Echoes of the sentimental romance may also be found in the prison lyrics of the 20th century collected from the Siberian narrator I. K. Beketov. The final part of the study deals with the folk drama “King Maximilian”, where the cited text appears as a precedent for the Russian culture, which is proved later by its active use in numerous works of fiction.
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Zelezinskaya, N. S. "Young adult literature as a mirror of the society." Voprosy literatury 1, no. 1 (February 20, 2020): 159–75. http://dx.doi.org/10.31425/0042-8795-2020-1-159-175.
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The article discusses contemporary young adult and post-adolescent literatures, which respond to the modern world with its catastrophes and challenges in a more acute manner than fiction for adults. A new literary genre, the problem young adult novel needs a comprehensive literary analysis. The age bracket of the genre, which is still open for discussion, is examined by the author in detail. While young adult fiction has a different agenda from children’s literature, it often surpasses ‘grown-up’ books in terms of issues raised and their relevance, which is especially true for the problem young adult novel, typically centred on a specific problem of modern society and featuring a teenage protagonist fighting for his/her survival. The main themes of the genre include deadly diseases, trauma, adaptation of special children in the society, suicide, abuse, murder, drugs, terrorism, and others. Little discussed and often tabooed in class or at home, these topics are raised by young adult literature, while teenagers get a chance to examine them and relive their anxieties with protagonists.
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Valentim, Jorge. "A leveza na desordem: uma leitura de As falsas memórias de Manoel Luz, de Marlene Ferraz / The lightness in the clutter: A Reading of As falsas memórias de Manoel Luz, by Marlene Ferraz." Revista do Centro de Estudos Portugueses 39, no. 61 (August 26, 2019): 47. http://dx.doi.org/10.17851/2359-0076.39.61.47-69.
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Resumo: O presente ensaio tem como objetivo tecer algumas reflexões em torno do romance As falsas memórias de Manoel Luz (2017), da escritora portuguesa Marlene Ferraz (1979-), a partir do conceito de “leveza”, proposto por Ítalo Calvino (1990), bem como a sua presença no contexto da ficção portuguesa atual de autoria feminina, lida por João Barrento (2016), sob o signo de uma “nova desordem narrativa”. Pretende-se, aqui, pensar a produção das escritoras portuguesas de agora sob a junção dessas duas vertentes como uma forma de consolidar novos caminhos de criação.Palavras-chave: leveza; autoria feminina; ficção portuguesa contemporânea; Marlene Ferraz.Abstract: The present essay aims to make some reflections about the novel As falsas memórias de Manoel Luz (2017), by the Portuguese writer Marlene Ferraz (1979-), from the concept of “lightness”, proposed by Ítalo Calvino (1990), as well as its presence in the context of Portuguese current fiction of feminine authorship, read by João Barrento (2016), under the sign of a “new narrative disorder”. We purpose to think the production of the Portuguese women writers of now under the junction of these two slopes as a way of consolidating new ways of creation.Keywords: lightness; feminine authorship; contemporary Portuguese fiction; Marlene Ferraz.
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Telotte, J. P. "Watching Science Fiction Theatre , Seeing Television." Science Fiction Studies 51, no. 1 (March 2024): 17–31. http://dx.doi.org/10.1353/sfs.2024.a920231.
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ABSTRACT: Prior to the appearance of Rod Serling's landmark series The Twilight Zone , independent syndicator Ziv Television produced a similarly serious dramatic series, Science Fiction Theatre , that challenged the television hegemony of such popular space operas as Captain Video, Space Patrol , and Tom Corbett, Space Cadet . While lasting only 78 episodes, it was widely distributed and dubbed into many languages, bringing adult sf stories to a broader television audience than ever before. Further distinguishing it from other televised sf of the era, Science Fiction Theatre pioneered the sort of media self-consciousness that would later become a hallmark of The Twilight Zone and The Outer Limits . In that reflexive dimension we can see the series' efforts to make audiences aware of both the potentials and the pitfalls inherent in the still new television technology, of their own role as viewers, and of the industry's use and control over it. In sum, by watching Science Fiction Theatre , viewers were often put in the uncommon and sometimes uncomfortable position of seeing their relationship to the new media regime of television.
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Gibson Yates, Sarah. "Writing digital culture into the young adult novel." Book 2.0 10, no. 1 (May 1, 2020): 59–70. http://dx.doi.org/10.1386/btwo_00020_1.
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This article investigates how creative fiction writing has responded to the problem of representing the multimodal landscape of digital culture in young adult literature (YAL). Twenty years ago, Dresang’s theory of Radical Change presented a new breed of digitally engaged YAL that addressed changes in thinking about digital technologies and how young people interacted with them. Nikolajeva predicted the phenomenon three years earlier arguing for YAL coming of age as a literary form. In this article, I argue for the necessity of this work to continue, from the perspective of author-practitioner, and for the importance for authors to develop an expanded writing practice that foregrounds formal experiment that both reflects and critiques the thematic concerns and practices of digital culture. I begin by presenting some context for the work, in the form of a brief discussion of formal experimentation within selected YAL, and then go on to discuss my methods and approaches. This creative writing practice research has been undertaken during the course of Ph.D. study that has explored combining dramatic and multimodal writing techniques into a traditional prose fiction text, in this case a novel, aimed for YAL readers.
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Zheng, Huili. "Enchanted Encounter: Gender Politics, Cultural Identity, and Wang Tao’s (1828–97) Fictional Sino-Western Romance." Nan Nü 16, no. 2 (December 16, 2014): 274–307. http://dx.doi.org/10.1163/15685268-00162p03.
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Wang Tao (1828–97) was a late Qing translator, political commentator, and fiction writer who spent time in England, France and Scotland, and served as an important literary link between China and the West. In examining Wang’s tales of Sino-Western encounters and drawing from the long literary tradition of depicting foreign “Others,” this paper shows that Wang’s image of the West in his literary tales is ambivalent. Further, it argues that Wang’s gender positioning of the Chinese “Self” and Western “Other” is rather ambiguous. By interpreting his representation of the West against his immediate historical context (e.g., a China facing unprecedented political and cultural challenges), this study investigates Wang’s use of various rhetorical strategies from an existing discourse on foreign “Others” (particularly the theme of “foreign woman marrying Chinese man”) to appropriate, domesticate and even contain the West. It also shows how Wang complicates and even subverts these older rhetorical strategies as a way to cope with the new historical reality.
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Haghanikar, Taraneh M. "I, Jill Alexander, American Girl Revolutionary." World Journal of Educational Research 9, no. 3 (May 5, 2022): p34. http://dx.doi.org/10.22158/wjer.v9n3p34.
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Analyzing the insider-outsider continuum in Remembrance of the Sun (1986, 2011) by Kate Gilmore, the purpose of this paper is to reveal different levels of being a female outsider protagonist moving along the insider-outsider continuum, maintaining an outsider voice, and at the same time developing an insider perspective. Remembrance of the Sun is a historical fiction authored by an outsider and set in 1978, one year before the Islamic revolution in Iran. After moving from New England to Tehran, Jill, a seventeen-year-old American girl, struggles to adjust to an unfamiliar lifestyle. However, her experience becomes a story of love and fascination when she meets Shaheen, the charismatic Iranian boy who is the first French horn player in the high school band. Frequently, Jill as an outsider to Persian culture is aligning herself with Shaheen’s culture and their romance acts as a bridge, between two seemingly disparate cultures. Remembrance of the Sun reinforces that insider-outsider status is not fixed but situated within a continuum in a state of flux. The innocence of Jill and Shaheen’s romance moves “Jill Alexander, American girl revolutionary” (p. 170) toward the insider position. At the end, Jill, crosses American-Iranian cultural gap with her own pace.
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Hildebrand, Jayne. "Spirituality." Victorian Literature and Culture 51, no. 3 (2023): 509–13. http://dx.doi.org/10.1017/s1060150323000256.
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This essay focuses on the proliferation of diverse spiritualities in Victorian Britain in the second half of the nineteenth century, including Theosophy, neopaganism, spiritualism, and emerging occult practices. It makes the case that this proliferation of spiritual thought emerged not in opposition to, but rather in harmony with, the ascendancy of scientific naturalist frameworks in the wake of Darwinism, and that the flexibility of “spirituality” as a concept serves a crucial function for understanding this late Victorian religious landscape. As a (very brief) case study, it examines the fusion of the spiritual and scientific in Marie Corelli's late Victorian bestseller, A Romance of Two Worlds (1886). Her work, I suggest, highlights the key role of new popular genres of speculative fiction in navigating the boundaries between spirit and matter at the fin de siècle.
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Godwin, Jessica. "#nofilter: Online Personas and The Negative Impacts of Social Media on Young Adults’ Self-esteem." K@ta Kita 7, no. 2 (October 29, 2019): 220–27. http://dx.doi.org/10.9744/katakita.7.2.220-227.
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My novel #nofilter follows Mia, a photo model who is pretty famous on the social media platform Instagram, as she meets Kyle, her online boyfriend for the first time. In an effort to earn other people’s acceptance, Mia has been building a perfect online persona. However, after meeting Kyle, it is revealed that she is not who she portrays herself to be. As my work revolves on how social media affects someone’s self-esteem, hopefully it can help the readers learn to love themselves and do not depend their self-esteem on others. Specifically, I focus on how Mia maintains an idealized online persona in order to cope with her low self-esteem and earn other people’s acceptance, how the contrast between Mia’s online and real life personas causes her relationship with Kyle to crumble, and how Mia learns to love herself by accepting her weaknesses and acknowledging her positive qualities. For that reason, I use Contingencies of Self-esteem theory by Jennifer Crocker and Connie T. Wole, the Social Comparison theory, and the Presentation of Self in Everyday Life by Erving Goffman. Set in the early years after college, I use New Adult genre and the sub-genre Contemporary Romance to explore Kyle and Mia’s romantic relationship. Keywords: Social media, Instagram, self-esteem, online persona, New Adult, Contemporary Romance