Journal articles: 'Hindi fiction – History and criticism'

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Singh, Shailendra Kumar. "Premchand, nationalism and civil resistance in colonial North India." Indian Economic & Social History Review 56, no. 2 (April 2019): 171–94. http://dx.doi.org/10.1177/0019464619835663.

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The theme of nationalism in the works of Premchand, the pre-eminent Urdu–Hindi writer of the 1920s and 1930s, not only serves as an organising principle but also constitutes a protean and contentious field of study, which has resulted in conflicting interpretations. On the one hand, his nationalist narratives are categorically denounced for their apparent lack of radicalism, while on the other hand, they are unequivocally valorised for their so-called subversive content. Both these diametrically opposed schools of criticism, however, share a common lacuna, that is, both of them tend to conflate the writer’s nationalist narratives with his peasant discourse, thereby precluding the possibility of different themes yielding different interpretations. This article examines the theme of nationalism in Premchand’s works, in general, and the question of civil resistance in particular, in order to demonstrate how the writer’s politics of representation in his nationalist writings differs from the one that we find in his peasant narratives. It argues that as opposed to the authorial valorisation of the fictive peasant’s conformity to the exploitative status quo, civil resistance in Premchand’s nationalist narratives is not only necessary and desirable but also synonymous with dharma (moral duty) itself.

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Roberts, R. "American Science Fiction and Contemporary Criticism." American Literary History 22, no. 1 (November 20, 2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.

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Forsdick, C. "Postcolonial Criticism: History, Theory, and the Work of Fiction." Comparative Literature 58, no. 3 (January 1, 2006): 263–65. http://dx.doi.org/10.1215/-58-3-263.

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Syrotinski, Michael. "Postcolonial Criticism: History, Theory and the Work of Fiction." French Studies 60, no. 3 (July 1, 2006): 418–19. http://dx.doi.org/10.1093/fs/knl067.

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Zimra, Clarisse. "Postcolonial Criticism: History, Theory and the Work of Fiction (review)." MFS Modern Fiction Studies 50, no. 3 (2004): 798–99. http://dx.doi.org/10.1353/mfs.2004.0093.

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Van Dongen, Richard. "Non-fiction, History, and Literary Criticism in the Fifth Grade." Children's Literature Association Quarterly 12, no. 4 (1987): 189–90. http://dx.doi.org/10.1353/chq.0.0343.

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MacKenzie, Robin. "Approaches to Teaching Proust's Fiction and Criticism." French Studies 59, no. 4 (October 1, 2005): 567–68. http://dx.doi.org/10.1093/fs/kni242.

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Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (April 2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.

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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.

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Rajpurohit, Dalpat S. "Bhakti versus rīti? The Sants’ perspective." Bulletin of the School of Oriental and African Studies 84, no. 1 (February 2021): 95–113. http://dx.doi.org/10.1017/s0041977x21000264.

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AbstractScholars have rightly questioned the periodization of early modern Hindi literature (fourteenth to mid-nineteenth century) into two major thematic and temporal categories, often described as binaries: an early bhaktikāl (era of devotion), and the later rītikāl (era of mannerism). It is now common to understand bhakti and rīti as complementary modes of poetic expression rather than oppositional styles that poets had to identify with entirely. This paper uses the perspective of poet-saints (sants) to argue that, although the sants share many features with the rīti poets in terms of genres and register, they diverge fundamentally from them on the topic of the proper motives of composing verse. The criticism that the sants register with selected rīti themes – conflicts which would later figure in the writings of Hindi literary historians in the nationalist era – can be seen as anticipating the modern bhakti versus rīti distinction.

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O’Malley, Maria. "Taking the Domestic View in Hawthorne’s Fiction." New England Quarterly 88, no. 4 (December 2015): 657–80. http://dx.doi.org/10.1162/tneq_a_00494.

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Shifting the emphasis within feminist criticism from the act of speech to the act of hearing, this article argues that, in The Scarlet Letter, The House of the Seven Gables, and Blithedale Romance, Nathaniel Hawthorne reveals how the public sphere depends on the voices of dispossessed women even as it attempts to silence them.

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Ge, Liangyan. "The Mythic Stone inHonglou mengand an Intertext of Ming-Qing Fiction Criticism." Journal of Asian Studies 61, no. 1 (February 2002): 57–82. http://dx.doi.org/10.2307/2700189.

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Until very recently, much of the literary scholarship on the eighteenth-century Chinese novelHonglou meng(The Story of the StoneorDream of the Red Chamber) was centered on what was seen as the autobiographical nature of the work. Critics of the novel, especially those in China, tended to focus their attention on the life of the author, Cao Xueqin (d. 1763), believing the interpretation of the novel to be—to a large extent—hinged on a successful reconstruction of Cao Xueqin's familial relationships, especially with those members of the Cao clan such as Red Inkstone (Zhiyanzhai) who were the original audience of his manuscript. Yet, any literary work—even a truly autobiographical one—arises from its tradition. Its meaning will be better understood and its aesthetic values better appreciated when we consider it in relation to other works in that tradition. For our interpretation ofHonglou meng, what is more pertinent is therefore not the author's personal ties tohisrelatives but the ties of the novel toits“relatives,” works that formed the literary context for its creation.

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Zhang, Zhehui. "A Post-Colonial Approach to The Man Who Ended History: A Documentary." English Language and Literature Studies 10, no. 2 (April 16, 2020): 53. http://dx.doi.org/10.5539/ells.v10n2p53.

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The Man Who Ended History: A Documentary is a science fiction by Chinese American science fiction writer Ken Liu (1976-). Based on the theory of Post-Colonial Criticism, this paper makes a concrete analysis of the text from the perspectives of three eminent contemporary theorists, aiming at the readers’ better understanding of the work, and eliminating ethnocentrism, racism, unilateralism and hegemony; keeping history in mind and justifying the names of innocent humans who have been persecuted; safeguarding world peace, and building a community with a shared future for mankind.

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Burger, Willie. "Historiese korrektheid en historiese fiksie: ’n respons." Tydskrif vir Letterkunde 52, no. 2 (February 17, 2015): 78. http://dx.doi.org/10.4314/tvl.v52i2.6.

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Historical correctness and historical fiction: a responseIn this article the relationship between history and fiction is examined in response to the historian, Fransjohan Pretorius’s criticism of recent Afrikaans fiction about the Anglo-Boer War in Tydskrif vir Letterkunde 52.2 (2015). The intricate relationship between history and fiction is examined by pointing, on the one hand to the problematic of the relationship between history and the past and on the one hand, to the difference between fiction and history. The function of aesthetic illusion, verisimilitude and conceptions of reference is investigated theoretically before turning to the specific novels that Pretorius discusses. The article shows that historical fiction cannot be restricted to novelized versions of accepted history, but that historical fiction also reminds the reader that the past is always culturally mediated and that the primary aim of novels is not to represent the past but to examine aspects of human existence. A comparison between fiction and history can therefore not be used as a norm to assess novels.

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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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Nijhawan, Shobna. "Adoption in Hindi Fiction: Contesting Normative Understandings of Parenting and Parenthood in Late Colonial India." South Asia: Journal of South Asian Studies 43, no. 5 (September 2, 2020): 898–925. http://dx.doi.org/10.1080/00856401.2020.1804695.

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Kambon, Ọbádélé Bakari, and Lwanga Songsore. "Fiction vs. Evidence: A Critical Review of Ataa Ayi Kwei Armah’s Wat Nt Shemsw and the Eurasian Rhetorical Ethic." African and Asian Studies 20, no. 1-2 (April 27, 2021): 124–53. http://dx.doi.org/10.1163/15692108-12341486.

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Abstract At the 2018 Outstanding African Thinkers Conference on Nna Chinweizu, attendees – the first author included – took a pledge that “In all branches of our lives, we must be capable of criticizing and of accepting criticism. But criticism, proof of the willingness of others to help us or of our willingness to help others, must be complemented by self-criticism – proof of our own willingness to help ourselves to improve our thoughts and our actions. This is a sacred principle and it is my sacred duty to apply and defend it at all costs” (Chinweizu 2018). In response to that call to action, this article represents an effort to restore MꜢꜤt ‘Maat.’ Ataa Ayi Kwei Armah’s Wat Nt Shemsw: The Way of Companions epitomizes undeclared fiction masquerading as an accurate reflection of the mythology of classical Kmt ‘Land of Black People.’ By cross-checking Ataa Armah’s undeclared fiction with actual historical, iconographical, and archaeological data, we are able to debunk his numerous misrepresentations. We find that the best way to approach Kmt ‘Land of Black People’ is through direct engagement with actual evidence rather than through the distortions of fiction writers turned Egyptologists. Further, we will address the personality cult, or what we term “Ataa Armah’s Manor Shemsw model,” which embodies the rhetorical ethic whereby all egalitarians are equal, but some egalitarians are more equal than others (Orwell, Baker, and Woodhouse 1996).

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Drozdova, Daria N. "Francis Bacon, Between Myth and History." Epistemology & Philosophy of Science 58, no. 3 (2021): 6–21. http://dx.doi.org/10.5840/eps202158339.

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Over the last 400 years, attitudes toward Francis Bacon's philosophy have changed considerably: the 17-century interest and the 18-century enthusiasm have been replaced by the 20-century criticism and reevaluation. However, both the praise and the rejection of the Lord Chancellor’s philosophical ideas often originate from the isolation and absolutization of particular features of his philosophy that can sometimes be in opposition to each other. These partial readings are justified by the fact that the reference to Bacon’s methodological and epistemological legacy has a symbolic meaning and is part of what is called “image of science” in Y. Elkana’s terminology. The way in which references to Bacon are used at different times and in different contexts is, in fact, a functional myth or theoretical fiction (I. Kasavin) in which the “historical Bacon” is fading away and what emerges is important and meaningful to those who declare themselves his followers or who lash out at him with criticism.

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Collinge, James T. "‘With envious eyes’: Rabbit-poaching and class conflict in H. G. Wells’s The Time Machine and The Island of Doctor Moreau." Literature & History 26, no. 1 (May 2017): 39–55. http://dx.doi.org/10.1177/0306197317695082.

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Allusions to rabbits and poaching recur throughout H. G. Wells's work. In spite of the frequency with which they appear, these motifs remain overlooked within scholarly criticism. This article, by analysing Wells's representations of rabbit-poaching, first considers how nineteenth-century histories of industrialisation and game-crime shape his science fiction. It then explores the contradictory nature of these representations, which both demonise and sympathise with the figure of the rabbit-poacher, providing further insight into the class confusion that recent criticism perceives to characterise Wells's writing in this period.

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Emma Liggins. "Victorian Sensation Fiction: A Reader's Guide to Essential Criticism (review)." Victorian Periodicals Review 43, no. 1 (2010): 83–84. http://dx.doi.org/10.1353/vpr.0.0110.

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Mani, Preetha. "What Was So New about the New Story? Modernist Realism in the Hindi Nayī Kahānī." Comparative Literature 71, no. 3 (September 1, 2019): 226–51. http://dx.doi.org/10.1215/00104124-7546181.

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AbstractThis essay examines the Hindi Nayī Kahānī, or New Story, Movement of the 1950s and 1960s, which was influential for the short stories, criticism, and literary history that its writers produced. Incorporating a view toward the larger “metaliterary” corpus in relation to which properly “literary” nayī kahānī texts were written, the essay shows how the movement inaugurated a modernist realism characterized by attention to genre, rhetoric, and style on one hand, and commitment to social reality on the other. Combining rhetorical strategies—such as shifting narrative voice, allegorical descriptions of landscape, and implicit reference to authorship and the condition of postcolonial literary production—with structural and thematic tensions between form and content, this mode developed an interchangeability between author, reader, and character, which did not previously exist in Hindi literature and which reconfigured the category of the middle class in the universally recognizable terms of alienation. Using the case of the nayī kahānī, the essay offers a new literary historical approach that moves beyond sweeping accounts of a single postcolonial mode to attend to regional realisms and modernisms.

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Penier, Izabella. "Modernity, (Post)modernism and New Horizons of Postcolonial Studies. The Role and Direction of Caribbean Writing and Criticism in the Twenty-first Century." International Studies. Interdisciplinary Political and Cultural Journal 14, no. 1 (November 1, 2012): 23–38. http://dx.doi.org/10.2478/v10223-012-0052-2.

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My article will take issue with some of the scholarship on current and prospective configurations of the Caribbean and, in more general terms, postcolonial literary criticism. It will give an account of the turn-of-the century debates about literary value and critical practice and analyze how contemporary fiction by Caribbean female writers responds to the socioeconomic reality that came into being with the rise of globalization and neo-liberalism. I will use David Scott’s thought provoking study-Refashioning Futures: Criticism after Postcoloniality (1999)-to outline the history of the Caribbean literary discourse and to try to rethink the strategic goals of postcolonial criticism.

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Richards, Christine. "Gender, Race and the ‘Art’ of Fiction: Henry James's Criticism and Harriet Beecher Stowe." Literature & History 9, no. 1 (May 2000): 43–55. http://dx.doi.org/10.7227/lh.9.1.3.

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Lähteenmäki, Ilkka. "Possible Worlds of History." Journal of the Philosophy of History 12, no. 1 (March 22, 2018): 164–82. http://dx.doi.org/10.1163/18722636-12341354.

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Abstract The theory of possible worlds has been minimally employed in the field of theory and philosophy of history, even though it has found a place as a tool in other areas of philosophy. Discussion has mostly focused on arguments concerning counterfactual history’s status as either useful or harmful. The theory of possible worlds can, however be used also to analyze historical writing. The concept of textual possible worlds offers an interesting framework to work with for analyzing a historical text’s characteristics and features. However, one of the challenges is that the literary theory’s notion of possible worlds is that they are metaphorical in nature. This in itself is not problematic but while discussing about history, which arguably deals with the real world, the terminology can become muddled. The latest attempt to combine the literary and philosophical notions of possible worlds and apply it to historiography came from Lubomír Doležel in his Possible Worlds of Fiction and History: The Postmodern Stage (2010). I offer some criticism to his usage of possible worlds to separate history and fiction, and argue that when historiography is under discussion a more philosophical notion of possible worlds should be prioritized over the metaphorical interpretation of possible worlds.

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Heise-von der Lippe, Anya. "Histories of Futures Past: Dystopian Fiction and the Historical Impulse." Zeitschrift für Anglistik und Amerikanistik 66, no. 4 (December 19, 2018): 411–25. http://dx.doi.org/10.1515/zaa-2018-0035.

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Abstract This article traces the historical impulse in two intertextually connected dystopian texts – George Orwell’s 1984 (1949) and Margaret Atwood’s The Handmaid’s Tale (1985) – by reading the two novels in the context of the construction of historical narrative after the proclaimed ‘end of history’ in the twentieth century. It considers their representation of history within the framework of literary criticism of the historical novel (György Lukács), critical dystopias (Tom Moylan), and memory as an active, mediated engagement with the past (Astrid Erll and Ann Rigney). It looks, more specifically, at how the texts contrast personal experience and the meta-narrative contemplation of memory with institutionalized versions of history on different diegetic levels by juxtaposing the narrators’/focalizers’ view of history with that presented in the framework of pseudo-historical appendices that accompany and significantly modify the interpretations of both narratives.

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ROLLS, ALISTAIR. "Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages." Australian Journal of French Studies 58, no. 1 (April 1, 2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.

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Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.

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Enslen, Joshua Alma. "Between diplomacy and letters: a sketch of Manuel de Oliveira Lima's search for a Brazilian identity." História (São Paulo) 24, no. 2 (2005): 243–59. http://dx.doi.org/10.1590/s0101-90742005000200010.

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Manuel de Oliveira Lima as an important diplomat of the First Republic in Brazil reflects on an individual, national, and universal plane the convergence of politics and literature. His writing demonstrates an explicit attempt to construct a national identity that emanates not only between literature and diplomacy, but also between the personal and the historical, as well as, the foreign and the national. This paper analyzes brief examples of his criticism, personal correspondence, and fiction that demonstrate the convergence of these fields.

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So, Richard Jean, and Edwin Roland. "Race and Distant Reading." PMLA/Publications of the Modern Language Association of America 135, no. 1 (January 2020): 59–73. http://dx.doi.org/10.1632/pmla.2020.135.1.59.

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This essay brings together two methods of cultural‐literary analysis that have yet to be fully integrated: distant reading and the critique of race and racial difference. It constructs a reflexive and critical version of distant reading—one attuned to the arguments and methods of critical race studies—while still providing data‐driven insights useful to the writing of literary history and criticism, especially to the history and criticism of postwar African American fiction, in particular James Baldwin's Giovanni's Room. Because race is socially constructed, it poses unique challenges for a computational analysis of race and writing. Any version of distant reading that addresses race will require a dialectical approach. (RJS and ER)

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Hayot, Eric. "Literary History after Literary Dominance." Modern Language Quarterly 80, no. 4 (December 1, 2019): 479–94. http://dx.doi.org/10.1215/00267929-7777832.

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Abstract The various pronouncements of the nation’s dissolution seem to have been premature. Literary history is still very much within the nation, especially if one considers the realm of the middle- and lowbrow, or indeed the vast swaths of genre fiction. What has changed in literary history is the position of literature itself. The discipline of literary study (whether one thinks of it as literary history or literary criticism) institutionalized itself during a period of literary dominance. Now that that dominance is over—now that the field of narrative aesthetic culture includes television, film, and video games, and now that those genres dominate not only markets but the forms of representativity that used to belong almost exclusively to literature—what is the future for literary studies, either as a scholarly discipline or as an institutional field?

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Huttar, Charles A. "The Screwtape Letters as Epistolary Fiction." Journal of Inklings Studies 6, no. 1 (April 2016): 87–125. http://dx.doi.org/10.3366/ink.2016.6.1.5.

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Epistolary fiction, often thought of as an eighteenth-century phenomenon, enjoys considerable vitality in our time and has attracted much welcome critical attention in recent years. The focus, however, has been on selected aspects of the epistolary tradition, to the neglect of others that are part of its rich history. At the same time, discussions of C. S. Lewis's The Screwtape Letters (1942) have generally concentrated on its theological, moral, and satirical aspects, with little consideration of the generic identification declared in the book's title. Attention to its striking affiliations with the epistolary tradition in fiction sheds light on Lewis's artistry in the work, on current critical discourse concerning epistolarity, on Lewis's social and cultural criticism, and on his contributions to critical theory. In the present study, selected aspects of the nineteenth- and early-twentieth-century epistolary tradition are briefly surveyed; then, matters of setting, plot, characterization (especially), and handling of viewpoint in The Screwtape Letters are considered, as well as its widespread debts to the literary heritage and its relationship to Lewis's own contributions as a literary scholar and critic. Attention is given to the implications of Lewis's original preface which has recently been discovered.

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Basu, M. "A Matter of Light and Shade: Fiction and Criticism in R. K. Narayan's Malgudi." boundary 2 40, no. 2 (June 1, 2013): 215–38. http://dx.doi.org/10.1215/01903659-2151857.

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HAMZA REGUIG MOURO, Wassila. "From Feminization of Fiction to Feminine Metafiction in Gaskell’s Wives and Daughters and Woolf’s Orlando." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 187–201. http://dx.doi.org/10.24093/awejtls/vol4no4.13.

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Feminism developed and widened its scope to different disciplines such as literature, history, and sociology. It is associated with various other schools and theories like Marxism and poststructuralism, as well. In the field of literature, feminist literary criticism managed to throw away the dust that cumulated on women’s writing and succeeded in raising interest in those forgotten female artists. Some critics in the field of feminism claim that there are no separate spheres, masculine and feminine, whereas others have opted for post-feminist thinking. Some women writers used metafiction to write literary criticism. Therefore, how do Gaskell and Woolf implement metafiction in their stories? Accordingly, this work aims at shedding light on Wives and Daughters by Gaskell and Orlando by Woolf to tackle metafiction from a feminist perspective. Examples from both novels about intertextuality, narration, and other aspects, that are part of metafiction, will be provided to illustrate how and where metafiction is used.

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Santamarina, Xiomara. "Fugitive Slave, Fugitive Novelist: The Narrative of James Williams (1838)." American Literary History 31, no. 1 (January 1, 2019): 24–46. http://dx.doi.org/10.1093/alh/ajy051.

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AbstractThis essay argues for reading a discredited slave narrative—the Narrative of James Williams (1838)—as an early black novel. Reading this narrative as a founding black novel à la Robinson Crusoe complicates the genealogy and theoretical parameters of literary criticism about early US black fiction. Such a reading revises accounts about the emergence of the third-person fictive voice inaugurated by Frederick Douglass and William Wells Brown in the 1850s. It also offers a new understanding of the antislavery movement’s quest for authenticity. More importantly, reading NJW as novelistic fiction illustrates how a fugitive slave might narrativize muddied textual politics and effectively challenge the reparative vision with which we theorize the genres and politics of early African American literary texts.

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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Jurnal POETIKA 5, no. 1 (July 31, 2017): 37. http://dx.doi.org/10.22146/poetika.25810.

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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.

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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Poetika 5, no. 1 (July 31, 2017): 36. http://dx.doi.org/10.22146/poetika.v5i1.25810.

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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.

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Lau, David. "Drastic Measures in Los Angeles." Boom 3, no. 2 (2013): 82–86. http://dx.doi.org/10.1525/boom.2013.3.2.82.

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This essay is a review of two recent books of criticism: Bill Mohr's account of the Los Angeles poetry scene and Ignacio Lopez-Calvo's account of recent film and fiction set in Latino L.A. The essay argues for a conception of L.A. rooted in understanding the political and economic history of the city, and concludes with some speculation on the future of cultural production in the southern California region.

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Alonso-Breto, Isabel. "Sunil Yapa’s Your Heart is a Muscle the Size of a Fist: Protest, Fiction and the Ethics of Care." American Studies in Scandinavia 51, no. 2 (September 26, 2019): 3–24. http://dx.doi.org/10.22439/asca.v51i2.5970.

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Sunil Yapa’s politically engaged first novel vindicates the massive pacific protests that occurred during five days in Seattle in November-December 1999. These protests were summoned against the World Trade Organization summit. The novel responds to the wish to inscribe in the history of fiction a crucial event which would inspire and inflect the later anti-globalization movement and protests, and which according to some has not yet received the attention it deserves by media or criticism. This article discusses Yapa’s work in the light of the Ethics of Care, and develops an exegesis, which, incorporating elements of Hardt and Negri’s ideas about the Multitude, understands the novel mainly as a reflection of the crucial preoccupation thathumans have for other human beings, and the innate wish to actively take care of the Other and improve his or her life conditions.

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Gildea, Niall, and David Wylot. "The And of Modernism: On New Periodizations." Modernist Cultures 14, no. 4 (November 2019): 446–68. http://dx.doi.org/10.3366/mod.2019.0267.

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The study of literary modernism is in the ascendant in the academy. From alternate modernisms, to neomodernisms, to metamodernism and global modernisms, modernism scholarship has evolved through a configuration of modernism into a cross-cultural and inter-generational aesthetic practice. This article critically examines the periodizing logic implicit in this new modernism scholarship, specifically as it pertains to the study of what is loosely called ‘neomodernism’, which we suggest presents a notable development in literary history for accounts of contemporary fiction and postmodern culture. We are principally interested in a recent trend we observe in modernism literary criticism concerning the futurization of the object (literary modernism), and of critical work thereupon. This work, which specifically addresses developments in contemporary Western Anglophone literature, seeks to extend the project of modernism (sometimes called its ‘promise’) into the present, understanding it as the principal agency in literary distinction and merit. We examine this criticism through a series of case studies, and discern three interconnecting strands in neomodernist criticism – three ways of futurizing modernism, and of self-futurizing modernism criticism.

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Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.

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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.

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Henrot Sostero, Geneviève. "Approaches to Teaching Proust’s Fiction and Criticism edited by Elyane Dezon-Jones and Inge Crosman Wimmers." Studi Francesi, no. 145 (XLIX | I) (July 1, 2005): 196–97. http://dx.doi.org/10.4000/studifrancesi.36627.

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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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Hill, L. "The Power of Rhetoric, the Rhetoric of Power: Jean Paulhan's Fiction, Criticism, and Editorial Activity." French Studies 62, no. 1 (January 1, 2008): 96–97. http://dx.doi.org/10.1093/fs/knm267.

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Mutasa, D. E., and W. L. Chigidi. "Black writers’ Shona novels of the liberation war in Zimbabwe: an art that tells the truth of its day." Literator 31, no. 2 (July 13, 2010): 61–82. http://dx.doi.org/10.4102/lit.v31i2.47.

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Over the years Shona fiction that portrays Zimbabwe’s liberation war has been a subject of severe criticism because of its tendency to falsify and distort history. This article attempts to provide answers to the question of why authors of Shona war fiction tended to romanticise the war of liberation. In pursuance of this objective this article looks at circumstances and conditions that prevailed at the time that most of the Shona stories about Zimbabwe’s liberation war were written. These stories were published during the first decade of Zimbabwe’s independence and it is possible to look at this time and come up with a set of interdependent cultural, economic, political and ideological conditions that helped to shape writers’ perspectives on the war. The article argues that the conditions of artistic freedom that interfaced with internalised fear, the euphoria and celebration, the dominant ideology of the time, as well as the situation of competition were responsible for shaping the consciousness of the war fiction writers. In this article views expressed in interviews by some of the writers of Shona war fiction are taken into consideration. All interviews with authors referred to in the article were carried out by the researcher.

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Mũrĩithi, Wairimũ. "Fragments Towards an Impossible (Domestic) Genre of the Human in Kenyan Crime Fiction." English in Africa 47, no. 3 (February 10, 2021): 99–119. http://dx.doi.org/10.4314/eia.v47i3.6s.

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Extrajudicial executions and other forms of police violence in Kenya have always been an issue of significant concern in local and international media and human rights organisations. Reflective of this, scholarly interest in crime fiction in Kenya has grown significantly in recent years. However, the gendered implications of criminality – from sex work to errant motherhood to alternative modes of investigation – are still largely overlooked in postcolonial literary fiction and criticism. As part of a larger study on how women writers and characters shape crime fiction in Kenya, this paper critically engages with stories that the criminalised woman knows, tells, forgets, incarnates, discards or hides about the city. It does so by examining the history of urban sex workers in Kenya, the representation of ‘urban women’ in postcolonial Kenyan novels and contemporary mainstream media, and the various (post) colonial laws that criminalise sex work. Through Justina, an elusive character in Yvonne Adhiambo Owuor’s Dust, I consider how (post)colonial legislative frameworks and social life attempt to manage “impossible domesticity” (Saidiya Hartman) inside and against the geo-history of gendered and classed criminality in urban Kenyan spaces. My purpose is to interrogate hegemonic constructions of the citizen – and by extension, of the human – in Kenyan law and public morality Keywords: crime fiction, feminism, sex work, human, homo narrans

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Friedman, Susan Stanford. "Alternatives to Periodization: Literary History, Modernism, and the “New” Temporalities." Modern Language Quarterly 80, no. 4 (December 1, 2019): 379–402. http://dx.doi.org/10.1215/00267929-7777780.

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Abstract Can literary history be done without the conventional reliance on linear periodization? What might a literary history of modernism look like without the usual periodization of roughly 1890–1940? This essay reviews the arguments for and against periodization and then argues that the new time studies—based in nonlinear concepts of time for the study of the contemporary—offers alternatives to the Eurocentric periodization of modernism. These new temporalities were anticipated by early twentieth-century Euro-American modernism, presented in the essay with an account of the dramatic debate between Albert Einstein and Henri Bergson in 1922 and a discussion of Virginia Woolf’s experiments with the relationality of space and time in her fiction. Multidimensional, layered, and disjunctive concepts of time are better suited for the study of planetary modernisms that incorporate the colonial and postcolonial modernities. Kabe Wilson’s multimedia installation based on a remix of A Room of One’s Own and selected criticism on modernism are used to illustrate alternatives to linear periodization.

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Commissiong, Anand Bertrand. "Where Is the Love? Race, Self-Exile, and a Kind of Reconciliation." Diaspora: A Journal of Transnational Studies 21, no. 1 (March 1, 2021): 27–46. http://dx.doi.org/10.3138/diaspora.21.1.2020-06-18.

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Cultivating solidarity or love for community for those systematically abused by the state and its civic community is a longstanding challenge. While the latter should primarily shoulder responsibility for (re)building trust, this article focuses on the abused self-exile’s agency and possible reasons for return. To understand possible motivations for (re)engagement, this article explores the African American expatriate experience rendered in fiction and criticism. It focuses specifically on William Gardner Smith’s The Stone Face and its portrait of the potentialities of Black love as a vehicle of social resurrection and the exercise of political power.

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Torrance, Ronald. "Kristin Stapleton (2016). Fact in Fiction: 1920s China and Ba Jin’s Family." British Journal of Chinese Studies 8, no. 2 (March 1, 2019): 156–60. http://dx.doi.org/10.51661/bjocs.v8i2.5.

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There are few resources amongst contemporary Chinese literary criticism that manage to weave such insightful literary readings and incisive historical research as Kristin Stapleton’s Fact in Fiction: 1920s China and Ba Jin’s Family. The book accomplishes three feats, as set out by Stapleton in her introductory chapter, simultaneously incorporating a history of twentieth-century Chengdu (and its relevance to the developments in China during this period, more broadly) alongside the author’s biography of Ba Jin’s formative years in the city and the historiographical context of his novel Family. Such an undertaking by a less skilled author would have, perhaps, produced a work which simplifies the rich historical underpinnings of Ba Jin’s Family to supplementary readings of the novel, coupled with incidental evidence of the political and social machinations of the city in which its author grew up. Not so under Stapleton’s careful guidance. By reading the social and economic development of early twentieth-century Chengdu as much as its fictional counterpart in Ba Jin’s Turbulent Stream trilogy, Stapleton provides a perceptive reading of Family which invites the reader to consider how fiction can enrich and enliven our understanding of history.

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Stevenson, Mark. "Sound, Space and Moral Soundscapes in Ruyijun zhuan and Chipozi zhuan." NAN NÜ 12, no. 2 (2010): 255–310. http://dx.doi.org/10.1163/156852610x545868.

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AbstractThis paper employs methods from phenomenology, anthropology and literary criticism to theorise the deployment of sound in two early works of erotic fiction from sixteenth-century China: Ruyijun zhuan ([The tale of ] The Lord of Perfect Satisfaction) and Chipozi zhuan (A tale of an infatuated woman). After assessing the significance of the two novels in relation to problems of gender ideology in the period, as well as the treatment of sound, noisiness and gender in two Tang dynasty works, the paper demonstrates how almost all occurrences of non-verbal or involuntary sounds in the novels are attached to the moral positioning of their women protagonists in relation to gender norms. While not performing a full content analysis of the novels' soundscapes, moral or otherwise, a select number of examples are used to illustrate how a focus on sound, as a sign of both external moral threat and the inner person, adds to our understanding of erotic fiction from the late Ming (1520-1644). While they employ aurality in radically different ways, the two novels show how aural events share a similar function in governing women's sexuality.

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Cornell, Saul. "Moving Beyond the Canon of Traditional Constitutional History: Anti-Federalists, the Bill of Rights, and the Promise of Post-Modern Historiography." Law and History Review 12, no. 1 (1994): 1–28. http://dx.doi.org/10.1017/s0738248000011238.

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Few aspects of post-structuralist literary criticism have garnered as much attention and provoked as much controversy as the move to challenge the idea of a fixed literary canon of great texts. The implications of deconstructing the canon extend well beyond the study of fiction. All fields of scholarship have a canon of established texts, methodologies, and questions. Critiques of the literary canon resemble the challenge to conventional history posed by the new social history and its efforts to write a history from the bottom up that would supplant traditional historical scholarship. A similar revisionist effort is now only just beginning to emerge in constitutional historiography. Proponents of “a new constitutional history” are seeking to challenge the canon of traditional constitutional history. While this revisionist project has not been cast in post-structuralist terms, the perspective provided by recent critical theory can refine the practice of the new constitutional history.

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Dascăl, Reghina. "‘Dancing through the Minefield’: Canon Reinstatement Strategies for Women Authors." Gender Studies 14, no. 1 (December 1, 2015): 48–67. http://dx.doi.org/10.1515/genst-2016-0004.

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Abstract The paper explores the limiting and detrimental effects of biographical criticism and exceptionalism in the efforts of reinstating women authors into the Renaissance canon, by looking into the literary merits of Elizabeth Cary’s The Tragedy of Mariam, The Fair Queen of Jewry and The History of The Life, Reign and Death of Edward II. Whereas the conflation of biography and fiction is a successful recipe for canonization and for the production of feminist icons, it renders the text impotent because of its resulting inability to compete with or to be seen in correlation and interplay with other contemporary texts.

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Weiser, Frans. "Contextualizing History-as-Adaptation: An Interdisciplinary Comparison of Historical Revisionism." Adaptation 12, no. 2 (May 27, 2017): 105–17. http://dx.doi.org/10.1093/adaptation/apx009.

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Abstract The return to history in the humanities during the 1980s prompted literary and film scholars to question historiography’s empirical scientific status, as they instead argued that history shared more in common with fiction while their own fields of study provided means of democratizing the historical record. The concept of history-as-adaptation, recently introduced by Laurence Raw and Defne Ersin Tutan, and further developed by Tom Leitch, draws upon several of the same goals as these earlier revisionist critiques. This article contextualizes how external revision of history has been used by disciplines as a means of solidifying their own identities, despite the fact that history departments have not responded to such criticism. Through a cross-disciplinary analysis of the postmodern interrogation of historical claims, I seek to not only contextualize the adaptive turn but also demonstrate how the field’s comparative identity provides a means of transcending oppositional discourse. Drawing on the work of Robert Berkhofer, I establish a supplemental interpretation of history-as-adaptation, demonstrating the advantages of applying adaptive strategies to the documentary framework at the heart of historical methodology.

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Journal articles on the topic 'Hindi fiction – History and criticism'

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